Of Our Times Spring 2017

OGOS 27 IRISH WORLD ACADEMY OF MUSIC AND DANCE
EMINAR
ERIES

S A SEMINAR SERIES COEXISTING WITH THE
STABLISHED PUBLIC TOWER SEMINAR AND
IME PERFORMANCE SERIES.
CONFERENCE ROOM, FIRST FLOOR,
ORLD ACADEMY
O 12 NOON
ION IS FREE, ALL ARE WELCOME

unka performing with members of Academos and
mber Orchestra in St Mary’s Cathedral

aurice Gunning

KARAIKUDI SUBRAMANIAN DAVID ROBB JEFF TODD TITO

FRBRUARY Thursday February 2nd The rediscovery of democr
Germany after WWII was not
Continuity and Change in Music Tradition in Contemporary and academics to the misus
South India – A Case Study of Brhaddhvani Nazis. Such a shift to a more ‘p
tradition had already taken pl
Presenter: Professor Karaikudi Subramanian world. This paper will look at
of West Germany and the f
The available musicological literature and methodologies of channels of transmission for
practice, based on cultural, stylistic, and linguistically bound tradition. In doing so, a collec
procedures, tend to be intimidating to aspiring students of whereby lost songs – such as
music who do not belong to musically ‘elite communities’. The could be awakened from extin
complexity in Indian music due to gamakas, intricate and inter-
twining cross-rhythms, eludes easy communication also due to Dr David Robb is Senior Lectu
linguistic limitations. The research at Brhaddhvani is to reveal Belfast. He was formerly in Ge
the process of Karnatak music-making with clarity at all levels extensively on the history of
towards intimate experience, and effectivepractice and with particular a focus on the
appreciation, leading towards self-learning and enjoyment. the Weimar Republic and the
Germany. Since 2008 he has
Prof. Karaikudi Subramanian is a ninth generation musician project with the German Folk
from the Karaikudi Veena Tradition. He is one of the senior ‘History of Reception of Song
most performers and teachers on the Veena. In 1985, Prof. currently developing a resear
Subramanian earned a PhD in Ethnomusicology from Wesleyan this period across the whole o
University, USA, with a dissertation on “South Indian Veena Tradition
and Individual Style.” He retired as a Professor from the University Thursday Februar
of Madras in 2002. In 1989, he founded Brhaddhvani, a
premiere research and training centre for musics of the world, Music and Sustainability
in Chennai.
Presenter: Professor Jeff To
Thursday February 16th
Chair: Dr Colin Quigley (Irish
The Mobilizing of the German 1848 Protest Song Tradition
in the Context of International Twentieth Century Folk Professor Titon has since 200
Revivals A research blog on the subj
(http://sustainablemusic.blo
Presenter: Dr David Robb its exploration of this topic
about music in this way. Its pos
Chair: Dr Sandra Joyce (Irish World Academy)

28

ON ANDRÉE GRAU EVA LEGÊNE

ratic traditions of folk song in MARCH commons and community; Sound ecology; Music of climate
just thecounter-reaction of singers change; Music, sound, and environment; Music is not a cultural
se of German folk song by the asset; Anthropological economics, heritage, and musical sustain-
progressive’ interpretation of folk ability; and on and on. Attendees are invited to read this blog
lace in other parts of the Western from 2012 to the present (about 12-15 entries each year) for
t how the New Social Movements consideration and discussion at the seminar.
folk scene of the GDR provided
r a forgotten revolutionary song Jeff Todd Titon taught in the departments of English and Music
ctive cultural memory was created at Tufts University, 1971-86, and was head of the PhD program
s those of the 1848 Revolution – in ethnomusicology at Brown University, USA, from 1986 until his
nction. retirement in 2013. He is an honorary life member of the Society
for Ethnomusicology, and a member of the executive board of
urer in Music at Queen’s University the American Folklore Society. His most recent book is The Oxford
erman Studies. He has researched Handbook of Applied Ethnomusicology (2015). He is credited with
f German folk and political song pioneering work in experiential ethnography and friendship-
e periods of the 1848 Revolution, based field research, in ecological approaches to musical and
e post-WWII era of East and West cultural sustainability, and in an applied ethno-musicology involving
been involved in a collaborative collaborative research and community action. His most recent
ksong Archive in Freiburg on the project theorizes a sound-centred ecology for all beings, based
gs of the 1848 Revolution’. He is in a relational ontology and epistemology, that leads to sound
rch network looking at songs from communities and economies, in an effort to sustain life on planet
of Europe. Earth."

ry 23rd Thursday March 2nd

odd Titon Dance, Sociality and Evolutionary Theory

h World Academy) Presenter: Professor Andrée Grau

08 maintained “Sustainable Music: Chair: Dr Catherine Foley (Irish World Academy)
ject of sustainability and music”
ogspot.ie/). It is wide ranging in Dance, along with song and body percussion, emanates from
and the implications of thinking the body. All three therefore can be said to belong to the most
sts comprise such topics as: Sound elementary artistic processes. Anthropologist John Blacking
believed that they were ‘a special kind of exercise of sensory,
communicative and cooperative powers that is as fundamental

ALEXANDER LINGAS EFRAIN TORO

to the making and remaking of human nature as speech’. This in the vast correspondence of
seminar engages with such an idea and examines the significance diplomat Philipp Hainhofer (1578–
of dance in human evolution. It proposes that the ability to
move together in time allowed for collaboration among individuals, Renowned recorder virtuosa Eva
which led to the acquisition of language, and, therefore, artist at early music festivals,
culture. Grau examines dance as a multi-sensory pursuit that worldwide. She has collaborated
connects human beings in a particular kind of relationship, kinson Smith, Bruce Dickey, Sigi
which gives dance its power. Jacques Ogg, among many others
Conservatory in Amsterdam and a
Andrée Grau is Professor of the Anthropology of Dance at the of Music in Copenhagen. From 198
University of Roehampton, London. She leads the MA in Dance of Music at the Indiana University
Anthropology and the Erasmus Mundus CHOREOMUNDUS: has published several articles on
International Master in Dance Knowledge, Practice and Heritage. has recorded for radio and televis
She has trained in Benesh Movement Notation, Ethnomusicology Denon, Focus, and Rondo Records
and Social Anthropology. Fieldwork took her to Australia,
South Africa and India. She has published widely in French and Thursday March 23rd
in English on a variety of topics including Tiwi and South Asian
dance, iceskating, identity, and bodily practices. Her children’s Observing the Passion, Burial an
book Eyewitness Dance (1998) has been translated into eight the Byzantine Rite under Veneti
languages. Some of her publication can be downloaded from
https://roehampton.academia.edu/AndreeGrau Presenter: Dr Alexander Lingas

Thursday March 16th Chair: Dr Eleanor Giraud (Irish W

Music and the Historical Development of the Museum Robert Taft and other modern sc
of the most popular elements
Presenter: Eva Legêne Triduum in the received traditions o
Chair: Dr Yonit Kosovske (Irish World Academy) among which are the deposition
appeared only at the end of the M
This presentation examines how music – historically a part of paper offers a preliminary look at h
the quadrivium and the seven liberal arts – held a prominent towards greater emphasis on mim
place in science. As such it played a natural role in the develop- Passion, Burial and Resurrection
ment of the Italian Studiolo and the encyclopaedic Kunstkammer, the fifteenth and sixteenth centu
north of The Alps. A special insight in the origins of the museum and Cyprus. In particular, it will no
and the importance of music are found in the cultural surround- commemorations of these events
ings of Isabella d’Este (1474–1539), her Studiolo in Mantua, and of the same period.