BEGIN:VCALENDAR PRODID:BedeWork V3.5 VERSION:2.0 METHOD:PUBLISH BEGIN:VTIMEZONE TZID:America/New_York X-LIC-LOCATION:America/New_York BEGIN:DAYLIGHT TZOFFSETFROM:-0500 TZOFFSETTO:-0400 TZNAME:EDT DTSTART:20070311T020000 RRULE:FREQ=YEARLY;BYMONTH=3;BYDAY=2SU END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0400 TZOFFSETTO:-0500 TZNAME:EST DTSTART:20071104T020000 RRULE:FREQ=YEARLY;BYMONTH=11;BYDAY=1SU END:STANDARD BEGIN:STANDARD TZOFFSETFROM:-045602 TZOFFSETTO:-0500 TZNAME:EST DTSTART:18831118T120358 RDATE:18831118T120358 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0500 TZOFFSETTO:-0400 TZNAME:EDT DTSTART:19180331T020000 RDATE:19180331T020000 RDATE:19190330T020000 RDATE:19200328T020000 RDATE:19210424T020000 RDATE:19220430T020000 RDATE:19230429T020000 RDATE:19240427T020000 RDATE:19250426T020000 RDATE:19260425T020000 RDATE:19270424T020000 RDATE:19280429T020000 RDATE:19290428T020000 RDATE:19300427T020000 RDATE:19310426T020000 RDATE:19320424T020000 RDATE:19330430T020000 RDATE:19340429T020000 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RDATE:19841028T020000 RDATE:19851027T020000 RDATE:19861026T020000 RDATE:19871025T020000 RDATE:19881030T020000 RDATE:19891029T020000 RDATE:19901028T020000 RDATE:19911027T020000 RDATE:19921025T020000 RDATE:19931031T020000 RDATE:19941030T020000 RDATE:19951029T020000 RDATE:19961027T020000 RDATE:19971026T020000 RDATE:19981025T020000 RDATE:19991031T020000 RDATE:20001029T020000 RDATE:20011028T020000 RDATE:20021027T020000 RDATE:20031026T020000 RDATE:20041031T020000 RDATE:20051030T020000 RDATE:20061029T020000 END:STANDARD BEGIN:STANDARD TZOFFSETFROM:-0500 TZOFFSETTO:-0500 TZNAME:EST DTSTART:19200101T000000 RDATE:19200101T000000 RDATE:19420101T000000 RDATE:19460101T000000 RDATE:19670101T000000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0500 TZOFFSETTO:-0400 TZNAME:EWT DTSTART:19420209T020000 RDATE:19420209T020000 END:DAYLIGHT BEGIN:DAYLIGHT TZOFFSETFROM:-0400 TZOFFSETTO:-0400 TZNAME:EPT DTSTART:19450814T190000 RDATE:19450814T190000 END:DAYLIGHT END:VTIMEZONE BEGIN:VEVENT CATEGORIES:Arts CATEGORIES:Lectures/Conferences CATEGORIES:Utilities CATEGORIES:Concert/Music CATEGORIES:Lecture/Talk CATEGORIES:Main CONTACT;X-BEDEWORK-UID=00f1fcdb-0f068baf-010f-068baf83-00000004:None CREATED:20240807T164009Z DESCRIPTION:Mark Pottinger: "Sound and Nature in Early Nineteenth-Century Germany: Der Freischütz and the Romantic Science of Johann Wilhelm Ritter "\n\nManhattan College DTSTAMP:20240809T145459Z DTSTART;TZID=America/New_York:20240913T160000 LAST-MODIFIED:20240809T145459Z LOCATION;X-BEDEWORK-UID=18832edc-1b23ba5b-011b-27d7193c-0000001a:Biddle Mu sic Building\, 104 STATUS:CONFIRMED SUMMARY:Mark Pottinger: "Sound and Nature in Early Nineteenth-Century Germ any: Der Freischütz and the Romantic Science of Johann Wilhelm Ritter" UID:CAL-8a00fee2-9105df62-0191-2db653f2-00006ce7demobedework@mysite.edu X-BEDEWORK-ALIAS;X-BEDEWORK-PARAM-DISPLAYNAME=Main:/user/public-user/Utili ties/Main X-BEDEWORK-ALIAS;X-BEDEWORK-PARAM-DISPLAYNAME=Concert_Music:/user/public-u ser/Arts/Concert_Music X-BEDEWORK-ALIAS;X-BEDEWORK-PARAM-DISPLAYNAME=Lecture_Talk:/user/public-us er/Lectures_Conferences/Lecture_Talk X-BEDEWORK-STUDENT-CONTACT;X-BEDEWORK-PARAM-EMAIL=philip.rupprecht@duke.ed u: Philip Rupprecht X-BEDEWORK-SUBMITTEDBY:wjg24 for Music (agrp__ArtsandSciences_Music) END:VEVENT BEGIN:VEVENT CATEGORIES:Lectures/Conferences CATEGORIES:Utilities CATEGORIES:Lecture/Talk CATEGORIES:Main CONTACT;X-BEDEWORK-UID=00f1fcdb-0f068baf-010f-068baf83-00000004:None CREATED:20240812T142030Z DESCRIPTION:Heritage Institutions and Romani Music and Musicians in Twenty -First-Century Hungary. DURATION:PT1H DTSTAMP:20240812T142030Z DTSTART;TZID=America/New_York:20240920T160000 LAST-MODIFIED:20240812T142030Z LOCATION;X-BEDEWORK-UID=18832edc-1b23ba5b-011b-27d7193c-0000001a:Biddle Mu sic Building\, 104 STATUS:CONFIRMED SUMMARY:Musicology lecture with Lynn Hooker UID:CAL-8a00048d-91324965-0191-46f64461-000020efdemobedework@mysite.edu X-BEDEWORK-ALIAS;X-BEDEWORK-PARAM-DISPLAYNAME=Main:/user/public-user/Utili ties/Main X-BEDEWORK-ALIAS;X-BEDEWORK-PARAM-DISPLAYNAME=Lecture_Talk:/user/public-us er/Lectures_Conferences/Lecture_Talk X-BEDEWORK-STUDENT-CONTACT;X-BEDEWORK-PARAM-EMAIL=verena.m@duke.edu:Verena Mösenbichler-Bryant X-BEDEWORK-SUBMITTEDBY:wjg24 for Music (agrp__ArtsandSciences_Music) END:VEVENT BEGIN:VEVENT CATEGORIES:Lectures/Conferences CATEGORIES:Utilities CATEGORIES:Lecture/Talk CATEGORIES:Main CONTACT;X-BEDEWORK-UID=00f1fcdb-0f068baf-010f-068baf83-00000004:None CREATED:20240906T131108Z DESCRIPTION:Ethnomusicology Lecture\n\nTomie Hahn is an artist and ethnomu sicologist. Her research and creative work spans a range of area topics i ncluding Japanese performance\, Monster Truck rallies\, transmission\, th e senses\, embodiment\, dance\, multiracial expressivity\, and contemplat ive practices. Her scholarly and creative work is cited as contributing t o the "sensory turn" in scholarly research\, specifically her monograph S ensational Knowledge: Embodying Culture through Japanese Dance (Wesleyan University Press) and Arousing Sense: Recipes for Workshopping Sensory Ex perience (University of Illinois Press). She is Professor emerita in the Arts Department at Rensselaer Polytechnic Institute\, where she also serv ed as the Director of the Center for Deep Listening. She is currently Pas t President of the Society for Ethnomusicology. DURATION:PT1H DTSTAMP:20240923T205218Z DTSTART;TZID=America/New_York:20240927T160000 LAST-MODIFIED:20240923T205218Z LOCATION;X-BEDEWORK-UID=18832edc-1b23ba5b-011b-27d7193c-0000001a:Biddle Mu sic Building\, 104 STATUS:CONFIRMED SUMMARY:Tomie Hahn: “Memories of Sense—Tracing the Ephemeral in Research a nd Creative Practice” UID:CAL-8a00048d-91324965-0191-c775c1b1-00000588demobedework@mysite.edu X-BEDEWORK-ALIAS;X-BEDEWORK-PARAM-DISPLAYNAME=Main:/user/public-user/Utili ties/Main X-BEDEWORK-ALIAS;X-BEDEWORK-PARAM-DISPLAYNAME=Lecture_Talk:/user/public-us er/Lectures_Conferences/Lecture_Talk X-BEDEWORK-STUDENT-CONTACT;X-BEDEWORK-PARAM-EMAIL=yun.emily.wang@duke.edu: Yun Emily Wang X-BEDEWORK-SUBMITTEDBY:wjg24 for Music (agrp__ArtsandSciences_Music) END:VEVENT BEGIN:VEVENT CATEGORIES:Lectures/Conferences CATEGORIES:Utilities CATEGORIES:Lecture/Talk CATEGORIES:Main CONTACT;X-BEDEWORK-UID=00f1fcdb-0f068baf-010f-068baf83-00000004:None CREATED:20240808T170517Z DESCRIPTION:This lecture will examine how a series of eighteenth-century e arthquakes contributed to the creation\, dissemination\, and evolution of "Devoción a las tres horas de la agonía de Cristo"\, a Peruvian paralitu rgical devotion best known to musicologists through Joseph Haydn's "The S even Last Words". \n\nForged in the aftermath of a 1687 earthquake in Lim a\, the transatlantic circulation of "las tres horas" and its musical int erludes demonstrates the surprisingly direct connections between contempo rary natural events and music. Drawing on material from Dr. Oliva's curre nt book project\, "Seismic Sounds: Music and the Auditory Experience of D isaster in the Eighteenth-Century Atlantic World"\, her talk explores the ways music was shaped by the knowledge and experience of natural disaste rs. DTSTAMP:20240930T172132Z DTSTART;TZID=America/New_York:20241004T160000 LAST-MODIFIED:20240930T172132Z LOCATION;X-BEDEWORK-UID=18832edc-1b23ba5b-011b-27d7193c-0000001a:Biddle Mu sic Building\, 104 STATUS:CONFIRMED SUMMARY:Diane Oliva (University of Michigan): “Hearing the Subterranean Vo ice: Earthquakes in Eighteenth-Century Music” UID:CAL-8a00048d-91324965-0191-32f3b4c0-0000072cdemobedework@mysite.edu X-BEDEWORK-ALIAS;X-BEDEWORK-PARAM-DISPLAYNAME=Main:/user/public-user/Utili ties/Main X-BEDEWORK-ALIAS;X-BEDEWORK-PARAM-DISPLAYNAME=Lecture_Talk:/user/public-us er/Lectures_Conferences/Lecture_Talk X-BEDEWORK-STUDENT-CONTACT;X-BEDEWORK-PARAM-EMAIL=philip.rupprecht@duke.ed u:Philip Rupprecht X-BEDEWORK-SUBMITTEDBY:wjg24 for Music (agrp__ArtsandSciences_Music) X-BEDEWORK-DUKE-SERIES:Musicology Lecture END:VEVENT BEGIN:VEVENT CATEGORIES:Teaching & Classroom Learning CATEGORIES:Asia focus CATEGORIES:Global CATEGORIES:Humanities CATEGORIES:Lectures/Conferences CATEGORIES:Utilities CATEGORIES:Lecture/Talk CATEGORIES:Research CATEGORIES:Main CONTACT;X-BEDEWORK-UID=8a0290b4-860465b2-0186-debfba9d-00003c8d:Asian Paci fic Studies Institute (APSI) CREATED:20240903T184006Z DESCRIPTION:Japanese everyday life is characterized by the mundane and ubi quitous presence of voice types specific to particular genders\, vocation s\, and social situations.\n\nThis presentation overviews my third book p roject\, about the role that these voices play in the moral education of contemporary Japan. I focus on four categories of voices: voices to child ren\, service voices\, professional announcers\, and voices of law\, whic h together constitute an unending chorus of pedagogical voices that prope l people through everyday life and teach obedience to social order and to the law.\n\nThe purpose of this project is to demonstrate that the pedag ogical power of the voice arises not only from what these voices say\, bu t from the prosodic features of the voice-uses of timbre\, pitch\, dynami cs\, textures and rhythm\, features which arise from a confluence of voic e production and its complex technological and spatial mediation.\n\nAbou t the speaker:\nJoshua D. Pilzer is an associate professor of Ethnomusico logy at the University of Toronto. His research focuses on the anthropolo gy of sound and music in modern Korea and Japan\, voice studies\, gender\ , trauma and everyday life studies. He is particularly interested in the ethnography of the "everyday\," in the thresholds which link music to oth er forms of social expression\, and in the vistas of ethnomusicology beyo nd music.\n\nHis first book\, "Hearts of Pine\," about singing in the liv es of Korean survivors of the Japanese "comfort women" system\, was publi shed in 2012. His second book\, "Quietude\," was published in 2022 and is an ethnography of the arts of survival among Korean survivors of the ato mic bombing of Hiroshima and their children.\n\nHe is currently conductin g fieldwork for an ethnography of the voice in everyday life in contempor ary Japan\, focused on the uses of speaking and singing voices in pedagog ies of propriety and authority. DURATION:PT1H30M DTSTAMP:20241002T211141Z DTSTART;TZID=America/New_York:20241025T160000 LAST-MODIFIED:20241002T211141Z LOCATION;X-BEDEWORK-UID=18832edc-1b23ba5b-011b-27d7193c-0000001a:Biddle Mu sic Building\, 104 STATUS:CONFIRMED SUMMARY:Civil Voices: Everyday Vocality in the Production of Japanese Soci al Order UID:CAL-8a00048d-91324965-0191-b92fda58-00005e67demobedework@mysite.edu X-BEDEWORK-ALIAS;X-BEDEWORK-PARAM-DISPLAYNAME=Main:/user/public-user/Utili ties/Main X-BEDEWORK-ALIAS;X-BEDEWORK-PARAM-DISPLAYNAME=Lecture_Talk:/user/public-us er/Lectures_Conferences/Lecture_Talk X-BEDEWORK-ALIAS;X-BEDEWORK-PARAM-DISPLAYNAME=Asia focus:/user/public-user /Topic of Event Focused on a Country or Continent (if applicable)/Asia fo cus X-BEDEWORK-ALIAS;X-BEDEWORK-PARAM-DISPLAYNAME=Global:/user/public-user/Top ic of Event Focused on a Country or Continent (if applicable)/Global X-BEDEWORK-ALIAS;X-BEDEWORK-PARAM-DISPLAYNAME=Humanities:/user/public-user /Topics/Humanities X-BEDEWORK-ALIAS;X-BEDEWORK-PARAM-DISPLAYNAME=Research:/user/public-user/T opics/Research X-BEDEWORK-CS;X-BEDEWORK-PARAM-DESCRIPTION="/principals/users/agrp_AsianAm ericanStudies,/principals/users/agrp__ArtsandSciences_Music,":Asian Ameri can and Diaspora Studies\,Music X-BEDEWORK-ALIAS;X-BEDEWORK-PARAM-DISPLAYNAME="Teaching & Classroom Learning":/user/public-user/Topics/Teaching Classroom Learning X-BEDEWORK-SPEAKER:Joshua Pilzer (University of Toronto) X-BEDEWORK-DUKE-SERIES:APSI Speaker Series X-BEDEWORK-IMAGE-X1:0 X-BEDEWORK-IMAGE-Y1:0 X-BEDEWORK-IMAGE-X2:1059 X-BEDEWORK-IMAGE-Y2:706 X-BEDEWORK-IMAGE-CROP-WIDTH:1059 X-BEDEWORK-IMAGE-CROP-HEIGHT:706 X-BEDEWORK-IMAGE-ALT-TEXT:Headshot of Joshua Pilzer\; background images of individuals engaged in various occupations around Japan X-BEDEWORK-SUBMITTEDBY:rmk33 for Asian Pacific Studies Institute (APSI) (a grp_ArtsandSciences_AsianPacificStudiesInstitute) X-BEDEWORK-IMAGE:/public/Images/241025_Pilzer_cal_20240906090055PM.png X-BEDEWORK-THUMB-IMAGE:/public/Images/241025_Pilzer_cal_20240906090055PM-t humb.png END:VEVENT BEGIN:VEVENT CATEGORIES:Lectures/Conferences CATEGORIES:Utilities CATEGORIES:Lecture/Talk CATEGORIES:Main CONTACT;X-BEDEWORK-UID=00f1fcdb-0f068baf-010f-068baf83-00000004:None CREATED:20240808T190047Z DESCRIPTION:American jazz pianist Maurice Rocco lived and worked in Thaila nd for a while during the Cold War\, as a reprieve from American racism a nd homophobia. In addition to physical safety\, Rocco found great profess ional success as an expatriate musical laborer in Bangkok. From 1964 unti l his murder in 1976\, he enjoyed a vibrant second act in Asia as an in-d emand nightlife pianist. During those dozen years\, however\, systems of sex and gender expression\, as well as racial identity\, underwent profou nd discursive shifts in the neocolonial contact zone to which Thailand pl ayed host. The U.S. looked to Thailand as a regional bastion of anti-comm unism\, infusing it with transformational sums of military money and deve lopmental expertise. In turn\, Thailand adjusted its social codes as an a ccommodation to American patronage. Rocco lived his last decade in the ro ugh swells of this geopolitical convergence. \n \nMaurice Rocco's years i n Bangkok can help to illuminate a slow but profound shift in definitions and valuations of race\, sex\, and gender identity in Thailand. His murd er\, which occurred precisely as American troops began to withdraw from t he country\, was a tragic reflection of this shift. His intersectionality was a remarkably complex one\, entailing not only Blackness and gayness but also farangness and (in central ways) musicality. This talk traces th is complexity through a wealth of primary sources and interview evidence. But the talk cannot fully untangle the threads of Rocco's identity. Rath er\, we will sit with the messiness in the story\, viewing Rocco's years in Bangkok from several analytical vantages\, in an effort to consider ho w musical beings lived\, worked\, and sometimes perished in the rough epi stemological currents of transnational labor during the Cold War. DTSTAMP:20241111T204023Z DTSTART;TZID=America/New_York:20241122T160000 LAST-MODIFIED:20241111T204023Z LOCATION;X-BEDEWORK-UID=18832edc-1b23ba5b-011b-27d7193c-0000001a:Biddle Mu sic Building\, 104 STATUS:CONFIRMED SUMMARY:Benjamin Tausig: "Bangkok after Dark: Maurice Rocco\, Transnationa l Nightlife\, and the Making of Cold War Intimacies" UID:CAL-8a00048d-91324965-0191-335d70c2-0000088fdemobedework@mysite.edu X-BEDEWORK-ALIAS;X-BEDEWORK-PARAM-DISPLAYNAME=Main:/user/public-user/Utili ties/Main X-BEDEWORK-ALIAS;X-BEDEWORK-PARAM-DISPLAYNAME=Lecture_Talk:/user/public-us er/Lectures_Conferences/Lecture_Talk X-BEDEWORK-STUDENT-CONTACT;X-BEDEWORK-PARAM-EMAIL=yun.emily.wang@duke.edu: Yun Emily Wang X-BEDEWORK-SUBMITTEDBY:wjg24 for Music (agrp__ArtsandSciences_Music) X-BEDEWORK-IMAGE-X1:0 X-BEDEWORK-IMAGE-Y1:0 X-BEDEWORK-IMAGE-X2:4272 X-BEDEWORK-IMAGE-Y2:2848 X-BEDEWORK-IMAGE-CROP-WIDTH:4272 X-BEDEWORK-IMAGE-CROP-HEIGHT:2848 X-BEDEWORK-IMAGE-ALT-TEXT:Tausig X-BEDEWORK-IMAGE:/public/Images/tausig (1)_20241022015451PM.JPG X-BEDEWORK-THUMB-IMAGE:/public/Images/tausig (1)_20241022015451PM-thumb.pn g END:VEVENT BEGIN:VEVENT CATEGORIES:Lectures/Conferences CATEGORIES:Utilities CATEGORIES:Lecture/Talk CATEGORIES:Main CONTACT;X-BEDEWORK-UID=00f1fcdb-0f068baf-010f-068baf83-00000004:None CREATED:20241213T144714Z DESCRIPTION:Ethnomusicology Lecture: Max Ritts\, Graduate School of Geogra phy\, Clark University\n\nIn what ways does industrial development manife st\, to invoke Radano and Olaniyan (2015)\, as an "audible formation" - t hat is\, as an articulated set of social practices\, institutional discou rses\, and economic logics? What sorts of 'sonic turns' do development pr essures instigate? To what extent might these impart both the longue duré e processes of modernity as well as the unruly temporalities of the Anthr opocene? And finally\, what is the geographical extent of a development aurality? Do particular development geographies manifest particularized f orms of sound-making\, listening\, and composing\, and if so\, what sorts of analytic methods do they recommend? This talk attempts to broach thes e questions by way of an introduction to my new book A Resonant Ecology ( Duke UP 2024). An ethnography of development\, A Resonant Ecology investi gates a transformative period in the history of the North Coast (British Columbia\, CAN)\, marked by emergent global governance discourses\, multi plying ecological destabilizations\, ongoing forms of settler colonial ru le\, and Indigenous cultural resurgence. Here\, I propose that a seemingl y discrete set of sonic moments - a cetacean abundance study\, an underwa ter mapping effort\, an anthropogenic noise conflict\, Indigenous black m etal - can be used to build a prismatic portrait of a region in flux and affirm its significance to several sound studies debates.\n\nAdmission is free - No need to purchase tickets to attend. DURATION:PT1H DTSTAMP:20250113T212933Z DTSTART;TZID=America/New_York:20250124T160000 LAST-MODIFIED:20250113T212933Z LOCATION;X-BEDEWORK-UID=18832edc-1b23ba5b-011b-27d7193c-0000001a:Biddle Mu sic Building\, 104 STATUS:CONFIRMED SUMMARY:Max Ritts: "Audible Formations? Development Geographies and Sound Studies." UID:CAL-8a000483-92c3adf6-0193-c07cf5d5-0000335bdemobedework@mysite.edu X-BEDEWORK-ALIAS;X-BEDEWORK-PARAM-DISPLAYNAME=Main:/user/public-user/Utili ties/Main X-BEDEWORK-ALIAS;X-BEDEWORK-PARAM-DISPLAYNAME=Lecture_Talk:/user/public-us er/Lectures_Conferences/Lecture_Talk X-BEDEWORK-CS;X-BEDEWORK-PARAM-DESCRIPTION="/principals/users/agrp_Artsand Sciences_CulturalAnthropology,":Cultural Anthropology X-BEDEWORK-STUDENT-CONTACT;X-BEDEWORK-PARAM-EMAIL=meintjes@duke.edu:Louise Meintjes X-BEDEWORK-SUBMITTEDBY:wjg24 for Music (agrp__ArtsandSciences_Music) X-BEDEWORK-IMAGE-X1:0 X-BEDEWORK-IMAGE-Y1:34 X-BEDEWORK-IMAGE-X2:720 X-BEDEWORK-IMAGE-Y2:514 X-BEDEWORK-IMAGE-CROP-WIDTH:720 X-BEDEWORK-IMAGE-CROP-HEIGHT:480 X-BEDEWORK-IMAGE-ALT-TEXT:Max Ritts X-BEDEWORK-IMAGE:/public/Images/Max-Ritts-720x720-1_20250107043426PM.jpg X-BEDEWORK-THUMB-IMAGE:/public/Images/Max-Ritts-720x720-1_20250107043426PM -thumb.png END:VEVENT BEGIN:VEVENT CATEGORIES:Arts CATEGORIES:Utilities CATEGORIES:Concert/Music CATEGORIES:Main CONTACT;X-BEDEWORK-UID=00f1fcdb-0f068baf-010f-068baf83-00000004:None CREATED:20241213T150432Z DESCRIPTION:Join us for a concert featuring our Jazz area students as they showcase their creativity and improvisational skills\, playing jazz stan dards and original tunes.\n\nAdmission is free - No need to purchase tick ets to attend. DURATION:PT1H DTSTAMP:20250113T213147Z DTSTART;TZID=America/New_York:20250206T171500 LAST-MODIFIED:20250113T213147Z LOCATION;X-BEDEWORK-UID=18832edc-1b23ba5b-011b-27d7193c-0000001a:Biddle Mu sic Building\, 104 STATUS:CONFIRMED SUMMARY:Fountain Concert: “Improv Hour” UID:CAL-8a000483-92c3adf6-0193-c08cca10-000033c2demobedework@mysite.edu X-BEDEWORK-ALIAS;X-BEDEWORK-PARAM-DISPLAYNAME=Main:/user/public-user/Utili ties/Main X-BEDEWORK-ALIAS;X-BEDEWORK-PARAM-DISPLAYNAME=Concert_Music:/user/public-u ser/Arts/Concert_Music X-BEDEWORK-STUDENT-CONTACT;X-BEDEWORK-PARAM-EMAIL=ieva.jokubaviciute@duke. edu:Ieva Jokubaviciute X-BEDEWORK-SUBMITTEDBY:wjg24 for Music (agrp__ArtsandSciences_Music) X-BEDEWORK-IMAGE-X1:0 X-BEDEWORK-IMAGE-Y1:19 X-BEDEWORK-IMAGE-X2:1000 X-BEDEWORK-IMAGE-Y2:685.6666666666666 X-BEDEWORK-IMAGE-CROP-WIDTH:1000 X-BEDEWORK-IMAGE-CROP-HEIGHT:666.6666666666666 X-BEDEWORK-IMAGE-ALT-TEXT:fountain X-BEDEWORK-IMAGE:/public/Images/_Fountain_20250107092406PM.png X-BEDEWORK-THUMB-IMAGE:/public/Images/_Fountain_20250107092406PM-thumb.png END:VEVENT BEGIN:VEVENT CATEGORIES:Lectures/Conferences CATEGORIES:Utilities CATEGORIES:Lecture/Talk CATEGORIES:Main CONTACT;X-BEDEWORK-UID=00f1fcdb-0f068baf-010f-068baf83-00000004:None CREATED:20241213T154325Z DESCRIPTION:Marianna Ritchey: "Against Idealism: Music\, Musicology\, and the End of the World"\n\nIn 2020\, the Louisville Orchestra offered a mus ical tribute to Breonna Taylor\, whom Louisville police had murdered six months earlier. This "Concert for Healing" was widely celebrated for "doi ng something" about racism in Louisville. In this talk\, I accept the Orc hestra's invitation to think about the connections between orchestral cla ssical music and social change. Via a mixture of archival research\, inve stigative journalism\, and critical theory\, I tell a very different stor y than the optimistic one reiterated in proclamations about music's trans formative social power. This other story is about the material role that major symphony orchestras like Louisville's have played in the racist urb an development of their cities since the nineteenth century. I trace this history in an attempt to construct a materialist account of U.S. "classi cal music" very different from the idealist one that circulates in this m usical culture. I ultimately argue that idealism constitutes a profound p olitical problem that is omnipresent in social justice initiatives throug hout the world of classical music.\n\nAdmission is free - No need to purc hase tickets to attend. DURATION:PT1H DTSTAMP:20250113T213310Z DTSTART;TZID=America/New_York:20250214T160000 LAST-MODIFIED:20250113T213310Z LOCATION;X-BEDEWORK-UID=18832edc-1b23ba5b-011b-27d7193c-0000001a:Biddle Mu sic Building\, 104 STATUS:CONFIRMED SUMMARY:Marianna Ritchey: “Against Idealism: Music\, Musicology\, and the End of the World” UID:CAL-8a000483-92c3adf6-0193-c0b0634a-0000348ademobedework@mysite.edu X-BEDEWORK-ALIAS;X-BEDEWORK-PARAM-DISPLAYNAME=Main:/user/public-user/Utili ties/Main X-BEDEWORK-ALIAS;X-BEDEWORK-PARAM-DISPLAYNAME=Lecture_Talk:/user/public-us er/Lectures_Conferences/Lecture_Talk X-BEDEWORK-STUDENT-CONTACT;X-BEDEWORK-PARAM-EMAIL=philip.rupprecht@duke.ed u:Philip Rupprecht X-BEDEWORK-SUBMITTEDBY:wjg24 for Music (agrp__ArtsandSciences_Music) X-BEDEWORK-IMAGE-X1:0 X-BEDEWORK-IMAGE-Y1:270 X-BEDEWORK-IMAGE-X2:1520 X-BEDEWORK-IMAGE-Y2:1283.3333333333335 X-BEDEWORK-IMAGE-CROP-WIDTH:1520 X-BEDEWORK-IMAGE-CROP-HEIGHT:1013.3333333333335 X-BEDEWORK-IMAGE-ALT-TEXT:Marianna Ritchey X-BEDEWORK-IMAGE:/public/Images/86060_MariannaRitchey.rev.1604337589_20250 108041039PM.jpg X-BEDEWORK-THUMB-IMAGE:/public/Images/86060_MariannaRitchey.rev.1604337589 _20250108041039PM-thumb.png END:VEVENT BEGIN:VEVENT CATEGORIES:Lectures/Conferences CATEGORIES:Utilities CATEGORIES:Lecture/Talk CATEGORIES:Main CONTACT;X-BEDEWORK-UID=00f1fcdb-0f068baf-010f-068baf83-00000004:None CREATED:20241213T170019Z DESCRIPTION:Belligerent Optimism and Future Work in Lebanese Alternative M usic\n\nIn this talk\, I argue that alternative music in Lebanon is a pri vileged site for imagining and reconfiguring the country's future. With t he goal of decentering frameworks that center suffering or resistance in favor of vitality and joy\, I look to the music of Lebanese bands Soapkil ls\, Scrambled Eggs\, and Mashrou' Leila as exemplifying what I call a "b elligerent optimism." Through the framework of belligerent optimism\, thi s talk considers how the sonic\, aesthetic\, and presentational qualities of these bands' music become imaginative tools for envisioning a differe nt-and perhaps better-Lebanon. More broadly\, through my own belligerent optimism\, I seek to map a path towards theorizing radical action as poss ible in the absence of remarkable or revolutionary events and with a stub born indifference towards engagement with ossified identity categories.\n \nAdmission is free - No need to purchase tickets to attend. DURATION:PT1H30M DTSTAMP:20250212T215257Z DTSTART;TZID=America/New_York:20250221T160000 LAST-MODIFIED:20250212T215257Z LOCATION;X-BEDEWORK-UID=18832edc-1b23ba5b-011b-27d7193c-0000001a:Biddle Mu sic Building\, 104 STATUS:CONFIRMED SUMMARY:Nour El Rayes: "Belligerent Optimism and Future Work in Lebanese A lternative Music" UID:CAL-8a000483-92c3adf6-0193-c0f6c96a-00003707demobedework@mysite.edu X-BEDEWORK-ALIAS;X-BEDEWORK-PARAM-DISPLAYNAME=Main:/user/public-user/Utili ties/Main X-BEDEWORK-ALIAS;X-BEDEWORK-PARAM-DISPLAYNAME=Lecture_Talk:/user/public-us er/Lectures_Conferences/Lecture_Talk X-BEDEWORK-STUDENT-CONTACT;X-BEDEWORK-PARAM-EMAIL=meintjes@duke.edu:Louise Meintjes X-BEDEWORK-CS;X-BEDEWORK-PARAM-DESCRIPTION="/principals/users/agrp_Artsand Sciences_AsianandMiddleEasternStudies,/principals/users/agrp_ArtsandScien ces_CulturalAnthropology,":Asian &\;amp\;amp\;amp\;amp\;amp\;amp\;amp\ ;amp\; Middle Eastern Studies (AMES)\,Cultural Anthropology X-BEDEWORK-SUBMITTEDBY:wjg24 for Music (agrp__ArtsandSciences_Music) X-BEDEWORK-IMAGE-X1:0 X-BEDEWORK-IMAGE-Y1:40 X-BEDEWORK-IMAGE-X2:800 X-BEDEWORK-IMAGE-Y2:573.3333333333334 X-BEDEWORK-IMAGE-CROP-WIDTH:800 X-BEDEWORK-IMAGE-CROP-HEIGHT:533.3333333333334 X-BEDEWORK-IMAGE-ALT-TEXT:Nour El Reyes X-BEDEWORK-IMAGE:/public/Images/ElRayes_Nour-2-2_20250110061140PM.png X-BEDEWORK-THUMB-IMAGE:/public/Images/ElRayes_Nour-2-2_20250110061140PM-th umb.png END:VEVENT BEGIN:VEVENT CATEGORIES:Lectures/Conferences CATEGORIES:Utilities CATEGORIES:Lecture/Talk CATEGORIES:Main CONTACT;X-BEDEWORK-UID=00f1fcdb-0f068baf-010f-068baf83-00000004:None CREATED:20241213T172509Z DESCRIPTION:The Pop artist Andy Warhol (d. 1987) has had a surprising afte rlife in the lyrics of hip-hop musicians\, often paired with the namechec king of Jean-Michel Basquiat. My presentation will place this phenomenon in the context of Fab Five Freddie's Campbell's Soup can graffiti\, Warho l's collaborations with Jean-Michel Basquiat\, and other creative works a nd associations that paved a way for Warhol\, a white and profoundly quee r artist\, to enter Black cultural discourse. I approach this genealogy a long three intersecting vectors: skin\, art\, and capitalism.\n\nJudith A . Peraino is a professor of music at Cornell University. Her publications include articles on medieval music\, Blondie\, David Bowie\, PJ Harvey\, Mick Jagger\, Pussy Riot\, and early synthpop. She is the author of two books: Listening to the Sirens: Musical Technologies of Queer Identity fr om Homer to Hedwig (2006) and Giving Voice to Love: Song and Self-Express ion from the Troubadours to Guillaume de Machaut (2011)\, and the co-auth or with Tom McEnaney of We're Having Much More Fun: Punk Archives for the Present\, forthcoming in 2025. Her current book project explores Andy Wa rhol's involvement with rock and pop musicians in the 1970s and '80s.\n\n Admission is free - No need to purchase tickets to attend. DURATION:PT1H DTSTAMP:20250206T201319Z DTSTART;TZID=America/New_York:20250228T160000 LAST-MODIFIED:20250206T201319Z LOCATION;X-BEDEWORK-UID=18832edc-1b23ba5b-011b-27d7193c-0000001a:Biddle Mu sic Building\, 104 STATUS:CONFIRMED SUMMARY:Judith Peraino: “Art Bling: Warhol\, Basquiat\, and Hip Hop” UID:CAL-8a000483-92c3adf6-0193-c10d86dd-0000376ddemobedework@mysite.edu X-BEDEWORK-ALIAS;X-BEDEWORK-PARAM-DISPLAYNAME=Main:/user/public-user/Utili ties/Main X-BEDEWORK-ALIAS;X-BEDEWORK-PARAM-DISPLAYNAME=Lecture_Talk:/user/public-us er/Lectures_Conferences/Lecture_Talk X-BEDEWORK-STUDENT-CONTACT;X-BEDEWORK-PARAM-EMAIL=philip.rupprecht@duke.ed u:Phillip Rupprecht X-BEDEWORK-SUBMITTEDBY:wjg24 for Music (agrp__ArtsandSciences_Music) X-BEDEWORK-IMAGE-X1:0 X-BEDEWORK-IMAGE-Y1:140 X-BEDEWORK-IMAGE-X2:530 X-BEDEWORK-IMAGE-Y2:493.3333333333333 X-BEDEWORK-IMAGE-CROP-WIDTH:530 X-BEDEWORK-IMAGE-CROP-HEIGHT:353.3333333333333 X-BEDEWORK-IMAGE-ALT-TEXT:Judith Peraino X-BEDEWORK-IMAGE:/public/Images/judith-a-peraino-2-2_20250108060328PM.jpg X-BEDEWORK-THUMB-IMAGE:/public/Images/judith-a-peraino-2-2_20250108060328P M-thumb.png END:VEVENT BEGIN:VEVENT CATEGORIES:Lectures/Conferences CATEGORIES:Utilities CATEGORIES:Lecture/Talk CATEGORIES:Main CONTACT;X-BEDEWORK-UID=00f1fcdb-0f068baf-010f-068baf83-00000004:None CREATED:20250930T135719Z DESCRIPTION:Since 1945\, global memory culture has often been driven by th e convictions behind Holocaust remembrance: that remembrance prevents rec urrence\, and that to "never forget" is to embrace specific moral lessons . These lessons and their imperatives have aligned easily with democratic principles of tolerance\, equal protection for all citizens\, and freedo ms of speech\, religion\, and press. In the post-Cold War era\, the conve rgence of memory's lessons with state democracy seemed complete\, as the fall of the Soviet Union and its allies was grandly declared the "end of history" by political scientist Francis Fukuyama as early as 1989\, seen as the culmination and termination of a long dialectical process.\n\nThe result of these memory imperatives has been a surfeit of commemorative pr ojects--the so-called "memory boom" of the last forty years--which in the U.S. has been further inflated by the memorial culture of 9/11\, includi ng its vast musical repertoire. In the face of memorial excess\, it is fo rgetting\, rather than remembering\, that might seem aspirational\, sugge sting a utopian future in which the historical lessons now so anxiously g uarded no longer require the same vigilance. Yet in 2025\, history itself is being rapidly repurposed: unwritten and rewritten\, stripped from pub lic sites\, and suppressed when it runs afoul of the current regime's ahi storical revisionism. With these "new ends of history"-where history is b oth terminated and repurposed toward authoritarian aims-the assumption th at memorials can offer a perpetual account and site of solace for future audiences can no longer be taken for granted.\n\nIn this talk\, I suggest it is here that musical memorials can make a distinctive intervention. T heir liveness and ephemerality-which may otherwise render them less legib le as memory- become strengths in a moment when other forms of memory can find the very histories they address into question. Taking Joel Thompson 's Seven Last Words of the Unarmed and Gloria Coates's String Quartet No. 8 as examples\, I suggest that these pieces operate not just as musical works but as flexible and repeated memory acts that\, with new urgency\, eschew monumental permanence.\n\nAndrea Moore is Associate Professor of M usic at Smith College. Her research interests are centered on new music a nd musical institutions\, and include questions of musical value and pres tige\, contemporary Bach culture and other post-canonic traces\, and cult ural memory. DURATION:PT1H DTSTAMP:20251008T205246Z DTSTART;TZID=America/New_York:20251031T160000 LAST-MODIFIED:20251008T205246Z LOCATION;X-BEDEWORK-UID=18832edc-1b23ba5b-011b-27d7193c-0000001a:Biddle Mu sic Building\, 104 STATUS:CONFIRMED SUMMARY:Music\, Crisis\, Memory: New Music and the New Ends of History (An drea Zarafshon Moore) UID:CAL-8a00ec8b-979413b9-0199-9ae9d7f2-00000a9edemobedework@mysite.edu X-BEDEWORK-ALIAS;X-BEDEWORK-PARAM-DISPLAYNAME=Main:/user/public-user/Utili ties/Main X-BEDEWORK-ALIAS;X-BEDEWORK-PARAM-DISPLAYNAME=Lecture_Talk:/user/public-us er/Lectures_Conferences/Lecture_Talk X-BEDEWORK-STUDENT-CONTACT;X-BEDEWORK-PARAM-EMAIL=tdb@duke.edu:Thomas Brot hers X-BEDEWORK-DUKE-SERIES:Musicology Lecture Series X-BEDEWORK-IMAGE-X1:1004 X-BEDEWORK-IMAGE-Y1:660 X-BEDEWORK-IMAGE-X2:2474 X-BEDEWORK-IMAGE-Y2:1640 X-BEDEWORK-IMAGE-CROP-WIDTH:1470 X-BEDEWORK-IMAGE-CROP-HEIGHT:980 X-BEDEWORK-IMAGE-ALT-TEXT:Andrea Z Moore X-BEDEWORK-SUBMITTEDBY:dpw34 for Music (agrp__ArtsandSciences_Music) X-BEDEWORK-IMAGE:/public/Images/Andrea Z Moore_20250930015719PM.png X-BEDEWORK-THUMB-IMAGE:/public/Images/Andrea Z Moore_20250930015719PM-thum b.png END:VEVENT BEGIN:VEVENT CATEGORIES:Lectures/Conferences CATEGORIES:Utilities CATEGORIES:Lecture/Talk CATEGORIES:Main CONTACT;X-BEDEWORK-UID=00f1fcdb-0f068baf-010f-068baf83-00000004:None CREATED:20250917T185255Z DESCRIPTION:For nearly 50 years\, Cambodian Americans have built vibrant l ifeworlds in the post-industrial mill city of Lowell\, Massachusetts. Sin ce arriving in the US as refugees following the Khmer Rouge genocide from 1975 to 1979\, people of Cambodian heritage in Lowell now span three gen erations\, and trajectories of space and self-making within this history are continually coursed. In this talk\, I discuss the ways in which vocal ities in the Cambodian communities of Lowell shape\, and are shaped by\, diverse experiences of refugeehood. Underlying this is the notion that vo ices hold the potential to be social\, cultural\, individual\, and politi cal resources. In Lowell\, Cambodian Americans utilize voice-broadly defi ned and practiced-to craft senses of identity\, claim space\, and build c ommunity. I posit that listening to the voices of the Cambodian diaspora as both material and metaphorical records of refugeehood offers an interv ention into the current political climate surrounding refugees in the US and the world writ large.\n\nFree and open to the public. All are welcome . DURATION:PT1H DTSTAMP:20251105T142439Z DTSTART;TZID=America/New_York:20251107T160000 LAST-MODIFIED:20251105T142439Z LOCATION;X-BEDEWORK-UID=18832edc-1b23ba5b-011b-27d7193c-0000001a:Biddle Mu sic Building\, 104 STATUS:CONFIRMED SUMMARY:Ethnomusicology Lecture Series: Brad DeMatteo UID:CAL-8a00ec8b-979413b9-0199-5905cb70-00003e45demobedework@mysite.edu X-BEDEWORK-ALIAS;X-BEDEWORK-PARAM-DISPLAYNAME=Main:/user/public-user/Utili ties/Main X-BEDEWORK-ALIAS;X-BEDEWORK-PARAM-DISPLAYNAME=Lecture_Talk:/user/public-us er/Lectures_Conferences/Lecture_Talk X-BEDEWORK-CS;X-BEDEWORK-PARAM-DESCRIPTION="/principals/users/agrp_AsianAm ericanStudies,":Asian American and Diaspora Studies X-BEDEWORK-STUDENT-CONTACT;X-BEDEWORK-PARAM-EMAIL=sophia.enriquez@duke.edu :Sophia Enriquez X-BEDEWORK-SPEAKER:Brad DeMatteo X-BEDEWORK-SUBMITTEDBY:dpw34 for Music (agrp__ArtsandSciences_Music) END:VEVENT BEGIN:VEVENT CATEGORIES:Lectures/Conferences CATEGORIES:Utilities CATEGORIES:Lecture/Talk CATEGORIES:Main CONTACT;X-BEDEWORK-UID=00f1fcdb-0f068baf-010f-068baf83-00000004:None CREATED:20260121T165314Z DESCRIPTION:This talk emerges at the intersections of two nascent projects . The first concerns music and end-of-life care\, in which I examine how a legacy-the sum of what endures after a life has ended-is constructed an d maintained\, particularly through sonic practices. The second\, not ent irely unrelated\, examines Black middle-class aesthetics and\, specifical ly\, aspiration as a set of legacy-ensuring practices with inherently son ic dimensions. Braiding these threads of inquiry\, this talk focuses on B eyoncé's 2024 country music album\, Cowboy Carter\, as a collaborative co llage of songs and sounds that stages a re-narrative of personal and genr e legacies. Offering something notably different from her previous projec ts\, Cowboy Carter centers on the struggles and labor of aspiration rathe r than strictly dancefloor celebration. It's this emphasis on effort\, sa crifice\, and hard work toward the explicit goal of being remembered that ties Cowboy Carter to broader questions about the context of contemporar y legacy-building-specifically\, the role of women's structural labor and global middle-classness. Drawing on ethnography\, deep listening\, and e thnomusicological readings of Black liberation theology\, I situate Beyon cé and the sonic techniques of Cowboy Carter within a history of what pol itical theorist Joy James has referred to as "the rise of Black women thr ough Empire." In doing so\, I suggest that we can hear strains of what th e distribution of the social weight of legacy-building sounds like across the Black diaspora.\n\nJessica Baker (University of Chicago) is an ethno musicologist specializing in contemporary popular music of and in Circum- Caribbean. Her research interests include tempo and aesthetics\, colonial ity and decolonization\, and race\, gender\, and respectability. As a Car ibbeanist\, she engages Caribbean theory related to small island nations\ , including representation\, invisibility\, vulnerability\, and sovereign ty. Her book project\, Island Time: Speed and the Archipelago from St. Ki tts and Nevis\, examines relationships between tempo perception and gende red and raced legacies of colonization. Through historical and ethnograph ic analysis\, she argues that colonial ideas of femininity and Enlightenm ent notions of musicianship shape perceptions of wylers as "too fast." He r article\, "Black Like Me: Caribbean Tourism and St. Kitts Music Festiva l\," explores music tourism and diasporic travel through American soul mu sic. She holds a PhD from University of Pennsylvania. DURATION:PT1H DTSTAMP:20260223T151519Z DTSTART;TZID=America/New_York:20260227T160000 LAST-MODIFIED:20260223T151519Z LOCATION;X-BEDEWORK-UID=18832edc-1b23ba5b-011b-27d7193c-0000001a:Biddle Mu sic Building\, 104 STATUS:CANCELLED SUMMARY:Jessica Baker: Music and the Labor of Legacy UID:CAL-8a00eca5-9af98aae-019b-e1798058-0000660fdemobedework@mysite.edu X-BEDEWORK-ALIAS;X-BEDEWORK-PARAM-DISPLAYNAME=Main:/user/public-user/Utili ties/Main X-BEDEWORK-ALIAS;X-BEDEWORK-PARAM-DISPLAYNAME=Lecture_Talk:/user/public-us er/Lectures_Conferences/Lecture_Talk X-BEDEWORK-STUDENT-CONTACT;X-BEDEWORK-PARAM-EMAIL=sophia.enriquez@duke.edu :Sophia Enríquez X-BEDEWORK-CS;X-BEDEWORK-PARAM-DESCRIPTION="/principals/users/agrp_Artsand Sciences_AfricanandAfricanAmericanStudies,":African and African American Studies (AAAS) X-BEDEWORK-SPEAKER:Jessica Baker X-BEDEWORK-IMAGE-X1:0 X-BEDEWORK-IMAGE-Y1:0 X-BEDEWORK-IMAGE-X2:849 X-BEDEWORK-IMAGE-Y2:566 X-BEDEWORK-IMAGE-CROP-WIDTH:849 X-BEDEWORK-IMAGE-CROP-HEIGHT:566 X-BEDEWORK-IMAGE-ALT-TEXT:Jessica Baker X-BEDEWORK-SUBMITTEDBY:dpw34 for Music (agrp__ArtsandSciences_Music) X-BEDEWORK-IMAGE:/public/Images/JessicaBaker Headshot 2_20260121045314PM.p ng X-BEDEWORK-THUMB-IMAGE:/public/Images/JessicaBaker Headshot 2_202601210453 14PM-thumb.png END:VEVENT BEGIN:VEVENT CATEGORIES:Lectures/Conferences CATEGORIES:Utilities CATEGORIES:Lecture/Talk CATEGORIES:Main CONTACT;X-BEDEWORK-UID=00f1fcdb-0f068baf-010f-068baf83-00000004:None CREATED:20260218T151422Z DESCRIPTION:This talk is part of the Duke Department of Music Musicology L ecture Series.\n\nOne of the most compelling threads in twentieth-century avant-garde composition is the intersection of emerging technologies wit h changing forms of religious consciousness and experience. This talk tra ces a lineage from John Cage through Pierre Schaeffer\, Pauline Oliveros\ , Alvin Lucier\, Éliane Radigue\, and William Basinski\, arguing that the ir work offers a powerful lens for understanding the relationship between religion and sound.\n\nAbout the Speaker:\nJason Bivins is a professor o f religious studies in the Department of Philosophy and Religious Studies at North Carolina State University. His work explores the intersections of religion\, politics\, and American culture. A widely published scholar and award-winning teacher\, he is the author of several books-including Spirits Rejoice!: Jazz and American Religion and Religion of Fear-and is frequently featured in public media for his insights on religion in conte mporary society. DURATION:PT1H DTSTAMP:20260304T163310Z DTSTART;TZID=America/New_York:20260320T160000 LAST-MODIFIED:20260304T163310Z LOCATION;X-BEDEWORK-UID=18832edc-1b23ba5b-011b-27d7193c-0000001a:Biddle Mu sic Building\, 104 STATUS:CONFIRMED SUMMARY:Technologies of Hypnagogia: Altered Perceptions and Religion in Av ant-Garde Electronic Music UID:CAL-8a003294-9c52b03d-019c-71510c51-000050d7demobedework@mysite.edu X-BEDEWORK-ALIAS;X-BEDEWORK-PARAM-DISPLAYNAME=Main:/user/public-user/Utili ties/Main X-BEDEWORK-ALIAS;X-BEDEWORK-PARAM-DISPLAYNAME=Lecture_Talk:/user/public-us er/Lectures_Conferences/Lecture_Talk X-BEDEWORK-STUDENT-CONTACT;X-BEDEWORK-PARAM-EMAIL=tdb@duke.edu:Thomas Brot hers X-BEDEWORK-SPEAKER:Jason Bivins\, NCSU X-BEDEWORK-DUKE-SERIES:Musicology Lecture Series X-BEDEWORK-SUBMITTEDBY:dpw34 for Music (agrp__ArtsandSciences_Music) END:VEVENT BEGIN:VEVENT CATEGORIES:Lectures/Conferences CATEGORIES:Utilities CATEGORIES:Lecture/Talk CATEGORIES:Main CONTACT;X-BEDEWORK-UID=00f1fcdb-0f068baf-010f-068baf83-00000004:None CREATED:20251204T154300Z DESCRIPTION:This lecture is part of the Duke Music Musicology Lecture Seri es.\n\nAnne Moberly and Eleanor Jourdain are most remembered as the co-au thors of a 1911 bestseller\, An Adventure\, in which they claimed to have time-slipped back to pre-revolutionary Versailles. Both were self-avowed seers yet rejected séance-table spiritualism. Recent research has recove red their roles as educators and scholars central to the founding of St. Hugh's College\, Oxford\, where they served as the first two principals i n 1886-1924. One significant aspect of their lives\, however\, has remain ed unexamined: both were highly musical\, which profoundly shaped their p rofessional\, personal\, and spiritual worlds. Students were mesmerized b y Moberly's apocalyptic divinity lectures in the dim glow of her sitting room\, which would brighten into a salon for musical soirées and a rehear sal space for choirs and strings. Students were enchanted\, too\, by Jour dain's piano performances of seventeenth- and eighteenth-century repertoi res-one piece allegedly learned in a childhood dream-and the sound of her music floating down the corridors. At such events\, both principals also related their past psychic experiences. \n \nThese recollections depict an early women's college built not only on administrative labor and schol arly rationalism but also on a shared musical imagination in which pedago gy\, religious occultism\, and relational intimacy converged. Drawing on sources such as biographies\, scrapbooks\, college publications\, student reminiscences\, and personal correspondences\, I offer a microhistorical reconstruction of musical life in this supernaturally charged academic c ommunity. I engage scholarship on Anglican mysticism\, Bergsonian intuiti onism\, and feminist and queer affective approaches to historical listeni ng to explore how music enabled alternative modes of leadership largely u navailable within official university channels. I argue that sacralized m usical sound was a vital medium through which Moberly and Jourdain assert ed authority and developed St. Hugh's into a cohesive\, legitimized educa tional institution.\n \nAlana Mailes is a musicologist\, cultural histori an\, and classical singer. She is a postdoctoral scholar at the Universit y of Southern California and holds a PhD in Historical Musicology from Ha rvard University. Her book on Jesuit musical theatre at the Venerable Eng lish College\, Rome\, was published in 2025 by Cambridge Elements.\n\nFre e and open to the public. DURATION:PT1H DTSTAMP:20260305T174630Z DTSTART;TZID=America/New_York:20260327T160000 LAST-MODIFIED:20260305T174630Z LOCATION;X-BEDEWORK-UID=18832edc-1b23ba5b-011b-27d7193c-0000001a:Biddle Mu sic Building\, 104 STATUS:CONFIRMED SUMMARY:The Sound of Second Sight: Music\, Mysticism\, and the Making of S t. Hugh's College\, Oxford UID:CAL-8a00ec9e-9a83ce7f-019a-ea07f184-00004966demobedework@mysite.edu X-BEDEWORK-ALIAS;X-BEDEWORK-PARAM-DISPLAYNAME=Main:/user/public-user/Utili ties/Main X-BEDEWORK-ALIAS;X-BEDEWORK-PARAM-DISPLAYNAME=Lecture_Talk:/user/public-us er/Lectures_Conferences/Lecture_Talk X-BEDEWORK-STUDENT-CONTACT;X-BEDEWORK-PARAM-EMAIL=tdb@duke.edu:Thomas Brot hers X-BEDEWORK-SPEAKER:Alana Mailes X-BEDEWORK-SUBMITTEDBY:dpw34 for Music (agrp__ArtsandSciences_Music) END:VEVENT BEGIN:VEVENT CATEGORIES:Lectures/Conferences CATEGORIES:Utilities CATEGORIES:Lecture/Talk CATEGORIES:Main CONTACT;X-BEDEWORK-UID=00f1fcdb-0f068baf-010f-068baf83-00000004:None CREATED:20260309T155734Z DESCRIPTION:This talk considers a recent UK-based audiocassette collection - the Tape Letters Project founded by sound artist Wajid Yaseen - as an "anarchival" source of diasporic history\, drawn from the closets and att ics of Pakistani communities relocated to the United Kingdom after Partit ion. Rather than focusing on the changes that recording technology has wr ought on local traditions or the continuity of style\, I am specifically concerned with the material networks of intercommunication used by genera tions of cassettes to recollect and reproduce diasporic memory. How do ph ysical sound media both provoke and radically alter the contemporary cons truction of migratory histories? "Anarchives" propose anti-canonical uses of sound recordings that reflect on the loss and displacement of collect ive history. Tape Letters are complicated. Their obsolete and overflowing forms refuse to be inscribed into a state-driven politics of recognition and digital accessibility\, but their physical persistence houses the co mplex memorialization of traumatic experience in its all of its compressi ons\, erasures\, gaps\, drop-outs\, wows and flutters. If anarchival list ening demands particular and personal levels of knowledge\, this is not a bug but a feature. Who better to unpack the burden of memory dubbed onto cassettes than those who have taken the time to collect them?\n\nDavid N ovak is Associate Professor in Music and Director of the Center for the I nterdisciplinary Study of Music at University of California Santa Barbara . He is the author of Tapeheads: A Living History of the Cassette in Indo nesia (Elevation 2025) and co-editor (with Matt Sakakeeny) of Keywords in Sound (Duke 2015) and his award-winning book Japanoise: Music at the Edg e of Circulation (Duke 2013) has been published in five languages. His cu rrent project\, entitled Diggers: An Archival Counterhistory of Popular M usic\, explores the globalization of music through networks of record and cassette collectors\, informal sound archives\, reissue labels and media digitization projects in the Global South. DURATION:PT1H DTSTAMP:20260309T155734Z DTSTART;TZID=America/New_York:20260410T160000 LAST-MODIFIED:20260309T155734Z LOCATION;X-BEDEWORK-UID=18832edc-1b23ba5b-011b-27d7193c-0000001a:Biddle Mu sic Building\, 104 STATUS:CONFIRMED SUMMARY:Tape Letters: A Magnetic History UID:CAL-8a003384-9cc4d1fe-019c-d3516e20-0000139ddemobedework@mysite.edu X-BEDEWORK-ALIAS;X-BEDEWORK-PARAM-DISPLAYNAME=Main:/user/public-user/Utili ties/Main X-BEDEWORK-ALIAS;X-BEDEWORK-PARAM-DISPLAYNAME=Lecture_Talk:/user/public-us er/Lectures_Conferences/Lecture_Talk X-BEDEWORK-SPEAKER:David Novak\, UC Santa Barbara X-BEDEWORK-DUKE-SERIES:Ethnomusicology Lecture Series X-BEDEWORK-STUDENT-CONTACT;X-BEDEWORK-PARAM-EMAIL=sophia.enriquez@duke.edu :Sophia Enríquez X-BEDEWORK-IMAGE-X1:0 X-BEDEWORK-IMAGE-Y1:95 X-BEDEWORK-IMAGE-X2:1279.5 X-BEDEWORK-IMAGE-Y2:948 X-BEDEWORK-IMAGE-CROP-WIDTH:1279.5 X-BEDEWORK-IMAGE-CROP-HEIGHT:853 X-BEDEWORK-IMAGE-ALT-TEXT:David Novak X-BEDEWORK-SUBMITTEDBY:dpw34 for Music (agrp__ArtsandSciences_Music) X-BEDEWORK-IMAGE:/public/Images/Unknown-1_20260309035734PM.jpeg X-BEDEWORK-THUMB-IMAGE:/public/Images/Unknown-1_20260309035734PM-thumb.png END:VEVENT END:VCALENDAR