From MLA-L and AMS-L:
- CFP: “Music in the eighteenth Century”, American Society of Eighteenth-Century Studies, San Antonio, TX, March 22-25, 2012CFP: From Nineteenth-Century Stage Melodrama to Twenty-First-Century Film Scoring: Musicodramatic Practice and Knowledge Organization,
- Alfred Newman Symposium for Musicological Film Studies, USC Cinematic Arts Library and Warner Bros. Archives, Society for American Music, Institute for Film Music Studies, USC Doheny Memorial Library, February 23-24, 2012
- Sounds of the City, ASPM-US Annual Conference, jointly held with 2012 EMP Pop Conference presented by NYU’s Clive Davis Institute of Recorded Music New York City, March 22-25, 2012
- CFP: Music and the Body, 11 March 2012, The University of Hong Kong
- MUSIC IN DIVIDED GERMANY, Department of Music at the University of California, Berkeley announces the finalized program for a three-day international conference, “Music in Divided Germany,” taking place September 9-11, 2011.
Call for Papers:
Session of the Society for Eighteenth-Century Music (SECM)
at the 2012 Annual Meeting of the American Society of
Eighteenth-Century Studies (ASECS).
San Antonio, TX – March 22-25, 2012
The Society for Eighteenth-Century Music will hold a session dedicated
to “Music in the Eighteenth Century” at the 2012 ASECS Annual Meeting
that will take place on March 22-25, 2012 in San Antonio (TX).
While the session is open to any proposal submitted, preference will
be given to papers addressing in particular the relationships between
music and society. What role and part had music in eighteenth-century
society? How were musical genres expression of social changes or
manifestations of specific social strata?
Please send a 250 word abstract by September 15, 2011 to:
Guido Olivieri: olivieri at mail.utexas.edu. Include in the subject
line: “ASECS Music Session.
Three to four papers will be accepted. We actively encourage
presentations by younger and untenured scholars. Papers should be
limited to 20 minutes with 10 minutes for discussion afterwards.
Please include your telephone number and e-mail address and specify
any audio-visual needs.
The ASECS’s rules permit members to present only one paper at the
meeting. Members may, in addition to presenting a paper, serve as a
session chair, a respondent, or a panel discussant, but they may not
present a paper in those sessions they also chair. All participants
must be members in good standing of ASECS or a constituent society of
From Nineteenth-Century Stage Melodrama to Twenty-First-Century Film Scoring:
Musicodramatic Practice and Knowledge Organization
in association with
USC Cinematic Arts Library and Warner Bros. Archives
Society for American Music
Institute for Film Music Studies
USC Doheny Memorial Library
February 23-24, 2012
The musicological study of film is exemplified today by interpretive “readings” of individual films, of film genres, or of some narrative aspect of film, thereby following the lead of literary criticism and film studies more than musicology. Because of that proportionately less attention is devoted to examining musical practice in film within the traditions of dramatic musical art. There is a need now for historical analysis and synthesis, such that individual studies can be related to a more comprehensive perspective in which music of the cinema is understood in the broader historical context of theater music.
In this regard the art of film scoring taught in USC’s Scoring for Motion Pictures and Television Program and similar programs in other academic institutions is known to have its historical origins in the musical practice of stage melodrama, which was adapted for early silent film accompaniment in the late 19th century. Original composition for individual productions was the exception rather than the rule in 19th-century stage melodrama just as it was in silent film accompaniment. Much generic “stock music” was written for both, and the agitato, misterioso, and appassionato virtually defined the musical idiom of both traditions. These pieces were called “melos” in melodrama, and a representative selection of titles published in the 1860s illustrates a veritable lexicon of title usage that carried over into early cinema practice in England and the United States: “Mysterious music,” “Dreamy music,” “Thieves’ pizzicato,” “Creeping murderer’s music,” “Triumphant virtue music,” “Hunting music,” “Lively dreamy music,” “Hurries,” “Dying music,” “Wild music,” and even “Angel and demon music.” These repertories of “characterist
ic music” may well constitute the first “mood music” libraries, whose corollary in the silent film era came to be known as photoplay music (or “Kinobibliotek” in German). These short pieces composed (or adapted) and published for silent film accompaniment thus constitute the first music composed specifically for film.
In the 1920s considerable effort was devoted to the systematic classification of the published pieces acquired by movie theater music libraries (or organists). The two most ambitious works of this nature were the Encyclopedia of Picture Music by Erno Rapee (1925) and the Allgemeines Handbuch der Film-Musik by Hans Erdmann, Giuseppe Becce, and Ludwig Brav (1927), the latter containing a chart organizing pieces according to mood, tempo, and form (genre). This resulted in a system of musicodramatic knowledge organization that was reflected in the classification schemes and that in turn funneled newly composed pieces into the existing categories of agitato, misterioso, and appassionato, et al. By the end of the silent era this system was understood and used (sometimes with regional variations) wherever there were movies and musicians (recent research has discovered published compilations of photoplay music published in Japan).
Sometimes for major film releases in New York, the photoplay music composers were commissioned to write scores, which tended to be very similar to compiled scores of photoplay music. With the coming of sound in 1928, some of these composers were brought to Hollywood. At first the studios continued the practice of scoring films with the existing photoplay music that had been used for silent films. The individual pieces were called “cues,” essentially equivalent to the melos of stage melodrama. For a time in the early sound era the same titling practice continued. This was gradually replaced by cue titles uniquely associated with a given film, featuring the names of the characters in the film, or descriptions of film action or locations. But the traditional silent film classification schemes were still employed to classify the cues of newly composed scores: each was assigned an existing classification type (or mood), so that it could be re-used in other films. During the 1930s through the 1950s the original score still remained the exception, as many “B” films and serials, for example, were scored with existing cues. Starting in the 1950s, television music also relied heavily on stock music and has ever since.
This system of classification allowed movie studio music libraries to maintain a high level of bibliographic control over their holdings. It also provides a conceptual framework for musicologists to use in studying and teaching film music. The system furthermore illuminates a tradition too often defined pejoratively in terms of conventions, formulas, and clichés. In addition to music manuscript material, the classification schemes, card catalogs, and associated instruments of bibliographic access (such as cue sheets) now form an integral part of primary source materials as preserved in the extensive film music holdings of the USC Cinematic Arts Library and USC Warner Bros. Archives.
The Symposium will focus on exploring this system of musicodramatic knowledge organization and on understanding both its origins in stage melodrama and how the practice continues as a living tradition in film scoring today. To a greater or lesser extent current practice can be seen as “new wine in old bottles,” because while musical styles have changed, the same underlying musicodramatic schema has remained relatively unchanged. Papers and proposals for panel sessions and roundtables on this topic or other musicological aspects of film study should be sent to William H. Rosar at email@example.com<mailto:firstname.lastname@example.org> by October 15, 2011.
Film Music at USC and the Alfred Newman Symposium for Musicological Film Studies
Prior to the mid-1980s when the Scoring for Motion Pictures and Television Program was inaugurated by the Thornton School for Music, USC had long been the nation’s leader in film music education, since the School of Cinematic Arts was founded in conjunction with the Academy of Motion Picture Arts and Sciences. As early as 1930, United Artists music director-photoplay music composer Hugo Riesenfeld was a lecturer, and the first film music course was formally proposed in 1933 by New York song writer-composer Ann Ronell, whose husband Lester Cowan developed and coordinated the film curriculum. After World War II USC pioneered in offering two courses, one a professional seminar in film scoring for composers taught by celebrated Hollywood composer Miklos Rozsa, the other a comprehensive survey for the non-music major taught by composer-musicologist Ingolf Dahl, who was a member of the College Committee of Film Music. In 1976 the Alfred Newman Memorial Library was created by the composer’s choral director and long time associate, Ken Darby, becoming the first film music research library in the United States. In connection with it, the first doctoral dissertation in musicology on a film music subject in the country “The Making of an American Film Composer: A Study of Alfred Newman’s Music in the First Decade of the Sound Era,” was completed in 1981 by Fred Steiner, himself a seasoned film and TV composer who had worked with Newman on the scores for The Greatest Story Ever Told and Airport. The Symposium has been named in Newman’s honor and will be the first meeting of the newly established Institute for Film Music Studies, a non-profit educational organization devoted to the musicological study of film.
Organizing Committee: William H. Rosar (University of California, San Diego, editor of The Journal of Film Music), Richard Smiraglia (University of Wisconsin, Milwaukee), Mariana Whitmer (University of Pittsburg, Executive Director of the Society for American Music), Steve Hanson (Director, Cinematic Arts Library, University of Southern California), Sandra Garcia-Myers, Director of Archives of Performing Arts, Cinematic Arts Library, University of Southern California, and Sandra Joy Lee Aguilar (Curator, Warner Bros. Archives and Director of Archives, School of Cinematic Arts, University of Southern California).
The URL for the Symposium is http://www.usc.edu/libraries/about/programs_exhibitions/events/FilmMusic
IASPM-US Annual Conference
Jointly held with 2012 EMP Pop Conference presented by NYU’s Clive Davis Institute of Recorded Music New York City, March 22-25, 2012
Charlie Gillett’s pioneering The Sound of the City declared, with its title, that the electrified roots music of Elvis and Little Richard was an urban synthesis: “In rock and roll, the strident, repetitive sounds of city life were, in effect, reproduced as melody and rhythm.” But the metropolitan modernities of popular music take many different forms: Nuyorican salsa, Ralph Ellison “living with jazz” in his apartment building, San Francisco open-air psychedelia, double dutch and breakdancing, Amadou & Mariam’s “fast food Dakar,” and beyond. So for this year’s joint International Association for the Study of Popular Music-US branch gathering and EMP Museum Pop Conference, presented by New York University’s Clive Davis Institute of Recorded Music, we copyedit Gillett slightly and ask that presenters explore sounds of the citythe reverberations of people gathered en masse. Please see http://iaspm-us.net/conferences/ for more information and suggested subthemes.
The “Sounds of the City” conference will offer a cultural collision of the best kind. Its program brings together two longstanding institutions. IASPM-US publishes The Journal of Popular Music Studies and anchors American popular music scholarship. EMP’s annual Pop Conference, launched in Seattle in 2002, joins academics, journalists, performers, and dedicated fans in an all too rare common discussion. Now, IASPM-US and the Pop Conference unite. And thanks to NYU’s Clive Davis Institute of Recorded Music, they do so in the city called home by most of the music press, a group we hope to see amply represented.
This year’s program committee includes Daphne Brooks (Princeton), Anthony Kwame Harrison (Virginia Tech), Hua Hsu (Vassar), Patricia Costa Kim (EMP), Jason King (NYU Clive Davis Institute), Karl Hagstrom Miller (University of Texas), Evie Nagy (Rolling Stone), Tavia Nyong’o (NYU), Caroline Polk O’Meara (University of Texas), Ann Powers (NPR Music), and Greg Tate (Village Voice, Burnt Sugar, and Coon Bidness).
Please send proposals to organizer Eric Weisbard (University of Alabama), Eric.Weisbard at gmail.com. The deadline for proposals is Tuesday, November 15. Individual proposals should be 250 words with a 50 word bio. Panel proposals should specify 90 minutes with three presenters, or 120 minutes with four presenters. They should also include a 125 word overview, 250 words for individual proposals, and a 50 word bio, or a 250 word overview with multiple 50 word bios for roundtable discussions.
We welcome unorthodox proposals and those that target a general interest audience. Registration is FREE for presenters and the public. For more information on past Pop Conferences, go to http://www.empmuseum.org/popconference.
9-11 March 2012
The University of Hong Kong
Deadline for submission of abstract: 1 November 2011
Department of Music and the Centre for the Humanities and Medicine
The University of Hong Kong
What is the relationship between music and the body? Almost everything concerning music is quintessentially related to the body, yet the answers to this question are multifaceted. The relationship is multimodal involving the auditory, kinaesthetic, and visual, and is observed at diverse levels of experience across sensation, perception, creation/production, interpretation, and communication. The notion of “body” itself is multivalent, and thus the connection can be subject to various interpretations from different perspectives, such as anatomical, medical, cognitive, aesthetic, cultural, social, and historical. Reckoning the clashes between these perspectives, this conference proposes to investigate the multidimensional relationship between music and the body in a setting that promotes a genuine intellectual exchange of ideas.
The conference is particularly interested in questions and approaches that cut across traditional disciplines. For example, how the humanistic interpretation of corporeality could be linked to the scientific studies of the theme? Conversely, what are the implications of recent medical and neuroscientific investigations to the historical and cultural contextualisation of music and the body? How has music been used to control the body? And in light of the expanded notion of the musical mind and brain, how is the duality between the body and the mind viewed in today’s discourse on music perception? Other interpretations of the theme are equally welcome.
The conference will feature a keynote address by Sander Gilman (Emory University/The University of Hong Kong), with invited presentations by Eric Clarke (University of Oxford), Lawrence Zbikowski (University of Chicago), and Marina Gilman (Emory Voice Center). Other invited speakers will be announced in due course.
We invite papers in all fields related to the theme. The topics may include, but are not limited to, the following:
* Representation of the body in music
* Embodiment in perception and cognition of music
* Psychoanalysis and music
* Brain science and music
* Body and performance studies
* Bodily movements and expressive gestures
* Bodily metaphors in musical discourse
* Audiology and hearing
* Anatomical and pathological approaches to music and the body
* Health/disease and music
* Medicine, biomedicine, and music
* Historical perspectives on music and the body
* Culturological/ethnographic approaches to music and the body
Submissions should comprise a paper title, an abstract of up to 250 words, and a short biography of about 200 words. Please email submissions in PDF or Word format to Dr. Youn Kim (email@example.com<mailto:firstname.lastname@example.org>) by 1 November 2011.
“The Nazi Past” (Pamela Potter, Boris von Haken, Florian Scheding, Toby Thacker) “Other Avant-Gardes” (Jürgen Thym, Emily Richmond Pollock) “Making Germans” (Michael Schmidt, Jeff Hayton, Juliane Brauer) “Cultural Legacies” (Neil Gregor, Lydia Rilling, Laura Silverberg) “Opera Productions, East and West” (Johanna Frances Yunker, Paul Chaikin, Elaine Kelly) “Dramatizing Destruction” (Andrew Oster, William Robin) “Modes of Exchange” (Abby Anderton, Andrea F. Bohlman, Kira Thurman)
All are welcome. Please visit our website for the full schedule, abstracts, contributor bios and registration.
- “Reimagining Erwin Schulhoff, Viktor Ullmann, and the German-Jewish-Czech World”
Interdisciplinary Conference at Arizona State University | March 4-5, 2012
Call for Papers
The Center for Jewish Studies
and the School of Music at Arizona State University in collaboration with The OREL Foundation announce an international conference and festival devoted to the life, times and musical legacy of Viktor Ullmann and Erwin Schulhoff. The conference will be held at Arizona State University, March 4-5, 2012.
Among the Jewish composers who died in the Holocaust, or whose music was suppressed by the Third Reich, these two stand out for their productivity, the quality of their musical imaginations, and the unusual and fraught contexts in which they worked. Both were simultaneously exceptional and representative, and their teachers and associates include Debussy, Schoenberg, George Grosz and Alexander Zemlinsky. While both Schulhoff and Ullmann spent time in concentration camps and were killed by the Nazis, they were very different kinds of Jewish intellectuals: Ullmann was a committed follower of Anthroposophy who became an important music critic during his time in Terezin, while Schulhoff became a committed Communist, ending up in Würzburg, where he died of tuberculosis. Their compositions, incorporating everything from jazz to Dada, and from duodecaphony to national songs, are remarkable in their power and scope. The lives and activities of both composers raise questions about Jewish identity and Jewish music. Schulhoff wrote a Symphonia Germanica, a Sonata Erotica and a Sonata Eroica, and movements in Czech, Slovak and Gypsy style, but nothing “alla Hebraica,” while Ullmann was brought up as a Christian and only began to consider Jewish musical models while in Terezin, particularly in his final piano sonata.
This conference seeks to reevaluate the musical legacy of Ullmann and Schulhoff and their contemporaries, connecting it with other strands, themes and contexts in European culture.
Papers are hereby solicited on the following themes:
1. The contribution of Ullmann and Schulhoff to Western music
2. Ullmann and Schulhoff in the context of 20th-century European culture
3. Particularism and universalism in the music of Ullmann and Schulhoff
4. Ullmann and Schulhoff as Czech nationals
5. Inclusion and Exclusion: Jewish and Czechoslovak Perspectives
6. Ullmann and Schulhoff: The Interface of Music and Ideology
This will be a two-day event featuring both scholarly presentations and performances. We cordially invite submissions that deal with the work of either composer or a related topic.
Abstracts (250 words) should be submitted by October 1, 2011 to:
Hava Tirosh-Samuelson, Director
Center for Jewish Studies at Arizona State University PO Box 874302, Tempe, AZ 85287-4302 Hava.Samuelson at asu.edu
Director, Center for Jewish Studies
Arizona State University
Chair, Department of Music, New York University Distinguished Professor, Lancaster University
The OREL Foundation