CFP: The British Organ in the 20th Century and Beyond (Oxford University)

THE BRITISH ORGAN IN THE TWENTIETH CENTURY AND BEYOND

OXFORD ORGAN CONFERENCE 2010

15 - 18 APRIL 2010

CALL FOR PAPERS

The Betts Fund of the University of Oxford, and the British Institute of Organ Studies are pleased to announce the last conference of a four-year sequence entitled 'The Organ in England: Its Music, Technology, and Role through the Second Millennium'. This year, the Royal College of Organists will be holding its spring meeting in Oxford at the same time and some joint events will be included in the Programme.

The conference will take place from 15 to 18 April 2010 at Merton College, Oxford, and will cover the organ and its music in the present era and into the future. The title for the conference is 'The British Organ in the Twentieth Century and Beyond.'

300-word proposals for 20-minute papers and lecture-recitals are welcome on any and all relevant topics. The following broad areas are given as suggestions for possible lines of enquiry, and are not meant to be limiting:

The organ in musical and artistic culture

* The changing sound of the organ from Edwardian to neo-baroque to modern

* The rediscovery of the organ case its form and function

* The interest in new organs in historic styles

* The presentation of the organ in audio and visual media

* Historically informed performance and the organ

Organ Builders

* The decline of nineteenth-century factory builders and the rise of a new generation

* The impact of electrical and electronic technology for organ control and sound

* The rediscovery of classical principles

* Changing attitudes to conserving and treating old organs

* The impact of imported organs in the UK

* Future clients for future organs

* Specific builders

Composers, Performers, and Teachers

* Who wrote for the organ and what did they write?

* Who performed it?

* Who were the prominent teachers, and what was their impact?

Organ builders and organists in association

* The emergence of amateur and professional associations for organists and organ builders, and their impact

Twentieth-century icons

* Organs, organists or advisers who reshaped organ culture in the UK

Abstracts will be due by 11 December, with responses from the panel of readers by 18 January.

For more information, please contact:

Dr Katharine Pardee

Betts Scholar in Organ Studies

Director of Chapel Music

Wadham College

University of Oxford

kfpardee [at] yahoo.com

CFP: Celebrating Jean-Georges Noverre 1727-1810 (New College, Oxford)

12TH OXFORD DANCE SYMPOSIUM
CELEBRATING JEAN-GEORGES NOVERRE 1727-1810: HIS WORLD, AND BEYOND
NEW COLLEGE, OXFORD
16 - 17 APRIL 2010
CALL FOR PAPERS

The 12th Oxford Dance Symposium examines various aspects of the life and works of the French-Swiss choreographer and dance writer Jean-Georges Noverre, his contemporaries and successors, his detractors and his champions. In calling for papers, the organisers are seeking a wide range of papers on all these aspects, particularly on his influence as practised in different centres throughout Europe and beyond.

The bi-centenary of the death of Noverre presents an ideal opportunity to take a closer look at the world in which he lived and worked. Trained in Paris by the great Louis Dupré, Noverre went on to work in the opera houses of Paris, Lyons, Strasburg, Stuttgart, Vienna, Milan, and London, trained such future stars as Gaetan Vestris, Jean Dauberval, and Charles Didelot, and crossed swords with several European choreographers including his former pupils Gardel and Dauberval.

Despite Noverre's claims to be an innovator and reformer in many aspects of dance, a number of the theories that he propounded in his own writings had been anticipated by other authors, but it was he who left a mark on the history of theatrical dance which could not be ignored. By the end of his life, the French press was referring to him as 'the Nestor of our choreographers' and after his death in 1810 a flood of adulatory obituaries paved the way for a fame that has lasted virtually unchallenged until recent times.

Offers of papers (by 30 September 2009) and requests to be included on the conference mailing list should be sent to the College Officers' Secretary, Maggie Davies: maggie.davies at new.ox.ac.uk. The conference is organized by Michael Burden and Jennifer Thorp.

CFP: Music Nationalism and Modernism in Russia and Eastern Euopre (Oxford University)

BASEES RUSSIAN AND EAST EUROPEAN MUSIC STUDY GROUP ANNUAL CONFERENCE
MUSIC NATIONALISM AND MODERNISM IN RUSSIA AND EASTERN EUROPE
OXFORD UNIVERSITY - FACULTY OF MUSIC (DENIS ARNOLD HALL)
17 OCTOBER 2009
CALL FOR PAPERS

Although nationalism and modernism have been loosely described as successive movements in musical history – the former linked to the concepts of tradition and national identity, the latter associated with cosmopolitanism and the ideal of progress – their relationship has been much more compound than chronological perspective suggests.

Some of the issues this conference wishes to examine are:
1) how musical nationalism and modernism have acted or have been perceived (by composers, critics and political authorities) as contrasting or complementary approaches in Russia and other East European countries
2) the interaction of nationalism and modernism in musical creation
3) the modernist underpinnings of some manifestations of musical nationalism
4) the impact of nationalism on certain expressions of musical modernism

Convenors: Katerina Levidou and Rosamund Bartlett.
Abstracts of no more than 400 words should be sent to reemstudygroup@googlemail.com by 31 May.

CFP: Politics of Opera Symposium (Oxford)

POLITICS OF OPERA COLLOQUIM

OXFORD, UK

OCTOBER 2009

CALL FOR PROPOSALS

We are hoping to organise another one-day "Politics of Opera" colloquium in Oxford later this year. It will probably be at the beginning of October, and at the Taylorian Institution again. As
before, our aim is to bring together scholars in the humanities (in particular musicologists, historians and modern linguists) to discuss questions pertaining to the patronage, production, performance, reception, and ideology of opera in an informal and interdisciplinary
environment, and to continue building a community of scholars working in different areas of opera in order to forge connections and further research.

We'd therefore be very grateful to receive proposals for papers drawing on your current research so that we can begin thinking about a possible theme for the colloquium this year. And please forward this message to any other scholars (including graduate students), whom you
think might be interested in becoming involved.

For details about the 2009 colloqium, see: http://www.ehrc.ox.ac.uk/opera.htm