musicologie

lundi 24 mai 2021

Global Musicology – Global Music History

25–27 January 2022, Hong Kong
Virtual Conference

We seek to interrogate ‘global music history’ as both a field and methodology against the geopolitical realities of a ‘global musicology’. We invite papers that engage with the rich potential of ‘global music history’ within, adjacent to, and/or against ‘global musicology’.

While ‘global history’ is fast emerging as both a field and methodology in music studies, there are louder-than-ever calls for a ‘global musicology’ that strives for a ‘dynamic interconnectivity’ between multiple musicological regions vis-a-vis an all-encompassing ‘universal’ or a self-enclosing ‘world’ music (Chua, IMS newsletter 7, no.1, 2020). Given that musicology has been intensely Anglophone and Eurocentric, such disciplinary shifts towards the global are welcome and timely, albeit not without challenges. This conference therefore aims to create a space at the intersection of ‘global musicology’ and ‘global music history’ to foster productive dialogue across the academic boundaries involved.

We solicit proposals in the following areas, but the list is indicative rather than exhaustive. We particularly welcome perspectives from outside of the Euro-American West that presently dominates the music academy.

Label

The act and politics of labelling: What might ‘global music history’ and/or ‘global musicology’ mean to the re-/drawing of disciplinary boundaries? Are the labels uniting, separating, or even further fracturing music’s many splintered disciplines? Is ‘global music history’ a more sanitised version of ‘world music history’, which arguably has a more immediate colonial connection?

Musicology’s often-cited tendency to borrow new developments (including global history) from other disciplines: What might this tendency say about the discipline’s colonial history and/or its continued colonial practices?

Practice

How does musicology outside of the Euro-American centres maintain and/or resist Western discursive practices?

How might academic journals, the classroom, and/or individual scholars enable ‘global music history’ and/or a ‘global musicology’?

Given the problematic boundaries between ‘global music history’ (of musicology) and ‘world music history’ (of ethnomusicology), would ‘sound studies’ be better at facilitating inter-/disciplinary possibilities in research?

How might we reconceive entry requirements for music studies?

Case studies

Social, cultural, political, and/or historical studies that engage with the conference’s theme.

Individual Paper: 20 minutes long followed by 10 minutes for discussion. Please submit a 300-word abstract and a 100-word biography.

Forum/Roundtable/Workshop: 120 minutes long with up to 6 presenters on a given topic, organised by the convener(s) of the session. Please submit a 300-word overall rationale, in addition to a 200-word abstract and a 100-word biography for each of the participants.

The submission deadline is 1 July 2021. Please send all submissions and enquiries to GlobalMusicology@gmail.com.

Notification of acceptance will be sent out in early September.

In recognition of the geopolitical realities with which this conference seeks to engage, we will be holding the event on Zoom over three half days in an attempt to reach as many time zones as possible. We strongly encourage World Englishes to other the English language and to ‘make audible the imperial power sewn into the language.’ (Hong, 2020)

There will be no registration fees. Moreover, in order to acknowledge the challenges that material differences make to knowledge production, we have obtained funding to provide small honoraria to students and established scholars from low- and middle-income countries.

Keynote Speaker, Daniel K. L. Chua, Professor and Chair of Music, University of Hong Kong; President, International Musicological Society

Organisers : Amanda Hsieh (The Chinese University of Hong Kong, HKSAR), Vera Wolkowicz (University of Buenos Aires, Argentina).

Programme Committee : Amanda Hsieh (The Chinese University of Hong Kong, HKSAR), Emmanuel Nnamani (University of Port Harcourt, Nigeria) , Sergio Ospina Romero (University of los Andes, Colombia), Shzr Ee Tan (Royal Holloway, University of London, UK), Vera Wolkowicz (University of Buenos Aires, Argentina).


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Lundi 24 Mai, 2021