Dear all,
Laura, this sounds intriguing! Does albums mean visual albums or compilations
of sounding music? Either way I think it would be great to have you contribute.
That way we would have three specific angles: Martha on valse and affect in
Brazil, Laura on women's music albums in northern Chile and I could focus the
mazurka more on Parisian salons in order to create some geographic variety.
Franco, would you prefer to shape your contribution as a individual paper or as
a respondent? The latter would allow you to weave together all the thoughts
you've laid out below and at the same time position the three other
contributions in a larger epistemological framework. It would mean that we need
to send you our papers some time before the conference so you can develop your
thoughts. As I like to work on my papers up until the last minute this would be
a challenge for me but one I'd like to take.
In practical terms, I'm happy to collate our proposals and write an
introductory proposal to the panel. Would you send me your proposal drafts
until July 20, so I can start working and maybe a revised version until July
27? What do you think?
All the best,
*st
________________________________________
Von: iaspm_19c-bounce@xxxxxxxxxxxxx <iaspm_19c-bounce@xxxxxxxxxxxxx> im Auftrag
von Laura Jordan <laurafrancisca@xxxxxxxxx>
Gesendet: Sonntag, 15. Juli 2018 01:28:17
An: iaspm_19c@xxxxxxxxxxxxx
Betreff: [iaspm_19c] Re: AW: Re: AW: Re: IASPM International 2019 Canberra
Dear Martha, Stef and Franco,
I'm sorry to jump into this conversation so late. I would be interested in
being part of your panel, since I'm currently starting a research project
(along with Fernanda Vera) on music albums used by women in the late 19th c. in
northern Chile salons. We are looking at the particular ways in which these
singular objects -- selfmade albums -- were customized by ladies.
Do you think this topic would fit in?
All best,
L.
El 14 jul. 2018 5:52 PM, "Stefanie Alisch"
<stefanie.alisch@xxxxxxxxxxxxxxxx<mailto:stefanie.alisch@xxxxxxxxxxxxxxxx>>
escribió:
Dear Martha and Franco,
great to read your ideas and see that the creative sparks are flying. I like
the idea of 19th century salon music, as it allows for discussing diasporic
connections and draws attention to spaces and practices and people and includes
the dance. As such, yes Martha, revolutions as in turns on the dance-floor is
an excellent connection.
How about we organise the panel in such a way that some of the papers reflect
on particular music and dance repertoires and practices (Martha, Stef) while
other paper(s) discuss how to conceptualise 19th century popular music within
certain theoretical frameworks (Franco?), thus situating the panel's topic
critically within the history of popular music studies as the cfp is asking.
We could invite a further person to present a paper or serve as discussant.
What do you think?
All the best,
*st
________________________________________
Von: Martha Tupinambá de Ulhoa <mulhoa@xxxxxxxxx<mailto:mulhoa@xxxxxxxxx>>
Gesendet: Samstag, 14. Juli 2018 22:28:04
An: iaspm_19c@xxxxxxxxxxxxx<mailto:iaspm_19c@xxxxxxxxxxxxx>
Betreff: Re: [iaspm_19c] Re: AW: Re: IASPM International 2019 Canberra
Dear Franco, myself I have a crucial deadline August 31st over a research
grant...
Anyway, let's sort this out. First, are you planing anything for Canberra? If
not would you be willing to chair a CFP on 19th century popular music with
Stefanie Alisch? As a matter of fact she was the one who had the idea. She
works on mazurka in the Atlantic... I can contribute with a paper on the
waltz...
I just wrote Stef via FB, and will try the e-mail I have of her. Let's wait the
weekend before making any decision.
Ciao,
Martha Tupinambá de Ulhôa
PPGM - UNIRIO
+55 21 2287-3775 / celular/WhatsApp: +55 21 99993-3775
http://lattes.cnpq.br/5378800627543781
https://unirio.academia.edu/MarthaUlhoa/Papers
2018-07-14 15:56 GMT-03:00 Franco Fabbri
<prof.fabbri@xxxxxxxxx<mailto:prof.fabbri@xxxxxxxxx><mailto:prof.fabbri@xxxxxxxxx<mailto:prof.fabbri@xxxxxxxxx>>>:
Dear Martha,
Thank you very much! But I think that you are the person who should chair this
panel. If you want, I can co-chair it, if you agree, although I am scared by
the approaching of the deadline (which coincides, dramatically, with the
deadline for a chapter on music history I have to deliver at the end of the
month).
Can we work together on this? A Brazilian joint venture...?
All best,
Franco
--
Franco Fabbri
Via Guerrini,
13<https://maps.google.com/?q=Via+Guerrini,+13+%0D%0A20133+MILANO&entry=gmail&source=g>
20133 MILANO
tel. (+39)-02-2664145
e-mail:
prof.fabbri@xxxxxxxxx<mailto:prof.fabbri@xxxxxxxxx><http://prof.fabbri@xxxxxxxxx>
http://www.francofabbri.net/
https://hud.academia.edu/FrancoFabbri
Visiting Professor, Department of Music and Drama
University of Huddersfield
Co-founder and co-editor, Routledge Global Popular Music Series
https://www.routledge.com/Routledge-Global-Popular-Music-Series/book-series/RGPMS
"Tutto è stato detto in musica, l'importante è che fra il pubblico ci sia
qualcuno che non se lo ricordi." László Moholy-Nagy (1895-1946)
________________________________
Da: Martha Tupinambá de Ulhoa
<mulhoa@xxxxxxxxx<mailto:mulhoa@xxxxxxxxx><http://mulhoa@xxxxxxxxx>>
Risposta:
<iaspm_19c@xxxxxxxxxxxxx<mailto:iaspm_19c@xxxxxxxxxxxxx><http://iaspm_19c@xxxxxxxxxxxxx>>
Data: Sat, 14 Jul 2018 14:33:15 -0300
A:
<iaspm_19c@xxxxxxxxxxxxx<mailto:iaspm_19c@xxxxxxxxxxxxx><http://iaspm_19c@xxxxxxxxxxxxx>>
Oggetto: [iaspm_19c] Re: AW: Re: IASPM International 2019 Canberra
Wonderful Franco! Well said.
What you wrote could be a CFP for a panel or a set of panels on 19th century
popular music... Would you be willing to chair this call?
In Puerto Rico, in a symposium on 19th century popular music arquives,
histories and technologies people were trying to apply the 20th century concept
of massification, what includes not only mass production, but also mass
consumption. The 4 people who were able to be present from the symposium when
this discussion took place (Juan Francisco Sans, Fernanda Vera Malhue, José
Manuel Izquierdo and me) were not very confortable with putting everything in
the same bag...
Best,
2018-07-14 12:56 GMT-03:00 Franco Fabbri
<prof.fabbri@xxxxxxxxx<mailto:prof.fabbri@xxxxxxxxx><http://prof.fabbri@xxxxxxxxx>>:
Dear Martha, and Stefanie,
The description of popular music as “mass media music” made sense in 1982, in
the early phase of popular music studies (and of Iaspm), also as a political
statement: it highlighted the exclusion by academic institutions of the music
of contemporary mass media, i.e. the vast majority of music made and listened
to in the world, then, in the 1980s. I’m sure Philip Tagg didn’t intend to give
such a “definition” of popular music: if one reads his early publications (see
Kojak, for example), much more subtle and complex arguments can be found.
Anyway, it is true (and I’m sure Philip would subscribe to that) that music
publishing is and has been a mass medium, since the early decades of the
Nineteenth century.
On the other hand, I find that a very convincing discussion of the origins and
development of the concept of popular music can be found in the writings of
Matthew Gelbart and Derek B. Scott, where popular music is seen as the “third
type” of music emerging as a vast semantic residual space created by the
inventions of concepts such as “folk music” and “art music”, between mid
Eighteenth century and mid Nineteenth century. The waltz, French chanson, fado,
Neapolitan song (the first annual contest for best song was created in Naples
in 1839: the winning song in the first edition sold 150,000 music sheets), the
minstrel show, café chantant and music hall, flamenco (as a form of
entertainment in café cantantes, as opposed to earlier cante jondo), operetta,
comic opera, etc., as well as all the Latin American/Caribbean genres Martha is
studying, were all “popular” long before the invention of the phonograph. So, I
don’t think we have to stretch or adapt our definition of popular music to
allow us to study Nineteenth century music: if a definition of the “popular”
doesn’t include Nineteenth century popular music, it is simply ideological and
wrong.
All best,
Franco
--
Franco Fabbri
Via Guerrini,
13<https://maps.google.com/?q=Via+Guerrini,+13&entry=gmail&source=g>
<https://maps.google.com/?q=Via+Guerrini,+13+%0D%0A20133+MILANO&entry=gmail&source=g>
20133 MILANO
tel. (+39)-02-2664145
e-mail:
prof.fabbri@xxxxxxxxx<mailto:prof.fabbri@xxxxxxxxx><http://prof.fabbri@xxxxxxxxx>
<http://prof.fabbri@xxxxxxxxx>
http://www.francofabbri.net/
https://hud.academia.edu/FrancoFabbri
Visiting Professor, Department of Music and Drama
University of Huddersfield
Co-founder and co-editor, Routledge Global Popular Music Series
https://www.routledge.com/Routledge-Global-Popular-Music-Series/book-series/RGPMS
"Ogne canzone tene 'o riturnello
ca è comm fosse o pierno 'e ogni canzone,
e ca pe ttanto è cchiù azzeccuso e bello
pe quanto cchiù se ntreccia 'e spressione."
Salvatore Di Giacomo (1860-1934), Canzone a Chiarastella, 1912.
________________________________
Da: Martha Tupinambá de Ulhoa
<mulhoa@xxxxxxxxx<mailto:mulhoa@xxxxxxxxx><http://mulhoa@xxxxxxxxx>
<http://mulhoa@xxxxxxxxx> >
Risposta:
<iaspm_19c@xxxxxxxxxxxxx<mailto:iaspm_19c@xxxxxxxxxxxxx><http://iaspm_19c@xxxxxxxxxxxxx>
<http://iaspm_19c@xxxxxxxxxxxxx> >
Data: Sat, 14 Jul 2018 12:05:04 -0300
A:
<iaspm_19c@xxxxxxxxxxxxx<mailto:iaspm_19c@xxxxxxxxxxxxx><http://iaspm_19c@xxxxxxxxxxxxx>
<http://iaspm_19c@xxxxxxxxxxxxx> >
Oggetto: [iaspm_19c] Re: AW: Re: IASPM International 2019 Canberra
Hi Stef - how about "Turns and revolutions - the 19th century salon music”? In
that case we don’t restrain ourselves to the Caribbean or Latin America…
When we think of "popular" music (yes, with lots of comas), we realize that the
concept of "mass media music" as discussed by Philip Tagg in his 1982 letter to
the new born interdisciplinary and international association, titled "Why
IASPM?" does not fully apply. On the other hand, it is quite evident that the
transits of music, independent of social group, were very fast, and occurred
abundantly as there were travels and trades amongst continents. When dealing
with musical practices of the past centuries there is a difficulty however. As
music is evanescent we must deal only with its feeble traces left in paper or
drawings, such as scores, literary accounts or written sources from those
times. Thus, the existent remnants document only what was usually relevant to
the minority of the population who could read. In the 19th century, as exposed
by what appeared in newspapers, there was a steady production of scores with
“popular” songs and dances (several of them adaptations or variations of well
known tunes, some of them from opera hits), the advertisement of pianos and
other instruments, as well as offering of music and dance classes by
“prestigious” masters (at the time mostly French). In that way we are already
talking about the industrialized society mentioned by Tagg, only in its early
media stages, with written scores being joined by recorded music as the new
technology was implanted in the long 19th century.
My intention is to talk about the waltz as a kind of women's "sentimental
education", dealing with what I am finding in the second quarter 19th century
newspapers. Sentimental education because exactly the time Flaubert was writing
about the emergence of the literary field in France. Especially women because
it is amazing how what was written by male chroniclers seems to be intent as an
educative and coercive alert to female behavior.
Cheers, Mt
Martha Tupinambá de Ulhôa
PPGM - UNIRIO
+55 21 2287-3775 / celular/WhatsApp: +55 21 99993-3775
http://lattes.cnpq.br/5378800627543781
https://unirio.academia.edu/MarthaUlhoa/Papers
2018-06-25 15:45 GMT-03:00 Stefanie Alisch
<stefanie.alisch@xxxxxxxxxxxxxxxx<mailto:stefanie.alisch@xxxxxxxxxxxxxxxx><http://stefanie.alisch@xxxxxxxxxxxxxxxx>
<http://stefanie.alisch@xxxxxxxxxxxxxxxx> >:
Dear Martha,
Thanks for your enthusiastic feedback. Yes, the territory is wide open and
trans-regional exchanges should certainly be part of what we can discuss.
Maybe this tendency to include 20th century concepts leads to a title like
"long 19th century"? Not sure though....
What else happened at the 19th century symposium in San Juan? Maybe we can take
up some of the thoughts developed there...?
All the best,
*st
________________________________________
Von:
iaspm_19c-bounce@xxxxxxxxxxxxx<mailto:iaspm_19c-bounce@xxxxxxxxxxxxx><http://iaspm_19c-bounce@xxxxxxxxxxxxx>
<http://iaspm_19c-bounce@xxxxxxxxxxxxx>
<iaspm_19c-bounce@xxxxxxxxxxxxx<mailto:iaspm_19c-bounce@xxxxxxxxxxxxx><http://iaspm_19c-bounce@xxxxxxxxxxxxx>
<http://iaspm_19c-bounce@xxxxxxxxxxxxx> > im Auftrag von Martha Tupinambá de
Ulhoa <mulhoa@xxxxxxxxx<mailto:mulhoa@xxxxxxxxx><http://mulhoa@xxxxxxxxx>
<http://mulhoa@xxxxxxxxx> >
Gesendet: Montag, 25. Juni 2018 17:50:03
An:
iaspm_19c@xxxxxxxxxxxxx<mailto:iaspm_19c@xxxxxxxxxxxxx><http://iaspm_19c@xxxxxxxxxxxxx>
<http://iaspm_19c@xxxxxxxxxxxxx>
Betreff: [iaspm_19c] Re: IASPM International 2019 Canberra
Great Stef, great the word play with "turns and revolutions"!
I am certainly in... Maybe more than Caribe? I just came from San Juan-Puerto
Rico, where we had the XIII IASPM-AL. We had a simposium on 19th century
"popular" (with lots of comas, what didn't prevent people -- not presenters,
but in the audience -- to try to talk about "massification", and other 20th
century concepts to discuss what was goin on in Rio de Janeiro or Chile at the
time) and once more I confirmed that we should think Atlantic transits -
including Africa - Europe (with a center in Paris, even when talking about the
waltz, for instance) and the Americas.
There was/is certainly a Caribean circuit - but I would ask the territory to be
amplified.
Cheers, Mt
Martha Tupinambá de Ulhôa
PPGM - UNIRIO
+55 21 2287-3775 / celular/WhatsApp: +55 21 99993-3775
http://lattes.cnpq.br/5378800627543781
https://unirio.academia.edu/MarthaUlhoa/Papers
2018-06-22 19:59 GMT-03:00 Stefanie Alisch
<stefanie.alisch@xxxxxxxxxxxxxxxx<mailto:stefanie.alisch@xxxxxxxxxxxxxxxx><mailto:stefanie.alisch@xxxxxxxxxxxxxxxx<mailto:stefanie.alisch@xxxxxxxxxxxxxxxx><http://uni-oldenburg.de>
<http://uni-oldenburg.de> >>:
Dear all,
hope this finds you all in good spirit. Is it just me or does it feel a bit
quiet around here?
As the call for the 2019 IASPM International is currently open
http://iaspm.org.au/cfp-iaspm-biennial-conference-2019-canberra/
how about we seize the opportunity and put together a panel or a panel series
on 19th century popular music?
With my own research on mazurka in the Atlantic realm in mind I was thinking in
the direction of19th century popular dance music in the Caribbean. Thinking
"turns and revolutions": maybe media transitions from score to recorded
music...? This is just a starting point.... What are your thoughts?
All the best,
Stef
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