CFP: Music and Philosophy - CUNY Music Department

CFP: Music and Philosophy – CUNY Music Department

Conference Schedule

Friday 4/12:

1:30-2:00: Registration and welcoming
2:00-4:00: Paper session: “Philosophical Influences”
Session Chair: TBA
  • Zachary Bernstein (CUNY Graduate Center), “Leonhard Euler’s Tentamen novae musicae theoriae and the Inheritance of Seventeenth-Century Philosophy”
  • Emily S. Monk (University of South Carolina), “Attali, Therapeutic Music, and Modern Consumerism”
  • Nathan Shields (Juilliard), “Nature and Transcendence in the Early Schoenberg”
  • James Archer (University of Durham), “Snapshots in time: image metaphors and temporal multiplicity in Adorno’s aesthetics of music”

4:00-4:15: Break

4:15-5:15: Paper session: “Modes of Listening”
Session Chair: Prof. Joseph Straus (CUNY Graduate Center)

  • Matthew Toth (Western University), “Structural Beyond Listening: Subotnik, Meillassoux and Leif Inge’s 24 Beet Stretch
  • Benjamin Hansberry (Columbia University), “What are Scale-degree Qualia?: A Critique of Cognitivism and a Philosophical Account”

5:15-6:15: Paper session: “Perspectives on Technology”
Session Chair: Prof. David Olan (CUNY Graduate Center)

  • Sergi Casanalles Abella (New York University), “Hyperorchestra, Hyperreality, and Inception”
  • Andie Sigler (Centre for Interdisciplinary Research in Music Media and Technology, McGill University School of Computer Science), “Ontologies for Algorithmic Music and Musical AI”

6:15-7:00: Reception

Saturday 4/13:

10:00-10:30: Breakfast

10:30-1:00: Workshop: “New Ontologies of Music,” led by Prof. Benjamin Piekut (Cornell University)

1:00-2:00: Lunch (free for conference attendees)

2:00-4:00: Paper session: “Analysis”
Session Chair: Prof. Benjamin Piekut (Cornell University)

  • Joshua Harris (University of North Texas), “The Body in Helmut Lachenmann’s “Filter – Schaukel” from Ein Kinderspiel: A Phenomenological Analysis”
  • Serena Wang (CUNY Graduate Center), “The Aesthetics of Silence in Chou Wen-Chung’s Windswept Peaks and String Quartet No. 1”
  • Emma McConnell (Eastman), “Redefining Narrative: a path through Kurtág’s Kafka Fragments
  • Dan Ruccia (Duke), “The Correct ‘Yeah’: US Maple’s Deconstruction of the Voice”


4:00-4:15: Break


4:15-5:45: Paper session: “Opera”
Session Chair: Prof. Barbara Hanning (CUNY Graduate Center)

  • Hee Seng Kye (University of Hong Kong), “Mozart the Philosopher: Aside, Silence, and Time in La clemenza di Tito
  • Lee Chambers (Texas Tech), “Orphic Voices and Intercultural Signification: Operatic Works, Recontextualized Performance, and the Metaphysics of Presence”
  • Bradley Fugate (Boston University), “No Exit, An Existential Opera”

 

 

Call for papers and lecture-recitals:

“Music and Philosophy”

2013 CUNY Graduate Center GSIM Conference

The CUNY Graduate Center department of music is pleased to announce its 2013 Graduate Students in Music (GSIM) conference in New York City on Friday and Saturday, April 12–13, 2013. Abstracts and cover letters are due February 1, 2013. The theme for this year’s conference will be Music and Philosophy.

In addition to traditional paper sessions, the conference will include a workshop/seminar for graduate students led by Professor Benjamin Piekut of Cornell University entitled “New Ontologies of Music” (more details below).

We invite graduate students to submit proposals for papers relating to the theme of Music and Philosophy. The theme is broadly construed, embracing Continental, Analytical, and Classical philosophical traditions, and may include the following subjects, among others:

1) New ontologies of music.
2) Interdisciplinary relationships between music, in any of its aspects, and philosophical thought, including cultural, sociological, metaphysical, and literary theories.
3) Applications of existing philosophical theories to the analysis of music.
4) Philosophy of musical creation and performance.
5) Philosophy of musical reception and consumption.
6) Interactions between musical lyrics, libretti, or associated texts and philosophical thought.

Presentations will be given a 30-minute time slot, with 20 minutes for the paper and 10 minutes for discussion.

To submit, please send the following to dnobile@gc.cuny.edu by February 1, 2013:
1) A proposal/abstract of no more than 300 words in PDF format. Up to two additional pages of musical examples and/or references may also be included (though this is not required). The proposal should include the title of the paper, but withhold any information that might identify the author.
2) A cover letter, written as text in the body of the email, that includes the title of the paper as well as the author’s name, institutional affiliation, email address, and telephone number, plus a list of audio/visual requirements for the presentation.

Performers and composers are also invited to submit proposals for lecture-recitals.
Composers are responsible for providing their own musicians to perform their piece(s).
Proposals for lecture-recitals should follow the same proposal guidelines described above.
Lecture-recitals are limited to 40 minutes.

We also invite students to apply for the workshop with Dr. Piekut by sending an email to dnobile@gc.cuny.edu that includes the author’s name, institutional affiliation, email address, and telephone number. Below is Dr. Piekut’s description of the workshop:

New Ontologies of Music
Dr. Benjamin Piekut, Cornell University
In response to the cultural turn (to matters of language, discourse, and social construction) in late-twentieth-century scholarship, a new set of inquiries in the humanities and social sciences has explored questions of materiality, ontology, and objecthood. Although the cultural turn has been enormously important for scholars interested in tracing operations of power in the social field, the new materialism emphasizes the benefits of a renewed realism for describing the world. Evident in many disciplines, but especially in science and technology studies, the material turn has also begun to make a difference in music studies. In this workshop, we will pursue questions of musical ontology in light of this growing body of literature, paying particular attention to those theorists who argue that ontology is contingent, multiple, and contested.

(Image: New York Times)