4-8 SEPTEMBER 2023
Musicology and Cultural Heritage Department
of the University of Pavia in Cremona, Italy
Final PROGRAMME
 FINAL PROGRAMME.pdf | [ ] | 308 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
6thSymposium of the ICTM Study Group on Multipart Music
23‑27 September 2019 Sarajevo
Bosnia and Herzegovina
Call for papers
DEADLINE FOR SUBMISSIONS: March 19, 2019 (new deadline)
PLACE: Academy of Music, University of Sarajevo, Bosnia and Herzegovina.
LANGUAGE: English.
THEME
- Emotion and aesthetic experience during the performance act
During the performance act, as the core moment of the music and dance making process, the protagonists try to ‘materialize’ and transmit ideas and ideals in the ‘here and now’. Such a situation is experienced in a particularly intense way. This is the case all the more in multipart music and dance practices, in which individual ways of music and dance making, embedded in specific multi-sensorial and polysemic processes (Lortat-Jacob 2011), have to be well coordinated. Furthermore, the very act of making music and dance personifies social values. This means that the protagonists also perform social relationships, which are constructed in the very act of representing them (Cook 2016). In this framework, issues of emotions and aesthetics as conscious experiences and cognitive processing gain a special importance, especially because of the mutual dependence between cognition and elicitation. Emotions have been characterised as complex processes in which a non-cognitive ‘affective appraisal’, which is fast and automatic, causes subsequent physiological responses, motor changes, action tendencies, and changes in facial and vocal expression (Robinson 2005). Experienced emotion is felt to a stronger degree if several factors are present. In turn, aesthetic experience is considered as a psychological process in which the attention is focused on the object while all other objects, events, and everyday concerns are suppressed (Cupchik and Winston 1996). In this sense the connection between emotions and aesthetic experience and issues of expression and communication is very strong and remarkably relevant for multipart music and dance practices.
In this symposium we want to focus on the role of emotions and aesthetic experience in the act of performance and on the question of how the protagonists conceive of these issues.
- A capella singing
A capellasinging is a very widespread music typology in contemporary music making. Basically, a capellameans without any instrumental accompaniments. The definition is used for different music outcomes, from monodic to large choral performances. In this context, some special traditions have been developed, including forms of highly specialized music, like the typical American so-called Barbershop quartets. Based on three voices harmonizing to the melody of a fourth voice, these quartets achieve a high level of harmonic complexity, often using written music as a source. In other a capellatraditions the performers contemplate the vocal imitation of instruments, in the style of the famous Mills Brothers, who were among the first to popularise this music style in the 1930s. On the other hand, many a cappellagroups have great success within popular music, performing both original compositions and covering famous songs, like the recent case of the Pentatonix or the well-known group of The Swingle Singers.
We would encourage papers on this topic in interdisciplinary approaches, also from the perspective of popular music studies.
- New research
* * *
Dear colleagues,
We are pleased to announce that the 6th Symposium of the ICTM Study Group on Multipart Music will take place from 23 to 27 September 2019 Academy of Music, University of Sarajevo, Bosnia and Herzegovina. The head of the local organising committee will be Jasmina Talam.
We invite proposals for individual presentations, panels and round tables. They are to be sent by email before 28 February 2019.
The text should be pasted into the body of the email and also sent as a Word.doc or Rich Text Format (RTF) attachment to assure access. Please label all communications clearly with your full contact details.
Please note that participants are limited to a single presentation.
Please indicate clearly your preferred format. If members have any questions about the program, or the suitability of a proposal, please contact the Program Chair and ask for assistance. Colleagues are advised to bring alternative modes of presentation delivery if using PowerPoint, DVD, and so on in case of unexpected technical difficultieson the day of presentation.
Research papers should be based on original research that address the conference theme and should not have already been presented. Papers should be designed and presented to take no more than 20 minutes, including audio-visuals.
Students, who feel that they are not yet in the position to present a full-length paper, are welcome to give short presentations (10 minutes) of their project, in order to get feedback.
Individual Presentations
Accepted presentations of individual members will be grouped by the Program Committee into sessions of one and a half hours. Each presentation will be allotted 20 minutes inclusive of all illustrations, audio-visual media or movement examples, plus 10 minutes for questions and discussion.
Please, submit an abstract of 250-300 words outlining the content, argument and conclusion, and its relation to one of the symposium themes. Please include the type of illustrations to be used in the presentation, such as slides, DVD, video (including format), and so on.
Panels
We encourage presentations in the form of panels.
Proposals may be submitted for panels consisting of at least three presenters. The structure is at the discretion of the coordinator. The proposal must explain the overall purpose, the role of the individual participants, and signal the commitment of all participants attending the conference. Each panel proposal will be accepted or rejected as a whole.
Please, submit a short summary (not exceeding 300 words) of the panel overview, and an individual paper proposal, as described under “Individual Presentations” above, for each presenter. All of the proposals for a panel should be sent together. Proposals should address one or more aspects of the established themes of this symposium.
Roundtables
We also encourage presentations in the form of roundtables: sessions that are entirely planned, coordinated, and prepared by a group of people, one of whom is the responsible coordinator. The aim is to generate discussion between members of the roundtable who present questions, issues, and/or material for about 5 minutes on the pre-selected unifying theme of the roundtable. The following discussion, at the convener’s discretion, may open into more general discussion with the audience.
The total length of a roundtable will be one and a half hours inclusive of all discussions.
Proposals may be submitted for a roundtable consisting of 3-5 presenters, and the structure is at the discretion of the convener who will chair the event. The proposal must explain the overall purpose, the role of the individual participants, and signal the commitment of all participants to attend the symposium. Each roundtable proposal will be accepted or rejected as a whole.
MEMBERSHIP
Please note that the Program Committee will only consider proposals bycurrent members of the ICTM in good standing. Please contact Ardian Ahmedaja (This email address is being protected from spambots. You need JavaScript enabled to view it.) for membership in the Study Group. Members may join and submit a proposal at the same time. Membership applications are available at the ICTM website https://ictmusic.org/membership/new. For membership questions, contact the ICTM Secretariat (https://ictmusic.org/governance/secretariat).
Where to send the proposals?
Ardian Ahmedaja
email: This email address is being protected from spambots. You need JavaScript enabled to view it.
Program committee:
Ardian Ahmedaja (Chair)
Ignazio Macchiarella
Žanna Pärtlas
Jasmina Talam
Local Arrangement Committee
Jasmina Talam This email address is being protected from spambots. You need JavaScript enabled to view it.
Tamara Karača Beljak This email address is being protected from spambots. You need JavaScript enabled to view it.
Fatima Hadžić This email address is being protected from spambots. You need JavaScript enabled to view it.
Lana Paćuka This email address is being protected from spambots. You need JavaScript enabled to view it.
Mirza Kovač This email address is being protected from spambots. You need JavaScript enabled to view it.
Costs: It will be no registration fee.
Participants are responsible for travel and accommodation expenses.
Notification for acceptance/rejection will be announced by 28 April 2019.
If you have a deadline for funding applications for travel, accommodation, and so on, please notify the Program Committee of your deadline date.
VENUE
The symposium will take place at Academy of Music
Josipa Stadlera 1/II
71000 Sarajevo, Bosnia and Herzegovina
For information on travelling to Sarajevo, accommodation, and more, please see the attached file PDF
Looking forward to seeing you in Sarajevo!
| 6th Symposium of the ICTM StG on Multipart Music-Sarajevo-Call for Papers.pdf | [ ] | 98 kB |
| Sarajevo-Local arrangements.pdf | [ ] | 210 kB |
