Blue Flower

Second Symposium of the ICTM Study Group on Multipart Music

Tiranë, Albania, April 22-29, 2012

Head of the Local Organisers Committee: Ardian Ahmedaja
Program committee: Ardian Ahmedaja (Austria); Ignazio Macchiarella (Italy); ┼Żanna Pärtlas (Estonia); Ankica Petrovic (Croatia)

1. Multipart music practices as creative processes
How can creative processes in multipart music making be recognized? How do the acts of performance, interpretation and local discourse give shape to them? How can individual, collective and collaborative dimensions, which are so essential for multipart music practices, be defined in this context? How and to what extent do they determine transmission processes? Dealing with these and other questions emerging from the elaboration of diverse investigation tools, the aim is to initiate a discussion on local and global understandings of musical creativity, exploring various methodologies and theoretical approaches.

2. Multipart music in religious practices
This theme provides an opportunity for elaboration on sources related to discussions and statements about multipart music, mainly from a theological perspective in the past and the present. Presentations related to multipart music in different religious practices which highlight the diversity of the roles, powers, symbolism, meanings and values given to multipart music in specific cultures and their religious rituals are especially welcome. Mutual influences between religious and secular music practices as part of transformation processes are also of significance for the discussion.

3. Multipart music awarded
In public discussions, the awards given at public presentations of local music and dance (such as at folklore festivals) are often connected not only with the performers, but also with a ‘ranking’ of local repertoires. Multipart music repertoires are significant in this context because of their remarkable influence on the establishment of local cultural distinctiveness. Similar situations are apparent in the cases of inclusion of a number of multipart music repertoires in UNESCO’s Intangible Cultural Heritage List. Some of the questions to be discussed in this context are: What does an award mean for the performers and the communities practising the repertoire? What does it mean for communities who practice other repertoires? Does an award influence everyday practice? What is the role of the ethnomusicologists in this context?

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First Symposium of the ICTM Study Group on Multipart Music

Cagliari, Sardinia, September 15-20, 2010

Local Organiser: Università degli Studi di Cagliari, Dipartimento di Studi Storici Geografici e Artistici
Head of the Local Organisers's Committee: Ignazio Macchiarella
Program committee: Ardian Ahmedaja (Austria); Ignazio Macchiarella (Italy); ┼Żanna Pärtlas (Estonia); Ankica Petrovic (Croatia)

Multipart music as a specific mode of musical thinking, expressive behaviour and sound.
Concepts and viewpoints on multipart music and its perception are often questioned and redefined in the scholarly research. The manifold worldviews of the resource persons, as holders and presenters of a tradition with their specific musical and cultural aesthetics and vocabularies as well as particularities of performance practices, identity policies, the social and emotional dimensions as specific bodies of knowledge embedded in power relations make the matter more complex. The aim of the meeting is to discuss and formulate recurrent features of multipart music practices, with the emphasis on their specificity towards other kinds of musical practices.

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