Miembros de ARLAC-IMS aceptados en Tokio 2017

Las propuestas de una veintena de miembros ARLAC/IMS fueron aceptadas en el XX Congreso IMS, a realizarse en Tokio, entre el 19 y el 23 de marzo del año en curso. Esta una cantidad, similar al número de propuestas que en 2012 fueron aceptadas en el pasado congreso de Roma, puede tenerse por una noticia alentadora, ya que ARLAC/IMS ha logrado mantener presencia en el foro musicológico de mayor trascendencia a nivel mundial. Las propuestas aceptadas incluyen estudios de repertorios, problemas y casos de música de arte del siglo XVII a mediados del siglo XX en Europa y América. Felicitaciones a los seleccionados y mucha suerte en Tokio!

Free Paper Sessions
Monday, March 20, 9:30-11:30 / FP-1C (Room 5-408)
Choreographing Music

Chair: Christine SIEGERT (Beethoven-Haus Bonn)
Mingyue LI (University of Oxford), Musicking the Compulsive, Revealing the Vulnerable: Intermediality in Pina Bausch’s Bluebeard and Café Müller
Davinia CADDY (University of Auckland), Between Matter and Meaning: Music, Theatrical Dance and Le Sacre du Printemps (1913)
Eftychia PAPANIKOLAOU (Bowling Green State University), Uwe Scholz’s Choreographic Conception of Beethoven’s Seventh Symphony
Álvaro TORRENTE (Universidad Complutense de Madrid), “Longue Durée” in Music Theatre

Monday, March 20, 10:00-11:30  / FP-1G  (Room 1-3-30)
Colonial Music Education

Chair: Noriko MANABE (Temple University)
Víctor RONDÓN (Universidad de Chile, Facultad de Artes), Global Strategies, Local Accomodatio. Catechetical Songs in Jesuit Missions in China and Chile during 18th Century: The Cases of Amiot and Havestadt (Spanish)
Ayako OTOMO (University of Otago), “Sometimes in Shells th’ Orient’s Pearls We Find”: Counterreformation Theatricality and Japanese Music Education
Jeeyeon HUH (Ewha Womans University), Empire and Colony: A Comparison of the Music Textbooks Used in Elementary Schools in Korea and Japan, 1910-1945

Monday, March 20, 14:00-15:30 / FP-2C
The Intellectual Life of Music in France, 1750-1920

Chair: Antonio BALDASSARRE (Lucerne University of Applied Sciences and Arts)
Amparo FONTAINE (University of Cambridge), The Music Amateur in Eighteenth Century French Culture
Rebecca GEOFFROY-SCHWINDEN (University of North Texas), Chabanon’s Music Philosophy as a Way of Life
Hanae TSUKADA (Okinawa Prefectural University of Arts), Music Historiography and Canon Formation in Third Republic France: Evaluations of Berlioz and Historical Narratives by Lavoix, Bruneau, and Combarieu

Monday, March 20, 16:00-18:00 / FP-3H (Room 5-407)
Colonial Rites: Music and Catholicism in Latin America

Chair: Cristina URCHUEGUÍA (University of Bern)
Miriam ESCUDERO (Centro de Investigación y Desarrollo de la Música Cubana/Universidad de La Habana), Music, Religion, and Transculturation: The Relationship between Research and Performance of Latin American Repertoires Created during the Colonial Period
Lorenzo CANDELARIA (The University of Texas at El Paso), Pedro de Gante and the Creation of Euro-Aztec Catholic Song in Sixteenth-Century New Spain
Rachel KURIHARA (Boston University), Old Music in the New World: Musical Reforms of the Third Mexican Council
Carolina SACRISTÁN (Universidad Nacional Autónoma de México), Singing the Eucharist to Jesus’ Cithara: Emblematic Representation in a Peruvian Villancico and a Mexican Painting around 1700 (Spanish)

9:30-11:30 / RT-4-2
Theoretical Studies on the Luso-Brazilian Music in the Eighteenth Century: Partimenti; Schemata and Topical Discourse (Central LR)

Chair: Diósnio MACHADO NETO (Universidade São Paulo)
Beatriz MAGALHÃES CASTRO (Universidade de Brasília),
Ozório CHRISTOVAM (Universidade de São Paulo),
Mítia GANADE D’ACOL (Universidade de São Paulo)

Programs and Special Events: IMS Study Group
Tuesday, March 21, 14:00-17:00 (H 416)
Italo-Ibero-American Relationships in the Musical Theatre Italian Opera in the Southern Cone: Transnational vs. National

Chair: Aníbal E. CETRANGOLO (Universidad de San Martin, Buenos Aires / Università Ca’Foscari, Venice)
Ditlev RINDOM (University of Cambridge, UK)
José Manuel IZQUIERDO (University of Cambridge, UK)
Sergio Marcelo DE LOS SANTOS (Universidad de la República, Uruguay )
Marita FORNARO BORDOLLI (Centro de Investigación en Artes Musicales y Escénicas/Escuela Universitaria de Música, Universidad de la República, Uruguay)
Laura MALOSETTI COSTA (CONICET –IIPC-TAREA UNSAM Universidad de San Martin, Buenos Aires)
Diósnio MACHADO NETO (Laboratório de Musicologia – Dep. de Música da FFCLRP Universidade de São Paulo – USP),
Enrique CÁMARA DE LANDA (Universidad de Valladolid)
Members of the RIIA Group (Fernando BERÇOT, Clarissa BOMFIM, Maria FILIP, Bruno LIGORE, Michele MESCALCHIN, Giulia MURACE, and  Ignacio WEBER)

IMS Roundtable
Tuesday, March 21, 16:30-18:30  (Hall 6)
“Music As Mission”: The Globalization of European Religious Music to 1800

Chair: Dinko FABRIS (President, The International Musicological Society; Italy)
Vincenzo De GREGORIO (President, Pontifical Institute of Sacred Music, Vatican, Rome)
Leonardo WAISMAN (Universidad de Córdoba, Argentina)
Egberto BERMÚDEZ (Universidad Nacional de Colombia)
Manuel Pedro FERREIRA (Universidade Nova de Lisboa)
Bernardo ILLARI (University of North Texas, Denton)
Victor COELHO (Boston University)
Jen-Yen CHEN (National Taiwan University, Taipei)
David IRVING (The University of Melbourne)
Ryuichi HIGUCHI (Vice President, The International Musicological Society; Meiji Gakuin University, Tokio)

Tuesday, March 21, 14:00-15:30 / SS-5-2 (Room 5-406)
Composers as Writers: Self-Construction, Theory and Practice in Three Latin American Composers from the 17th-20th Centuries

Chair: Melanie PLESCH (The University of Melbourne)
Omar CORRADO (Universidad de Buenos Aires)
Bernardo ILLARI (University of North Texas, Denton)

Tuesday, March 21, 16:00-17:30 / SS-6-1 (Room 5-409)
The IMS Mentoring Program: An International and Inter-Generational Initiative

Chair: Jane Morlet HARDIE (The University of Sidney)
Julian RUSHTON (University of Leeds),
Andrea LINDMAYR-BRANDL (Universität Salzburg),
Antonio BALDASSARRE (Lucerne University of Applied Sciences and Arts),
Masakata KANAZAWA (International Christian University),
Jeffrey KURTZMAN (Washington University Saint Louis),
Jen-Yen CHEN (NTU Taiwan)

Tuesday, March 21, 14:00-15:30 / 14:00-15:30FP-5B (Room 5-401)
No Place Like Home: Utopia and the Transcendence of East and West

Chair: Fred LAU (University of Hawaii at Manoa)
Vera WOLKOWICZ (University of Cambridge), Neither East nor West: Defining Latin  American Art Music
David KJAR (Roosevelt University), L’Arpeggiata and Barbara Futurna’s “Maria (Sopra la Carpinese)”: East Meets West in Early Music’s Third Space
Scott CURRIE (University of Minnesota), East and West of Nowhere: Theorizing Utopian Practice in the Global Jazz Avant-Garde

Tuesday, March 21, 14:00-15:30 / FP-5F (Room 1-3-8)
The Ideology of Concerts

Chair: Misako OHTA (Kobe University)
Eduardo SATO (University of São Paulo), Opera Seasons in Brazil during World War I: An Interpretation of its impacts on the idea of national music
Mónica VERMES (Universidade Federal do Espírito Santo), Music in the Theaters of Rio de Janeiro (1890-1905): Concert Series, Music Criticism, and Conflicting Cultural Projects in the Early Years of the Republic
Sayuri HATANO (Berlin University of the Arts), Hermann Wolff and Anton Rubinstein: A Collaboration towards Establishing a New Artistic Authority (German)

Tuesday, March 21, 16:00-18:30 / FP-6B (Room 5-401)
Baroque Passions: The Cantata and Oratorio

Chair: Álvaro TORRENTE (Universidad Complutense de Madrid)
Alan MADDOX (University of Sydney), “Affettuoso Ancora”: Music and Emotion in Francesco Antonio Calegari’s Passion Recitatives of 1718
Kurt MARKSTROM (University of Manitoba), Easter 1724 and Bach’s Chorale Cantata Cycle
Giuseppina CRESCENZO (Hochschule für Musik Franz Liszt Weimar), Interrelations between the subjects of the Sacred Cantata and Catholic culture in Italy by Francesco Durante, Francesco Feo, Leonardo Leo, and Padre Giovanni Battista Martini
Elena ABBADO (Università degli Studi di Firenze), Reconstructing Intangible Heritage: The Lost Oratorio Repertoire in Baroque Florence and Its Original Environment
Takumi KATO (Archives of History of the Meiji Gakuin), Reinhard Keiser’s Passion Oratorios: Examining the Originality and Ingenuity of the Vanguard in German Sacred Oratorio

Wednesday, March 22, 09:00 – 12:00 / Study Session, Part I (Sogakudo Hall)
Crossing Borders in Musical Iconography: Current Themes, Goals, and Methodologies
Organizers: IMS Study Group Musical Iconography, held jointly with Association RIdIM

Chairs: Nicoletta GUIDOBALDI (Università di Bologna) and Björn R. TAMMEN (Austrian Academy of Sciences, Vienna)
Gabriela CURRIE (University of Minnesota – Twin Cities), Hunting and feasting in pre-modern Eurasia: music-iconographic explorations
Alexandra GOULAKI-VOUTYRA (Aristotle University of Thessaloniki), Playing or singing to auloi: how to read the images on Attic vases
Björn R. TAMMEN (Austrian Academy of Sciences, Vienna), Harp and psaltery in late-medieval Central Europe: negotiating cultural identities between ‘East’ and ‘West’
María Jesús FERNÁNDEZ (Universidad Complutense Madrid), When we were the others: crossing identities on musical iconography. Spanish artists and foreigner inspiration during the nineteenth century
Maria Teresa ARFINI (Università della Valle d’Aosta | Conservatorio Nicola Sala di Benevento), Visual inspiration and musical composition: Félicien David’s Le Désert (1844)
Cristina SANTARELLI (Istituto per i Beni Musicali in Piemonte, Torino), “The hollow and the bump: elements from oriental philosophy in American synchromist’s pictorial language”
Luzia ROCHA (Universidade Nova de Lisboa, CESEM), Cultural industry and musical iconography: the Chinese opera vinyl records collection from the Orient Museum in Portugal

Wednesday, March 22, 9:00-11:30 / FP-7G (Room 1-3-30) (Sogakudo Hall)
The Music Seen: Intermedial Visions and Iconography

Chair: Florence GÉTREAU (Institut de recherche en musicologie, CNRS-Bibliothèque nationale de France)
(Universidad Europea de Madrid (UEM)), Fluxus Music in Spain: The Anti-Theories and Counter-Practices of the ZAJ Group since 1964
Orit HILEWICZ (Columbia University), Reciprocal Interpretations of Music and Painting: Representation Types in Schuller, Tan, and Davies after Paul Klee
Shin-Hyang YUN (Humboldt University), Composing between Body and Machine: Aspects of the Cultural Technology of Nam June Paik (German)
Michelle ZIEGLER (Hochschule der Künste Bern / Universität Bern), With Scissors and Glue: Montage as a Compositional Practice in the Works of the SwissComposer Hermann Meier
Pablo SOTUYO BLANCO (Universidade Federal da Bahia), Music Iconography or Music Culture Related Visual Sources?: The Iconografía Musical Chilena Case Study

Wednesday, March 22, 13:00-15:30 / FP-8H (Room 5-407)
Political Resonances: 20th-Century Music in Latin America

Chair: Melanie PLESCH (The University of Melbourne)
Bernardo ILLARI (University of North Texas, Denton), A National Symphony With Some Contradictions: Argentine Alberto Williams’ Witch of the Mountains (1910)
João Vicente VIDAL (Federal University of Rio de Janeiro), The Politics of Neoclassicism: Villa-Lobos’ Bachianas Brasileiras in Context
Sebastián ZUBIETA (Americas Society, New York), Resonances in the Music of Alberto Ginastera
Friederike JURTH (Hochschule für Musik Franz Liszt Weimar/Universidade Federal do Rio de J.), From the Idea to Samba: Theory and Practice of Composition in  Composer’s Collectives from the Samba-Schools from Rio de Janeiro
Omar CORRADO (University of Buenos Aires), Epopeya Argentina (1952) by Astor Piazzolla: Tensions Between Discourse and Propaganda in Argentine Music during the First Peronism (1946–1955) (Spanish)

Thursday, March 23, 9:00-12:00 (Room 5-406)
IMS Study Groups: Early Music in the New World
From Colonies to Republics: Music and Society in Latin America, 1780-1830

Chair: Egberto BERMÚDEZ (Universidad Nacional de Colombia, Bogotá, Colombia)
David IRVING (University of Melbourne, Melbourne, Australia)
Victor RONDÓN (Universidad de Chile, Santiago, Chile)

Thursday, March 23, 16:00-18:30 FP-11F (Room 1-3-8)
Japan Re-Imagined: Haiku Gagaku, and Tango

Chair: Yūji NUMANO (Toho Gakuen College)
Raffaele POZZI (University of Roma), Tre Haiku Connections: Japonism, Otherness, and Postcolonial Pluralism in 20th Century Italian Art Music
Daniela FUGELLIE (Universidad Alberto Hurtado), Japan Imagined through South American Avant-Gardists of the 1940s and 1950s
Maria Yuka PRADO (University of S.o Paulo & Federal University of Rio de Janeiro), and Maria Alice VOLPE
(Federal University of Rio de Janeiro), Japanese Poetics in Brazilian Art Song  Japanese Poetics in Brazilian Art Song
Marina CAÑARDO (Universidad de Buenos Aires/.cole des Hautes Etudes en Sciences Sociales), Rosita Quiroga and Ranko Fujisawa: Tango Women in West and East (Spanish)
Mari SAEGUSA (Tokyo University of the Arts), The Orchestration of Gagaku Music by Hidemaro Konoye and His Musical Perspective