Late breaking information

MUSICOLOGY AT THE UNIVERSITY OF AMSTERDAM

30/11/2012

Tempo and timing in music perception and performance


COLLOQUIUM MUZIEKWETENSCHAP 

Dirk Moelants
Referent Fleur Bouwer
13 december 2012
15:30-17:00 
Universiteitstheater, Nieuwe Doelenstraat 16, Zaal 3.01

Tempo and timing in music perception and performance

Using examples from my (recent) research, I will elaborate on the importance of timing issues in music performance and musical communication. Important issues which will be addressed include: the link between theoretical models and musical practice and communication between musicians and their audience.

14/11/2012

Sempre Appassionato! 75 jaar Muziekwetenschap

COLLOQUIUM MUZIEKWETENSCHAP ‘Sempre Appassionato’ 75 jaar Muziekwetenschap in Amsterdam Donderdag 15 november 2012 Universiteitstheater, Nieuwe Doelenstraat 16, Amsterdam, aanvang 15:30 uur, zaal 301 In 1937 benoemt de Amsterdamse gemeenteraad dr K.Ph. Bernet Kempers tot lector in de muziekwetenschap. Het is het begin van een dynamische geschiedenis met grote namen, hooggestemde ambities, successen en tegenslagen: Sempre Appassionato. Helen Metzelaar en Barend Linders beschreven op basis van archiefonderzoek en een groot aantal interviews, de ontwikkelingen waar sommige docenten en studenten nog levendige herinneringen aan hebben. En het proces gaat verder. Het is het verhaal over muziekwetenschap UvA in zijn volle breedte, het kenmerk van de Amsterdamse opleiding Een colloquium over actueel onderzoek op het gebied van de muziekwetenschap vanuit diverse invalshoeken en gebruikmakend van verschillende onderzoeksmethodieken /

02/10/2012

Workshop on Cultural musicology 9/11/2012


Bilateral Workshop on Cultural musicology
Exploring its ‘Method, Aim and Scope’
University of Amsterdam

TIME AND DATE: 10.00-18.00 November 9, 2012 
LOCATION: Oost Indisch Huis D3.06, Kloveniersburgwal 48, 1012 CX Amsterdam (BUSHUIS)

A cooperation between the Musicological Department of the Georg-August University Göttingen and the Institute for Musicology of the University of Amsterdam (the Netherlands)
Local Organizer: Dr. Wim van der Meer
Program in pdf

.:: Participants 

.:: Prof. Dr. Birgit Abels, Musicological Department of the Georg-August University Göttingen (GER)
.:: Charissa Granger, Musicological Department of the Georg-August University Göttingen (GER)
.:: Julia Heuwekemeijer, Institute for Musicology of the University of Amsterdam (NL)
.:: Dr. Wim van der Meer, Institute for Musicology of the University of Amsterdam (NL)
.:: Eva-Maria van Straaten, Musicological Department of the Georg-August University Göttingen (GER)
.:: Prof. Dr. Andreas Waczkat, Musicological Department of the Georg-August University Göttingen (GER)


 .:: Topic of the Workshop

The dimensions
 of musicology and their interrelationships have been subjects of ongoing debate in recent decades, despite their long-standing history. Adler, in 1885, used the binary historical-systematic, with comparative as a subdivision of systematic. Seeger, in 1939, continued along this line, though he seems to have used comparative and systematic interchangeably. In the second half of the twentieth century, the two main pillars of musicology were musicology and ethnomusicology, especially in the United States, in spite of Seeger’s complaint about the appropriation of the generic term ‘musicology’ by the students of ‘western art music’. In recent times, a number of scholars, among them Tia DeNora and Alistair Williams, have been circulating the expression ‘cultural musicology’. This designation first emerged in 1959 in an article by Fidelis Smith that went largely unnoticed. Gilbert Chase coined the term cultural musicology once again in 1972, using it simply as a replacement for ethnomusicology, which was taken up by Kerman reintroduced in 1985. In 2003, Lawrence Kramer reinvented the terminology to denote the ‘rapidly aging new musicology’ , and around the same time, Routledge initiated a series called ‘critical and cultural musicology’, edited by Martha Feldman. The foreword included with each volume in the series states the following: 
Musicology has undergone a seachange in recent years. Where once the discipline knew its limits, today its boundaries seem all but limitless. Its subjects have expanded from the great composers, patronage, manuscripts, and genre formations to include race, sexuality, jazz, and rock; its methods from textual criticism, formal analysis, paleography, narrative history, and archival studies to deconstruction, narrativity, postcolonial analysis, phenomenology, and performance studies. These categories point to deeper shifts in the discipline that have led musicologists to explore phenomena that previously had little or no place in musicology. Such shifts have changed our principles of evidence while urging new understandings of existing ones. They have transformed prevailing notions of musical texts, created new analytic strategies, recast our sense of subjectivity, and produced new archives of data. In the process they have also destabilized canons of scholarly value. The implications of these changes remain challenging in a field whose intellectual ground has shifted so quickly. In response to them, this series offers essay collections that give thematic focus to new critical and cultural perspectives in musicology.

The smooth, loose and vague manner in which the terminology is applied would suggest that it is not a formal discipline. Perhaps it should be, however, as the old musicology (or pre-new musicology) would now definitely have to be renamed historical musicology, and ethnomusicology is no longer a viable denotation, as neither its subject matter nor its methods seem tenable.
 And what happened to systematic musicology? It survived in German speaking musicology departments, but elsewhere it transformed into theoretical musicology, music theory, empirical musicology and cognitive musicology. In Feldman’s series, cultural musicology is mentioned side by side with critical musicology, which is a very special branch which applies critical theory.

The question is, if cultural musicology according to Chase’s definition is ethnomusicology, and if according to Kramer’s definition it is new musicology, then do they have anything in common at all? Perhaps they have more in common than it initially appears, for new musicology was strongly influenced by the cultural turn that is so predominant in ethnomusicology. Tomlinson’s work, for instance, exemplifies this juxtaposition. Furthermore, if Chase considers the object of study to be ‘other’ music (including pop), and Kramer is a classicist, it should be recognised that those fences were torn down in the twentieth century. Now, in the twenty-first century, the boundaries between repertoires have become even more obscure.
Therefore, the orientations in musicology should be primarily methodological. In this workshop, we will attempt to explore the imaginable dimensions of cultural musicology from the core to the boundaries. 

.:: Aims of the Workshop 

In this workshop, we will bring together musicologists from the Departments of Musicology in Amsterdam and Göttingen, which have been critically engaged in recent years in the development of what can be termed cultural musicology. In addition to the scientific outcome that is to be expected, we anticipate substantial synergetic effects with respect to the proposed topic resulting from their interaction. In complementary ways, all participants have spent several years doing research from their own perspectives on the workshop topic. A secondary aim of the workshop is to facilitate constructive talks about future joint research projects related to the topic of cultural musicology.

.:: 1 Cultural Musicology: Some Points for a Note on the Scope, Method, History and Aim

Wim van der Meer 
Institute for Musicology 
University of Amsterdam 
Nieuwe Doelenstraat 16
1012 CP Amsterdam
the Netherlands

Cultural musicology, like any other orientation in musicology, has music as its object of investigation. Cultural musicology needs to be able to, and indeed can, engage with any kind of music, but it does not limit itself to researching music. It is equally concerned with research on ideas about music and the processes and patterns of musical thinking or thinking musically (‘musico-logica’).

What is special to the cultural orientation in musicology is its method; it can be seen as the cultural analysis of music. Following Pollock (2007), this involves transdisciplinarity, encounters and concepts. About concepts, Dutch scholar Mieke Bal states the following:

At first sight, the object is simple enough: a text, a piece of music, a film, a painting. After returning from your travels, however, the object constructed turns out to no longer be the ‘thing’ that so fascinated you when you chose it. It has become a living creature, embedded in all the questions and considerations that the mud of your travel splattered onto it, and that surround it like a ‘field’.
...
In ordinary, dictionary-based usage, a concept is ‘something conceived in the mind; a thought, notion; a general idea covering many similar things derived from study of particular instances; Synonyms: see IDEA.’ Mostly, they are considered abstract representations of an object. Like all representations, concepts are neither simple nor adequate in themselves. They distort, unfix, and inflect the object. To say something is an image, metaphor, story, or what have you—that is, to use concepts to label something—is not a very useful act. Nor can the language of equation—‘is’—hide the interpretive choices made. In fact, concepts are, or rather do, much more. If well thought through, they offer miniature theories, and in that guise, help in the analysis of objects, situations, states, and other theories.
In the case of a musical objector better, phenomenonbeing a manifestation of sound that runs parallel to language, this is probably more so than with any other cultural object of research. Most of the time, the concepts which we use cause the analysis to divorce itself entirely from the phenomenon. Cultural musicology often focuses on relatively easy targets, such as identity, authenticity, hybridity, globalization and gender. While these targets are certainly of great interest, they do not provide insight into the diversity and multiplicity of musical expressions. The fact that certain musical genres play an important role in the construction, transformation and experience of identities is in itself relevant, but it fails to elucidate the differences between particular manifestations within those genreswhich it should do (that is why we are together here). Encounter is a broad methodological framework that we use to escape the conundrum of conducting both study room analysis and field research. Encounter here is taken as the manifold interactions between subject and object, among researcher, music, musician and audience. The colonial position of the participant observer has been reversed to occupy the role of a student, while at the same time, the European classical musicologist becomes a participant observer in his/her own backyard. However, there are myriad other ways in which the researcher engages with musical phenomena.

In many institutions of higher education around the world, the department of musicology limits its endeavours to the history of European classical music. This is the result of a historical process in which musicology in Europe was promoted by the intellectual elite, whose knowledge and interest in music was bounded by their social and cultural backgrounds. In institutions around the world that were modelled on the structures of their colonial masters, this particular viewpoint was perpetuated. At present, in countries in East Asia and, to some extent, Latin America, this conception of musicology is being questioned. It is interesting that the historical approach which is often considered the onset of musicology is really the youngest branch of musicology, if we take a wide historical and planetary perspective. Possibly the oldest mode of thinking about music is the systematic approach, that is, the theory of music. The oldest treatises that we are familiar with speak about tone and tuning systems, rhythms, genres and instruments. However, reflections on the relations among music, society and culturewhich we could well call cultural musicologyalso figured prominently in ancient texts. In oral traditions, profound thinking in these two orientations can also be recognized. The specific designation ‘cultural musicology’ has existed for more than half a century  (Smith, 1959), but in spite of this, it never became very popular terminology. We are confident, however, that this is about to change. 

.:: 2 Cultural Musicology (or Quo Vademus?) 

Birgit Abels 
Department of Musicology 
Georg August University Göttingen
Kurze-Geismar-Strasse 1
37073 Göttingen
Germany

What is cultural musicology? It is much more than a post-colonial incarnation of the academic disciplines historically known as comparative musicology, ethnomusicology and ethnochoreology. 
If a “disquieting relation between the old and the new” (Bohlman & Stokes, 2008, p. viii) exists in musicology which “stands at an [...] important historical juncture”, then we need to carefully choose the most viable path available at this juncture. With the ideal of a truly de-colonized approach, cultural musicology responds to this challenge by seeking to reflect on and providing the analytical tools that enable a holistic study of the world’s music, which refers to an approach that is open to integrating the methodologies and techniques which are characteristic of each of the three customary sub-disciplines of musicology: historical, systematic and ‘ethno’musicology. Terminologically, the name cultural musicology can be seen in analogy with cultural anthropology and, more importantly, cultural studies, both of which inform the field of musicology. Through easing the somewhat unconstructive debates around the scope of ethnomusicology, and facing the realities of the twenty-first century, cultural musicology can identify a way out of the disciplinary frustration apparent in a lot of recent literature, without falling back on an artificial distinction among ‘modern’, ‘popular’ and ‘classical’ music. 

Some boundaries between ‘musics’ have become increasingly blurred in recent decades, while others have shifted; in any case, these boundaries are in constant flux. While is by no means a new development, it is evolving at a rapid pace, and it requires a fresh set of perspectives. Cultural musicology offers one such set of perspectives, and in this talk, I shall elaborate on cultural musicology’s potential for helping us understand the many meanings of the world’s musics today, and the path that may lie ahead. 

.:: 3 Cultural Musicology: A Transductive Approach?

Eva-Maria van Straaten
Department of Musicology 
Georg August University Göttingen
Kurze-Geismar-Strasse 1
37073 Göttingen
Germany

Attempts to grasp the processes through which the diverse musics of the world take on meaning seem to illustrate their complexity without acceptably clarifying them. Frith’s (1996) proposition that music must be understood as an experience of the self-in-process emphasizes the relation between music and identity, but it does not address the music’s specific characteristics. Kramer (2003) suggests that music, unlike text and images, gives us an extremely immediate and bodily sense of self, but fails to produce a satisfactory account of how this sense of self is produced during our experiences of the various musics of the world; that is, the processes of how music acquires meaning in our lives remain opaque. My paper investigates the possibilities of ‘transduction’ as both a methodological tool and a theoretical concept for understanding cultural musicology and the crucial relationship between meaning and music. Searching for meaning in and through psychedelic trance (psytrance) music, the paper mobilizes the concept of transduction to explore how the psychedelic takes on meaning on the psytrance dance floor, or, stated differently, how this particular music comes to be experienced as psychedelic when experienced on the psytrance dance floor. As such, the presentation proposes an auditory, and maybe even multisensory, cultural musicology that attends to the processes of transductive mediation that produce meaning as inherent in music. 

.:: 4 Musicology, Humanities and the Challenge of Disciplinarity

Andreas Waczkat 
Department of Musicology 
Georg August University Göttingen
Kurze-Geismar-Strasse 1
37073 Göttingen
Germany

The position of musicology within the humanities has been notoriously difficult to define. Though there have been several attempts to establish musicology in relation to the humanities in general or to certain disciplines—typically history—there is still no consensus about where musicology is (or at least should be) located among the academic disciplines. An important event with respect to this issue was the International Congress of the Gesellschaft für Musikforschung, held in Bonn in 1970. This congress resulted in a wide variety of papers and other publications, but most of them merely repeated the old reflections without offering fresh insights. It seems as if—at least in German-speaking countries—musicology has been hesitant to do what other disciplines in the field of the humanities have done since that time, namely, open up discussions about cultural theory and reflect on contemporary cultural studies.

In my paper, I provide an overview of the theoretical framework of the PhD programme ‘Remembrance–Perception–Meaning’, hosted by the Musicological Departments of Göttingen, Hannover, Oldenburg and Osnabrück. This programme aims to investigate how the key concepts of remembrance, perception and meaning, which are to some extent derived from cultural studies, can serve to identify and clarify the position of musicology in the humanities. In doing so, I focus on disciplinary musicological research as the actual challenge in order to explore what a musicology that situates itself firmly within the humanities can accomplish and what it is about.

.:: 5 The Individual in Cultural Musicology 

Julia Heuwekemeijer
Institute for Musicology 
University of Amsterdam 
Nieuwe Doelenstraat 16
1012 CP Amsterdam
the Netherlands

Culture and musicboth start, exist and end in the bodies of individual human beings. Many individuals engaged with music, ‘only’ listen, hum, sing along and move to the music. In my paper, I want to propose a promising method for cultural musicology: the creation of biographies of ‘ordinary’ individuals, in which their musical behaviour, love for, uses of, dislikes towards, approvals and disapprovals of (specific pieces of) music in their daily lives serve as the foundation from where insights will be gained into the ways in which music becomes meaningful. This method does not presume or start from a given style of music or (sub)culture. Although styles and cultures can and do play their roles in making music meaningful, it could be refreshing for cultural musicology to try and see what happens when styles and cultures are not the starting point, but only come into view at the moment this turns out to be part of the way that individuals derive meaning from and give meaning to music. In my paper, I explain the processes and working methods which I believe lead to these biographies, and I explore the potential benefits as well as the potential obstacles and weak points of this method. I also envision the rich and flourishing existence of cultural musicology outside the limited scope of the university by explaining how this method contains a great possibility of creating a broader demand for cultural musicologists.

.:: 6 Post-Tourism, Cultural Flows and the Chronicles of the Steelband

Charissa Granger
Department of Musicology
Georg August University Göttingen Kurze-Geismar-Strasse 1
37073 Göttingen
Germany

The American folk singer, Pete Seeger, wrote a manual on playing the steelpan after visiting Trinidad in 1959. Seeger was one of the first to document and incorporate this instrument into the American school system, and he was also responsible for the short documentary Music from Oil Drums (1956). Since that time, there has been a great attraction to carnivals worldwide, especially those that are fashioned after the Trinidadian cultural expression. The main feature here is the steelband. What is loosely termed as a pan-fraternity flocks to festivals, such as London’s Notting Hill Panorama, New York’s Labor Day Parade, Virginia Beach’s PANorama Caribbean Music Festival, Trinidad and Tobago’s National Panorama, The Netherlands’ International Steelband Festival, and diverse yearly collegiate concerts. I examine this post-tourist phenomenon in relation to an international pan-family consisting of performers, musicians, instrument builders and tuners, researchers, archivists, arrangers and, most notably, fans. Applying Arjun Appadurai’s postulations on global cultural flows and the production of locality, visibility will be brought to post-tourism and how it has influenced the global development of the steelband and the carnival identity. With respect to this,  and especially with regard to Seeger’s documentary, I argue that the aforementioned global cultural flows in the current post-tourist sphere inform the way in which the steelband is currently chronicled and information about it is disseminated.

Program

10.00
coffee

10.20-11.00
Impulse Paper 1
Wim van der Meer, Amsterdam
11.00-11.40
Impulse Paper 2
Birgit Abels, Göttingen
11.40-12.20
Discussion
REF: Wouter Capitain, Amsterdam
12.20
lunch

14.00-14.30
Paper 3
Eva-Maria van Straaten, Göttingen
14.30-15.00
Paper 4
Andreas Waczkat, Göttingen
15.00-15.30
Discussion
REF: Anne van Oostrum, Amsterdam
15.00
tea

16.00-16.30
Paper 5
Julia Heuwekemeijer, Amsterdam
16.30-17.00
Paper 5
Charissa Granger, Göttingen
17.00-17.30
Discussion
REF: Ferdia Stone-Davis, Göttingen
17.30-18.00
Concluding
ALL


Congres Nieuwe Masters Musicologie 26/10/2012

Congres Nieuwe Masters UvA muziekwetenschap 2011-2012
Conference MA Graduates Musicology UvA 2011-2012
Date/Time: October 26, 2012 - 09:30 - 17:30
Location: University theatre (Nieuwe doelenstraat 16, Amsterdam)



9:30 
Ben de Groot

Hedendaagse festivals voor klassieke muziek in Nederland - Een verkennend survey-onderzoek in 2011

Het te presenteren onderzoek had tot doel meer greep te krijgen op het klassieke muziekfestival. Hiernaar is nog weinig onderzoek gedaan.
Festivals zijn als dragers van culturele verandering door verschillende evolutionaire stadia gegaan en hebben bijgedragen aan muzikale en sociale ervaringen van gemeenschappen. Vanaf de aller-vroegste festivals was muziek dominant op festivals. In het onderzoek is kort de recente geschiedenis van het festival onderzocht en zijn de resultaten betrokken van het meest recente festivalonderzoek. Vervolgens hebben op verzoek de organisaties van dertig festivals voor klassieke muziek in 2011 in Nederland hun medewerking gegeven aan het survey-onderzoek en aan de enquête onder hen. Het onderzoek verschafte informatie over kenmerken van deze festivals en over de betekenis, waarde en achtergronden van deze festivals. Het onderzoek laat zien dat de verscheidenheid onder hen in verschillende opzichten groot is en dat bij de festivalorganisaties uiteenlopende verwachtingen leven over artistieke, culturele en sociale doelen.


10:00 
Monique van der Woude

Artistieke selecties: contradictio in terminis? Een onderzoek naar de wijze en beargumentering van artistieke selecties bij het Asko|Schönberg Ensemble en het Amsterdam Sinfonietta

Het maken van artistieke selecties heeft een romantische waas over zich heen dat te maken heeft met het beeld dat er algehele artistieke vrijheid zou zijn. Niets is minder waar. Al decennia lang buigen (kunst)sociologen zich over de vraag hoe kunst zich verhoudt tussen verschillende actoren die de maatschappij rijk is.
In dit onderzoek wordt gekeken naar de wijze en beargumentering van artistieke selecties bij twee ensembles met verschillende doelstellingen, namelijk het Asko|Schönberg en Amsterdam Sinfonietta. Om hier meer inzicht in te krijgen wordt gebruik gemaakt van de theoretische benadering van de Belgische kunstsocioloog Pascal Gielen.
Door middel van interviews met zakelijk en artistiek leiders kunnen de argumenten - waarop een artistieke keuze gemaakt wordt – in het ontwikkelde schema ingevuld worden. Dit geeft een gefundeerd inzicht in welke argumenten (per functie) worden aangedragen en waarmee beslissingmakers rekening houden om bepaalde composities wel of niet te programmeren.


10:30 
Daan Overgoor

Auto-tune en de zangstem - vocale toonhoogtemodificatie in populaire muziek

Sinds het eind van de jaren 1990 bestaan er computerprogramma's waarmee de toonhoogte van een digitaal geluidssignaal eenvoudig en realtime kan worden veranderd. Plug-ins die digitale toonhoogtecorrectie mogelijk maken, zoals Auto-Tune en Melodyne, behoren inmiddels tot het basisgereedschap van de muziekproducer bij het bewerken van de zangstem: in veel hedendaagse populaire muziekopnames is de intonatie van de stem in enige mate aangepast. De software kan worden gebruikt voor de onopvallende correctie van een enkele vals gezongen noot of voor het verkrijgen van een mechanisch effect. De techniek wordt thans wereldwijd gebruikt en is in enkele muziekculturen zelfs tot stijlelement geworden.
Toonhoogtemodificatie is slechts één van de aanzienlijke innovaties in digitale geluidsbewerking, maar de invloed ervan is naar verhouding groot. De voorname positie van de zangstem binnen (populaire) muziek en de menselijke gevoeligheid voor betekenisvolle details in stemgeluid maken het gebruik van intonatiecorrectie een delicaat proces, met gevolgen voor de werking van de stem in muziek.


11:00 
Klaus Kuiper

Linda Bandára and the gamelan - A musical soul between east and west

One of the most remarkable figures in the history of music in the Dutch-Indies is Linda Bandára (1881-1960), most likely the first composer ever to combine gamelan instruments with western instruments.
In this presentation I will shed some light on her life and work, and her hybrid position in the colonial society of the Dutch Indies. I will look at the reception of gamelan music by westerners from the early colonial days up to the beginning of the 20th century, to sketch the musical background and context in which Bandára worked. I will put her biography into some perspective, connecting it to the emancipation movement of gamelan music in the first quarter of the 20th century, her research into Javanese music and her position in the society of the Dutch Indies. And I will sketch her career as a composer and touch on some of her works - original compositions as well as transcriptions and adaptations of traditional Javanese music.


11:30 
James Keene

Sound Performance

Does sound perform? And how does sound perform? In order to answer these questions sound must be objectified, as something which influences the way we experience our daily environment, something which has the ability to transform the black box theatre into that of an active performance space. To understand that sound has this capacity is to realise that listening (as opposed to hearing) is an enculturated activity. This means, that to a certain extent, we are able to experience our surroundings in a distinctly auditive way. Ultimately, this happens through the interaction between sound and space. Sound needs a space to be heard, and conversely, a space can come into existence through its sonic potential. In order to shed light on this interactive relationship, these elements will be revealed through real-life examples, showing that sound and space are inextricably bound as a collaborative force in the creation of what I call sound performance.


12:00 
Stefan Wharton

Noiseblogs: The Assimilation and Dissolution of Difference

Noise and music are typically viewed as opposing phenomena within the culture of music; noise signifies disorder, while music signifies order. On the one hand, certain sounds are rendered noise through acts of systemic violence. On the other hand, musical actors may use noise to enact resistance against ‘the system,’ thus representing the conflict between subjective violence and systemic violence. Both phenomena are violent manifestations because both rely on implements, such as sound and sound technology. Music, however, has the added advantage of power; while violence merely relies on implements, power relies on numbers. Noise is ineffectual against music unless it acquires power, which inevitably results in its assimilation into the realm of music. Blogs provide an effective means of noise acquiring power, and therefore, are able play a significant role in the assimilation of noise into the realm of music. Moreover, blogs help to resolve conflict by democratizing culture and dissolving difference. The emergence of noise as a musical genre in and of itself is demonstrative of such dissolution.


12:30 
Rebecca Erickson

Voice and the Voiceless: the appropriation of slave song in the United States

The slaves may have been without rights, but they were not without voice, until the time, that is, when they were freed, and the minstrel show appropriated their natively composed music for an externally manufactured image that outstripped slave songs in the world of popular music.  This paper traces the roots of slave song through the fog of aural era and external reaction into the present time whence the echo of appropriation and migration can still be heard today in music, film and literature.  The slaves were not voiceless, but the power to transcend their captivity died when that captivity transferred itself from the corporeal into the metaphysical: gags and chains manufactured from racism, ethnicity, imitation, identity misconstruction, and compliance.  This paper constructs from a multimedia perspective the argument that voice cannot be given, only claimed, and that a claim to voice via race is a request to be once more enslaved.


13:00 
lunch break


14:00 
Frank van den Berg

Changing censorship strategies on the Iberian Peninsula between 1940 and 1960: the cases of Copla and Fado

 In the decade of the 1930s, the fascist dictators Franco and Salazar took over the rule of their nations, respectively Spain and Portugal. Both revolutions had their impacts on the musical life in the principal cities on the Iberian Peninsula. In the 19th centuries, ‘modern’ urban cultures were developed in various principal cities in the world. As a part of this development, Copla and Fado were heard in the main urban centers of Spain and Portugal. Due to the loose morals that musicians and public often had, the dictators regarded these genres as an offence to traditional values that were important to maintain the social order in the cities. As a consequence, musicians were initially banned and prosecuted. In a later stadium, from around 1950, Salazar and Franco have invented strategies to use the genres for their nation’s profit. In this lecture, I would like to elaborate on this change of strategy and to show you with some examples how Salazar and Franco used the copla and the fado to propagate their own ideals.


14:30 
Laura Lauta van Aysma

The humpback whalesong from an evolutionary perspective

Music production is not exclusive to humans, it has been documented in birds, non-human primates, rodents, pinnipeds and cetaceans. The term "music" has traditionally been freely applied to birdsong. Aristotle observed that bird song was learned and by Darwin’s time, the similarities between human and bird "music" were well-enough understood for him to suggest that they are evolutionary analogs. It was once thought that bird song was the only form of animal music. The discovery of complex, learned vocalizations in marine mammals invalidated this belief.
Humpbackwhale, Megaptera novaeangliae, songs were first described by Roger Payne in 1971. Whale songs are one of the most complex acoustic behaviours. They consist of a sequence of sounds organized in a hierarchic structure, whose components are repeated cyclically in a fixed pattern. In recent years change in song behaviour of songbirds and humpbackwhales has been attributed to the traditional processes of cultural transmission and evolution.


15:00 
Nastasia Mohren

Jazzin’ up the Movies The Distinct Functions of Jazz in Film

Abstract: Jazz in the movies has a close relationship to race, sex, urbanity, and crime. But is that all? In my master thesis I am demonstrating the distinctive role of jazz as film music. The function of jazz in film re-adjusts over time so that it fits certain scenes more effectively than any other music. Particularly the 1950s mark a major point of change since jazz was from now on also used as nondiegetic music (underscoring). Additionally, the sociocultural circumstances surrounding jazz shifted. While it is still often used in stereotypical scenes, new domains join the function of jazz as film music as in, for instance, recent animation movies and commercials.
Consequently, two questions arise: Is the often-claimed decrease of jazz in the movies since the 1950s maintainable? And is jazz inflexibly bound to its old filmic stereotypes?


15:30 
Hester van der Male

De registratiegewoontes van Samuel de Lange Sr.

De registratiegewoontes van Samuel de Lange sr. (1811-1884), organist, pianist, stadsbeiaardier, docent en componist te Rotterdam, vormen een uniek voorbeeld van de negentiende-eeuwse registratiepraktijk in Nederland. In de door hem gespeelde orgelwerken liet hij registratieaanwijzingen na. Enkele hiervan zijn bedoeld voor het Bätz-orgel in de Rotterdamse Zuiderkerk en het merendeel voor het voormalig hoofdorgel van de Grote of St.-Laurenskerk te Rotterdam, waar De Lange sr. organist was van 1864 tot aan zijn overlijden. Analyse van de registratieaanwijzingen en vergelijkingen met die van tijdgenoten laten een beeld zien van de gemiddelde stadsorganist uit die tijd. Als ambachtsman die goed op de hoogte was van orgelbouw en orgelklank, maakte De Lange sr. zowel gebruik van klassieke terrassendynamiek als het negentiende-eeuwse manipuleren van de schakeringen van de basisklankkleur met uitgekiende registraties.


16:00 
Jeroen Stoffels

Ein glänzendes Schlußstück', Een schetsenonderzoek naar de piano-introductie van Beethovens Koorfantasie

Het maken van schetsen was een belangrijk onderdeel van Beethovens creatieve proces. Aan de hand van de schetsen van de piano-introductie van de Koorfantasie in het schetsboek Landsberg 5 wordt onderzocht hoe deze inleiding is ontstaan. Eerst worden de ontstaansomstandigheden van de Koorfantasie uiteengezet, gesteund door verslagen van Beethoven en tijdgenoten. Vervolgens wordt de geschiedenis van het schetsenonderzoek toegelicht en wordt de discussie omtrent de rol van de schetsen voor analyse behandeld. Na een korte beschouwing van het betreffende schetsmateriaal volgt een vergelijking tussen de schetsen van de piano-introductie en de uiteindelijke versie. Hieruit blijkt dat de grote structuren al aanwezig waren in de schetsen en dat deze vooral in de uitwerking van details verschillen van het uiteindelijke werk.


16:30 
Guénaëlle de Graaf

Het pianowerk van Henri Dutilleux, een onderzoek naar de ontwikkeling van zijn stijl

In deze scriptie is het piano-oeuvre van de Franse componist Henri Dutilleux (1916) geanalyseerd. Dit omvat tien werken van zeer verschillende lengte, die gecomponeerd zijn tussen 1946 en 1994. Er is onderzocht wat de specifieke kenmerken van de pianowerken zijn en of hierin een ontwikkeling is waar te nemen. Een belangrijke mijlpaal is de Pianosonate (1948) die Dutilleux als zijn opus 1 beschouwt. Hierin vond hij de kiemen van een authentieke stijl waarnaar hij op zoek was. Een aantal, later verder ontwikkelde, kenmerken zijn zo – in meer of mindere mate – terug te voeren op de Pianosonate. Daarnaast vond er een belangrijke verschuiving in Dutilleux’ aandacht plaats vanaf 1965, toen resonantie een vooraanstaand aspect werd in de composities. Dit had tot gevolg dat zijn werk experimenteler werd ten opzichte van zijn vroege werk, dat nog grotendeels traditioneel van vorm was.


17:00 
Maurits Knol

The musically sublime in Hegels aesthetics

Hegels ideas about music are, in comparison with for instance his contemporary Schopenhauer, generally neglected in the philosophy of music and more specifically in the historiography of the musically sublime; while writers such as Longinus, Burke and Kant (each of them wrote nothing or almost nothing about music) are preferred in historiographical discussions on the musically sublime over the musicologically more extensive and profound Hegel.
My aim is to demonstrate the relevance of Hegels philosophy of music by considering his idea of the musically sublime. I will therefore not merely explain Hegels idea of the musically sublime but also show that it is unique in comparison with recognized thinkers on the sublime. Although there are many interesting differences I will limit my argument on this occasion to the important role of vocal music in his notion of the musically sublime and we will hear how some of Haydn's work embodies (and, perhaps, influenced) it.


17:30 
Pauline Oldenhave

Geboeid door ruimte: een onderzoek naar ruimte en ruimte-ervaring in electronische dansmuziek

In onderzoek naar elektronische dansmuziek staat vooral het al dan niet gedrogeerde participerende clubpubliek centraal. Deze muziekvorm is echter niet beperkt tot het partycircuit: ook in privéomstandigheden wordt deze muziek geconsumeerd. Voor het luisteren naar elektronische dansmuziek is nog nauwelijks aandacht geweest. In dit onderzoek staat het luisteren centraal, de interpretatie en ervaring van een luisteraar in ‘home-listening’ situaties. Beargumenteerd wordt dat ruimte en ruimte-ervaring tijdens het luisteren naar deze muziek naar de voorgrond kunnen treden, waarbij twee werken afkomstig uit het minimaltechno-repertoire als casestudies dienen. Om inzicht te krijgen in wat ruimte en ruimte-ervaring in deze werken bepaalt, wordt theorievorming over luisteren, interpretatie en ervaring die geformuleerd is binnen het discours van de westerse kunst- en popmuziek in verband gebracht met het luisteren naar elektronische dansmuziek. Uitgelicht worden het effect van de akoesmatische luistersituatie, het gebruik van onconventioneel geluidsmateriaal, studiotechnieken en structurele kenmerken en hoe deze zich verhouden tot luisteren, interpretatie, ruimte en ruimte-ervaring in de twee casestudies, Plastikmans Locomotion en Gaisers Chlorine.