Pre-Pub Announcement: Music and Dictatorship in Europe and Latin America (Brepols Publishers)

MUSIC AND DICTATORSHIP IN EUROPE AND LATIN AMERICA
PRE-PUBLICATION ANNOUNCEMENT
BREPOLS PUBLISHERS

Music and Dictatorship in Europe and Latin America
Edited by Roberto Illiano and Massimiliano Sala
approx. 700 p., 210 x 270 mm, HB, ISBN 978-2-503-52779-6, EUR 125
Special pre-publication price: €105 valid until 31 October 2009
Series: Speculum musicae, vol. 14
Publication date: November 2009

An illustration of Benito Mussolini on the cover of the official hymn of the National Fascist Party, "Giovinezza!" ("Youth!") from 'Music and Dictatorship in Europe and Latin America'

'In this book, edited by Roberto Illiano and Massimiliano Sala, the music is explored as a political phenomenon in fifteenth nations under totalitarian regimes: Argentina, Brazil, Chile, Cuba, France, Greece, Germany, Italy, Mexico, Poland, Portugal, Russia, Serbia, Spain, and Hungary. Historical and aesthetical articles face both individual people (for instance, Chavez, Ligeti, Massarani or Villa-Lobos) as well whole generations of composers operating under dictatorship (for example, in the communist regimes of Poland and Serbia; in France under Vichy; in Franco’s Spain, Salazar’s Portugal, or in Revolutionary Cuba).'

An excerpt of Butterman's essay, '«Ney é gay, não é?» The Emergence and Performance of Queer Identities in Brazilian Popular Music (MPB) under Dictatorship'

TABLE OF CONTENTS:

EUROPE

France: M. Chimènes, Musique et musiciens en France sous le régime de Vichy (1940-1944) - Greece: K. Romanou, Exchanging «Rings» under Dictatorships - Germany: N. Noeske & M. Tischer, Eine viel zu kurze Geschichte der Musikverhältnisse der DDR - Germany: K. Painter, Musical Aesthetics and National Socialism - Germany: M.-A. Roberge, L’impact des guerres mondiales et de la dictature nazie sur le périodique «Die Musik» - Italy: C. Piccardi, La parabola Renzo Massarani, compositore ebreo nell’ombra del fascismo - Poland: A. Tuchowski, The Impact of the Communist Dictatorship and Its Transformations on the Identity of Polish Music in the Years 1945-1989 - Portugal: T. Cascudo, Art Music in Portugal during the Estado Novo - Russia: C. Flamm, Das Problem sowjetische Musikgeschichte. Gedanken zu einer schwierigen Vergangenheitsbewältigung - Russia: M. Frolova-Walker, The Glib, the Bland, and the Corny: An Aesthetics of Socialist Realism - Serbia: M. Milin: Dictatorship and Serbian Music in the 20th-Century - Spain: G. Perez Zalduondo, Formulación, fracaso y despertar de la conciencia crítica en la música española durante el franquismo (1936-1958) - Hungary: R. Beckles Willson, Memory, Dictatorship, and Trauma: Ligeti at the Hungarian Musicians’ Union 1949-1953

LATIN AMERICA

Argentina: P. Vila, Tiempos difíciles, tiempos creativos: rock y dictadura en Argentina - Brazil: D. Borim, Tropicalist Mutantes: Dada and Kitsch under Dictatorship - Brazil: S. Butterman, «Ney é gay, não é?» The Emergence and Performance of Queer Identities in Brazilian Popular Music (MPB) under Dictatorship - Brazil: R. Duprat & M. A. Volpe, Vanguardas e Posturas de Esquerda na Música Brasileira (1920 a 1970) - Brazil: T. Garcia, Music and the Brazilian Estado Novo: Getúlio Vargas, Heitor Villa-Lobos and a National Music Education System - Brazil: M. Napolitano, O Música Popular Brasileira (MPB) nos anos de chumbo do regime militar (1969/1975) - Cuba: S. Münz, Popular Political Music in Revolutionary Cuba - Chile: D. Perry, Beyond ‘Protest Song’: Popular Music in Pinochet’s Chile (1973-1990) - Mexico: L. Velasco Pufleau, Nacionalismo, autoritarismo y construcción cultural: Carlos Chavez y la creación musical en México (1921-1952)

An excerpt from Garcia's essay 'Music and the Brazilian Estado Novo: Getúlio Vargas, Heitor Villa-Lobos and a National Music Education System'

All images are acknowledged with thanks and used with permission of Brepols Publishers. For further information on this title or others in the Speculum Musicae Series click here. For my £0.02 I think the Speculum Series covers many interesting and neglected areas of musicological research. For example, there are many books which explore Italian musics of Tuscany and Sicily but not so many which cover the centre of Italy. Ciliberti's 'Musica e societa in Umbria tra Medioevo e Rinascimento (Vol. 5 in the series) attempts to put Umbria on the musicological map. Also, this book furthers Illiano's earlier set of essays on 'Italian Music during the Fascist Period' (vol. 10 in the series) by expanding the areas studying fascism's influence into other parts of Europe and also Latin America demonstrating that an ocean can not divide the dissemination of ideas. I for one will be buying this for our library collection.

Instruments of Passion: Music, Painting, and the Contest of the Arts (Upcoming symposium) (New York)

INSTRUMENTS OF PASSION: MUSIC, PAINTING, AND THE CONTEST OF THE ARTS: A SUMPOSIUM

THE METROPOLITAN MUSEUM OF ART / COLUMBIA UNIVERSITY

6 FEBRUARY 2009

NEW YORK, NY

Organized by Lydia Goehr and Klaus Krüger

The program is a collaboration among The Metropolitan Museum of Art, New York,

Columbia University, New York, and, Freie Universität, Berlin

TIMES AND PLACES

Friday, February 6, 2009

11:00 a.m.–4:45 p.m.

The Grace Rainey Rogers Auditorium,

The Metropolitan Museum of Art

1000 Fifth Avenue

New York

[Free with Museum admission; reservations and tickets are not required. For more information, please email lectures@metmuseum.org, consult the Met’s online Calendar at www.metmuseum.org, or call (212) 396-5460. ]

Saturday, February 7, 2009

9:00 a.m.–9:00 p.m.

Italian Academy for Advanced Studies in America,

Columbia University

1161 Amsterdam Avenue at 116th Street

New York

Free; for more information, please call (212) 854-3665.

THE PROGRAM

Friday, February 6: 11:00 a.m.–4:45 p.m.

11:00–11:15 a.m.

Opening Remarks

Lydia Goehr, Philosophy, Columbia University

Andrea Bayer, Department of European Paintings and interim head of Education, The Metropolitan Museum of Art

11:15 a.m.–12:15 p.m.

The End of the Contest: On Philosophy, Painting, and Photography in the History of Modernism, Arthur C. Danto, Philosophy, Columbia University

Introduced by Jonathan Gilmore, Philosophy, Yale University

12:15–1:15 p.m.

Watteau and the Contest between Melpomene and Thalia, Georgia J. Cowart, Music, Case Western Reserve University

Introduced by Ellen Rosand, Music, Yale University

break for lunch

2:30–3:30 p.m.

King David’s Harp, Beckmesser’s Lute: Musical Instruments and the Instrumentality of Painting, Lydia Goehr, Philosophy, Columbia University

Introduced by Christopher S. Wood, History of Art, Yale University

3:30–4:30 p.m.

“Most musical of mourners, weep again!”, David Rosand, Art History, Columbia University

Introduced by Alexander Nagel, Art History, New York University

Saturday, February 7: 9:00 a.m.–9:00 p.m.

9:30–10:30 a.m.

The Masked Singer: The Auditory Perception of Beauty in renaissance Italy, Giuseppe Gerbino, Music, Columbia University

Chair: Susan Boynton, Music, Columbia University

10:30–11:30 a.m.

Marsia’s Lament: Animating the Contest of Marsyas and Apollo in Barberini Rome, Wendy Heller, Music, Princeton University

Chair: Christoph Menke, Philosophy, Goethe Universität Frankfurt

break

12:00–1:00 p.m.

Athene and Marsyas: Two Bodies of Beauty and Music, Gertrud Koch, Film Studies, Freie Universität, Berlin

Chair: Gregg Horowitz, Philosophy, Vanderbilt University

break for lunch

2:00–3:00 p.m.

“Mi manca la voce”: Silent Music in Balzac’s Novellas, John T. Hamilton, Comparative Literature and German, New York University

Chair: Walter Frisch, Music, Columbia University

3:00–4:00 p.m.

“The Natural Instrument of the Voice”: Apollo, Marsyas, and Andrea Sacchi’s Portrait of the Soprano, Marc’Antonio Pasqualini, David E. Cohen, Music, Columbia University

Chair: Tim Barringer, History of Art, Yale University

break

4:30–5:30 p.m.

Painted Sounds—Imaginary Music (On Giorgione, Savoldo, and Caravaggio), Klaus Krüger, Art History, Freie Universität, Berlin

Chair: Lydia Goehr, Philosophy, Columbia University

7:00 p.m.

PERFORMANCE of J. S. BACH’S Cantata BWV 201 Geschwinde, ihr wirbelnden Winde. The Contest between Phoebus and Pan, with singers and instrumentalists associated with Columbia University. Introduced by Elaine Sisman, Music, Columbia University.

Italian Academy for Advanced Studies in America, Columbia University

1161 Amsterdam Avenue at 116th Street, New York

Entry to the concert is free for students with Columbia University ID; otherwise $10 or donation. Tickets are not required.

We are grateful to the following sponsors and supporters:

The Metropolitan Museum of Art, New York

Freie Universität, Berlin: “Languages of Emotion,” Cluster of Excellence

Columbia University: Arts Initiative, Department of Art History and Archaeology, Department of Music, Department of Philosophy, Italian Academy for Advanced Studies in America, Music Performance Program, School of the Arts

[Education, The Metropolitan Museum of Art Fifth Avenue at 82nd street New York, NY 10028-0198 www.metmuseum.org]

Music and Machines IX: Resistant Material (Upcoming conference, Newcastle)

MUSIC AND MACHINES IX: RESISTANT MATERIAL

NEWCASTLE UNIVERSITY

15 -1 6 JANUARY 2009

The "International Centre for Music Studies" (ICMuS) and "Culture Lab" at Newcastle University announce a two-day symposium on resistant materials in musical creativity as part of the "Music and Machines" research series.

Musical practices encounter many sites of resistance/resistivity
- the engagement with or overcoming of physiological restrictions
- the technological limitations of instruments, voices, computer systems, and other performance media
- constraints imposed by musico-theoretical systems such as "common practice" tonality and other formalistic issues
- the unpredictability and/or ambiguity of some of the newer creative tools such as interactive software, circuit-bending or distributed performance systems
- the critical dissonances that must be negotiated in much interdisciplinary collaboration

Developing out of a series of research events that began in 2004, "Music and Machines IX: Resistant Material" pulls together some of the different ways that contemporary musicians and theorists have thematized or had to work through the issue of resistant materials.
As well as core members of the CETL-funded ICMuS research grouping in Postvernacular Music, the symposium will include guest presenters from Glasgow Caledonian University, Royal Conservatory in The Hague, University of East Anglia, Edinburgh University, Culture Lab
Newcastle, and the Psychology and Philosophy departments at Newcastle University.

Sessions will take the form of short presentations by invited presenters, followed by round table discussions, with members of "the audience" actively encouraged to become involved. Session
presentations will include position statements, project reports, theoretical perspectives, and live performances. There are also live concerts each evening held in Culture Lab.

Participants will include
Paul Bell (ICMuS - Culture Lab)
David Clarke (ICMuS)
John Ferguson (ICMuS - Culture Lab)
Bennett Hogg (ICMuS)
Lars Iyer (Philosophy, Newcastle)
Raymond MacDonald (Psychology, Glasgow)
Peter Nelson (Music, Edinburgh University)
Sally Jane Norman (Culture Lab, Newcastle)
Joel Ryan (Royal Conservatory in The Hague)
Simon Waters (UEA)
Nick Williams (ICMuS - Culture Lab)
Graeme Wilson (Psychology, Newcastle)

Topics covered will include turntablism in free improvisation, learning Indian Classical Music, ambiguity and indeterminacy in bent circuits, modelling resistivity in virtual environments, formalism and subjectivity, the instrument in free improvisation, philosophical and cultural-theoretical perspectives on ideas of resistance in musical materials, and issues raised by the development of interfaces between musical performers and digital technologies.

A conference fee of £10 to cover coffee and tea is payable to Culture Lab, Newcastle. For registration please contact Carine Aguet at carine.aguet@ncl.ac.uk

For further information please contact Dr. Bennett Hogg at bennett.hogg@ncl.ac.uk

Details of registration procedures and a more detailed outline of the event will be posted on the "Culture Lab, Newcastle" website in due course. http://www.ncl.ac.uk/culturelab

RMA Dent Medal Study Day and AGM (Upcoming event)

RMA DENT MEDAL STUDY DAY and ANNUAL GENERAL MEETING
INSTITUTE OF MUSICAL RESEARCH, SENATE HOUSE, LONDON
SATURDAY 29 NOVEMBER 2008
10.00 - 17.30

Institute of Musical Research, Senate House, Malet Street, London, Room N336 (North Block, Third Floor) Directions at www.music.sas.ac.uk

Speakers: Georgina Born (Dent medallist, 2008), Rachel Beckles Willson, David Hesmondhalgh, Derek Scott, George E. Lewis, Martin Stokes

Full programme at www.rma.ac.uk

Advance registration essential if you require lunch: please email Valerie James music@sas.ac.uk by Wednesday 26 November.

If you intend to come but do not require lunch, advance registration will help us plan refreshments: please email as above.

Attendance and refreshments: RMA members free; non-members £10
Lunch: £10

All monies payable in cash on arrival.

Bologna Process in European Musicology (upcoming conf)

BOLOGNA PROCESS IN EUROPEAN MUSICOLOGY
6 - 8 NOVEMBER 2008
SAARLAND UNIVERSITY, SAARBRUCKEN

From 6 to 8 November 2008 an international conference on “The Bologna process in European musicology – experiences and new perspectives” will take place at Saarland University, Saarbrücken. The conference is hosted by the Kommission Auslandsstudien of the German Musicological Society (Gesellschaft für Musikforschung). Other European societies and the International Musicological Society will be represented.

Saarbrücken is easy reach from Paris-Est (1:50 h), Frankfurt/Main (2 h) or (with Ryanair) via Zweibrücken (30 km) or Frankfurt-Hahn (2 h bus transfer).

Attendance is free.

Programme:
Thursday, 6 November 2008
Universität des Saarlandes, Campus, Musiksaal (Gebäude C5_1 )
9.00 Opening and Introduction
10.30–13.00 European BA/MA study plans I

Universität des Saarlandes, Institut für Musikwissenschaft (Gebäude C5_2 , EG), room 1
15.00–18.00 International study plans
Musicology in the “Grande région”: Nancy-Metz-Liège-Saarbrücken

Friday, 7 November
Universität des Saarlandes, Institut für Musikwissenschaft, room 1
9.00–12.00 European BA/MA study plans II
14.00–17.00 Meeting of represants of the IMS with represants from national societies

Saturday, 8 November
Hochschule für Musik Saar, Bismarckstraße 1, Walter-Gieseking-Saal
9.00–12.00 Uhr Roundtable

For further information please contact:

Prof. Dr. Rainer Kleinertz
Lehrstuhl für Musikwissenschaft der Universität des Saarlandes
Postfach 15 11 50
D-66041 Saarbrücken
Tel. 0681/302-3660 (-2318 Sekr.)
Fax 0681/302-2851
privat: Kobenhüttenweg 20, D-66123 Saarbrücken, Tel. 0681/9380627

Beyond the Screen: Transformations of Literary Structures, Interfaces and Genres (Upcoming Conf)

BEYOND THE SCREEN: TRANSFORMATIONS OF LITERARY STRUCTURES, INTERFACES, AND GENRES
INTERNATIONAL CONFERENCE
CULTURAL STUDIES RESEARCH CENTER "MEDIA UPHEAVALS"
UNIVERSITY OF SIEGEN, GERMANY
20 - 21 NOVEMBER 2008

PANELS: Performance and the Emergence of Meaning :: Literature between Virtual, Physical, and Symbolic Space :: Beyond Genre: Transformations of Narrative, Poetic, and Dramatic Structures :: Preservation, Archiving and Editing.

Using electronic and networked media has resulted in such serious changes in the relationship between “author”, “work,” and “reader” that it seems necessary to make revisions in the traditional models analyzing literary communication. The Siegen conference on The Aesthetics of Net Literature: Writing, Reading and Playing in Programmable Media (Nov 25-27, 2004) had already made clear that this triad has to be extended into the technical aspects of media: Literary processes emerge from techno-social networks, i.e. they materialize in the interplay between human and electronic “actants.” If in the past discussions centered mostly on those projects that were perceived by looking at the computer screen or that were controlled via keyboard and mouse, now man-machine interactions are organized by considerably more complex interfaces. The specific attention of this follow-up conference therefore will be focusing on the aesthetic processes of AI-controlled environments that occur in the physical realm between the interfaces of technical sensors or effectors and the human body. Electronic media take “body language” to a new level as well since more and more the whole body is involved in the media activity. Increasingly complex sensors (integrated into vehicles, clothes and environments) “realize”—hear, see, feel, in other words: measure—the movements of the body, its mimics and gestures. This “multimodal” body itself then also exchanges in-formation with the “products” of this kind of technology. Such medial couplings and framings enable the co-operation of non-symbolic activities, symbolic language activities and algorithmic processes of computer systems. If it is true that semantics is always the result of intermedial transcriptions between media then this development affects all human behavior concerning linguistic signs and therefore also the aesthetic processes of perception and self-perception. In this context the contributions to this conference will refer to literary communication and strategies thereby interrogating how literary structures, interfaces and genres change regarding:

Locative Narratives, i.e. environmental, neighborhood and city projects with GPS-based media following literary patterns (e.g. travel- and adventure-narratives or detective stories like J.-P. Balpe’s Fictions d’Issy; S. Schemat’s Augmented Real-ity Fictions; Inter Urban by 34 North 118 West or S. Berkenheger/G. Müller’s Worldwatchers).

Immersive Environments (Cave or interactive camera-projection systems) in which reception does not only take place through the eyes alone but rather in which the whole body is “reading” and thereby recomposing already saved meanings or those that still have to be constructed (e.g. N. Wardrip-Fruin’s Screen; J. Cayley’s Lens; C. Utterback’s Text Rain or D.Small/T. White’s Stream of Consciousness).

Stagings of inner realms and environments in which real characters (from simple users to trained actors) and artificial ones (from avatars, software agents etc. to complex AI-programs) following quite classical dramatic patterns of activity are involved in dialogues (e.g. M. Mateas/A. Stern et.al.: AR Façade).

Regarding the aesthetics of net literature therefore the question has to be asked whether we can continue talking of a specific migration of traditional literary forms into computer-based and networked media. Can we continue analyzing such examples as “literature”? In what way can the semantics of literary terminology, concepts and systems be retained or does it have to be revised? Can we still correlate the examples mentioned above with the three traditional genres?

Apart from this the performative projects mentioned above intensify the already difficult problem of the documentation / archiving of as well as the access to processes of electronic literature. Lastly, the conference also will address the problem of archiving and editing the rather transitory electronic literature, thereby attempting to advance the co-operation of current and planned databases, archives and editions.

Conference information can be found at: http://www.litnet.uni-siegen.de/

Anglia Television and the History of ITV (Upcoming conference)

ANGLIA TELEVISION AND THE HISTORY OF ITV: PROGRAMMING, REGIONALISM AND THE TELEVISION ECONOMY
A conference organised by the School of Film and Television Studies at the University of East Anglia, in conjunction with the East Anglian Film Archive.
NORWICH
14 - 15 NOVEMBER 2008

Conference Organisers: Andrew Higson, Su Holmes and Brett Mills

Website: www.uea.ac.uk/ftv/angliatv

Speakers include: Charles Barr, Lez Cooke, Sylvia Harvey, Cathy Johnson, Jamie Medhurst, Caroline Merz, Barbara Sadler, Rob Turnock and Sherryl Wilson; and from UEA, Su Holmes, Mark Jancovich, Brett Mills, Tim Snelson and Andrew Higson; plus Jane Alvey and Richard Taylor from the East Anglian Film Archive; and past and present Anglia executives, including Mike Talbot and Graham Creelman

Anglia Television - now ITV Anglia - began broadcasting in the east of England in 1959, some four years after the launch of the ITV network. This conference will build on the current vibrant interest in television history, and especially the history of ITV, and will chart the story of the Anglia franchise, from 1959 to the present. Key issues to be explored will include the relationship between the regional and the national in British independent television history; Anglia's programme culture - the range of genres, series and programmes produced or commissioned by Anglia over the years; the institutional organisation of Anglia and its operation as part of the ITV network; and the issues involved in archiving a regional television collection. There will also be a series of related archival screenings, including quiz and game shows, drama, sitcoms, soap opera,
news and regional heritage programmes. The conference is funded through an AHRC grant.

For further details and the conference registration form, see our website: www.uea.ac.uk/ftv/angliatv Or contact the Conference Administrator, Antonella Palmieri, at a.palmieri@uea.ac.uk

Upcoming Conferences I

I'm still not sure as whether this will be useful long term but to invoke the now-innate organisational mantra of 'research facilitation' I will begin compiling fortnightly a list of upcoming conferences and various CFP.

MUSIC AND THE MELODRAMATIC AESTHETIC
UNIVERSITY OF NOTTINGHAM
5-7 SEPTEMBER 2008

The early nineteenth-century stage genre of melodrama, as exemplified by Pixérécourt’s mélodrames à grand spectacle, expressed the moral struggle between good and evil through the interrelationship of music, speech, gesture and tableau in scenes of high emotion. This cross-disciplinary conference (Music, Theatre, Film) is the culmination of an AHRC-funded Research Workshop exploring melodrama as a performance process and an aesthetic, and tracing the nature of its influence on later nineteenth- and early twentieth-century drama - including opera, ballet, pantomime and early sound and film recordings.

The keynote speaker will be Prof Jacqueline Waeber (Duke University). There will be a screening of the 1923 silent _Within the Law_ (dir. Frank Lloyd, starring Norma Talmadge) accompanied by Philip Carli. Routledge will be sponsoring a wine reception.

Full details, including programme, abstracts and a booking form can be found at: http://www.nottingham.ac.uk/music/mma/conference.html Conference convenors: Sarah Hibberd (Music) and Jake Smith (Film & TV Studies), University of Nottingham

CONCEPTS OF CREATIVITY IN SEVENTEENTH-CENTURY ENGLAND
UNIVERSITY OF MANCHESTER, 6-7 SEPTEMBER
Full details of the symposium schedule, contributors, local arrangements and registration process can be found via the introductory page at: http://www.manchester.ac.uk/arts/creativityconference

CULTIVATING BRITONS: CULTURE AND IDENTITY IN BRITAIN, 1901 TO 1936
OXFORD BROOKES UNIVERSITY
19 SEPTEMBER 2008

Scholars have in recent years made much of the idea of a "long nineteenth century", and have investigated the twentieth-century remnants and legacies of Victorianism, yet the impact of the Edwardian era has been largely bypassed. The aim of this interdisciplinary conference is to reassess British culture across the period from 1901 to 1936 in the light of the Edwardian inheritance. As the title of the conference suggests, we are particularly interested in considering the extent to which an attempt to "cultivate Britons" (often regarded as a distinctively Victorian endeavour) continued into, and metamorphosed during, the early twentieth century. We believe that this idea can most fruitfully be explored by bringing together scholars with research interests in early-twentieth-century British culture from disciplines including History, Literature, Music, Art History, Gender Studies, and Theology.

The Edwardian period between 1901 and 1910 has, by reason of chronological accident, frequently been treated as a discrete and unique period in the history of Britain. Framed by the death of Queen Victoria and the arms race which foreshadowed the Great War, the long-anticipated reign of Edward VII has since been conceptualized and memorialized in a variety of ways: as the last, tired gasp of ‘Victorianism’; as a prelapsarian ‘long summer’ brutally curtailed by the guns of 1914; or as an authentic experiment with an ambitiously ‘modern’ set of cultural, moral, and political values. The brief, uncoronated reign of Edward VIII is not usually discussed in the same context as that of his grandfather – partly because of its brevity, but also because of the cultural and experiential disjunction assumed to separate them. However, the striking personal similarities between these ‘playboy’ princes, as well as the air of unfulfilled potentiality associated with their respective eras present fruitful starting points for a re-evaluation of the discernible continuities and ruptures in the social and cultural life of Britain in the first three and a half decades of the twentieth century.

Booking for the interdisciplinary ‘Cultivating Britons’ conference is now open. A booking form can be downloaded from the conference website: http://ah.brookes.ac.uk/conference/cultivating_britons/

Delegates should note that the booking form must be returned by 29 August if lunch is required.

This is a collaborative venture between Oxford Brookes University and Royal Holloway, University of London. Further information may be found at the conference website.


CALISTO A LE STELLE: CAVALLI AND THE STAGING OF VENETIAN OPERA
GRESHAM COLLEGE, HOLBORN

MONDAY 22 SEPTEMBER 2008
10am - 5pm with concert at 6pm
An IMR Study Day in association with Gresham College

Chair: Ellen Rosand
Convenors: Alvaro Torrente (Complutense, Madrid) and Dinko Fabris (Basilicata and Salento)Speakers to include: Ellen Rosand (Yale), Wendy Heller (Princeton), Jennifer Williams-Brown (Grinnell College), Beth Glixon (Kentucky), Jonathan Glixon (Kentucky), Dinko Fabris (Basilicata and Salento), Hendrik Schulze (Heidelberg), Anna Tedesco (Palermo) and Alvaro Torrente (Complutense, Madrid)

The day will end with a concert of music by Cavalli performed by students from the Royal College of Music, directed from the violin by Adrian Butterfield. A free drinks reception will follow the concert.Further details at http://www.gresham.ac.uk/ and http://www.music.sas.ac.uk/ To book places at the following event by emailing music@sas.ac.uk


OPERA, EXOTICISM AND VISUAL CULTURE: THE FIN DE SIÈCLE AND ITS LEGACY
UNIVERSITY OF LONDON (STEWART HOUSE, 32 RUSSELL SQUARE, WC1)
THURSDAY 25 - SATURDAY 27 SEPTEMBER 2008

Organizer: Dr Hyunseon Lee (IGRS, University of London)

Key speakers include: Sir Jonathan Miller, Prof Marcia Citron (Rice University, Houston/Texas), Prof Erika Fischer-Lichte (FU Berlin), Prof Anselm Gerhard (University Bern), Prof Hervé Lacombe (University Metz), Prof Herbert Lachmayer (Da Ponte Institute, Vienna).

Organized by the Institute of Germanic and Romance Studies in association with the Institute of Musical Research. For more information on programme and how to register please go to http://igrs.sas.ac.uk/events/conference/conf_opera_.htm


MUSIC IN PURCELL'S LONDON: "Only Purcell e're shall equal Blow"
THE BRITISH LIBRARY, LONDON
SATURDAY 4 OCTOBER 2008, 10AM-5PM

The Purcell Society and British Library are pleased to announce that booking is now open for this study day on the music of Henry Purcell and his contemporaries John Blow and Giovanni Battista Draghi. The study day marks the 300th anniversary of Blow and Draghi's deaths in 1708, and the start of a year-long celebration in the UK of the 350th anniversary of Purcell's birth (which occurred in 1658 or 1659).

Keynote speaker: Professor Sir Curtis Price, KBE

Other speakers include Rebecca Herissone, Christopher Hogwood, Peter Holman, Andrew Pinnock, Robert Thompson, Bryan White and Bruce Wood. The day will also include performances of music by Purcell, Blow and Draghi.

Tickets: £12 (£10 concessions).
For booking information and programme details please see
http://www.henrypurcell.org.uk/study_day.html

Study day hosted by the Purcell Society and the British Library. Further information is available from:
Dr Sandra Tuppen, Music Collections, British Library
Tel: +44 (0)20 7412 7500
email: sandra.tuppen@bl.uk


ADATING BYRON
UNIVERSITY OF MANCHESTER
4-5 DECEMBER 2008
The Byron Centre, University of Manchester

Few figures have captured the creative imagination to the extent of Lord Byron. Since the publication of the first instalment of Childe Harold’s Pilgrimage, virtually every age, nation and art-form has responded to his life and works. This conference will examine a wide range of adaptations of Byron over the past two centuries, interrogating his changing reception and considering how his poetry has been reconceived by being brought into contact with new, non-literary contexts and media.

Papers will discuss Byron in relation to, among other things: ballet, German song, Verdi, Mendelssohn, England, France, Italy, television drama and MySpace. Speakers include Shona Allen (Cologne), Bernard Beatty (Liverpool), Lorrie Corano (Missouri), Susan Rutherford (Manchester), Gilles Soubigou (Sorbonne), Michael Sinatra-Eberle (Montréal) and Stephen Zani (Lamar, Texas). The conference will also feature two lunchtime musical recitals on Byron-related themes, and a Byron dinner in Manchester’s city centre.

For further information, please contact Dr Laura Tunbridge, School of Arts, Histories and Cultures (Music), Martin Harris Centre for Music and Drama, University of Manchester, Coupland Street, Manchester, M13 9PL, UK (Laura.Tunbridge at manchester.ac.uk).

‘Adapting Byron’ is the inaugural conference of The Byron Centre, the University of Manchester’s new interdisciplinary study centre devoted to advancing the study of all aspects of Lord Byron: his life, writings, times, worldwide reception and international influence. Launched in 2007, the Centre offers a wealth of study opportunities at MA and PhD level in the fields of English, European and American Literature, Nineteenth-Century European Music and Italian Literature, History and Culture.

The Centre also has its own major Byron Archive, located at the historic John Rylands Deansgate Library, with substantial holdings of early editions, related publications and material from around the globe relating to Byron’s world-wide reception.

For more information about The Byron Centre, please visit our webpage (given below) or contact the Centre’s Director, Dr Alan Rawes, School of Arts, Histories and Cultures (English and American Studies), Samuel Alexander Building, University of Manchester, Manchester M19 3PL, UK (alan.rawes at manchester.ac.uk).

The Byron Centre: http://www.arts.manchester.ac.uk/subjectareas/englishamericanstudies/research/ByronCentre/