I have the pleasure of sharing this CFP with you (with apologies for cross-posting). The one-day conference 'Urban Nostalgia: The Musical City in the 19th and 20th Centuries' will take place at the École des hautes études en sciences sociales (EHESS, 105 Bd. Raspail, Salle 13, Paris, France) on July 3, 2020, with a keynote by Richard Elliott (Newcastle University).
The aim of this event is to explore space through music, approaching the history of the city via the notion of nostalgia. Often described as a form of homesickness, nostalgia is, by definition, the feeling that makes us wish to repossess or reoccupy a space. Such spaces appear to us as both near and distant, tangible and remote, and it seems that attempts at reclaiming them are frequently musical in nature. We know, for instance, that particular compositions have played important roles in helping people to navigate or mitigate a sense of displacement. In these circumstances, affective experiences may be bound up with trauma or joy, as is the case of song during wartime or musical imaginaries among migrants. Under other
conditions, we might identify a ‘second-hand nostalgia’ in the guise of a musically-inflected tourism that seeks to reactivate (for pleasure and/or profit) the historical aura of an urban site. What are we to make of the abundance of personal, interpersonal, and propositional episodes that posit music as some kind of a bridge to the urban past?
Please note the quick turnaround for this call: abstracts of no more than 250 words are to be sent to musical.cities.2020 -at- gmail.com
no later than 6 April 2020. Accepted proposals will be announced on 17 April 2020. Please, include a short biography of no more than 100 words and your institutional affiliation. Proposals in both English and French will be accepted.
Scientific committee: Esteban Buch (CRAL / EHESS, Paris); Jonathan Hicks
(University of Aberdeen); Gascia Ouzounian (University of Oxford); Lola San Martín Arbide (CRAL / EHESS, Paris); Christabel Sterling (University of Westminster); Justinien Tribillon (Theatrum Mundi).
With many thanks,
Dr. Lola San Martín Arbide