Oradores Convidados

Ana Telles Béreau | Universidade de Évora, CESEM, IN2PAST

Performance e investigação em Música: uma constelação de desafios e oportunidades

7 de Novembro, 2024, 11h30 | November 7, 2024, 11.30 am

Mais de quarenta anos após a criação da Licenciatura em Ciências Musicais da FCSH NOVA (1980) e das Escolas Superiores de Música de Lisboa e Porto (1983), a que acrescem duas décadas e meio de ensinos de Música em Universidades como as de Aveiro e Lusíada (1990, 1991), de Évora (1996) e do Minho (2007), o debate sobre a relação entre a performance musical e a investigação em Música permanece aceso no nosso país, não tanto ao nível dos já muito numerosos investigadores que têm abraçado conceitos, práticas e metodologias transdisciplinares, mas sobretudo no que respeita a um número significativo de performers que, voluntariamente, se mantêm à margem de uma investigação vertida em conhecimento declarativo, e não apenas processual. Em que medida o conhecimento pela prática pode ser autossuficiente no contexto académico, e até que ponto pode ele próprio ser gerador de problemáticas de investigação que não poderiam senão surgir dessa mesma prática? Como conciliar as exigências da prática musical com as da investigação, e ainda com as dos meios académico, musical e pedagógico do nosso tempo? Serão elas de algum modo incompatíveis ou, pelo contrário, nutrem-se mutuamente? Como inovar nos ensinos através de uma formação efectivamente assente na conjugação dos vários saberes e experiências no seio e em torno da Música? Como formar os músicos-investigadores do futuro? Esta e outras provocações constituirão o mote para a conferência Performance e investigação em Música: uma constelação de desafios e oportunidades, bem como para a discussão que ela possa gerar no contexto do XIII Encontro Nacional de Investigação em Música.

Ana Telles estudou em Lisboa (Escola Superior de Música de Lisboa), Nova Iorque (Manhattan School of Music e New York University) e Paris, com Yvonne Loriod-Messiaen, Sara Buechner e Nina Svetlanova, entre outros. Doutorou-se na Universidade de Paris IV – Sorbonne (França). Mantém intensa actividade artística, como pianista, tendo tocado em Portugal, Alemanha, Reino Unido, Dinamarca, França, Itália, Irlanda, Polónia, Croácia, Cuba, Taiwan, Coreia do Sul, Brasil, E.U.A e Canadá. Foi solista com a Orquestra Sinfónica Nacional de Taiwan, as orquestras Gulbenkian, Metropolitana de Lisboa, Filarmonia das Beiras, Sinfonietta de Ponta Delgada, Clássica da Madeira, Tutti de Levallois, Orchestre de Flûtes Français, Conservatório de Dijon (França), Nuova Amadeus (Roma, Itália), e a Banda Sinfónica da GNR, entre outras. A sua discografia conta com 25 títulos. Investigadora integrada do CESEM (Grupo de Investigação em Música Contemporânea), é autora de um número significativo de capítulos de livros, artigos em revistas indexadas e edições musicais. Ana Telles foi bolseira da FCT e do Programa Fulbright. Docente da Universidade de Évora desde 2009, foi Directora da Escola de Artes dessa instituição (2017-2024). É membro do Board of Representatives e do Executive Group da ELIA – EuropeanLeague of Institutes of the Arts, bem como presidente do Grupo de Trabalho Arts in Education. Actualmente, é Professora Catedrática e Vice-Reitora para a Cultura e Comunidade da Universidade de Évora.

Georgina Born | University College London

Movements Between Music and Philosophy:  Multiple Temporalities and/in Music — Beyond Becoming

8 de Novembro, 2024, 17h30 | November 8, 2024, 5.30 pm

What might the relationship be between philosophy (or theory) and our work in and on music? I pursue this meta-question, and its methodological and epistemological correlates, through the main focus of my talk: how understandings of music are changed by theorising time, and how theorising time is transformed by music. I highlight two productive relationships between music and philosophy. One is how we can refine existing philosophical ideas through conceptual revision, by staging dialogues between one theory and another. The second is via theoretically-informed empirical research – historical, ethnographic, quantitative – and by allowing such empirical research to talk back to philosophy, rendering the empirical and conceptual ‘“contiguous” or on the same plane’ (Stirling 2019), what I have elsewhere called post-positivist empiricism. Starting from the limits of Ingold’s process theory – which is indebted to a reading of Bergson and Whitehead, and which proffers a monotemporality of becoming that pre-empts investigation of the multiplicity of time – my first proposition is that the forms of time engendered by music are multiple, and that existing discussions that fail to advance on that basis are problematic. I then clarify the two music-philosophy relationships (above) through two cases that require analysis of music’s multiple temporalities. The first case introduces a new account of Bergson’s implications for thinking musical time through a dialogue with Schutz and with Paddison’s extrapolation from Adorno – both of which involve readings of Bergson’s durée for music that I suggest are inadequate. The result is a new account of the temporalized nature of listening or musical experience. The second case concerns the temporalities at work in musical genre. Here, an empirical analysis of time in the generic branchings of Jungle Drum and Bass in the mid 1990s (by Owen Green and myself) – in which we employ anthropological re-interpretations of Husserl’s ideas of retention and protention to illuminate both the sonic and social (and specifically raced) mediations of JDB – allows us to revise Deleuze’s concept of multiplicity, amending his insistence on ‘a concept of difference without negation’.

Georgina Born is Professor of Anthropology and Music at University College London. From 2010-21 she was Professor of Music and Anthropology in the Faculty of Music, University of Oxford, and from 2006-10 Professor of Sociology, Anthropology and Music at the University of Cambridge. Earlier she had a professional life as a musician in experimental rock, jazz and improvised music. She has held visiting professorships as follows: Bloch Professor, UC Berkeley Department of Music (2014); Schulich Distinguished Professor in Music, McGill University (2015); Visiting Professor in the Schools of Arts, Humanities and Social Sciences at UC Irvine (2019-20, 2023-24); Professor II, University of Oslo, Department of Musicology (2014-19); Visiting Professor, Aarhus University, School of Communication and Culture (2017); Senior Research Fellow at the Aarhus Institute of Advanced Studies (2018-19); and Distinguished Global Scholar, Department of Music, Princeton University (2020-22). She was awarded the Dent Medal of the Royal Musical Association (2007), a Fellowship of the British Academy (2014), an OBE ‘for services to anthropology, musicology and higher education’ (2016), and the Guido Adler Prize of the International Musicological Society (2024).

Riccardo D. Wanke | FLUC, CEIS20, Universidade de Coimbra

Organised sounds are our best friends

9 de Novembro, 2024, 16h30 | November 9, 2024, 4.30 pm

This contribution explores the potential of sounds used in music within the broader realm of sound aesthetics. UNESCO’s Year of Sound 2021 initiated a wider reflection on approaches to sound. Over the past century, we have become accustomed to engaging with a multidimensional notion of sound shaped by composers (e.g., Edgard Varèse, John Cage, Pierre Schaeffer, György Ligeti, Giacinto Scelsi, Helmut Lachenmann, Morton Feldman, Gérard Grisey, Iannis Xenakis) and theorists (e.g., Ernst Kurth, Vladimir Jankélévitch, Michel Imberty, Irène Deliège, Stephen McAdams, Robert Pasnau, Albert Bregman, Stephan Koelsch, Timothy D. Griffiths, Michael Kubovy, Isabelle Peretz). Together, they provided an interdisciplinary springboard—artistic, social, and scientific—to address the challenges of our current sonic ecosystem. In immersive multimodal contexts, participatory digital platforms, and the constant proliferation of audio productions, there is a growing need for more empowered listeners. As researchers, we are called to decipher these new phenomena, avoiding oversimplifications and instead exploring new outlooks to address complex systems. Today, sound aesthetics is re-emerging as a point of convergence for diverse disciplines (art practices, neuroscience, psychology, philosophy, ecology) and has quickly become a fertile field of research. In this contribution, I will present several axes of research in this field, opening up new perspectives on the perceptual potential of sound patterns typical of various musical contexts. Drawing on Gestalt psychology (Gaetano Kanizsa) and morphodynamic theory (Jean Petitot), I will outline an approach to the organized sounds that permeate our everyday environment, including music, sonic arts, immersive media, 3D advertisements, film soundtracks, and art installations. While these organized sound patterns may initially seem complex, ambiguous, or even overwhelming, they are often more familiar than we might expect. Why, when encountering these sound patterns, do we often describe them using terms from the visual and tactile sensory realms? Why do the experiential dimensions of today’s musical works increasingly resemble those of natural soundscapes—time-extended, non-teleological, and multidirectional? What role does intentionality play in these kinds of musical practices? Organized sound patterns convey human forces and movements. Their phenomenal experience emerges as “image schemas” connecting to our embodied experience of the world. In this contribution, I hope to offer new insights into certain musical practices, which can be extended to a wide array of sonic experiences today and serve as cognitive resources for creative, interpretive, and educational purposes.

Riccardo D. Wanke, author of the book “Sound in The Ecstatic-Materialist Perspective on Experimental Music” (2021, Routledge), is an interdisciplinary researcher and musician. He conducted doctoral and post-doctoral research in both musicology and natural sciences. He is currently integrated member of the Centre for Interdisciplinary Studies – CEIS20, University of Coimbra (PT) and contracted professor at the Faculty of Arts and Humanities, University Coimbra (PT) and the School of Arts and Design, Polytechnic of Leiria, Caldas da Rainha (PT). His central interest is the 20^th and 21^st century music, sound perception & aesthetics, music psychology, analysis and theory. As a composer and performer, he explores the electronic manipulation of sound, having performed live worldwide and published music for international labels.

Mesa-redonda

Comunidade multidisciplinar de investigação em música: desafios e oportunidades 

9 de Novembro, 2024, 11h30 | November 9, 2024, 11.30 am

Ao longo de mais de uma década de existência, a SPIM tem acolhido a crescente diversidade disciplinar ligada à investigação em música e som. Partindo da sua matriz ligada às Ciências Musicais no âmbito da musicologia histórica e etnomusicologia, a investigação apresentada nos Encontros anuais foi acolhendo áreas como a análise musical e práticas composicionais, filosofia, teoria, antropologia e sociologia da música, estudos performativos e investigação baseada na prática, psicologia e educação em música, e mais recentemente a inclusão de estudos culturais e do som, multimédia, computação, interface musical, cognição e neurociências da música, entre outras áreas do saber focadas no fenómeno musical e cultura. Se este percurso notável de alargamento disciplinar deve em primeiro lugar ser celebrado, é verdade também que coloca uma série de desafios para a dinâmica, coerência e identidade dos nossos Encontros, publicações e da nossa comunidade SPIM em geral.

Esta Mesa Redonda pretende reflectir sobre as implicações do carácter multidisciplinar e inclusivo da nossa comunidade em música e som. Como poderemos manter a vitalidade e pertinência dos nossos Encontros e actividades num mercado cultural saturado de eventos e publicações com temáticas de investigação com cariz disciplinar e interdisciplinar? Como conseguiremos articular a diversidade de abordagens, terminologias e posicionamentos de áreas tão distintas com processos exigentes de avaliação por pares, oportunidades de interconexão disciplinar, ou debate profícuo e troca de ideias numa comunidade alargada? E quais são as nossas congêneres internacionais com as quais deveremos procurar ter maior proximidade de propósitos e com quem poderemos partilhar redes de saber?

Esta Mesa Redonda junta alguns convidados destacados da nossa comunidade para nos ajudarem a pensar e debater algumas destas questões. Seguidamente o debate será aberto à audiência.

For over a decade of its existence, SPIM has embraced the growing diversity of disciplines related to research in music and sound. Building on its foundation in Musical Sciences within the fields of historical musicology and ethnomusicology, the research showcased at the annual meetings has included areas such as musical analysis and compositional practices, philosophy, theory, anthropology, and sociology of music, performative studies and practice-based research, psychology and music education, and more recently, the inclusion of cultural and sound studies, multimedia, computing, musical interfaces, cognition, and music neuroscience, among other fields focused on the musical phenomenon and culture. While this remarkable trajectory of disciplinary expansion should first and foremost be celebrated, it is also true that it presents a series of challenges for the dynamics, coherence, and identity of our meetings, publications, and our SPIM community in general.

This Round Table aims to reflect on the implications of the multidisciplinary and inclusive nature of our community in music and sound. How can we maintain the vitality and relevance of our meetings and activities in a cultural market saturated with events and publications addressing research themes of both disciplinary and interdisciplinary nature? How will we articulate the diversity of approaches, terminologies, and positions from such distinct areas with the demanding processes of peer evaluation, opportunities for disciplinary interconnection, or fruitful debate and exchange of ideas within a broader community? And what are our international institutional partners (Societies) with whom we should seek to align with more closely in terms of purpose and the sharing of knowledge networks?

This Round Table brings together some prominent members of our community to help us think through and discuss some of these questions. The debate will then be opened to the audience.

Workshop

For a Planetary Anthropology of Music 

Georgina Born | Professor of Anthropology and Music, University College London

9 de Novembro, 2024, 14h30 | November 9, 2024, 2.30 pm

Covenors: José Oliveira Martins and Susana Sardo

Participants in the workshop are encouraged to read the following text and be prepared to engage in dialogue and discussion with the author and members of the community.

‘Introduction: Music, digitisation and mediation – for a planetary anthropology’, from G. Born (ed.), Music and Digital Media: A Planetary Anthropology (2022) Available at https://discovery.ucl.ac.uk/id/eprint/10155196/1/Music-and-Digital-Media.pdf.

In this workshop Georgina Born will briefly present and invite discussion of key themes from the Introduction to her recent bookMusic and Digital Media: A Planetary Anthropology, which stems from an ERC research program (2010 to 2016) and later research. It encompasses 9 ethnographic studies ranging from North India, Nairobi, Buenos Aires and Cuba to Montreal, the UK, Graz and various online and digital formations, among them music platforms, the global software Max, and a series of internet-mediated music genres. Methodologically, the book is guided by the idea of a relational musicology, attending not only to the singularity of each ethnographic situation, but, via comparison, and guided by Spivak’s concept of planetarity, to similarities, differences and lines of connection between them. Among other themes discussed in the Introduction are post-positivist empiricism, decolonisation, interdisciplinarity, and the importance of reconfiguring the disciplinary boundary between music and anthropology while abandoning the term ethnomusicology. The Postlude that ends the book addresses, on the basis of the ethnographies, the need for a new conceptualisation of music’s diverse socio-economies, for attention to music’s copious institutional forms, and for rethinking how music is social. We will discuss several of these themes, as those present wish. Please read the Introduction, and if possible other chapters that appeal, and come prepared to discuss and debate these topics.