A regular meeting where researchers discuss topics or texts that are relevant to music, in the broadest possible sense.
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Today, we are going to answer the question of what do postmodernism and metamodernism bring to the musicological table.
Over this session, we discuss the problems of the copyright of Music. As our colleague Alan Hui explains, digital platforms and digital production software create new challenges and opportunities for making and faking content, shaping and sharing experiences, and reproducing and regulating culture. What role should copyright law play in this digital, mediated and connected world (or is copyright now fundamentally incompatible or irrelevant)?.
During this session, we can discuss the problems, experiences and techniques of the miscellaneous ways we listen to/hear music and sound: all the intimacies and relationships that occur between the parties of the listener/sound/emitter musical triangle.
During this session, we can discuss the problems regarding the discipline of musicology and the concept of interdisciplinarity. What do we gain and what do we lose through the interdisciplinary approach? Is it possible to, in any way, re-merge ‘hard’ and ‘soft’ sciences? How can we think beyond this arbitrary division in musicology?
Over this session, we discuss the musical relationships between humans and whatever falls into the definition of ‘Nature’ (or the environment, or the nonhuman word). What do potential musical encounters between humans and their others sound like and how potent (artistically and scientifically) are they? Does music support or hinder our mutual ‘understanding’?
Why is it important/productive to implement the sex/gender perspective into the practice of knowledge production, especially in the context of music/musicology? What are the standard questions we can ask in relation to gender/sex and music? How strongly are the categories of ‘masculinity’, ‘maleness’, ‘womanhood’ and ‘femininity’ embodied in and reproduced by music? How does/might the category of gender affect our practice of conducting musicological investigations?
The canon(-ization) of knowledge, its systematization and classification, leads to its hierarchization and the sanctified separation between what is worth remembering, archiving, cherishing, disseminating and what is not. What do you think of the concept and practice of systematization of (musicological or any kind of) knowledge?
What is the historical relationship between musicology and nationalism, and what should we do about it?
Genre matters. Or does it?
Donald Trump called Rachmaninov an "enemy of music," Messiaen a "liar," Mozart a "phoney," and Bach "derivative." Should we care?
(Or, how do we do politics in music scholarship?)
*A special session, attended by Professor Georgina Born, featuring:
Radano, Ronald Michael. and Bohlman, Philip. V. (2000). “Introduction: Music and Race, Their Past, Their Presence”. In Radano and Bohlman (eds) Music and the Racial Imagination. Chicago: University of Chicago Press: 1-44.
Siegert, Bernhard. 2015. "Introduction: Cultural Techniques" and "Chapter 10: Door Logic, or the Materiality of the Symbolic". Cultural Techniques. New York: Fordham University Press: 1–17 & 192–205 (PDF requires login).
Fornäs, Johan. 2012. "Post-Anti-Hermeneutics" in Jan Fredrik Hovden & Karl Knapskog (eds.) Hunting high and low: Skriftfest til Jostein Gripsrud på 60-årsdagen. Oslo: Scandinavian Academic Press: 490–518 (PDF requires login).
Brackett, David. 2016. "Introduction", "Crossover Dreams", and "Notes Toward a Conclusion." Categorizing Sound: Genre and Twentieth-Century Popular Music. Berkeley: University of California Press: 1–40, 280–323, 324–333 (PDF requires login).
Cronon, William. 1995. “The Trouble with Wilderness; or, Getting Back to the Wrong Nature.” in William Cronon (ed.). Uncommon Ground: Rethinking the Human Place in Nature. New York: W. W. Norton & Co: 69–90 (PDF requires login).
Tenzer, Michael. 2006. “Introduction: Analysis, Categorization, and Theory Musics of the World.” in Michael Tenzer (ed.) Analytical Studies in World Music. Oxford: Oxford University Press: 3–38 (PDF requires login).