Year in Review We’re winding down the 2017-18 school year and we wanted to recap some of our events from the past year, as well as events that you have to look forward to next year. The year began with the debut of K. Meira Goldberg’s new flamenco piece, Raíz, which she has performed several times since and will hopefully continue to perform. We hosted a screening of the new documentary by Miguel Ángel Rosales, Gurumbé: Afro-Andalusian Memories (Canciones de tu memoria negra), with a flamenco performance and round-table discussion. It was a good year for publications. Director Antoni Pizà contributed essays to two books, Arquitecturas de la emoción: La música de Benet Casablancas (ed. Javier Pérez Senz), and Music cultures in sounds, words and images: Essays in honor of Zdravko Blažeković (ed. Antonio Baldassarre and Tatjana Marković). Selected papers from our second fandango conference, Transatlantic Malagueñas and Zapateados in Music, Song, and Dance, were published in Diagonal. We were involved in several talks and presentations in Spain. Fundación Juan March performed a new edition of Bretón’s piano quintet, which was discovered and edited by María Luísa Martínez, with Antoni Pizà. Martínez gave a talk at the Fundación on her new edition. Pizà gave several talks as well, on disabilities in music and another new re-discovery, the opera El reloj de Lucerna, which was performed by Theatre Principal de Palma. Since last year’s production of Literes’s Los elementos by the City Opera, advised by Antoni Pizà, Literes has continued to enjoy a small renaissance, thanks in some small part to Pizà{s efforts. Pizà will be giving the keynote address this summer at an early music festival in Spain that is dedicated to the works of Literes. The New York Andalus Ensemble presented its annual fall and spring concerts in their new partnership with venue La Nacional, where the Foundation has hosted numerous events, and NYAE director Samuel Torjman Thomas had an extremely productive year with his ASEFA music project, giving many talks and presentations with small ensembles of NYAE members. Lastly, partnering with Flamenco Festival NYC, we organized two round-table discussions, Weaponizing Flamenco, with Juan José Suarez “El Paquete” and Naike Ponce, and Musical Dynasties, a conversation with Pepe Habichuela and son. For a list of many of the Foundation’s past events and collaborations, have a look at our newly updated At a Glance page! In no particular order, it presents a master list of our past contributors. What do we have to look forward to? For starters, we have two conferences planned, with another in the works. This October will be our examination and celebration of racial diversity in historical and modern flamenco, The Body Questions: Celebrating the Tangled Roots of Flamenco. Then, in the spring, pack your sunscreen and head to Veracruz, Mexico for our third fandango conference, Transatlantic Rhythms in Music, Song, and Dance. We are also putting together a conference around another musical discovery, “Beyond the Guitar” by Joaquín Rodrigo, to be held in 2019. We also look forward to the premiere events from our newest resident ensemble, the Quasar Trio. We hope you enjoy your summers. We’ll be in and out until the start of next school year, when we’ll be back with more news of upcoming events.
La Ricarda: Two Views, a New Exhibit An exhibition of photographs of the iconic house La Ricarda opened today at Fundació Joan Miró of Barcelona. La Ricarda, in El Prat del Llobregat, was built by the brother of one of the exhibit’s featured photographers, Joaquim Gomis. It was a center of avant-garde events for Catalonia in the 1960s. The photographs by Joaquim Gomis and Magels Lambet show La Ricarda during the ’60s as well as in the decades after it was inhabited. Many well-known artists, including John Cage, Merce Cunningham, David Tudor, Gordon Mumma, plus many other pioneers of electronic music are captured in the photographs. The exhibition curators draw on foundational new research by Antoni Pizà, including the essays “¿Normal para España? (La primera actuación de John Cage en España hace cincuenta años),” (in the Fundación Juan March catalog for Escuchar con los ojos: arte sono en España, 1961-2016, 2016) and “Joan and John: How Miró Sponsored the Merce Cunningham Dance Company in Sitges in 1966,” in the newly published festschrift, Music Cultures in Sounds, Words, and Images: Essays in Honor of Zdravko Blažeković (Hollitzer, 2018). The exhibit runs through the end of September.
Raíz at Dixon Place This Saturday, May 12, resident scholar K. Meira Goldberg will be performing her flamenco piece Raíz with José Moreno at NYC’s Dixon Place, in the lower east side. Advance tickets are $15 ($12 student/senior/NY ID). Tickets and full information are available here. About Raíz: The performance emerges from the poetic and transgressive realism of arte povera: a return to simple objects and messages, a stage where traces of nature and the industrial come alive. The Crone embodies the strength of instability. She enacts rejection and rebellion, memory and faith, feasting and solitude. Her pilgrimage maps a homeland containing many forces in tension. This contemporary quejío opens spaces and sensations where wings may find ground and roots take flight.
“El Reloj de Lucerna” In the News As we mentioned last week, while in Spain for the critically-acclaimed first performance of opera El reloj de Lucerna in over a hundreds years, Foundation director Antoni Pizà did a couple of short radio interviews about the opera. First, you can hear him on Spain’s national radio here. The segment begins around the 25 minute mark—you’ll know it when you hear the orchestra—and lasts for about two minutes. Next, you can hear Pizà on IB3 at the 26 minute mark. The segment opens with Miquel Marqués’ first symphony. Enjoy!
New Edition of El Llibre Vermell Many years ago, the Foundation for Iberian Music hosted a concert, symposium, and doctoral seminar on El Llibre Vermell of Montserrat, featuring guest speaker Maricarmen Gómez Muntané (Universitat Autònoma de Barcelona). We are pleased to announce that Prof. Gómez Muntané has now published an edition of the Llibre Vermell. El Llibre Vermell: Cantos y danzas de fines del Medioevo (Fondo de Cultura Económica, 2017) is both a black and white facsimile edition and modern critical edition of the manuscript’s music. El Llibre Vermell is a 14th century devotional manuscript in Latin, Occitan, and Catalan and contains six folios of music—songs described in the manuscript as “chaste and pious” songs and dances for pilgrims to Montserrat. Montserrat is the home of the Black Madonna and was rumored in the Middle Ages to be the hiding place of the legendary Holy Grail. The abbey’s extensive libraries were destroyed in 1811 when Napoleon’s armies sacked it; El Llibre Vermell is one of the only books that survived. Gómez Muntané’s edition is listed at only 16,90€, and it received a glowing review in Sonograma Magazine, which you can read here.
Antoni Pizà Interview in Ara While in Spain for his recent presentations, Foundation for Iberian Music director Antoni Pizà was interviewed for Ara about some of his recent work, including the recently reconstructed Pere Miquel Marquès opera El Reloj de Lucerna. This work just received its first performance in over a hundred years at the Teatre Principal de Palma. Pizà gave a talk on the work and moderated a roundtable discussion, sponsored by the Teatre. Ara published two versions of the interview, one long and the other abridged; you can read the longer version here. Pizà also did a couple of Spanish radio interviews about the opera. Links to those broadcasts are in this post.
New Essay Collection In Honor of Zdravko Blažeković In early April, at a surprise reception held at New York’s Cosmopolitan Club, a new essay collection in honor of the Brook Center’s Zdravko Blažeković (RCMI and RILM) was presented to him: Music cultures in sounds, words, and images (Hollitzer 2018). Music cultures in sounds, words and images, edited by Antonio Baldassarre and Tatjana Marković, is dedicated to the 60th birthday of Zdravko Blažeković (b. 1956, Zagreb). After his studies of musicology and first work experiences in Zagreb, Blažeković moved to New York City, where he is since 1996 the executive editor of the Répertoire International de Littérature Musicale (RILM), and since 1998 director of the Research Center for Music Iconography (RCMI) as well as editor of one of the leading journals for music iconography, Music in Art, in the framework of the Barry S. Brook Center for Music Research and Documentation at the Graduate Center of the City University of New York. In view of Blažeković’s very broad multidisciplinary interests, including historical musicology, music iconography, organology, archeology, lexicography and databases, this book contains 38 studies in six languages (English, German, Italian, Serbian, Croatian, Chinese) organized in six chapters: “Sounds of nations”, “Words on musics”, “Performance of musical cultures”, “Images on musics”, “Organology”, and “Classifying data on music”. Music Cultures is a beautiful, full color volume available through Amazon.
April New York Andalus Ensemble Events You have several opportunities to catch members of the New York Andalus Ensemble this month! On April 25, you can see the full ensemble at La Nacional for their annual spring concert. Tickets are only $20 ($16 student/senior), available through Eventbrite. There are also a couple of upcoming performances with small ensembles, as a part of NYAE director Samuel Torjman Thomas’ ASEFA music project. The small ensemble will be performing at Vassar College on April 22 and at the Shephardic Temple of Cedarhurst on May 3. Thomas will be giving pre-concert talks. For more information and tickets, please visit the ASEFA website.
Schedule: Musicology in the Age of (Post)Globalization. The Barry S. Brook Centennial Conference Tuesday, 3 April 2018 9:00–10:00 Registration Elebash Recital Hall lobby 10:00 Welcome and Opening Remarks Elebash Recital Hall 10:15—12:15 Musicology in a (Post)Global Age I: Panel Discussion Elebash Recital Hall Chair: Tina Frühauf Discussants: Salwa El-Shawan Castelo-Branco (Universidade Nova de Lisboa and President of the ICTM) Laurenz Lütteken (Universität Zürich and Editor-in-Chief of MGG Online) Philippe Vendrix (President of the Université de Tours) Egberto Bermúdez (Universidad Nacional de Colombia and Vice-President of the IMS) 12:15—14:00 Lunch Break 14:00—16:00 Musicology in A (Post)Global Age II: Issues and Perspectives Elebash Recital Hall Chair: Philippe Vendrix (Université de Tours) David Blake (State University of New York, Potsdam), Omnivorous Values and Disciplinary Critiques of Musicology Wolfgang Marx (University College Dublin), Critiquing Oneself Back into Business? Post-Factual Narcissism in Musicology Lisa Urkevich (American University of Kuwait), Why Can’t My Country Have a Beethoven? The Need for Global Musicology in the Contemporary World Juliana Carla Bastos (Universidade Federal do Piauí), Towards a Sonorous Ethics: Perspectives for Ethnomusicology in the Twenty-first Century 16:00—16:30 Coffee Break Elebash Recital Hall lobby 16:30—18:00 Tribute to Barry S. Brook Elebash Recital Hall Chair: Barbara Dobbs Mackenzie H. Robert Cohen ( University of Maryland, Professor Emeritus, and Répertoire International de la Presse Musicale) Maria Calderisi Bryce (National Library of Canada, retired) Barbara Dobbs Mackenzie (Barry S. Brook Center for Music Research and Documentation and RILM) Randy Brook (son of Barry S. Brook) Zdravko Blažeković (Research Center for Music Iconography and RILM) 18:00—21:00 Reception (open to conference registrants only) William P. Kelly Skylight Room, Ninth Floor “Invierno Porteño”, by Astor Piazzolla Federico Díaz, guitar (DMA Student, The Graduate Center, The City University of New York) Greetings Tina Frühauf (Répertoire International de Littérature Musicale, New York; The Graduate Center, The City University of New York) David Olan (Associate Provost and Dean for Academic Affairs, The Graduate Center, The City University of New York) “Cantiga de Santa María”, by Frederic Hand Federico Díaz, guitar (DMA Student, The Graduate Center, The City University of New York) Establishment of The Claire Brook Award Barbara Dobbs Mackenzie (Director of the Barry S. Brook Center for Music Research and Documentation, The Graduate Center, The City University of New York) W. Drake McFeely (President of W.W. Norton & Company) Wednesday, 4 April 2018 9:00—10:30 Musicologies I: (South) Eastern Europe William P. Kelly Skylight Room, Ninth Floor Chair: Ana Hofman Jana Vaculíková (Univerzita Palackého, Olomouc), Ethnomusicology in the Czech Republic: History and Present State of Affairs Hana Urbancová (Slovenská akadémia vied, Bratislava), An Integrated Model of Musicology and Its Applications: An Example from Slovakia Bianca Ţiplea Temeş (Academia de Muzică “Gheorghe Dima”, Cluj-Napoca), From Communist Isolation to Globalized Networking: Romanian Musicology at the Crossroads Research and the Archive in the Digital Age Room 9206/9207, Ninth Floor Chair: Scott Burnham Ira Prodanov Krajisnik and Nataša Crnjanski (Univerzitet u Novom Sadu), Archiving in the Age of (Post)Globalization: Toward a Method of Microhistory Sharon Kanach (Centre Iannis Xenakis, Université de Rouen), From the “End of the World” to the Heart of the Subject: Music Research in the Digital Age Nico Schüler (Texas State University, San Marco), Digital Music Research as a Bridge between (Sub-)Disciplines 10:30—11:00 Coffee Break William P. Kelly Skylight Room, Ninth Floor 11:00—12:30 Musicologies II: Perspectives William P. Kelly Skylight Room, Ninth Floor Chair: Lisa Urkevitch Barbara R. Barry (Hebrew University, Jerusalem), At Home in the Universe: Musical Works and Multiple Worlds Katy Romanou (European University Cyprus, Nicosia), Musicology and the Common Man Juliane Larsen (Universidade Federal da Integração Latino-Americana, Foz do Iguaçu), Writing History of Art Music in Postcolonial Countries: Directions for the Decoloniality of Latin American Musicology Bibliography and Documentation Room 9206/9207, Ninth Floor Chair: Laurenz Lütteken Carmela Bongiovanni (Conservatorio Niccolò Paganini, Genova), Music Bibliography and Information Literacy: A Global Enterprise Federica Riva (Conservatorio di musica “A. Boito”, Parma), “World Music Documentation System: A Phantasy”: Reading Barry S. Brook Forty Years Later 12:30—14:00 Lunch Break 14:00—15:30 Musicologists and Perspectives William P. Kelly Skylight Room, Ninth Floor Chair: Egberto Bermúdez Lisbeth Ahlgren Jensen (Independent Scholar, Copenhagen), Hortense Panum in Search of Missing Links: A Danish Musicologist with a Global View Grant Olwage (University of the Witwatersrand, Johannesburg), Border Thinking in Musicology: The Example of Paul Robeson’s “Thoughts” Barbara Titus (Universiteit van Amsterdam), Musical Epistemologies and Musicological Disavowals: A South African Case Study Musicologies III: The (Post)Soviet Era Room 9206/9207, Ninth Floor Chair: Rūta Stanevičiūtė Teona Lomsadze (Tbilisi State Conservatoire), Ethno/ Musicology in Post-Soviet Georgia: Towards Western Approaches Rima Povilioniene (Lietuvos muzikos ir teatro akademija, Vilnius), Baltic Musicological Conferences, 1967 to Present: Contextualizing the Musicological Research in Lithuania after the Soviet Collapse and Lithuanian Independence Restoration 15:30—16:00 Coffee Break William P. Kelly Skylight Room, Ninth Floor 16:00—18:00 Listening in Today’s Multicultural Soundscape: Music Theory and Analysis in the Era of Postglobalization William P. Kelly Skylight Room, Ninth Floor Chair: Panayotis Mavromatis Dave Fossum (University of Pittsburgh), Copyright, Music Analysis, and an Ethnography of Music Analysis Leslie Tilley (Massachusetts Institute of Technology, Cambridge), Creativity Beyond Borders: On the Cross-Cultural, Cross-Disciplinary Analysis of Improvisation Panayotis Mavromatis (New York University), Exploring Musical Schemata: Opportunities for Global and Interdisciplinary Encounters Roundtable and Panel Discussion Policies, Politics, and Activism 9206/9207, Ninth Floor Chair: Wolfgang Marx Keivan Djavadzadeh (Paris 8 University), Music and Cultural Appropriation in the Age of (Post)Globalization Sabine Feisst (Arizona State University, Tempe), Fences as Sonic Bridges: Musical Activism at the U.S.-Mexico Border Matt Brounley (Stony Brook University), Sounding Deregulation: The Gibson Government Series and the Globalized Electric Guitar Viktoria Zora (University of London), Cultural Diplomacy and Politics in Musical Exchange between the USSR and the U.S., 1942–1948 Thursday, 5 April 2018 10:00—12:00 Musicologies IV: Japan and (Post)Yugoslavia William P. Kelly Skylight Room, Ninth Floor Chair: Anne Stone Satoru Takaku (Nihon University, Tokorozawa), Unknown Bloom Awaiting Globalization? A History of Musicology in Late–Twentieth-Century Japan Alexander Binns (University of Hull), Musical Tensions: The Position of Musicology in Modern Japan Ana Hofman (Znanstvenoraziskovalni center Slovenske akademije znanosti in umetnosti, Ljubljana), Toward the Utopian Ethno/Musicology: Researching Self/Emancipatory Musical Alliances after Yugoslavia Ana Petrov (Univerzitet Singidunum, Belgrade), Society without Territory: Dealing with Yugoslav Popular Music after the Dissolution of Yugoslavia Mapping Ethnomusicology’s Record: State Power, Cosmopolitanism, Indigeneity, and Identity 9206/9207, Ninth Floor Chair: Barbara Titus Aaron Fox (Columbia University, New York), The Rise, Fall, and Rise of Native Americanist Ethnomusicology: Scholarship, Militarism, and the Ethnomusicological Archive Benjamin Tausig (Stony Brook University), Historical Resonance: Musical Intimacy and the Development of Bangkok During the Vietnam War Beatriz Goubert (Columbia University, New York), Muisca Andean Music: Indigenous Cultural Recuperation and Multicultural Politics of Recognition in Colombia Jay Loomis (Stony Brook University), Salvage Ethnology, Repatriation & The Frances Densmore Dilemma 12:00—14:00 Lunch Break 14:00—16:00 Jewish Music, Transculturality, Transnationality, and Trans-Ethnicity in the Age of (Post)Globalization William P. Kelly Skylight Room, Ninth Floor Sponsored by the Jewish Music Forum, a project of the American Society for Jewish Music Chair: Mark Slobin Mark Slobin (Wesleyan University, Middletown), Fiddler on the Roof and the American Folk Revival Amalia Ran (Tel Aviv University), Musical Ethnoscapes: The Role of Jewish Musicians in Argentinean Popular Music Moshe Morad (Tel Aviv University), “Oriental/Mediterranean” Music: Postglobalization, Trans-Ethnicity, and Political Power National Perspectives in the Age of (Post)Globalization: Music Historiographies in (Post-)Communist Transition 9206/9207, Ninth Floor IMS Study Group Music and Cultural Studies Chair: Tatjana Marković Tatjana Marković (Universität für Musik und darstellende Kunst Wien), Post-Yugoslav National Music Historiographies between Nostalgia and Denying the Past Antonio Baldassarre (Hochschule Luzern), History, Memory, and Identity: “Ostalgia” in Germany Rūta Stanevičiūtė (Lietuvos muzikos ir teatro akademija), Postcolonialism and Post-Soviet Transition of the Lithuanian Music Historiographies Cheong Wai-ling (Chinese University of Hong Kong), Debussy’s Music in China: Years of Condemnation and Revelation 16:00—16:30 Coffee Break William P. Kelly Skylight Room, Ninth Floor 16:30—18:00 Diversity or Survival? Sharing Traditions in the Globalized World of Music Education William P. Kelly Skylight Room, Ninth Floor Sponsored by the Center for Traditional Music and Dance Convener: Marissa Glynias Moore Discussants: Huib Schippers (Smithsonian Folkways Recordings) Ramon Ponce, Jr. (Mariachi Academy of New York) Luz Pereira (Pachamama Peruvian Arts, New York) Julie Tay (Mencius Society for the Arts, New York) Marissa Glynias Moore (Yale University and the Center for Traditional Music and Dance) Proposals for a New World in Music Research and Practice 9206/9207, Ninth Floor GReCo –The Research Group on Renaissance and Contemporary Music Chair: Camilla Cavicchi Fábio Cury (Universidade de São Paulo), GReCo’s Socio‐Political Stand in the Emergence of a New Musical Thought Cesar Marino Villavicencio Grossmann (Universidade de São Paulo), GReCo’s Recorder Consort: Applied Philology and the Transcending of Organological Boundaries Paula Andrade Callegari (Universidade Federal de Uberlândia), GReCo’s Rhetorical Decorum Friday, 6 April 2018 9:00—10:30 Musicologies V: Case Studies William P. Kelly Skylight Room, Ninth Floor Chair: Sabine Feisst Dorit Klebe (Freie Universität Berlin), Comparative Studies in Musicology: On the “Melodic Line” in Seventeenth-Century Vocal Music of the Mediterranean in Light of Recent Global Developments Camilla Cavicchi (Université de Tours), Musicological Strategies for a Conscious Society: A Renaissance Case Study Luis Ricardo Silva Queiroz (Universidade Federal da Paraíba), Ethnomusicology, Music Education, and Decoloniality: Perspectives for Rethinking Brazilian Higher Music Education Methodological Masala: Dissolving Disciplinary Boundaries through the Study of Indian Music 9206/9207, Ninth Floor Chair: Margaret E. Walker Suddhaseel Sen (Indian Institute of Technology Bombay), Between “Text” and “Context”: Ethnomusicology and the Study of Non-Western Music Nalini Ghuman (Mills College), Insiders and Outsiders: A Tale of Two Pairs Margaret E. Walker (Queen’s University, Kingston), Colonial Representation or Historical Authenticity? Analysis of “A Hindostanee Dance” 10:30—11:00 Coffee Break 11:00—12:30 The Music Survey at a (Post)Global University William P. Kelly Skylight Room, Ninth Floor Chair: Lucie Vágnerová Lucie Vágnerová (Columbia University, New York), Rethinking the Musical Museum in 2018 Andrés García Molina (Columbia University, New York), East–West Encounters in Music Core Curricula Sky Macklay (Columbia University, New York), Student-Created Content in the Core Music Class Paula Harper (Columbia University, New York), From “Pieces” to “Listening Practices” 12:30—13:30 Closing Plenary: Where Are We / Where Do We Go? William P. Kelly Skylight Room, Ninth Floor This plenary puts advanced graduate students at the heart of the discussion on musicology as a discipline, giving them the opportunity to reflect on conversations and papers from the conference. From differing perspectives, they will talk about their engagement, interaction, and experience with the conference theme. Chair: Tina Frühauf Co-Chair: Margaret E. Walker Discussants: Paula Harper (Columbia University, New York), Jay Loomis (Stony Brook University)