Dear colleagues,
With apologies for X posting.
CFP : International Conference
Light and Music: Appropriation, Metaphors, and Analogies
**Paris, Fondation Singer-Polignac
**November 19th-20th 2018
**Proposals** should be submitted in English or French for 20-minutes length papers to [log in to unmask] before March, 31st 2018.
http://www.iremus.cnrs.fr/en/appel-communication/light-and-music-appropriation-metaphors-and-analogies
In 1865, Liszt wanted to compose a “supernatural light” (“lumière surnaturelle”) to represent the calming of the storm in Das Wunder (The Miracle) from his oratorio Christus. Light is an important feature in his music as well as in the music of some of his contemporaries or followers such as Wagner, Mahler, Scriabin, Schoenberg, or Messiaen. With lyrics or purely instrumental music, totally or partially devoted to light, their works appropriate or express light in an Aesthetical, symbolical, or religious way, and with particular compositional tools.
Art history has long studied this phenomenon that has become in itself a creative material (Light art, László Moholy-Nagy, Dan Flavin, James Turrell, etc.). Literature, philosophy, religious studies and science history have also been interested in light. Yet Music history, analysis and aesthetics seem to be outdone, for many studies have been devoted to colors and synesthesia, but very little or none to light in itself.
One of the main intentions of the conference is to question the relation between music and light through appropriations, metaphors, and analogies with other arts, sciences and the disciplines quoted above. On the one hand it will be about studying the links between light and music, an art that a priori does not manipulate it directly, on the other hand what does the reference to light carry through the ages. Eventually it will focus on the relation to other artistic disciplines.
**Possible topics for proposals include:
1. The vocabulary of light (the words of light in music and vice-versa: chromaticism, waves, colors, spectrum, harmony of colors, etc.);
2. Light, The Sublime and Transfiguration (metaphysics, spirituality, and religion);
3. Music and technological facilities (use of external elements in association to light);
4. Persistence of light in music writing (evolution of the presence of light in music through the ages from the point of view of Aesthetics and Theory);
5. Light and Dramaturgy (coup de théâtre, staging history and technique);
6. Light and Tone (instrument making, instrumentation, orchestration, harmony, etc.)
Best regards,
Nicolas Dufetel, CNRS-IReMus (Paris)
http://www.iremus.cnrs.fr/
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