« How might scholars rethink the catch-all notion of the “chamber,” already antiquated by the early nineteenth century, as a nexus of media forms, social relations, performance conditions, and stylistic predilections? How were residual habits of eighteenth-century music-making absorbed into emergent kinds of commercial performance and contemplative listening? How did the early nineteenth-century “chamber concept” collapse social contexts and so produce new – perhaps distinctly modern – ideas of publicly mediated privacy and public intimacy? And how did the “chamber” – that explicit topographical metaphor for intimate aristocratic social practices – nonetheless become the most relentlessly commercialized musical domain of the early nineteenth century, even as, in Beethoven’s late quartets, it also became a symbol of music at its apparently most arcane and abstracted?
To stimulate broad and interdisciplinary discussion around these issues, we invite proposals for 20-minute paper presentations and 45-minute lecture-recitals from all areas of music scholarship. Performers and speakers are welcome to use any of the historical keyboard instruments in the collection of the Ira F. Brilliant Center for Beethoven Studies. »
Date limite de soumission : 30 septembre 2022.
Pour plus d’informations : cliquez ici.