Dear all,
With apologies for cross-posting, a reminder of this year's Cramb Lecture in Music at the University of Glasgow.
Our guest is Allan F Moore, Emeritus Professor of Popular Music at the University of Surrey. The title of his lecture is 'The End of Analysis'.
Wed, 22 March, 5.15 - 7pm, University Concert Hall
If you are interested in attending the lecture, please register at https://www.eventbrite.co.uk/e/the-cramb-lecture-the-end-of-analysis-tickets-31256781876. For more details, go to http://www.gla.ac.uk/schools/cca/research/music/projectsandnetworks/cramb/ or check our Facebook feed https://www.facebook.com/UofGlasgowMusic.
Abstract
In this talk I intend initially to address, at a generalised level, both the purpose and practice of music analysis By way of approaching who, or what, is validated by such endeavours, the major part of my talk will focus on the recorded output of the US singer Melanie Safka, who is as yet unaddressed in the academic literature. Although other case studies would be equally appropriate to my purpose, it pleases me to devote time to the output of someone the value of whose work is strongly contested. The Humanities are nothing without compassion. I shall then suggest that aspects of the perspective which arises from this consideration might find application to other repertories, and I intend to illustrate this with reference to music by Pawel Szymanski, Marc-André Dalbavie and Theodor Kirchner (as time permits). As for the title, both dominant meanings will hover over my talk.
Biography
Allan F Moore began his musical career as a composer of concert music and piano accompanist in the late 1970s. During more than thirty years of academic life, he gravitated towards both music analysis and popular music studies, experiences which led to his co-foundation of the Critical Musicology Forum and encouraged various multi-disciplinary appropriations in the service of 'making sense of the notes sounds'. He is now Professor Emeritus in the Department of Music & Media at the University of Surrey, and holds various Visiting Professorships. He is best known for his work on the analysis and hermeneutics of popular music, particularly in major monographs (Rock: the Primary Text, Song Means), in more than 60 academic papers and 70 (mainly BBC) broadcasts, and also in overseeing various edited collections (Bloomsbury's forthcoming Handbook of Rock Music Research, Ashgate's Critical Readings in Popular Musicology and the 8-volume Library of Essays in Popular Music) He is a long-time editor of Popular Music, co-founder of twentieth-century music, and is on various other editorial and advisory boards. He has particular musical interests in rock music theory, in progressive rock, in the folksong of the Western Isles, in modernist concert music and in late tonal piano miniatures. Having returned on retirement to the composer's pen and the instrumental keyboard, he is also rather foolishly learning the hurdy gurdy.
All welcome.
Björn
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Dr Björn Heile
Reader in Music since 1900
Head of Subject Area
School of Culture and Creative Arts
University of Glasgow
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Glasgow, UK, G12 8QH
+44 (0)141 3305288
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http://www.gla.ac.uk/subjects/music
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