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8-10 juin 2006, Guelph / Waterloo / Toronto
The Creative
and Scientific Legacies
of Iannis Xenakis
International Symposium 8-10 June, 2006
Iannis Xenakis (1922-2001) is a unique figure in contemporary music, not only for the iconoclastic nature of his music but also for the scientific attitude he brought to his work. His training as a civil engineer, his experience as an architect, as well as his immersion in ancient Greek philosophy, have all shaped his approach to developing a new theoretical foundation of music and a style built from a unique set of compositional techniques. His music and thought have proven highly influential, although his work has been studied in detail by only a few. At the same time, many have gone on to develop extensions to his theories and techniques
The aim of this international symposium is to gather researchers and artists/composers who consider their work to form part of Xenakis’s legacy, either creative or scientific. In addition, joint sessions are being planned to bring together researchers from the music field with those in science (Perimeter Institute for Theoretical Physics) and mathematics (Fields Institute for Research in Mathematical Sciences). Proposals which in some way bridge these disciplines are welcome
This Symposium is being held in conjunction with soundaXis (1-12 June, 2006), a festival where, among much else, a number of compositions by Iannis Xenakis will be performed at various venues in and around Toronto by the leading new music ensembles of the region (see www.soundaXis.ca for details)
Submission Information:
Submit by electronic mail an abstract of your proposed paper/presentation (c. 500 words). Please be sure to address how you are supporting the particular aim of this symposium in your proposal. Include a short bio (c. 100 words), and include a listing of technical requirements.
Deadline: 15 September 2005
Submission address: jharley@uoguelph.ca
Organizing Committee:
James Harley, University of Guelph
Gage Averill, University of Toronto
Michael Duschennes, Perimeter Institute for Theoretical Physics
Thomas Salisbury, Fields Institute for Research in Mathematical Sciences
Scientific Committee:
Richard Barrett (Instituut voor Sonologie, Koninklijk Conservatorium den Haag)
Benoit Gibson (Universidade de Évora/Escola Superior de Música de Lisboa)
James Harley (University of Guelph/Computer Music Journal)
Peter Hoffmann (Technische Universität Berlin)
Sharon Kanach (independent researcher/artist)
Raymond Laflamme (Institute for Quantum Computing/Perimeter Institute for Theoretical
Physics)
Gerard Pape (CCMIX, Paris)
Curtis Roads (University of California, Santa Barbara)
John Rahn (University of Washington/Perspectives of New Music)
Makis Solomos (Université de Montpellier 3/Institut Universitaire de France/Filigrane)
Contact:
James Harley
jharley@uoguelph.ca
tel: +1 (519) 824-4120 x52989
13 juin
13 juin 2006, Paris
Séminaire « Aimer la musique »
L’objet de la musique,
les objets de la musique
Aimer la musique. Sociologie de la musique, histoire de l’amateur, musicologie du goût
Nous travaillerons plus particulièrement cette année sur les façons de prendre en compte l'objet musical, ou plutôt l'objet de la musique (par l'amateur, par l'analyste, par l'historien) : façons d'en parler, de s'en saisir, de le faire répondre, de mesurer ou de travailler ses effets.
L'idée est d'analyser ces "façons de faire avec la musique" en allant sans solution de continuité de l'amateur ou des publics, et des intermédiaires marchands et techniques (spectacle, presse, enregistrement, etc.), à la façon dont les disciplines concurrentes traitent l'objet musical (musicologie, psychologie, sciences sociales).
Le séminaire fonctionne selon la formule de l’atelier de recherche collectif. À partir d’expériences, de textes et de matériau de recherche apporté par les étudiants, le séminaire traite d’une part des façons de prendre en compte dans des analyses sociales et historiques la musique, ses «performances» et ses effets en situation sur des amateurs diversement équipés ; et d’autre part des problèmes de terrain que pose la mise en œuvre d’une telle conception pragmatique du goût comme activité et compétence : formes des entretiens et observations, participation et engagement de ses propres goûts et connaissances, prise en compte de l’activité réflexive des amateurs pour définir leur goût. À travers des montages expérimentaux et une interrogation réflexive sur le rôle actif des diverses disciplines dans la formation du goût, le travail porte sur les modalités de l’attachement, le rapport peu mécanique entre les caractères propres des objets goûtés et les effets qu’ils procurent, et plus généralement les formes et formats de l’amateurisme.
le 2e mardi du mois sauf contre-ordre (quand il tombe pendant les vacances), de 16 h 30 à 19 h00
Antoine Hennion (CSI), Geneviève Teil (INA/SAD-APT) :
École des Mines de Paris, 60 bd St-Michel, 75006 Paris, salle St-Jacques
Centre de Sociologie de l’Innovation, École des Mines de Paris
60 bd St-Michel 75006 Paris, France http://www.csi.ensmp.fr
33-(0)1-40519191 fax 33-(0)1-43545628 port: 33-(0)6-60160569
15 juin 2006
15-18 juin 2006, Alberta (Canada)
Grounding Moves :
Landscapes for Dance
The Banff Centre for the Arts, Alberta Canada
The Society of Dance History Scholars invites submissions for its twenty-ninth annual conference, hosted by the Banff Centre for the Arts in Alberta, Canada, a unique centre known for its dedication to the arts and to creative process, and for its breathtaking location in the heart of the Rocky Mountains.
In recognition of this stunning site and the vibrant role the Banff Centre has played in Canada for decades, the 2006 conference will engage with the ongoing dance projects fostered in this location. These include the unique and internationally-renowned "Aboriginal Dance Project," which will celebrate its tenth anniversary in 2006; the many cutting edge media and visual arts programs of the Banff New Media Institute, which include numerous projects that integrate dance and technology; and the Center's renowned ballet program, which has trained dancers in Canada since the 1950s. The program committee hopes to stimulate proposals that will look at Aboriginal dance, dance and new media, ballet training, and issues of state and institutional support that may be raised by the success of the Banff Centre itself.
Although the conference proposes and promotes this focus on the Banff Centre, we welcome proposals outside that realm. The conference is open to any new research in dance studies, and we imagine that the issues raised will be applicable to dance practices, institutional structures and histories in locations the world over.
Questions include:
What is dance's relation to institutional structures?
How do issues of self-determination, ownership, state control, intellectual and artistic property, sovereignty, and of European-imposed definitions about these, intersect with the histories of institutional support?
How have -- and haven't -- Aboriginal dance practices flourished in relation to these structures and in the face of institutional constraints?
What is ballet's relationship to institutional structures, such as those provided by governments or schools (universities, conservatories, arts centers, neighborhood studios); by cities (New York, Winnepeg, Seoul, Bejing...); and by ideologies of, for example, gender, nationalism and globalization?
What possibilities do the realms of new media hold in addressing these histories and issues?
How does dance ground practitioners across geographic, institutional, and ideological divides?
Submissions encouraged for individual papers and panels, as well as for roundtable discussions, movement workshops, lecture-demonstrations, collaborative presentations, and other formats that will enable the active engagement of conference participants.
Submission guidelines can be found at : http://www.sdhs.org/confpropinst.html. More info on the Banff Centre can be found at : http://www.banffcentre.ca/about
Submissions should be postmarked by November 15, 2005. Please send six copies of the proposal along with the submission form to :
Jacqueline Shea Murphy
Department of Dance
University of California, Riverside
Riverside, CA 92521
No submissions will be accepted by fax or email. Queries may be addressed by email to: jshea@ucr.edu
18 juin 2006
18-23 juin 2006, Göteborg
Intercongressional Symposium
of the International Musicological Society
(SIMS 2006)
Held in collaboration
with the International Association of Music Libraries,
Archives, and Documentation Centres
and the International Association of Music Information Centres
Contemporary Classical Music
The adjective «classical» in our conference theme may be understood in the broad, popularistic (but exclusive) sense, denoting simply that which is (perhaps ironically) ‘not pop[ular]’; but also in the more narrow (and inclusive) sense of contemporary music that at some level engages with notions of classicality. This by no means restricts us to investigating contemporary music that is ‘classical’ merely in ways that we might define as ‘neo’ (neo-classical, neo-tonal, or the various other ‘neo’s beloved of many post-Modernists). It can entertain discussions of what belongs to the contemporary ‘mainstream’ (and thereby considering, for example, to what extent the avant-garde of yesterday has established itself in the accepted canon of today). And it can also stimulate fruitful discussion of how current technologies of music production and dissemination have helped to construct contemporary notions of the ‘classical’ in music in the West.
However, the theme need not exclude all outside the western tradition; the concepts of ‘Indian classical music’ and ‘African classical drumming’, for example, refer to indigenous forms of music-making that are also vibrantly contemporary. Given the joint nature of the conference, papers that combine or mesh the fields of librarianship and musicology will be particularly welcome.
Further information can be found on the congress homepage
http://www.muslib.se/smbf/iaml-iamic2006
The congress will be conducted in German, English, French, Italian, and Spanish. Proposals and abstracts are welcomed in any of these languages. The program committee prefers these to be in the form of E-mails; however, proposals will also be accepted by fax and conventional mail.
The deadline for proposals for individual papers is: 1 October 2005
Chair of Programme Committee :
Chris Walton
Music Department
University of Pretoria
0002 Pretoria
South Africa
Tel: ++27-12-420 3747
Fax: ++27-12-420 2248
Email: chris.walton@up.ac.za
21 juin 2006
21-23 juin 2006
Deuxième Colloque International CESAR
Appel à communications
Le deuxième Colloque International CESAR se déroulera du 21 au 23 juin 2006 à Oxford, où nous serons accueillis de nouveau par la Maison Française d’Oxford. Le Colloque se propose d’explorer divers aspects des spectacles et des représentations théâtrales de langue française entre 1600-1800, et notamment la façon dont la base de données CESAR et sa banque d’images pourront servir à nos recherches, ou, inversement, comment nos recherches pourront y être incorporées.
Nous espérons rassembler spécialistes du théâtre, historiens, historiens de l’art et de la musique, ainsi que ceux qui s’intéressent aux échanges entre l’informatique et les lettres (dans le sens le plus large du terme).
Dans ce cadre, nous proposons – à titre indicatif plutôt qu’exhaustif - les thèmes de communication / séances suivantes :
L’histoire sociale des représentations théâtrales
Le théâtre en marge : des fêtes de cour aux spectacles de rue
L’année 1650 : le théâtre français
Le théâtre de la foire
Illusion théâtrale, illusion iconographique?
Presse et théâtre
Recherches récentes dans les archives
Le théâtre de la Révolution
Les propositions de communication (titre + 300 mots) sont à envoyer avant le 15 novembre 2005 à Professor Valérie Worth, Oxford Brookes University ( vworth@brookes.ac.uk ), par courrier électronique.
Le programme du colloque paraîtra sur le site en 2006.
La banque d’images CESAR
L’expansion rapide de la banque d’images continue. Elle contient actuellement 1244 images, auxquelles nous comptons ajouter d’ici quelques mois plus de 450. L’ampleur de la ressource désormais à la disposition des chercheurs est impressionnante. A ceux qui n’ont pas encore fait l’essai des possibilités qu’elle offre, nous proposons la sélection suivante (le mot à taper dans la première case du moteur de recherche est souligné) :
La Signora Isabella
Bal du mai donné à Versailles
Les Farceurs à l’Hôtel de Bourgogne
Affiche 1739
Salle de comédie de Lyon
Portrait de De Brueys
Voltaire, Mérope, acte IV, sc. 2
Les Deux Pucelles
Mairet, La Silvanire, acte V
Le nombre de bibliothèques et de musées qui nous prêtent leur concours en nous permettant d’afficher des images tirées de leurs collections augmente aussi. Trente-deux gravures et dessins offerts par l’Ashmolean Museum d’Oxford, renommé pour sa collection d’estampes, sont déjà en ligne, marquant le début d’une collaboration qui sera, espère-t-on des deux côtés, fructueuse. La Bibliothèque Historique de la Ville de Paris nous a également invités à sélectionner des images parmi ses richesses iconographiques, dont un grand nombre représentent des fêtes royales et municipales.
Nous remercions chaleureusement ces nouveaux collaborateurs ainsi que tous les autres établissements dont la générosité rend possible le perfectionnement de cet outil indispensable de recherches qu’est CESAR.
Nos sections
La section Presse, créée sur le site il y a six mois, a été enrichie par l’addition d’une deuxième série de comptes-rendus tirés de périodiques édités au cours des XVIIe et XVIIIe siècles. Martin Nadeau, qui avait déjà fourni des comptes-rendus publiés dans trois journaux influents de la période révolutionnaire, nous en a offert 131 parus dans La Chronique de Paris, journal édité de 1789 à 1793. Valerie Worth nous a permis d’afficher les deux premières années (1631-32) de son projet ambitieux de dépouillement de la Gazette de Renaudot. À suivre. Les liens vers les pages correspondantes dans la base de données seront ajoutés prochainement.
Une nouvelle section inaugurée ce mois-ci contient des traités sur le théâtre ou d’autres ouvrages du même genre parus entre 1600 et 1800. C’est le texte tout simple, sans notes ni commentaire, que nous offrons à nos lecteurs pour les aider dans leurs recherches. Pour le moment, il y en a quatre mais si vous possédez en version électronique des textes de traités ou des comptes-rendus susceptibles de paraître dans nos sections Presse ou Traités, veuillez nous les envoyer à editors@cesar.org.uk
Quelques statistiques
Moyenne journalière des requêtes reçues par CESAR : 7325.
Heures du jour correspondant aux périodes d’activité la plus intense pour le serveur CESAR (GMT) : 1000-1100, 1300-1700, 0400-0500. Et la moins intense : 0000-0300.
Le nombre d’utilisateurs enregistrés augmente à raison de 5 ou 6 par semaine, le total ayant déjà atteint 815.
= = =
English version
Call for papers
The second CESAR International Conference will be held from 21st-23rd June 2006 at the Maison Française, Oxford UK. The Conference will explore various aspects of theatre and performances in French in the period 1600-1800, and will particularly consider how the CESAR database and imagebank can help researchers, and, conversely, how ongoing and new research can be integrated into the database and imagebank.
We hope that the conference will interest theatre specialists, historians, art historians and musicologists, as well as colleagues working on the interface between Humanities and IT projects.
To meet these aims, we suggest the following list of themes for papers/ sessions. If you wish to make other proposals, they would also be most welcome.
The social history of theatrical performances
Theatre “on the fringe”: from court festivals to street theatre
French theatre in the year 1650
Fairground theatre
Theatrical illusion and iconographic illusion
The theatre and the press
Recent research in the archives
The theatre at the time of the Revolution
Proposals for papers (title and an abstract of 300 words) should be sent electronically by 15th November 2005 to Professor Valerie Worth, Oxford Brookes University (e-mail: vworth@brookes.ac.uk ).
Details of the conference and a booking form will appear on the CESAR website in due course.
The CESAR Imagebank
The imagebank continues to expand rapidly. We currently have 1244 images on line and are processing and preparing a further 450 to be uploaded over the next few months. The scope of this research resource is now considerable. If you have not tried it out yet, we suggest you check the following sample of images (type the underlined word in the first search-box):
La Signora Isabella
Bal du mai donné à Versailles
Les Farceurs à l’Hôtel de Bourgogne
Affiche 1739
Salle de comédie de Lyon
Portrait de De Brueys
Voltaire, Mérope, acte IV, sc. 2
Les Deux Pucelles
Mairet, La Silvanire, acte V
The number of libraries and museums offering their help by allowing us to include images from their collections is also increasing. We already have 32 prints and drawings from the Ashmolean Museum in Oxford, famed for its extensive holdings, with more to come. The Bibliothèque Historique de la Ville de Paris has also invited us to select images from their rich collection, which includes many depictions of royal and municipal fêtes. Our heartfelt thanks to these two new contributors and to all those other institutions whose generosity is making it possible to develop CESAR into an indispensable research resource.
Sections
The Press section which was added to the site six months ago has been enriched by the addition of further sets of reviews of performances and spectacles from different stages of the development of the theatre. Martin Nadeau, who has already provided reviews from three important newspapers of the revolutionary period, has now contributed 131 from La Chronique de Paris which appeared between 1789 and 1793. Valerie Worth has given us the first two years (1631-32) of her ambitious compendium of all references to spectacles in Renaudot’s Gazette. More to follow. The links to the corresponding pages in the database will be added shortly.
A second new section contains treatises or similar works on the theatre produced between 1600 and 1800. In each case, we offer the basic text, without notes or commentary, as a service to CESAR’s users. So far, four have been put online. If you have any material in electronic form suitable for inclusion in either the Press or the Treatises section, we shall be glad to include it : editors@cesar.org.uk
A Few Statistics
Daily average of hits on the CESAR server : 7325.
Busiest times of day for the CESAR server (GMT) : 1000-1100, 1300-1700, 0400-0500. And the least busy : 0000-0300.
The number of registered users is growing at the rate of 5 or 6 per week. The total currently stands at 815, drawn from 30 countries.
Mark Bannister
Professor of French
Director, CESAR Project
School of Arts & Humanities
Oxford Brookes University
Gipsy lane
Oxford OX3 0BP
UK
Tel. +44.1865.483840
Fax +44.1865.483791
email mhbannister@brookes.ac.uk
22 juin 2006
22-24 juin 2006, Dublin
George Sand : Intertextualité et Polyphonie
17th International George Sand Conference
Dublin City Univeristy
We invite proposals for papers (in French or English) on aspects of the conference theme, including, but not limited to:
Dialogue, dialogism, citation
Narrative voice(s), discourses and ideologies
Paratextual and metatextual voices
Social, political and historical intertexts
Literature and the other arts
Voice, orality, musicality
Multiplicity, plurality, subversion
Correspondences
Cultural exchanges, intercultural perspectives
Generic boundaries
Influences on Sand, the influence of Sand
Textual genesis, sources, rewriting
Representation, mimesis, performance(s)
Translations, parodies, adaptations
Proposals should be accompanied by a short abstract (250-300 words) outlining the argument, and be sent by e-mail to the conference organisers, Nigel Harkness n.harkness@qub.ac.uk and Jacinta Wright jacinta.wright@dcu.ie by 30th November 2005. Proposals may also be faxed to the following number: (+44) 2890 324549.
Marie...
8-10 juin 2006, Guelph / Waterloo / Toronto
The Creative
and Scientific Legacies
of Iannis Xenakis
International Symposium 8-10 June, 2006
Iannis Xenakis (1922-2001) is a unique figure in contemporary music, not only for the iconoclastic nature of his music but also for the scientific attitude he brought to his work. His training as a civil engineer, his experience as an architect, as well as his immersion in ancient Greek philosophy, have all shaped his approach to developing a new theoretical foundation of music and a style built from a unique set of compositional techniques. His music and thought have proven highly influential, although his work has been studied in detail by only a few. At the same time, many have gone on to develop extensions to his theories and techniques
The aim of this international symposium is to gather researchers and artists/composers who consider their work to form part of Xenakis’s legacy, either creative or scientific. In addition, joint sessions are being planned to bring together researchers from the music field with those in science (Perimeter Institute for Theoretical Physics) and mathematics (Fields Institute for Research in Mathematical Sciences). Proposals which in some way bridge these disciplines are welcome
This Symposium is being held in conjunction with soundaXis (1-12 June, 2006), a festival where, among much else, a number of compositions by Iannis Xenakis will be performed at various venues in and around Toronto by the leading new music ensembles of the region (see www.soundaXis.ca for details)
Submission Information:
Submit by electronic mail an abstract of your proposed paper/presentation (c. 500 words). Please be sure to address how you are supporting the particular aim of this symposium in your proposal. Include a short bio (c. 100 words), and include a listing of technical requirements.
Deadline: 15 September 2005
Submission address: jharley@uoguelph.ca
Organizing Committee:
James Harley, University of Guelph
Gage Averill, University of Toronto
Michael Duschennes, Perimeter Institute for Theoretical Physics
Thomas Salisbury, Fields Institute for Research in Mathematical Sciences
Scientific Committee:
Richard Barrett (Instituut voor Sonologie, Koninklijk Conservatorium den Haag)
Benoit Gibson (Universidade de Évora/Escola Superior de Música de Lisboa)
James Harley (University of Guelph/Computer Music Journal)
Peter Hoffmann (Technische Universität Berlin)
Sharon Kanach (independent researcher/artist)
Raymond Laflamme (Institute for Quantum Computing/Perimeter Institute for Theoretical
Physics)
Gerard Pape (CCMIX, Paris)
Curtis Roads (University of California, Santa Barbara)
John Rahn (University of Washington/Perspectives of New Music)
Makis Solomos (Université de Montpellier 3/Institut Universitaire de France/Filigrane)
Contact:
James Harley
jharley@uoguelph.ca
tel: +1 (519) 824-4120 x52989
13 juin
13 juin 2006, Paris
Séminaire « Aimer la musique »
L’objet de la musique,
les objets de la musique
Aimer la musique. Sociologie de la musique, histoire de l’amateur, musicologie du goût
Nous travaillerons plus particulièrement cette année sur les façons de prendre en compte l'objet musical, ou plutôt l'objet de la musique (par l'amateur, par l'analyste, par l'historien) : façons d'en parler, de s'en saisir, de le faire répondre, de mesurer ou de travailler ses effets.
L'idée est d'analyser ces "façons de faire avec la musique" en allant sans solution de continuité de l'amateur ou des publics, et des intermédiaires marchands et techniques (spectacle, presse, enregistrement, etc.), à la façon dont les disciplines concurrentes traitent l'objet musical (musicologie, psychologie, sciences sociales).
Le séminaire fonctionne selon la formule de l’atelier de recherche collectif. À partir d’expériences, de textes et de matériau de recherche apporté par les étudiants, le séminaire traite d’une part des façons de prendre en compte dans des analyses sociales et historiques la musique, ses «performances» et ses effets en situation sur des amateurs diversement équipés ; et d’autre part des problèmes de terrain que pose la mise en œuvre d’une telle conception pragmatique du goût comme activité et compétence : formes des entretiens et observations, participation et engagement de ses propres goûts et connaissances, prise en compte de l’activité réflexive des amateurs pour définir leur goût. À travers des montages expérimentaux et une interrogation réflexive sur le rôle actif des diverses disciplines dans la formation du goût, le travail porte sur les modalités de l’attachement, le rapport peu mécanique entre les caractères propres des objets goûtés et les effets qu’ils procurent, et plus généralement les formes et formats de l’amateurisme.
le 2e mardi du mois sauf contre-ordre (quand il tombe pendant les vacances), de 16 h 30 à 19 h00
Antoine Hennion (CSI), Geneviève Teil (INA/SAD-APT) :
École des Mines de Paris, 60 bd St-Michel, 75006 Paris, salle St-Jacques
Centre de Sociologie de l’Innovation, École des Mines de Paris
60 bd St-Michel 75006 Paris, France http://www.csi.ensmp.fr
33-(0)1-40519191 fax 33-(0)1-43545628 port: 33-(0)6-60160569
15 juin 2006
15-18 juin 2006, Alberta (Canada)
Grounding Moves :
Landscapes for Dance
The Banff Centre for the Arts, Alberta Canada
The Society of Dance History Scholars invites submissions for its twenty-ninth annual conference, hosted by the Banff Centre for the Arts in Alberta, Canada, a unique centre known for its dedication to the arts and to creative process, and for its breathtaking location in the heart of the Rocky Mountains.
In recognition of this stunning site and the vibrant role the Banff Centre has played in Canada for decades, the 2006 conference will engage with the ongoing dance projects fostered in this location. These include the unique and internationally-renowned "Aboriginal Dance Project," which will celebrate its tenth anniversary in 2006; the many cutting edge media and visual arts programs of the Banff New Media Institute, which include numerous projects that integrate dance and technology; and the Center's renowned ballet program, which has trained dancers in Canada since the 1950s. The program committee hopes to stimulate proposals that will look at Aboriginal dance, dance and new media, ballet training, and issues of state and institutional support that may be raised by the success of the Banff Centre itself.
Although the conference proposes and promotes this focus on the Banff Centre, we welcome proposals outside that realm. The conference is open to any new research in dance studies, and we imagine that the issues raised will be applicable to dance practices, institutional structures and histories in locations the world over.
Questions include:
What is dance's relation to institutional structures?
How do issues of self-determination, ownership, state control, intellectual and artistic property, sovereignty, and of European-imposed definitions about these, intersect with the histories of institutional support?
How have -- and haven't -- Aboriginal dance practices flourished in relation to these structures and in the face of institutional constraints?
What is ballet's relationship to institutional structures, such as those provided by governments or schools (universities, conservatories, arts centers, neighborhood studios); by cities (New York, Winnepeg, Seoul, Bejing...); and by ideologies of, for example, gender, nationalism and globalization?
What possibilities do the realms of new media hold in addressing these histories and issues?
How does dance ground practitioners across geographic, institutional, and ideological divides?
Submissions encouraged for individual papers and panels, as well as for roundtable discussions, movement workshops, lecture-demonstrations, collaborative presentations, and other formats that will enable the active engagement of conference participants.
Submission guidelines can be found at : http://www.sdhs.org/confpropinst.html. More info on the Banff Centre can be found at : http://www.banffcentre.ca/about
Submissions should be postmarked by November 15, 2005. Please send six copies of the proposal along with the submission form to :
Jacqueline Shea Murphy
Department of Dance
University of California, Riverside
Riverside, CA 92521
No submissions will be accepted by fax or email. Queries may be addressed by email to: jshea@ucr.edu
18 juin 2006
18-23 juin 2006, Göteborg
Intercongressional Symposium
of the International Musicological Society
(SIMS 2006)
Held in collaboration
with the International Association of Music Libraries,
Archives, and Documentation Centres
and the International Association of Music Information Centres
Contemporary Classical Music
The adjective «classical» in our conference theme may be understood in the broad, popularistic (but exclusive) sense, denoting simply that which is (perhaps ironically) ‘not pop[ular]’; but also in the more narrow (and inclusive) sense of contemporary music that at some level engages with notions of classicality. This by no means restricts us to investigating contemporary music that is ‘classical’ merely in ways that we might define as ‘neo’ (neo-classical, neo-tonal, or the various other ‘neo’s beloved of many post-Modernists). It can entertain discussions of what belongs to the contemporary ‘mainstream’ (and thereby considering, for example, to what extent the avant-garde of yesterday has established itself in the accepted canon of today). And it can also stimulate fruitful discussion of how current technologies of music production and dissemination have helped to construct contemporary notions of the ‘classical’ in music in the West.
However, the theme need not exclude all outside the western tradition; the concepts of ‘Indian classical music’ and ‘African classical drumming’, for example, refer to indigenous forms of music-making that are also vibrantly contemporary. Given the joint nature of the conference, papers that combine or mesh the fields of librarianship and musicology will be particularly welcome.
Further information can be found on the congress homepage
http://www.muslib.se/smbf/iaml-iamic2006
The congress will be conducted in German, English, French, Italian, and Spanish. Proposals and abstracts are welcomed in any of these languages. The program committee prefers these to be in the form of E-mails; however, proposals will also be accepted by fax and conventional mail.
The deadline for proposals for individual papers is: 1 October 2005
Chair of Programme Committee :
Chris Walton
Music Department
University of Pretoria
0002 Pretoria
South Africa
Tel: ++27-12-420 3747
Fax: ++27-12-420 2248
Email: chris.walton@up.ac.za
21 juin 2006
21-23 juin 2006
Deuxième Colloque International CESAR
Appel à communications
Le deuxième Colloque International CESAR se déroulera du 21 au 23 juin 2006 à Oxford, où nous serons accueillis de nouveau par la Maison Française d’Oxford. Le Colloque se propose d’explorer divers aspects des spectacles et des représentations théâtrales de langue française entre 1600-1800, et notamment la façon dont la base de données CESAR et sa banque d’images pourront servir à nos recherches, ou, inversement, comment nos recherches pourront y être incorporées.
Nous espérons rassembler spécialistes du théâtre, historiens, historiens de l’art et de la musique, ainsi que ceux qui s’intéressent aux échanges entre l’informatique et les lettres (dans le sens le plus large du terme).
Dans ce cadre, nous proposons – à titre indicatif plutôt qu’exhaustif - les thèmes de communication / séances suivantes :
L’histoire sociale des représentations théâtrales
Le théâtre en marge : des fêtes de cour aux spectacles de rue
L’année 1650 : le théâtre français
Le théâtre de la foire
Illusion théâtrale, illusion iconographique?
Presse et théâtre
Recherches récentes dans les archives
Le théâtre de la Révolution
Les propositions de communication (titre + 300 mots) sont à envoyer avant le 15 novembre 2005 à Professor Valérie Worth, Oxford Brookes University ( vworth@brookes.ac.uk ), par courrier électronique.
Le programme du colloque paraîtra sur le site en 2006.
La banque d’images CESAR
L’expansion rapide de la banque d’images continue. Elle contient actuellement 1244 images, auxquelles nous comptons ajouter d’ici quelques mois plus de 450. L’ampleur de la ressource désormais à la disposition des chercheurs est impressionnante. A ceux qui n’ont pas encore fait l’essai des possibilités qu’elle offre, nous proposons la sélection suivante (le mot à taper dans la première case du moteur de recherche est souligné) :
La Signora Isabella
Bal du mai donné à Versailles
Les Farceurs à l’Hôtel de Bourgogne
Affiche 1739
Salle de comédie de Lyon
Portrait de De Brueys
Voltaire, Mérope, acte IV, sc. 2
Les Deux Pucelles
Mairet, La Silvanire, acte V
Le nombre de bibliothèques et de musées qui nous prêtent leur concours en nous permettant d’afficher des images tirées de leurs collections augmente aussi. Trente-deux gravures et dessins offerts par l’Ashmolean Museum d’Oxford, renommé pour sa collection d’estampes, sont déjà en ligne, marquant le début d’une collaboration qui sera, espère-t-on des deux côtés, fructueuse. La Bibliothèque Historique de la Ville de Paris nous a également invités à sélectionner des images parmi ses richesses iconographiques, dont un grand nombre représentent des fêtes royales et municipales.
Nous remercions chaleureusement ces nouveaux collaborateurs ainsi que tous les autres établissements dont la générosité rend possible le perfectionnement de cet outil indispensable de recherches qu’est CESAR.
Nos sections
La section Presse, créée sur le site il y a six mois, a été enrichie par l’addition d’une deuxième série de comptes-rendus tirés de périodiques édités au cours des XVIIe et XVIIIe siècles. Martin Nadeau, qui avait déjà fourni des comptes-rendus publiés dans trois journaux influents de la période révolutionnaire, nous en a offert 131 parus dans La Chronique de Paris, journal édité de 1789 à 1793. Valerie Worth nous a permis d’afficher les deux premières années (1631-32) de son projet ambitieux de dépouillement de la Gazette de Renaudot. À suivre. Les liens vers les pages correspondantes dans la base de données seront ajoutés prochainement.
Une nouvelle section inaugurée ce mois-ci contient des traités sur le théâtre ou d’autres ouvrages du même genre parus entre 1600 et 1800. C’est le texte tout simple, sans notes ni commentaire, que nous offrons à nos lecteurs pour les aider dans leurs recherches. Pour le moment, il y en a quatre mais si vous possédez en version électronique des textes de traités ou des comptes-rendus susceptibles de paraître dans nos sections Presse ou Traités, veuillez nous les envoyer à editors@cesar.org.uk
Quelques statistiques
Moyenne journalière des requêtes reçues par CESAR : 7325.
Heures du jour correspondant aux périodes d’activité la plus intense pour le serveur CESAR (GMT) : 1000-1100, 1300-1700, 0400-0500. Et la moins intense : 0000-0300.
Le nombre d’utilisateurs enregistrés augmente à raison de 5 ou 6 par semaine, le total ayant déjà atteint 815.
= = =
English version
Call for papers
The second CESAR International Conference will be held from 21st-23rd June 2006 at the Maison Française, Oxford UK. The Conference will explore various aspects of theatre and performances in French in the period 1600-1800, and will particularly consider how the CESAR database and imagebank can help researchers, and, conversely, how ongoing and new research can be integrated into the database and imagebank.
We hope that the conference will interest theatre specialists, historians, art historians and musicologists, as well as colleagues working on the interface between Humanities and IT projects.
To meet these aims, we suggest the following list of themes for papers/ sessions. If you wish to make other proposals, they would also be most welcome.
The social history of theatrical performances
Theatre “on the fringe”: from court festivals to street theatre
French theatre in the year 1650
Fairground theatre
Theatrical illusion and iconographic illusion
The theatre and the press
Recent research in the archives
The theatre at the time of the Revolution
Proposals for papers (title and an abstract of 300 words) should be sent electronically by 15th November 2005 to Professor Valerie Worth, Oxford Brookes University (e-mail: vworth@brookes.ac.uk ).
Details of the conference and a booking form will appear on the CESAR website in due course.
The CESAR Imagebank
The imagebank continues to expand rapidly. We currently have 1244 images on line and are processing and preparing a further 450 to be uploaded over the next few months. The scope of this research resource is now considerable. If you have not tried it out yet, we suggest you check the following sample of images (type the underlined word in the first search-box):
La Signora Isabella
Bal du mai donné à Versailles
Les Farceurs à l’Hôtel de Bourgogne
Affiche 1739
Salle de comédie de Lyon
Portrait de De Brueys
Voltaire, Mérope, acte IV, sc. 2
Les Deux Pucelles
Mairet, La Silvanire, acte V
The number of libraries and museums offering their help by allowing us to include images from their collections is also increasing. We already have 32 prints and drawings from the Ashmolean Museum in Oxford, famed for its extensive holdings, with more to come. The Bibliothèque Historique de la Ville de Paris has also invited us to select images from their rich collection, which includes many depictions of royal and municipal fêtes. Our heartfelt thanks to these two new contributors and to all those other institutions whose generosity is making it possible to develop CESAR into an indispensable research resource.
Sections
The Press section which was added to the site six months ago has been enriched by the addition of further sets of reviews of performances and spectacles from different stages of the development of the theatre. Martin Nadeau, who has already provided reviews from three important newspapers of the revolutionary period, has now contributed 131 from La Chronique de Paris which appeared between 1789 and 1793. Valerie Worth has given us the first two years (1631-32) of her ambitious compendium of all references to spectacles in Renaudot’s Gazette. More to follow. The links to the corresponding pages in the database will be added shortly.
A second new section contains treatises or similar works on the theatre produced between 1600 and 1800. In each case, we offer the basic text, without notes or commentary, as a service to CESAR’s users. So far, four have been put online. If you have any material in electronic form suitable for inclusion in either the Press or the Treatises section, we shall be glad to include it : editors@cesar.org.uk
A Few Statistics
Daily average of hits on the CESAR server : 7325.
Busiest times of day for the CESAR server (GMT) : 1000-1100, 1300-1700, 0400-0500. And the least busy : 0000-0300.
The number of registered users is growing at the rate of 5 or 6 per week. The total currently stands at 815, drawn from 30 countries.
Mark Bannister
Professor of French
Director, CESAR Project
School of Arts & Humanities
Oxford Brookes University
Gipsy lane
Oxford OX3 0BP
UK
Tel. +44.1865.483840
Fax +44.1865.483791
email mhbannister@brookes.ac.uk
22 juin 2006
22-24 juin 2006, Dublin
George Sand : Intertextualité et Polyphonie
17th International George Sand Conference
Dublin City Univeristy
We invite proposals for papers (in French or English) on aspects of the conference theme, including, but not limited to:
Dialogue, dialogism, citation
Narrative voice(s), discourses and ideologies
Paratextual and metatextual voices
Social, political and historical intertexts
Literature and the other arts
Voice, orality, musicality
Multiplicity, plurality, subversion
Correspondences
Cultural exchanges, intercultural perspectives
Generic boundaries
Influences on Sand, the influence of Sand
Textual genesis, sources, rewriting
Representation, mimesis, performance(s)
Translations, parodies, adaptations
Proposals should be accompanied by a short abstract (250-300 words) outlining the argument, and be sent by e-mail to the conference organisers, Nigel Harkness n.harkness@qub.ac.uk and Jacinta Wright jacinta.wright@dcu.ie by 30th November 2005. Proposals may also be faxed to the following number: (+44) 2890 324549.
Marie...
Anonyme
521410
Juillet...
1-3 juillet 2006, Crémone
Instrumental music
and the industrial revolution
International Conference
Ad Parnassum Journal
Fondazione-Stichting P.A. Locatelli
Call for Papers
The editors of "Ad Parnassum. A Journal of Eighteenth- and Nineteenth-Century Instrumental Music", in association with the "Fondazione-Stichting P.A. Locatelli", are pleased to invite submissions from scholars of proposals for the symposium on "Instrumental Music and the Industrial Revolution", to be held in Cremona from Friday 1 to Sunday 3 July 2006. The Symposium aims to investigate different aspects of the relationship between the Industrial Revolution, with its peculiar ideological and political values and social needs, and the aesthetic-musical sphere. An awareness of this relationship in specific cases could greatly assist the stylistic and comparative scrutiny of composers like Haydn, Boccherini, Clementi and Viotti, and perhaps might even generate some welcome de-mystifying repercussions concerning the legitimacy of certain primacies of dubious acquisition.
Conference committee: Roberto De Caro, Roberto Illiano, Fulvia Morabito, Michela Niccolai, Claudio Nuzzo, Luca Sala, and Massimiliano Sala.
Keynotes will be announced in due course.
The programme committee encourages submission within the following areas, although other topics are welcome :
The commercial development of musical instruments
Private music-making and the 'middle class'
The composer and his 'public'
The musician, the musical institutions and the social background
Music publishing and the 'new market'
Proposals of an interdisciplinary nature are also encouraged. The official languages of the conference are English and Italian.
Papers are limited to 20 minutes in length, with time following for discussion. For proposals please submit an abstract of no more than 300 words and one page of biography. The abstract should be included in the body of the e-mail or as attachment, including the submitter's name, telephone number, e-mail address and institutional affiliation.
All proposals should be submitted by email no later than Sunday 30 October 2005 to Massimiliano Sala msala@adparnassum.org
The committee will make its final decision on the abstracts by the end of November 2005, and contributors will be informed immediately thereafter.
Selected papers presented at the conference will be published in the Ad Parnassum Journal or in a volume of proceedings.
Further information about the programme, registration, travel and accommodation will be announced by the end of March 2006.
For further questions, please contact:
Dr Massimiliano Sala
Via Bertesi 10,
I-26100 Cremona
msala@adparnassum.org
http://www.adparnassum.org
4 juillet 2006
4-7 juillet 2006, Manchester
14th International Conference
on Nineteenth-Century Music
University of Manchester
The 14th Biennial Conference on Nineteenth-Century Music will take place at the Martin Harris Centre for Music and Drama, University of Manchester, from Tuesday 4 to Friday 7 July 2006. The keynote speaker will be Kofi Agawu (Princeton University).
A Call for Papers will be issued later this year. In the meantime, please contact James Garratt for further details : garratt@manchester.ac.uk
During the conference, on Thursday 6 July 2006, there will be a Society for Music Analysis Study Day on Late Schumann, to include a morning paper session, a lunchtime recital and an afternoon roundtable on the late songs.
For further information please contact Laura. Tunbridge@manchester.ac.uk
7 juillet 2006
7-9 juillet 2006, Cambridge
National Graduate Conference
For Ethnomusicology:
New Directions in Music Studies
University of Cambridge, 7-9 July 2006
You are warmly invited to participate in the first ever national graduate student conference for ethnomusicology in the UK. This three-day residential conference will be held at the University of Cambridge Music Faculty, co-sponsored by CRASSH and supported by the British Forum for Ethnomusicology. It will provide an unprecedented forum in the UK for graduate students in ethnomusicology to meet, discuss, and network with graduates from other disciplines interested in the relationship between music and culture. We aim to establish a productive and friendly environment for graduate students in all areas of music research and performance with an interest in ethnomusicology.
We are interested in individual papers and organised panels that explore new and interdisciplinary ways of doing music research, and how methodologies or theories from disciplines beyond music/ethnomusicology can be applied to the study of the world's musical cultures. We are also keen to explore new methods and formats of presenting research, such as film, lecture-demonstrations, multimedia, the integration of performance and spoken discourse, and so on. Organised panels that involve conversation between researchers from different disciplines, or researchers and performers, will be particularly welcome. Sample ideas for individual presentations and sessions include, but are not restricted to:
music and literature, music and religious studies, music and biosciences, music and ... etc.
rethinking the traditional research paradigms of your specialist area
the future of ethnomusicology, music and cultural studies
new theories of the relationship between music and culture
new methodologies for fieldwork and research
the institutionalisation of ethnomusicology
what's the point of studying music and culture in today's world?
applied ethnomusicology, activism and the academy
ethnomusicology and the media
what is coming after globalisation, postmodernism, etc?
If you have a particularly exciting piece of research, or a difficult research problem you want to discuss in an open forum, these are also eligible for presentation.
Proposals for papers, presentations, panels and sessions are open to all graduate students working on music and culture, broadly defined, regardless of discipline. We particularly welcome graduate students who are working on ethnomusicology-related topics, whether or not they consider themselves "ethnomusicologists". We want to inspire interdisciplinary approaches and collaboration, and research on any of the world's music is welcome. Our definition of "graduate" includes Masters students, PhD students, and students on postgraduate diploma courses. Researchers who are no longer students are most welcome to attend the conference and to chair organised panels. However, the paper proposals, including those that are part of organised panels, will be restricted to graduate students only.
The deadline for abstracts is 10 January 2006. Please send your abstracts (max. 300 words) by email to Dr Katherine Brown, Corpus Christi College, Cambridge krbb2@cam.ac.uk
University of Cambridge - Music Faculty,
11 West Road, Cambridge
http://www.crassh.cam.ac.uk/events/index.html
Katherine Brown krbb2@cam.ac.uk
Iain Foreman iainforeman@soas.ac.uk
11 juillet 2006
11-14 juillet 2006, Nottingham
Royal Musical Association,
Forty-Second Annual Conference
Royal Musical Association
Tannenberg Clavichord Colloquium
A Colloquium will be held July 11-15, 2006, to celebrate discovery of the oldest known American clavichord. This unique instrument, made in Bethlehem, Pennsylvania, in 1761 by the famous German-American organ builder David Tannenberg (1728-1804), is Tannenberg’s only extant signed and dated work as well as his earliest. The scholarly gathering, sponsored by the Moravian Historical Society, Moravian Music Foundation, Moravian Archives, and Old Salem Inc., will be directed by Laurence Libin, Research Curator at The Metropolitan Museum of Art. Participants will closely examine original documents and technical evidence surrounding identification of the clavichord and two others closely related to it (in the Smithsonian and Schubert Club collections); analyze Tannenberg’s design and craftsmanship; review the clavichord’s role in American music-making as disclosed by recent iconographic and archival findings; and discuss the implications of Tannenberg’s clavichord for replication, performance, education, and further research.
The Colloquium will take place in two parts. Part One, to be held at historic Old Salem in Winston-Salem, North Carolina, on Tuesday and Wednesday, July 11 and 12, will focus on primary areas including stylistic details of Tannenberg’s work as exemplified by two of his nine extant pipe organs; the original technical drawing and instructions prepared by Tannenberg as a model for clavichord construction; other related documents including Georg Andreas Sorge’s 1764 manuscript treatise on organ mensuration and tuning, later used as a guide by Tannenberg; and an anonymous, probably German clavichord that shares distinctive features with Tannenberg’s. The technical drawing and a contemporary copy, both in Moravian archives,
are the only known clavichord construction plans surviving from the eighteenth century, and so are fundamentally important for understanding German techniques. Often misinterpreted, the drawing and text will be reconsidered in light of the actual instrument.
Following one day for travel, Part Two will be held Friday and Saturday, July 14-15, at the Moravian Historical Society in Nazareth, Pennsylvania, one of the first permanent Moravian settlements in America, where the 1761 Tannenberg clavichord is preserved along with another of his rare pipe organs and other historic keyboard instruments including possibly the oldest extant American-made piano, of German baroque design. A large clavichord by J. C. Meerbach of Gotha, dated 1799, will also be inspected at Moravian College in nearby Bethlehem.
Because of the specialized and intensive nature of this investigation based entirely on fragile original source materials, participation must be limited. Travel, meals, and lodging are the responsibility of individual registrants, but convenient, modestly priced arrangements will be recommended. Participants may register for either or both parts of the Colloquium; the registration fee is $50 for either part or $100 for both. For further information and a registration form, please e-mail Laurence Libin at ksl at nic.com.
14 juillet 2006
14 - 16 juillet 2006, Newcastle upon Tyne
International Conference:
Popular Musics of the Hispanic
and Lusophone Worlds
University of Newcastle upon Tyne
Organised by Ian Biddle, Vanessa Knights and Mark Sabine
Call for Papers
To be hosted by School of Modern Languages & International Centre for Music Studies, University of Newcastle in conjunction with the School of Modern Languages, University of Nottingham and The Sage Gateshead.
Confirmed plenary speakers:
Salwa El-Shawan Castelo Branco (Instituto de Etnomusicologia, Lisbon)
Timothy Mitchell (A&M University, Texas)
David Treece (King's College, University of London)
Contributions are invited to the above conference which aims to bring together scholars from all over the world, in any discipline, working on popular musics from Hispanic and Lusophone communities worldwide (plus groups within those communities who are not Spanish/Portuguese speakers). The official languages of the conference are English, Spanish and Portuguese.
We would be particularly interested in papers, panels and workshops on the following themes, although these should not be taken as exclusive:
Diaspora, displacement, migration, transnationalism
Identity (race, ethnicity, gender, sexuality, class etc.)
Hybridity and transculturation
Multi- and polyculturalism
Mass media and modernity
Indigenous and folk musics
Tradition and authenticity
Postmodern and Postcolonial approaches
Global, national and local dynamics
Genre and/or style studies
History, memory and nostalgia
Cultures of resistance
Please contact the organisers if you have suggestions for performance-based activities.
There will be an extensive programme of cultural events around the city of Newcastle and Gateshead, organised in conjunction with Name and involving leading local arts organisations such as Northern Stage and The Sage Gateshead.
Papers should be designed to last no more than 20 minutes. Please send an abstract of no more than 200 words and any panel proposals to the conference administrator Sarah Barber at: s.g.m.barber@ncl.ac.uk with the subject heading 'Popular Musics Conference' by June 30, 2005.
Other enquiries should be directed to the conference organisers, Ian Biddle, Vanessa Knights or Mark Sabine:
i.d.biddle@ncl.ac.uk
v.n.m.knights@ncl.ac.uk
mark.sabine@nottingham.ac.uk
Conference website: http://www.ncl.ac.uk/niassh/popularmusics
Festival website: https://www.vamosfestival.com
Supported by Newcastle Institute for Arts, Social Sciences and Humanities
14-30 juillet 2006, Fontenay Sous Bois
Université d'été Saint-George & Dalayrac
Appel à contribution pour l’université d’été Saint-George & Dalayrac 14-30 juillet 2006, Fontenay-sous-Bois (94120), France
La Société d'Histoire 94120 Saint-George & Dalayrac organise une Univversité d'été du 14 au 30 juillet 2006, Maison du Citoyen et de la vie Associative, Fontenay-sous-Bois (94120), Île de France.
En cours de préparation depuis 2003, l’Univversité d'été réunira des profanes, des amateurs et des savants pour réfléchir sur l’actualité scientique, sociale, politique artistique et littéraire de l’histoire des colonisations, des esclavages et des traites esclavagistes.
Les thèmes, pluridisciplinaires s'organiseront autour de l'objet de la Société d'Histoire 94120 Saint-George & Dalayrac :
ARTICLE 2 – OBJET. Les objetifs premiers de la "La Société d'Histoire" sont la lecture, la compréhension et l'écriture de l'histoire de Fontenay-sous-Bois selon trois axes majeurs :
1°) Le développement sociétal de la ville de Fontenay-sous-Bois de ses origines à nos jours
2°) La vie et l'¦uvre de Joseph Bologne dit Chevalier de Saint-George et de Nicolas Dalayrac, musiciens contemporains de la deuxième moitié du XVIIIème siècle
3°) L'ouverture de Fontenay-sous-Bois sur les mondes nouveaux et le Village Planétaire au XXIe siècle.
La Salle de l’Orangerie de la MCDVA sera entièrement consacrée aux études autour de Saint-George & Dalayrac du lundi au vendredi entre les 17 et 28 juillet 2006.
Conditions de participation : règlement de la cotisation unique et de l’adhésion 2006 à la Société d’Histoire 94120 Saint-George & Dalayrac
Colloque virtuel sur inscription en ligne
Pour proposer des interventions : csgd94120@gmail.com
Pour plus d’informations : http://univcsgd94120.monsite.wanadoo.fr
26 juillet 2006
26-30 juillet 2006, Varsovie
The Institute of Musicology of Warsaw University
12th Biennial
International Conference
on Baroque Music
Call for Papers
Proposals are invited for:
Individual papers of 20 minutes duration (after each paper, ten minutes will be allowed for discussion). Sessions involving three or four papers on a specified area, given by different individuals and lasting not more than one-and-a-half hours including discussion. Round-table sessions of one-and-a-half hours, including discussion. The deadline for the receipt of abstracts is 31 January 2006. Proposals in any area of Baroque music are welcome.
The organisers anticipate that individual papers (1 above) and some sessions with multiple participants (2 and 3 above) will be presented in two or three simultaneous strands, grouped by subject areas. Those areas will be determined largely by the nature of the proposals received. Any individual may submit one proposal. Proposals must be submitted as an abstract of not more than 250 words (individual papers), or not more than 350 words (group sessions).
Acceptance of a proposal will be at the discretion of the organisers.
The abstract should be preceded by information under the following headings: name, institution, postal address, phone, fax, e-mail address.
Abstracts may be
e-mailed to: Szymon Paczkowski (szpacz at wp dot pl). Attachments (in .rtf format) are preferred for the text of abstracts, but please back up the attachment with a plain-text version in the main e-mail.
by post to:
Dr. Szymon Paczkowski
12th Biennial International Conference on Baroque Music
Instytut Muzykologii Uniwersytetu Warszawskiego
ul. Krakowskie Przedmiescie 32
00-927 Warszawa
Poland
tel/fax 0048 22 5521535
(But please send also an e-mail copy as soon as possible - see 1 above.)
The website of the conference will be announced in due course.
27 juillet 2006
27 juillet - 2 août 2006, Northfield, MN
International Conference and Band Festival
Music Away from Home :
Wind Music as Cultural Identification
Sponsored by the Historic Brass Society and IGEB
Lecture proposals still being accepted
Information: president at historicbsrass.org
http://www.historicbrass.org
Marie...
1-3 juillet 2006, Crémone
Instrumental music
and the industrial revolution
International Conference
Ad Parnassum Journal
Fondazione-Stichting P.A. Locatelli
Call for Papers
The editors of "Ad Parnassum. A Journal of Eighteenth- and Nineteenth-Century Instrumental Music", in association with the "Fondazione-Stichting P.A. Locatelli", are pleased to invite submissions from scholars of proposals for the symposium on "Instrumental Music and the Industrial Revolution", to be held in Cremona from Friday 1 to Sunday 3 July 2006. The Symposium aims to investigate different aspects of the relationship between the Industrial Revolution, with its peculiar ideological and political values and social needs, and the aesthetic-musical sphere. An awareness of this relationship in specific cases could greatly assist the stylistic and comparative scrutiny of composers like Haydn, Boccherini, Clementi and Viotti, and perhaps might even generate some welcome de-mystifying repercussions concerning the legitimacy of certain primacies of dubious acquisition.
Conference committee: Roberto De Caro, Roberto Illiano, Fulvia Morabito, Michela Niccolai, Claudio Nuzzo, Luca Sala, and Massimiliano Sala.
Keynotes will be announced in due course.
The programme committee encourages submission within the following areas, although other topics are welcome :
The commercial development of musical instruments
Private music-making and the 'middle class'
The composer and his 'public'
The musician, the musical institutions and the social background
Music publishing and the 'new market'
Proposals of an interdisciplinary nature are also encouraged. The official languages of the conference are English and Italian.
Papers are limited to 20 minutes in length, with time following for discussion. For proposals please submit an abstract of no more than 300 words and one page of biography. The abstract should be included in the body of the e-mail or as attachment, including the submitter's name, telephone number, e-mail address and institutional affiliation.
All proposals should be submitted by email no later than Sunday 30 October 2005 to Massimiliano Sala msala@adparnassum.org
The committee will make its final decision on the abstracts by the end of November 2005, and contributors will be informed immediately thereafter.
Selected papers presented at the conference will be published in the Ad Parnassum Journal or in a volume of proceedings.
Further information about the programme, registration, travel and accommodation will be announced by the end of March 2006.
For further questions, please contact:
Dr Massimiliano Sala
Via Bertesi 10,
I-26100 Cremona
msala@adparnassum.org
http://www.adparnassum.org
4 juillet 2006
4-7 juillet 2006, Manchester
14th International Conference
on Nineteenth-Century Music
University of Manchester
The 14th Biennial Conference on Nineteenth-Century Music will take place at the Martin Harris Centre for Music and Drama, University of Manchester, from Tuesday 4 to Friday 7 July 2006. The keynote speaker will be Kofi Agawu (Princeton University).
A Call for Papers will be issued later this year. In the meantime, please contact James Garratt for further details : garratt@manchester.ac.uk
During the conference, on Thursday 6 July 2006, there will be a Society for Music Analysis Study Day on Late Schumann, to include a morning paper session, a lunchtime recital and an afternoon roundtable on the late songs.
For further information please contact Laura. Tunbridge@manchester.ac.uk
7 juillet 2006
7-9 juillet 2006, Cambridge
National Graduate Conference
For Ethnomusicology:
New Directions in Music Studies
University of Cambridge, 7-9 July 2006
You are warmly invited to participate in the first ever national graduate student conference for ethnomusicology in the UK. This three-day residential conference will be held at the University of Cambridge Music Faculty, co-sponsored by CRASSH and supported by the British Forum for Ethnomusicology. It will provide an unprecedented forum in the UK for graduate students in ethnomusicology to meet, discuss, and network with graduates from other disciplines interested in the relationship between music and culture. We aim to establish a productive and friendly environment for graduate students in all areas of music research and performance with an interest in ethnomusicology.
We are interested in individual papers and organised panels that explore new and interdisciplinary ways of doing music research, and how methodologies or theories from disciplines beyond music/ethnomusicology can be applied to the study of the world's musical cultures. We are also keen to explore new methods and formats of presenting research, such as film, lecture-demonstrations, multimedia, the integration of performance and spoken discourse, and so on. Organised panels that involve conversation between researchers from different disciplines, or researchers and performers, will be particularly welcome. Sample ideas for individual presentations and sessions include, but are not restricted to:
music and literature, music and religious studies, music and biosciences, music and ... etc.
rethinking the traditional research paradigms of your specialist area
the future of ethnomusicology, music and cultural studies
new theories of the relationship between music and culture
new methodologies for fieldwork and research
the institutionalisation of ethnomusicology
what's the point of studying music and culture in today's world?
applied ethnomusicology, activism and the academy
ethnomusicology and the media
what is coming after globalisation, postmodernism, etc?
If you have a particularly exciting piece of research, or a difficult research problem you want to discuss in an open forum, these are also eligible for presentation.
Proposals for papers, presentations, panels and sessions are open to all graduate students working on music and culture, broadly defined, regardless of discipline. We particularly welcome graduate students who are working on ethnomusicology-related topics, whether or not they consider themselves "ethnomusicologists". We want to inspire interdisciplinary approaches and collaboration, and research on any of the world's music is welcome. Our definition of "graduate" includes Masters students, PhD students, and students on postgraduate diploma courses. Researchers who are no longer students are most welcome to attend the conference and to chair organised panels. However, the paper proposals, including those that are part of organised panels, will be restricted to graduate students only.
The deadline for abstracts is 10 January 2006. Please send your abstracts (max. 300 words) by email to Dr Katherine Brown, Corpus Christi College, Cambridge krbb2@cam.ac.uk
University of Cambridge - Music Faculty,
11 West Road, Cambridge
http://www.crassh.cam.ac.uk/events/index.html
Katherine Brown krbb2@cam.ac.uk
Iain Foreman iainforeman@soas.ac.uk
11 juillet 2006
11-14 juillet 2006, Nottingham
Royal Musical Association,
Forty-Second Annual Conference
Royal Musical Association
Tannenberg Clavichord Colloquium
A Colloquium will be held July 11-15, 2006, to celebrate discovery of the oldest known American clavichord. This unique instrument, made in Bethlehem, Pennsylvania, in 1761 by the famous German-American organ builder David Tannenberg (1728-1804), is Tannenberg’s only extant signed and dated work as well as his earliest. The scholarly gathering, sponsored by the Moravian Historical Society, Moravian Music Foundation, Moravian Archives, and Old Salem Inc., will be directed by Laurence Libin, Research Curator at The Metropolitan Museum of Art. Participants will closely examine original documents and technical evidence surrounding identification of the clavichord and two others closely related to it (in the Smithsonian and Schubert Club collections); analyze Tannenberg’s design and craftsmanship; review the clavichord’s role in American music-making as disclosed by recent iconographic and archival findings; and discuss the implications of Tannenberg’s clavichord for replication, performance, education, and further research.
The Colloquium will take place in two parts. Part One, to be held at historic Old Salem in Winston-Salem, North Carolina, on Tuesday and Wednesday, July 11 and 12, will focus on primary areas including stylistic details of Tannenberg’s work as exemplified by two of his nine extant pipe organs; the original technical drawing and instructions prepared by Tannenberg as a model for clavichord construction; other related documents including Georg Andreas Sorge’s 1764 manuscript treatise on organ mensuration and tuning, later used as a guide by Tannenberg; and an anonymous, probably German clavichord that shares distinctive features with Tannenberg’s. The technical drawing and a contemporary copy, both in Moravian archives,
are the only known clavichord construction plans surviving from the eighteenth century, and so are fundamentally important for understanding German techniques. Often misinterpreted, the drawing and text will be reconsidered in light of the actual instrument.
Following one day for travel, Part Two will be held Friday and Saturday, July 14-15, at the Moravian Historical Society in Nazareth, Pennsylvania, one of the first permanent Moravian settlements in America, where the 1761 Tannenberg clavichord is preserved along with another of his rare pipe organs and other historic keyboard instruments including possibly the oldest extant American-made piano, of German baroque design. A large clavichord by J. C. Meerbach of Gotha, dated 1799, will also be inspected at Moravian College in nearby Bethlehem.
Because of the specialized and intensive nature of this investigation based entirely on fragile original source materials, participation must be limited. Travel, meals, and lodging are the responsibility of individual registrants, but convenient, modestly priced arrangements will be recommended. Participants may register for either or both parts of the Colloquium; the registration fee is $50 for either part or $100 for both. For further information and a registration form, please e-mail Laurence Libin at ksl at nic.com.
14 juillet 2006
14 - 16 juillet 2006, Newcastle upon Tyne
International Conference:
Popular Musics of the Hispanic
and Lusophone Worlds
University of Newcastle upon Tyne
Organised by Ian Biddle, Vanessa Knights and Mark Sabine
Call for Papers
To be hosted by School of Modern Languages & International Centre for Music Studies, University of Newcastle in conjunction with the School of Modern Languages, University of Nottingham and The Sage Gateshead.
Confirmed plenary speakers:
Salwa El-Shawan Castelo Branco (Instituto de Etnomusicologia, Lisbon)
Timothy Mitchell (A&M University, Texas)
David Treece (King's College, University of London)
Contributions are invited to the above conference which aims to bring together scholars from all over the world, in any discipline, working on popular musics from Hispanic and Lusophone communities worldwide (plus groups within those communities who are not Spanish/Portuguese speakers). The official languages of the conference are English, Spanish and Portuguese.
We would be particularly interested in papers, panels and workshops on the following themes, although these should not be taken as exclusive:
Diaspora, displacement, migration, transnationalism
Identity (race, ethnicity, gender, sexuality, class etc.)
Hybridity and transculturation
Multi- and polyculturalism
Mass media and modernity
Indigenous and folk musics
Tradition and authenticity
Postmodern and Postcolonial approaches
Global, national and local dynamics
Genre and/or style studies
History, memory and nostalgia
Cultures of resistance
Please contact the organisers if you have suggestions for performance-based activities.
There will be an extensive programme of cultural events around the city of Newcastle and Gateshead, organised in conjunction with Name and involving leading local arts organisations such as Northern Stage and The Sage Gateshead.
Papers should be designed to last no more than 20 minutes. Please send an abstract of no more than 200 words and any panel proposals to the conference administrator Sarah Barber at: s.g.m.barber@ncl.ac.uk with the subject heading 'Popular Musics Conference' by June 30, 2005.
Other enquiries should be directed to the conference organisers, Ian Biddle, Vanessa Knights or Mark Sabine:
i.d.biddle@ncl.ac.uk
v.n.m.knights@ncl.ac.uk
mark.sabine@nottingham.ac.uk
Conference website: http://www.ncl.ac.uk/niassh/popularmusics
Festival website: https://www.vamosfestival.com
Supported by Newcastle Institute for Arts, Social Sciences and Humanities
14-30 juillet 2006, Fontenay Sous Bois
Université d'été Saint-George & Dalayrac
Appel à contribution pour l’université d’été Saint-George & Dalayrac 14-30 juillet 2006, Fontenay-sous-Bois (94120), France
La Société d'Histoire 94120 Saint-George & Dalayrac organise une Univversité d'été du 14 au 30 juillet 2006, Maison du Citoyen et de la vie Associative, Fontenay-sous-Bois (94120), Île de France.
En cours de préparation depuis 2003, l’Univversité d'été réunira des profanes, des amateurs et des savants pour réfléchir sur l’actualité scientique, sociale, politique artistique et littéraire de l’histoire des colonisations, des esclavages et des traites esclavagistes.
Les thèmes, pluridisciplinaires s'organiseront autour de l'objet de la Société d'Histoire 94120 Saint-George & Dalayrac :
ARTICLE 2 – OBJET. Les objetifs premiers de la "La Société d'Histoire" sont la lecture, la compréhension et l'écriture de l'histoire de Fontenay-sous-Bois selon trois axes majeurs :
1°) Le développement sociétal de la ville de Fontenay-sous-Bois de ses origines à nos jours
2°) La vie et l'¦uvre de Joseph Bologne dit Chevalier de Saint-George et de Nicolas Dalayrac, musiciens contemporains de la deuxième moitié du XVIIIème siècle
3°) L'ouverture de Fontenay-sous-Bois sur les mondes nouveaux et le Village Planétaire au XXIe siècle.
La Salle de l’Orangerie de la MCDVA sera entièrement consacrée aux études autour de Saint-George & Dalayrac du lundi au vendredi entre les 17 et 28 juillet 2006.
Conditions de participation : règlement de la cotisation unique et de l’adhésion 2006 à la Société d’Histoire 94120 Saint-George & Dalayrac
Colloque virtuel sur inscription en ligne
Pour proposer des interventions : csgd94120@gmail.com
Pour plus d’informations : http://univcsgd94120.monsite.wanadoo.fr
26 juillet 2006
26-30 juillet 2006, Varsovie
The Institute of Musicology of Warsaw University
12th Biennial
International Conference
on Baroque Music
Call for Papers
Proposals are invited for:
Individual papers of 20 minutes duration (after each paper, ten minutes will be allowed for discussion). Sessions involving three or four papers on a specified area, given by different individuals and lasting not more than one-and-a-half hours including discussion. Round-table sessions of one-and-a-half hours, including discussion. The deadline for the receipt of abstracts is 31 January 2006. Proposals in any area of Baroque music are welcome.
The organisers anticipate that individual papers (1 above) and some sessions with multiple participants (2 and 3 above) will be presented in two or three simultaneous strands, grouped by subject areas. Those areas will be determined largely by the nature of the proposals received. Any individual may submit one proposal. Proposals must be submitted as an abstract of not more than 250 words (individual papers), or not more than 350 words (group sessions).
Acceptance of a proposal will be at the discretion of the organisers.
The abstract should be preceded by information under the following headings: name, institution, postal address, phone, fax, e-mail address.
Abstracts may be
e-mailed to: Szymon Paczkowski (szpacz at wp dot pl). Attachments (in .rtf format) are preferred for the text of abstracts, but please back up the attachment with a plain-text version in the main e-mail.
by post to:
Dr. Szymon Paczkowski
12th Biennial International Conference on Baroque Music
Instytut Muzykologii Uniwersytetu Warszawskiego
ul. Krakowskie Przedmiescie 32
00-927 Warszawa
Poland
tel/fax 0048 22 5521535
(But please send also an e-mail copy as soon as possible - see 1 above.)
The website of the conference will be announced in due course.
27 juillet 2006
27 juillet - 2 août 2006, Northfield, MN
International Conference and Band Festival
Music Away from Home :
Wind Music as Cultural Identification
Sponsored by the Historic Brass Society and IGEB
Lecture proposals still being accepted
Information: president at historicbsrass.org
http://www.historicbrass.org
Marie...
Anonyme
521410
Août...
23-26 août 2006, Prague
Musical Culture of the Czech Lands
and Central Europe before 1620
An international conference organized by Institute of Musicology, Faculty of Philosophy and Arts, Charles University, Prague and Department of Music History of the Institute of Ethnology, Academy of Sciences of the Czech Republic
Central-European region has only recently become an integral part of the politically united Europe. Cultural integrity of the European geographic space has, however, a centuries-long history. The aim of this conference is to explore the role played by the Central-European region in the cultural history of the European continent.
The conference organizers welcome papers (max. 20 minutes) and discussion contributions (max. 10 minutes) on topics of Czech and Central-European musical culture before 1620 considered in a broader context of the musical culture in Europe of the time.
The papers may address the following topics:
1) sources
2) notation
3) repertory and its migration
4) music in society
5) music theory
6) music and gender
7) musical instruments
8) music and/in liturgy
9) music and the visual arts
Conference languages are English and German. Abstracts of papers and discussion contributions not longer than 250 words should be sent by e-mail to : mrackova at ff dot cuni dot cz. Please, send your abstracts in the body of the message.
Deadline for applications: August 31, 2005
For more information contact PhDr. Lenka Mráèková, PhD.: mrackova at ff dot cuni dot cz
Conference comitee (members of the Early Music Seminar, Institute of Musicology, Faculty of Philosophy and Arts, Charles University, Prague):
Doc. PhDr. Jaromír Èerný, CSc., associate professor, head of the seminar
PhDr. Lenka Mráèková, Ph.D., assistant professor
PhDr. David Eben, Ph.D., assistant professor
PhDr. Petr Danìk, assistant professor
Mgr. Josef Zebesta, Ph.D. candidate
Mgr. Jan Ba»a, Ph.D. candidat
29 août 2006
29 août -1 septembre 2006, Avignon
19eme congrès de l’Association Internationale d’Esthétique Empirique
Culture et communication
Université d’Avignon, France
Appel à communications
Organisé par le Laboratoire Culture et Communication de l’Université d’Avignon et des Pays de Vaucluse.
Comité d’organisation : Hana Gottesdiener et Jean-Christophe Vilatte (organisateurs du congrès) ; Jean Davallon, Emmanuel Ethis, Daniel Jacobi (Université d’Avignon) ; Holger Höge (Université d’Oldenburg, Allemagne).
Conseil consultatif international : Paolo Bonaiuto (Italie) ; Jo Chiung-Hua Chen (Taiwan) ; Gerald Cupchik (Canada) ; Hartmut Espe (Allemagne) ; Joao Pedro Frois (Portugal) ; Anna Maria Giannini (Italie) ; Paul Locher (USA) ; Pavel Machotka (USA) ; Colin Martindale (USA) ; Gisèle Marty (Espagne) ; Vladimir Petrov (Russie) ; George Shortess (USA).
Programme : Les thèmes des communications concerneront en particulier: l’appréciation esthétique, l’expérience esthétique, la perception visuelle ou auditive et art, la psychologie de la musique, la création littéraire, culture et médias, le cinéma, les festivals, la muséologie, l’éducation artistique… Il y aura des séances plénières, des symposia, des séances de posters et des ateliers.
Langues : Anglais et français. Les posters et les actes seront en anglais. Selon le symposium ou l’atelier, la langue pourra être uniquement l’anglais ou une traduction consécutive de l’anglais et du français.
Propositions : Les propositions de communications orales ou affichées, de symposia ou d’ateliers seront à soumettre avant le 10 octobre 2005. Les résumés ne devront pas dépasser 600 mots (Times New Roman, 12 points), et devront être envoyés par courrier électronique. Avis d’acceptation, décembre 2005.
Manuscript en anglais, aux normes pour la publication dans les actes du colloque, avant le 15 avril 2006. Ces normes seront précisées dans la notice d’acceptation.
Droits d’inscription : Avant le 31 mars 2006 : 180 euros pour les membres de l’association, 230 euros pour les non membres, 50 euros pour les étudiants - Après le 31 mars 2006 : 230 euros pour les membres de l’association, 280 euros pour les non membres, 75 euros pour les étudiants - Droits réduits pour les participants de pays ayant des problèmes de taux de change : Avant le 31 mars 2006 : 80 euros pour les membres de l’association, 120 euros pour les non membres, zéro euros pour les étudiants - Après le 31 mars 2006 : 120 euros pour les membres de l’association, 160 euros pour les non membres, 30 euros pour les étudiants.
Informations par courrier électronique : daniel.jacobi@univ-avignon
Marie...
23-26 août 2006, Prague
Musical Culture of the Czech Lands
and Central Europe before 1620
An international conference organized by Institute of Musicology, Faculty of Philosophy and Arts, Charles University, Prague and Department of Music History of the Institute of Ethnology, Academy of Sciences of the Czech Republic
Central-European region has only recently become an integral part of the politically united Europe. Cultural integrity of the European geographic space has, however, a centuries-long history. The aim of this conference is to explore the role played by the Central-European region in the cultural history of the European continent.
The conference organizers welcome papers (max. 20 minutes) and discussion contributions (max. 10 minutes) on topics of Czech and Central-European musical culture before 1620 considered in a broader context of the musical culture in Europe of the time.
The papers may address the following topics:
1) sources
2) notation
3) repertory and its migration
4) music in society
5) music theory
6) music and gender
7) musical instruments
8) music and/in liturgy
9) music and the visual arts
Conference languages are English and German. Abstracts of papers and discussion contributions not longer than 250 words should be sent by e-mail to : mrackova at ff dot cuni dot cz. Please, send your abstracts in the body of the message.
Deadline for applications: August 31, 2005
For more information contact PhDr. Lenka Mráèková, PhD.: mrackova at ff dot cuni dot cz
Conference comitee (members of the Early Music Seminar, Institute of Musicology, Faculty of Philosophy and Arts, Charles University, Prague):
Doc. PhDr. Jaromír Èerný, CSc., associate professor, head of the seminar
PhDr. Lenka Mráèková, Ph.D., assistant professor
PhDr. David Eben, Ph.D., assistant professor
PhDr. Petr Danìk, assistant professor
Mgr. Josef Zebesta, Ph.D. candidate
Mgr. Jan Ba»a, Ph.D. candidat
29 août 2006
29 août -1 septembre 2006, Avignon
19eme congrès de l’Association Internationale d’Esthétique Empirique
Culture et communication
Université d’Avignon, France
Appel à communications
Organisé par le Laboratoire Culture et Communication de l’Université d’Avignon et des Pays de Vaucluse.
Comité d’organisation : Hana Gottesdiener et Jean-Christophe Vilatte (organisateurs du congrès) ; Jean Davallon, Emmanuel Ethis, Daniel Jacobi (Université d’Avignon) ; Holger Höge (Université d’Oldenburg, Allemagne).
Conseil consultatif international : Paolo Bonaiuto (Italie) ; Jo Chiung-Hua Chen (Taiwan) ; Gerald Cupchik (Canada) ; Hartmut Espe (Allemagne) ; Joao Pedro Frois (Portugal) ; Anna Maria Giannini (Italie) ; Paul Locher (USA) ; Pavel Machotka (USA) ; Colin Martindale (USA) ; Gisèle Marty (Espagne) ; Vladimir Petrov (Russie) ; George Shortess (USA).
Programme : Les thèmes des communications concerneront en particulier: l’appréciation esthétique, l’expérience esthétique, la perception visuelle ou auditive et art, la psychologie de la musique, la création littéraire, culture et médias, le cinéma, les festivals, la muséologie, l’éducation artistique… Il y aura des séances plénières, des symposia, des séances de posters et des ateliers.
Langues : Anglais et français. Les posters et les actes seront en anglais. Selon le symposium ou l’atelier, la langue pourra être uniquement l’anglais ou une traduction consécutive de l’anglais et du français.
Propositions : Les propositions de communications orales ou affichées, de symposia ou d’ateliers seront à soumettre avant le 10 octobre 2005. Les résumés ne devront pas dépasser 600 mots (Times New Roman, 12 points), et devront être envoyés par courrier électronique. Avis d’acceptation, décembre 2005.
Manuscript en anglais, aux normes pour la publication dans les actes du colloque, avant le 15 avril 2006. Ces normes seront précisées dans la notice d’acceptation.
Droits d’inscription : Avant le 31 mars 2006 : 180 euros pour les membres de l’association, 230 euros pour les non membres, 50 euros pour les étudiants - Après le 31 mars 2006 : 230 euros pour les membres de l’association, 280 euros pour les non membres, 75 euros pour les étudiants - Droits réduits pour les participants de pays ayant des problèmes de taux de change : Avant le 31 mars 2006 : 80 euros pour les membres de l’association, 120 euros pour les non membres, zéro euros pour les étudiants - Après le 31 mars 2006 : 120 euros pour les membres de l’association, 160 euros pour les non membres, 30 euros pour les étudiants.
Informations par courrier électronique : daniel.jacobi@univ-avignon
Marie...
Anonyme
521410
Enfin pour le moment c'est tout hi hi hi... je reviendrai avec des propositions d'ouvrages comme l'avait souligné Choc... ;)
Marie...
Marie...
Choc
6968
Membre d’honneur
Membre depuis 21 ans
Ah Marie ca me fait plisir de te voir dans des sujets plus serieux (hors Pub...encore faut t'il que tu eneleves ta marques de fabrique "hi hi hi en fin de post " 
)
Parmis mes ouvrages de reference:
Russolo "L'art des bruit"
Scheaffer " traites de sobjets musciaux"
Xenakis "il faut constamment etre un immegré"
"Experimental Music Cage and beyond"
"Modulation: une histoire de la musique electronqiue"
etc etc
Sinon je connais pa ton background muscial, j'imagine que tu as une formation tre sscolaire avec des matieres axées art comtemporain ? tes prof ou toi, vous en pensez quoi des artistes comme Aphex, Autechre, les artistes de Mille Plateux, de Mego, etc ? des copieurs d'art contemporain ou des artistes insipirés qui volent de leur propres ailes ? En fait j'aimerais bien avoir vos avis sur les questions de depart du thread .
)Parmis mes ouvrages de reference:
Russolo "L'art des bruit"
Scheaffer " traites de sobjets musciaux"
Xenakis "il faut constamment etre un immegré"
"Experimental Music Cage and beyond"
"Modulation: une histoire de la musique electronqiue"
etc etc
Sinon je connais pa ton background muscial, j'imagine que tu as une formation tre sscolaire avec des matieres axées art comtemporain ? tes prof ou toi, vous en pensez quoi des artistes comme Aphex, Autechre, les artistes de Mille Plateux, de Mego, etc ? des copieurs d'art contemporain ou des artistes insipirés qui volent de leur propres ailes ? En fait j'aimerais bien avoir vos avis sur les questions de depart du thread .
Site personnel: https://www.enib.fr/~choqueuse/
Anonyme
5238
Salut,
voila comme promis ma reponse aprés reflexion.
je pense que des musiciens comme varese, schaeffer, pierre henry onté été trés novateur dans leurs demarches et ont inspiré de nombreux musicien de différents univers à différents moments.
aujourd'hui, ces recherches ce sont banalisé et sont passé dans le commun des mortels (beaucoup de personnes ont des sampleurs chez soi, ou pratique des editions destructives sur des fichiers audio (là je fais une comparaison au travaux sur bande magnétique...)
le mouvement de musique concret se voulait etre en opposition avec la musique "abstraite" (abstraite dans le sens ou on utilise des symboles pour representé la musique alors que la musique concrete crée une musique dont le travail de composition est le resultat).
ce mouvement concret etait aussi en opposition face aux musique electronique dont le but etait de resynthetisé des instruments existant.
aujourd'hui, des musiciens comme autechre, aphex twin etc...(courant denomé IDM/electronica...
n'ont aucun à priori quand au methodes de travail à utilisé dans leurs compositions.
ils utilisent des synthétiseurs sans avoir aucun complexe et les editions destructive sont simplifié par les outils actuels.
il revendiquent souvent dans leurs origines les musiciens concret, contemporains mais aussi d'autres musiciens dont les recherches etait tout aussi novatrice que celle des musiciens concret.
squarepusher, revendique le travail harmonique et melodique de Charlie Parker, il revendique aussi le travail des musiciens de dub jamaiquain (king tubby...
autechre a commencé par le hip-hop influencé par les DJ et par l'industrie (alors naissantes) des machines electronique grand public (run dmc, beastie boys)
les travaux de ces musiciens viennent d'un coté de la "banalisation" des travaux de musiciens concret mais ils viennent aussi des musique rock/afro americaine et derivé.
je ne pense pas que ces musiciens soit des voleurs, ils s'inspirent et proposent leurs univers.
aujourd'hui les oeuvres tel que gantz graf de auteche sont etudié à l'ircam, car novatrice.
c'est un retour interessant de la part de autechre qui utilise un logiciel né à l'ircam : Max/msp (jitter pour les images?)
je concoit donc plutot les travaux de ces musiciens comme une des evolutions
possible des travaux concret.
mais leur musique ne trouve pas la musique concrete comme unique origine...
car ils n'ont pas les memes apriori quant à leurs methodes de travails.
il n'hesite pas à utilisé un bon amen break ou à utiliser un bon clavier bontempi de temps en temps.
un musicien concret ne pourait cautionner ce type de pratique au sein de son travail.
voila bon j'espere que j'ai pas raconté trop de merde, je viens de me lever, j'ai pas encore pris ma douche (je pue...
) et je n'ai pas encore bu mon thé (juste fumé ma clope en ecrivant, ca m'a donné envie de ch..
c'est fou le pouvoir laxatif que ca a le tabac
voila comme promis ma reponse aprés reflexion.
je pense que des musiciens comme varese, schaeffer, pierre henry onté été trés novateur dans leurs demarches et ont inspiré de nombreux musicien de différents univers à différents moments.
aujourd'hui, ces recherches ce sont banalisé et sont passé dans le commun des mortels (beaucoup de personnes ont des sampleurs chez soi, ou pratique des editions destructives sur des fichiers audio (là je fais une comparaison au travaux sur bande magnétique...)
le mouvement de musique concret se voulait etre en opposition avec la musique "abstraite" (abstraite dans le sens ou on utilise des symboles pour representé la musique alors que la musique concrete crée une musique dont le travail de composition est le resultat).
ce mouvement concret etait aussi en opposition face aux musique electronique dont le but etait de resynthetisé des instruments existant.
aujourd'hui, des musiciens comme autechre, aphex twin etc...(courant denomé IDM/electronica...
n'ont aucun à priori quand au methodes de travail à utilisé dans leurs compositions.
ils utilisent des synthétiseurs sans avoir aucun complexe et les editions destructive sont simplifié par les outils actuels.
il revendiquent souvent dans leurs origines les musiciens concret, contemporains mais aussi d'autres musiciens dont les recherches etait tout aussi novatrice que celle des musiciens concret.
squarepusher, revendique le travail harmonique et melodique de Charlie Parker, il revendique aussi le travail des musiciens de dub jamaiquain (king tubby...
autechre a commencé par le hip-hop influencé par les DJ et par l'industrie (alors naissantes) des machines electronique grand public (run dmc, beastie boys)
les travaux de ces musiciens viennent d'un coté de la "banalisation" des travaux de musiciens concret mais ils viennent aussi des musique rock/afro americaine et derivé.
je ne pense pas que ces musiciens soit des voleurs, ils s'inspirent et proposent leurs univers.
aujourd'hui les oeuvres tel que gantz graf de auteche sont etudié à l'ircam, car novatrice.
c'est un retour interessant de la part de autechre qui utilise un logiciel né à l'ircam : Max/msp (jitter pour les images?)
je concoit donc plutot les travaux de ces musiciens comme une des evolutions
possible des travaux concret.
mais leur musique ne trouve pas la musique concrete comme unique origine...
car ils n'ont pas les memes apriori quant à leurs methodes de travails.
il n'hesite pas à utilisé un bon amen break ou à utiliser un bon clavier bontempi de temps en temps.
un musicien concret ne pourait cautionner ce type de pratique au sein de son travail.
voila bon j'espere que j'ai pas raconté trop de merde, je viens de me lever, j'ai pas encore pris ma douche (je pue...
) et je n'ai pas encore bu mon thé (juste fumé ma clope en ecrivant, ca m'a donné envie de ch..c'est fou le pouvoir laxatif que ca a le tabac
Mogera
425
Posteur·euse AFfamé·e
Membre depuis 19 ans
Anonyme
5238
Aaaaaaaaaaaaahhhhhhhhhhh akufen
Mogera
425
Posteur·euse AFfamé·e
Membre depuis 19 ans
Head Minerve
9832
Je poste, donc je suis
Membre depuis 18 ans
Hors sujet : 
Uashtushkau, je n'ai jamais vu autant de posts aussi longs et consécutifs !!! Je n'ai pas tout lu mais au moins ça me fait m'intéresser au sujet. Alors peut-être à plus tard (au moins 3h pour tout lire !)
- < Liste des sujets
- Charte