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8-9 juin 2012, Toronto
Perceptual Tensions,
Sensory Resonance
An International Conference on Contemporary Opera and New Music Theatre
University of Toronto
When it premiered in 1976, Einstein on the Beach by Robert Wilson and Phillip Glass stretched audience members?
experience of time by saturating sensory perception over the opera?s five-hour duration.
2012 will see the revival of Einstein on the Beach in a new production slated for international tour. In conjunction
with performances of this production in Toronto, the University of Toronto will host a two-day interdisciplinary conference on Opera and forms of New Music
Theatre, that takes perception and sensory experience as its starting points. Addressing collaborative creation and the changing reception of opera and
new music theatre in the last fifty years, this conference seeks to draw upon varied fields including perception, sensory studies, affect theory, audience
studies, phenomenological and aesthetic theories, narratology, and the nature of contemporary operatic staging and theatricality.
Topics of interest may include, but are not limited to, the following:
Multi- and Inter-sensory Perception
How do our senses work together and in opposition when experiencing contemporary opera and new music theatre?
How might we analyze the haptic and kinesthetic modalities of opera and new music theatre?
Time, Contemporaneity, and Temporality
How do historical time, perceptual time, and aspects of compositional-temporal organization intersect in contemporary
opera and new music theatre?
Repetition and Excess
How do minimalist aesthetics work with and against the grain of opera and new music theatre? How might repetition
and excess in contemporary opera and new music theatre structure audience members? affective responses?
Sensory Scholarship
How do we talk about our sensory experiences of opera and new music theatre? How might we write about them,
or respond to them in alternate, performative ways?
Social Efficacy, Community Engagements
How are opera and new music theatre creators working in and with communities to collaboratively develop new
work? What challenges are involved in such partnerships?
Setting the Stage, Situating the Audience
How do the sites of performance, and site-specific practices, influence the creation and perception of opera
and new music theatre? How have visual media technologies and unconventional performance spaces been used to engage audiences and invigorate productions?
Please submit an abstract of approximately 300 words no later than September 15, 2011 to: Perceptual.tensions(at)gmail.com.
Organizing Committee : T. Nikki Cesare (Drama, University of Toronto), Caryl Clark (Music, University of Toronto),
Linda Hutcheon (Comparative Literature, University of Toronto), Michael Hutcheon (Medicine, University of Toronto), Sherry Lee (Music, University of Toronto),
Dylan Robinson (Royal Holloway, University of London)
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14-17
juin 2012, Wolfville (Nouvelle
Écosse)
Sounding the Nation ?
Diaspora, Indigeneity,
and Multiculturalism
Call for Papers:
International
Association for Popular Music Studies - Canada Chapter,
Acadia University, Wolfville, Nova Scotia, June 14 -
17, 2012
The full
Call for Papers may be found at:
http://iaspm.ca/2011/09/cfp-iaspm-canada-conference-2012/
Proposals
for single papers, workshops, performances or other
forms of presentation may be submitted. Abstracts for
individual papers, roundtables, and workshops should
be no longer than 300 words; proposals for panels should
include an abstract of no more than 300 words for the
panel as a whole, as well as abstracts of no more than
300 words for each paper proposed for the panel. It
is possible that the program committee may accept a
panel but reject an individual paper on that panel.
Each abstract should include a short biography (100
words) of the author (or each author if there are more
than one) including the institutional affiliation if
applicable and email address of each author. Each abstract
should also include five keywords identifying the subject
of the paper.
For questions
about the conference, contact program chair, Christina
Baade (baadec at mcmaster.ca), or local arrangements
chair, Jeff Hennessy (jeff.hennessy at acadiau.ca)
Submission
deadlines : October 20, 2011 (for consideration for
travel reimbursement)
November
20, 2011 (final deadline for all others)
Applicants
will be notified of the program committee’s final decisions
by January 9, 2012.
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15-17 juin 2012, Montréal
Autour du clavecin d'autrefois : A Tribute to Kenneth Gilbert in Montreal
McGill University, Montreal, Canada, 15 to 17 June 2012
Perhaps more than any other leading figure in the field of early keyboard music, Kenneth Gilbert has engaged
with both scholarship and performance with equal success. He has made over 50 recordings of international keyboard repertoire that spans the Renaissance
to the Enlightenment; he has written numerous articles and reviews; he has edited new publications of music that constitute a treasure for generations
of early music scholars and performers; and he has profoundly influenced, through his teaching, many of the top harpsichordists in the world.
Gilbert's pioneering work with that prima materia of early keyboard music, the historical keyboard, is paramount
among this long list of achievements. His design and his supervision of the installation of a Beckerath mechanical action organ in a Montreal church in
1959, and his performances on that instrument revolutionized organ building in Canada and in North America. After 1965 he devoted most of his energies
to the harpsichord and constituted a collection of some of the most famous original instruments in the world.
Autour du clavecin d'autrefois: A Tribute to Kenneth Gilbert in Montreal, celebrates Gilbert's career achievements,
his influence on early music scholarship and performance, and his unique pioneering spirit, discernment, and passion for the early keyboard that have made
him an international personality of the world of art and culture. McGill University's Schulich School of Music, where Kenneth Gilbert is Adjunct Professor,
is the venue for the event, which will feature public performances on instruments from the Kenneth Gilbert collection, scholarly papers and panel discussions
on such issues as early music editions, early keyboard building, historical performance practice, harpsichord and organ repertoires and performance styles,
lecture-recitals and informal talks, as well as tributes in music and words from students, disciples, and colleagues.
Papers are invited on topics that relate to the multifaceted contributions of Kenneth Gilbert, with special
focus on harpsichord and early keyboard building, collections, and the wider implications of organology and related research. Other possible areas include:
- Intersection of performance and scholarship in early music
- Historiography of the early music revival
- Features of early keyboard repertoires
- Early music (esp. keyboard) editions and manuscript sources
Proposals for papers should be sent to Dr Rachelle C.-Taylor (rachelle.taylor@mcgill.ca) no later than 31
August 2011, and including an abstract of no longer than 250 words
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27-30
juin 2012, Edinburgh
Seventeenth Biennial Conference on Nineteenth-Century Music, Edinburgh University
Conference Dates: Wednesday 27
June - Saturday 30 June 2012
Deadline for Submissions: 1 November
2011, at 5 p.m. GMT
Submission details and preliminary
conference information available here: http://sites.ace.ed.ac.uk/c19music/
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