The work of devising meaningful analytical approaches for exploring the kaleidoscopic diversity of the world’s music continues to be frustrated by the fact that cross-cultural analysis is deeply contentious in ethnomusicology, which lags far behind the other arts, humanities and social sciences in this regard. This talk considers the value of dynamic syncretistic approaches to projects encompassing the perspectives of diverse music communities, disciplines, and analytical techniques, and demonstrates the exciting possibilities of such work, and its necessity.
Cecilia Quaintrell worked as a clarinet and saxophone teacher and arts administrator before completing her PhD in ethnomusicology at the University of Bristol in 2017.Cecilia’s main research interests lie with developing innovative theoretical, interdisciplinary, collaborative and applied cross-cultural approaches to musicology. She is currently a Visiting Research Fellow at Bath Spa University, working on diverse interdisciplinary and collaborative projects with Professor Amanda Bayley and Dr Mary Stakelum, and in March 2019 was supported by GALA funding to visit Addis Ababa University to explore possible collaborations for the ICP’s BirdMusic project.
Following the successful Cultural Literacy in Practice interdisciplinary research event at BSU in 2018, this year’s seminar on Wednesday 13th Marchincludes presentations by Dr Robert Crawshaw (Institute of Social Futures at Lancaster University and former HoD of European Languages and Cultures), Dr Robert Luzar (Senior Lecture in Fine Art, BSAD), Dr Hyelim Kim (Visiting Research Fellow in Music) and Dr Penny Hay (Senior Lecture in Arts Education, IfE). The presentations throughout the day will provide insights into defining cultural literacy and the questions that arise across disciplines when designing and conducting research in this area. The focus will be on interrogation and discussion.
Both the morning and afternoon sessions will follow the same format of two presentations followed by a workshop designed to (re-)define cultural literacy for future projects as well as planning their sustainable impact. The session from 11am to 1pm, in Commons CM131, will begin with Robert Luzar considering the crossovers between writing and drawing in contemporary art, and within the cultural contexts around identity and ‘performative’ actions. Robert Crawshaw will then report on an art residency collaboration in Narva, Estonia, that explores how cultural literacy involves understanding the dynamic two-way relationship between representation and collective experience.
Beginning the afternoon session, 2-4pm in TNG17, Hyelim Kim (performer of the taegŭm – Korean bamboo flute), will discuss her experiences of intercultural communication, ranging from the poetics of Peter Wiegold’s gestural signals in his Third Orchestra (at the Barbican, London, 16 February 2019), to the digital medium of a telematic concert. Then Penny Hay will give a presentation on the Forest of Imagination in relation to the Bathscape Landscape Partnership – a Heritage Lottery funded project aimed at reconnecting people with the natural landscape surrounding Bath.
Transcription and analysis of traditional Turkish music
Exquisite details ofornamentation and expression in traditional Turkish music can be discovered and understood from studying oral traditions learned from performance practice and sound recordings. The concepts of makam, ‘Huseyni’ makam and taksim (improvisation with instrument) will be illustrated through live performance and recordings of Turkish violin players. Melodic analysis of a violin taksim will include an example from Antolian folk music. The violin has only established its position in traditional Turkish music since the beginning of the 18th century. A method of analysis based on the transcription of the violinist Sadi Isılay’s Huseynimakam violin taksim from the 20th century reveals a way of preserving and learning this tradition, making the repertoire more accessible to musicians unfamiliar with Turkish music.
Since 2010 Murat Gurel has been a lecturer in traditional Turkish violin playing at Ankara Haci Bayram Veli University, Traditional Turkish Music State Conservatory, Department of Instrument Education. In 2016 he completed his PhD on The Analysis of Nubar Tekyay’s Violin Taksims and he continues to research and teach Turkish music theory and practice based on Anatolian Ecole Edvar (old books that instruct makams between the 15th and 18th centuries). He regularly performs as a soloist and ensemble player in concerts in Turkey and at international festivals, as well as giving workshops and seminars. Gurel is an instructor and participant in the ERC-funded project, Beyond East and West: Developing and Documenting an Evolving Transcultural Musical Practice involving the University of Bristol and Bath Spa University (2015-2020).
In this talk I will discuss how immaterial aspects, usually disregarded in archaeological research, can be integrated into the study of the past. My talk will centre on the acoustics of landscapes, especially of those marked by past communities with prehistoric rock art as a way of providing them with a special meaning. A connection will be established between the aural experience of place and religious emotion. At the same time, however, I will propose that this type of study should be explored systematically, with scientific rigour and objectively and that, in order to do so, an interdisciplinary approach becomes essential.
ICREA Research Professor Margarita Díaz-Andreu has been based at the University of Barcelona since 2012, having moved from Durham University. She is interested in the prehistoric archaeology, rock art and acoustics of Western Europe. She is also concerned with heritage, history of archaeology and the politics of identity in archaeology (social engagement, nationalism and colonialism, ethnicity and gender). She has carried out fieldwork in several countries around the world and successfully supervised several PhD students. She is the author of about 20 books and many articles. Having researched on prehistoric rock art for two decades, in 2010 she decided to focus on the acoustics of rock art landscapes. She has recently been successful in obtaining funding for her ERC project, “The sound of special places: exploring rock art soundscapes and the sacred”.
Making music across borders: practical, logistical and musical issues.
Stanton SNG08 2-4PM
Using the international world music group Världens Band as a case study, this presentation will explore the issues faced by a band with a utopian goal of cross-border music making. These include not only the logistical practicalities of gathering musicians from different parts of the world to rehearse and play together, anchoring the group in a mobile and technological world, but also the delicate balance of the group whilst creating music and incorporating equal representation ideologies
The Raizes – A Piano in the Amazon project is an artistic, pedagogical and social project which intends to take the music of contemporary Amazonian composers to its own people. By getting close to the environments in which the composers live or lived, the project intends to investigate the roots of the music I choose to perform. By doing this, I believe I can increase my comprehension of the musical language which the composers communicate in their works, and so feel able to better transmit to the public the uniqueness of this music.
Motivated by a desire to make the music score more versatile and more useful to a wider range of performers and performance traditions, composer Stevie Wishart challenges the confines of Western notation as defined by notation software developers. Despite all the musical and linguistic experiments of the last century, the root of all published and performed music continues to be a transcription in staff notation, whereas, a closely described improvisation method would sometimes be a more articulate source. Why can’t we inscribe sound as adventurously as a choreologist can record an improvised dance or a film-maker ‘storyboard’ a film? When colour is so abundant in visual culture and when the dynamics and density of colour are such rich sources of signs and signals, why should music notation continue to be so doggedly monotone? How can we disentangle or re-integrate the scored, improvised and spontaneous aspects of musicianship to extend the boundaries of composition and enable performers to engage more freely with new work?
Stevie Wishart’s renewed investigation focuses on a series of experimental case studies and involves a collaboration with Kevin Mount, a print designer and typographer. Their examples draw on choreology, information design and visual communication practice but are connected to techniques derived from pre-Romantic music and oral traditions such as embellishment, improvisation and heterophony.
Composer, Stevie Wishart, was educated at the University of York, the University of Oxford and the Guildhall School of Music and studied informally with John Cage in Edinburgh. She has performed and had her compositions played at the major venues in London, the Sydney Opera House, and St Peter’s, Rome. With roots in improvisation and early music she performs on violin and, hurdy-gurdy – a stringed keyboard instrument going back to medieval times, with its strings bowed by the rim of a wheel giving a unique old-and-new sound which also resonates in Stevie’s music. Exploring music’s unique ability to express new ideas on a level which transcends other modes of communication, is what motivates her life and work as a composer. https://fo.am/people/stevie.wishart/
Kevin Mount studied Fine Art at the Bath Academy of Art and has had a career in journalism, print and information design, and social research. Clients and collaborators in recent years have included the poets Alice Oswald and Caroline Bergvall, the sculptor Nicholas Pope, the photographer Garry Fabian Miller, the choreographer Wayne McGregor and the performance company, Lone Twin.