Actualités musicales du 1er novembre 2012

35th Meeting of the Society forMusic Theory (SMT) 2012

The thirty-fifth Annual Meeting of the Society for Music Theory will be held in New Orleans, Louisiana, from Thursday, 1 November, to Sunday, 4 November. We will meet jointly with the American Musicological Society (AMS) and the Society for Ethnomusicology (SEM).

General submission guidelines: Proposals on any topic related to music theory are invited. The SMT welcomes submissions as long as they do not represent work that has already been published in peer-reviewed publications (print or electronic). Papers that have been read at national or international meetings in a related discipline (e.g., music perception and cognition, semiotics, popular music, etc.) will be considered.

Please see the detailed guidelines for instructions on submitting proposals :
https://societymusictheory.org/meeting/proposal

Deadline: 5 p.m., EST, Tuesday, 17 January 2012. No proposals will be accepted after this deadline.

Popular Music and Protest

The SMT Popular Music Interest Group, the Popular Music Section of the SEM, and the AMS Popular Music Study Group announce a joint call for papers in anticipation of the combined SMT/SEM/AMS meeting in New Orleans, Nov. 1-4, 2012. The proposed interdisciplinary session will feature scholars from each of the three fields. The topic is Popular Music and Protest, which this session seeks to explore from a variety of disciplinary perspectives. Throughout the world's history, popular music has been used as a form of political resistance, from anticolonial uprisings, struggles for civil rights, and anti-war movements to current political upheavals in the United States and the Middle East. Musicians including Woody Guthrie, Marvin Gaye, Bob Marley, U2, Rage Against the Machine, Mercedes Sosa, Public Enemy, and Cui Jian have featured prominently in the history of protest, and song in particular has been a medium through which social groups can express opposition and solidarity

Scholars are encouraged to submit a 250-word proposal for a 20-minute talk that will be followed by ten minutes of discussion. Successful proposals will use structural, historical, social, ethnographic, or analytical perspectives to address intersections of popular music and protest. Proposals should not include information identifying the author, although submissions should separately indicate 1) the home society of the author; and 2) what equipment is needed for the paper. Proposals will be considered for inclusion on the joint special session by a subcommittee comprising members of the respective popular music groups from SMT, SEM, and AMS. Once assembled, this session will then be submitted as a joint session proposal to the program committees for the New Orleans conference.

Please email submissions to alexreed at ufl.edu by the end of Friday, January 6, 2012. Authors will be notified of acceptance one week after this date, so as to allow for denied papers to be submitted individually to the conference, should the authors choose to do so.

The Art of War: American Popular Music and Sociopolitical Conflict, 1860-1945

AMS Popular Music Study Group
New Orleans, LA
November 1-4, 2012

The AMS Popular Music Study Group selection committee announces its second annual paper panel, to be held at the 2012 joint meeting of SMT/SEM/AMS. We welcome AMS, SMT and SEM members to submit paper proposals on the topic of American popular music and sociopolitical conflict. This panel seeks to complement the "Music and Protest" joint panel by examining the historical contribution of American popular music to wars, whether military, racial, cultural, or political, from the Civil War through World War II. Topics may include the following:

Nationalism, jingoism, and protest
Music and antebellum/Jim Crow racial politics
Parodies and adaptations
Musical representations of Native Americans
Popular music, cultural hierarchies, and social discipline
Labor, suffragette, and temperance movements
Music and immigrant communities
Music and cinematic representations of war

We invite submissions of 300-word abstracts for 30-minute papers. Please submit the following information, in separate files:

1) An anonymous abstract with title
2) A cover letter including the title of the proposed presentation and the author's name, email address, and institutional affiliation, if any, as well as any audio or visual needs.

Please submit the above as a .pdf, .doc, or .odf no later than Tuesday, May 1st, 2012 to mandy.smith at case.edu

Please note that this is different than the earlier CFP for the Popular Music and Protest Panel, to be presented as an interdisciplinary panel at the meeting, although the subject matter may certainly overlap.

Other topics that explore aspects of American popular music in general during the proposed period may also be considered.

Un huitième chanteur assassiné à Medellin en Colombie

Le rappeur Elider Varela, surnommé « El Duke » a été assassiné à Medellin. En deux ans, il est le huitième chanteur abattu, avec un millier de jeunes..

A l'aube mardi, des inconnus ont ouvert le feu sur Varela alors qu'il marchait dans la rue d'un quartier pauvre.

El Duke, 31 ans, a été tué « par ceux qui ont peur de l'art et sous l'oeil indifférent de ceux supposés nous protéger », selon le communiqué des organisations, soutenues par la fondation de protection de l'enfance Mi Sangre (Mon sang), dirigée par Juanes, une vedette locale de pop-music.

En fin de journée mardi, des centaines d'habitants de la « comuna 13 », le quartier où le rappeur a étét assassiné, se sont rassemblés devant les portes de l'église El Salado où elles ont allumé des bougies en hommage au chanteur.

Le répertoire de Maxime le Forestier par 876 choristes aux Nuits de Champagne

Ils étaient 876 choristes de France, Belgique et Suisse, dans le « Grand Choral », avec Maxime Leforestier et cinq chefs de chœur, pour travailler une vingtaine de ses chansons, destinées aux trois représentations de clôture des 25^e Nuits de Champagne.

Cela se passe ainsi depuis 1992, avec les chanteurs invités du Festival, phénomène qui attire plus de 5000 spectateurs.

Maxime Leforestier a été surpris et ravi par « Fontenay sentimental », un morceau créé par les chefs de choeur, mélangeant des titres Fontenay-aux-Roses et L'éducation sentimentale.

Mais, une autre immense chorale se produit également avec un grand succès, celle des enfants des écoles et collèges de la région.

Claudio Abbado de nouveau à la scale après 26 ans d'absence

Claudio Abbado, été directeur musical de la Scala de Milan pendant dix-huit ans, de 1968 à 1986. Il y revient une soirée pour diriger le Philharmonique de la Scala et l'Orchestre Mozart de Bologne qu'il a fondé, avec Daniel Barenboïm au piano.

Au programme : Le premier concerto Chopin et la 6^e Symphonie de Gustav Mahler.

Riccardo Muti a repris la direction de la scala en 1986, et Daniel Barenboïm en 2006.

Alicia Alonso au Festival de La Havane

Alicia Alonso a causé la surprise en esquissant à 91 ans quelques pas de danse, lundi à l'ouverture du 23^e Festival de ballet de La Havane, accueillis par une ovation interminable des spectateurs.

Quasiment aveugle et invalide, elle a dansé avec Jorge Vega, ex-danseur étoile cubain également à la retraite, sur un thème du compositeur cubain Ernesto Lecuona (1895-1963), créateur il y un siècle de sa composition la plus célèbre, « La Comparse » auquel le Festival rendait un hommage spécial.

Selon le quotidien Juventud Rebelde, « Alicia Alonso, directrice et chorégraphe du Ballet national de Cuba, présidente du Festival, a démontré que son esprit dansait encore à la hauteur de la légende ».