Music news_��ƱAPP��_�ĿͲ�Ʊ��-�ٷ��Ϸ

New Fellow of the Royal Northern College of Music_��ƱAPP��_�ĿͲ�Ʊ��-�ٷ��Ϸ

Thu, 09 Dec 2021 00:00:00 +0000

We are delighted that on Thursday 2nd December 2021 Professor David Owen Norris was made a Fellow of the Royal Northern College of Music at their Congregation of Awards.

Join us for an exploration of the cross-artform partnership between Hetain Patel and composer Amy May, who have worked together on Patel's films The Jump, Don't Look at the Finger and Trinity._��ƱAPP��_�ĿͲ�Ʊ��-�ٷ��Ϸ

Thu, 14 Oct 2021 00:00:00 +0100

How music makes a house a home_��ƱAPP��_�ĿͲ�Ʊ��-�ٷ��Ϸ

Thu, 11 Feb 2021 00:00:00 +0000

Connecting families with their homes in Georgian Britain through music

BFE Autumn Conference - Creative writing, music and ethnography | Humanities | University of ��ƱAPP��_�ĿͲ�Ʊ��-�ٷ��Ϸ,_��ƱAPP��_�ĿͲ�Ʊ��-�ٷ��Ϸ

Conventional academic writing is limited. It often precludes the complexities, nuances, contexts of our social worlds. It also leaves out much of the knowledge we encounter through research.

Experimental creative writing enables other ways of knowing and other understandings. It reveals our sensory experiences, our gaze and our positionalities. It humbles us and connects us to our academic communities and other audiences.

From Zora Neale Hurston’s (1935) Mules and Men, to the 1980s/1990s ‘literary turn’ in anthropology and ethnomusicology. From explorations of ordinary lives (e.g., Lortat-Jacob 1995), form (e.g., Taylor 1998), and embodied experience (e.g., Hahn 2007, Aduonum 2022). Academics have struggled to capture the complexity of people’s lives through creative writing.

This conference aims to explore issues in experimental writing. It will cover aesthetic, epistemological, methodological, phenomenological, and ethical issues. The focus is music ethnographies and other musicological and ethnographic texts.

These may relate to:

experimental academic writing and affect
phenomenological evocations of sensory experiences, vulnerabilities, violence, human and non-human points of view
dialogue, collaboration and polyvocality
autoethnographies and memoirs that narrate personal stories with a critical positionality and political, conceptual or other perspective that goes beyond the personal
speculative fiction, Afrofuturism and science fiction
authorial and narrative points of view; storytelling and care

Where might we place creative writing in our ethnographic and musicological toolboxes? How might experimental creative writing reproduce or decentre oppressive power dynamics?

For example, by explicating violence, or by reinforcing or moving away from acritical, reflexive, ‘me-search’ of the privileged in ethnographic creative writing?

How do notions of academic credibility, evidence, and creative writing intersect? What relationships might there be between experimental creative writing and more conventional academic analysis and academic publishing spaces? Is there space for experimental creative writing in academic contexts without critical commentary?

What can we learn from methodological strategies, such as Saidiya Hartman’s ‘critical fabulation’ which attempts ‘to represent what we cannot’ (Hartman 2008, 11)? What ethical issues does experimental academic writing present?

For this online, one-day conference, we welcome contributions from any discipline. We invite both experimental and conventional interventions. We aim to spark discussions about the possibilities afforded by creative writing in ethnographic and musicological texts. We encourage you to bring examples, where appropriate.

These may be short or longer experimental or conventional interventions. We'll use distinct formats such as:

interventions of up to 20 minutes (plus 10 minutes of questions)
panels of 3 related interventions (90 mins in total including questions)
roundtable discussions of 4–5 shorter interventions (10 mins each + 20 mins questions)

Get in touch if you would like to discuss possible ideas, creative forms of participation. We also welcome other potential interventions on the conference theme before submission of proposals. Email Hettie Malcomson – h.malcomson@soton.ac.uk

Abstracts for individual interventions should be no more than 300 words. For panels and roundtables, please send paper abstracts of no more than 300 words each. You'll also need to send an accompanying panel/roundtable description of no more than 100 words.

You'll need to submit your abstract by 16 September 2024. You can find the form for submitting proposal abstracts at BFE Autumn 2024 Abstract Submission Form. Please note that all presenters must be 2024 members of the BFE (i.e., members at the time of the conference).

Abstracts will be peer reviewed and selected on the basis of how well and how closely they engage with the conference theme. We will send notifications of acceptance out by 15 October 2024.

Conference Code of Conduct

BFE conferences are run in accordance with the BFE Conference Code of Conduct. By taking part in a BFE conference, you agree to be bound by this code.

Conference Curator

Hettie Malcomson (University of ��ƱAPP��_�ĿͲ�Ʊ��-�ٷ��Ϸ,) [she/her/they/them]

Conference Organisers

Hettie Malcomson (University of ��ƱAPP��_�ĿͲ�Ʊ��-�ٷ��Ϸ,) [she/her/they/them]

Cassandre Balosso-Bardin (KU Leuven) [she/her]

Programming Committee

Hettie Malcomson (University of ��ƱAPP��_�ĿͲ�Ʊ��-�ٷ��Ϸ,) [she/her/they/them]

Cassandre Balosso-Bardin (KU Leuven) [she/her]

Erin Johnson-Williams (University of ��ƱAPP��_�ĿͲ�Ʊ��-�ٷ��Ϸ,) [she/her]

Liz Gre (University of ��ƱAPP��_�ĿͲ�Ʊ��-�ٷ��Ϸ,) [she/her/they/them]

Stina Homer (Open University, TBC) [she/her]

Lea Hagmann (University of Bern) [sie/ihr/ihre/ihres/ihrer/ihren/ihrem]

Indicative Bibliography

Aduonum, Ama Oforiwaa (2022) Walking with Asafo in Ghana: An Ethnographic Account of Kormantse Bentsir Warrior Music. (Rochester: University of Rochester Press)

Barz, Gregory F. & Timothy J. Cooley (eds) (2008 [1997]) Shadows in the Field: New Perspectives for Fieldwork in Ethnomusicology (2nd Edition) (New York and Oxford: Oxford University Press).

Fassin, Didier (2014) 'True Life, Real Lives: Revisiting the Boundaries between Ethnography and Fiction', American Ethnologist, 41(1); 40-55.

Green, Emily H. (2020) 'How to Read a Rondeau: On Pleasure, Analysis, and the Desultory in Amateur Performance Practice of the Eighteenth Century', Journal of the American Musicological Society, 73(2); 267-325.

Hahn, Tomie (2007) Sensational Knowledge: Embodying Culture through Japanese Dance. (Middletown: Wesleyan University Press).

Hartman, Saidiya (2007) Lose Your Mother: A Journey Along the Atlantic Slave Route. Farrar, Straus & Giroux).

Hartman, Saidiya (2008) 'Venus in Two Acts', Small Axe: A Caribbean Journal of Criticism, 12(2); 1-14.

Hurston, Zora Neale (1935) Mules and Men. (New York: Harper Perennial).

Isbell, Billie Jean (2010) Finding Cholita. (Urbana and Chicago: University of Illinois Press).

Le Guin, Elisabeth (2013) The Tonadilla in Performance: Lyric Comedy in Enlightenment Spain. (Berkeley: University of California Press).

Lortat-Jacob, Bernard (1995) Sardinian Chronicles. (Chicago: University of Chicago Press).

Mackinlay, Elizabeth (2019) Critical Writing for Embodied Approaches: Autoethnography, Feminism and Decoloniality. (Cham: Springer ).

Malcomson, Hettie (2023) Danzón Days: Age, Race, and Romance in Mexico. (Urbana: University of Illinois Press).

Narayan, Kirin (2019) Everyday Creativity: Singing Goddesses in the Himalayan Foothills. (Chicago: University of Chicago Press).

Orloff, Carolina (ed.) (2024) Explorers Dreamers and Thieves: Latin American Writers in the British Museum (Edinburgh: Charco Press).

Pandian, Anand & Stuart Mclean (2017) Crumpled Paper Boat: Experiments in Ethnographic Writing. (Durham: Duke University Press).

Taylor, Julie (1998) Paper Tangos. (Durham: Duke University Press).

Toliver, S.R. (2021) Recovering Black Storytelling in Qualitative Research: Endarkened Storywork. (London: Routledge).

Wolf, Richard K (2014) The Voice in the Drum: Music, Language, and Emotion in Islamicate South Asia. (Urbana: University of Illinois Press).

BFE Autumn Conference - Creative writing, music and ethnography | Music | University of ��ƱAPP��_�ĿͲ�Ʊ��-�ٷ��Ϸ,_��ƱAPP��_�ĿͲ�Ʊ��-�ٷ��Ϸ

Conventional academic writing is limited. It often precludes the complexities, nuances, contexts of our social worlds. It also leaves out much of the knowledge we encounter through research.

These may relate to:

experimental academic writing and affect
phenomenological evocations of sensory experiences, vulnerabilities, violence, human and non-human points of view
dialogue, collaboration and polyvocality
autoethnographies and memoirs that narrate personal stories with a critical positionality and political, conceptual or other perspective that goes beyond the personal
speculative fiction, Afrofuturism and science fiction
authorial and narrative points of view; storytelling and care

Where might we place creative writing in our ethnographic and musicological toolboxes? How might experimental creative writing reproduce or decentre oppressive power dynamics?

For example, by explicating violence, or by reinforcing or moving away from acritical, reflexive, ‘me-search’ of the privileged in ethnographic creative writing?

These may be short or longer experimental or conventional interventions. We'll use distinct formats such as:

interventions of up to 20 minutes (plus 10 minutes of questions)
panels of 3 related interventions (90 mins in total including questions)
roundtable discussions of 4–5 shorter interventions (10 mins each + 20 mins questions)