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Music as Art, Artefact and Fact

Music Research in the 21st Century, Conference 1 – 6 July 2016 in Stavanger, Norway

The diversity of music research has flourished in recent decades. The traditional ontological perspective of music as art remains prevalent and continues to inspire new areas of research. From this tradition, the study of artefacts has developed and is today not only confined to manuscripts, printed music, and instruments, but also includes recordings and other connected items of significance for the study of music and its performance practice. The study of artefacts often involves research questions, which activate epistemological perspectives concerning the cultural heritage and construction of musical knowledge. With the increasing digital dissemination of music, contextual aspects of the musical performance are potentially concealed, leaving the listener to relate to the sounding music as an isolated phenomenon or fact. So even if the title hints at a historical dimension, the three categories (art, artefact, fact) are of potential relevance to music research in all of its forms.

Researchers from all musicological disciplines were invited to submit proposals to be presented at IMS in Stavanger, July 2016. The Programme Committee has chosen contributions from a wide range of disciplines, opening up for musicological perspectives relevant to the multifaceted society of the 21st century. There will be three keynote speakers: Lydia Goehr, Xavier Serra and Philip Bohlman. We will have 5 panels in Music history and around 70 paper presentations.

In addition to a conference dinner on July 5 and an opening concert on July 2 (by the string ensemble 1B1 playing Hagen, Grieg and Shostakovich), we will present a new premiere of the Violin concerto by Johan Halvorsen, a concert that was premiered in 1909. It has been lost until last summer when the Music Library at University of Toronto was to make an exhibition on the Canadian violinist Kathleen Parlow. In some unlabelled boxes, they discovered the score and orchestral parts of this concerto. Henning Kraggerud will be the soloist with The Norwegian Chamber Orchestra conducted by Bjarte Engeset. He is responsible for the critical edition of the concerto made by the Norwegian Musical Heritage Project to be presented in a panel in the afternoon July 4 before the evening concert in Stavanger Concert Hall.

Here is the link to the registration formula:

https://www.eventogkonferanse.com/conventor/38/register

Per Dahl (per.dahl@uis.no)

Chair of Program Committee IMS 2016.  Department of Music and Dance University of Stavanger