[ANPPOM-Lista] CFP_Performance analysis: A bridge between theory and interpretation | 4-6 October | Porto, Portugal

Qui Maio 19 08:16:02 BRT 2016

Performance analysis: A bridge between theory and interpretation
4-6 October 2016
Porto-Portugal

CALL FOR PAPERS 25th April - 4th July
Interpretation can be found everywhere whenever associated with a sign or a
group of signs may that be a sacred, philosophical, literary, musical,
pictorial or any other kind of text. The assignment of an interpretation
always presents itself, to the recipient of the sign, under the form of an
interpretative decision. Hermeneutics is the discipline which studies the
meanings transmitted by signs, especially in the case of works of art. There
are in fact contents which are more immediately evident, in contrast with
others which demand a more meaningful interpretation. For example,
concerning the works of the past, only a hermeneutic activity comprising
very different skills, so much so that it is impossible to delineate them,
may deepen the signs, allowing the appropriation of the cultural content of
tradition, so that the work remains alive in the present and, potentially,
in the future.
That is just the case of music that, from the very moment it embraces an
essentially interpretative moment - through which we may have access to the
musical message- faces complex interpretative problems. Hermeneutics doesn¹t
refer just to the performance itself, which includes a virtually infinite
spectre of readings of the same text, but coexists with that same text.
Hermeneutics in music plays its role on three different plans: theory,
composition and performance. Music theory - that is the set of information
sedimented, structured and shared by a community at a certain moment - is
the only way to have access to history and to question the past. But theory
must be also constantly questioned and put into perspective in order to keep
its functionality; composition is precisely an attempt to give an adequate
answer to the technical-expressive questions mentioned by the theory, to
formulate a musical thought that is simultaneously a synthesis of the past
and a projection into the future. Performance is ultimately the transmission
of the musical meaning embodied in that thought.
So, this conference has a double goal: to promote a critical discussion
founded in philosophical assertions and facing strictly theoretical problems
and further on to enlarge the discussion to the problems concerning music
theory, composition, performance and critic and all that from the point of
view of their relationship with semiotic universes  stratification of
languages, forms, performance styles, criteria of judgement, listening
habits - which are more and more diversified and complex.
Our purpose is to explore what the concept of performance means today 
performance in theory and in praxis. This discussion will allow us, on the
one hand, to evaluate the pertinence of this notion in the traditional
hermeneutical performative field and on the other hand to reflect on the
essence and the limits of this field in the musical landscape of the XXI
century. Together with these questions there will be 2 concerts inspired by
these present perspectives of performing.
The conference will take place at Fundação Engenheiro António de Almeida in
Porto-Portugal and it is organized by CESEM / IPP. All interested parties
are invited to submit a proposal until the 4th of July, 2016 to
performanceanalysis2016 em gmail.com with the subject "Performance
Analysis_(title of the paper)". Please submit an abstract in English of no
more than 500 words, clear title, 3 keyword, 3 references and a short
biography (up to 100 words). The abstract should be submitted in PDF, doc,
docx tx formats. With your proposal please include your name, contact
details (postal address, e-mail and telephone number) and (if applicable)
your affiliation. The committee will make its final decision on the
abstracts at July 20, 2016 and contributors will be informed immediately
thereafter. Further information about the programme, registration, travel
and accommodation will be announced after that date.
ORGANIZING COMMITTE:
Madalena Soveral, ESMAE, CESEM. Sara Zurletti, Conservatório Reggio
Calábria.
EXECUTIVE COMMITTE:
Cristiana Vicente, CESEM (Administrative Support). Vera Inácio Cordeniz,
CESEM Administrative Support)
SCIENTIFIC COMMITTE:
Ana Maria Liberal (ESMAE, CESEM), Andrea Calabresa (Conservatório Reggio
Calabria), António Chagas Rosa (Universidade de Aveiro, INETMD), Daniela
Coimbra (ESMAE, NIMAE), Enrico Fubini (Universidade Turim), Franco Romano
(Conservatório Reggio Calabria), Isabel Soveral (Universidade de Aveiro,
INET-MD), Letizia Michelion (Universidade de Pádua, Conservatório G.
Tartini, Trieste), Manuel Pedro Ferreira (FCSH/UNL, CESEM), Paulo Assis
(Orpheus Institut, Gent), Paulo Ferreira de Castro (FCSH/UNL, CESEM) and
Sharon Kanach (Centre Iannis Xenakis, Paris).

Vera Inácio Cordeniz
Secretariado do CESEM - Centro de Estudos de Sociologia e Estética Musical
Centre for the Study of Sociology and Aesthetics of Music
Faculdade de Ciências Sociais e Humanas - FCSH/NOVA
Av. de Berna, 26 C, 1069-061 Lisboa | Portugal
Tel: (+351) 21 790 83 00  (ext. 1496)
Skype ID: CESEM.FCSH.UNL
E-mail: cesem em fcsh.unl.pt <mailto:cesem em fcsh.unl.pt>
www.fcsh.unl.pt <http://www.fcsh.unl.pt/>  | http://www.cesem.fcsh.unl.pt/
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