Call for Papers

Shakespeare and Music: New Interdisciplinary Perspectives

10–11 December 2020, Universities of Manchester and Huddersfield

Deadline for proposals: 15 September 2020.

https://shakespeareandmusic.wordpress.com/conference-2020/

‘When were you wont to be so full of songs, sirrah?’ (King Lear, I/4)

We are delighted to announce the inaugural conference of the ‘Shakespeare
and Music’ Study Group, on Thursday 10 December 2020 at the University of
Manchester and Friday 11 December at the University of Huddersfield.

The ‘Shakespeare and Music’ group was founded in affiliation with the Royal
Musical Association to provide a distinct forum for researchers and
practitioners across disciplines and cultures. In line with the mission of
the group, the conference aims to promote and foster research,
collaboration and exchange of ideas in two complementary aspects: music in
Shakespeare’s time, including various aspects of music in Shakespeare’s
works; and music inspired by Shakespeare’s works, whether composed to
Shakespearean themes or directly for Shakespeare plays.

In lieu of a keynote address, the conference will feature a world premiere
performance of John Casken’s *The Shackled King*, a dramatic cantata to the
composer’s own libretto derived from Shakespeare’s *King Lear*, with Sir
John Tomlinson CBE in the title role and Rozanna Madylus (mezzo-soprano) as
Cordelia, Goneril, Regan and The Fool.

The performance will be repeated in Huddersfield.

The conference also strives to provide post-graduate and early career
colleagues with a platform for cross-disciplinary exchanges. To this end
John Casken and John Tomlinson will work with students in post-concert
composition and performance workshops, running in parallel with the
academic sessions of the conference.

Apart from at least one confirmed session on ‘Shakespeare, Music and
Gender’, other possible threads for papers (20 minutes) and
lecture-recitals (30 minutes) include but are not limited to:

   - Music imagery and imagination in Shakespeare
   - Original melodies for Shakespeare songs and their afterlives
   - Shakespeare and opera
   - Incidental music for Shakespeare productions past and present
   - Analysis and contextualising of individual Shakespeare-inspired works
   - Setting Shakespeare’s words to music
   - Shakespeare in instrumental music
   - Shakespeare and film music
   - The role of Shakespeare in the musical imagination and creative output
   of composers
   - Shakespeare and musical nationalism
   - Shakespeare in non-classical music (jazz, musicals, pop)
   - Performing Shakespeare’s music
   - The afterlife of Shakespeare-inspired music

Please send an abstract of no more than 300 words accompanied by a short
(150-word) biographical note to Michelle Assay [log in to unmask] and David
Fanning [log in to unmask] by 15 September.

*Please note*: *we are aware of the current uncertainties and in the event
that public events are still not possible in December or that delegates are
unable to travel we shall make the necessary arrangements for virtual
delivery and/or streaming of the conference and its associated events.*

Generously supported by:

-- 
*Dr Michelle Assay (PhD, Sorbonne)*
*Leverhulme Early Career Research Fellow, University of Huddersfield
(Shakespeare in Soviet/post-Soviet music)*
*RMA Flagship Conferences Coordinator*
*Founder and Chair of Shakespeare and Music International Study Group (RMA)*
*[log in to unmask] <[log in to unmask]>*

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