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Spring 2015 Schedule

April 2Andrea Harris Jordan – “House Around Irish Music: Past and Present in Discourses of Irish Music from the Nineteenth to Twenty-First Centuries”

April 9: Ibby Grace & Michael Bakan – “‘Thinking in Music’: A Dialogue between Autistic Self-Advocate Ibby Grace and Ethnomusicologist Michael Bakan”

April 23Lauren Eldridge – “Racing Genre: Competitive Authenticities in Haitian Summer Music Camps”

April 30Margaret Walker – “From Salaam to Pranaam: The Sanskritization of North Indian Dance”

May 28: Meredith Aska McBride – “The Problematic City: Representing Chicago, Instrumentalizing Music Education”

 

Unless otherwise noted, all workshop meetings are on Thursdays at 4:30pm in Room 205, Goodspeed Hall, University of Chicago campus.

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March 19 – Monica Hairston O’Connell at EthNoise!

Please join us on March 19 for a paper and discussion with Monica Hairston O’Connell. The paper is entitled “The CBMR and Archival Authority” Please find an abstract below.

As always, we will meet at 4:30pm in Goodspeed 205. Our workshop is open to the public.

 

Abstract       

In the 1970s when Samuel Floyd Jr. began his research, he found that anthologies, secondary sources, and reference works that abound for the art music of Western culture simply did not exist for black music. His own scholarly career relied on his ability to pioneer such research and help build the institutional infrastructure that would spark and then foster the expansion of a necessarily interdisciplinary subfield of music scholarship. Floyd founded the Center for Black Music Research in the wake of Civil Rights and Black Arts movements and during a time of activism by black composers and pioneering scholars. These pioneers allied themselves with the CBMR to pursue activities that would bring the music of black composers and the study of music of the African Diaspora into the mainstream. 
 
Established in 1990 and opened in September of 1992, the CBMR Library and Archives “supports the research, performance, and educational activities of the CBMR and of other institutions and individuals by providing a comprehensive research collection covering all aspects of black music in the United States, Africa, and other parts of the African diaspora.”  The CBMR Archives provide an useful starting point for theorizations of the archive that seek to acknowledge the practical necessity for many culturally-specific repositories of finding appropriate balance between canon building and displacement or disruption; between the creation of acknowledged and authoritative space in the academy and the kind of “ubiquitous archival authority” that can generate social change.

 

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March 6 – Regula Qureshi at EthNoise!

Please join us on Thursday, March 6 for a discussion with Regula Qureshi about her ongoing work translating a nineteenth-century Urdu music treatise, Ma’dan-ul-Musiqi (Mine of Music). See below for a brief note about the project from Prof. Qureshi.

As always, we will meet at 4:30pm in Goodspeed 205. Our workshop is open to the public and all are welcome.

*     *    *

Discovering a Mine of Music (Ma’dan al Musiqi 1956), is a barely explored 19th c. treatise of Indian music that challenges the translator with its Persianized Urdu, and its multivocal use of Persian, Hindi and Sanskrit. 

 
Written by a Lucknow courtier who also held a British colonial post this highly syncretic work is modeled on musicological treatises of past centuries while richly chronicling current oral tradition oral traditions and musical practices in Sanskrit and Persian interpretive frames. It is also a connoisseur’s personal chronicle of the courtly musical life cut off by the British destruction oft he Lucknow Court while also contributing to their  agenda to make classical cultural knowledge accessible through vernacular texts. Part of this effort was the 1925 publication of the treatise   (Hindustan Press), through local  Muslim efforts.
 
I look forward to outline the challenge of this work, in the hope to receive critiques and ideas in a open-ended EthNoise! discussion.

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February 26 – Will Faber at EthNoise!

Please join us on tomorrow, February 26 for a paper and discussion with Will Faber. The paper is entitled “Acid Diversions: Race, Memory, and Mediation on the UK Dancefloor” Please find an abstract below.

As always, we will meet at 4:30pm in Goodspeed 205. Our workshop is open to the public.

 

Abstract       

The racialized borders of electronic dance music in Britain are routinely contested by musicians, dancers, and critics alike. Often framed as interlocking debates over subgenre, ethics, and history, I argue that these decades-long dialectics of inclusion and exclusion actively participate in the making and unmaking of race, both on and off the dance floor; and in turn help to assemble the very meaning of electronic dance music. Building on my ethnographic work with musicians and dancers in London, I engage their accounts of belonging, ownership, and value by focusing this paper on the ways that two relatively high-profile events are interpreted and mobilized by my interlocutors: the 25th anniversary celebration of Warp Records at Tate Britain in 2013, and Mark Leckey’s film installation Fiorucci Made Me Hardcore at the Serpentine Gallery in 2011.  Both events foreground the work of memory, trafficking in existing tropes of “1990‘s rave nostalgia” and playing across representations of individual and collective experience.  Furthermore, I discuss how these events intervene on existing histories of electronic dance music by creating critical environments in which musical practices often regarded as peripheral to electronic dance music- namely, reggae sound systems, northern soul, and working-class brass bands- are in turn placed at their narrative-historical center. Moving out from the space of the gallery and back to the studio and dancefloor, I conclude by considering the ways that groups of electronic dance music producers have in turn assembled complementary and competing ideas of their own musical past.

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February 19 – Peter Manuel

Please join us on Thursday, February 19 for a paper and discussion with Peter Manuel. The paper is entitled “World Music and Activism Since the End of History (sic).” Please find an abstract below.

As always, we will meet at 4:30pm in Goodspeed 205. Our workshop is open to the public.

 

Abstract       

While the decline of protest music in the USA has often been noted, a global perspective reveals that progressive, activist protest musics occupied lively niches in many music cultures worldwide (e.g., of Jamaica, India, Spain, Latin America) during similar periods, roughly the 1950s-80s.  While on one level these music movements were embedded in particular socio-political movements, on a broader level they reflected an ardent commitment to the secular universalist ideals of the Enlightenment.  The subsequent dramatic decline of all these protest musics—roughly since Fukuyama’s much-debated “end of history”—reflects a broader transformation of global political climate.  This transformation has both salutary aspects—notably the spread of democracies—and dismaying ones, notably the decline of Enlightement metanarratives and their replacement by new tribalisms, which have found their own passionate expression in music.

 

 

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February 5 – Daniel Gough

Please join us on Thursday, February 5 at 4:30pm, (Goodspeed 205) for our third workshop of the Winter Quarter.

We will discuss  Daniel Gough‘s chapter, “Music and Access in São Paulo’s Cultural Policy Worlds.”Ameera Nimjee will serve as discussant for the workshop session. In order to make our discussion most productive, participants are encouraged to read the chapter in advance. (Check your email for the password and link or email wdbuckingham@uchicago.edu).

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January 29 – Marion MacLeod

Please join us on Thursday, January 29 at 4:30pm, (Goodspeed 205) for our second workshop of the Winter Quarter.

We will discuss  Marion MacLeod‘s paper, “Risk and Reward: Alcohol and Irony in Acadie.” Laura Turner will serve as discussant for the workshop session. In order to make our discussion most productive, participants are encouraged to read the chapter in advance. (Check your email for the password and link or email wdbuckingham@uchicago.edu).

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January 22, 2015: Michael O’Toole at EthNoise!

Michael O’Toole will read his paper, “‘Gedanken sind frei’ to ‘No Pegida': Music In, With, and Against the Pegida Demonstrations in Germany,” followed by discussion. As always, EthNoise! meets Thursdays at 4:30pm in Goodspeed Hall, room 205. Please find Michael’s abstract below.

Beginning in October 2014, the recently founded organization known as Pegida (“Patriotic Europeans Against the Islamization of the West”), has held weekly demonstrations every Monday in Dresden, inspiring similar demonstrations and counter-demonstrations in other cities across Germany. Motivated by fear of an “Islamization” of Germany and the country’s growing efforts to address a recent surge in refugees and asylum seekers, the Pegida demonstrations have grown from a few hundred participants in October to approximately 25,000 at the most recent demo on January 12. In this presentation, I will discuss the variety of ways in which music has played a role in the nation-wide debate sparked by the Pegida demonstrations. Drawing on examples from social media, I will consider the role of music, sound, and silence within the demonstrations themselves, as well as consider several examples of music as a medium for supporting, protesting, or satirizing the Pegida movement and its significance. 

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EthNoise! Winter 2015 Schedule

Winter 2015 Schedule

January 22: Michael O’Toole – “‘Everyone Longed for Music': Narratives of Music, Memory, and Migration in Post-Reunification Germany”

January 29: Marion MacLeod – “Risk and Reward: Alcohol and Irony in Acadie”

February 5:  Daniel Gough – “Music and Access in São Paulo’s Cultural Policy Worlds”

February 19: Peter Manuel – “World Music and Activism Since the End of History (sic)”

February 26: Will Faber – “Acid Diversions: Race, Memory, and Mediation on the UK Dancefloor”

March 5: Regula Qureshi

March 19: Monica Hairston O’Connell

 

Unless otherwise noted, all workshop meetings are on Thursdays from 4:30-6pm in Room 205, Goodspeed Hall, University of Chicago campus.

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Thursday, December 11 – Genevieve Dempsey

Please join us for our final meeting of the Autumn Quarter. This Thursday, we’re excited to welcome our own Genevieve Dempsey for a presentation entitled  “The Sacred Sound of Congado: A Revival of Afro-Brazilian Religiosity” (Please see below for Genevieve’s abstract).

As always, we will meet from 4:30-6:00pm in Goodspeed 205. We look very much forward to seeing you!

 

Abstract
This presentation explores how Afro-Brazilians involved in congado, a traditional music of popular Catholic religiosity, become empowered through sacred song. By sounding congado they succeed in expressing their faith to Nossa Senhora do Rosário (Our Lady of the Rosary), remembering the past, and revitalizing a tradition that speaks to their identity as Afro-Brazilians. To what extent do musical participants respond to social and racial injustices with dancing, singing, and drumming so as to ensure their physical and mental survival? My work investigates the ways in which congadeiros use music as an instrument for voicing faith and creating dignity.

 

 

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