[H-verkko] CFP: Confronting the National in the Musical Past Third Sibelius Academy Symposium on Music History

[agricola at utu.fi]

Agricolan artikkelipyyntöihin on lähetetty uusi ilmoitus:
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Confronting the National in the Musical Past
 Third Sibelius Academy Symposium
on Music History
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Confronting the National in the Musical Past
 Third Sibelius Academy Symposium
on Music History

May 21–23, 2014 at the Sibelius Academy, University of the Arts,
Helsinki



An international conference hosted by the Rethinking Finnish Music History
research project at Sibelius Academy.

Keynote speakers

Celia Applegate, Vanderbilt University, USA

Philip V. Bohlman, University of Chicago, USA

Tomi Mäkelä, Martin Luther Universität Halle-Wittenberg, Germany

Conference outline

In cultural studies, a growing interest towards questioning methodological
nationalism has emerged. Methodological nationalism points to an attachment
between historiography and historical research, on the one hand, and nationalism
and the nation state, on the other – an attachment, which has gone, for the
most part, unquestioned. For instance, music history has regarded the
contemporary nation states as defining the borders and essence of various
musical idioms, regardless of whether or not those nations were in existence in
the period of the music in question.

The "Netherland schools" and "German Baroque" are among the best known and
widely used examples of methodological nationalism at work in music
historiography, and, even in the 21st century, most general histories of music
– independent of genre – are narrated from a national point of view. Most of
these nationally oriented histories of music manifest the tendency of
associating Great Composers – and famous artists – with a certain
nationality, no matter the ethnic and cultural origin of those individuals. It
is also very common to read about "Italian", "Spanish", "Norwegian" or "French"
music as if these were supra-historical epithets, something that in and of
themselves qualify and define the essence of those musics.

Widening the scope into categories that are more international and multinational
is not necessarily a solution to the ideological fallacy described above – we
still have the “national” to contend with, even if our grasp extends beyond
national borders. Even through this paradigm shift, it is very difficult to do
away with international comparisons of musics. We can, however, detach our
research from nation states: instead of focusing on musical idioms, styles and
practices within the borders of nations, we can shift our focus towards
transcultural musical processes that unfold independent of those borders.

In conclusion, we could argue that a certain “national gaze” has pervaded
western music historiography ever since the 19th century, and in relation to
this we still have a number of problems to solve in our historical research. The
symposium provides a forum for presenting new, critical research in this field,
as well as acting as a forum for a critical re-evaluation of the historical
narratives to which methodological nationalism has given ground.

We invite proposals for papers and group sessions under the following themes:

1. Writing the Nation in Music Historiography

2. (De)constructing the National Grand Narrative in Music

3. Methodological Nationalism in the Music Media

4. Methodological Nationalism in Music Education

5. Globalization vs. Competition Between Nations in Music History

6. Cultural Transfer in Music History

 The Conference committee welcomes individual papers and proposals for panels
and roundtable discussions. For individual papers, abstracts of no more than 300
words should be submitted. Panels and roundtable proposals should include a
session overview, participant biographies and description of individual
contributions. Abstracts and proposals should be sent to the conference
secretary, Dr. Kaarina Kilpiö (kaarina.kilpio at siba.fi) by January 31, 2014.

 

Keynote speaker biographies

Celia Applegate studies the culture, society, and politics of modern Germany,
with particular interest in the history of music, nationalism and national
identity. She is the author of A Nation of Provincials: The German Idea of
Heimat (Berkeley, 1990), the co-editor (with musicologist Pamela Potter) of
Music and German National Identity (Chicago, 2000), and the author of Bach in
Berlin: Nation and Culture in Mendelssohn’s Revival of the St. Matthew Passion
(Cornell, 2005), winner of the DAAD/GSA Book Prize. She is currently working on
comprehensive interpretation of musical life in Germany from the 17th century to
the present, titled Music and the Germans: A History. She is Past President of
the German Studies Association and Vice President of the Central European
History Society.

Philip Bohlman is a distinguished scholar whose teaching and research covers a
broad range, with special interests in music and modernity, folk and popular
music in North America and Europe, Jewish music, music of the Middle East and
South Asia, music and religion, and music at the encounter with racism and
colonialism.

A pianist, he also is the artistic director of the New Budapest Orpheum Society,
a Jewish cabaret ensemble at Chicago. He has written and published extensively,
and among his most recent publications are World Music: A Very Short
Introduction (Oxford University Press, USA, 2002), The Music of European
Nationalism (ABC-CLIO, 2004), and Jewish Music and Modernity (Oxford University
Press, 2005).

The New Budapest Orpheum Society has released the double-CD Dancing on the Edge
of the Volcano (2002). Current projects include books on music drama in the
Holocaust and a translation of Johann Gottfried Herder's writings on music and
nationalism. Bohlman was awarded the Edward Dent Medal by the Royal Music
Association in 1997 and the Berlin Prize from the American Academy in Berlin in
2003.

Tomi Mäkelä is a Finnish-German scholar with a wide range of interests in
music, music research and education. Starting with publications on Romantic
virtuosity, he soon changed over to the 20th-Century studies in the 1990s. He
wrote a book on the Max-Reger-student Aarre Merikanto and participated in a
German DFG-project on Music in Exile 1933–1950, and finally (now living in
Germany) became interested in his cultural roots. His first book on
Sibelius, “Poesie in der Luft” (2007) was celebrated internationally (and
occasionally attacked in Finland) as a new view on the composer. Due to its
methodological setting, it got the distinguished “Geisteswissenschaft
International”-Prize that is rarely given to a book on music. 2011 an English
version was published. After that Mäkelä wrote the compendium Jean Sibelius
und seine Zeit (2013). In the meanwhile he had also published a book on Fredrik
Pacius, the composer of Finland’s national anthem (2009 in Swedish, 2014 in
German).

His newest contribution on the “New North”, the musical culture, and music
education (including the popular) in Finland after Sibelius is about to be on
market in late 2014. 2013 he started in the Edvard Grieg scholarship, building
up music research in Grieg’s home region in Bergen, Western Norway. Mäkelä
is professor of music in the Martin Luther University of Halle-Wittenberg in
Germany and member of the Editorial Board of both Studia Musicologica
Norwegicaand Twentieth-Century Music (CUP).

Conference Committee at Sibelius Academy

Vesa Kurkela (chair), Anne Sivuoja-Kauppala, Heidi Westerlund, Lauri Väkevä,
Veijo Murtomäki, Kaarina Kilpiö (conference secretary), Markus Mantere, Olli
Heikkinen, Saijaleena Rantanen, Derek B. Scott / University of Leeds

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Ilmoituksen lähetti: Agricola <agricola at utu.fi>
Ilmoitus vanhentuu: 1.2.2014
Lisätietoja WWW-osoitteesta: http://sites.siba.fi/en/web/remu