Seventh Symposium of the ICTM Study Group on Multipart Music
4-8 SEPTEMBER 2023
Musicology and Cultural Heritage Department
of the University of Pavia in Cremona, Italy
Final PROGRAMME
 7th Symposium of the ICTM StG on Multipart Music-Cremona 2023-Abstracts.pdf | [ ] | 262 kB |
| FINAL PROGRAM.pdf | [ ] | 308 kB |
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Second Seminar of the ICTM Study Group on Multipart Music
7-9 February 2023
Jāzeps Vītols Latvian Academy of Music (JVLMA)
Riga, Latvia
http://ictmusic.org/publications/bulletin-ictm/past-issues
(No 152, written by Anda Beitāne as report from Latvia)
| ICTM Study Group on Multipart Music-Second Seminar-Riga-February 2023_www.pdf | [ ] | 276 kB |
No. 151, January 2023, ISSN (Online): 2304-4039
The 1st Colloquium of the ICTM Study Group on Multipart Music took place on 4 December 2022, at the Cinema Teatro Ariston in the village of Bitti in Sardinia,Italy, upon the invitation and in cooperation with the Università degli Studi di Cagliari, Dipartimento di Lettere, Lingue e Beni Culturali; the Istituto Superiore Regionale Etnografico; the Comune di Bitti; and the Cooperativa Istelai, within the TeDiMuS (Tecnologie Digitali e Multipart Singing in Sardegna) project. This research project is supported by the Assessorato Regionale alla Programmazione in Sardinia, according to the Regional Law 7/2007 “Promozione della ricerca scientifi ca e dell’innovazione tecnologica in Sardegna” [Promotion of scientific research and technological innovation in Sardinia].
In the experiences of the Study Group, the colloquium is a format of exchange of ideas without a fi xed form, in contrast to the seminar. The typical contribution in a colloquium is participation in discussions. Some, but not necessarily all participants (a second difference to a seminar) may be asked by the programme committee to present prepared statements (“papers”), possibly for distribution in advance. Participation in Study Group Colloquia is by individual and personal invitation only, endorsed by the Study Group Executive Committee. Participants in Study Group colloquia will be ICTM members in good standing, excepting only special guests invited for their relevant expertise. A further difference to a seminar is that, in the case of a colloquium the local organisation is asked to provide, if at all possible, board, lodging, and local transportation for the participants as part of its budgetary responsibility. International transportation is not necessary the responsibility of the host, but of the individual participants.
The aim of the mentioned TeDiMuS project is to promote the study and knowledge of a particular practice of multipart singing in Sardinia called cantu a tenore (a tenore singing), through the use of new digital technologies. In its articulation, the project acts in a coordinated manner within the socalled “second mission” (research and interaction with the scholarly community) and “third mission” (interaction withsociety and the local area) of the University of Cagliari.
(please see the attached file below)
| ICTM Study Group on Multipart Music.pdf | [ ] | 236 kB |
6th Symposium of the ICTM Study Group on Multipart Music
23‑27 September 2019
Sarajevo, Bosnia and Herzegovina
PROGRAMME AND ABSTRACTS BOOK
See the Attachment
6th Symposium of the ICTM Study Group on Multipart Music
23-27 September 2019
Sarajevo, Bosnia and Herzegovina
Preliminary program
23 September 2019
Arrival of the participants
Registration: 13:00-14:30
14:30–15:00 Opening ceremony
15:00-16:30 Emotion and aesthetic experience during the performance act 1.
Jasmina Talam
Bosnian traditional multipart music in Sweden: case study of the ensemble Izvorni dar
Naila Ceribašić
Choral sevdalinka: from Zagreb, to arrangement, to heritage, and back to emotion
Mirza Kovač
From the masjid to the scene - choir nešidu-l-huda
Identity, ethics and estetics of the performance of ilahias and kasida
16:30 – 17:00 Coffee and Tea Break
17:00-18:30 Emotion and aesthetic experience during the performance act 2.
Anda Beitāne
Different performances: Changing emotion and aesthetic experience
Scott Swan
“Nous chantons memoire vivante”: Exploring the Role of Embodied and Affective Performance in the Formation of Cultural Memory and a Cultural Heritage Community in Southern France.
Mojca Kovačič
Emotional and affective experiences of the collective singing
19:00 – 20:00 Concert: Students on stage 2
24 September 2019
10:00-11:30 Emotion and aesthetic experience during the performance act 3.
Ardian Ahmedaja
Emotion and aesthetic experience in the performances of “indulged songs”
Urša Šivic
Singing as a Space for Multilingual Intertwining
Thea Tiramani
Emotion and aesthetic experience in the Sikh kirtan performances in Italy
11:30 - 12:00 Coffee and Tea Break
12:00-13:30 Emotion and aesthetic experience during the performance act 4.
Thomas Hochradner
“Silent Night” as a message of emotion, enclosing links to a multipart realization
Frances Wilkins
Intransigence and Adaptation in Contemporary Performances of Scottish Gaelic Psalmody
Fulvia Caruso
Music and emotion in religious performances in a migratory context
13:30 – 15:00 lunch break
15:00-18:00 Visit to the National museum of Bosnia and Herzegovina
Free evening
25 September 2019
Full day excursion:
Franciscan Monastery Kraljeva Sutjeska and the Fortress Vranduk. 3
26 September 2019
10:00-11:30 A capella singing 1
Ignazio Macchiarella
Why four? A-cappella quartets in Sardinia
Zoe, Dionyssiou
The transformation of being in the multipart singing tradition of Kato Garounas in Corfu
Žanna Pärtlas
Experiencing Seto leelo: On the performing practice of the Seto choir Verska Naase´
11:30-12:00 Coffee and Tea Break
12:00-13:30 A capella singing 2
Jakša Primorac
Between Monody and Polyphony: Traditional Singing in the Dubrovnik Area and the Bay of Kotor
Joško Ćaleta
Klapa singing – Dalmatian Popular a capella Singing Tradition
Marko Kölbl
Klapa in Burgenland. Musical Ethnicity and Sonic Appropriation
13:30–15:00 Lunch break
15:00-16:30 A capella singing 3
Guja, Zorana
Multipart singing in Sarajevo-Romanija region in example of female group „Planinke“
Fatima Hadžić
A Multipart a capella singing in Bosnia and Herzegovina: The Case of the female vocal ensemble Corona
Petra Ćaleta, Ema Miličević, Hana Zdunić
(Dis)harmony of emotional expressions in a distant music repertoire: three examples
16:30–17:00 Coffee and Tea Break
17:00-18:30 Bussiness Meeting of the StG
19:00-20:00 Concert: Etnoakademik and guests 4
27 September 2019
10:00-11:30 A capella singing 4
Tamara Karača Beljak
Old Polyphonic Vocal styles of Bosnia and Herzegovina
A relic of the past or a challenge of the present
Daiva Račiūnaitė-Vyčinienė
Multipart Singing in Nibragalys: Vocal Parts, Singer Roles, and Aesthetics
Chia-Yin Hung
Thick Descript Ciwkangan 1967：Polyphony Songs of Taiwanese Amis
11:30-12:00 Coffee and Tea Break
12:00-13:30 New Research
Stephan Hackl
The influence of Alpine Folk Music in the Repertory of the Classical Guitar
Gertrud Maria Huber
Challenges of social interaction in a traditional Alpine zither trio
Eno Koço
The Saze Instrumental Ensembles of South Albania and Beyond
13:30 – 15:00 Lunch break
15:00–16:30 Final Discussion and Closing Ceremony
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