Actualités musicalesvendredi 17 octobre 2014
Gluck and the Map of Eighteenth-Century Music, International interdisciplinary conferenceCall for Papers 17-19 octobre 2014, Macomb (USA, IL) Submission deadline: 1 March 2014 This interdisciplinary conference, planned to coincide with the tercentenary of the birth of composer Christoph Willibald Gluck (1714-1787), aims to re-evaluate the life and work of this pivotal figure in music history from new perspectives. Our common theme will be to explore Gluck's theatrical works (operas and/or ballets) as they reflect the pluralist identity of the itinerant eighteenth-century musician, continuously adapting to changing tastes at the courts of Europe. For such a composer, the fluidity of musical texts-—notoriously borrowed, repurposed, or revised—-may also reveal a "map" of sorts: one that retains multiple stylistic and aesthetic imprints of time and place. Highlights of our conference will include a keynote speech by Prof. Bruce Alan Brown (University of Southern California) and several concerts, among them a reconstruction of Gluck's fragmentary 1746 opera for London La caduta de' giganti. We invite proposals for individual papers and lecture-recitals of 30 minutes' duration (followed by questions and discussion), and round-table and panel sessions of 90 minutes (including discussion). We particularly welcome interdisciplinary proposals that will explore the complex nature of Gluck's compositional world and career. Please send proposals, including an abstract of approximately 350 words, by 1 March 2014, to: Prof. Brian Locke ( b-locke at wiu.edu ). Of Storms of Steel and Turnip Soup: The German Experience of World War I in Art and CultureCall for Papers 17-28 octobre 2014, Calgary Calgary Interdisciplinary Symposium in German Studies To be held at the Husky Oil Great Hall at the Rosza Centre at the University of Calgary, October 17-28, 2014. Keynote speaker: TBA The "Great War" created a deep caesura in German and Austrian life and culture. The arts and their proponents were particularly affected by it, not least because many artists fought and lost their lives in the war. Artists and intellectuals reacted both at home and on the front lines, and their experiences were reflected in a plethora of literary texts, art works, musical compositions, and other forms of artistic expression. During this anniversary year of the outbreak of the war, we are planning a symposium that aims to explore artistic treatments of the German/Austrian experience of the war, and of Germans/Austrians in the war. Possible areas of explorations may include, but are certainly not limited to: * the writings of Ernst Jünger, Erich Maria Remarque, Georg Trakl, Hermann Hesse, Thomas Mann, Hermann Broch, and Bertolt Brecht * the art of Franz Marc, Otto Dix, George Grosz, and Käthe Kollwitz * the music and/or critical expressions of Alban Berg, Anton Webern, Franz Schreker, Richard Strauss, Paul Hindemith, and Kurt Weill * the artistic life (e.g. productions, exhibits, publications) in Germany and Austria during the war * the depiction of the German/Austrian war experience in film, TV dramas, and comics * the (philosophical) intersections between art and death We invite proposals from all relevant disciplines of no more than 500 words by February 15, 2014 to both Maria Euchner (meuchner at ucalgary.ca) and Stefan Höppner (shoppner at ucalgary.ca). Papers should not exceed 20 minutes in length. XXI Convegno annuale della SIDM17-19 octobre 2014, Vérone Verona, Conservatorio di musica “Evaristo Felice Dall'Abaco” CALL FOR PAPERS
Il ventunesimo Convegno Annuale della SIdM si svolgerà quest'anno a Verona, in collaborazione con il Conservatorio di musica “Evaristo Felice Dall'Abaco”, dal 17 al 19 ottobre 2014. Il 18 ottobre alle ore 16 avrà luogo l'assemblea annuale dei soci. Si invitano gli studiosi interessati a presentare proposte di relazione che potranno riguardare qualsiasi argomento di ricerca. L'abstract dovrà recare il titolo della relazione e un testo della lunghezza massima di 30 righe, che indichi l'argomento della ricerca svolta, lo stato attuale delle conoscenze sull'argomento, i contenuti principali della comunicazione e obiettivi della ricerca, gli apporti del proprio contributo rispetto allo stato attuale delle conoscenze. Oltre a ciò, bisognerà allegare un breve curriculum (max 15 righe) e indicare le eventuali attrezzature richieste. La relazione dovrà avere una durata massima di 20 minuti (corrispondenti a un testo di 8 cartelle per un totale di 16.000 caratteri). Non è possibile inviare più di un abstract. L'abstract va inviato via e-mail all'indirizzo convegni@sidm.it, o per posta al recapito della Società Italiana di Musicologia, Recapito postale: Casella Postale 318 Ag. Roma Acilia, via Saponara 00125 Roma, indicando sull'esterno della busta la dicitura “XXI Convegno Annuale”. La richiesta va corredata di nome, cognome, indirizzo e telefono (o anche fax ed e-mail). Gli abstracts dovranno pervenire entro il 15 giugno 2014. Le accettazioni verranno comunicate entro il 15 luglio. Per ulteriori informazioni, vedi il sito https://www.sidm.it, oppure contatta la segreteria (segreteria@sidm.it), o telefona al numero 338-1957796 (da lunedì a venerdì dalle ore 9 alle ore 13)
XXI ANNUAL CONFERENCE OF SIDMVerona, Conservatorio di musica “Evaristo Felice Dall'Abaco” 17-19 October 2014 CALL FOR PAPERS The twenty first Annual Conference of the Italian Musicological Society will take place in Verona in collaboration with Conservatory of Music “Evaristo Felice Dall'Abaco” from 17 to 19 October 2014. Scholars from all over the world are invited to submit their paper proposals. Every topic in the field of musicological studies is accepted. In the abstract (which has not to exceed 30 lines) please indicate the title of the proposed paper, the state of the art in your research field, with an outline of the project and the specific contribution to the current knowledge. Along with the text please send also a short C/V (max 15 lines) and indicate the A/V equipment required. The paper shall not exceed 20 minutes in duration (corresponding to an 8-page text containing to a maximum of 16000 characters). Scholars are not allowed to send more than one abstract. The abtsracts have to be sent to the e-mail address convegni@sidm.it or – by mail – to the Società Italiana di Musicologia, Casella Postale 318 Ag. Roma Acilia, via Saponara 00125 Rome, Italy (please add on the envelope the indication “XXI Convegno Annuale”) no later than June 15, 2014. Acceptance of papers will be notified by July, 15, 2014. Please provide your full name, address, phone number, fax number and e-mail address. For further information about the conference please visit the web site: https://www.sidm.it. L'Autre dans la théorie musicale. Altérité et ouverture. Congrès annuel de la GMTH à Genève les 17-19 octobre 2014La Gesellschaft für Musiktheorie (GMTH) est une association de langue allemande réunissant les chercheurs dans le domaine de la musique : professeurs de théorie, d'histoire, d'esthétique, d'analyse, de composition et de formation musicale, compositeurs et musicologues se retrouvent annuellement lors d'un congrès dont les actes sont publiés dans la revue de la société. La GMTH est internationale en ce sens qu'elle réunit les pays ou les régions de langue allemande et sa revue est la Zeitschrift der Gesellschaft für Musiktheorie (ZGMTH). En cette année 2014, la GMTH souhaite élargir son audience et toucher des collègues qui n'ont pas encore pu participer à la réflexion qu'elle mène dans le champ de la théorie musicale. Dans ce sens l'organisation de son congrès annuel par la Haute école de musique de Genève et l'Unité de Musicologie de l'Université de Genève veut être une ouverture vers le monde francophone. De son côté, la Haute école de musique de Genève développe des contacts privilégiés avec des conservatoires en Palestine, en Inde, en Chine et au Brésil. Ces projets montrent un souci d'ouverture à des scènes musicales différentes avec toute la richesse que cela permet. Aussi la thématique de cette année sera formulée pour permettre la réflexion sur ce qui tourne autour des frontières, autour de la connaissance d'un Autre qui peut prendre différentes formes. Par ailleurs l'environnement sonore du musicien est maintenant composé de styles et d'esthétiques multiples, son activité se situe dans des contextes de plus en plus variés et le compositeur se nourrit de concepts d'origines multiples. Le musicien se situe de plus en plus dans des contextes sonores différents, le compositeur se nourrit de concepts très variés. La théorie musicale va prendre ces influences diverses en considération ce qui lui demande d'élargir les frontières de sa réflexion. Paradoxalement il est plus facile de s'intéresser aux pays éloignés qu'aux cultures proches : ainsi les zones linguistiques voisines comme celles de langue française et celles de langue allemande n'ont pas encore fait l'objet d'études systématiques. Il est de ce point de vue déjà intéressant de constater que les mots théorie musicale et Musiktheorie, musicologie et Musikwissenschaft ne font déjà pas référence aux mêmes conceptions ni aux mêmes pratiques. Dans une volonté de dépasser les limites de la zone linguistique germanique, le Congrès annuel de la Gesellschaft für Musiktheorie (GMTH) est cette année organisé par la Haute école de musique de Genève (HEMGE), avec pour thème « L'Autre » : « L'Autre » dans la théorie musicale, mais aussi « une autre » théorie de la musique. Proposée sous plusieurs aspects par la Haute école de musique de Genève, cette thématique partage une vision cosmopolite due à la fois à sa situation géographique et aux projets en cours avec les cultures de régions extra-européennes. Le comité d'organisation du congrès Télécharger le programme complet
Theatres of the Crimean War: Sound, Affect and Media in the Production of Wartime17-18 octobre 2014, King's College London The Crimean War (1853-6) was a global conflict involving the clash of rival empires as well as a host of Western nation states undergoing processes of territorial and ideological formation. The prosecution of war was recognisably modern: in the name of abstract geopolitical grand strategies, vast armies fought battles of attrition on multiple, widely separated fronts, while populations at home received an unnerving volume of news on the war's developments, and setbacks, at unprecedented speeds, by means of telegraphy, newspapers, and photography. Our conference proposes to use the Crimean War—the historical event and the expression of a cultural environment (that of media-produced wartime)—as a vehicle for thinking about the relationship between war and sound in the nineteenth century. In an era before sound recording, the sounds of this war have been evoked in newspaper reports, literary accounts and musical inscriptions; sound, both on and off the battlefield, figures vividly through metaphors, narratives, theatrical entertainments and cultural productions. Drawing impetus from recent work in sound studies, media archaeology and literary studies of war, we ask: do the sounds of warfare engender particular forms of culturally and politically conditioned affect? More broadly, in what ways does sound during wartime connect to its linguistic, technological and musical mediation? Papers might address: ~ War, listening and the senses Abstracts of 300 words may be sent to Gavin Williams (gw363 at cam.ac.uk) until 15 June 2014.
Philosophie des cultures populaires. Genres musicaux, sociabilités et émotionsJournées d'étude 17-18 octobre 2014, Paris Université Paris 1 Panthéon-Sorbonne Centre de philosophie contemporaine de la Sorbonne (PhiCo) – EA 3562 Culture, Esthétique, philosophie de l'art (CEPA) & Expérience et Connaissance (EXeCO) Sous l'égide de l'ANR « Pouvoir des Arts : expérience esthétique, émotions, savoirs, comportements » En partenariat avec Volume ! la revue des musiques populaires
Comité d'organisation : Marc Cerisuelo, Danièle Cohn, Catherine Guesde, Sandra Laugier Comité scientifique : Marc Cerisuelo, Danièle Cohn, Catherine Guesde, Gérôme Guibert, Matthieu Saladin, Sandra Laugier
Vendredi 17 octobre
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