Archive for October, 2014

Call for participants: Music Analysis Workshop

Saturday 29th November 2014

(10.00 am – 5.00 pm)

Cardiff University, School of Music


The Society for Music Analysis is launching its first Music Analysis Workshop, organised in conjunction with Cardiff University’s School of Music, which will host the event on Saturday 29 November 2014 (10 am – 5 pm). This is the first of what we envision as a series of workshops, designed to benefit and empower graduate students who do not feel confident in music analysis as well as more experienced candidates willing to explore new or less familiar methods. Challenging negative preconceptions, it aims to make analytical methodologies comfortable for and useful to anyone interested in enriching their interpretations of musical works. The event consists of two interactive workshops lasting two hours each as well as individual surgeries: see description below, followed by the call for participants.

Workshop 1: Orient(at)ing Oneself in Post-Tonal Theory

(Dr Charles Wilson, Cardiff University)

Post-tonal theory is still castigated by some for its ‘number crunching’, or at least its narrowness of focus and abstracted formalist concerns.  But, in allowing us to rethink musical categories from the ground up, post-tonal theory poses fundamental questions about the nature of musical ‘observables’ and how they might relate to ‘perceptibles’.  This interactive session will cover not only basic concepts in set-class theory but also the dramatic changes of orientation they underwent in the transformational approaches of David Lewin and Richard Cohn, approaches that have since informed Dmitri Tymoczko’s notion of an ‘extended common practice’.  Such approaches demonstrate that, far from operating in some remote enclave of the discipline, post-tonal theory can prompt fresh hermeneutic approaches and imaginative engagements with, for example, issues of subjectivity and agency.

Workshop 2: What We Hear-See and See-Hear: A Musical Introduction to the Audio-Visual Analysis of Screen Media

(Dr Nicholas Reyland, Keele University)

This interactive workshop will teach participants a range of productive approaches to music-centred readings of film, TV and other screen media through the application of key techniques. It will also outline the hierarchy of interacting musical parameters that the screen analyst must consider – the nature of which hierarchy, in turn, raises important questions about other domains of music analysis – plus a series of key concepts that will enable participants to develop their own approach.

A limited number of 30-minute surgeries can be arranged individually alongside or in between the workshop sessions with members of staff at the hosting department. These one-to-one consultations offer an opportunity to discuss specific analytical issues and/or piece(s) of music with an experienced tutor, and are open to participants at all levels of expertise. The event will be concluded by a roundtable discussion.

Call for participants

Expressions of interest are to be sent to Martin Curda (curdam@cardiff.ac.uk) by Friday 7th November 2014.

If you are interested in arranging an individual consultation, please include a short description of the subject you would like to discuss. Please note that the number of individual surgeries we can provide is limited and that preference may be given to subjects matching the expertise of the tutors.

The workshop includes a buffet lunch: please specify any dietary requirements you might have.

You do not have to be a member of the SMA to attend, but note that members are eligible for travel bursaries. For information on membership fees and travel bursaries see the SMA’s website (www.sma.ac.uk) or contact Dr David Bretherton (treasurer@sma.ac.uk​).

Posted on 17th October 2014 by Shay Loya in CFPs, SMA No comments »

CFP: Exploring the Romantic Piano Concerto

15-17 July 2015

School of Music, University College Dublin

This conference explores the piano concerto in the long-nineteenth century by way of highlighting its contemporary importance and addressing its posthumous neglect. It seeks both to reconsider neglected repertoire from a vast array of composers including Dussek, Cramer and Field to Stenhammer and Medtner, to challenge and reinvigorate received scholarship in the area, and to provide fresh contexts for those more canonical works from Beethoven to Rachmaninov. (For the full description see http://concerto2015.com/)

The programme committee welcomes proposals from scholars working in a wide variety of fields, including historical musicology, theory and analysis, aesthetics, performance studies, cultural history and the sociology of music. Themes of inquiry include, but are not limited to:

  • questions of canon formation;
  • the piano concerto and commercial life;
  • issues of musical form;
  • genre and virtuosity;
  • archival studies;
  • gender studies;
  • musical centres and peripheries;
  • the piano concerto and the history of the piano.

Keynote Speaker Professor Claudia Macdonald (Oberlin College Conservatory of Music)
Deadline for submissions: 31st January 2015 19h00 GMT

Please submit title and abstract in one document. A biography, including the title of your paper, should be attached as a separate document with each abstract. Individual paper abstracts (including lecture recitals) should be no longer than 300 words. Themed session proposals should include a 300-word rationale for the session as a whole, and a 300-word abstract for each paper. (Themed sessions should have a maximum of four papers.) All abstracts and proposals should be submitted as a Microsoft Word document or as a PDF.

Papers and lecture recitals will be twenty minutes in duration followed by ten minutes for questions and discussion.
Proposals should be sent to the programme committee: concerto2015@ucd.ie

All applicants will be informed of the outcome of the Call for Papers by 20th March 2015.
Programme committee:
Majella Boland (University College Dublin), Nicole Grimes (Royal Holloway, University London), Paul Higgins (University College Dublin), Julian Horton (Durham University), Fionnuala Moynihan (Maynooth University), Benedict Taylor (University of Edinburgh).

For further information see http://concerto2015.com/

Posted on 16th October 2014 by Shay Loya in CFPs, Uncategorized No comments »

KeeleMAC 2015: Call for papers

The Keele Music Analysis Conference (Wednesday 8 to Friday 10 July 2015, Keele University, UK) welcomes proposals for papers on any aspect of theory, analysis and criticism relating to music and musical practices of any genre, style or period.

Proposals in the following categories will be considered:

- Papers (20 minutes maximum, with 10 minutes for discussion)
- Paper sessions (three or four papers, each of 20 minutes maximum, with 10 minutes per paper for discussion)
- Roundtable discussions (up to 6 participants, each giving a short position paper, followed by a general discussion, total running time of 90 or 120 minutes)
- Recitals, lecture-recitals and lectures illustrated by sound diffusions or audio-visual screenings (maximum duration 90 minutes)

Keynote speakers at KeeleMAC:

Professor Amanda Bayley (Bath Spa)
Professor James Hepokoski (Yale)
Professor David Neumeyer (Texas)

The conference will include a plenary roundtable ‘Women and Analysis’ with speakers including Professor Janet Schmalfeldt (Tufts), Dr Laurel Parsons (Victoria, Chair of the Society for Music Theory Committee on the Status of Women) and Professor Amanda Bayley.

The Editorial Board of Music Analysis will be pleased to discuss publication opportunities with speakers and delegates at the conference.

The conference is convened by Dr Nicholas Reyland (Keele University).

Proposal Instructions / Guidelines

Abstracts and proposals should be prepared as follows:

- For individual papers: up to 250 words
- For paper sessions: 250-word (maximum) summary and up to 200 words for each session participant
- For roundtable discussions: 250-word (maximum) and up to 150 words for each panel participant
- For recitals, lecture-recitals and lectures illustrated by sound diffusions or audio-visual screenings: 250 word (maximum) summary, plus participant CVs and recordings / scores / other details of works to be included in the event (contact organiser to discuss)

Further information for applicants:

- Only one proposal of each type is permitted per applicant
- Proposals should not substantially duplicate presentations being given at conferences or other events proximate in time or place to KeeleMAC
- All proposals must be sent by email as a MS Word or pdf attachment to keelemac2015@keele.ac.uk.
- Proposals need not be anonymised

Programme Committee:
Professor William Drabkin, Professor Julian Horton, Dr Anne Hyland, Professor Barbara Kelly, Dr Nicholas Reyland (Chair), Dr Kenneth Smith, Dr Edward Venn, Dr Alastair Williams

DEADLINE FOR PROPOSAL SUBMISSION: 5 JANUARY 2015

Applicants will be informed of the outcome of their proposal(s) by 9 February 2015

Posted on 15th October 2014 by Shay Loya in CFPs, Music Analysis, SMA No comments » Tags:

SMA Summer School: Call for Applicants

Keele University

6-7 July 2015 – preceding Keele Music Analysis Conference (8-10 July 2015)

Guest tutors:

Professor Amanda Bayley (Bath Spa)

Professor. James Hepokoski (Yale)

Professor David Neumeyer (Texas)

Building on the great success of its previous Summer Schools, the Society for Music Analysis is organising another summer school at Keele University, 6-7 July 2015. The residential course will be open to both national and international applicants, and will provide a unique forum for advanced study in theory and analysis in the UK. It will segue into the Keele Music Analysis Conference (KeeleMAC, 8-10 July2015), convened by Dr Nicholas Reyland (Keele), to which applicants are warmly invited to submit paper proposals.

Designed as an intensive programme run in small seminar and tutorial groups, the 2015 Summer School will be taught by international experts in performance studies, sonata theory and screen music – the three topics that will be the focus of its seminars and tutorials.

Attendance will be capped at c. 20 students. To be considered for a place, please submit a two-page CV including details of your academic qualifications and publications (if any), plus a short statement (up to 250 words) concerning your current work and how a place on the Summer School would assist it, to information@sma.ac.uk by 5 January 2015. Documents should be sent in Word or .pdf format. The Summer School is open to current masters and doctoral students, and to scholars within two years of completing a doctorate. Applicants will be informed of their proposal’s outcome by 9 February 2015.

The Editorial Board of Music Analysis has provided a subvention that will offer successful music students free accommodation and meals at the Summer School: participants need only cover the cost of their travel to Keele. If they intend to stay for KeeleMAC, Summer School participants will have to register and pay for the conference (student rate) separately.

Feedback on previous SMA Summer Schools:

‘Classes were intensive and interactive, taking the form of small seminar groups rather than lectures, and encouraged an equal exchange of ideas, transcending the usual tutor/student hierarchy. The SMA merits our gratitude and praise for spearheading such a valuable initiative, and one which is set to evolve and (one hopes) to become a permanent fixture in its calendar of events.’ (Dr Anne Hyland, Manchester University).

Posted on 15th October 2014 by Shay Loya in Music Analysis, SMA, Uncategorized No comments » Tags:

Analysis of World Music Interest Group events at the SMT/AMS conference

We are pleased to announce two upcoming activities sponsored by the Analysis of World Music Interest Group at the SMT/AMS conference in Milwaukee. The first consists of the special panel session “Cycles in World Music” sponsored by SMT Analysis of World Music Interest Group. The second involves a symposium on theme Global Hip-Hop.

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Analytical Approaches to Time Cycles in World Music, Nov. 7th Friday 9:30-11:00 pm (H:Mitchell)

Chair: Lawrence Shuster (College of Saint Rose)

  • John Roeder and Michael Tenzer (University of British Columbia), “Large-Scale Formative Processes in Ostinato Music”
    ·         Kofi Agawu (Princeton University), “The Metrical Underpinnings of African Time-Line Patterns”

*Please find abstract of this event at SMT/AMS program.

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Global Hip-Hop, Nov. 8th Saturday 12:15-1:45 pm (H: Walker)

Chair: Ya-Hui Cheng (Fort Valley State University)

  • Michael Berry (University of Washington), “Understanding Improvisation in Early Hip-Hop”
  • Eric Charry (Wesleyan University), “Making Hip Hop African”
  • Ellie Hisama (Columbia University), TBA

ABSTRACT:

* Understanding Improvisation in Early Hip-Hop

Michael Berry, University of Washington

At its inception, hip-hop culture was a fusion of writing (graffiti), breakdancing, DJing, and MCing. Each element was improvised, typically in response to one of the other elements. Schema theory provides a useful framework for studying and comparing improvisatory practices both within and across elements. The critical apparatus developed by Henry Louis Gates in The Signifying Monkey (1988) functions as a bridge between the work of scholars such as Walter Ong, Ian MacKenzie, and Alison Wray, and the more specific cultural practices of hip-hop.

In the first part of this essay, I use schema theory to examine improvisation in each of the four elements. The focus of this section is on a collection of live performances by Chief Rocker Busy Bee Starski, a well-known party MC. Busy Bee’s live performances consist of stock phrases and more abstract outlines that are organized according to the specific performance context. The second part of the essay examines the impact of commercialization on the four elements. Recording and broadcasting split up the four elements and initiated a shift from improvisation to more fixed, homogenous forms that are separate from their time and place of production (Rose 1994, 58).

* Making Hip Hop African

Eric Charry, Wesleyan University

Hip hop from the US has been embraced and transformed throughout Africa to such an extent that it could be considered as an African (or Senegalese, Ghanaian, etc.) cultural style there, or perhaps an African tributary of a global current. This is but the latest in a very long lineage of global cultural transformations in Africa. Islam and Christianity have long impacted musical practice in Africa, being reshaped in the process. More recent currents, such as Cuban son/rumba in the 1940s and 50s, US rock and soul in the 1960s and 70s, and Jamaican reggae and ragga in the 1970s and 80s have also stimulated innovative artistic production. The processes of transformation that African hip hop has undergone in the past few decades bear striking similarities and differences with those that unfolded about the time of decolonization and political independence in the 1950s and 60s. Indeed, hip hop draws on some of these earlier hybrid styles to gain local relevancy and authenticity. In this paper I examine the process of making hip hop African, paying special attention to the language, musical accompaniment, sampling strategies, and flow. Examples will be drawn from Senegal, France, and elsewhere in Africa.

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To know more about our group (Analysis of World Music), events and journals, please visit: http://societymusictheory.org/societies/interest/world_music

Looking forward to seeing everyone in Milwaukee this November.

Sincerely,

Lawrence Shuster and Ya-Hui Cheng,

Co-Chairs, SMT Analysis of World Music

Posted on 10th October 2014 by Shay Loya in Music Analysis, Sister Organizations No comments » Tags:

Heinrich Schenker: Selected Correspondence

ed. Ian Bent, David Bretherton, and Willliam Drabkin. Woodbridge, Suffolk (UK): Boydell Press, 2014.

We are pleased to announce the imminent publication of a volume of Heinrich Schenker’s correspondence: a selection of letters written by or to him, together with related extracts from his diaries. Schenker’s correspondents include publishers, performers, pupils, friends, scholars and educators, and cover a period of over thirty years. They reveal the multi-faceted career of a man who is known to us almost exclusively for his method of analysing music: they have much to tell us about Schenker as writer, composer, editor and teacher. They paint a broad picture of his place in the Viennese musical world, and give some idea of the influence he exerted in his lifetime in Austria, Germany and further afield.

The 450 letters offered here, an extension of the scholarship that has gone into the development of the website “Schenker Documents Online”, are published in English; they have been translated and annotated by a team of twelve scholars based in the UK, the USA, Austria, and Germany. They are presented by topic and theme, in a broadly chronological arrangement, with a substantial historical preface and introduction. The volume is thoroughly indexed by name and subject. The 544 pages of text are supplemented by 16 pages of plates, which give sample images of handwriting, drawings and photographs of correspondents, cartoons, and a title-page from one of Schenker¹s published compositions.

It is expected that the book will be published later this month or early next month, and that it will be on display, and for sale, at the joint annual meeting of the SMT and AMS in Milwaukee, 6­9 November.

Posted on 3rd October 2014 by Shay Loya in Music Analysis, Uncategorized No comments » Tags: