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Music and Disruptive Pasts - Between the Popular and the Arcane
The Open University, Milton Keynes
21/22 August 2019
Description
The past is not mere history. In the creative imagination it is, indeed, a fractious and disruptive place where the atemporal logics of anachronism govern, and strict chronological narratives peculiar to the modern period become suspended. More than a bygone space there to just learn from, the past has a life of its own, in turn refracting and transforming our present and colouring and informing (perhaps, even, delaying) the future.
The fourth conference of the Representations of Early Music on Stage and Screen (REMOSS) study group, this event seeks to widen its perspective, bringing its interest in the popular (re-)representations of early music in the present into dialogue with a set of broader questions about how music operates in a (New) media landscape where the past figures prominently and in transformational way.
Programme
Wednesday 21 August
9:30 Arrival and registration
10:30 – 12:00 Session 1: Memory and nostalgia
David Heinsen (University of Texas at Austin): ‘Topical Historicity as Subjectification: A Discourse of Alterity in Memories of the Alhambra’
Diogo Carvalho (University of Florida): ‘“Open the Bruise Up”: Identity and Memory in Steve Reich’s Music’
Joseph Coughlan-Allen (University of Liverpool): ‘Cracklology: Surface noise and false historicity’
12:00 – 12:15 Break
12:15 – 13:15 Session 2: Baroque reimagined
Sara Gulgas (University of Arizona): ‘Baroque Rock and the Memory Politics of Representing the Distant Past’
Donald Grieg (Independent scholar): ‘Pasolini and the baroque’
13:15 – 14:00 Lunch (included)
14:00 – 15:30 Session 3: Medievalism
Kendra Leonard (The Silent Film Sound & Music Archive): ‘Medievalism, Myth, and Music for The Lion in Winter’
Ralph Corrigan (Independent scholar): ‘What is the ultimate purpose of medievalising?: An unexpected Aristotelian truth in the modern pursuit of a medieval sound’
Alexander Kolassa (The Open University): ‘Haunted by the past: the sounds of modernism and the folk horror revival’
15:30 – 16:00 Break
16:00 – 17:00 Keynote Lecture 1:
John Haines (University of Toronto): title TBC
Thursday 22 August
9:00 – 10:00 Keynote Lecture 2:
Paul Sturtevant (Smithsonian Institute): title TBC
10:00 – 10:30 Break
10:30 – 12:00 Session 4: Digital medievalisms
James Cook (University of Edinburgh): Representations of Early Music on a Virtual Screen
Jennifer Smith (University of Huddersfield): ‘Vocal disruptions in the aural game world’
George Haggett (King’s College London): ‘One Piercing Note’: nuns, troubadours, and musical medievalism in RuneScape’
12:00 – 13:00 Lunch (included)
13:00 – 14:00 Session 5: Using (and misusing) early music
Alex Robinson (Independent scholar): ‘Early Music – what’s the point? Reflections on the use of “period appropriate music” in historical films and television dramas’
Adam Whittaker (Birmingham City University): ‘Half-real worlds? Representing musical pasts in virtual/augmented reality’
14:00 – 14:30 Break
14:30 – 16:00 Session 6: New music and the distant past
Francesco Venturi (Royal Musical Association): ‘Thinking about the anachronistic within new music’
Litha Efthymiou (University of Lincoln): ‘Old Hispanic Chant and New Music’
Violetta Kostka (The Stanis³aw Moniuszko Academy of Music in Gdañsk): ‘From Old to New. Pawe³ Szymañski’s Music in the Second Degree’
For a map of the OU Campus go to: http://www.open.ac.uk/about/main/sites/www.open.ac.uk.about.main/files/files/ecms/web-content/Campus-Map.pdf
If you have any questions, please contact Dr Alexander Kolassa at [log in to unmask]
Follow us at @REMOSSBrum<https://twitter.com/REMOSSBrum> and http://blogs.bcu.ac.uk/remoss/
https://www.eventbrite.co.uk/e/music-and-disruptive-pasts-between-the-popular-and-the-arcane-tickets-62503978081
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