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MUSICOLOGY-ALL  January 2017

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Subject:

CfP: Music Analysis: Beyond the Boundaries of the Score

From:

NATHALIE <[log in to unmask]>

Reply-To:

NATHALIE <[log in to unmask]>

Date:

Thu, 12 Jan 2017 20:07:29 +0000

Content-Type:

text/plain

Parts/Attachments:

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text/plain (56 lines)

Dear all,

Please find below the call for papers for the 5th international doctoral and post-doctoral symposium of the GRÉAM Research Centre.

Theme: Music Analysis: Beyond the Boundaries of the Score
17 March 2017, Strasbourg
Deadline for the submission of proposals: 31 January 2017

Best wishes,

Nathalie Hérold
--
Dr Nathalie Hérold
Postdoctoral Research Fellow at the Excellence Laboratory GRÉAM (Experimental Research Group on Music-in-Act) - University of Strasbourg
PhD in Arts speciality Music from the University of Strasbourg
French Teacher's Certification in Music, speciality Piano

[log in to unmask]<mailto:[log in to unmask]>
[log in to unmask]<mailto:[log in to unmask]>
http://unistra.academia.edu/NathalieHérold<http://unistra.academia.edu/NathalieH%C3%A9rold>

________________________________

Dear colleagues,

The Young Researchers Group of the GREAM Centre of Excellence for Musicological Research is organising the 5th International Doctoral and Post-doctoral Symposium under the title of “Music Analysis: Beyond the Boundaries of the Score”. The symposium will be held in Strasbourg on 17 March 2017 and will question the reasons and the conditions of the analytical methods which go beyond the boundaries of the score:


Music Analysis: Beyond the Boundaries of the Score

Call for papers


Although the boundaries of musical analysis have been blurred by its interdisciplinary relations and the plurality of its forms, a unique methodological basis nevertheless allows its identity to be described. It is not a precise method, but rather an approach which adjudicates the primacy of the music itself over all its factors and hence aims at an explanation of its own structures.
The context of the birth of musicology at the end of the 19th century was conducive to the emergence of this kind of approach. From its intrinsically hybrid aspects, the foundations were laid for the emergence of a concrete medium: the score. Linked to the graphocentrism inherited from philology, musical analysis found fertile ground at the heart of the systematic musicology defined by Guido Adler in 1885.
Since that time, this discipline has been faced with two continuous transformations: on the one hand, the extension of its objects of study – fostered both by the socio-geographic and historical enlargement of musicology’s fields of research, and the input of music performance – and, on the other hand, the multiplication of its methodologies that have been encouraged as much by the renewal of the repertoires as by the epistemological and technological developments in musicology, the human sciences and science in general.
Those two evolutions have progressively eroded the hegemonic status of the score and led to its reappraisal as the sole object of study, as for example, in the case of musical “works” that do not require a score (oral traditions, electroacoustic music, improvisation, etc.), and also by the necessity to compare the score with an existent realisation (e.g. scores based on aleatory procedures, “intuitive music”, “open works”, etc.). This erosion has been further encouraged by an increased interest in aspects of performance practice and the musical act itself. There has therefore been an increase in the number of analytical methods that seek to go beyond the score itself and develop new analytical techniques.
What does musical analysis become when it embarks on a journey outside the boundaries of the score? Is it by choice or because of a methodological necessity? The scope of this study day will be to provide a blue print of analytical approaches that do not use scores as the main analytical object – without excluding it totally – concerning musical works coming from oral or written traditions.
This study day, which is intended mainly for PhD students or recent post-doctoral students, aims to present a wide range of perspectives relating to the emancipation of musical analysis from the object that gave birth to it (i.e. the score). It will also aim to question the definition or redefinition of its disciplinary status, the scope of its recent developments, and its adaptation to musical evolutions. It will also raise questions appertaining to its unity, its operational character and the consequences of the increase in – and fragmentation of – its methods.

***

Spoken paper proposals of approximately 20 minutes with 10-minute question sessions can be submitted in French or English. Abstracts (max. 400 words) should contain the name, status, and affiliation of the speaker. They should be sent jointly to Camille Lienhard ([log in to unmask]<mailto:[log in to unmask]>), Abril Padilla ([log in to unmask]<mailto:[log in to unmask]>) and Julie Walker ([log in to unmask]<mailto:[log in to unmask]>).

The submission deadline is Tuesday 31 January 2017.

Organisation committee: Camille Lienhard, Abril Padilla and Dr Julie Walker.
Programme Committee: Professor Mondher Ayari, Professor Xavier Hascher, Dr Nathalie Hérold, Camille Lienhard, Abril Padilla and Dr Julie Walker.


Please don’t hesitate to contact us should you have any questions.

Best regards,

Camille Lienhard, Abril Padilla and Dr Julie Walker

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