[ANPPOM-Lista] Fw: (1) CFP: What is Performance Philosophy? (2) Job opening: postDoc musicology, university of Klagenfurt
Zoltan Paulinyi
paulinyi em yahoo.com
Sex Nov 9 10:09:28 BRST 2012
----- Forwarded Message -----
From: MUSICOLOGY-ALL automatic digest system <LISTSERV em JISCMAIL.AC.UK>
To: MUSICOLOGY-ALL em JISCMAIL.AC.UK
Sent: Thursday, November 8, 2012 12:03 AM
Subject: MUSICOLOGY-ALL Digest - 5 Nov 2012 to 7 Nov 2012 (#2012-161)
There are 5 messages totaling 642 lines in this issue.
Topics of the day:
1. CFP: What is Performance Philosophy?
2. Colloquium on 'Patronage and music collecting'
3. ICONEA 2012 - provisional programme now available
4. Registration Open - Challenging Musical Ontologies: An RMA Study Day, 23rd
November, University of Nottingham
5. Job opening: postDoc musicology, university of Klagenfurt
----------------------------------------------------------------------
Date: Wed, 7 Nov 2012 01:26:18 -0800
From: "J. P. E. Harper-Scott" <j.p.e.harper-scott em rhul.ac.uk>
Subject: CFP: What is Performance Philosophy?
****Forwarded message from c.mark em surrey.ac.uk <c.mark em surrey.ac.uk>****
What is Performance Philosophy?
Staging a new field
University of Surrey,
Guildford, UK
11-13th April 2013
Co-organized by Laura Cull (University of Surrey),
Eve Katsouraki (University of East London) and
Dan Watt (Loughborough University)
Confirmed keynotes: Professor Martin Puchner (Harvard)
Professor Bojana Kunst (Giessen)
What is Performance Philosophy? Staging a new field will be the inaugural
conference of the new professional association, PERFORMANCE PHILOSOPHY. The
aim of the conference is to explore the scope and diversity of research
being undertaken by scholars and practitioners concerned with the
relationship between performance and philosophy broadly construed.
The organizers welcome proposals from researchers working with any
discipline or definition of performance, including but not limited to:
• Art performance / Performance art / Live Art
• Dance and choreography
• Drama and dramatic literature
• Film, video and new media
• Music and sound
• Performativity and performance in/as everyday life
• Theatre and applied theatre
Likewise, we invite proposals from researchers concerned with any aspect of
or tradition within philosophy including but not limited to:
• The Continental and/or Analytic traditions,
• Eastern and/or Western modes of thought
• Theology
• Critical and/or Literary Theory
• Cultural Studies
• Phenomenology
• Post/structuralism
What is Performance Philosophy? It could be:
• the application of philosophy to the analysis of performance;
• the philosophy of performance and/or the performance of philosophy;
• the study of how philosophers and philosophical ideas have been staged in
performance or how ideas and images of performance have figured in
philosophy;
• the theoretical or practical exploration of philosophy as performance
and/or as performative; and likewise, experiments emerging from the idea
that performance is a kind of philosophy or thinking or theorizing in
itself.
But it could also be much more besides. The ambition of the new
association, PERFORMANCE PHILOSOPHY and this inaugural conference is to
support the interrogation of this ‘more’, to facilitate researchers to
create and question the nature of this open field. In particular, the
conference aims to address a series of key questions:
• Is Performance Philosophy a ‘field’? If so, what are the parameters of
the field – how might the field define itself?
• What is the relationship between performance and philosophy? Is
performance a kind of philosophy and philosophy a kind of performance?
• How have performance and philosophy engaged with one another in the past
and how are they engaging with one another now?
The conference organizers welcome proposals for:
• 500-word proposals for individual conference papers (20 mins + 10 mins
discussion)
• 1500-word proposals for panels (eg. 3 x 20 mins presentations + 30 mins
discussion)
Alternatively, individuals and groups can submit proposals for:
• 1500-word proposals for 90 minute sessions in other formats, including
but not limited to performances, participatory workshops, reading groups,
roundtables, etc.
The conference organizers would particularly like to encourage applicants
to explore interdisciplinary collaborations, combining where possible
contributions from researchers based in different disciplines.
All presentations can include practical demonstration or performance, but
please note that technical support will be limited. To discuss your
requirements prior to submitting a proposal, please contact Laura Cull
l.cull em surrey.ac.uk
The deadline for proposals is December 15th 2012
Decisions by January 15th 2013
Please submit your proposal to Laura Cull l.cull em surrey.ac.uk
NB: All contributing delegates will be required to finance their own
travel, accommodation and registration fee (will be confirmed asap).
PERFORMANCE PHILOSOPHY is not a profit making organization so registration
fees will be kept as low as possible whilst still covering the costs of
running the event and providing low cost postgraduate registration.
You do not have to be a member of PERFORMANCE PHILOSOPHY to submit a
proposal but it is free to do so and membership is open to all – seehttp://
performancephilosophy.ning.com/
Dr. Laura Cull
Senior Lecturer in Theatre Studies
Director of PGR, School of Arts
University of Surrey
Guildford, UK
l.cull em surrey.ac.uk
****End of forwarded message****
--
Now Available: *The Quilting Points of Musical Modernism*, by J. P. E.
Harper-Scott
For more information see www.cambridge.org/9780521765213
Dr J. P. E. Harper-Scott | Reader in Musicology and Theory
Department of Music, Royal Holloway, University of London
Website: http://www.jpehs.co.uk/
Blog: http://www.jpehs.co.uk/blog
Golden Pages: http://goldenpages.jpehs.co.uk/
------------------------------
Date: Wed, 7 Nov 2012 10:59:05 +0100
From: Jose Maria Dominguez <josemdr em MUSICOLOGIA.COM>
Subject: Colloquium on 'Patronage and music collecting'
Message from Jose Maria Dominguez.
VI Coloquio de Musicología: “Mecenazgo y coleccionismo musical”
6th Colloquium of Musicology “Patronage and music collecting”
23 y 24 de noviembre de 2012 / 23-24 November 2012
Director: Juan José Carreras (Universidad de Zaragoza)
Scientific committee: Tess Knighton (CSIC, Barcelona) and José María
Domínguez (University of La Rioja)
Coordination: Sonia Gonzalo (University of Zaragoza)
Info: +34 976 28 88 78/79 // email: activ em ifc.dpz.es
Venue: Edificio Paraninfo de la Universidad de Zaragoza, Plaza Basilio
Paraíso 4
Sala Pilar Sinués
Institución “Fernando el Católico” (Zaragoza)
Los estudios en torno al mecenazgo artístico tienen ya una amplia
tradición en los diferentes campos de la literatura, las artes
visuales, la arquitectura o la música. Asociado el término desde la
Antigüedad a la República de las Letras, el Diccionario de Autoridades
en 1732 entiende por mecenas “el príncipe o caballero que favorece,
patrocina y premia a los hombres de letras. Úsase de esta voz en las
epístolas dedicatorias, llamando así al sujeto a quien se dirige o
dedica el libro u obra, para que la patrocine y ampare.” Esta función
protectora parece ser fundamental a lo largo del tiempo. En 1915, se
quejaba el compositor Arnold Schönberg: “Hoy en día ya no existen
benefactores, mecenas, personas que son ricas y que a la vez comprenden
que su maldita obligación y deber es ceder al arte algo de su inmensa
fortuna.” Desde el siglo XVI y hasta hoy, la cuestión del apoyo o
protección de las artes ha desempeñado un importante papel, no sólo
en los modos de ganarse la vida de músicos y artistas, sino —en el
caso de la música— en aspectos fundamentales de la producción e
interpretación.
Research focusing on artistic patronage has already achieved a broad
and established tradition in the fields of literature, visual arts,
architecture and music. Since Antiquity, the term ‘patronage’ has
been closely associated with the Republic of Letters. In 1732 the
Spanish Dictionary of Autorities (Diccionario de Autoridades) defines a
patron as “the prince or gentleman who favours, sponsors and rewards
men of letters. This word is used in letters of dedication, thus
appealing to the man to whom the book is addressed or dedicated, in
order to get it sponsored and protected”. This notion of sponsorship
and protection has prevailed over the centuries. In 1915, Arnold
Schönberg complained: “Today there are no more benefactors, patrons,
rich people who understand that their wretched obligation and duty is to
assign part of their inmense fortune to the Arts”. From the sixteenth
century until now, the concept of protecting and supporting the Arts has
developed an important role, not only as regards the ways in which
musicians and artists earn their salary but also –especially in the
case of music– involving basic aspects of production and performance.
Schedule:
Friday 23 November 2012
9.30 Registration
10.00 Juan José Carreras: “El mecenazgo (musical): reflexiones
previas”
10.30 Anna Tedesco (University of Palermo): “Mecenazgo musical y
distinción social: reflexiones y ejemplos (siglos XVII-XIX)”
Margaret Murata (UCLA): “Survival – Collection – Recollection”
11.30 Debate
12.00 Break
12.30 Tess Knighton (CSIC): “Perspectivas sobre el mecenazgo musical
en el siglo XVI: la evidencia de una ensalada”
Ascensión Mazuela Anguita (CSIC): “Función y formas del mecenazgo
musical femenino en el mundo ibérico del siglo XVI”
13.30 Debate
16.30 José María Domínguez (University of La Rioja): “Más allá
del virrey: otros modelos de mecenazgo en la Nápoles virreinal de
finales del siglo XVII”
Anne-Madeleine Goulet (CNRS-Centre de Musique Baroque de Versailles):
“Le patronage musical de Flavio Orsini et de Marie-Anne de la
Tremoille a Rome (1675-1701): sources, choix artistiques et
signification”
17.30 Debate
18.00 Break
18.30 Giulia A. R. Veneziano (University of Zaragoza-École Française
de Rome): “«Chi m’ascolta, chi mi vede? »: modelos de fruición de
la cantata de cámara en la sociedad napolitana del siglo XVIII”
19.00 Debate
Saturday 24 November 2012
9.00 Alberto Hernández (Juan March Foundation): “Dos príncipes para
un tratado: las ediciones italiana y española de Dell’origine delle
regole della musica”
Miguel Ángel Marín (University of La Rioja): “Del salón a la
academia: los espacios interpretativos del cuarteto en Madrid a finales
del siglo XVIII”
10.00 Debate
10.30 Juan José Carreras (University of Zaragoza): “Modos y
funciones del mecenazgo musical en el siglo XIX”
Pablo-L. Rodríguez (University of La Rioja): “Erich Fiala y la
recuperación de la música antigua en Viena (1934-1956)”
11.30 Debate
12.00 Break
12.30 Round table: El mecenazgo en las artes y la literatura
José María Domínguez (coordinador), Javier Ibáñez, Joseba
Berrocal
13.30 Closing
------------------------------
Date: Wed, 7 Nov 2012 11:46:02 +0000
From: Valerie James <Valerie.James em SAS.AC.UK>
Subject: ICONEA 2012 - provisional programme now available
ICONEA Conference 2012:
AEROPHONES IN THE ANCIENT WORLD: NEAR AND MIDDLE EAST, EGYPT AND THE MEDITERRANEAN
NOVEMBER 22, 23 and 24, 2012
UNIVERSITY OF LONDON
Senate House
Malet Street
London WC1E 7HU
Provisional Programme
Thursday 22 November
1400: Registration
1430: Speeches: Paul Archbold, Irving Finkel and Richard Dumbrill
Chair: Irving Finkel
1445: Richard Dumbrill
When is a pipe not a pipe?
I shall investigate so-called pipes, flutes, etc., from Neanderthalians, Cro-Magnons, etc. and up to to the literate Ancient Mesopotamians and later Mediterraneans.
1545: Tea/coffee Break
1615: Barnaby Brown
Problems playing a modern reproduction of the silver pipes of Ur
1715 – 1800: Round table
Friday 23 November
Chair: Myriam Marcetteau
1000: Max Stern
Shofar: Sound, Shape and Symbol.
The shofar has always been considered a magical instrument associated with the revelation of God’s voice at Mount Sinai. Later, Joshua brought down the walls of Jericho with shofar blasts – in the ancient world, sound was known to influence matter. The shofar is the oldest surviving instrument still used in Jewish ritual. Its sound, shape, and symbolism are integral to the High Holiday Season. This lecture-demonstration exhibits a variety of shofar types and discusses their origins from animal to instrument through visual aids. It demonstrates the traditional shofar blast and deals with historical and symbolical issues aroused by it strident sonority. It concludes with a DVD presentation of the shofar as an artistic instrument, integrated into a contemporary biblical work by the author.
1100: Tea Break
1130 : Malcolm Miller:
The music of the Shofar: ancient symbols, modern meanings.
The Shofar discussed in biblical and post-biblical literature, is associated with a rich nexus of metaphorical symbolism, which has evolved over the course of time, and includes such concepts as supernatural power, joy, freedom, victory, deliverance, national identity, moral virtue, repentance, and social justice. While modern definitions have focused on the instrument’s signalling, ‘non-musical’ character, there is evidence already in the ancient writings of its ‘musical’ function, whose potential to evoke a profound aesthetic response has led to multiple interpretations of its meanings. Composers in 20th-21st centuries have incorporated the shofar into their works as a powerfully eloquent musical resource, from Elgar’s The Apostles premiered in October 1903 to Jörg Widmann’s opera ‘Babylon’ premiered at the Munich Opera just a few weeks ago in October 2012. It is the purpose of this presentation to discuss these more recent uses of
the shofar and the way composers interpret the shofar’s ancient symbolism in a contemporary context, thereby highlighting both its ceremonial/religious, and its musical/aesthetic qualities.
1230 : Lunch Break
Chair : Richard Dumbrill
1400 : Bruno de Florence
Shofar, Totemism and Voice: a Freudian-Lacanian Approach From a commentary by Jacques Lacan on a text by Theodor Reik, I shall attempt to outline how we can consider musical practices as incarnated thinking. Borrowing from the notions of perception (Merleau-Ponty), jouissance (Lacan) and libido (Freud), I shall propose a model of musical performance and its listening as a continuous path along a multidimensional Moebius strip, structured by the enigma of the real of the body. Shofar….
1600: Tea/coffee Break
1630: Myriam Marcetteau:
Wind instruments from the ancient near East to the Greco-Roman period.
This presentation will investigate the evolution of two types of aeropohones from the Ancient Near East to the Greco-Roman period. I will focus on iconographic, philological, historical and sociological clues, for evidence of their affiliation. Some sources are easily traceable, such as the link between the Mesopotamian hierodulae and the female players of the abub-instrument. Some others, even though the affiliation is more hypothetical, are worth researching: I will attempt at giving possible origins for the ancient oriental roots of the qarnu and of the tibia/aulos.
1730 – 1800: Round table
Saturday 24 November
Chair: Barnaby Brown
1000: Alan Prosser with the participation of Tansy Honey:
The organology, musicology, theory and spirituality of the ney The construction which has remained the same for at least 800 years, as shown from extant examples in the museums in Konya. I will describe the type of reed used, where they are found; their treatment and preparation; the making of the ney; its playing; its pitch range and the reason for having a pitch set of 34 within an octave. I will further discuss the Pythagorean and Sufi use of Makams for a deeper musical experience; how the intervals make it possible to assist with this process and give examples. I will discuss the possible source of makam construction extracted from the Ney and micro-tonalism, with examples.
1130: Peter Strauven/Jan M.F. Van Reeth:
The Organ on the Mosaic of the Musicians from Maryamin at the Museum of Hama, Syria.
1300: Lunch Break
1400: Nicholas Stylianou
Diagrams, Cyclic Orderings and Aristoxenian Synthesis Despite difficulties surrounding the authenticity of writings on classical Greek music theory they have nonetheless been highly influential in subsequent theoretical developments. The broad polarisation of the domain into the Pythagorean and Aristoxenian traditions reflects the tension between their respective numerological and phenomenological approaches to music theory. Between these extremes Aristoxenus identifies the Harmonicists, commending them for their interest in musical reality whilst criticising their grasp of musical logic. Written some six centuries later, Claudius Ptolemy’s Harmonics also stands out in attempting to reconcile reasoning and perception.
This paper employs contemporary diagrammatic representations of the various tetrachord species, as catalogued by Ptolemy, which form the building blocks of classical Greek musical structure. Particular attention is given to Aristoxenian criticisms of the Harmonicists’ lack of attention to musical synthesis and consecution, specifically the katapyknosis (καταπύκνωσις) or close-packing of their diagrams and their use of cyclic orderings limited to a single genus in the range of an octave. It is hoped that the materials from this study may form the basis of a systematic framework against which these classical Greek music-theoretical constructs may be better understood.
1530 Tea/coffee Break
1600: Concert lecture
Omar Bashir and the Bashir school of ‘ud in Baghdad and beyond.
Munir Bashir who died in 1997 was one of the most famous Iraqi ‘udists in the Middle-East during the 20th century and a recognised master of the Arabian maqam.
Bashir’s music is characterised by a unique style of improvisation which is the consequence of his his study of Indian and European music in addition to Oriental forms.
Omar Bashir was born in 1970 in Hungary.
At the age of five, he left Hungary with his parents to live in Iraq, where he was educated. The ‘ud he plays in performance is in the same he had as a child.
At the age of seven Omar studied at the Baghdad Music and Ballet School where he became a teacher in his late teens. He created his own ensemble of twenty-four musicians, specialising in classical Iraqi music. Omar’s performed with his father from the age of thirteen.
The death of his father marked a turning point in his musical career. He won many awards and on the first Anniversary of 9/11 was invited to play in the USA to raise funds for the Iraqi Symphony Orchestra which had been flown over on that occasion. Omar is certainly the most innovative ‘udist to date.
A booking form for this conference is available at http://music.sas.ac.uk/events/conferences
Valerie James
Consortium Administrative Manager, IGRS, IMR and IP
Institute of Musical Research
School of Advanced Study
University of London
Senate House
Malet Street
London WC1E 7HU
www.music.sas.ac.uk
Tel: 020 7664 4865
Fax: 020 7664 4867
The IMR's Offices are at Stewart House (32 Russell Square), 2nd floor, Room 277
The University of London is an exempt charity in England and Wales and a charity registered in Scotland (reg. no. SC041194)
------------------------------
Date: Wed, 7 Nov 2012 16:33:27 +0000
From: Alexander Kolassa <amxak1 em NOTTINGHAM.AC.UK>
Subject: Registration Open - Challenging Musical Ontologies: An RMA Study Day, 23rd November, University of Nottingham
Dear all,
Registration for the Challenging Musical Ontologies: An RMA Study Day, University of Nottingham, 23 November 2012 is open. It promises to be an exciting forum for dialogue on the subject and will be bringing together speakers of various fields. There will also be a lunchtime concert performed by SCAWDUO playing a selection of new works. Registration and further details can be found in the following link:
http://www.nottingham.ac.uk/music/research/conferences/rma-day-call-for-papers.aspx
Details from the original CFP are below.
All the best,
Alex Kolassa
CFP: Challenging Musical Ontologies: An RMA Study Day, University of Nottingham, 23 November 2012
This RMA Study Day seeks to engage with conflicting yet complimentary dialogues regarding the possibility (or even non-possibility) of an ontology of music. In recent years there has been lively debate between diverse positions rooted in musicology and both continental and analytical philosophy; the purpose of this Study Day is to highlight these differences, whilst emphasising shared ground and suggesting ways forward. To this end, the Study Day – which is supported by the RMA Music and Philosophy Study Group – will provide a platform for postgraduate students to present their research and to discuss challenges posed to, and possibilities inherent in, commonly held assumptions regarding musical ontology from an array of interdisciplinary
viewpoints.
Committee Members: Alexander Kolassa, James Cook, Jonathan Herrick, David Ingram, Dr Nanette Nielsen and Professor Stefano Predelli.
Website: http://www.nottingham.ac.uk/music/research/conferences/rma-day-call-for-papers.aspx
Follow us on: www.facebook.com/challengingmusicalontologies
------------------------------
Date: Wed, 7 Nov 2012 21:32:54 +0100
From: Simone Heilgendorff <simoneheilgendorff em GMX.NET>
Subject: Job opening: postDoc musicology, university of Klagenfurt
Die Alpen-Adria Universität Klagenfurt schreibt gem. § 107 Abs. 1
Universitätsgesetz 2002 folgende Stelle zur Besetzung aus:
*Senior Scientist*
(wissenschaftliche Angestellte/wissenschaftlicher Angestellter _mit_
Doktorat)
am Institut für Kultur-, Literatur- und Musikwissenschaft, Abteilung Musikwissenschaft, Fakultät für Kulturwissenschaften, im Beschäftigungsausmaß von 100% (Basis Uni-KV: B1), befristet bis 30.4.2015. Das monatliche Mindestentgelt für diese Verwendung beträgt € 3.381,70 brutto (14 x jährlich). Voraussichtlicher Beginn des Angestelltenverhältnisses ist der*6. Dezember 2012*.
*Aufgabenbereich:*
-Abhaltung von Lehrveranstaltungen (einschließlich Prüfungstätigkeiten)
-Betreuung von Studierenden
-Selbständige Forschung auf dem Gebiet der Musikwissenschaft, Mitarbeit
an Forschungsprojekten der Abteilung (Schwerpunkt in der Musik der
Gegenwart)
-Mitarbeit im Studiengang "Angewandte Musikwissenschaft"
-Mitarbeit bei Organisations- und Verwaltungsaufgaben
-Mitarbeit bei Veranstaltungen der Abteilung sowie weiteren
"angewandten" Projekten
Im Rahmen der o.a. Aufgaben besteht die Möglichkeit, an einer
facheinschlägigen Habilitation zu arbeiten.
*Voraussetzungen:*
-Abgeschlossenes Doktorat im Fach Musikwissenschaft
-Ausbildung oder Erfahrung in einem musikpraktischen Bereich
(Instrument, Komposition, Stimme)
-Fundierte Kenntnisse 1) der historischen Musikwissenschaft und der
europäischen Musikgeschichte mit einem Schwerpunkt in der Musik nach
1950 sowie 2) auf einem der folgenden Gebiete:
Popularmusik-/Jazz-Forschung, Musik und Technik/Medien oder Musiksoziologie
*Erwünscht:*
-Ein Forschungsprojekt
-Didaktische Fähigkeiten/Kompetenzen
-Pädagogische Eignung, kommunikative Kompetenz und Teamfähigkeit
-Erfahrung im Musik-Management oder bei Musikvermittlungsprojekten
-Bereitschaft zur Pflege der Internetseiten der Abteilung
Weitere Informationen: www.uni-klu.ac.at/muwi
<http://www.uni-klu.ac.at/muwi>
Die Universität strebt eine Erhöhung des Frauenanteils insbesondere beim
wissenschaftlichen Personal an und fordert daher qualifizierte Frauen
ausdrücklich zur Bewerbung auf. Frauen werden bei gleicher Qualifikation
vorrangig aufgenommen.
Menschen mit Behinderung oder chronischen Erkrankungen, die die
geforderten Qualifikationskriterien erfüllen, werden ausdrücklich zur
Bewerbung aufgefordert.
Bewerbungen sind mit den üblichen Unterlagen bis zum *28. November 2012*
unter der *Kennung* *964/12* an die Alpen-Adria-Universität Klagenfurt,
Fachabteilung Personalentwicklung, ausschließlich über das
Onlinebewerbungsformular unter http://www.aau.at/obfzu richten.
Bewerberinnen und Bewerber haben keinen Anspruch auf Abgeltung von
entstandenen Reise- und Aufenthaltskosten durch die Universität, die aus
Anlass des Aufnahmeverfahrens entstehen.
------------------------------
End of MUSICOLOGY-ALL Digest - 5 Nov 2012 to 7 Nov 2012 (#2012-161)
*******************************************************************
-------------- Próxima Parte ----------
Um anexo em HTML foi limpo...
URL: <http://www.listas.unicamp.br/pipermail/anppom-l/attachments/20121109/c1f2db22/attachment.html>
Mais detalhes sobre a lista de discussão Anppom-L