Resources for medieval musicology and liturgy
The program committee for Musicology at Kalamazoo (Anna Kathryn Grau, Luisa Nardini, Gillian Gower) invites abstracts for the 53rd International Congress on Medieval Studies, May 7-10, 2020. The topics approved by the Congress include:
Chant and Liturgy will focus on the role of monophonic chant in liturgical contexts. We particularly invite papers that are interdisciplinary in focus and methodology, or that place chant and sacred polyphony in their historical and cultural contexts.
Musical Craft, Composition, and Improvisation will analyze musical creativity under the point of view of composition and improvisation, which, for most of the middle ages, are deeply interrelated. How did improvisation affect musical composition in the middle ages and how this interplay is reflected in manuscript sources? Conversely, how can modern performers improvise in an historically-informed manner?
Musical Medievalism is devoted to discussion of the uses of medieval or medieval-inspired music in later works, including music, drama, film and television, video games, and other popular culture. This may include both modern examples and those from periods closer to the middle ages. We invite participants from other disciplines and sub-disciplines to consider the relationship between musical medievalism and other types of medievalism. Does the engagement with music history by later creators differ from their engagement with other elements of medieval culture?
Music Theory & Practice will explore the intersection between theory and practice in the musical production of the Middle Ages. Although formal and stylistic features as well as musical techniques tend to predate their discussion in theoretical treatises, theory and practice are interdependent. We welcome papers that investigate these connections for both sacred and secular repertories.
Musical Intertextuality/Intratextuality will explore relationships between and within works, including musical and textual repetition, allusion, citation, and borrowing. Topics may include, for example, refrain citation, motivic repetition, cantus firmus technique, and musical symbolism. These are not only matters of tracing connections or labeling works; intertextuality and intratextuality relate to broader questions such as issues of audience, communities of listeners, and concepts of originality and influence. We welcome papers on music of any period, genre, or place of origin within the broader Middle Ages, to allow for discussion about the changing nature of music relationships.
Musical Margins and Migrations offers the opportunity to explore music outside the major centers of musical production, either in geographical or demographic terms. This may include discussion of music produced or performed in “peripheral” regions, transmission between regions, manuscript encounters, and musical production by groups marginalized in medieval Europe.
Roundtable: Medieval Music and Inclusive Pedagogy invites proposals for short presentations and discussion on timely questions of diversity and inclusion in the classroom, with a focus on issues that are unique to music classrooms. How can our obligation to prepare students for future study be balanced with the need to broaden and diversify the content of our surveys? How can we better welcome students from varied backgrounds into the study of music from the medieval Christian tradition, in which deep knowledge of Christian imagery and texts is often presumed? This session invites teachers from any educational environment who have found success in increasing the inclusivity of their curriculum or classroom to share their experiences and recommendations, and provides a space for discussion of these problems in the context of our specific intersection of disciplines.
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