North American British Music Studies Association

CFP: Music in Nineteenth Century Britain (University of Birmingham, June 2017)

The eleventh Music in Nineteenth-Century Britain conference will take place at the University of Birmingham from 28 to 30 June 2017.  The Programme Committee invites proposals for presentations as follows:

• Individual papers up to 20 minutes and lecture recitals up to 45 minutes in length (with additional time for questions and discussion).
• Group presentations (e.g. round tables) up to two hours in length (depending on the number of participants).

Papers and presentations may focus on any aspect relevant to the conference’s over-arching remit, i.e. to present research into musical texts, performers and performances, and culture, and the social and economic uses of music in Britain, in the long nineteenth century (approximately 1789 to 1914).  We particularly welcome proposals that focus on the first of these areas.   We also invite proposals for papers and presentations that examine the influence and impact outside the then United Kingdom of musical texts, performers and cultures originating in the British Isles.

Please send proposals to the Programme Committee Chair, Dr Paul Rodmell (p.j.rodmell@bham.ac.uk) in the following format:

• Individual Papers: abstract up to 300 words and autobiography up to 100 words.
• Lecture recitals: abstract up to 300 words, autobiography up to 100 words, and sample recording (e.g. via youtube link)
• Group Presentation: overall rationale up to 450 words, individual abstracts up to 300 words each, and individual autobiographies up to 100 words each.

Please include a note of any specialist technical needs (a piano, and audio visual equipment for powerpoint, sound and video recordings, will be provided as standard).

The deadline for submissions is Monday 12 December 2016.  A draft conference programme will be published in mid-January 2017.
Conference bookings will open in February 2017.

Programme Committee:
Dr Paul Rodmell (Chair, University of Birmingham)
Professor Rachel Cowgill (University of Huddersfield)
Professor Fiona Palmer (Maynooth University)
Dr Matthew Riley (University of Birmingham)
Dr Aidan Thomson (Queen’s University, Belfast)

CFP: A Great Divide or a Longer Nineteenth Century? Music, Britain and the First World War

Centre for Nineteenth-Century Studies One-Day Conference
21 January 2017
Durham University, UK
CFP Deadline: 1 September 2016

Conference website: https://www.dur.ac.uk/cncs/conferences/musicbritainww1/

Keynote Address

‘Disruption or Continuity? Elgar’s Cello Concerto and the Modern Romantic Ideal’
Charles Edward McGuire (Oberlin College)

Call for Papers

Paul Fussell’s The Great War and Modern Memory (1975) casts the First World War as the birth of the Modern psyche for Britons. Through analysis of war literature and soldiers’ life writing, he argues the cataclysm of the war evinced a rupture with the clear moral standards, innocence, traditional artistic representations, and ways of constructing memory of pre-1914 Britain. In his “Modern” post-1914 Britain, disorientation, alienation, and irony become the dominant modes of representation. In contrast, Jay Winter, in Sites of Memory, Sites of Mourning: The Great War in European Cultural History (1995), argues historical inquiry into the responses to the First World War have over-emphasized the progressive, Modernist responses, and in the process have ignored the traditional motifs in the myriad of responses to the war. He writes ‘this vigorous mining of eighteenth and nineteenth-century images and metaphors to accommodate expressions of mourning is one central reason why it is unacceptable to see the Great War as the moment when “modern memory” replaced something else, something timeworn and discredited, which (following contemporaries) I have called “tradition.”’  These two influential viewpoints have structured much of the subsequent discourse on the First World War coming from the disciplines of literature and history in the last several decades; it however has received little attention within music.

This conference aims to bring to music this crucial framework for understanding artistic and cultural responses to the First World War. We seek papers that explore these themes of rupture/ disillusionment and “mining of nineteenth-century” modes of representation/ tradition within the context of musical life throughout the British Empire. Participants from a range of disciplinary and interdisciplinary perspectives that engage with music are particularly welcome.

Possible topics on these rupture/ tradition themes are (but are not limited to):

1. How did British art music composers react to the war? Do we see rupture with the past or continuation of nineteenth-century practices?

2. How can we understand British Musical Modernism within this dichotomy of rupture/ tradition? How does it compare with European Musical Modernism? In what ways can we understand the Pastoral in these contexts?

3. What bearing does this rupture/ tradition dichotomy have on the historiography of British music and the notion of the long nineteenth-century?

4. In what ways did popular music—whether repertoire, performers, or the industry—change because of the war? In what ways did it carry on Edwardian and Victorian traditions?

5. In what ways did musical life in Britain help define, blur, or shatter traditional boundaries between
•    the home and war fronts?
•    wartime public and private spaces?
•    civilians and soldiers?
•    within the army (officers and non-ranking men, wounded and healthy)?
•    social classes?
•    men and women?
•    the motherland and dominion countries?

6. How does music contribute to Britain’s commemoration of the war and those lost and wounded? Do the modes of remembrance used indicate a break with the past, or do they carry on traditional mourning practices?

Abstract Submission Information

Abstracts are invited from academic staff, postgraduates, and other researchers for 20-minute individual papers and panels of three (90 minutes) or four papers (120 minutes).

All abstracts should be no longer than 300 words. Please also include your name, institutional affiliation or city, and a bio of up to 100 words.

Papers accepted will be considered for inclusion in a future edited collection.

Please send abstracts by 5pm (GMT) on 1 September 2016 to Michelle Meinhart at cncs@durham.ac.uk Acceptance decisions will be made by 1 October 2016.

This conference is supported by the Centre for Nineteenth-Century Studies and the US-UK Fulbright Commission.

CFP: Midwest Victorian Studies Association 2017: Victorian Taste

Oberlin College & Conservatory, Oberlin, Ohio, April 28-30

What was Victorian taste? How did British Victorians at home and abroad discuss, theorize, market, judge, and consume taste? How was taste imagined and envisioned in relation to literary, visual, and musical arts? How did new knowledge of Britain’s historical and aesthetic past impact tastes of contemporary Victorians? MVSA’s 2017 conference invites papers that reflect fresh and current thinking about taste and the Victorians. Proposals are sought from scholars working in art history, musicology, history, science, philosophy, theater, and literature. We particularly encourage presentations that will contribute to cross-disciplinary discussion.

The 2017 conference will be held at Oberlin College & Conservatory, in the 1963 Minoru Yamasaki-designed buildings that reflect the neo-gothic splendor of some of the college’s oldest buildings. Aside from attending panels, seminars, and the Jane Stedman plenary lecture, conference participants will have the opportunity to tour a special Victorian exhibit at the Allen Memorial Art Museum and attend “What the Victorians Heard,” a concert by Oberlin’s Collegium Musicum (directed by Steven Plank), as well as dozens of other ongoing musical and theatrical performances.

MVSA’s 2014 Jane Stedman Lecture will be given by Candace L. Bailey of North Carolina Central University. Professor Bailey is a leading social and cultural musicologist, and an expert on music in the seventeenth and nineteenth centuries. She is a past president of the North American British Music Studies Association.

For the fourth year, MVSA’s conference will feature three seminars open to graduate students, faculty, and independent scholars led by senior scholars on topics related to the conference theme. Participants pre-circulate 5-to-7 page papers. Stay tuned for the forthcoming seminar CFP on the MVSA website.

The deadline for proposals will be September 30, 2016. The official call for papers and additional information about the conference will soon be available.

CFP: Music and Politics in Britain, c.1780-c.1850

King’s College London, 2–3 June 2017

Call for Papers

Music was everywhere in early nineteenth-century British politics. Coronations, commemorations, marches, protests, dinners, toasts, rallies, riots, festivals, dances, fundraisers, workplaces, streets—all hummed to the sounds of music. It provided anthems for anointing and songs for sedition, rhythms for rituals and ballads for ballots, chants for charters and melodies for militaries. In all these spaces, media, and fora, radicals, reformers, loyalists, and conservatives all competed for the best tunes. And they did so because of their belief in music’s capacity to affect its listeners—to arouse joy and indignation, sadness and sympathy, merriment, mischief, and mirth—and its ability to bind participants together in new visions of community, nation, and identity.

Yet, for all its omnipresence, music often struggles to be heard in the dusty silence of the archive. Music’s evanescence and impermanence defies established, text-based methods of historical enquiry. Indeed, most historical analysis of music and political culture has focused exclusively on song lyrics. We need a much broader frame of analysis to understand how music connects to the political. Music, text (if present), and the circumstances and social dynamics of performance, all combine to generate a range of meanings for those taking part—one person’s pleasant entertainment might be another’s call for revolution, and for some, both at once. This multiplicity of meanings projected by musical performance is at once challenging and beguiling, precisely for the ways in which it variously circumvents, contradicts, reinforces, or interweaves with the textual elements of political discourse. Bringing music to the centre of analysis has rich potential to offer fresh insight into political traditions, symbols, divisions, and struggles. An explicit aim of this conference is to facilitate this by promoting a deeper interdisciplinary exchange between historians, musicologists, and scholars of visual, literary, and theatrical culture.

To these ends, we invite proposals for papers from scholars in any discipline that address the role of music in political culture in late eighteenth- and nineteenth-century Britain. Chronological boundaries are flexibly conceived, and proposals for papers which address earlier and later periods but which overlap with 1780–1850 are welcome.

The conference will consist of a series of roundtable discussions among all participants of pre-circulated papers. Papers will be circulated by 12 May 2017. Once revised, these will form the basis of a collection of essays on the intersection of music and political culture in this period. The conference is supported by the ERC-funded project ‘Music in London, 1800–1851’ led by Professor Roger Parker. There is no registration fee, accommodation and dinner will be provided, and travel costs will be reimbursed where possible.

Abstracts (max. 500 words) for 5,000 word papers should be sent, with a short biography, to david.kennerley@history.ox.ac.uk by 1 June 2016.

For more information please contact the organisers, Drs David Kennerley (Oxford) and Oskar Cox Jensen (King’s College London) at david.kennerley@history.ox.ac.uk or oskar.cox_jensen@kcl.ac.uk.

Potential themes for papers include:

The politics of opera, theatre, melodrama, and concert music

Political movements and musical creativity

Gender, race, participation, and exclusion

Four nations/archipelagic perspectives

Occasion and commemoration

Music and the politics of space

Communities and sociability

Political songs and melodies

Bands, choirs, ensembles

The politics of dance

Class and citizenship

State/official music

Music on trial

Nationalism

Pedagogy

Empire

Labour

CFP: Midwest Conference on British Studies

The Midwest Conference on British Studies is proud to announce that its 63rd Annual Meeting will be hosted by Iowa State University in Ames, September 16-18, 2016. The keynote speaker will be Susan Kingsley Kent of University of Colorado Boulder, and the plenary address will be given by Ian Archer of the University of Oxford.

The MWCBS seeks papers from scholars in all fields of British Studies, broadly defined to include those who study England, Scotland, Wales, Ireland, and Britain’s Empire and the Commonwealth from Roman Britain to the modern age. We welcome scholars from a broad spectrum of disciplines, including but not limited to history, literature, political science, gender studies, and art history. Proposals for complete sessions are preferred, although proposals for individual papers will be considered. We welcome roundtables (of four participants plus chair) and panels (of three participants plus chair/commentator) that:

  • offer comparative analyses of different periods of British Studies, such as comparing medieval and early modern issues in context
  • situate the arts, letters, and sciences in a British cultural context
  • examine representations of British and imperial/Commonwealth national identities
  • consider Anglo-American relations, past and present
  • examine new trends in British Studies
  • assess a major work or body of work by a scholar
  • explore new developments in digital humanities and/or research methodologies

As the result of positive responses to professional development sessions at recent conferences, we encourage proposals for sessions that discuss collaborative or innovative learning techniques in the British Studies classroom and for sessions on the topics of research, publication, or employment. This year the Program Committee will also entertain proposals for poster sessions and for panels featuring the pre-circulation of papers among participants and audience members.

The MWCBS welcomes presentations by advanced graduate students and will award the Walter L. Arnstein Prize for the best graduate student paper(s) given at the conference. A limited number of graduate travel scholarships will also be available, and all graduate students are encouraged to apply. Further details will be available on the MWCBS website: http://mwcbs.edublogs.org/

Proposals must:

  • Include a 200-word abstract for each paper and a brief, 1-page c.v. for each participant, including chairs and commentators.
  • For full panels, also include a brief 200-word abstract for the panel as a whole.

Please place the panel abstract, accompanying paper proposals, and vitas in one file and submit it as a single attachment. Also identify the panel’s contact person within the email.

All proposals should be submitted electronically by March 15, 2016, to the Program Committee Chair, Christine Haskill at christinehaskill@ferris.edu.

Program Committee: Christine Haskill, Chair, Kendall College of Art and Design of Ferris State University; Chad Martin, University of Indianapolis; Linda E. Mitchell, University of Missouri-Kansas City; J. Sunita Peacock, Slippery Rock University; Dana Rabin, University of Illinois, Urbana-Champaign.

Visit the MWCBS website at http://mwcbs.edublogs.org/