2011: Universidade Nova, Lisbon, Portugal.

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’.

Closing Remarks:
Anahid Kassabian, James Deaville, Emile Wennekes, Manuel Deniz Silva.

2010: Humboldt University, Berlin, Germany.

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
Closing discussion

2009: Orgel Park, Amsterdam, The Netherlands. Constitutive Meeting of the Music & Media Study Group

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.

Background Information: International Conferences IMS Study Group MaM

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.