Actualités musicalesvendredi 6 mars 2015
Intertextuality in Music since 1900Conference, call for papers 6-7 mars 2014, Lisbonne Faculdade de Ciências Sociais e Humanas,
Universidade Nova de Lisboa,
Lisbon (Portugal) Keynote speakers to include : Nicholas Cook, Faculty of Music, University of Cambridge ; Julian Johnson, Royal Holloway, University of London ; Lawrence Kramer, Fordham University, New York The concept of intertextuality was originally developed in the context of poststructuralist literary theory by Julia Kristeva, who introduced the term in the mid-1960s in connection with her engagement with Mikhail Bakhtin's notions of dialogism and heteroglossia. Intertextuality is currently taken to refer to the co-presence of different texts within a given text, or, in Kristeva's words, to the idea that “every text is the absorption and transformation of another text” – an idea later expanded by Gérard Genette as part of the wider concept of transtextuality. The focus on inter- and transtextuality has reflected a widespread tendency in literary and cultural studies to move away from the inherited notion of the text – or the work of art – as a unified, self-contained structure, towards a view that extends the textual paradigm to virtually any signifying nexus and emphasises the relational nature of all cultural productions. Since the 1970s, the notion of intertextuality has been appropriated by many disciplines, including musicology, giving new impetus to the discussion of well-established but somewhat ill-defined topics such as “borrowing”, “imitation”, or “influence”, as well as drawing attention to the roles of the performer and the listener in the production and circulation of meaning. David Beard and Kenneth Gloag, for instance, have written: “The act of reading or, in the context of music, listening, involves tracing echoes and reflections of other texts. Therefore, all music can in some sense be seen and heard as intertextual”, and they go as far as to suggest that, in the context of twentieth-century music, “the inherent intertextuality of music has been enlarged upon as a compositional practice”. In spite of the widespread use of the term in musical literature, however, it would seem that the notion of intertextuality as applied to music has not yet been made the focus of sustained critical attention from a theoretical, methodological and aesthetic perspective. This conference aims to address the theme in a pluralistic way, by focusing in particular on the conceptual questions involved in the application of the notion of intertextuality to music studies. It also aims to provide a background for the analysis of relevant case studies, to be drawn from the widest possible range of 20th- and 21st-century styles and repertoires, including art music, music for the stage and the movie screen, jazz, folk and popular music. The following topics would be particularly welcome: - Theories of intertextuality from a musicological perspective; - Practices of re-composition; - Listening as an intertextual process, and the aesthetics of reception; - Intertextuality and performance studies; - Intertextuality, intermediality and inter-arts studies; - Intertextuality and narrativity; - Intertextuality, topic theory and musical semantics; - Intertextuality and/as cultural transfer. The official language of the conference will be English. A selection of papers will be considered for publication in book form. We invite scholars from various disciplines to contribute to this international conference. Please send abstracts (max. 300 words) for 20-minute papers (to be followed by 10 minutes' discussion), in English, plus a short biographical note, to the conference organisers no later than 15 November 2014: Paulo F. de Castro: pf.castro@fcsh.unl.pt ; Federico Celestini: Federico.Celestini@uibk.ac.at Notification of acceptance will be given by 30 November 2014. The organisation is unable to cover any expenses, but it may be able to help with finding accommodation at special rates. For further information, please contact: pf.castro@fcsh.unl.pt Jointly organised by: CESEM/FCSH, Universidade Nova de Lisboa ; Institut für Musikwissenschaft, Leopold-Franzens-Universität Innsbruck. Séminaire jeunes chercheurs CMBV III. : Pratiquer la musique : espace public, espace privé6 mars 2015, Versailes Le pôle recherche du Centre de musique baroque de Versailles, qui souhaite encourager un dialogue autour de la musique ancienne, se propose de créer un espace de discussion qui permette de faire émerger des questions liées à la méthodologie de la recherche et d'en débattre. Dans ce cadre, de jeunes chercheurs qui ont en partage l'objet musical au xviie et au xviiie siècle seront invités à présenter leur travail. Durant les séances, la musique sera considérée dans un sens large puisque seront soulevées des questions relatives aux pratiques de concert, à la dramaturgie musicale, aux relations entre le texte et la musique, à l'édition critique, aux carrières de musiciens, etc. Dans une perspective pluridisciplinaire – musicologie, littérature, arts du spectacle, histoire et anthropologie – et dans le cadre d'un rapprochement des institutions – universités, centres de recherche, établissements de conservation –, le séminaire « Jeunes chercheurs » permettra à des étudiants en doctorat ou venant tout juste de soutenir leur thèse de rencontrer des spécialistes plus expérimentés et de soumettre leurs hypothèses de recherche à l'épreuve de la discussion. À chacune des séances, deux jeunes chercheurs invités présenteront un bref extrait de leur travail en cours (études de cas, articles en cours d'écriture, commentaires de textes…). Une personnalité invitée lancera le débat, auquel participeront l'ensemble du personnel scientifique du CMBV ainsi que les étudiants et les chercheurs qui le souhaitent. Ce séminaire est organisé conjointement par Rémy Campos (CMBV), Anne-Madeleine Goulet (CNRS) et Laura Naudeix (Université Rennes 2)
Pratiquer la musique : Cécile Queffélec, Les chanteuses et la musique religieuse à Paris au xviiie siècle (dir. Thierry Favier, université de Poitiers) Daniel Issa-Goncalves, Leméta-opéra baroque (1715 à 1744). Satire et parodie comme sources d'informations sur la pratique musicale au xviii e siècle (dir. Raphaëlle Legrand, université Paris IV). Discutant : Mélanie Traversier (Université de Lille III) Première séance, 16 janvier 2015 Airs et chansons : musicologie, sociologie et histoire culturelle Deuxième séance, 6 février 2015, La musique dans le théâtre Troisième séance, 6 mars 2015, Pratiquerla musique : espace public,espaceprivé Quatrième séance, 29 mai 2015, Musique et histoire institutionnelle Cinquième séance, 19 juin 2015, Danse : images et figures Séances de 14h à 17h. Entrée libre sur inscription : amgoulet3@gmail.com. Centre de musique baroque de Versailles 22, avenue de Paris - 78000 Versailles 01.39.20.78.10 - www.cmbv.fr
BIP Brigade d'Intervention Poétique « Ballade en gourmandise »
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