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DTSTART;TZID=America/New_York:20260407T090000
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SUMMARY:Voicing Innocence: Trauma\, Memory\, and Contemporary Opera in the Work of Kaija Saariaho
DESCRIPTION:Voicing Innocence is an international public conference to be presented in April 2026 that explores how music and sound give voice to trauma\, vulnerability\, and ethical responsibility in contemporary culture. It brings together scholars\, composers\, performers\, and cultural thinkers for a series of lectures\, panel discussions\, and performances designed for both specialist and general audiences. The conference takes its point of departure from the renewed public attention to questions of memory and accountability in music and opera\, particularly following the Metropolitan Opera’s premiere of Kaija Saariaho’s Innocence on 6 April. Building on the artistic and ethical concerns raised by this landmark work\, Voicing Innocence expands the conversation to broader historical\, social\, and aesthetic contexts. Themes include childhood and loss\, collective trauma\, justice\, memory\, and the ways music mediates moral experience. A central component of the project is the participation of Scandinavian artists and scholars\, whose work has been instrumental in shaping contemporary discourse around these themes. Participants will contribute perspectives rooted in composition\, performance\, musicology\, and cultural analysis\, situating Finnish artistic practices within an international framework of exchange. As a public project\, Voicing Innocence emphasizes accessibility and engagement beyond the academy. All events will be open to the public and documented through recordings and digital materials for wider dissemination.\nREGISTRATION & LIVESTREAM | Voicing Innocence: Trauma\, Memory\, and Contemporary Opera in the Work of Kaija Saariaho\nJoin us for the Voicing Innocence conference. Participation is free\, but space is limited — please register below to reserve your place or follow the livestream @ https://www.youtube.com/@BrookCenter/streams \n \nSCHEDULE | Voicing Innocence: Trauma\, Memory\, and Contemporary Opera in the Work of Kaija Saariaho\n Voicing Innocence Trauma\, Memory\, and Contemporary Opera in the Work of Kaija Saariaho \nCALL FOR PAPERS | Voicing Innocence: Trauma\, Memory\, and Contemporary Opera in the Work of Kaija Saariaho\nA Conference Convened by The Barry S. Brook Center for Music Research and Documentation\nThe Graduate Center\, City University of New York\nIn Conjunction with the Metropolitan Opera’s 2026 Staging of Innocence\nLocation: The Graduate Center\, City University of New York (CUNY)\nDates: April 7–8\, 2026\nProposal Deadline: January 5\, 2026\n\nThe Barry S. Brook Center for Music Research and Documentation invites proposals for a conference inspired by the 2026 Metropolitan Opera premiere of Innocence (2021)\, the final opera by the late Finnish composer Kaija Saariaho. The conference coincides with the Metropolitan Opera’s presentation of Simon Stone’s original production that premiered at Aix-en-Provence in 2021. This momentous staging provides an opportunity to engage with Saariaho’s innovative compositional voice and the complex thematic landscape of Innocence\, an opera that confronts trauma\, cultural memory\, multilingualism\, and the limits of forgiveness. \n\nTopics:\nWe welcome proposals that examine Innocence and adjacent topics across the fields of musicology\, opera studies\, trauma studies\, cultural theory\, performance studies\, and beyond.\n\n\nSaariaho’s Operatic Vision\n– Analytical\, aesthetic\, and dramaturgical readings of Innocence\n– Innocence in the context of Saariaho’s complete operatic output\n– Saariaho’s musical language and its evolution: Saariaho’s musical language and its evolution: spectralism\, electronics\, and orchestration\n– Collaboration with librettists Sofi Oksanen and Aleksi Barrière\, and transdisciplinary practice\n– The intersection of Finnish and international opera traditions\n\n\nTrauma\, Silence\, and Voice in Contemporary Opera\n– Representations of violence\, terrorism\, and collective trauma\n– Memory\, testimony\, and witnessing in operatic narrative\n– Ethical considerations in staging real-world violence\n– Opera as memorial or commemorative practice\n\nMusical and Dramatic Innovation\n– Extended vocal techniques and vocal diversity in contemporary opera\n– Multilingual opera and linguistic multiplicity\n– Non-linear narrative structures and temporal manipulation\n– The role of folk traditions in art music contexts\n\n\nProduction and Reception\n– Staging trauma: ethics and audience reception\n– Simon Stone’s production design and directorial approach\n– Critical reception and audience responses across productions\n– Posthumous premieres and the politics of legacy\n\nBroader Contexts\n– Gender\, authorship\, and the legacy of women in 21st-century opera\n– Comparative approaches: Innocence alongside operas by Thomas Adès\, George Benjamin\, Missy Mazzoli\, etc.\n– Finnish cultural identity and global operatic networks\n– Contemporary opera and social justice- Opera after catastrophe: 21st-century opera and global crisis\n\nWe encourage proposals from scholars at all career stages and welcome interdisciplinary submissions from practitioners\, composers\, directors\, and artists whose work intersects with the themes of the conference.\n\nSubmission Guidelines:\nPlease submit the following as a single PDF:\n– Title of paper or presentation\n– Abstract (300–350 words)\n– Short bio (150 words)\n– Institutional affiliation\n– Contact information\n\nSubmissions should be sent to cmrd@gc.cuny.edu with the subject line: Innocence Conference Proposal.\n\n\n\n\n\nDeadline for submissions: January 5\, 2026\nNotification of acceptance: January 30\, 2026\n\nConference Format:\nThe event envisions academic panels\, roundtables\, and artist talks. Select sessions will be scheduled in coordination with the Metropolitan Opera’s performances of Innocence. Further details will follow in early 2026.\n\n 
URL:https://brookcenter.gc.cuny.edu/event/voicing-innocence-trauma-memory-and-contemporary-opera-in-the-work-of-kaija-saariaho/
LOCATION:CUNY Graduate Center\, 365 5th Ave\, NY\, NY\, 10016\, United States
CATEGORIES:Conferences
ATTACH;FMTTYPE=image/png:https://brookcenter.gc.cuny.edu/files/2026/02/Untitled-design-1.png
ORGANIZER;CN="The Brook Center":MAILTO:cmrd@gc.cuny.edu
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DTSTART;TZID=America/New_York:20241128T080000
DTEND;TZID=America/New_York:20241129T170000
DTSTAMP:20251124T184234Z
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UID:10830-1732780800-1732899600@brookcenter.gc.cuny.edu
SUMMARY:Music\, Migration\, and the Exchange of Knowledge: Spain – North America – Latin America
DESCRIPTION:The Spanish presence in the Americas spans from the Early Modern period to the age of mass Atlantic migrations from the mid-nineteenth century onwards. Likewise\, interest in Spanish culture and arts led people from the Americas to travel and establish links and alliances with Spain\, and many Spanish musicians and/or intellectuals went to work in the Americas for a time or permanently. In recent decades there has been a major development in musicology’s understanding of sonic exchanges between Spain and the Americas thanks to scholars from both sides of the Atlantic. Research has largely focused\, though\, on musical exchanges between Spain and Latin American countries due to their shared and strong historical ties\, as well as their common language. Cultural and musical transfers between Spain and the United States have been addressed to a lesser extent and need more attention. On the other hand\, studies have usually favored case-study topics on the mobility of musicians\, music sources\, and musical genres\, sometimes with less emphasis on broader concepts and subjects. This bicontinental symposium in Barcelona and New York seeks to study musical transfers between Spain\, North America\, and Latin America focusing on the concept of the exchange of musical knowledge\, understood in the broadest way. The notion of musical knowledge exchange has been at the very center since the first contact between these three geographical areas. Music of European origin taught by sixteenth-century Spanish missionaries to Native Americans included Spanish music\, and Spanish clerics were among the first to provide descriptions of Native American music. The movement or circulation of human beings has been recognized as a required element of the transfer of valuable knowledge. Waves of migration between Spain and the Americas and vice versa started with the first Spanish settlers in the Americas but continued after colonial times. Between c. 1880 and the first decades of the 20th century (the so-called age of mass Atlantic migrations)\, around four million Spaniards arrived in the Americas\, a big proportion to the Spanish-speaking Latin American countries\, but a substantial number also made their way further north. Another wave of migration towards the Americas ensued with the outbreak of the Spanish Civil War in 1936. Contacts between Spain and the Americas resulted in exchanges both ways of musical knowledge through a wide range of people: musicians\, clerics\, ethnographers\, intellectuals and scholars\, travelers\, writers\, teachers and students\, and other ordinary people who brought with them musical knowledge through a variety of cultural artifacts such as music scores\, recordings\, musical instruments\, scholarly literature\, and texts of any kind. The core question of this bicontinental symposium is how the geographical mobility of people\, ideas\, practices\, and cultural artifacts between Spain\, North America\, and Latin America has had an impact on the epistemic systems of musical knowledge within these territories. We invite scholars from all disciplines\, whose work engages with music in both specific and broad ways\, to send their contributions exploring topics like: \n·        Types of musical knowledge exchanges (e.g.\, academic\, popular\, pedagogical\, religious\, ethnomusicological\, others) between Spain and the Americas (North America and/or Latin America) \n·        Changes through time and territories in the exchange of musical knowledge between these three geographical areas \n·        Musical and musicological knowledge created in the context of displacement and exile between Spain\, North America\, and Latin America \n·        The role of exiled intellectuals and scholars in the exchange of musical knowledge \n·        The role of women\, indigenous populations\, and other underrepresented social groups in the creation\, dissemination\, and exchange of musical knowledge \n·        The influence of migration and exile experience on academic\, popular\, pedagogical\, and other types of musical knowledge and thought \n·        The role of intellectual networks for the creation\, dissemination\, and exchange of musicological knowledge between these geographical areas \nWe welcome proposals for individual papers and whole panels in English or Spanish. Individual paper presentations must be kept to 20 minutes (followed by 25-minute discussions). \nAbstracts should be sent through this form https://forms.gle/3NjBa4tsj3x2uw6a8 by 15 March 2024 in English or Spanish. Participants must indicate whether they want to participate in the Barcelona symposium in 2024 or in the New York symposium in 2025. For individual papers: abstracts of c. 350 words; for panels: abstracts of c. 300 words of the proposal as a whole and c. 200 words on the contribution of each participant. Applicants will be notified by 1 June 2024. \nPlease direct any questions to apuentes@imf.csic.es and to TFruhauf@gc.cuny.edu.
URL:https://brookcenter.gc.cuny.edu/event/music-migration-and-the-exchange-of-knowledge-spain-north-america-latin-america/
LOCATION:Institut d’Estudis Catalans\, Carrer del Carme\, 47\, Ciutat Vella\, Barcelona\, 08001\, Spain
CATEGORIES:Conferences
ATTACH;FMTTYPE=application/pdf:https://brookcenter.gc.cuny.edu/files/2025/11/Booklet-A5-MMEX-final-1.pdf
ORGANIZER;CN="The Brook Center":MAILTO:cmrd@gc.cuny.edu
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DTSTART;TZID=America/New_York:20230413T080000
DTEND;TZID=America/New_York:20230413T170000
DTSTAMP:20230413T111607Z
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UID:9979-1681372800-1681405200@brookcenter.gc.cuny.edu
SUMMARY:Global Digital Music Conference
DESCRIPTION:UNESCO has argued that the Covid-19 crisis is a reminder “that we should nurture the socially-beneficial applications of digital technologies and focus on improving access and uses in countries where it is lacking.” Building on this and keeping true to its mission\, RILM seeks to bring together researchers\, educators\, and librarians interested in the ways digital technologies intersect with music studies worldwide and in its broadest sense\, encompassing all branches: historical musicology\, ethnomusicology\, music theory\, as well as popular music studies and other fields. \n \nThe conference provides a forum for debate across the humanities\, arts\, and sciences to assess and address how digital music studies can be globally relevant and respond to broader questions of sustainability and resilience. The aim of the conference is to inspire new models for generating and disseminating musical knowledge with digital technologies that have the potential to engage and connect music research communities worldwide. Further\, how can the educational sector benefit from technological advances and continue to use those innovations to develop new models and practices? How can digital technologies reshape and transform scholarly\, creative\, and pedagogical practices to make them more equitable (a long-term challenge for global communities at large)? How can digital sustainability be rethought for music studies in an age of climate crisis? What does all this mean for the development of digital libraries tailored to musicological research? \nThis conference is an in-person event and takes place at The Graduate Center\, The City University of New York\, at 365 Fifth Avenue\, New York\, NY 10016. Accommodations are made for attendees and presenters not being able to travel. \nThe conference honors Barbara Dobbs Mackenzie’s 30 years of service to RILM\, first as Editor\, and from 1996 to 2022 as its Executive Director. Dr. Mackenzie has been instrumental in driving forward RILM’s mission to document the world’s knowledge on all musical traditions\, and to make this knowledge accessible to research and performance communities worldwide via digital collections and advanced tools. RILM’s collections aim to include the music scholarship of all countries\, in all languages\, and across all disciplinary and cultural boundaries\, thereby fostering research in the arts\, humanities\, sciences\, and social sciences. \nPROGRAM \nThis event is cosponsored by the DAAD Alumni Association USA.
URL:https://brookcenter.gc.cuny.edu/event/global-digital-music-conference/
LOCATION:NY
CATEGORIES:Conferences
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