Humboldt-Universität zu Berlin - Musikwissenschaft

Gastvorlesungsreihe im Wintersemester 2021/22

Collegium Musicologicum, Am Kupfergraben 5, 10117 Berlin, Raum 501, Beginn der Vorträge: 18 Uhr s.t.

Einige der Gastvorträge finden im Wintersemester 2021/2022 als Zoom-Sessions über Moodle statt. Sollten Sie Interesse an den Vorträgen haben, möchten wir Sie bitten, sich in die Moodle-Veranstaltung "Collegium Musicologicum" <https://moodle.hu-berlin.de/enrol/index.php?id=96521> einzuschreiben. Dort erhalten Sie dann den entsprechenden Link sowie das Passwort für die jeweilige Veranstaltung. Sie erhalten den Zoom-Link auch per E-Mail von Frau Anina Paetzold (a.paetzold@hu-berlin.de).
Präsenz-Vorträge finden unter Corona-Schutzmaßnahmen statt. Es gilt die 3G-Regelung. Zutritt haben nur genesene, geimpfte oder tagesaktuell getestete Personen. Zudem besteht die Verpflichtung zum Tragen einer FFP2-Maske. Vor Ort ist eine Registrierung zur Kontaktnachverfolgung erforderlich.

Some of the guest lectures during the winter semester 2021/2022 will be held as zoom sessions via Moodle. If you are interested in the lectures, we would like to ask you to register for the Moodle course "Collegium Musicologicum" <https://moodle.hu-berlin.de/enrol/index.php?id=96521>. There you will find the link and the password for each session. You will also receive the zoom link by email from Ms. Anina Paetzold (a.paetzold@hu-berlin.de).
Presence lectures take place under Corona protective measures. The 3G regulation applies. Only those who have recovered, who have been vaccinated or who have been tested on a daily basis have access. There is also an obligation to wear an FFP2 mask. On-site registration is required for contact tracking.

 
  • Donnerstag, 02. Dezember 2021, 18 Uhr (Online per Zoom)

Yaprak Melike Uyar (Humboldt-Universität zu Berlin)
Turkish Disco: Integration of Dance Forms in Anatolian Traditional Music into Disco as a Glocalization Practice

Disco, as a musical genre and a dance culture questioning the conventional boundaries of race and gender, embracing the concepts of liberation, and creating its own unique approach to fashion and style, came about in New York City’s minority communities in the late 60s and early 70s, and turned into a global dance culture and a mainstream success. In each destination it visited, it found many layers of meaning and performance applications. In Turkey as well, localization of disco was subject to many cultural and musical connotations; so that questioning the concept of disco implicates the key turning points in the history of Turkish popular music.
This lecture intends to examine the localization of disco music in Turkey in the 1970s through the utilization of Oyun Havası, a common dance form in Anatolian traditional music; and the reinvention of the Turkish disco term in the global music market in the 2010s. Using the theory of glocalization, the genre will be discussed with a comparative analysis of the local and global usages of the term. Glocalization denotes the notion of an interplay between globalization and localization that has different cultural outcomes in different regions of the world. What is labeled as disco music in Turkey and what is referred to as 'Turkish disco' in the global music industry are in fact two distinct music cultures. The reinterpretation of the forms such as Oyun Havası and potpori within the subheading of disco will be analyzed to understand the cultural aesthetics of taste and the political background of musical fusion in Turkey.

Yaprak Melike Uyar is an Einstein Junior Scholar at the Department of Musicology and Media Studies at the Humboldt University Berlin. Her main research interests are jazz and popular music of Turkey, and the music of the Mevlevi Order of Sufism. With her dissertation, Jazz in Turkey: The Cultural Connotations and the Processes of Localization, she earned her PhD degree in musicology from the Turkish Music State Conservatory of Istanbul Technical University. She completed her MA degree in ethnomusicology at ITU MIAM, with the thesis The Commodification of Whirling Dervish Rituals. She taught courses on popular music, jazz appreciation, and the history of Turkish popular music at the Turkish Music State Conservatory and Bilgi University. Yaprak Melike is also a DJ, performing at various venues in Istanbul with an eclectic genre selection ranging from afro-beat to disco, psychedelia to jazz. She has hosted radio programs at Turkish National Radio, Açık Radio, and Radio Adidas Originals.
 

  • Donnerstag, 16. Dezember 2021, 18 Uhr

George Athanasopoulos (Humboldt-Universität zu Berlin)
Emotion perception in music: cross-cultural similarities and differences

Is it true that tribes in Khyber-Pakhtunkhwa perceive 1980s thrash metal to convey more happiness than Figaro’s Aria from the Barber of Seville? Or, that the minor mode may express joy at a greater degree than its major counterpart? This presentation will focus on how the emotional experience of music is affected by the cultural background of the listener, by highlighting results collected from the United Kingdom and NW Pakistan. Using a methodological approach which combines ethnographic fieldwork with music psychology, it will be demonstrated how specific sonic elements affect the way that listeners comprehend expressed emotions in human voice recordings, real music samples, and artificial stimuli. Results indicate that, although commonalities certainly exist across cultures in how emotions in music are perceived, there are also significant variations in how these are understood. Apart from the empirical data collected on-site, interviews with the participants reveal how harmonic organization in music conveys much more than basic emotions, how musical genre labels have very little meaning outside their cultural reference, and how (almost) everyone seems to be repelled by roughness.

George Athanasopoulos (Humboldt Universität zu Berlin) is a researcher in cognitive ethnomusicology. His work focuses on the cross-cultural perception of music. He has conducted fieldwork in the United Kingdom, Greece, Japan, northwest Pakistan and Papua New Guinea. His work has been funded by the Marie Curie Foundation/COFUND, the Sasakawa Foundation, the University of Edinburgh, the Aristotle University of Thessaloniki (I.K.Y.) and the Onassis Foundation. His research has been published in PLOS ONE, the Annals of the New York Academy of Sciences, Psychology of Music, Musicae Scientiae, Music and Science, and Empirical Musicology Review.

 

  • Donnerstag, 06. Januar 2022, 18 Uhr

Luis-Manuel Garcia Mispireta (University of Birmingham)
From the bottoms up: grassroots organizing and nightlife activism among intersectional queer rave collectives

Seemingly in response to the rapid mainstreaming and concomitant white-/cishetero-washing of popular electronic music, the last decade saw the emergence of numerous rave collectives seeking to re-center their local electronic music scenes around Black and Brown, queer and trans communities. Explicitly political in stance while also committed to local community-building, these collectives are notable for their adoption of principles, practices, and discourses from "grassroots" organizing and activism.
This lecture will provide a survey of these collectives, focusing on Berlin as an international hub for EDM as well as queer nightlife, while also situating this city’s activist rave collectives within emergent translocal networks of like-minded collectives. This talk will consider the impact of broader political shifts in the last decade, such as the intensification of right-wing violence, the vernacularization of activist discourses and practices, and hashtag-focused political movements such as #BlackLivesMatter, #MeToo, and #DJsForPalestine—as well as the devastating impact of COVID-19 and the efforts of these collectives to support and protect the communities they serve.

Luis-Manuel Garcia is a Lecturer in Ethnomusicology and Popular Music Studies at the University of Birmingham, with previous appointments at the Max Planck Institute for Human Development (Berlin) and the University of Groningen (NL). His research focuses on urban electronic dance music scenes, with a particular focus on affect, intimacy, stranger-sociability, embodiment, sexuality, creative industries and musical migration. He is currently conducting research on "techno tourism" and other forms of musical mobility in Berlin; he has also a forthcoming monograph based on earlier research, entitled Together Somehow: Music, Affect, and Intimacy on the Dancefloor (Duke University Press).

 

  • Donnerstag, 10. Februar 2022, 18 Uhr

José Luis Besada Portas (Universidad Complutense, Madrid)
Sketch studies: a true challenge for music theory?

The scrutiny of Western art composers’ sketches has lived different periods during the last decades. Sketch studies were an important branch of Music Theory in the US in the seventies, were put into question as a fruitful field with the arrival of the New Musicology and are reemerging since the turn of the 21st. century. Methods and communicative styles of these proposals have varied over time, but the main goals of sketch studies, such as trying to unveil compositional processes or to evaluate their consistency, haver remained relatively unaltered for a large part of the scholarly community.
Scholars in this field often isolate their case studies from larger questions that circulate in the milieu of music theory which require sometimes a broader abstraction. The aim of my exposition is to show through 2 case studies – namely Iannis Xenakis and Philippe Manoury – how sketch studies may serve, by contrast, to enter into the discussion of wider theoretical problems beyond these particular cases, such as the way we define serial music or the suitability of Klumpenhouwer networks as an analytic tool for post-tonal music. This lecture preludes the publishing of my analyses in leading journals of music theory.

After two post-doctoral periods at IRCAM and at the University of Strasbourg, José L. Besada currently works at the Complutense University of Madrid as a mid-term research fellow. His research primarily focuses on the formal and cognitive features of both contemporary musical practices and music theory. His book Metamodels in Compositional Practices: The Case of Alberto Posadas's Liturgia Fractal was published with the support of the IRCAM. He has also published in leading journals of contemporary music such as Organised Sound, Tempo, Perspectives of New Music, and Contemporary Music Review. He has been guest co-editor of a double special issue in the latter, a second special issue is ongoing. Dr. Besada currently serves in the executive board of the Société Française d’Analyse Musicale (SFAM), is a founding member of the Sociedad de Análisis y Teoría Musical (SATMUS) in Spain, and is the art editor of the Journal of Mathematics and Music.

 

  • Donnerstag, 17. Februar 2022, 18 Uhr

Vincenzina C. Ottomano (Venedig)
"Un'opera quasi pornografica". Die frühe Rezeption von Tristan und Isolde in Italien zwischen Boito und Toscanini

Nach der Uraufführung 1865 hatte Tristan und Isolde viele Schwierigkeiten, sich auf den Bühnen außerhalb des deutschsprachigen Raums zu etablieren. Einen besonderen Fall stellt die italienische Rezeption des Wagner'schen Musikdramas dar. Bereits 1876 hatte der junge Arrigo Boito eine erste italienische Übersetzung des Librettos angefertigt, während 1888 eine tiefgreifende Überarbeitung des Textes für die erste italienische Aufführung der Oper folgte: Anlässlich der Internationalen Musikausstellung in Bologna kam Tristan und Isolde zum ersten Mal in Italien auf die Bühne und sorgte für einen veritablen Skandal seitens des Publikums und der Kritik. Eine Wende in der kritischen Beurteilung der Oper vollzog sich 1900, als Arturo Toscanini eine Neuübersetzung des Librettos in Auftrag gab und das Werk am Teatro alla Scala mit dem prunkvollen Bühnenbild Mariano Fortunys und in Anwesenheit von Siegfried Wagner dirigierte. Anhand neuer Dokumente, die in der Sammlung Toscanini des Staatsarchivs Mailand und in der Sammlung Boito in Parma erhalten sind, wird dieser Vortrag die Bedeutung der Rezeption von Tristan und Isolde in der italienischen Kultur zwischen dem 19. und 20. Jahrhundert beleuchten sowie deren Einfluss auf Musik, Dramaturgie und literarischen Geschmack von Komponisten wie Pizzetti, Puccini und Boito selbst.

Vincenzina C. Ottomano ist Assistenzprofessorin an der Università Ca' Foscari in Venedig. Sie studierte Musikwissenschaft an den Universitäten Pavia (Cremona) und Freiburg im Üchtland (Schweiz). Von 2008 bis 2012 war sie Stipendiatin des Schweizerischen Nationalfonds am Institut für Musikwissenschaft der Universität Bern, wo sie mit einer Dissertation zur frühen Rezeption russischer Oper in Frankreich und Italien promoviert wurde. Von März 2012 bis September 2021 war sie Wissenschaftliche Mitarbeiterin und Assistentin am Institut für Musikwissenschaft der Universität Bern. Ihre Forschungsinteressen betreffen Operndramaturgie, russische Musik und Musiktheater, Rezeptionsgeschichte der Musik und italienisches Musiktheater nach 1900.