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The historical variation in the keyboard’s many interfaces—ranging across
the organ, clavichord, harpsichord, carillon, piano, and their electronic
descendants—offers multiple pathways to explore the unsung stories of
historically marginalized figures. The Westfield Center, in partnership
with the Cornell Center for Historical Keyboards, the Sphinx Organization,
and the University of Michigan, is convening an in-person and online
dialogue among keyboard scholars, performers, and instrument makers to
expand and redefine the history of what it means to #LookLikeAKeyboardist.

We seek papers, recitals, and lecture-demonstrations that illuminate
keyboard stories of womxn, African Americans, Latinos/as, Jews, Muslims,
Arabs, indigenous people, queers, and other groups historically excluded
from institutional recognition. We also encourage arts leaders, scholars,
and instrument makers to document and explore the ways they have sought to
make keyboard studies and historical keyboard performances more diverse and
inclusive. Finally, we invite approaches that draw on global music history
and postcolonial studies to question the category of “historical keyboards”
within a global context.

Possible topics include, but are by no means limited to, the following
areas (and the umbrella term “keyboardists” here refers to performers,
composers, builders, and scholars):

1) Historical or contemporary keyboardists or composers for keyboard whose
work has been marginalized;
2) Keyboard instruments played, built, or commissioned by marginalized
3) Keyboard-related ideologies of class, race, gender, and sexuality;
4) The (re)definition of “historical keyboards” in global contexts;
5) Effective strategies to address the underrepresentation of marginalized
groups in keyboard performance, history, and building;
6) Barriers to the entry or advancement of minorities and womxn in keyboard

We welcome all submissions, especially from students and early-career
performers and scholars. Available instruments will include a
Silbermann-influenced Fisk organ, multiple harpsichords, Steinway grand
pianos, a 60-bell Eijsbouts carillon and a 53-bell Taylor carillon, a late
1790s Walter-style McNulty fortepiano, and an 1866 Erard piano. We also
welcome proposals for virtual presentations.

Submit abstracts of ca. 300 words, describing a 25-minute paper, recital,
or lecture-demonstration, to diversity-belonging -at- For more


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