[ANPPOM-L] Announcing AMS Cold War and Music Study Group and Listserv

Carlos Palombini palombini em terra.com.br
Qua Jul 26 10:23:04 BRT 2006


Recently an increasing number of musicologists have begun to
investigate the music composed during the decades after World
War II, and specifically the relationship between new music
and the continuing global opposition between the United States
and the U.S.S.R. As they refine the traditional historiography
of this period, scholars have addressed a number of geographic
areas, from America and Western Europe to the Soviet sphere,
and a number of musical styles, from serialism to chance music
and neo-Romanticism to the New Simplicity. Issues of
patronage, propaganda, influence, prestige, reception, and
meaning have all been raised in one form or another, yet
important questions about these and other related topics
remain. In response to the panel "The Cold War and Changing
Ideologies of New Music," held at the 2005 annual meeting of
the American Musicological Society in Washington, D.C., the
Cold War and Music Study Group was formed to continue
addressing these questions on a more regular basis. This study
group will meet at the AMS annual conferences, as well as hold
other occasional conferences, panels, and meetings, in
addition to maintaining a webpage and listserv for electronic
communication.  

Through these forums and media, the Cold War and Music Study
Group seeks to discuss, present, and encourage new and recent
research that considers the music of the Cold War from a
global perspective, including music produced and consumed in
the Americas (both North and South), Western and Eastern
Europe, the Soviet Union, Asia, and Africa. Topics that fall
under the rubric of the "Cold War and Music" include, but are
not limited to: music composed under the encouragement of
governmental or non-governmental agencies that explicitly
engaged with the ideological issues of the Cold War (e.g.
Stravinsky's Threni and the Congress for Cultural Freedom);
musical styles that tacitly or implicitly engaged with the
social, political, or economic issues of the Cold War (e.g.
Babbitt's or Copland's serialism or Schnittke's and Pärt's
aleatory techniques); as well as music that was produced
outside of either the United States or the U.S.S.R., but was
nonetheless involved with political or social issues emanating
from those superpowers (e.g. performances by Musica
Elettronica Viva in Italy or works by Cuban composer Leo
Brouwer). Music both "high" and "low," "art" and "popular,"
"cultivated" and "vernacular," is open to discussion. The
period of the Cold War is generally considered to extend from
1945-1991, though material from either the pre-Cold War or
post-Cold War period that engages with the central issues of
the Cold War and the arts is welcome. Issues of aesthetics,
signification, representation, politics, economics,
historiography, and biography are only some of the possible
avenues for further discussion and research, while a wide
range of methodologies are encouraged, including musical
analysis, archival research, and hermeneutic,
ethnomusicological, and oral-historical approaches.


We will hold an organizational meeting at the AMS/SMT
conference in Los Angeles, Saturday, November 4th, 12:30-1:30,
specific location TBA.  

In order to compile a membership list, we invite interested
scholars to subscribe to the Cold War and Music Study Group
listserv at
https://listhost.uchicago.edu/mailman/listinfo/ams_cold_war_music.

For further information about the study group, please contact
Peter Schmelz at pschmelz em buffalo.edu. 


Sincerely,

Peter Schmelz
pschmelz em buffalo.edu

Erin Sullivan
esull em uchicago.edu

-- 
carlos palombini
diretor
centro de pesquisa em música contemporânea
universidade federal de minas gerais
cpmc-ufmg
<palombini em terra.com.br>





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