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British Forum for Ethnomusicology
Annual Conference : 1st - 4th May 2003
University of Wales, Bangor

The Past in Music

Call for papers

"Typically", to quote Nettl, "ethnomusicology studies the musical culture
of a society through the observation of the present" (1983:176). This does
not, however, mean that the past remains for ever outside the frame.  The
past may express itself in the present in a variety of ways, from the
attribution of new compositions to the ancestors to the revival of
abandoned instruments and repertories by a new generation.  The
evocatively titled volume Hearing the Past (Buckley, ed., 1998) - an
excursion into the archaeology of sound - argues for "cross-cultural
surveys which are also cross-temporal" and for the value of such
perspectives in the broader investigation of social processes and
mentalities.  The present conference aims at a consideration of the ways
in which the past can still be heard, in one sense or another, in the
present.  One of the subplots of our meeting might be the deconstruction
of the too-easy opposition of past and present, old and new, traditional
and modern.  In the course of the past century social and cultural
stability, in many parts of the world, has been profoundly affected by the
forces of war, emigration, urbanisation, industrialisation,
professionalisation, the growth of the media and tourism, and so on.
Many communities have turned their attention to reviving, revitalising,
reclaiming or restoring past practices as a means of recreating a
community spirit in an increasingly alienated existence.  In other parts
of the world a "return" to the traditions or customs of the past has
followed in the wake of independence or freedom from repression.  At an
entirely pragmatic level, recordings allow the voices of the past a very
tangible hearing in the present and field recordings have in some cases
played a crucial part in the revival or even reconstruction of "lost"
material.

More specific themes and questions which might be addressed include:
~       The power of music to evoke the past.
~       Music and ritual as celebrations of the past  -  both imagined and historic.
~       Musical echoes and legacies in the present.
~       Methods of reconstruction - of musical instruments, musical
repertories, musical memories.
~       Is it possible to draw parallels between musical restoration or
reconstruction and the restoration or reconstruction of material
structures and artefacts?)
~       What is the meaning of "tradition" in the post-modern world?
~       What does it mean to talk about "archaisms" in the style of a
present-day music culture?

Presenters may wish to focus on individual case studies or on broader
theoretical issues.  Proposals for panels will be particularly welcome.
Individual papers should last no longer than 20 minutes, including audio
and visual illustrations.  Proposals for posters will also be considered.
Other presentation formats (performance demonstrations, workshops, films
etc.) may be considered by special arrangement.  The working language of
the conference will be English.

Submission of proposals

Abstracts of up to 300 words should be submitted, preferably by e-mail, to
the Chair of the Programming Committee, David Wong (see below) by 30th
November 2002.  In the case of postal submissions, authors should include
two copies but with their identity and institutional affiliation included
on one copy only, plus a copy of the text on disk to facilitate eventual
reproduction in the book of abstracts.  Please also indicate (a) what
audio visual equipment the presentation will require, and (b) whether you
expect to be in attendance for the full duration of the conference.
Abstracts will be evaluated anonymously by a small panel and authors may
expect to be advised of their acceptance or otherwise by around 30th
December 2002.  Those in need of an earlier decision should consult the
Programme Chair.  Please note that all those presenting a paper should be
paid up members of BFE.  Booking details will be available by October and
will be posted on the BFE website, where a fuller version of the present
call - including details of the venue and local arrangements - can also be
found.

Chair of the Programming Committee:
        David Wong              [log in to unmask]
        Block M, Computing Service, The Open University, Walton Hall,
        Milton Keynes, MK7 6AA, UK

Local Arrangements:
        Caroline Bithell                [log in to unmask]
        School of Music, University of Wales, Bangor, Gwynedd, LL57 2DG, UK

BFE and conference website:
        http://www.bfe.shef.ac.uk/  (select "Conferences")