CFP Music Politic Society The Role of Analysis (Analitica no. 10, 2017)
The journal Analitica is dedicating the Papers section of Volume 10 (2017) to music analysis as a practice grounded in political and pragmatic choices which establish connections between music and its ideological and social contexts. The complete text of the CFP can be found at the Analitica website.
Scholars and musicians are invited to submit their proposals for a short paper (no more than 5,000 words) in Italian or in English. Anyone interested is invited to register with the Analitica website (www.gatm.it/analiticaojs) and to propose to the editors an abstract of their contribution (1,500 characters plus a brief biographical profile of 600 characters) by 15th August 2017.
Complete papers will be due for publishing by 30th October 2017. The editors will be responsible for the initial selection of the contributions and for reviewing the texts for online publication. For further information on the publishing and editorial process, prospective authors should refer to the pages on the Analitica website regarding the focus and scope of the journal and the guidelines for authors.
Music, Politics, Society: The Role of Analysis – Analitica call for papers – No. 10 (2017)
The debate around the scope and purposes of musicology as a social practice has recently led to a new awareness of the ideological and political implications related to the practices of music analysis [Broman-Engebretsen 2007; Buch-Donin-Feneyrou 2013], and to the historicization of the contrasting approaches introduced by the New Musicology in the last two decades of the twentieth century [Agawu 2004, MacCutcheon 2014]. At the same time the progressive convergence of the methodologies employed in different fields of music research – from art music to traditional music, from popular music to music in audiovisual communication, from the use of sound in new media to non-musical sound cultures – has clearly revealed the close relationship between the various practices of music analysis and their different epistemological foundations, the latter resting also on specific political and cultural choices [van den Toorn 1996; Scherzinger 2001; Schuijer 2008, Campos-Donin 2009; Guilbault 2014; Earle 2015].
As a result of such trends, music analysis is increasingly conscious both of its social role and of the political dimension that orients its practice. The limits of the approaches based on organicism and graphocentrism, as witnessed by the history of music analysis since the rise of Musikwissenschaft in Europe and by the subsequent reception and implementation of European analytical methods in the United States, have become increasingly evident. This is not to deny the value of the theoretical assumptions inherent in these methodologies, but rather to provide an opportunity to reflect on their epistemological status. Such reflections have led to the introduction of analytical concepts directed not only towards the musical “objects” themselves, but which take account of the musical experience as a whole and its inevitable construction as a social and political act.
In the light of these considerations Analitica is dedicating the Papers section of Volume 10 (2017) to music analysis as a practice grounded in political and pragmatic choices which establish connections between music and its ideological and social contexts.
The proposals should focus primarily, but not exclusively, on four possible areas:
the history of music analysis in particular periods and geographical contexts in parallel with social, cultural and political events;
the close examination of the policies regarding the inclusion of music analysis in education, as implemented by different institutions and, in particular, by those responsible for musicological curricula in music schools and academic departments. Included in this area is the question of the didactics of music analysis as an important aspect of the teaching of music theory and practice;
the role of music analysis as a vehicle for achieving a greater understanding of cultural objects as a manifestation of the relationship between the environment and the artistic community that produces them;
the analysis of works and musical practices as a starting point for an epistemological discussion of analytical methodologies in terms of their social, ideological and political implications.
Scholars and musicians are invited to submit their proposals for a short paper (no more than 5,000 words) in Italian or in English relating to one or more of the subjects outlined above. Anyone interested is invited to register with the Analitica website (www.gatm.it/analiticaojs) and to propose to the editors an abstract of their contribution (1,500 characters plus a brief biographical profile of 600 characters) by 15th August 2017. Complete papers will be due for publishing by 30th October 2015. The editors will be responsible for the initial selection of the contributions and for reviewing the texts for online publication. For further information on the publishing and editorial process, prospective authors should refer to the pages on the Analitica website regarding the focus and scope of the journal and the guidelines for authors.
Among the bibliographic references that may help to contextualize the subject from a historical, theoretical and methodological point of view we suggest the following list, which includes a broad range of titles relating to these and other topics of current musicological debate.
Agawu K., Music Analysis and the Politics of Methodological Pluralism, «Revista de Musicología», 16/1, 1993, pp. 399-406.
Agawu K., How We Got out of Analysis, and How to Get back in Again, «Music Analysis», 23/2-3, 2004, pp. 267-286.
Baroni M., L’analisi musicale: una pratica inquieta e mutevole/Musical Analysis: A Restless and Changing Practice, «Rivista Italiana di Musicologia», 35, 2000, pp. 277-320.
Born G., For a Relational Musicology: Music and Interdisciplinarity, Beyond the Practice Turn, «Journal of the Royal Musical Association», 135/2, 2010, pp. 205-243.
Broman P., Engebretsen N. (eds.), What Kind of Theory Is Music Theory? Epistemological Exercises in Music Theory and Analysis, Stockholm, Stockholm University, 2007 (especially pp. 11-34, 35-62).
Buch E., Beethoven’s Ninth: A Political History, Chicago, University of Chicago Press, 2003.
Buch E., Donin N., Feneyrou L. (eds.), Du politique en analyse musicale, Paris, Vrin, 2013.
Campos R., Donin N. (eds.), L’Analyse musicale, une pratique et son histoire, Genève, Droz/Haute école de musique de Genève, 2009.
Didattica dell’analisi musicale (especially the articles by M. Locanto, E. Pozzi, M. Buchler), «Rivista di Analisi e Teoria Musicale», 21/1, 2015, pp. 125-139.
Earle B., Twelve-Note Music as Music. An Essay in Two Parts, «Music Analysis », 34/1, 2015, pp. 91-149.
Fulcher J. F., French Cultural Politics and Music: From the Dreyfus Affair to the First World War, Oxford, Oxford University Press, 1999.
Goehr L., Political Music and the Politics of Music, «Journal of Aesthetics and Art Criticism», 52/1, 1994, pp. 99-112.
Guilbault J., Politics of Ethnomusicological Knowledge Production and Circulation, «Ethnomusicology», 58/2, 2014, pp. 321-326.
Kerman J., How We Got into Analysis, and How to Get out, «Critical Inquiry», 7/2, 1980, pp. 311-331.
Kertz-Welzel A., Hebert D. G, Patriotism and Nationalism in Music Education, Farnham (UK), Ashgate, 2012.
MacCutcheon D., Baroque music, postmodern knowledge: an epistemological analysis of Susan McClary’s article “The blasphemy of talking politics during Bach Year (1987)”, «Acta Academica», 46/2, 2014, pp. 126-152.
Musikpolitik in der Verantwortung (especially the articles by Ch. Höppner, H. Rösing, G. Müller,), «Musikforum», 4, 2007, http://www.musik-forum-online.de
Pedelty M., Keefe L., Political Pop, Political Fans? A Content Analysis of Music Fans Blog, «Music and Politics», 4/1, 2010, dx.doi.org/10.3998/mp.9460447.0004.103
Scherzinger M., Negotiating the Music-Theory/African-Music Nexus: A Political Critique of Ethnomusicological Anti-Formalism and a Strategic Analysis of the Harmonic Patterning of the Shona Mbira Song “Nyamaropa”, «Perspectives of New Music», 39/1, 2001, pp. 5-117.
Schuijer M., Analyzing Atonal Music: Pitch-Class Set Theory and Its Contexts, Rochester (New York), University of Rochester Press, 2008.
Shuker R., Understanding Popular Music Culture, London, Routledge, 2012.
Tragaki D. (ed.), Empire of Song: Europe and Nation in the Eurovision Song Contest, Lanham (Maryland), Scarecrow Press, 2013.
van den Toorn P., Music, Politics, and the Academy, Berkeley, University of California Press, 1996.
Yarar B., Politics of/and Popular Music. An Analysis of the History of Arabesk Music from the 1960s to the 1990s in Turkey, «Cultural Studies», 22/1, 2008, pp. 35-79.