Dear colleagues,
Please find below a Call for contributions for a joint hybrid panel on
compositional model and schema theory in Russian music at the
simultaneous upcoming annual meetings of the German societies for
musicology (GfM) and music theory (GMTH) in late September / early
October 2022.
The deadline is 2 JANUARY 2022. Please feel free to get in touch with
us if you have any further questions.
Kind regards,
Patrick Becker-Naydenov
CALL FOR CONTRIBUTIONS: “MODES—MODELS—MODULATIONS: TOWARD A THEORY
OF COMPOSITIONAL MODELS IN RUSSIAN MUSIC”
Patrick Becker-Naydenov (University of Leipzig) and Wendelin Bitzan
(Robert Schumann Hochschule Düsseldorf) warmly invite 30-MINUTE
ENGLISH PAPER PROPOSALS (20 min + 10 min for discussions) for a joint
hybrid panel organized at the annual conferences of the German
musicological society (Gesellschaft für Musikforschung, GfM) and the
German Society for Music Theory (Gesellschaft für Musiktheorie, GMTH)
to be held in late September and early October 2022.
We are looking for papers by musicologists, music theorists, and
scholars from the related disciplines of literary criticism, art
history, or cultural studies focusing on 18th- to 20th-century
Imperial and Soviet Russian (musical) culture who are willing to
submit a PANEL PROPOSAL to the conference organizers DUE ON 31 JANUARY
2022.
ANNOUNCEMENT
Researchers have frequently described modern Russia as a “logocentric”
culture (Frolova-Walker 2007) based on the import of foreign
influences through direct cultural contacts or various media and
technologies such as translation, with scholars like Juri Lotman going
so far as to propose an entire semiotic geography characterized by
wave-like degrees of transcultural exchanges (2017).
With the advent of global music history studies, the notion of Russia
and the Soviet Union as importing and exporting musical cultures
deserves a critical reappraisal. However, musicologists and music
theorists still lack an adequate vocabulary and methodology to account
for the various modes of musical transfer manifest in a wide range of
sources. Therefore, we propose an interdisciplinary joint hybrid panel
of musicologists and music theorists to be held at the GfM and GMTH
annual conferences that will take place in late September and early
October 2022 in Berlin and Salzburg (GfM: 28 Sep–1 Oct; GMTH:
30 Sep–2 Oct).
We propose a special focus on compositional models and schemata, as
(re)introduced in the recent musicological and music-theoretical
discourse of the last two decades. For example, Gjerdingen (2007)
considers schemata as basic analytical units operating on different
musical levels; Kaiser (1995), Fladt (2005), and Aerts (2007) approach
models of harmony, voice-leading, and syntax as formulas or ‘/topoi/’
that, drawing from Dahlhaus, function as superordinate semantic
agents. Through our research we have found that protagonists in Russia
were often more conscious about the implications of musical transfer
than scholarship in the West might suggest. The increasing
institutionalization of music education in conservatories and similar
organizations throughout the Russian 19th-century hints at musical
models as resulting from an “educationalization of the world”
(Tröhler 2013) that understood music as an array of individually
teachable elements. Following Druskin’s work on Stravinsky and
Parisian musical life around 1900 (1973) and its further development
among his lesser-known pupils, it seems possible to devise an approach
to implementing compositional models in musicological research,
contextualizing their cultural origins and hermeneutics, and
investigating both the structural and aesthetical aspects of model and
schema theory.
Papers may address but are not limited to the following themes:
· Compositional models as means of cultural transfer between
Russia and the West,
· Model and schema terminology and models as analytical
categories in Russian scholarship,
· Reception of Russian and Soviet music scholarship abroad,
· We especially encourage submissions related to the
150th anniversary of the birth of Alexander Scriabin, investigating
aspects of his work and the scholarship induced by it.
Please submit A 300–500-WORD ABSTRACT and A SHORT BIOGRAPHY to Patrick
Becker-Naydenov <[log in to unmask]> and Wendelin Bitzan
<[log in to unmask]> BY 2 JANUARY 2022. We will inform
about the outcome of the selection process within two weeks after the
deadline and prepare our panel proposal to the conference organizers
during January 2022.
We are aware of the structural inequalities in global academia and
material challenges to knowledge production. Therefore, we will apply
for funding of bursaries to the presenters and, thus, especially hope
to encourage researchers from outside the German-speaking and Western
area to submit.
If you have any further questions, please feel free to get in touch with us.
--
Patrick Becker-Naydenov M.A. (promoviert)
Wissenschaftlicher Mitarbeiter/Assistent
Studienfachberatung BA Musikwissenschaft
ERASMUS+-Koordination
Universität Leipzig
Institut für Musikwissenschaft
Neumarkt 9-19E, R. 306
D-04109 LEIPZIG
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