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Showing posts from 2017

CFP: AMS-NE Winter 2018 Meeting (Boston College; Chestnut Hill, MA)

The Winter 2018 meeting of the New England Chapter of the American Musicological Society will be held on Saturday, 24 February 2017 at the Boston College in Chestnut Hill, MA. The Program Committee invites proposals of up to 300 words for 30-minute papers and for roundtable sessions. All abstracts are subject to blind review, and submissions from faculty, independent scholars, and graduate students are all encouraged and welcome. Abstracts should be submitted before  midnight  on  Sunday, 17 December 2017  via email to  or by mail to Joel Schwindt, AMS-NE Program Chair, Boston Conservatory at Berklee, 8 The Fenway, Boston, MA 02215. Please refer to the AMS abstract guidelines: “Proposals should represent the presentation as fully as possible. A successful proposal typically articulates the main aspects of the argument or research findings clearly, positions the author’s contribution with respect to previous scholarship, and suggests the paper’s significa

Mini-Conference: Latest Research on Beethoven's Fifth and Eighth Symphonies (BU)


Fall Chapter Meeting (University of New Hampshire, September 23, 2017)

PAUL CREATIVE ARTS CENTER, Rm. M-223 University of New Hampshire (Durham, NH) Saturday, September 23, 2017 Campus Maps/Directions (Abstracts and bios posted as they become available) ------------------------------------------------------------- 10:00-10:30 Refreshments and Registration 10:30  Welcome 10:35   The Perceptual Origin of the Sublime in György Ligeti's Violin Concerto (Daniel Fox, Graduate Center, CUNY) This paper positions the sublime in György Ligeti’s Violin Concerto in relation to three reference points: 1) Jerome Carroll’s argument for a conception of the sublime in art “as a navigation of the boundaries of representation and meaning,” 2) Max Paddison’s suggestion that, in art, the sublime is a moment of political resistance that can lead to a rearrangement of the symbolic order, and 3) the recent call by Peter Edwards for a renewed consideration of the influence of Adorno’s conception of musique informelle and historical thinking on Ligeti’s w