Deadline extended

The deadline for the Stony Brook Graduate Music Symposium has been extended until December 15th at 5 PM. Please submit 250-word abstracts for 20-minute papers or 40-minute lecture recitals on the topic, "Between Engagement and Indifference: Music and Politics" to musicgradsymposium@stonybrook.edu.

Stony Brook Graduate Music Symposium February, 2012

CFP: “Between Indifference and Engagement: Music and Politics”

The Stony Brook Music Department announces its second annual Graduate Music Symposium, to be held February 17-18, 2012. We welcome graduate students from all disciplines to submit paper proposals on aspects of music and politics, broadly conceived. The symposium will feature a keynote address by James Currie (SUNY-Buffalo), as well as a performance of George Bizet’s Carmen as adapted by Peter Brook. Suggested topics for our symposium include:

• Politics of musical practices
• Patrons, states, nations, and communities
• Ideology and musical discourse
• Resistance and complicity
• Identity politics
• Censorship
• Music as political resource
• Political readings of music

We invite submissions of 250-word abstracts for 20-minute papers or 40-minute lecture recitals. Please submit proposals to musicgradsymposium@stonybrook.edu by Friday, December 9. Stony Brook is accessible via MacArthur Airport, the Long Island Rail Road, and the Bridgeport/Port Jefferson ferry. Housing with Stony Brook graduate students will be available for presenters staying overnight.

Stony Brook Graduate Music Symposium Program

The program for the Stony Brook Graduate Music Symposium is below. Information about getting to Stony Brook can be found here, and campus maps are available here. We hope to see you at the conference!

Perspectives on Performance

Friday, February 11 (1006 Humanities Building)

10:00   Coffee and Registration

10:45   Opening Remarks
Professor Judith Lochhead, Chair, Department of Music
Bethany Cencer, Symposium Chair

11:00-1:00       Changing Receptions, Changing Histories
Jon Fessenden, chair

Jonathan Waxman (New York University)

“Performing Ives: The Premiere and Reception of Ives’s Second Symphony”

Isadora Miranda (Western Illinois University)

“Child’s Play: Performance and Reception History of Hans Krása’s Brundibár”

Ryan Weber (University of Connecticut)

“Beethoven as Christian Socialist? Tracing Transatlantic Identities”

Michael Richardson (Stony Brook University)

“Rereading the Past: Towards an Historically Informed Performance Practice of Notre Dame Polyphony”

1:00     Lunch break

2:00-3:30         Feminist Theory and Popular Music
Sarah Feltham, chair

Joelle Meniktos-Nolting (University of Michigan)

“Last Night I Heard the Screaming: ‘Kinesthetic Empathy’ and Tracy Chapman’s Behind the Wall”

Zerrin Martin (Westminster Choir College)

“‘Don’t Tell Me What to Do’: The Supremes and the Ronettes: Issues of Feminine Archetypes, Race, Sexuality, and Girl Groups

Amanda Cannata (Stanford University)

“‘Look at Me…’: Sarah Vaughan’s Musical Performance of Gender in the 1950s

3:45-5:45         Aesthetics and Mediation
Nicholas Tochka, chair

Michael D’Errico (Tufts University)

 “‘Keepin’ it Real’: ‘Liveness’ and the Externalization of the Digital Interface in Instrumental Hip-Hop Production” (Lecture-Recital)

Robert D. Pearson (Brandeis University)

“‘Severe Diet?’ Tovey’s Renaissance

Lynda Paul (Yale University)

“Immediately Mediated: Musical ‘Liveness’ in Cirque du Soleil”

5:45     Dinner break

7:00                 Pre-Concert Talk (Recital Hall, Staller Center for the Arts)

Professor Mauro Calcagno (Stony Brook University)

8:00                 Handel, Acis and Galatea (Recital Hall, Staller Center for the Arts) 

Stony Brook Opera Workshop and Baroque Players, directed by Professor David Lawton and Professor Arthur Haas

Reception immediately following concert (2^nd Floor Lobby, Music Wing, Staller Center)

Saturday, February 12 (Recital Hall, Staller Center for the Arts)

8:30     Coffee

9:00-11:00       Fashioning the Baroque
Kelly Savage, chair

Elizabeth Weinfeld (CUNY-Graduate Center)

“Performance, or Self-Promotion? Giorgione, Watteau, and the Politics of Music Making”

Andy Greenwood (University of Chicago)

“Performance of Contagion: Conceiving Sympathy as a Musical Idea in the Scottish Enlightenment”

Christopher Wilke (Eastman School of Music)

 “Fortunate Love: Timbre, Texture and Tessitura in Sylvius Leopold Weiss’s Parodies of Gallot’s L’Amant Malheureux” (Lecture-Recital)

11:15-12:45     Performing Politics/Politicizing Performance
Kassandra Hartford, chair

Eduardo López-Dabdoub (CUNY-Graduate Center)

“‘Oh Lord, Don’t Let Them Shoot Us:’ Charles Mingus and the Performance of Race and Politics during the Civil Rights Movement

David McCarthy (CUNY-Graduate Center)

“Performing Affective Imaginaries in Copá Ruinas, Honduras”

John Gabriel (Harvard University)

“Exodus and Homecoming: Rudolf Kolisch’s 1953 and 1955 Amerika Haus Tours”

12:45   Lunch break

2:00-3:15         Keynote Address

Professor Mauro Calcagno, chair

Professor Ellen Rosand (Yale University)
"Poppea's Progress"

3:30-6:00         Modernist Techné
Katherine Kaiser, chair

Giacomo Fiore (University of California-Santa Cruz)

“Reflections, Resonance, Reminiscence: The Just Intonation Resophonic Guitar and Lou Harrison’s Scenes from Nek Chand” (Lecture-Recital)

Ian Power (Harvard University)

“Performance and Invention of Difficulty in the Work of Anthony Braxton”

Jocelyn Ho (Stony Brook University)

“Debussy and Late-Romantic Performing Practices: An Investigation of Debussy’s Piano Rolls of 1913”

Carmel Raz (Yale University)

“Putting the Cart(er) Before the Horse: Performing and Perceiving Metric Modulations”