Please join us for the Ethnoise! Ethnomusicology Workshop Thursday, February 10 at 4:30 pm in Goodspeed 205. Andrew Mall, PhD Candidate in the Music Department at the University of Chicago, will present a paper entitled “The Balancing Act: Archetypal and Peripheral Record Label Practices and Priorities.”
Join the Gender and Sexuality Studies Workshop and Ethnoise!
on Tuesday, February 1st from 4:30-6:00pm:
Department of Music University of Chicago
and Gregory Mitchell Department of Performance Studies Northwestern University
Sex On Several Levels: Accounting for Affect in Queer Heterotopias in Rio de Janeiro and Berlin
This paper examines the importance of affect in understanding Foucault’s underdeveloped concept of heterotopias, or mixed-use spaces in which contradictory activities take place that enact a contested or inverted version of utopian social spaces. Heterotopias reflect and reveal actual lived society with all its flaws and foibles, but they are also scenes of encounter and contestation that bring together relational forms not normally permitted to coexist. Our interest here lies in the sexual dimension of certain heterotopic spaces. We propose that layers of affect in sexual heterotopias accrue in such a way that they intimately bind architecture to bodies as we attempt to navigate them, and that they form not only residues that influence relations within them but also contact zones of affective flows that manage the disparateness of the activities that share these spaces. Consequently, any study of affect in heterotopias should begin to account for the ways in which architecture shapes bodies and desires. By combining two ethnographic case studies (i.e., of a male brothel in Rio de Janeiro and a nightclub in Berlin) we conclude that such spaces are necessary in order for hegemonic spaces of sexuality to exist elsewhere and so are complicit in maintaining normative sexuality, but that they also provide useful models for scholars to understand how sexuality and affects interact with built-environments and, in particular, architectures of masculinity. Download the paper here:
http://genderstudies.uchicago.edu/events/workshops.shtml. All are welcome. Light refreshments will be served.
The workshop will take place in the first floor conference room of the Center for Gender Studies, 5733 S. University Avenue. If you have any questions or need special assistance, please contact Erin Moore at firstname.lastname@example.org.
Please join us for the Ethnoise! Ethnomusicology Workshop Thursday, January 27 at 4:30 pm in Goodspeed 205. Ruth Rosenberg, Assistant Professor, University of Illinois-Chicago, with a paper entitled “Echoes of Empire: French Musical Encounters in North America.”
The African Studies Workshop and EthNoise! The Ethnomusicology
Workshop are pleased to present
Marissa Moorman (Assistant Professor, History; Affiliate,
Department of Gender Studies; Indiana University)
presenting on Kuduro, the urban Angolan music/dance and its
Claudia Gastrow (Anthropology) and Daniel Gough (Music),
Tuesday, April 20
Wilder House (5811 S Kenwood)
We welcome Daniel Gough, graduate student in the Department of Music presenting: “Spaces of Sound: Popular Music in São Paulo, Brazil”
Abstract: This paper will discuss São Paulo, Brazil’s expanded center as a musical and geographical space before raising questions about performance venues, institutional management, and generic categories in the city’s twenty-first century popular music scene.
Bio: Daniel Gough is a second-year PhD student in ethnomusicology at the University of Chicago, where he holds a Jacob K. Javits Fellowship from the U.S. Department of Education. His research focuses on the popular music scene in Sao Paulo, Brazil. He holds bachelor degrees in Latin American history and clarinet performance from the University of Georgia and a master’s degree in clarinet performance from Florida State University.
Ethnoise! The Ethnomusicology Workshop
April 15, 2010
Ethnoise Friends — Please see below for the full schedule of workshop events for Spring quarter 2010. Looking forward to seeing you there! All workshops take place at our usual time at 4:30pm on Thursday afternoons in Goodspeed 205 unless marked (i.e. Week 4 meeting).
SPRING QUARTER 2010
WK 1: Thurs, 4/1 - MGMC dry run, UofC Dept of Music
WK 3: Thurs, 4/15 - Daniel Gough, UofC Department of Music
WK 4: TUESDAY, 4/20, 6-8 @ Wilder House – Marissa Moorman, Asst. Professor of History, Indiana University in conjunction with the African Studies Workshop
WK 5: Thurs, 4/29 - Marcia Ostashewski, Asst. Professor of Anthropology & Sociology, Nipissing University
WK 6: Thursday, 5/6 - Andrew Mall, UofC Dept. of Music
WK 7: Thursday, 5/13 - Mark Clague, Asst. Professor of Musicology, University of Michigan
WK 8: Thursday, 5/20 – Owen Kohl, Department of Anthropology, UofC, (plus discussant, TBA) – in conjunction with the Anthropology of Europe Workshop
WK 9: Thursday, 5/27 - Kiri Miller, Asst. Professor of Music, Brown University
WK10: Thursday, 6/3 – David Bashwiner, UofC Dept. of Music
We welcome Anna-Lise Santella, graduate student in the Department of Music presenting: “Why the Orchestra?: Music as a Social Force in America and the Rise of American Women’s Orchestras.”
Abstract: In 1927, a small book titled Music as a Social Force in America and the Science of Practice advocated for amateur music-making as a solution for a wide variety of social ills. At the heart of the book’s argument stands the community orchestra, which unifies and enlivens a divided and stagnating community. Using this book as a window on attitudes about orchestral music-making and urban development in the 1920s and ‘30s – attitudes that affected the direction of the Federal Music Project and still influence U.S. arts policy today – I examine the way in which the idea of the orchestra as an engine for social reform enabled the developing women’s orchestra movement in America and ultimately helped women create professional careers as orchestral musicians.
Bio: Anna-Lise Santella holds a bachelor’s degree from Smith College and a Master’s Degree from the University of Chicago, where she is currently completing her Ph.D in Musicology and Ethnomusicology with a dissertation titled, “’Lady Angels’: Women’s Orchestras in the United States, 1871-1945.” She has written articles on women’s orchestras for the Women Building Chicago: 1790-1990, A Biographical Dictionary, and for the New Grove Dictionary of American Music. Her article “Modeling Music: Early Organizational Structures of American Women’s Orchestras” is included in a collection of essays on the orchestra in 19th century America edited by John Spitzer and currently under review at the University of Chicago Press. Other research interests include Irish seisiuns in America as a cultural crossroads and the music in Kundalini Yoga as a representation of American-Sikh Identity. In addition to her academic work, Anna-Lise has had an extensive career in orchestra administration, worked as a singer and choral conductor, and is currently teaching jazz and classical violin and Irish fiddle in McHenry County, Illinois.
Ethnoise! The Ethnomusicology Workshop
March 4, 2010
Please see the link to Andrew Mall’s recent post on the sad news of the closing of Dr. Wax in Hyde Park.
We welcome Jonathan De Souza, graduate student in the Department of Music presenting: “Take Me Back To That Beautiful Indian Country That I Love: Western Musicals and American Cultural Memory.”
Abstract: When westerns express nostalgia for the frontier, they embody a modern form of cultural memory, based in mass media. These films depict historical realities, yet they tend to be highly stylized: their stock images, characters, and plotlines all contribute to a mythology that engages nationalism, modernity, gender, and race. Music participates in these representations in various ways. Realist film westerns, for example, often use diegetic period music to enhance a sense of authenticity. But music may also highlight the medium’s artificiality, especially when song and dance take center stage. This presentation will explore movies that blend the western’s conventions and concerns with those of the Hollywood musical. From Song of the West (1930) to The Best Little Whorehouse in Texas (1982)—that is, from Oscar Hammerstein to Dolly Parton—this subgenre combines the western’s longing for an American past with the musical’s romantic vision. I consider how this blend leads to tensions—between masculine and feminine roles, the urban and the rural, or folk and Broadway styles—and how such tensions are expressed in particular films. Western musicals, I will argue, recall historical trauma in ritualized form, offering affective experiences of the Old West and constructing the country through song.
Bio: Jonathan De Souza is a PhD student in Music History and Theory in the Department of Music at the University of Chicago. He received his MMus in Theory and Analysis at Royal Holloway, University of London. His interests include: Perception and conceptualization of musical texture; film musicals and cultural memory; indeterminate music, analysis, and discourse (Cage, Boulez, Feldman).
Ethnoise! The Ethnomusicology Workshop
Thursday, February 25, 2010