[ANPPOM-Lista] Analitica 10/2017 call for papers: Music, Politics, Society: The Role of Analysis

Qua Jul 5 12:07:42 BRT 2017

*Music, Politics, Society: The Role of Analysis* - *Analitica call for
papers – No. 10 (2017)*

The debate around the scope and purposes of *musicology as a social
practice* has recently led to a new awareness of the ideological and
political implications related to the practices of music analysis
[Broman-Engebretsen 2007; Buch-Donin-Feneyrou 2013], and to the
historicization of the contrasting approaches introduced by the New
Musicology in the last two decades of the twentieth century [Agawu 2004,
MacCutcheon 2014]. At the same time the progressive convergence of the
methodologies employed in different fields of music research – from art
music to traditional music, from popular music to music in audiovisual
communication, from the use of sound in new media to non-musical sound
cultures – has clearly revealed the close relationship between the various
practices of music analysis and their different epistemological
foundations, the latter resting also on specific political and cultural
choices [van den Toorn 1996; Scherzinger 2001; Schuijer 2008, Campos-Donin
2009; Guilbault 2014; Earle 2015].

As a result of such trends, music analysis is increasingly conscious both
of its social role and of the political dimension that orients its
practice. The limits of the approaches based on *organicism* and
*graphocentrism*, as witnessed by the history of music analysis since the
rise of *Musikwissenschaft* in Europe and by the subsequent reception and
implementation of European analytical methods in the United States, have
become increasingly evident. This is not to deny the value of the
theoretical assumptions inherent in these methodologies, but rather to
provide an opportunity to reflect on their epistemological status. Such
reflections have led to the introduction of analytical concepts directed
not only towards the musical “objects” themselves, but which take account
of the musical experience as a whole and its inevitable construction as a
social and political act.

In the light of these considerations *Analitica* is dedicating the
*Papers* section
of Volume 10 (2017) to *music analysis as a practice grounded in political
and pragmatic choices which* *establish connections between music and its
ideological and social contexts.*

The proposals should focus primarily, but not exclusively, on four possible
areas:

   - the *history of music analysis *in particular periods and geographical
   contexts in parallel with social, cultural and political events;
   - the close examination of the *policies regarding the inclusion of
   music analysis* in education, as implemented by different
*institutions* and,
   in particular, by those responsible for musicological curricula in music
   schools and academic departments. Included in this area is the question of
   the *didactics of music analysis* as an important aspect of the teaching
   of music theory and practice;
   - the role of music analysis as a vehicle for achieving a greater
   understanding of cultural objects as a manifestation of the relationship
   between the environment and the artistic community that produces them;
   - the analysis of works and musical practices as a starting point
for an *epistemological
   discussion of analytical methodologies* in terms of their social,
   ideological and political implications.

Scholars and musicians are invited to submit their proposals for a *short
paper* (no more than 5,000 words) in Italian or in English relating to one
or more of the subjects outlined above. Anyone interested is invited to
register with the *Analitica*
<http://www.gatm.it/analiticaojs/index.php?journal=analitica> website (
www.gatm.it/analiticaojs) and to propose to the editors an abstract of
their contribution (1,500 characters plus a brief biographical profile of
600 characters) by *15th August 2017*. Complete papers will be due for
publishing by *30th October 2015*. The editors will be responsible for the
initial selection of the contributions and for reviewing the texts for
online publication. For further information on the publishing and editorial
process, prospective authors should refer to the pages on the *Analitica*
<http://www.gatm.it/analiticaojs/index.php?journal=analitica> website
regarding the focus and scope of the journal
<http://www.gatm.it/analiticaojs/index.php/analitica/about/editorialPolicies#focusAndScope>and
the guidelines for authors
<http://www.gatm.it/analiticaojs/index.php/analitica/about/submissions#authorGuidelines>
.

Among the *bibliographic references* that may help to contextualize the
subject from a historical, theoretical and methodological point of view we
suggest the following list, which includes a broad range of titles relating
to these and other topics of current musicological debate.

Agawu K., *Music Analysis and the Politics of Methodological Pluralism*,
«Revista de Musicología», 16/1, 1993, pp. 399-406.

Agawu K., *How We Got out of Analysis, and How to Get back in Again*,
«Music Analysis», 23/2-3, 2004, pp. 267-286.

Baroni M., *L’analisi musicale: una pratica inquieta e mutevole/Musical
Analysis: A Restless and Changing Practice*, «Rivista Italiana di
Musicologia», 35, 2000, pp. 277-320.

Born G., *For a Relational Musicology: Music and Interdisciplinarity*, *Beyond
the Practice Turn*, «Journal of the Royal Musical Association», 135/2,
2010, pp. 205-243.

Broman P., Engebretsen N. (eds.), *What Kind of Theory Is Music Theory?
Epistemological Exercises in Music Theory and Analysis*, Stockholm,
Stockholm University, 2007 (especially pp. 11-34, 35-62).

Buch E., *Beethoven’s Ninth: A Political History*, Chicago, University of
Chicago Press, 2003.

Buch E., Donin N., Feneyrou L. (eds.), *Du politique en analyse musicale*,
Paris, Vrin, 2013.

Campos R., Donin N. (eds.), *L’Analyse musicale, une pratique et son
histoire*, Genève, Droz/Haute école de musique de Genève, 2009.

*Didattica dell’analisi musicale *(especially the articles by M. Locanto,
E. Pozzi, M. Buchler), «Rivista di Analisi e Teoria Musicale», 21/1, 2015,
pp. 125-139.

Earle B., *Twelve-Note Music as Music. An Essay in Two Parts*, «Music
Analysis », 34/1, 2015, pp. 91-149.

Fulcher J. F., *French Cultural Politics and Music: From the Dreyfus Affair
to the First World War*, Oxford, Oxford University Press, 1999.

Goehr L., *Political Music and the Politics of Music*, «Journal of
Aesthetics and Art Criticism», 52/1, 1994, pp. 99-112.

Guilbault J., *Politics of Ethnomusicological Knowledge Production and
Circulation*, «Ethnomusicology», 58/2, 2014, pp. 321-326.

Kerman J., *How We Got into Analysis, and How to Get out*, «Critical
Inquiry», 7/2, 1980, pp. 311-331.

Kertz-Welzel A., Hebert D. G, *Patriotism and Nationalism in Music
Education*, Farnham (UK), Ashgate, 2012.

MacCutcheon D.,* Baroque music, postmodern knowledge: an epistemological
analysis of Susan McClary’s article “The blasphemy of talking politics
during Bach Year (1987)”*,  «Acta Academica», 46/2, 2014, pp. 126-152.

*Musikpolitik in der Verantwortung* (especially the articles by Ch.
Höppner, H. Rösing, G. Müller,), «Musikforum», 4, 2007,
http://www.musik-forum-online.de

Pedelty M., Keefe L., *Political Pop, Political Fans? A Content Analysis of
Music Fans Blog*, «Music and Politics», 4/1, 2010,
dx.doi.org/10.3998/mp.9460447.0004.103

Scherzinger M., *Negotiating the Music-Theory/African-Music Nexus: A
Political Critique of Ethnomusicological Anti-Formalism and a Strategic
Analysis of the Harmonic Patterning of the Shona Mbira Song “Nyamaropa”*,
«Perspectives of New Music», 39/1, 2001, pp. 5-117.

Schuijer M., *Analyzing Atonal Music: Pitch-Class Set Theory and Its
Contexts*, Rochester (New York), University of Rochester Press, 2008.

Shuker R., *Understanding Popular Music Culture*, London, Routledge, 2012.

Tragaki D. (ed.), *Empire of Song: Europe and Nation in the Eurovision Song
Contest*, Lanham (Maryland), Scarecrow Press, 2013.

van den Toorn P., *Music, Politics, and the Academy*, Berkeley, University
of California Press, 1996.
Yarar B., *Politics of/and Popular Music. An Analysis of the History of
Arabesk Music from the 1960s to the 1990s in Turkey*, «Cultural Studies»,
22/1, 2008, pp. 35-79.

http://www.gatm.it/analiticaojs/index.php/analitica/announcement/view/41

-- 
carlos palombini, ph.d. (dunelm)
professor de musicologia ufmg
professor colaborador ppgm-unirio
ufmg.academia.edu/CarlosPalombini <http://goo.gl/KMV98I>