Author: Sharon

CFP for Arvo Pärt: Sounding the Sacred

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A conference of the Sacred Arts Initiative and the Arvo Pärt Project at St. Vladimir’s Seminary,

in collaboration with the Orthodox Christian Studies Center of Fordham University

May 1-4, 2017 | McNally Amphitheater | 140 W. 62nd Street

Fordham University Lincoln Center Campus | New York City

We are pleased to announce an international conference to be held from May 1-4, 2017 in the heart of New York City’s vibrant Lincoln Center music scene. This event will bring together scholars from diverse fields (music, theology, sacred acoustics/sound studies, architecture, religious studies, philosophy, et al.), as well as artists experienced in the performance and recording of Pärt’s music, to create a unique forum for the exchange of ideas, research, practices and creativity on the topics of sound and the sacred.

 

Description

The music of Estonian composer Arvo Pärt is frequently connected with experiences of the sacred. Although the composer’s religious affiliation is specifically Orthodox Christian, his music and its impact carry an appeal beyond confessional and religious boundaries. His popularity crosses over customary distinctions between classical and popular music, sacred and secular art, liturgical space and concert hall.

The unique impact of Pärt’s music has been explored musicologically—and more recently through the lens of spirituality—but not yet in terms of the more basic elements of sound and embodiment. Through a two-fold approach, with more or less direct relationship to the Pärt repertoire, we seek to break new ground exploring primary questions around how music achieves its visceral and spiritual effect on human beings through the materiality of the movement of air impressing itself on the human body.

  • By directly exploring Pärt’s music and its effects, we seek to build upon and deepen previous studies addressing the tension-resolution dynamic inherent in his signature tintinnabuli In addition, the following kinds of Pärt-specific questions will be explored: Does Pärt’s music carry its own sonic esthetic? What does that esthetic, and its particular qualities, entail for his performers and recording engineers? What are the acoustical and sensory factors involved in the venues of Pärt performances? What are the effects of texts/words, and their respective languages, as vehicles for the music’s impact? How, through Pärt’s work, is the sacred conveyed through sound?
  • Drawing on—but also going beyond—the music and impact of Pärt as phenomenon, this conference also seeks to open up broader but related questions of sound and the sacred: Given that Pärt’s sacred music is frequently performed in the secular concert hall, how is/is not the sacred bound by environment, text, or liturgical/religious purpose? What is the nature of sound as phenomenon to represent, reveal, communicate, and/or effect the sacred? Can one assume that a composer’s spirituality informs the sound of her/his music, or might the question be fruitfully turned around to ask how the practice of making music might inform the composer’s spirituality? This effort is part of a broader reconsideration of how the materiality and physicality of sound and the practices of music-making interact with spiritual, theological, and philosophical domains and concer

 

Speakers

Confirmed speakers include Jeffers Engelhardt, Alexander Lingas, Bissera Pentcheva, Kevin Karnes, Toomas Siitan, Andrew Shenton, and Robert Saler, as well as an exclusive filmed interview on the conference theme with Paul Hillier. We are seeking to interweave musical performances with presentations and discussion sessions. The conference will open with a special appearance by Manfred Eicher.

 

Call for Papers

We welcome papers (~2,000 words) exploring the kinds of connections outlined above. Please email your proposal of 500 words (maximum) to Dr. Peter Bouteneff at pcb@svots.edu by January 15, 2017. Papers accepted for delivery at the conference will also be reviewed for inclusion in the publication of its proceedings.

 

Details

The conference will be held at the Lincoln Center campus of Fordham University. Affiliated events may be held at nearby venues.

This conference is open to the public. Registration and further details forthcoming; learn more at

http://www.sacredartsinitiative.com/activities-2/arvo-part-sounding-sacred/

Conference Advisory  Board:

  • Peter Bouteneff (director, Sacred Arts Initiative / Arvo Pärt Project)
  • Jeffers Engelhardt (Amherst College)
  • Lisa Radakovich Holsberg (Fordham University)
  • Nicholas Reeves (Adelphi University)
  • Robert Saler (Christian Theological Seminary)

 

Contact: conference@arvopartproject.com

Download the CFP: arvo-part-sounding-the-sacred-cfp-unicode-encoding-conflict.

 

Upcoming Concert by Seven)Suns, Dec. 1

sevensuns

The Voices Up! concert series presents Seven)Suns at

Fordham University Lincoln Center, 12th floor lounge

Thursday, December 1, 7:30PM

Free Admission

SEVEN)SUNS is the first classical/metal/hardcore string quartet. Its repertoire is drawn from works by the members of the group, reimagined string quartet versions of metal and hardcore songs, and music from the Western art music tradition.

SEVEN)SUNS has played The Gallery at Le Poisson Rouge, The Cell Theater, Firehouse Space, Shapeshifter Lab, and The Knitting Factory. They held a residency at the Avaloch Farm Music Institute in New Hampshire last summer and will return there in summer 2017. They are the recipients of a generous grant from the Brooklyn Arts Council to write and perform a piece tentatively entitled “Songs of the Voiceless” based on their visits to Rikers Island Correctional Facility in New York City.

Music by Arvo Pärt, Earl Meneein, Kenny Grohowski, Ben Weiman, The Dillinger Escape Plan, Mr. Bungle, and the premiere of Mosaics by Lawrence Kramer.

Subways: 59th St. Columbus Circle (1, B, D, A), 66th St. Lincoln Center (1). Entrance to Fordham’s Lowenstein Building on the NW Corner of 60th St. and Columbus Ave.

 

 

Upcoming Concert by Zentripetal Saturday, Oct. 15

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Jennifer DeVore, cello and Lynn Bechtold, violin. Photo by Robert Morton.

As part of the Literary Partners Program, Zentripetal, the violin and cello duo, presents

“Where Words Leave Off, Music Begins Again”

Saturday, October 15, 2016, 4:00 PM

Poets House, 10 River Terrace (at Murray Street)

Admission Free (more…)

Voices Up! presents Bleecker String Quartet Nov. 4

Bleecker  NYC 2015

Voices Up! is a concert series organized by Professor Lawrence Kramer of Fordham University that explores the connections between poetry and new music. This fall concert features the Bleecker String Quartet, an innovative group that plays contemporary, pop, world, classical, and crossover music. Listen to them here.

Admission is free, and the concert will be followed by a reception. You can also find the program below. The concert will be Nov. 4, 7:30PM at the 12th floor lounge of the Lowenstein building on Fordham University’s Lincoln Center campus.

Bleecker StQ program-page-001

Upcoming Concert and Conference: Music and the Moving Image

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Conference at Fordham University, Lincoln Center

Wednesday, August 12 – Friday, August 14

Concert at Poets House, 10 River Terrace on Saturday, August 15

all events free and open to the public

  

Wednesday, August 12, Lowenstein Building, 12th floor Lounge 113 W. 60th St.

6:45PM           Opening Reception

7:30PM           Concert

See Moving Image Concert Program for additional details.

August 12-15, Lowenstein Building, 12th floor Lounge 113 W. 60th St. and Poet’s House

See Moving Image Conference Schedule for additional details.

Sound+ Conference this weekend

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If you’re interested in a promising conference this weekend, check out the Sound+ Conference at the University of Maryland. You can see the program of speakers and panels here, and you can check out soundbites related to the conference here. It’s free to the public; just be sure to register. Below is the conference description:

Increasingly, and across a broad variety of fields, a conversation has been unfolding about the sounds that produce, surround and absorb “text.” Work on cultural sites ranging from the jazz of the Harlem Renaissance, to the resonance-chamber of Shakespeare’s Globe, to the audio compression format of the MP3, to the acoustic torture at Guantanamo Bay, has begun to challenge models in which text is understood as a predominantly visual, linguistic construct.

This conference brings together leading scholars who have helped to reconceive the relationship between sound and text. Emphasizing the interdisciplinary nature of sound studies and the importance of research on the ways in which experiences of sound are culturally produced, Jonathan Sterne has written, “Sound studies should be a central meeting place where sonic imaginations go to be challenged, nurtured, refreshed and transformed.” “Sound+” offers a space to pursue this goal.

As work on soundscapes, audio technologies and acoustic ecologies continues to open up new ways of thinking about the sonic dimensions of literature, this conference invites scholars from a range of fields to address the following questions:

  • What happens when text is mediated through acoustic environments?
  • How does sound become categorized as literary?
  • How do writing and sound thread together in areas such as theater, opera, jazz, film, hip-hop, poetry, performance art, and digital literatures?
  • How does writing encode or remediate sound, and how is literature shaped by acoustic technologies from voice to byte?
  • How does sound reshape the politics of literature, and how are political acts distributed between text and sound?

Scholars of literature, rhetoric, composition, media studies, science and technology studies, art and culture studies, architecture, philosophy, political economy, the practice of politics and other fields have demonstrated the limitations of conceiving of text in purely discursive terms. This work has helped re-direct attention to the voice, to performance, and especially to listening practices that impact how we understand cultures, contexts and objects previously analyzed through approaches that privileged the eye. This conference promises to extend and expand upon those conversations.

Kickoff meeting

Liszt_at_the_Piano

On Thursday, January 16, the Music and Sound Studies Reading Group inaugurated itself with its first-ever meeting. All student members were present, and in addition to discussing a handful of articles, we drew up a plan for the rest of the semester. Kevin will serve as secretary, and Dan will help draw up a syllabus. The male-female ratio matched that represented in the above painting showcasing Lizst at the piano, in addition to perhaps Alexander Dumas, George Sand, Marie d’Agoult, Niccolo Paganini, Gioachino Rossini, with Lord Byron’s portrait overseeing the group from a frame on the wall.