[ANPPOM-Lista] CFP: Making Musical Works in Early Modern Europe 1500-1700: Composition, Improvisation, Notation and Performance

[Carlos Palombini]

Call for Papers

Institute of Musical Research, Senate House, London

in collaboration with

“The Renaissance Musical Work: Foundations, Repertories and Practices”
funded by the Ministery of Innovation, Science and Universities
[HAR2015-70181-P] based at the University of Valladolid
IP: Soterraña Aguirre Rincón

Thursday 27 June 2019

Keynote Speaker

Kate van Orden, Harvard University

Convenors

Manuel del Sol, University of Valladolid
David Lee, University of Glasgow
Stephen Rose, Royal Holloway, University of London


Lydia Goehr’s The Imaginary Museum of Musical Works (1992) prompted heated
discussions about how far the term and concept of the ‘musical work’ is
appropriate for musical cultures of the 16th and 17th centuries. Whereas
earlier discussions had focused on ontological issues and on theoretical
treatises of the period, Goehr sought to provide what she termed a
‘historical’ approach, yet she was much criticised for her relatively
unnuanced account of music history prior to 1750. Now, some twenty-six
years on, the notion of ‘work’ is ripe for exploration from a much broader
range of disciplinary perspectives including book history, performance
studies, the study of historical improvisation, and economic
ethnomusicology. Attributes usually associated with a musical work (such as
notational fixity or durability in the repertory) need to be revised, in
light of the increasing awareness of the importance of oral and
memory-based cultures in the 16th and 17th centuries, as well as an
increasingly nuanced understanding of the symbolic and practical functions
of notated sources.

Rather than traditional 20-minute papers, the convenors invite
contributions to plenary sessions and round-table discussions relating to
several key themes, including the various meanings of the terms
‘composition’, ‘improvisation’ and ‘work’ in the 16th and 17th centuries.

We invite participation from perspectives that may include:

● Perspectives from book history on the musical work as notated opus
● Perspectives from economic ethnomusicology on the ‘work’ as a form of
labour
● Perspectives from performance studies on ‘work’ within an oral culture of
memorisation and improvisation
● Musical works and early modern notions of the musical author
● The relationship between the ephemeral and the durable, and its
implications for the
work as a form of social capital
● The implications for modern editorial practices

Please indicate your interest in participation by sending a summary
(maximum 300 words) of how your research or performing interests relate to
the theme of ‘making musical works’ in the 16th and 17th centuries, to
Manuel del Sol (mdelsol em musicologia.com) by Monday 4 March 2019.

Travel bursaries for postgraduate students will be available. The study day
is supported by the Institute of Musical Research (Royal Holloway,
University of London).

RDI Project “The Renaissance Musical Work” <http://contrapunto.uva.es>

https://goldenpages.jpehs.co.uk/2019/01/29/making-musical-works-in-early-modern-europe-1500-1700-composition-improvisation-notation-and-performance

-- 
carlos palombini, ph.d. (dunelm)
professor de musicologia ufmg
professor permanente ppgm-unirio