Category Convegni e Call for papers
4th Transnational Opera Studies Conference (Call for papers, University of Bayreuth, 24-26 Giugno 2021)
The submission deadline is the 30th September 2020.
Call for papers – download PDF
Suoni della pandemia/Sounds of the Pandemic (Call for papers, Università di Firenze, 16 dicembre 2020)
Conferenza internazionale online, 16 dicembre 2020
International online conference, December 16th, 2020
Soft Machine, Robert Wyatt et la scène de Canterbury: un regard différent sur le rock dans les années 1960 et 1970 (Call for papers, Université de Strasbourg, 19-20 Novembre, 2020)
Colloque international et interdisciplinaire, Strasbourg.
Soft Machine, Robert Wyatt et la scène de Canterbury : un regard différent sur le rock dans les années 1960 et 1970.
Approches musicologiques, culturelles, sociologiques et littéraires.
(English on page 3)
Jeudi 19 novembre 2020 après-midi, Salle du Fossé des Treize – vendredi 20 novembre 2020 matin et après-midi, Amphithéâtre du Collège Doctoral Européen ;
Concert le 19 novembre à 20h30 autour de John Greaves, Salle du Fossé des Treize.
Organisateurs: Pierre Michel (professeur à l’Université de Strasbourg, saxophoniste) et Jacopo Costa (docteur de l’Université de Strasbourg, percussionniste)
Comité scientifique: Jacopo Costa, Philippe Lalitte, Pierre Michel, Nicolò Palazzetti
Keynote speakers: Vincenzo Caporaletti, Aymeric Leroy
Disciplines: Popular Music Studies, Musicologie, Sociologie, Cultural Studies, Littérature comparée.
Durée envisagée: trois séances d’une demi-journée
Partenaires sollicités: ACCRA, GREAM, Jazzdor
Perspectives on Sylvano Bussotti (Call for papers, Justus-Liebig Universität Gießen, 29 Settembre-1 Ottobre, 2021)
International Conference on the Occasion of Sylvano Bussotti’s 90th Birthday
In the 1950s, with his graphic scores, the composer Sylvano Bussotti (*1931) was significantly involved in the critical deconstruction of standardised notation. During the Darmstadt Summer Courses of 1958– 61, he shocked his peer composers not least with his open homosexuality. With the ‘mystère de chambre’ La Passion selon Sade (1965), he presented a work that was characterised to a previously unknown extent by an erotic physicality. And in the decades to come, within the exceptional personal union of composer, director, actor, stage and costume designer, he consistently explored the boundaries between different genres (music theatre, ballet, instrumental music) and medially differentiated art forms (e.g. between music and visual art).
Yet, in the research discourses on 20th-century music and music theatre, Bussotti’s oeuvre has a very limited presence; a detailed study of the majority of his works is still pending, and the hitherto available archival material has been examined only partially. These diagnoses are in striking disproportion to the historical importance of the Italian composer. The envisaged conference responds to this desideratum and takes the composer’s 90th birthday as an opportunity to bundle recent approaches and break new ground in research on Bussotti, and to stimulate a broader debate on his oeuvre and aesthetics. We also hope that the conference’s output will foster an increased practical engagement with Bussotti’s rarely performed pieces.
Furthermore, a focused view and collaborative reflection on the composer’s in many respects extraordinary artistic work promises new insights and impulses for current interdisciplinary debates, especially in the research on writing, gender, intermediality and gestures. We encourage papers from a range of disciplines including musicology, performance practice, theatre and linguistic studies, philosophy, media aesthetics, philology or cultural studies.
Topics may include, but are not limited to:
- Bussotti’s procedures of musical writing and drawing; his deliberately ambivalent forms of notation (as a productive challenge for current approaches to the theory of writing)
- body images in Bussotti’s oeuvre as visualisation and negotiation of gender identity
- Bussotti’s compositional use of language and texts; Bussotti as a lied composer
- interpretation and contextualisation of previously unknown archival material on Bussotti and his artistic output
- analytical considerations on selected (and less known) pieces by Bussotti
- Bussotti’s musico-theatrical work between bel canto and new music theatre
- How can we theoretically grasp the inherent physicality and gestural character of Bussotti’s compositions?
- collage as a form concept and mode of expression
- the role of Bussotti’s music in private space, in conjunction with the continuity of the tradition of décadence
- Bussotti in his works
- performance history and practice of Bussotti’s oeuvre
- Bussotti in his historical and cultural context
- Bussotti as a poet, director, actor, stage and costume designer
The conference language is English.
Presentation format: individual 30-minute paper (followed by 15-minute discussion)
Abstracts of 250–300 words should be sent as an attachment (pdf, docx) to julia.freund[at]musik.uni- giessen.de and federica.marsico[at]unive.it by 15 October 2020, and must include the following information: title, author, affiliation, email address, short biography (max 150 words), and technical requirements.
Decisions on the acceptance of abstracts are expected to be communicated by 15 November 2020. Attendance of the meeting will be free of charge. We are striving to cover the accommodation and travel expenses.
Organisation and scientific committee: Julia Freund (JLU, Gießen), Federica Marsico (Ca’ Foscari, Venice), Matteo Nanni (JLU, Gießen)
Conference website: https://bussotti2021.wordpress.com
We are aware of the current uncertainties with regard to public events and international travel. We will monitor the situation carefully, and in the case that delegates will be unable to travel next year, we shall make the necessary arrangements for a virtual delivery of the conference.
XXIV Colloquio di Musicologia (Il Saggiatore Musicale, 20-22 Novembre 2020)
Per ottemperare alle misure sanitarie vigenti il XXIV Colloquio di Musicologia promosso dall’Associazione culturale «Il Saggiatore musicale» in collaborazione con il Centro La Soffitta del Dipartimento delle Arti dell’Alma Mater Studiorum – Università di Bologna si svolgerà in streaming da venerdì 20 a domenica 22 novembre 2020
Il Colloquio comporterà una prolusione inaugurale, affidata ad Alberto Rizzuti, due tavole rotonde, e varie sedute dedicate a relazioni libere.
La tavola rotonda del 20 novembre pomeriggio, sul tema Il melodramma inguanti emascherina: la ricerca operistica continua, sarà coordinata da Alessandro Roccatagliati, col concorso dei Centri, delle Fondazioni e degli Istituti che promuovono gli studi su Rossini, Donizetti, Bellini, Verdi e Puccini.
La tavola rotonda del 21 novembre illustrerà, a cent’anni dalla nascita, la poliedrica personalità del fondatore del Quartetto Cetra, Antonio Virgilio Savona: un artista dai mille volti, e sarà coordinata da Paolo Somigli con Carlo Savona.
Le altre sedute saranno dedicate a free papers su temi liberi (15 minuti di durata, ossia 9000 battute, circa 1500 parole). Entro il 30 agosto 2020 gli interessati inoltreranno le loro proposte (con un abstract di 20 righe circa) al comitato scientifico, che le selezionerà entro il 20 settembre. A Colloquio concluso, gli abstracts delle relazioni verranno pubblicati nel sito www.saggiatoremusicale.it.
Il Colloquio è coordinato da Giuseppina La Face, Nicola Badolato e Valeria Conti. Del comitato scientifico fanno parte Renato Di Benedetto, Cesare Fertonani, Massi- miliano Locanto, Giorgio Pestelli, Nico Staiti e Rodobaldo Tibaldi.
Per l’invio degli abstracts (muniti di nominativo e recapiti): XXIV Colloquio di Musicologia del «Saggiatore musicale», e-mail saggiatoremusicale@saggiatoremusicale.it.
Per informazioni tecniche e organizzative:
Società Cronopios, tel. 051 224420; fax 051 2919120; e-mail muspe@cronopios.it.
XXIV Incontro dei Dottorati di ricerca in discipline musicali promosso dal “Saggiatore musicale”
Venerdì 26 giugno, dalle 14:00 alle 19:00, si terrà in rete (tramite piattaforma ZOOM) il XXIV Incontro dei Dottorati di ricerca in discipline musicali promosso dal “Saggiatore musicale” con la collaborazione del Dipartimento delle Arti dell’Università di Bologna.
Coordineranno i lavori Giovanni Giuriati e Donatella Restani.
Nel sito del “Saggiatore musicale”, e nella pagina Facebook del “Saggiatore musicale” gli interessati trovano:
– il programma dell’Incontro;
– l’indirizzo e-mail al quale richiedere il link per connettersi alla piattaforma ZOOM (saggiatoremusicale@saggiatoremusicale.it; da richiedere entro lunedì 22 giugno).
Re-envisaging Music: Listening in the Visual Age – Convegno internazionale (Accademia Musicale Chigiana, Siena, 10-12 dicembre 2020)
Re-envisaging Music: Listening in the Visual Age Siena – Accademia Musicale Chigiana
10-12 December 2020
Keynote Speaker: Prof. Leslie Korrick
School of the Arts, Media, Performance & Design, York University, Toronto “Listening in the Age of Sound Art”
CALL FOR PAPERS
Music and images, seeing and hearing have always been inextricably linked. Even when more autonomous concepts of music developed at various times through the centuries, they arguably served to keep at bay the ever-present visual dimensions of the act of listening. When we listen to music, do we just listen? When we see a painting, or anything else, do we just watch?
Urban Nostalgia: The Musical City in the 19th and 20th Centuries (Parigi, 3 Luglio, 2020)
The aim of this workshop is to explore space through music, approaching the history of the city via the notion of nostalgia. Often described as a form of homesickness, nostalgia is, by definition, the feeling that makes us wish to repossess or reoccupy a space. Such spaces appear to us as both near and distant, tangible and remote, and it seems that attempts at reclaiming them are frequently musical in nature. We know, for instance, that particular compositions have played important roles in helping people to navigate or mitigate a sense of displacement. In these circumstances, affective experiences may be bound up with trauma or joy, as is the case of song during wartime or musical imaginaries among migrants. Under other conditions, we might identify a ‘second-hand nostalgia’ in the guise of a musically- inflected tourism that seeks to reactivate (for pleasure and/or profit) the historical aura of an urban site. What are we to make of the abundance of personal, inter- personal, and propositional episodes that posit music as some kind of a bridge to the urban past?
Terrains communs: ethnomusicologie et popular music studies (Vitré, 5-7 Giugno, 2020)
L’étude des musiques traditionnelles et celle des musiques actuelles se sont d’abord développées séparément, du fait de l’hétérogénéité de leurs objets, mais aussi de leurs méthodes et problématiques. D’une part l’ethnomusicologie, riche d’une histoire qui rassemble plusieurs courants en son sein, a longtemps débattu la question de savoir si elle se définissait par un objet – les musiques de tradition orale, voire plus généralement traditionnelles, ou encore extra-européennes – ou par une méthode, l’enquête. Depuis les années 1950, elle promeut un double paradigme de recherche qui conjugue de diverses façons la méthode ethnographique et l’analyse formelle. C’est dans les années 1980 que l’ethnomusicologie s’est affirmée en tant que discipline à part entière dans les universités françaises, notamment dans les départements de musicologie (Bachir-Loopuyt et Belly 2018). La fondation de la Société française d’ethnomusicologie (1983) et la création à Genève de la revue Cahiers de musiques traditionnelles en 1988 (devenue depuis 2007 Cahiers d’ethnomusicologie) ont contribué à une plus grande autonomie de cette discipline dans l’espace francophone. Certaines frontières se sont durcies alors entre le périmètre des «musiques traditionnelles », considérées comme l’objet privilégié de l’ethnomusicologie, et celui des «musiques populaires modernes », sur lesquelles les recherches se sont développées essentiellement au sein d’une sphère anglophone dans un premier temps.
The Sounds of the Beyond: The Mysteries of Ancient Greek and Roman Music (Strasburgo, 29 Giugno-1 Luglio, 2020)
Although the etymology of mystêrion is not entirely clear, scholars have traditionally thought it to be derived from the Greek μύω, meaning “to close” or “to shut.” The word may thus refer to shutting not only the eyes (during the initiation ritual), but also the mouth, since initiates were not allowed to reveal what happened in the ritual. Nevertheless, the mysteries were probably not as esoteric as scholars have thought (see R. Turcan and W. Burkert).
While scholars have, in the past, treated a variety of cults as mysteries, nowadays they operate with a stricter definition of the term. “Mysteries” designate, first, ancient Greek mysteries (the Eleusinian, the Dionysian and the Orphic-Bacchic Mysteries) and, secondly, new mystery cults worshipping divinities that Greeks and Romans adopted gradually from other cultures (Cybele, Isis and Mithra). Mysteries supplemented civil religion rather than competed with it: they had the same goal of creating an individual relationship to deities through votive offerings. Any individual could easily observe the rites of the state religion, be an initiate in one or more mysteries (whatever her/his status might be), and at the same time adhere to a certain philosophical school.