CALL FOR PAPERS!

International Bilingual Conference

The European Salon: Nineteenth-century Salonmusik

2-4 October 2015, National University of Ireland, Maynooth

Keynote speakers: Professor Susan Youens, Professor Glenn Stanley, and Professor Harald Krebs

As socio-cultural institutions, salons had a great political, artistic and scientific impact on nineteenth-century history. The typical salon sociability provided a unique opportunity for artists of varied social and cultural backgrounds to share their knowledge and skills on a semi-public platform. In fact the attempt at overcoming social, religious and educational limitations in the salon was a singular phenomenon of the time. While the purposes of nineteenth-century salons were diverse, all of them had in common the ubiquity of music. This interdisciplinary conference seeks to re-evaluate the significance of both the broad and diverse category of music performed in and/or composed for the salon and the extra-musical functions of the salon within the context of the nineteenth-century socio-cultural discourse.

We invite abstracts for individual 20-minute papers by both academic scholars and performers in either English or German; for themed panel sessions (comprising three individual papers); and for roundtable sessions (up to six people, each presenting a position paper, followed by a discussion). Considering the practical nature of the overall topic, we especially welcome proposals for lecture recitals and other performative forms of presentation.

Proposed research areas include but are not limited to:

• The nineteenth-century European salon as a social forum and its artistic output as a social document;
• The salon as a special performative opportunity for women;
• A re-classification of composers specialising in Salonmusik and composers of European art music performing in European salons;
• The role of music during the Biedermeier period;
• Case studies of specific nineteenth-century European salons and/or their attendees;
• The relationship between salonieres, attendees, performers, publishers and/or reviewers, i.e. the relationship between the private, the semi-public and the public domains;
• Publishers of Salonmusik and their contribution to the popularity of the genre;
• Virtuosity and quasi-virtuosic Salonmusik versus dilettantism;
• A re-evaluation of art-forms typically performed in salons, and their impact on the musical repertoire of the nineteenth century and beyond;
• Analyses of typical Salonmusik and works performed in salons such as fantasias, impromptus, etudes, transcriptions, variations, polonaises, ballades, waltzes, boleros, mazurkas and others.

Abstracts of c300 words, along with a short biography of no more than 150 words and an outline of the technology needed for the presentation, should be sent in a word-compatible format by Friday, 6 February 2015 to 19thcenturysalon@nuim.ie. Successful applicants will be notified by mid-March 2015.

The organising committee includes Brigitte Bark (NUIM), Anja Bunzel (NUIM), Dr Lorraine Byrne Bodley (NUIM), Dr Patrick Devine (NUIM), Dr Alison Hood (NUIM), Dr Aisling Kenny (DkIT), Barbora Kubečková (NUIM), and Dr Wolfgang Marx (UCD).

For further details see International Bilingual Conference.

POZIV ZA PRIJAVU PRIOPĆENJA!

MEĐUNARODNI MUZIKOLOŠKI SKUP

TEMA: Ivan Zajc (1832-1914): Glazbene migracije i kulturni transferi u srednjoj Europi i šire u ‘dugom’ 19. stoljeću
MJESTO I DATUM: Zagreb, 16-18. listopada 2014. u palači HAZU, Zrinjski trg 11
PLENARNI PREDAVAČI: Richard Taruskin (Berkeley), Stanislav Tuksar (Zagreb), Harry White (Dublin)
ORGANIZATORI: Hrvatsko muzikološko društvo i Odsjek za povijest hrvatske glazbe Zavoda za povijest hrvatske književnosti, kazališta i glazbe Hrvatske akademije znanosti i umjetnosti

Skup se organizira prigodom obilježavanja 100. obljetnice smrti Ivana pl. Zajca (1832-1914), središnje ličnosti hrvatske glazbe u posljednjoj trećini 19. stoljeća.

Zajc se školovao u Rijeci i na Konzervatoriju u Milanu (1850-1855). Djelovao je kao nastavnik i dirigent u Rijeci (1855-1862), kao skladatelj opereta, pedagog i dirigent u Beču (1862-1870) te kao ravnatelj Opere HNK, ravnatelj i nastavnik na školi HGZ-a u Zagrebu (1870-1914). Ostavio je opus od preko 1100 skladbi na vrlo različitim područjima umjetničke glazbe. Skladao je crkvenu glazbu (19 misa, 50-ak duhovnih i svjetovnih oratorija i kantata), popijevke (oko 170 na hrvatske, talijanske i njemačke tekstove), oko 300 zborova, oko 80 orkestralnih djela, oko 100 komornih i klavirskih djela, no najznačajniji je kao autor skladbi za glazbenu scenu: 19 opera, 26 opereta i 22 scenske glazbe.

TEMATSKA PODRUČJA

Prvo tematsko težište skupa je život, djelo i značenje Ivana pl. Zajca. Pritom su dobrodošli prilozi koji se bave analizom i odrednicama njegova cjelokupnog skladateljskog opusa, te razmjerima i dometima njegova djelovanja unutar hrvatskog nacionalnog pokreta kao primjerice autora mitsko-povijesno operne trilogije (Mislav, Ban Leget, Nikola Šubić Zrinjski) i drugih važnih glazbeno-scenskih djela, kao organizatora profesionalnog opernog ansambla i kao inovatora nastave glazbe u školi Hrvatskog glazbenog zavoda. Jednako su dobrodošli prilozi koji se bave Zajčevim djelom i djelovanjem u kontekstu njegova vremena te užeg nacionalnog i šireg srednjoeuropskog prostora.

Drugo tematsko težište skupa je fenomen glazbenih migracija kako ga je svojim životnim itinerom (Rijeka-Milano-Rijeka-Beč-Zagreb) oprimjerio i Zajc. Glazbene migracije obuhvaćaju privremene i trajne selidbe i naseljavanja glazbenika (skladatelja, izvođača, muzikologa i glazbenih pisaca, graditelja glazbala, i dr.), izmještanja i premještanja glazbenih artefakata (note, knjige o glazbi, glazbala, dokumentacija, i dr.) i ideja o glazbi (školovanja, osobni susreti, korespondencija, stilski i žanrovski utjecaji, i dr.) iz zavičajnog mjesta ili mjesta nastanka na druge lokacije unutar i/ili izvan lokalnih, regionalnih i/ili nacionalnih okvira. U konkretnom slučaju Zajca ove su migracijske pojave uže locirane na područje srednje Europe, ali, na primjer, upravo sporadični slučajevi prisutnosti njegovih skladbi u glazbenoj praksi od SAD-a do Japana, u 19. i 20. stoljeću, proširuju mogućnost proučavanja, sagledavanja i vrednovanja ovog tematskog aspekta i izvan Zajčevih užih geografskih i vremenskih okvira i zadanosti.

Treće tematsko težište je problematika kulturnih transfera na području glazbe i s njom u vezu dovedenih drugih područja umjetnosti i kulture (književnost, kazalište, likovne umjetnosti, i dr.) kao glavne društveno-kulturne posljedice migracijskih procesa. Kako u današnjim vremenima intenziviranja kulturnih interakcija u globalnim razmjerima, tako – različitim načinima i metodama, s drugim akcentuacijama i u drukčijim oblicima realizacije – i u razdoblju Zajčeva života u drugoj polovici 19. i početkom 20. stoljeća, te kasnije, glazbeno-kulturni transferi obuhvaćaju dotok i protok informacija o općim i pojedinačnim umjetničkim pojavama i artefaktima, njihovo prihvaćanje, utjecaj i preuzimanje, ignoriranje ili odbacivanje. U Zajčevu slučaju koloplet takvih pojava tvore međusobno prožimajući utjecaji verdijanske operne koncepcije, bečke operetne scene, pomodnog koketiranja s orijentalizmima, uvažavanja ideje domoljubnog i nacionalnog, konkretnih društvenih djelatnosti na područjima glazbenog školstva, izgradnje institucija poput nacionalne opere, podupiranja glazbenog amaterizma, i dr.
S obzirom na činjenicu da se Zajčev životni put i kraj tzv. belle époque podudaraju svojim završetcima 1914. godine, vremenska odrednica je okvirno zadana kao kraj tzv. dugog 19. stoljeća, ali se u proučavanju i predstavljanju drugog i trećeg tematskog težišta ne postavljaju nikakva unaprijed zadana vremenska, prostorna ili kultorološka ograničenja.

PRIJAVA PRIJEDLOGA PRIOPĆENJA I ROKOVI

Prijedlozi se šalju pismeno ili elektronički do 15. 11. 2013. sa sažetkom na hrvatskom ili engleskom (300-400 riječi) na:
Hrvatsko muzikološko društvo, Opatička 18, 10000 Zagreb
Website adresa: www.hmd-music.hr
Popis sudionika objavit će se do 31. 12. 2013.
Određen broj sudionika iz zemlje i inozemstva bit će pozvan ad personam (do 20). Broj slobodnih priopćenja (free-papers) ograničen je.

JEZICI

Službeni jezici skupa su hrvatski i engleski.

KOTIZACIJA I UVJETI BORAVKA

Samo pozvanim sudionicima skupa izvan Zagreba organizatori osiguravaju boravak i smještaj. Pozvani sudionici ne uplaćuju kotizaciju.
Sudionici sa slobodnim priopćenjima izvan Zagreba sami snose troškove boravka i smještaja, te uplaćuju kotizaciju od 70 Eura ili protuvrijednost u HRK.
Od svih sudionika očekuje se podmirenje troškova puta do i iz Zagreba.

ORGANIZACIJSKI ODBOR SKUPA

Dr. Vjera Katalinić, Odsjek za povijest hrvatske glazbe HAZU
Akademkinja Koraljka Kos, Hrvatska akademija znanosti i umjetnosti
Dr. Sanja-Majer-Bobetko, Odsjek za povijest hrvatske glazbe HAZU
Dr. Nada Bezić, Hrvatski glazbeni zavod, Zagreb
Akademik Stanislav Tuksar, Odsjek za muzikologiju Muzičke akademije u Zagrebu

ZBORNIK

Nakon održavanja skupa predviđeno je objavljivanje višejezičnog zbornika radova.

KONTAKTI

Dopisi, prijave i ostali kontakti mogu se slati na službenu adresu ili website Hrvatskog muzikološkog društva, te na pojedine članove Organizacijskog odbora skupa.

CALL FOR PAPERS!

INTERNATIONAL MUSICOLOGICAL CONFERENCE

THEME: Ivan Zajc (1832-1914): Musical Migrations and Cultural Transfers in the ‘Long’ 19th Century in Central Europe and Beyond
PLACE AND DATE: Zagreb, Croatia, October 16-18, 2014, the Palace of the Croatian Academy of Sciences and Arts, Zrinjski trg 11
KEYNOTE SPEAKERS: Richard Taruskin (Berkeley), Stanislav Tuksar (Zagreb), Harry White (Dublin)
ORGANIZERS: Croatian Musicological Society and the Department for History of Croatian Music of the Croatian Academy of Sciences and Arts

The Conference is organized on the occasion of the 100th anniversary of the death of Ivan Zajc (1832-1914), the key personality of Croatian music during the last third of the 19th century.

Zajc was trained in his home town of Rijeka and at the Conservatory in Milan (1850-55). He was active as a teacher and conductor in Rijeka (1855-62), as an operetta composer, pedagogue and conductor in Vienna (1862-70), and as the Director of the Croatian National Theatre Opera, and Director and teacher at the Croatian Music Institute School in Zagreb (1870-1908). Zajc left a huge opus of more than 1100 compositions in various areas of art music. He composed church music (19 Masses, c. 50 sacral and secular oratorios and cantatas), solo songs (c. 170 on Croatian, Italian and German texts), c. 300 choral works, c. 80 orchestral pieces, and about 100 chamber and piano works. Zajc remains most significant for his contributions to the musical stage: 19 operas, 26 operettas and 22 sets of incidental music.

THEMATIC AREAS

The first proposed thematic area is the life, oeuvre and importance of Ivan Zajc. We welcome contributions which will analyze and elucidate aspects of Zajc’s individual works and his oeuvre at large, as well as those which will deal with the range and scope of his activities within the 19th-century Croatian national movement. Zajc’s varied career included composing the mythological-historical operatic trilogy (Mislav, Ban Leget, Nikola Šubić Zrinjski) and other important works for musical stage, and serving as the organizer of professional ensembles and as an innovator in teaching methods at the Croatian Music Institute School. Equally welcomed will be contributions dealing with Zajc’s oeuvre and activities within the context of his time as well as the stricter national or broader central-European spaces.

The second proposed thematic area is the phenomenon of musical migrations, as is evident, for instance, in Zajc’s own life itinerary (Rijeka-Milan-Rijeka-Vienna-Zagreb). Musical migrations include temporary or permanent migrations or settling down of musicians (composers, performers, musicologists and music writers, instrument builders, etc.) and the transfer of musical artifacts (music sheets, music books, music instruments, documents, etc.) and ideas on music (by way of schooling, personal encounters, correspondence, stylistic and genre influences, etc.). Migrations can occur between native places or places of artistic creation and other locations inside and/or outside local, regional and/or national areas. In the case of Zajc, these migrational phenomena are more strictly located in the central-European area, but – for example – the sporadic presence of his compositions in the USA and Japan in the 19th and 20th centuries expands the possibilities for research in this area. This in turn leads to an understanding and evaluation of the idea of musical migrations beyond Zajc’s immediate geographic and temporal frames and determinants.

The third proposed thematic area concerns cultural transfer in the field of music, as well as in those areas of arts and culture which were traditionally connected with music, such as literature, theatre, visual arts, etc. As both in today’s processes regarding the intensification of cultural interactions on a global scope, and – with various methods, with different accents and forms of realization – in Zajc’s era during the second half of the 19th and the beginning of the 20th century, musico-cultural transfers encompass the influx and flow of information concerning general and individual art phenomena and facts. This also includes how such ideas are accepted, ignored, or rejected as well as their impact and dominance. In the case of Zajc a real whirlpool of such phenomena was created through the interaction and permeation of Verdian operatic concepts, Viennese operetta paradigms, fashionable flirtations with Orientalisms, ideas and emotions surrounding patriotic and national issues, direct social activities in the areas of music education and training, the building of national institutions such as national opera, the supporting of musical amateurism, etc.

Taking into account that Zajc’s life and the end of the so-called belle époque coincide in their endings in 1914, the temporal frame of the conference subjects was largely determined with the end of the ‘long’ 19th century and the beginning of WWI, but in investigating and presenting the second and the third thematic areas the organizers are encouraging participants submitting free papers to not feel bound by any strictly prescribed temporal, spatial and/or cultural limitations.

SUBMISSION OF PROPOSALS AND DEADLINES

Proposals should be submitted per e-mail or by regular post with an abstract in Croatian or English (300-400 words) at:
Croatian Musicological Society, Opatička 18, 10000 Zagreb, Croatia
Website address: www.hmd-music.hr
The deadline is: November 15, 2013.
The list of accepted participants will be announced by December 31, 2013.
A certain number of participants from Croatia and abroad will be invited ad personam (up to 20). The number of free papers and participants is limited.

LANGUAGES

Official languages of the conference will be Croatian and English.

FEE AND SOJOURN DETAILS

Participants with free papers coming from outside of Zagreb are paying for the expenses of accommodation and sojourn by themselves. They also pay the fee of 70 Euro or the equivalent value in local currency (HRK).
The organizers will provide midday meals during the conference for all participants.
It is expected that travel expenses to and from Zagreb will be covered by all participants themselves.

ORGANIZING COMMITTE

Dr. Vjera Katalinić, Department for History of Croatian Music of the Croatian Academy of Sciences
and Arts
Dr. Koraljka Kos, Member of the Croatian Academy of Sciences and Arts
Dr. Sanja-Majer-Bobetko, Department for History of Croatian Music of the Croatian Academy of
Sciences and Arts
Dr. Nada Bezić, Croatian Music Institute, Zagreb
Dr. Stanislav Tuksar, Department of Musicology, Academy of Music, University of Zagreb, Member
of the Croatian Academy of Sciences and Arts

PROCEEDINGS

The organizers are planning to publish multi-linguistic Proceedings of the conference.

CONTACTS

Please send all correspondence and queries to the official address or the website of the Croatian Musicological Society, as indicated above, or directly to the members of the Organizing Committee.

Cuius patrocinio tota gaudet regio
Saints’ Cults and the Dynamics of Regional Cohesion

Dubrovnik, 18-20 October 2012.

Conference organized by
Croatian Hagiography Society HAGIOTHECA
and
CULTSYMBOLS Project of the ESF EuroCORECODE Programme
Centre for the Study of the Cultural Heritage of Medieval Rituals, University of Copenhagen
Institut für Realienkunde, Austrian Academy of Sciences, Krems
Institute of History, University of Tallinn
Institute for History and Classical Studies, Norwegian University of Science and Technology, Trondheim
Department of Medieval Studies, Central European University – OTKA Saints Project

The topic proposed as the focus of the fourth Hagiotheca conference, in collaboration with CULTSYMBOLS Project of the ESF (www.cultsymbols.net), is the way in which the cults of saints contributed to the creation of spatially delimited (regional) collective identities in the Middle Ages. The notion of regio can be understood broadly, as a flexible category which covers spatial entities of various sizes and kinds. The cult of saints often functioned as a cohesive (or disruptive) forces which helped people to attach to (or detach from) particular regions. The saints belonged to the symbols which helped to bind and break communities. Thus, the study of the cult of saints could offer significant contribution to the study of concepts of regional identity through scrutinising the spatial aspect of the notion of the saintly patrocinium. The conference shall investigate how these cults contributed to the changing internal divisions, the fluctuating evolution or resurgence of local, territorial and national (regional and transregional) identities.

The quotation used in the title is a part of a twelfth-century liturgical hymn for St Denis written by Adam of St Victor, and though we might wonder whether with „regio“ the author refers to the whole Kingdom of France, it is clear that the boundaries of the saint’s patrocinium are inclusive, and suggest cohesion (tota regio). A later medieval attempt at elaboration of the levels of patrocinium, using the term regio rather vaguely, is brought in Henry of Langenstein‘s sermon on St Elisabeth, and shows well the difficulties (apparently not realized by the fifteenth-century German author) of establishing clear connections between various spatially-defined communities and saints:

“It should be known that, in accordance with the general opinion of theological tradition, angels undertook the care and governance of regions [regionum] and races [gentium], cities [urbium] and men. Similarly, the saints of God are entrusted with the spiritual care of and power over peoples [populos], regions, and cities where they happily lived and were buried, and [where] they left their relics, shined forth through miracles and bequeathed their examples of sanctity or, at least, where through the consecration of churches in their honour they had been received as patrons or patronesses. Consequently, when any race [gens], city [urbs] and country [patria] is placed under the rule of these leaders who immediately minister to the supreme governor, with good reason every race venerates its saintly men and women as its own gods and goddesses with enhanced solemnity, prays for them with greater devotion, and fears their anger and resentment more.”

The conference aims at discussing the ways in which various forms of identity are being negotiated, defined and constantly redefined at different levels of communities and societies. We would like to analyse how saintly figures were able to or were subjected to manipulations / appropriations / domestications or transformations that made them easier to identify with and sometimes simply constructed them in ways to make them function as markers of different kinds of spatially defined identity. Finally, we encourage the approach to the cults of medieval saints and their modern appropriations as a vehicle for studying changing cultural values related to social cohesion and identity, to the interactions between centre and periphery, between the medieval Latin culture and regional interests, political and cultural agendas. For examining all this, we welcome the inquiry into the reflections of these cults in different media (texts, images, relics, devotional objects and architecture, liturgy, music).

We invite papers discussing the following questions with respect to the medieval period (or rather from Late Antiquity to the Early Modern Period) addressing various regions of Europe, for example:

• how do hagiography and other media related to saints‘ cults conceive of the geographical aspect, especially the broadly understood notion of “region“?
• what are the mechanisms of construction of the spatially-delimited collective identities through the cult of saints? How do the saints’ cults and related representations (acquisition of relics, advertising the miracles, commission of texts, art objects and architecture…) contribute to the symbolic manifestation of these communities?
• what are the means of spreading intra- and inter-regional influence, and of the transfer of models of sainthood? How can we identify the centres and the promoters of such interactions?
• how do the cults of saints change according to the dynamics of territorial distinctions in the longue durée, and how do they conform to the changes in the organisation of the political territorial units?

We accept proposals for papers of ca. 20 minutes with abstracts of about 300 words until 15 March 2012.
Please, send your proposals to the following address: cuius.patrocinio@gmail.com

The keynote lecture will be delivered by Thomas Head, Hunter College and Graduate Center, City University of New York; the editor of Medieval Hagiography: An Anthology (New York: Garland Publishing, 2000), and the distiguished author of Hagiography and the Cult of Saints: the Diocese of Orleans, 800-1200 (Cambridge: Cambridge University Press, 1990).

Practical details:
There will be a conference fee of 60 euro, for students reduced to 30 euro. The accommodation is organized in the conference centre in Dubrovnik in single rooms (32 euro per night), with the possibility of having double rooms.

more…

Aufsatzwettbewerb

Das Kunstwerk der Zukunft – Perspektiven der Wagner-Rezeption im 21. Jahrhundert

Im Rahmen des Wagner Jubiläums 2013 veranstaltet die BF Medien GmbH (eine Tochtergesellschaft der Bayreuther Festspiele) einen Aufsatzwettbewerb zu dem Generalthema “Wagner im 21. Jahrhundert.” Gesucht werden innovative Beiträge zu Leben, Werk und Wirkung Wagners. Angesichts der zentralen Bedeutung des Begriffs “Zukunft” für Wagner wie für die Wagner Forschung wird besonderer Wert auf Texte gelegt, die die Frage nach der Relevanz Wagners für aktuelle Entwicklungen auf künstlerischem, sozialem, politischem und wirtschaftlichem Gebiet stellen. Etwa: Welche neuen Möglichkeiten der Wagner-Rezeption ergeben sich in einer nahezu total vernetzten Welt und unter den Bedingungen der Globalisierung? Welche Bedeutung hat die Idee des Gesamtkunstwerks in einer Epoche der Spezialisierung und Fragmentierung der Diskurse?

Einsendungen in deutscher oder englischer Sprache von ausgewiesenen und besonders auch von jüngeren Autoren sind in digitaler Form als E-mail an die folgende Adresse zu schicken (Manuskripte können leider nicht berücksichtigt werden):

perspektiven@wagnerjahr-2013.de

Der Umfang soll 35.000 Zeichen nicht überschreiten. Einsendeschluss ist der 31. März, 2013. Der internationalen Fachjury gehören an: Dr. Sven Friedrich (Direktor des Richard-Wagner-Museums und Nationalarchivs), Professor Hans Rudolf Vaget (Smith College, USA) und Professor Junichi Ikegami (Universität Saitama, Japan).

Die Preisverleihung für den ersten, zweiten und dritten Preis (2.500, 1.500 und 1.000 Euros) findet am 16. August 2013 im Rahmen des Abschlusskonzerts der Festspiel-Meisterklassen in Bayreuth statt. Die BF Medien GmbH unterstützt die Publikation ausgewählter Beiträge in der Reihe “Wagner in der Diskussion” bei Königshausen & Neumann, Würzburg.

* * *

The Artwork of the Future: New Perspectives on Wagner for the Twenty-First Century

Call for Papers

To mark the bicentenary of the birth of Richard Wagner, the BF Medien GmbH (BF Media Group), a subsidiary of the Bayreuth Festival, is pleased to sponsor a prize competition for an essay on the general topic of Wagner in the twenty-first century. We welcome submissions that address in an innovative fashion aspects of Wagner’s work, life, and impact. Mindful of the importance to Wagner and Wagner scholarship of the notion of “future,” we encourage authors not to limit themselves to retrospective treatments of their subjects but to explore possible applications of Wagner’s work to current developments in the artistic, social, political, and economic spheres. For instance, authors might ask: What are the prospects for the Wagnerian artwork in the age of the internet and globalization? What is the future of the “Gesamtkunstwerk” in an age of increasingly fragmented and specialized discourses?

We invite submissions from established scholars and we particularly encourage submissions from younger scholars in any field. Essays may be written in English or in German but must not exceed 35000 characters (spaces included). Papers with limited scholarly apparatus, or with none at all, will be warmly welcomed. Papers must be sent in electronic form (and not in print) to:

perspektiven@wagnerjahr-2013.de

and must be received on or before March 31, 2013. The panel of judges consists of Dr. Sven Friedrich (Director of the Richard-Wagner-Museum and –National Archive); Professor Hans Rudolf Vaget (Smith College, USA); and Professor Junichi Ikegami (University of Saitama, Japan).

A first, second, and third prize (of 2500, 1500, and 1000 Euros respectively) will be awarded on August 16, 2013, at the concluding concert of the Festival master class. The BF Media Group will support the publication of selected contributions in the Königshausen & Neumann series, “Wagner in der Diskussion.”

All inquiries should be directed to Dr. Sven Friedrich at the above address.