Posts in Category:
Upcoming

Mark your calendars: Two Talks by K. Meira Goldberg

K. Meira Goldberg

In line with the Foundation for Iberian Music’s developing Fandango Project, in concordance with the expanding Digital Humanities at the Graduate Center and beyond, Dr. K. Meira Goldberg, Scholar in Residence, will be an invited speaker at two upcoming online public online events focusing on transatlantic circulations of representations of race. On November 6 she will present “Tilting Across the Racial Divide: Jacinto Padilla ‘El Negro Meri’” at the symposium Race and Blackness in the Atlantic World, at the University of Texas, Austin. On December 11 she will participate in a  Public lecture/conversation on Race and Peninsular/Transatlantic Studies at El Taller@KJCC (NYU), a working group dedicated to Peninsular Studies that is organized from NYU but with active participation from faculty and students across the graduate Consortium and beyond to include area scholars and students.

The Global Reach of the Fandango in Music, Song and Dance – Editors: K. Meira Goldberg, Antoni Pizà

New York Andalus Ensemble Video and Hunter College Presentation

New York Andalus Ensemble logoNew York Andalus Ensemble, one of the Foundation for Iberian Music’s ensembles in residence, has a free public performance and lecture, “Arab Inter-culturality in al-Andalus,” upcoming at NYC’s Hunter College on April 1st. Read more in their latest news letter; for time and venue information, please get in touch with info@asefamusic.com

They also recently completed a successful west coast tour. You can watch some of their sold-out concert at Kuumba’s Santa Cruz on their YouTube channel below. 

Stay tuned for their annual spring concert with the large ensemble, to be scheduled in May, and help keep NYAE’s music and intercultural outreach going with a tax-deductible donation. The Foundation for Iberian Music is a non-profit educational organization supported entirely by grants and private donations.

Upcoming Talks Moderated by the GC’s Daniel Valtueña

As a part of Flamenco Festival NYC, Graduate Center PhD student Daniel Valtueña will be moderating a series of talks called “RADICAL FLAMENCO” at NYU’s King Juan Carlos I Center.

Rocio Molina

March 12 at 6:30, he will host “Radical Flamenco: A Conversation with Israel Galván,” ahead of Galván’s performance at NYU’s Skirball Center on March 13. NYU has canceled all events through March 29 owing to COVID-19 concerns. Please check back for updates on the remaining talk.

Next, March 26 at 6:30, he will host a conversation with Rocio Molina, who will perform at City Center the following day. 

Lastly, on April 3 at 7:30, he will talk with flamenco collective Los Voluble, about their current project “Flamenco is Not a Crime.” Los Voluble will perform at Joe’s Pub on April 4. 

Each of these talks is free and open to the public, and will be presented en español. Receptions to follow. For more information about the performers, click the links above.

Valtueña produced last year’s Niño de Elche residency at the GC’s James Gallery, in conjunction with the Foundation for Iberian Music, and he will also be chairing a panel on March 27 at our upcoming conference, Flamenco in the USA: From the Modernist Vanguard to the 21st Century.  Join us in celebrating a month of progressive flamenco!

CFP: Performance Practice and Sound Production at the Core of Medieval Music Research

Medieval Music Besalú is continuing their new tradition of holding a conference on medieval performance practice and research to open their annual performance workshops, which now has two sessions at different campuses: one in Besalú and another in Lleida, called International Medieval Meeting Lleida. The conference will be held at the University of Lleida in Spain, 29 June to 1 July 2020.

Papers may be submitted in English, Spanish, or Catalan. Submissions are due by 29 March 2020. 

You can download a PDF of the call for papers here, or view below:

Musicology at IMML 2020 Call for papers

Performance Practice and Sound Production at the Core of Medieval Music Research

The study of medieval music has a long and established tradition in the field of musicology. Most of the work conducted through the years focuses on the study of manuscripts, repertoires, genres, poetic and musical forms, and composers.

Yet, performance practice and sound production are still insufficiently studied at large and even seen with some apprehension. This seems rather incongruous since medieval
music with all its compositional elements, its registers, and its preservation in written form was above all conceived as an experience for the ear. The act of performance made this possible, and in that evanescent moment the sacred and secular repertoires of medieval music were articulated and directly disseminated.

Thus, performance and sound should undoubtedly be placed at the center of medieval music research since its own foundation and essence are directly connected to them. Fortunately, this realization is encouraging not only more and more musicologists, but also philologists, archeologists, anthropologists, and performers to conduct research on these subjects. Since the information that has survived is fragmentary at best, these researchers have to resort to new interdisciplinary methods that combine traditional positivist musicology with music semiology, musical iconography, performance theories, empirical musicology, musical and experimental archeology, ethnoarcheology, acoustics, and the study of surviving musical instruments.

Following the success of the strand on medieval musicology at the International Medieval Meeting Lleida 2019, in 2020 we are presenting a second edition dedicated to medieval music performance and sound production. This strand will be conducted at the: 10th International Medieval Meeting Lleida 2020, (University of Lleida, Catalonia, 29-30 of June and 1 of July 2020).

Potential topic areas might include, but are not limited to:
• Manuscripts and their performance indications
• Notation and performance
• Performance context and space
• Sound production in sacred and secular spaces
• Usage of musical instruments
• Musical instruments and their playing techniques
• Musical instruments and sound production
• Audience participation
• Music and sound perception in medieval theory and practice
• Iconography and performance
• Experimental archeology, ethnoarcheology, and performance
• Voice production and song performance
• Gesticulation, rhetoric, and music delivery

Keynote speaker: Elizabeth Eva Leach (University of Oxford)

Proposals
We invite researchers at all career stages to send abstracts of up to 250 words for 20-minute papers (in English, Spanish, or Catalan), along with a current CV. Abstracts and CVs should be submitted by 29 March 2020 to:
Màrius Bernadó (marius.bernado@hahs.udl.cat)
Mauricio Molina (maurus4@gmail.com)

Notification of acceptance will be sent via email around 10 April 2020.

Selected papers will be considered for publication in a new series dedicated to medieval music research sponsored by the University of Lleida.

For more information about the 10th International Medieval Meeting Lleida 2020, visit:
http://www.internationalmedievalmeetinglleida.udl.cat

 

Responses in Music to Climate Change: Call for Papers (deadline 10 February 2020)

The Barry S. Brook Center for Music Research and Documentation at The Graduate Center of The City University of New York announces the multidisciplinary international conference

Responses in Music to Climate Change

to be held at The Graduate Center of The City University of New York, 21–23 April 2020.

The deleterious effects of anthropogenic climate change continue to shape music making in a post-industrial, global society. Indigenous communities—those typically least responsible for the carbon emissions that have contributed to global warming—face the elimination or depletion of natural resources necessary for their musical practices and traditions. Composers of art music, many compelled to bear witness to our current times and bring awareness to threatened ecosystems, draw sound material from endangered environmental sources. Popular music, too, continues to respond through concerts, songs that thematize the environment, and celebrity endorsements for protection measures. Across all forms of music making, discourses of preservation, sustainability, visibility, and action are pervasive.

With the aim of collecting and sharing research on music’s place within the context of anthropogenic climate change, this conference welcomes contributions from a broad range of disciplines. A multidisciplinary approach not only seeks to capitalize on the wide range of ontological frameworks that each field brings, but also foregrounds the necessity for clear communication and criticism within and between disciplines. Increasingly, studies that address climate change and notions of environment point to the limitations of common categories for sound and music. As the problem is a human one, we hope to tackle the perennial question of how to develop vocabularies that transcend the boundaries of specialized jargon. Simply put, to confront a shared problem, we must develop strategies and techniques that address its complexities in a language accessible to all. A precondition for inciting and facilitating action is the widespread comprehension of the stakes, difficulties, and necessities as a global community.

We are excited to have Dr. Ana María Ochoa Gautier, Department of Music/Center for the Study of Ethnicity and Race, Columbia University, as our keynote speaker.

We seek to inspire papers and panels on the following themes:

  • Music and acoustic ecology
  • Environmental sound sources in composition
  • The sounds of endangered lands
  • Sustainability
  • Perspectives on sonic environments
  • Music and globalization/industrialization
  • Sonic ecologies
  • Politics
  • Sound studies

Please submit a proposal, with title and an abstract of no more than 300 words, and include contact information (address, phone, and email). Proposals for papers, whole panels, posters, and lecture-recitals are welcome.

Proposals may be submitted before 10 February 2020 to:
Michael Lupo
The Barry S. Brook Center for Music Research and Documentation
The City University of New York, The Graduate Center
365 Fifth Avenue
New York, NY 10016-4309
mlupo@gradcenter.cuny.edu

 

Symposium on Flamenco in the United States

Flamenco in the United States

An international conference presented in conjunction with the New York Flamenco Festival, 2020.  For full program and event details, visit our conference page.

9 am to 5 pm
27 March 2020
Skylight Room, The Graduate Center
355 Fifth Avenue
New York, New York, 10016

Talks are open to the general public and admission is free.
For registration and questions, please contact:
fandangoconference.cuny@gmail.com

Speakers and program details available on the main conference page.

Flamenco in the United States will gather scholars from a range of fields in an interdisciplinary conference highlighting the influence of the United States, through its institutions, scholars, performing artists, and audiences, on flamenco as a global form. Flamenco has been present on U.S. stages from the last decades of the nineteenth century, and this conference aims to explore how manifestations of flamenco in the U.S. have reflected back upon and contributed to the development of their original models. As nineteenth-century French dance critic Théophile Gautier wrote of his 1840 visit to Spain,

“Spanish dances only exist in Paris, just as seashells are found only in curiosity shops, never at the seashore. O, Fanny Elssler!…even before we came to Spain, we suspected that it was you who invented the cachucha!”

Questions and topics to be considered may include, but are not limited to:
• What is the impact of U.S. performers and audiences on the development of flamenco?
• How have U.S. scholars shaped flamencology in both the U.S. and in Spain?
• Mapping the presence of flamenco in U.S. institutions such as universities, high schools, private studios, community centers, research centers, libraries, museums, etc.
• Bibliographies, filmographies, and discographies of flamenco in the U.S.
• From Sol Hurok to Claudio Segovia and Héctor Orezzoli to Miguel Marín, how have producers and impresarios shaped flamenco in the U.S.?
• From player pianos to digital technology: how have U.S. recording techniques impacted flamenco?
• Specific topics such as flamenco and jazz, flamenco and the folk music scene of the 1950s and 60s, U.S.-based flamenco dance companies, Spanish dance in the early modern dance pioneers of the early-twentieth century, Spanish dance in blackface minstrelsy etc.

Submissions for this symposium are closed.