Old Is New: The Presence of the Past in the Music of the Present
Тези до: 23.04.2017
Дати: 24.11.17 — 26.11.17
Е-мейл Оргкомітету: oinew2016 [at] gmail.com
Організатори: CESEM/FCSH – UNL
Any creative activity must pay dedicated attention to the information transfer that occurs between different periods. One never starts from zero, no matter what the activity is, and this is also true for music. We talk about the way the past is considered in each historical moment, extracting from it as much as one can for the understanding of the present.
Starting from the point of view of composition – which also facilitates extending the discussion into the areas of performance, teaching, and analysis, for example – this conference will bring together a wide range of perspectives about how the musical past is always a subject for consideration in recent music, even when the present seems highly innovative and different from everything that came from other historical periods.
This consideration might be expressed in many different ways, from the “neo-” movements, considered in a simplistic or sophisticated way, investing in the reformulation of past methodologies, to the most innovative and eccentric trends that base their departure from the centre on the use of the past as sustenance for their praxis, such as, for example, some retro-futuristic movements.
Old is New: The Presence of the Past in the Music of the Present is a 3-day conference aiming to discuss the subject of the legacy of the past in music. We invite composers, scholars, musicians and other performers, teachers, philosophers and interested researchers, to contribute with proposals covering the whole range of questions involved in the subject. We encourage submissions within the following areas, although other related topics are also welcome:
- How can we creatively understand information from the past in current musical composition?
- How have new technologies altered the nature, methodology and limits of musical creation?
- What about the state of current organology, the invention of musical instruments and sound tools, from basic elements to cutting-edge technology?
- Music, urban culture and networks of communication, in the context of musical sociology.
- Unconventional and DIY approaches: composition that has subverted norms, paradigms and expectations of its age.
- Marginalised voices: stories of contemporary music with particular characteristics that have been sidelined.
- Questions of genre/style/idiom in the recycling strategy of some contemporary music.
- Musical analysis as a traditional musicological tool, facing methodological integration of musical elements from the past.
- Alternative methodological and theoretical perspectives: researches that encourage us to look at the presence of the past in a different way.
- Tools, techniques, instruments (etc.) which have played an important role in shaping contemporary music and its evolution from the past; also those that remain sidelined or unrecognized.
- Aesthetic and conceptual boundaries between the musical or extra-musical elements, and the idea of sound in contemporary music.