for complete program information, please see previous post.
for complete program information, please see previous post.
University of Burgundy
Faculty of Letters
2 Boulevard Gabriel
21000 Dijon, France
Scelles Amphitheater (right side entrance).
From city center take either tram number ONE (to Erasme) or
bus number FIVE (to Erasme). There is ample parking available.
1 July 2014
Word of welcome:
Pierre Ancet, Vice President, University of Burgundy
Laurence Le Diagon-Jacquin, conference host
Emile Wennekes, Chair MaM
Session 1: Mediated Images and the Language of Music: 10:15-11:45
Laurence Le Diagon-Jacquin: ‘Réécritures de chansons dans Moulin Rouge (Baz Luhrmann, 2001)’
Frank Lehman: ‘Pantriadic Music for Multimedia: Tonal Dialectics and the Aesthetics of Wonderment’
Manuel Deniz Silva: ‘Inventer un “son portugais” à Paris: la production aux studios d’Épinay-sur-seine de A Severa (1931), de leitão de Barros’
Session 2: Jazz as Soundtrack: 11:45-12:45
Michael Saffle: ‘Retrospective (Re)Constructions: Jazz as Soundtrack in Four “Great Gatsby” Films’
Lee Martin: ‘White Men Can’t Jump and Short Cuts: Urban Jazz Nostalgia in 1990s Constructions of Race and Gender’
Session 3: Voicing / Rewriting: 14:30-16:00
Chloë Huvet: ‘George Lucas et les partitions de John Williams pour Star Wars – Episodes I, II et III (1999-2005) : une réécriture musicale problématique ?‘
Kenneth DeLong: ‘Voicing Sagan: George’s Auric’s Film Score to ’Bonjour tristesse’
Emile Wennekes: ‘Authenticity and identity in Tan Dun’s The Map’
Coffee break: 16:00-16:30
Session 4: From Ads to Opera: 16:30-18:00
James Deaville & Agnes Malkinson: ‘Prescription for Influence: Doctoring Music in Medication Commercials’
Agnes Malkinson: ‘A Laugh a Second? Music and Sound in Comedy Trailers’
Gaia Varon: ‘Voiceless Passions: Operatic Music in Mario Martone’s Noi credevamo’
2 July 2014
Session 5: Mediated Music for Younger Audiences: 10:00-11:00
Michael Saffle: ‘Phineas and Ferb as “Musical Comedy 3.0”’
Jérémy Michot: ‘Réécrire la musique hollywoodienne à l’ère des studios cinématographiques Marvel’
Keynote Address: 11:00-12:00
Philippe Gonin:’Jazz et cinéma ou les représentations de noirs et du jazz dans les films promotionnels et les cartoons des années 1930. Points et contrepoints’
Session 6: Alternative Scenes: 13:30-15:00
Sue Saffle: ‘Keeping Movie Music Minimal: Mother of Mine and Documentary Drama’
Sanna Qvick, ‘Film Music as Immersion Strategy in Two Films of Pessi and Illusia’
Amal Guermazi: ‘Vers une approche dialectique de l’analyse des bandes originales L’exemple du film Al-Masyr (Le Destin) de Youssef Chahine’
Coffee Break: 15:00-15:30
Session 7: On the Dark Side: (Neo-)Noir and Horror: 15:30-17:00
Brian Mann, ‘The Music in Jean-Pierre Melville’s Bob le Flambeur (1956): A Close Reading’
James Deaville: ‘Selling Abjection: Female Vocalities in Horror Films’
Willem Strank: ‘Traces of Noir Soundtracks in Neo-noir Films’
Closing remarks: 17:00-17:30
Call for Papers 6th MaM meeting (Dijon, July 2014)
Organization: IMS study group “Music and Media” (MaM) and Université de Bourgogne, Université de Rennes 2
Location: Université de Bourgogne, Dijon, France
Dates: 1 & 2 July, 2014
Call for papers:
After previous conferences in Amsterdam, Berlin, Lisbon, Turin and Ottawa, the IMS study group “Music and Media” (MaM) will organize a two day conference in Dijon, France. Academics, practitioners and postgraduate students are invited to submit papers and/or panel proposals on the following areas of interest, including (but not limited to):
-Rewriting music for film;
-Early French cinema (productions in Épinay-sur-Seine a.o.);
-Jazz as soundtrack;
-Methodologies for the study of film soundtracks.
Proposals in both English and French are welcomed.
Each submission should include the following information:
author(s) name(s), academic affiliation(s), e-mail address(es), title of presentation, abstract (300 words max.), a short CV,
and a list of technological requirements (overhead, powerpoint, etc).
All proposals must be submitted by 1 April, 2014 to e.wennekes [AT] uu.nl
Program committee: James Deaville (Carleton University, Ottawa, Canada), Laurence Le Diagon-Jacquin (Université de Rennes 2, Université de Bourgogne), Michael Saffle (Virginia Tech, Blacksburg), Emile Wennekes (Utrecht University).
For the fifth annual conference of MaM, we fruitfully joined forces with the Faculty of Arts and Social Sciences of Carleton University, Ottawa (Canada). After the previous conferences in Amsterdam, Berlin, Lisbon and Turin, it was the StG’s first gathering in North America.
The focus of the international three day conference (11-13 July) was on “Music on Small Screens.” Over the course of the last two decades, the dominance of the large cinematic screen has gradually eroded in favor of smaller formats for the consumption of screen media. In recognition of this development, therefore the 2013 MaM gathering focused on the theme of music on small screens.
The subthemes of the conference were (Popular) Television Music; Music in Children’s Television; Television Musicals; Video Game Music; YouTube Music; Classical Music in Screen Media; Video Games and Opera; Theories of Television Music; Performance in Video; Creating Digital Media; Music for Television Series; Small-Screen Musical Paratexts.
The program committee consisted of James Deaville (Carleton University), Claudia Gorbman (University of Washington Tacoma), Anahid Kassabian (University of Liverpool), Michael Saffle (Virginia Tech), Paul Théberge (Carleton University), Emile Wennekes (Utrecht University).
More than thirty papers were eventually selected following an internationally distributed Call for Papers. The scholars assembled originated mainly from North America and Europe. Karen Collins (University of Waterloo) gave a keynote talk, entitled ‘To Fidelity and Beyond: Consuming Media in a Mobile World.’
As a result of the conference, Ashgate is planning to publish a book with selected papers on the conference theme in its Music on Screens series.
The MaM VI conference will most likely take place in early summer, 2014 at the Université de Bourgogne (Dijon, France).
Music on Small Screens
Carleton University, Ottawa
Dean John Osborne: Greetings from the Faculty of Arts and Social Sciences, Carleton University;
Mitchell Frank/Brian Foss: Greetings from the School for Studies in Art and Culture;
Emile Wennekes: With Screens, Size does Matter.
Ronald Rodman (Carleton College), “Contemporary Cool” as Televisual Existential Sign;
Melachrinos Velentzas (University of Limerick), “Music in TV Advertising: A Semiotic Approach Singing the c(Ode)?”
Creating Digital Media
Adam Tindale (OCAD University), “An Authoring Framework for Creative Mobile Music Making”;
Alessandro Cecchetto (York University, Toronto), “Vision and Aurality in Online Community: Listening in Exurbia”;
Ely Rosenblum (University of Cambridge), “Mapping The Soundscape: Electro-acoustic Composition and Place-making in Interactive Sound Maps”
Chris Culp (University at Buffalo), “‘Once More, With Feeling’: Musical Representation of Human Subjectivity in the Television Musical”;
Durrell Bowman, “The Spring in Springfield: Alf Clausen’s Music for Songs and “Mini-Musicals” on The Simpsons”
Michael Saffle (Virginia Tech), “Musical Entfremdungseffekte and Contemporary Television: The Sopranos as Case Study”;
Jessica Getman (University of Michigan),“The Many Declarations of the Enterprise Fanfare”;
Video Game Music
Elizabeth Medina-Gray (Yale University), “Chance and Choice in the Assembly of Video Game Soundtracks”;
Sarah Pozderac-Chenevey (University of Cincinnati), “A Direct Link to the Past: Nostalgia and Semiotics in Video Game Music”;
Julianna Grasso (University of Chicago), “Laying the Musical Groundwork for Immersive Play in The Legend of Zelda and Final Fantasy”
(Popular) Television Music
Norma Coates (Western University), “‘5% of it is good:’ Leonard Bernstein, CBS Reports, and the Cultural Accreditation of Rock Music”;
Kenneth DeLong (University of Calgary), “‘And the women wicky wacky woo’: Music as Trans-National Comedy in the Jeeves and Wooster Series”.
Karen Collins (University of Waterloo), (“To Fidelity and Beyond: Consuming Media in a Mobile World”
Video Games and Opera
David Ferrandino (University at Buffalo), “Representations of Opera in Video Games: Final Fantasy VI and the ‘Aria di Mezzo Carattere’”;
William Cheng (Harvard University), “Opera, Video Games, and Aesthetic Distillation”;
Helen A. Rowe (Lawrence Conservatory of Music), “Classical Music in Game Space: How Portal 2’s Turret Opera Redefines Performance”
Performance in Video
Anabel Maher (University of Chicago),“Sign Language Song Music Videos: Deaf and Hearing Perspectives”;
Eric Hung (Westminster Choir College, Rider University), “Not the Macarena: “Gangnam Style” in the Context of American Dance Crazes”;
Patricia G.Lange (California College of the Arts), “Phenomenologies of Nostalgic Sound in YouTube Videos”;
Monica Ingalls (University of Cambridge), “Worship on Screen: Congregational Singing, Digital Devotion, and the New Audiovisual Iconography”;
Music in Children’s Television
Aaron Manela (Case Western Reserve University), “The Signifyin(g) Muppet: Blues and the Performance of Race for the Heartland on Sesame Street”;
Ryan Bunch (Rutgers University-Camden), “From Broadway to Sesame Street: Neighborhoods of Make-Believe and the Afterlife of Tin Pan Alley on Children’s Television”
Classical Music in Screen Media
Gillian Irwin (Muhlenberg College), “Chopin and Eternal Sonata: Escaping Reality, Constructing Identity”;
Michael Mackenzie (York University), “The Medium of the North, the Message of Music on the Small Screen: Glenn Gould, the CBC, and the Construction of Canadian Cultural Distinction”;
Annette Davison (University of Edinburgh), “The Show Starts Here: viewer and fan interactions with recent television serials main title sequences”;
Ben Winters (Open University UK), “Idolising the Score: Indiana Jones Paratexts on the Small Screen”.
Concluding Discussion, led by Emile Wennekes (Utrecht University).
Local host for this conference was Prof. Dr. Luisa Zanoncelli. The program committee was composed of Gianmario Borio (Università di Pavia), James Deaville (Carleton University), Anahid Kassabian (University of Liverpool), Michael Saffle (Virginia Tech), Emile Wennekes (Utrecht University) and Luisa Zanoncelli (Università di Torino). Following an international Call for Papers, the committee selected the proposals of 32 scholars from Europe, North-America and Asia for presentation. Prof.Dr. Claudia Gorbman delivered a well-received keynote. Some 60 scholars attended the two day gathering, which included a leisurely finale in the form of a guided tour through the fascinating Museo Nazionale del Cinema.
Words of Welcome:
Enrico Maltese (Dipartimento StudiUm);
Giulia Carluucio (scuola di Dottorato di Ricerca);
Session 1: Chair: Emile Wennekes
Annarita Colturato (University of Turin), “The Research Project Cabiria”;
Scott Murphy (University of Kansas), “What does film music sound like?”;
Guido Heldt (Univeristy of Bristol), “The Song Inside: Metadiegetic Music or Focalisation?”.
Danijel Kulezic-Wilson (University College Cork), “Films without Melodies: Audio-Visual Musique Concrète”;
Michael Baumgartner (Cleveland State University), “Complementary Model for the study of Film SOundtracks: Jean-Luc Godard and Film Music”;
Ilario Meandri Sanchez (University of Turin): From the Marvelous to the Anti-Music: Film Music Clichés and Formulas in an Ethnomusicology Perspective”.
Session 2: Chair: James Deaville
Giorgio Biancorosso (University of Hong Kong), “Memory and the ‘Leitmotif’ in Cinema”;
Kenneth Delong (Univeristy of Calgary), “Narrativity and Voice in Georges Auric’s Film Score to Goodbye Again”;
Tobias Pontara (Uppsala University), “Bach at the Space Station: An Attempt to Mind the Gap in Andrei Tarkovsky’s Solaris”.
Ben Winters (The Open University UK), Rehearsing Classical Hollywood: Concert Scenes and the Self-Referential Score”;
Marco Targa (University of Turin), “Reconstructing the Sound of Silent Cinema: New Documents for the Study of Music in Italian Silent Films”;
Gillian Anderson (University of Illinois), “D.W.Griffith’s Intolerance: Revisiting a Reconstructed Text”.
Session 3: Chair: Anahid Kassabian
Tobias Plebuch (Humboldt University), “Musical Topics, Time and Narrative Films in the 1920s”;
Laura Wilson (University of Manchester), “Sound, Anxiety and Affect in The New Extremism”;
Janina Müller (Humboldt University), “Music and Nostalgia in Film Noir”;
Susanne Scheiblhofer (University of Oregon), “Sonic Consciences and Toxic Tonics: Masculinities in Crisis in Tim Roth’s The War Zone”;
Hon-Lun Helan Yang (Hong Kong Baptist University), “’Heard Melodies’ and Womanhood: Cover Songs in Cantonese Movies of the 1960s”.
Keynote: Claudia Gorbman (University of Washington Tacoma), “Music and Character”.
Session 4: Chair: Michael Saffle
Mauro Buzzi (Catholic University Milan), “The Role of Pop Song as Social and Technological Device in Italian Cinema of the 1950s and 1960s”;
Alessandro Cecchi (University of Turin)/Maurizio Corbella (University of Milan), “Experimentation, Documentation, Censorship: A Joris Iven’s Industrial Film and the Italian National Broadcasting Television”;
Alessandro Bratus (University of Pavia), “ ‘Sharia Law in the U.S.A.’: Audiovisual Representation of Authenticity in Taqwacore”;
Rubén López-Cano (High School of Music Catalonia)/ Úrsula San Cristóbal (University of Milan), “’Ars video’: The Short Music Video in Early and Classical Music”.
Universidade Nova, FCSH-UNL, Lisbon, Portugal
June 10-12 2011
Friday, June 10
Word of Welcome: Salwa Castelo-Branco (director of the INET-MD)
Opening Address: Emile Wennekes (Utrecht University)
Presentation of “Listening to the moving images” research project:
Manuel Deniz Silva (INET-MD) and Tiago Baptista (Cinemateca – Portuguese Film Museum), “Reconstructing the Musical Accompaniment of two Portuguese Silent Movies: Os Lobos (1923) and Lisboa, Crónica Anedótica (1930)”;
Pedro Rodrigues, Pedro Roxo, Hugo Silva and João Ricardo Pinto (INET-MD), “Research in Music, Sound and Moving Image in Portugal”.
Saturday, June 11
Session 1: Chair: Anahid Kassabian
Lidia López Gómez (Universidad Autónoma de Barcelona), “Music and Politics in Alexander Nevsky, the Propaganda Role of Prokofiev’s Music in the Cinema”;
Teresa Fraile (Universidad de Extremadura), “Popular Music and National Identity on Spanish Cinema during the 1950s’;
Martin Knust (University of Stockholm), “Film better than Concert Hall? About Hugo Alfvéns Music for the Film”.
Session 2: Chair: Manuel Deniz Silva
Thijs Vroegh (Utrecht University/ University of Cambridge), “Constructing Musical Storyworlds: A Model for Understanding the Experience and Effects of Psychological Transportation into ‘Narrative Music’”;
Alessandro Cecchi (University of Siena), “The Sound of Industry: Musical Experimentation in Italian Industrial Film during the 1960s”;
Yayoi Uno Everett (Emory University), “From Nixon in China to Doctor Atomic: Repetition and Myth in John Adams’s Operas”.
Keynote Speaker: James Deaville (Carleton University), “Television Music Studies: Past, Present and Future”.
Session 3: Chair: Emile Wennekes
Michael Saffle (Virginia Tech) “The Sopranos and Telemusical Re-presentation / Transformation”;
Juan Chattah (University of Miami), “Towards a Cognitive/Semiotic Model for The Investigation of Irony in Film Music’;
Gaia Varon (University of Bologna), “Performing Performances: Some Considerations on the Role of the Filming and Recording Crews in Classical Music Videos”.
Conference by composer António de Sousa Dias:
Screening of Natureza Morta [Still Life], film directed by Susana de Sousa Dias, 72 min, Portugal, 2005.
Sunday, June 12
Session 4: Chair: James Deaville
Urszula Mieszkieło (Leuven), “Dance Music as an Expression of the State of Mind: The Music of Wojciech Kilar in The Leper and Jealousy and Medicine‘;
Ewelina Boczkowska (Youngstown State University), “Film’s Musical Moment as a Cultural Form in Roman Polanski’s Death and the Maiden‘;
Marco Cosci (Università degli Studi di Pavia-Cremona), “Audiovisual Recurrences in Time: Alain Resnais’s L’année dernière à Marienbad‘.
Keynote Speaker: Anahid Kassabian (University of Liverpool), “Smartphone Apps and the Environments of the Future”.
Session 5: Chair: Michael Saffle
Judith Cohen (York University), “Re-shaping Sephardic Music through the Media – a Perspective from Two Centuries”;
Maurilio Andrade Rocha (Universidade Federal de Minas Gerais), “Brazilian Popular Song and its Relations to Urban Violence and Media”;
Consiglia Latorre (Instituto de Cultura e Arte da Universidade Federal do Ceará), “Song and Technological Mediation – Epoch Listening as a Methodological Proposal for Diversified Musical Reception’.
Anahid Kassabian, James Deaville, Emile Wennekes, Manuel Deniz Silva.
The second MaM conference took place at the Institute for Musicology and Media Studies/Institut für Musikwissenschaft und Medienwissenschaft, Humboldt University, Berlin, on 26-27 June 2010. There were three keynote lectures (Helga de la Motte, Philips Auslander and Michael Saffle), and 23 other presentations. Papers were grouped into themed sections: Virtual Worlds, Performance and Technology, Politics, Film and Radio. The presentations included work by three research groups, from Belgium, Italy and Berlin/Potsdam respectively, and 14 participants attended the workshop “Multimedia Art and Performance” (this outside the five instructors and professional musicians involved). Speakers were from Belgium, Canada, France, Germany, Italy, the Netherlands, Northern Ireland, England and the United States. There were 60 registered participants at the conference.
The meeting was funded by the DFG, the European Network for Musicological Research and the Humboldt-Universitäts-Gesellschaft.
Friday, 25 June
9am – 1pm
Workshop “Multimedia Art and Performance” with Iñigo Giner Miranda (D/ES) und Philip Auslander (USA)
2pm – 3pm
Welcome:Tobias Plebuch and Hermann Danuser, (Humboldt University); Emile Wennekes, MaM
Keynote: Helga de la Motte (Technische Universität Berlin), “Multi – Intermedialität: Veränderungen des Musikbegriffs”.
Iñigo Giner Miranda (Universität der Künste, Berlin), “Tratado de imagines for Violin, Clarinet and Piano, video images by Iñigo Giner Miranda, Man Ray, Joris Ivens, and Fernand Léger”;
Minkyu Kim (Hochschule für Musik, Freiburg), “Halluzination for Violin, Clarinet and Piano, video images by Peter Weiß”.
Section I: Virtual Worlds
Melanie Fritsch (Universität Bayreuth), “Worlds of Music: Strategies for Creating Music-Based Experiences in Video Games”;
Thorsten Hindrichs (Johannes Gutenberg-Universität Mainz), “From Dungeons & Dragons to Brütal Legend – Virtuality and heavy metal culture”;
Emile Wennekes (Utrecht University), “At the intersection of two worlds: Live concerts within Second Life”;
Michael Liebe (Universität Potsdam) / Georg Spehr (Universität der Künste Berlin) / Dennis Mathei (Ruhr-Universität Bochum), “Spiel die Musik”.
Saturday, 26 June
9 – 9:30am
Gianmario Borio / Elena Mosconi (University of Pavia), “The research group Worlds of AudioVision”.
Section II: Performance and Technology I
Irene Kletschke (Universität der Künste Berlin), “Video clip and the Web 2.0”;
Felipe Hickmann / Pedro Rebelo (Sonic Arts Research Centre, Queen’s University Belfast), “Audiovisual strategies for rendering presence in networked music performance”.
Volker Straebel (Technische Universität Berlin): “Unikat oder Reproduktion. Strategien des Performativen bei medienspezifischen Künstlerschallplatten”
Jens Papenburg / Tobias Plebuch (Humboldt Universität), “Shaping His Master’s Voice: Post-Production of Classical and Popular Music”.
1 – 2pm
Keynote Philip Auslander (Georgia Tech), “Jazz Improvisation as a Social Arrangement”.
Section III: Performance and Technology II
Knut Holtstäter (Universität Bayreuth), “I’ve got the world on a string – der Sänger und die Medien”;
Falk Hübner (Leiden University),”The musician as theatrical performer – a reductionist perspective”;
Lydmila Symonova (Universität Freiburg),”Verhältnis vom Sichtbaren und Hörbaren in der Produktion des 1. Zustandes von Wolfgang Rihms Séraphin mit Video-Bildern von Klaus vom Bruch”.
Section IV: Politics
David Kasunic (Occidental College), “Great Expectations: ‘Rickrolling’ and the Obama Presidential Campaign”;
Gayle Wald (George Washington University), “Soul! TV: Music and Media in the Era of Black Power”.
Sunday, 27 June
Section V: Film I
Alexis Luko (Carleton University): “For Whom the Bell Tolls: Sound Effects in the Films of Ingmar Bergman”;
Elizabeth McLain (Virginia Polytech): Mediatizing Nature and Culture: Ovchinnikov’s Soundtrack for “Ivan’s Childhood”;
Allegra Kuklowsky (University of Paris IV, Sorbonne): “Opening Credit Sequences in Motion Picture Film Scores: an Examination of Compositional Trends”;
Melissa Wong (University of Cambridge): “All’s Fair in Love and War: Herrmann vs. Addison in the Case of Hitchcock’s Torn Curtain”.
1 – 2pm
Keynote Michael Saffle (Virginia Tech), “Lisztomania: The Real Musical(ized) Story”.
Section VI: Radio
Mauro Fosco Bertola (Universität Heidelberg), “Medium und Botschaft: Die musikalische Inszenierung einer „zivilisatorischen Mission“ Roms im italienischen Rundfunk 1929”;
Kristin Van den Buys, Lien De Cang, Lieselotte Goessens and Katia Segers, (Vrije Universiteit and Erasmus University College), “Linking arts initiative and artistic policy: a history of institutionalisation, financing and artistic programming of the Belgian ‘factory of sounds’ – the National Radio Institute and its orchestra – between 1929 and 1960”;
Simone Christine Münz (Universität Göttingen), “The Role of Music in Radio Broadcasting from the Cuban exile community in Miami/ Florida to Cuba”.
Section V: Film II
Orlene Denice McMahon (University of Cambridge), “Cellular (Film Music) Composition: Jean-Claude Éloy’s score for Jacques Rivette’s ‘La religieuse’ (1966)”;
Peter Niedermüller (Johannes Gutenberg-Universität Mainz), “Beyond Hollywood. Music, Sound and Signs in David Lynch’s Blue Velvet”.
5 – 6pm
Saturday 4th July
9.30 Emile Wennekes (organizing committee), Word of welcome;
Hans Fidom (researcher Orgel Park), “The Orgel Park & Mediatizing Music Machines”.
Session 1: Chair: Sander van Maas (Utrecht University)
Marjaana Virtanen (University of Turku and Academy of Finland), “From rehearsals to mediatized performance: musicians’ gestures and their changes”;
Jannie Pranger (Utrecht University), “Mediatized performance: the cultural and the natural”;
Christopher Morris (University College Cork), “Digital Diva: Opera on Video”;
Tomi Mäkelä (Martin Luther University, Halle-Wittenberg), “Visualizing Virtuosity and the idea of “Gesamtkunst””.
Session 2: Chair: Tobias Plebuch (Humboldt Universität Berlin)
Jin Hyun Kim (University of Cologne): “Interface technologies of mediatizing musical experience”;
Isabella van Elferen (Utrecht University), “Magic Mobile Mnemonic: The Musical Flâneur”;
Melanie Fritsch (Universität Bayreuth), “Music in Videogames”.
Session 3: Chair: Tomi Mäkelä
Martin Knust (Stockholms Universitet), “European pre-filmic conceptions of mediatizing music within a dramatic artwork”;
Manuel Deniz Silva (Universidade Nova de Lisboa), “The politics of “mechanized sound”: depictions of inappropriate uses of music media in Portuguese early sound comedies”;
Brent A. Ferguson (Texas State University), “Film Music and Emotion: A Bibliographic Essay”;
James Deaville (Carleton University, Ottawa), “Sounding the War in Iraq: The Politics of Television News Music”.
9.30 Emile Wennekes, “Mediatzing Music as program, Music & Media as IMS Study Group”.
Session 4: Chair:James Deaville
Angela Ida De Benedictus (Universiyu of Pavia, Cremona), “History and Functions for Radio in Italy: Radio Play and Radio Operas”;
Christophe Bennet (Orleans), “The radio message: a typical opposition between erudite and popular cultures in the music broadcasting in France in the 1930s”;
Michael Saffle (Virginia Tech), “Mediatizing Music in the 1930s, 1940s and 1950s America”;
Sander van Maas (Utrecht University/University of Amsterdam), “Mediation and Phantasm: On the Musical Constitution of Listenership”.
Session 5: Chair: Michael Saffle
Rens Machielse (Utrecht School of Music & Technology), “A model for dramatic coding through film music””;
Richard Brown (University of Southern California), ““The Spirit Inside Each Object”: John Cage, Oskar Fischinger, and the “Future of Music””;
Claudia Marisa Oliveira/Gilberto Bernardes (Superior School of Music and Performing Arts of the Porto Polytechnic Institute), “Sumbiosis: the Gesamtkunstwerk in the 21th Century”.
15.00 Emile Wennekes, closing remarks;
Tilmann Seebass (IMS President), “IMS and its Study Groups”.
followed by a
Festive inauguration of the MaM studygroup into the IMS.
MaM (Music & Media) was initiated by Emile Wennekes at the request of the Board of the International Musicological Society and launched in 2009 as an interdisciplinary and multidisciplinary forum. MaM welcomes a broad variety of subjects, methodologies and perspectives. MaM organizes an annual conference; each edition is developed in close cooperation with local initiatives.
The IMS Study Group MaM (Music and Media) seeks to examine and explore
diverse aspects relevant to the theme of ‘mediatizing music’.
Music plays an important role in media, both in old and certainly in new media: commercials, games, films, ring tones and the like.
The other way around, media play an increasing role in music. They have changed the compositional process and characteristics of style; media severely influences performances, composing techniques, the way of recording and visualizing music.
What are the theoretical and philosophical consequences of mediatized music?
What are the economics behind these processes of mediatization?
What role does the process of ‘remediation’(Bolter & Grusin, 2000), from LP to MP3 and 4, play?
How has mediatization influenced performance practice, what was the ‘phonograph effect?’ (Katz, 1999).
What do processes of mediatizing music mean in terms of ‘liveness’ (Auslander, 1999), ‘animated liveness’ (Wennekes, 2009) and/or ‘immersion’ (Grau, 2003)?
This site will publish the Calls for Papers, Preliminary and Final Programs of the MaM conferences. See also the group established via LinkedIN.
-Auslander, Philip, Liveness: Performance in a mediatized culture. (New York: Routledge, 1999).
-Bolter, Jay David & Grusin, Richard, Remediating: Understanding New Media (Cambridge: MIT Press 2000).
-Grau, Oliver, Virtual art: From Illusion to Immersion. (Cambridge: MIT Press, 2003)
-Katz, Mark, The Phonograph Effect: The Influence of Recording on Listener, Performer, Composer, 1900-1940. PhD Thesis University of Michigan, 1999.
-Wennekes, Emile, ‘Brief encounters of a third kind: First Life live concerts in Second Life concert venues’. In: Thea Brejzek, Wolfgang Greisenegger and Lawrence Wallen (eds.), Monitoring Scenography 2: Space and Truth / Raum und Wahrheit. Institute for Design and Technology (idt) Zurich: Zurich University of the Arts, October 2009.