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Royal Musical Association 55th Annual Conference University of Manchester Royal Northern College of Music 11–13 September 2019 Provisional Schedule Outline WeDnesDay 11 September ThursDay 12 September FriDay 13 September 9.00 Registration open, welcome Registration open 7a Registration open 9.15 Lecture– recitals 1a 1b 1c 1d 4a 4b 4c 4d 4e 4f 7b 7c 7d 7e 7f 9.30 10.00 10.30 Refreshments, posters, publisher Displays Refreshments Refreshments, posters, publisher displays 11.00 2a Lecture– 2b 2c 2d 2e 2f 5a 5b 5c 5d 5e 5f 8a 8b 8c 8d 8e 8f 11.30 recitals Lecture– Lecture– recitals recitals 12.00 12.30 Lunch, posters, publisher displays, RMA Lunch, posters, publisher displays, RMA Lunch, posters, publisher displays, RMA 13.00 Council, other T1 closeD meetings StuDent Committee, RMA Annual Flagship Conferences Subcommittee, 13.30 Conference Programme Committee, other T2 closeD meetings 14.00 other closed meetings 14.30 3a 3b 3c 3d 3e 3f 6a 6b 6c 6d 6e 6f 9a 9b 9c 9d 9e 15.00 Composition Lecture– F20 workshop recitals 15.30 anD concert 16.00 Refreshments Refreshments, exhibition, posters Refreshments, Closing remarks 16.30 3g AGM / Dent Medal Presentation / Dent 17.00 Lecture 17.30 Le Huray Lecture RNCM Concert Hall 18.00 Cosmo Rodewald Concert Hall Reception 18.30 Reception 19.00 G16 RNCM International Artist Diploma 19.30 Wellbeing Event: Feel-gooD Singing Concert 20.00 John Thaw StuDio Theatre Conference Dinner RNCM Rooms Venue a b c D e f RNCM Carole Nash Recital Forman Lecture Conference Room StuDio 4 StuDio 6 StuDio 7 Room Theatre Martin Harris Centre Cosmo Rodewald John Thaw StuDio John Casken G16 SU15 F20 Concert Hall Theatre Lecture Theatre 1 Provisional Programme Outline WeDnesDay 11 September TIME ACTIVITY VENUE LOCATION 9.00–17.00 Registration RNCM Foyer 9.00–9.30 Welcome RNCM Foyer 9.30–10.30 Session 1a: Audience Experience RNCM Carole Nash Recital Room Session 1b: Music anD Trauma Forman Lecture Theatre Session 1c: Historical Performing Practices Conference Room Session 1d: MultimeDia Perspectives StuDio 4 10.30–11.00 Refreshments, posters, publisher displays RNCM Foyer 11.00–12.30 Session 2a: Historically InformeD Performance RNCM Carole Nash Recital Room Session 2b: Environmental SounDscapes Forman Lecture Theatre Session 2c: Transnationalisms 1 Conference Room Session 2d: European Musicological Societies 1 StuDio 4 Session 2e: Harmonic Analysis StuDio 6 Session 2f: Music in South Africa StuDio 7 12.30–14.30 Lunch, posters, publisher displays RNCM Foyer 12.30–14.30 RMA Council meeting RNCM Conference Room 13.00–14.30 StuDent Training Session 1: How to Do Academia RNCM Forman Lecture Theatre 14.00–16.30 Session 3a: Composition Workshop anD Concert Martin Harris Centre Cosmo Rodewald Concert Hall 14.30–16.00 Session 3b: Sonata Theory 1900 John Thaw StuDio Theatre Session 3c: Transnationalisms 2 John Casken Lecture Theatre Session 3d: Music, Institutions anD National IDentity in G16 the Early Twentieth Century Session 3e: Music anD Literature SU15 Session 3f: SounDing Trauma in the Long Nineteenth F20 Century: Gendered Narratives in the US, UK anD France 16.00–16.30 Refreshments Martin Harris Centre Foyer 16.30–17.30 Session 3g: European Musicological Societies 2: Open Martin Harris Centre Cosmo Rodewald Concert Hall Meeting 17.30–18.30 Le Huray Lecture Martin Harris Centre Cosmo Rodewald Concert Hall 18.30–19.30 Reception Martin Harris Centre G16 19.30–20.30 Wellbeing event: Feel-gooD Singing Martin Harris Centre John Thaw StuDio Theatre 2 ThursDay 12 September TIME ACTIVITY VENUE LOCATION 9.00–17.00 Registration RNCM Foyer 9.30–10.30 Session 4a: Société Française de Musicologie Martin Harris Centre Cosmo RodewalD Concert Hall Session 4b: Music anD Narrative John Thaw StuDio Theatre Session 4c: Music anD Time 1 John Casken Lecture Theatre Session 4D: Structural Analysis 1 G16 Session 4e: EDiting anD Critical EDitions SU15 Session 4f: Music anD Illusion F20 10.30–11.00 Refreshments Martin Harris Centre Foyer 11.00–12.30 Session 5a: Queer StuDies Martin Harris Centre Cosmo RodewalD Concert Hall Session 5b: Rethinking Contemporary Musicologies: John Thaw StuDio Theatre Disciplinary Shifts anD the Risks of Deskilling Session 5c: The Art of Persuasion: AuDience John Casken Lecture Theatre Development for Classical Music in a Time of Crisis Session 5D: Structural Analysis 2 G16 Session 5e: Reception anD Performance History SU15 Session 5f: Practice-Based Research F20 12.30–14.30 Lunch, posters, publisher Displays RNCM Foyer 12.30–13.30 RMA StuDent Committee RNCM Conference Room 13.30–14.30 RMA Annual Conference Programme Committee RNCM Conference Room 14.30–16.30 Session 6a: What is the Space for Storytelling in RNCM Carole Nash Recital Room Academia? Autoethnography, Critical Self-Reflection, and Arts-Based Practice in Music Studies 14.30–16.00 Session 6b: Music anD PeDagogy Forman Lecture Theatre Session 6c: Expressing Non-Binary Identities anD Conference Room Relationships through Music and Musicking Session 6D: Notational Spaces anD Musical Writing StuDio 4 Session 6e: Early MoDern Religious Reform StuDio 6 Session 6f: Politics anD Protest StuDio 7 16.00–16.30 Refreshments, posters, publisher displays RNCM Foyer 16.30–16.45 RMA Annual General Meeting RNCM RNCM Concert Hall 16.45–18.00 Dent MeDal Presentation anD Dent Lecture RNCM RNCM Concert Hall 18.00–19.00 Reception RNCM Foyer 19.00–20.00 RNCM International Artist Diploma Concert RNCM RNCM Concert Hall 20.00– Conference Dinner RNCM RNCM 3 FriDay 13 September TIME ACTIVITY VENUE LOCATION 9.00–17.00 Registration RNCM Foyer 9.00–10.30 Session 7a: RecorDed-Music StuDies RNCM Carole Nash Recital Room 9.30–10.30 Session 7b: Opera Forman Lecture Theatre Session 7c: Music anD Psychology Conference Room Session 7D: Historiography StuDio 4 Session 7e: Music in Manchester StuDio 6 Session 7f: Attribution StuDio 7 10.30–11.00 Refreshments, posters, publisher displays RNCM Foyer 11.00–12.30 Session 8a: Early Twentieth-Century ReDiscoveries RNCM Carole Nash Recital Room Session 8b: Music, SounD anD Prose: Interactions in the Forman Lecture Theatre French Literary Tradition Session 8c: Music, Politics anD Identity Conference Room Session 8D: Theory, Philosophy anD Aesthetics StuDio 4 Session 8e: Music anD Time 2: Psychology, Philosophy StuDio 6 anD Practice Session 8f: Music anD Publishing: Past, Present anD StuDio 7 Future Challenges 12.30–14.30 Lunch, posters, publisher Displays RNCM Foyer 12.30–14.30 RMA Flagship Conferences Subcommittee RNCM Conference Room 13.30–14.30 StuDent Training Session 2: Academic Resilience Martin Harris Centre John Thaw StuDio Theatre 14.30–16.00 Session 9a: Music anD Disability Martin Harris Centre Cosmo Rodewald Concert Hall Session 9b: Carmen AbroaD John Thaw StuDio Theatre Session 9c: Music, War anD Nationalism John Casken Lecture Theatre Session 9d: New Technologies G16 Session 9e: Parenting anD Music StuDies F20 16.00–16.30 Refreshments anD closing remarks Martin Harris Centre Foyer 4 Abstracts WeDnesDay 11 September 9.30–10.30 Session 1a: Music anD Trauma Matt Lawson (Oxford Brookes University): Film Music and Trauma: Issues of Representing Traumatic Experience in Film Scores This paper will investigate how trauma anD traumatic experience is representeD through music useD in film. The research is interDisciplinary in nature, engaging with politics, history, psychology, film stuDies, anD, primarily, musicology. The paper sits at the intersection of trauma stuDies in music, music therapy, anD film musicology, anD consists of a theoretical approach, complementing the existing scholarship on how trauma is representeD through music generally, outsiDe the Domain of visual meDia. The case stuDies examineD in this paper will focus on two worlD events: WorlD War II anD the 11 September terrorist attacks in New York City. by examining traumatic scenes from films Depicting these events, we will examine how music is useD, anD discuss the levels of sentimentality founD therein. Building on my doctoral research into how the Holocaust was representeD musically on film, this paper Develops the research into how auDience's emotions can be guiDeD or manipulateD by film music, anD we approach questions of whether this is ethically or aesthetically appropriate when dealing with such sensitive subject matter in the narratives. The paper will concluDe by highlighting other areas where this research coulD be applieD, such as viDeo game music, anD music founD in museums. Torbjørn Skinnemoen Ottersen (Van Leer Jerusalem Institute, Israel): (N)one shall Escape: A Survivor from Warsaw and Hollywood's First Depiction of the Holocaust That ArnolD Schoenberg’s A Survivor from Warsaw (1947) ‘evokes HollywooD, whether intentionally or not’ (Feisst) has been a recurring theme in commentary on the work (see also Adorno, Föllmi, List, Móricz, Schonberg, Taruskin). But, despite this, amiDst the myriaD proposeD sources for the work’s narrative (see e.g. CrittenDen) it appears that the possible affinities between A Survivor anD HollywooD’s first engagement with the fate of Europe’s Jews have remained unexplored. None Shall Escape (AnDré De Toth, 1944) Details Nazi atrocities through testimony offereD at a postwar AllieD trial of a single Nazi officer. Its Depiction of the massacre of the Jews of one Polish village, in which they suDDenly turn to fight, culminating in their rabbi’s Dying recital of the KaDDish, has striking parallels with the climactic conclusion of A Survivor, I suggest. It may be that None Shall Escape directly inspireD A Survivor – at a minimum, I propose, it influenced Kurt List’s summary of the work’s narrative in his 1948 Commentary review. More broaDly, however, I argue that Schoenberg’s work follows a common HollywooD moDel of Depicting faith-based fortituDe anD sacrifice in the face of an anti-religious enemy (cf. e.g. the Oscar-winning Mrs Miniver (1942)).
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    JULES MASSENET werther conductor Opera in four acts Yannick Nézet-Séguin Libretto by Édouard Blau, Paul Milliet, production Sir Richard Eyre and Georges Hartmann, based on the novel Die Leiden des Jungen Werthers by set and costume designer Rob Howell Johann Wolfgang von Goethe lighting designer Monday, March 16, 2020 Peter Mumford 7:30–10:25 PM projection designer Wendall K. Harrington First time this season choreographer Sara Erde The production of Werther was made possible revival stage director by a generous gift from Elizabeth M. and J. Knighten Smit Jean-Marie R. Eveillard Major funding was received from Rolex Additional funding was received from The Fan Fox and Leslie R. Samuels Foundation, Inc.; the Gramma Fisher Foundation, Marshalltown, Iowa; and The Gilbert S. Kahn & John J. Noffo Kahn Foundation general manager Peter Gelb jeanette lerman-neubauer music director Yannick Nézet-Séguin 2019–20 SEASON The 88th Metropolitan Opera performance of JULES MASSENET’S werther conductor Yannick Nézet-Séguin in order of vocal appearance charlotte johann Joyce DiDonato Philip Cokorinos sophie schmidt Ying Fang* Tony Stevenson* bailiff werther Alan Opie Piotr Beczała children brühlmann hans Calvin Griffin DEBUT William Kramer gretel käthchen Zoe Buff Megan Esther Grey** karl A. Jesse Schopflocher albert clara Etienne Dupuis This performance Mila Di Polo is being broadcast fritz live on Metropolitan Sasha Grossman Opera Radio on max SiriusXM channel 75 N. Casey Schopflocher and streamed at metopera.org. Monday, March 16, 2020, 7:30–10:25PM KEN
  • "Un Grec, Doi Greci, Trei Greci… Brăila"

    "Un Grec, Doi Greci, Trei Greci… Brăila"

    Un Grec, Doi Greci, Trei Greci... Brăila. Reactivarea memoriei culturale a oraşului Brăila. Cazul Comunităţii Greceşti. 1 Coperta: Ionel Cândea Tehnoredactare: Ghena Pricop, Camelia Hristian, Rozalia Pîrlitu Foto: Gabriel Stoica Traduceri din lb. greacă: Iulia Marica Saridache, Haralambie Caravia Descrierea CIP a Bibliotecii Naţionale a României Un grec, doi greci, trei greci... Brăila / ed.: Camelia Hristian, Ghena Pricop - Brăila : Editura Istros a Muzeului Brăilei, 2009 ISBN 978-973-1871-46-2 I. Hristian, Camelia (ed.) II. Pricop, Ghena (ed.) 323.1(=14)(498) Coperta I: Brăila, Casa Petzalis Coperta IV: Brăila, Teatrul Rally © 2009, Editura Istros a Muzeului Brăilei 2 Un Grec, Doi Greci, Trei Greci... Brăila. Editori: Camelia Hristian Ghena Pricop MUZEUL BRĂILEI EDITURA ISTROS BRĂILA, 2009 3 4 GRECII DESPRE GRECI ŞI DESPRE BRĂILA Grecii au fost, decenii de‐a rândul, acasă la Brăila. Au venit aici, au făcut comerț, au prosperat, au clădit case, biserică, şcoli, mori, tipografii, dar au şi trăit, au suferit, au iubit. Cât de mult s‐au simțit ei aici acasă sau cât de mult au tânjit după pierduta patrida este dificil de spus. Un context istoric sau o alegere cu substrat financiar au determinat, în secolul XIX, zeci de familii să‐şi construiască aici viața. Şi‐au creat propria insulă într‐o mare de alte nații. A fost destul de simplu, pentru că aveau portul şi propriile vapoare care îi legau de Elada. Dar vremurile s‐au schimbat şi, precum alte insule greceşti astăzi puțin locuite, şi „insula grecească” din portul Brăila a fost, încet, părăsită pentru alte locuri mai prielnice pentru comerț liber sau pentru libertate de exprimare.
  • Spring 2015 Commencement Program

    Spring 2015 Commencement Program

    TE TA UN S E ST TH AT I F E V A O O E L F A DITAT DEUS N A E R R S I O Z T S O A N Z E I A R I T G R Y A 1912 1885 ARIZONA STATE UNIVERSITY COMMENCEMENT AND CONVOCATION PROGRAM Spring 2015 May 11–16, 2015 THE NATIONAL ANTHEM THE STAR SPANGLED BANNER O say can you see, by the dawn’s early light, What so proudly we hailed at the twilight’s last gleaming? Whose broad stripes and bright stars through the perilous fight O’er the ramparts we watched, were so gallantly streaming? And the rockets’ red glare, the bombs bursting in air Gave proof through the night that our flag was still there. O say does that Star-Spangled Banner yet wave O’er the land of the free and the home of the brave? ALMA MATER ARIZONA STATE UNIVERSITY Where the bold saguaros Raise their arms on high, Praying strength for brave tomorrows From the western sky; Where eternal mountains Kneel at sunset’s gate, Here we hail thee, Alma Mater, Arizona State. —Hopkins-Dresskell MAROON AND GOLD Fight, Devils down the field Fight with your might and don’t ever yield Long may our colors outshine all others Echo from the buttes, Give em’ hell Devils! Cheer, cheer for A-S-U! Fight for the old Maroon For it’s Hail! Hail! The gang’s all here And it’s onward to victory! Students whose names appear in this program have completed degree requirements.