CFP for themed session: 'Philosophies and theories of musical transcription
and arrangement'

(Themed Session at Royal Musical Association Music and Philosophy Study
Group Biennial Conference)

CFP Deadline: 12/21/2018

Conference Information:

July 11-12, 2019

Strand Campus, King’s College London
https://urldefense.proofpoint.com/v2/url?u=http-3A__musicandphilosophy.ac.uk_events_mpsg-2D2019_&d=DwIFaQ&c=Cu5g146wZdoqVuKpTNsYHeFX_rg6kWhlkLF8Eft-wwo&r=PHu0YcldevQqIedM86l0iexbqE-AeZLl-lupNToNx6I&m=TY4Jp1of4P4QyklmKbw0Cm4Q1hIIdVi7jJwuN7yF7RY&s=aw3wryCo1GDBa1LUZAx2KYwDEpHvvnX2kjZy3eJF7tc&e=

Musical transcriptions and arrangements has generated much philosophizing
and theorizing. Within analytic philosophy, for instance, they have sparked
ontological debate (for instance, Davies 1988; Goehr 1992; Kivy 1993; Thom
2007). Elsewhere, Peter Szendy’s conception of arrangement as written-down
listening fosters further plastic, ecological, and hermeneutic approaches.
Within musicology, Liszt’s oeuvre of transcriptions have been explored
through historical theories of translation (Kregor 2010); queer-theoretical
models have been applied to the cultural workings of cover songs (Peraino;
Halberstam 2007); considerations of the ethics of ethnographic
transcription have spanned over half a century (see Stanyek 2014); and
recently Daniel Leech-Wilkinson has provocatively argued that ‘there are no
arrangements’.

We invite speakers to reignite philosophical and theoretical discussions
raised by all manner of musical reimaginings. Possible topics include – but
are not limited to – the following prompts: How can arrangements complicate
notions of the musical work: do they reinforce, or threaten, it? Can
ontological debates be sidestepped (or re-energised) by turning to concepts
from performance or adaptation studies? How should we approach the abundant
repertoire of contemporary compositions that re-imagine the music of the
past or of different traditions, and how do issues of ownership and
copyright intersect with these approaches? What are the relationships
between arrangement, understandings of style, and perceptions of
musical or historical
time? Can new perspectives be brought to the various historical, economic,
and cultural circulations and mediations of arrangements?

Send abstracts (300 words) to Frankie Perry and Peter Asimov at
<tarotmusicology -at- gmail.com>.


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