<div dir="ltr"><div class="gmail_default" style="font-family:arial,helvetica,sans-serif">The 2014 Reactions to the Record symposium (<a href="http://music.stanford.edu/Events/StanfordMusicSymposium/2014/index.html" target="_blank">http://music.stanford.edu/Events/StanfordMusicSymposium/2014/index.html</a>)
will take place April 3-5, 2014 at Stanford University's Bing Concert
Hall Studio. The symposium includes concerts, lectures, workshops, and
exhibits. A keynote address will be delivered Friday, April 4th
by*Richard Taruskin*, author of the/Oxford History of Western
Music./*Kenneth Hamilton*, author of/After the Golden Age: Romantic
Pianism and Modern Performance,/will be presenting a lecture-recital on
Friday, April 4th. The*Ironwood Ensemble*from Sydney, Australia will be
at the symposium to share their provocative work with Brahms
performance. They will be coaching, demonstrating, and performing the
Brahms/Piano Quartet in G Minor,/Op. 25, on Saturday, April 5th.
The/Reactions to the Record/symposium and concerts are free to all with
registration.<br>
<br>
The Stanford Department of Music in conjunction with SiCa (now theStanford Arts Institute <<a href="http://artsinstitute.stanford.edu/" target="_blank">http://artsinstitute.stanford.edu/</a>>) and theStanford Archive of Recorded Sound <<a href="http://lib.stanford.edu/ars" target="_blank">http://lib.stanford.edu/ars</a>>convened
the first/Reactions to the Record/symposium in 2007 as an
interdisciplinary meeting of the world's finest scholars and performers
interested in the legacy of historical recordings. Past symposia can be
found here <<a href="http://music.stanford.edu/Events/StanfordMusicSymposium/past/index.html" target="_blank">http://music.stanford.edu/Events/StanfordMusicSymposium/past/index.html</a>>.
Presenters have included Charles Rosen, Nicholas Cook, Robert Philip,
Joseph Horowitz, Jose Bowen, Malcolm Bilson, and Donald Manildi, among
others.<br><div id=":2ft" class="">
<br>
The symposium highlights work in performance practice that engages
historical recordings as vital source material. Central to this interest
are performances inspired by historical models. Presentations in
related areas include cultural studies in performance, methodologies of
performance analysis, and performance in historical narrative.</div></div><br>-- <br><div dir="ltr"><div>carlos palombini<br>professor de musicologia ufmg<br><div class="gmail_default" style="font-family:arial,helvetica,sans-serif">
professor colaborador ppgm-unirio</div><a href="http://proibidao.org" target="_blank">proibidao.org</a><br></div><a href="http://ufmg.academia.edu/CarlosPalombini" target="_blank">ufmg.academia.edu/CarlosPalombini</a><br>
<a href="http://scholar.google.com.br/citations?user=YLmXN7AAAAAJ" target="_blank"><span style="display:block">scholar.google.com.br/citations?user=YLmXN7AAAAA</span></a><br>"É necessário dizer tudo. A primeira das liberdades é a liberdade de dizer tudo." (Maurice Blanchot, "L'Entretien infini", 1969)<br>
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