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[Fwd: Symposium Announcement `Music As Heard']



I send this announcement along for a couple of reasons. 1) Maybe some of
you will be interested enough to attend and I can meet you 2) That it
might stimulate conversation on f_minor about the role of the listener
in music-- particularly with attention to GG's notions-- and our own
ideas on the topic

Best,
Mary Jo
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             MUSIC AS HEARD: LISTENERS AND LISTENING
       IN LATE-MEDIEVAL & EARLY MODERN EUROPE (1300-1600)

                    A symposium to be held at
                      Princeton University
            Saturday and Sunday, 27-28 September 1997

MUSIC AS HEARD explores the cultural history of `the listener'
and `music listening' in the period 1300-1600.  Its aim is to
promote the understanding, interpretation, and analysis of late-
Medieval and Early Modern music in terms of the mentalities,
sensibilities and belief-systems that conditioned its perception.

The symposium features twenty scholarly papers, which are to be
discussed by authors and auditors in six plenary discussion
sessions.  The papers will not be formally read out, but are to be
made available to participants in a conference packet, and can be
read during extended reading intervals at the symposium.  (These
intervals are scheduled to coincide with coffee, lunch, and tea.) 
During the sessions the focus is entirely on discussion.


                        SYMPOSIUM WEBSITE
        (for complete information on sessions, abstracts,
         registration, hotels, travel, and campus map):

       http://www.princeton.edu/~rwegman/musicasheard.html


                       TOPICS OF SESSIONS:

                  Methodological Preliminaries
     Listening in the Late-Medieval Intellectual Traditions
                     Listening and Patronage
                       Listening and Death
                       Consonance As Heard
           Listening and Reading: The Case of Glarean
  Listening and Ideology in Reformation and Counter-Reformation
         Listening and the Erotic in Early Modern Europe


                      SPEAKERS AND CHAIRS:

   Carolyn Abbate    Linda Phyllis Austern    Todd Borgerding
        Shai Burstyn    Richard Freedman    Sarah Fuller
        Sean Gallagher    Robert Holzer    Peter Jeffery
    Cristle Collins Judd    Robert Judd    Peter M. Lefferts
     Thomas Y. Levin    Timothy R. McKinney    Robert Nosow
 Jessie-Ann Owens    Keith Polk    Harold Powers    Emery Snyder
  Louise K. Stein    Elizabeth Randell Upton    Peter Urquhart
 Kate van Orden   Grayson Wagstaff   Rob C. Wegman   Paul Wiebe


                          REGISTRATION:

See enclosed form.  Registration fee: $90 (after 10 September:
$100).  Those with annual income under $21,000 may choose to
register at a lower rate of $60 (after 10 September: $70). 
Registration covers coffee, lunch, and tea on Saturday and
Sunday, and a 200-plus-page conference packet containing the full
texts of papers.  


                       AIMS OF SYMPOSIUM:

Discussions will focus on historically-informed analyses `from
the listener's point of view' of individual compositions, as well
as questions such as the following:

o  How was music thought to act upon the sense of hearing, the
   mind, the heart, the body, and the soul? 
o  Were music's powers and effects--sensual, medicinal,
   spiritual, societal, ritual, magical--thought to depend on
   conscious acts of listening and understanding?  If yes, how
   were those acts identified, described, and explained?
o  In what ways was `music listening' affected by the perceived
   meaning, function, use, or efficacy of the words (narration,
   recitation, invocation, oration, incantation, etc.)? 
o  What concepts and metaphors did contemporaries use to evaluate
   and account for their musical experiences?   Did they in fact
   acknowledge a concept of `musical experience' to begin with?
o  In what ways could `music listening' be sinful (sloth,
   idleness, lust, self-indulgence), and under what conditions
   could it be virtuous?   Were there `correct' and `incorrect'
   modes of listening?
o  In what ways might musical sensibility and experience have
   been seen as differentiated according to gender? 
o  What role and status were accorded to `the listener' or `the
   audience' in theoretical writings on music, and to what extent
   were their abilities, needs, and demands recognized in
   technical discussions?
o  What was the perceived relationship between the written and
   sounding dimensions of music? Were technically-informed and/or
   literate modes of listening acknowledged, and if yes, was any
   special value or benefit ascribed to them?
o  What significance was associated with those aspects of
   composed music that could only be ascertained through acts of
   reading?  Was there in fact a `reader' presupposed here, or
   might such aspects have been considered mere by-products of
   the technical process of manufacture? 
o  In what respects was `music listening' thought to be a
   private, communal, and/or public activity?   Did it involve
   response, interaction, participation, and gesturing, or,
   conversely, privacy, silence, and concentration? 
o  What historical evidence do we possess concerning actual
   listeners or groups of listeners and their musical `horizons
   of expectation'?

_________________________________________________________________

                        REGISTRATION FORM
      Print and return this form with check (US$ only) to:

                         MUSIC AS HEARD
                       Department of Music
                      Princeton University
                       Princeton NJ 08544

Registration: $90 (after 10 September: $100).  Those with annual
income under $21,000 may choose to register at a lower rate of
$60 (after 10 September: $70).  Registration covers coffee,
lunch, and tea on Saturday and Sunday, and a 200-plus-page
conference packet containing the full texts of papers.  


Registration fee: ______

Name (as it will appear on badge): ______________________________

Institution or place of residence: ______________________________

Address: ________________________________________________________

_________________________________________________________________

_________________________________________________________________

Phone: __________________ Email: ________________________________


Participants outside commuting distance may wish to make hotel &
travel arrangements well in advance.  For the fullest
information, please follow the relevant links on the symposium
website: http://www.princeton.edu/~rwegman/musicasheard.html
or check ___ to request information about hotels and travel. 
_________________________________________________________________











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