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>:
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
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>
*Risposta: *<iaspm_19c@xxxxxxxxxxxxx>
*Data: *Sat, 14 Jul 2018 14:33:15 -0300
*A: *<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>:
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+MIL
ANO&entry=gmail&source=g>
20133 MILANO
tel. (+39)-02-2664145
e-mail: 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 <http://mulhoa@xxxxxxxxx>
*Risposta: *<iaspm_19c@xxxxxxxxxxxxx <http://iaspm_19c@xxxxxxxxxxxxx> >
*Data: *Sat, 14 Jul 2018 12:05:04 -0300
*A: *<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@uni-oldenburg
.de <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 <http://iaspm_19c-bounce@xxxxxxxxxxxxx>
<iaspm_19c-bounce@xxxxxxxxxxxxx <http://iaspm_19c-bounce@xxxxxxxxxxxxx>
im Auftrag von Martha Tupinambá de Ulhoa <mulhoa@xxxxxxxxx <http://mulhoa@xxxxxxxxx> >
Gesendet: Montag, 25. Juni 2018 17:50:03
An: 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@uni-oldenburg
.de<mailto:stefanie.alisch@xxxxxxxxxxxxxxxx ;<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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