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Programme

Aurality: Musical Modes of Knowledge Inscription

Music and Culture Seminar organized by Barbara Titus Keywords: aurality, sound studies, epistemic privilege, musicking, postcolonial studies Programme: t.b.a.

In recent years, acquisitions and formations of knowledge and the dynamics of power that govern these formations are increasingly theorized through a renewed interest for the ear with physical, mechanical, organic, physiological, psychological and cognitive subject potential.

This seminar/workshop intends to engage with a wide range of modes of knowledge inscription and transmission through the employment of a variety of musicking acts (Small 1998, 9): we aim to voice a song or a praise or a judgement, we perform an argument or debate or encounter, we conceptualize a discourse, a movement, a process or gesture, we constitute synchronizations, disjunctions or confrontations, etc.. In doing so, the workshop intends to raise questions about technologies of transmission, dissemination and inscription of knowledge (sounds, imagery, speech, writing, performance, etc.) and the material on which they inscribe: memories, (human) bodies, paper, hard drives, or songs.

Thursday 14 March 2019
16:00-18:00 hours

Venue: to be announced

Emily Hansell Clark (Columbia University): “Wiet Wiet, Kiaauw”: Birds and Men in Suriname and the Netherlands

On Sunday mornings in Paramaribo, Suriname, dozens of men gather in the central Independence Square to “race” twatwas, small songbirds native to the region. The birds are caged and trained to sing competitively in elaborate months-long tournaments that are considered a Surinamese national sport. The same birdsong competitions can also be witnessed in cities in the Netherlands, Suriname’s former colonizer, where the birds are both smuggled and bred.

My paper dialogues with ethnomusicology/sound studies/anthropology scholarship (Mundy 2018, Kohn 2013, Seeger 1987, Feld 1982) that considers birds and birdsong not as an aural realm of nature separate from the human, but rather as the grounds for taxonomies and discourses that organize human concerns and experiences of self in a world where nature and culture cannot be fully disentangled, whether in the densely green tropical climate of the Caribbean coast of South America or the cosmopolitan urban environment of the Dutch metropolis. I situate this examination in the context of historical representations of culture and nature, the civilized and the wild, as well as present-day concerns including freedom, migration, masculinity, and ecotourism.

Emily Hansell Clark is a PhD student in Ethnomusicology. She holds a BA in Ethnomusicology and Composition from Oberlin College and an MSIS (Information Studies) from the University of Texas at Austin with a focus in sound archives. Emily has long been interested in the archive as an area of phenomenological investigation, as well as in conceptualizations of preservation, tradition, and memory that lie outside of the modern Western archival institution. She is currently involved in a number of community-based repatriation projects with Columbia's ethnomusicology archive. Drawing from over a decade of experience studying Javanese music and culture, Emily's currently-developing dissertation project concerns ethnicity, migration, memory, governance, difference, and selfhood explored through fieldwork with ethnically Javanese musicians in Suriname and the Netherlands.

 

Thursday 4 April 2019
16:00-18:00 hours

Venue: to be announced

Attila Faravelli – Sound artist: The Aural Tools Project

Aural Tools uses editions of simple objects to document the material and conceptual processes of specific musicians’ sound production practice. It is a series of acoustic devices for relating sound to space, the listener, and the body in ways unavailable through traditional recorded media such as CDs or LPs.

Attila Faravelli lives and works in Milano (Italy). In his practice he explores the relationship between sound, space and body. His solo music is released by Die Schachtel and Senufo Editions. Together with Enrico Malatesta and Nicola Ratti he is founder of the sound performance trio ~Tilde. He presented his work in Europe, USA, China and South Korea. In 2010 he participated in the 12th International Biennial of Architecture in Venice. Since 2011 he curates The Lift, a series of experimental music concerts. He is founder and curator for the Aural Tools project.

 

Thursday 2 May 2019
16:00-18:00 hours

Venue: to be announced

Luc Rombouts (University Carillonneur, Leuven): Carillons: Musical Heritage of the Low Countries

For many centuries, tower bells served as voices of local authorities and structured the daily life of citizens in Europe. Some 500 years ago, people in the Low Countries transformed functional tower bells into musical instruments. This innovation was the first ‘music in the cloud’ – one may call it an alpha version of Spotify. Surprisingly, carillon music didn’t die out after the radio, CD’s and the internet arrived in order to offer a cheaper technology of bringing music to large audiences.

Today, the carillon is still a genuine part of the soundscape of the cities in Belgium and the Netherlands, and the carillon culture is gaining importance, as is demonstrated by the recognition by UNESCO of the carillon culture in Belgium. However, keeping this sonic heritage alive remains a challenge. How do carillonneurs manage in keeping their messages relevant? How can the old social medium of the carillon connect with the social media of today? How can the carillon contribute to the experience of time and space in the city? And is this geographically embedded musical culture transferable to other regions in Europe and beyond?

Luc Rombouts is city carillonneur of Tienen (Belgium) and university carillonneur of Leuven (Belgium), where he plays the carillons of the University Library and the Great Beguinage. He has given recitals in Europe and in the USA and has performed during festivals and congresses.

He wrote an award-winning book on carillon history, entitled Zingend brons. 500 jaar beiaardmuziek in de Oude en de Nieuwe Wereld (Davidsfonds, 2010). This book was published in English in 2014 under the title Singing Bronze. A History of Carillon Music (Leuven University Press / Cornell University Press). In 2016 he obtained a PhD degree cum laude from the University of Utrecht on a thesis about the origin of the carillon. Luc coordinated the project that led in 2014 to the recognition of the Belgian carillon culture as a best safeguarding practice in intangible cultural heritage by UNESCO.

 

Thursday 27 June 2019
16:00-18:00 hours

Venue: University Theatre (Nieuwe Doelenstraat 16) – Theaterzaal

Juan Diego Díaz (University of California, Davis): Embodied Listening Capoeira Workshop

Capoeira is a Brazilian art combining, among others, instrumental music, song, dance, martial arts, ritual, and theatre, developed by enslaved Africans in the sixteenth century. 

The workshop is accessible to all – no prior experience with music, dance or martial arts is required.  The workshop will include physical movement (learning ginga, the basic step of capoeira, plus one attack and one defense), rhythm (clapping the basic pattern and singing some of the berimbau variations), and song (learning the refrain of a couple of songs). Participants will learn how to correlate these three aspects of capoeira through exercises as a group and by couples. These moves and movements will be emphatically connected with “intellectual” exchanges with the participants, raising questions about the aural knowing, learning and experiencing of this practice.

Juan Diego Díaz is an ethnomusicologist with a geographic research interest in Africa and its diaspora, particularly Brazil and West Africa. He is interested in how African diasporic musics circulate and transform across the Atlantic and how they serve individuals and communities in identity formation. This research has produced a book called Tabom Voices: A History of the Ghanaian Afro-Brazilian Community in Their Own Words (2016) and the documentary film Tabom in Bahia (2017), documenting the visit of a Ghanaian master drummer to Bahia, Brazil.He uses a variety of approaches including close musical analysis, timeline theory, groove analysis, phenomenology of the body, and discourse analysis. He is also a long-term Capoeira Angola practitioner and has led capoeira and samba ensembles.