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Old Is New: The Presence of the Past in the Music of the Present
Lisbon, Portugal, 24, 25, 26 November 2016
International Conference
Call for Papers
Call presentation
Any creative activity must pay dedicated attention to the information
transfer that occurs between different periods. One never starts from zero,
no matter what the activity is, and this is also true for music. We talk
about the way the past is considered in each historical moment, extracting
from it as much as one can for the understanding of the present.
Starting from the point of view of composition – which also facilitates
extending the discussion into the areas of performance, teaching, and
analysis, for example – this conference will bring together a wide range of
perspectives about how the musical past is always a subject for
consideration in recent music, even when the present seems highly
innovative and different from everything that came from other historical
periods.
This consideration might be expressed in many different ways, from the
“neo-” movements, considered in a simplistic or sophisticated way,
investing in the reformulation of past methodologies, to the most
innovative and eccentric trends that base their departure from the centre
on the use of the past as sustenance for their praxis, such as, for
example, some retro-futuristic movements.
Conference Themes
– How can we creatively understand information from the past in current
musical composition?
– How have new technologies altered the nature, methodology and limits of
musical creation?
– What about the state of current organology, the invention of musical
instruments and sound tools, from basic elements to cutting-edge technology?
– Music, urban culture and networks of communication, in the context of
musical sociology.
– Unconventional and DIY approaches: composition that has subverted norms,
paradigms and expectations of its age.
– Marginalised voices: stories of contemporary music with particular
characteristics that have been sidelined.
– Questions of genre/style/idiom in the recycling strategy of some
contemporary music.
– Musical analysis as a traditional musicological tool, facing
methodological integration of musical elements from the past.
– Alternative methodological and theoretical perspectives: researches that
encourage us to look at the presence of the past in a different way.
– Tools, techniques, instruments (etc.) which have played an important role
in shaping contemporary music and its evolution from the past; also those
that remain sidelined or unrecognized.
– Aesthetic and conceptual boundaries between the musical or extra-musical
elements, and the idea of sound in contemporary music.
Scientific Committee
— Isabel Pires (CESEM/FCSH – UNL)
— Rui Pereira Jorge (CESEM/FCSH – UNL)
— Francisco Monteiro (ESE – IPP)
— Carlos Caires (ESML)
— Benoit Gibson (UA)
— Martin Laliberté (Univ- Paris-Est Marne-la-Vallée)
— Makis Solomos (Univ- Paris VIII)
— Ivan Moody (CESEM)
— Paulo Ferreira de Castro (FCSH – UNL)
— Manuel Pedro Ferreira (FCSH – UNL)
****End of forwarded message****
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*This email address is checked Monday to Friday, 09:00 to 17:00*
Professor J. P. E. Harper-Scott
Professor of Music History and Theory
Director of Research
Department of Music, Royal Holloway, University of London
Website: http://www.jpehs.co.uk/
Blog: http://www.jpehs.co.uk/blog
Golden Pages: http://goldenpages.jpehs.co.uk/
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