Please join us next Thursday as we welcomes ethnomusicologist Dr. Tomie Hahn, Professor in the Arts Department at Rensselaer Polytechnic Institute, to our campus ! She will be giving a fascinating, interdisciplinary talk titled, “Bodies as field sights–considering the senses in research and performance,” that will discuss the intersections between embodiment and fieldwork. Please note that this event will be held at the Global and Multicultural Engagement Building, Room 2600, to encourage a more diverse scholarly audience. A reception will follow.
Abstract: In this presentation artist-scholar Tomie Hahn considers the relationship of creative arts and scholarly research. More specifically, after the “sensory turn” in contemporary scholarship, how might scholars, artists and performers approach interdisciplinary research differently? She asks: What might sensory insights teach us about culture, embodiment, and presence? How can we incorporate sensibilities into our research on culture, history, and the body? Considering the body as a field site, Hahn shares examples of her scholarly and creative work to illustrate points of departure.
Bio: Tomie Hahn is an artist and ethnomusicologist. She is a performer of shakuhachi (Japanese bamboo flute), nihon buyo (Japanese traditional dance), and experimental performance. Tomie’s research spans a wide range of area studies and topics including: Japanese traditional performing arts, Monster Truck rallies, issues of display, the senses and transmission, gesture, and relationships of technology and culture. Her book, Sensational Knowledge: Embodying Culture through Japanese Dance was awarded the Alan P. Merriam prize (Society for Ethnomusicology). She is a Professor in the Arts Department at Rensselaer Polytechnic Institute, where she is also the Director of the Center for Deep Listening.
Hope to see you there!
The Society for Musicology is excited to host this year’s FSU Undergraduate Music Research Symposium on Saturday, March 31st, from 9 AM to noon, in Longmire Recital Hall. Attendance is free, so come out to support our brilliant music majors and their research!
The schedule is as follows:
8:30 a.m. – Breakfast/Registration (outside Longmire Recital Hall)
Panel 1: Composer Studies (9:00 – 9:40 a.m.) Panel Chair: Caroline Bishop
9:00 a.m. – Elizabeth Frickey, “Ellen Taaffe Zwilich and the ‘Woman Composer’”
9:20 a.m. – Brennan Blotner, “Shostakovich’s 24 Preludes and Fugues: Messages from the Other Shostakovich”
Break (9:40 – 10:00 a.m.)
Panel 2: Music in Educational Institutions (10:00 – 10:40 a.m.) Panel Chair: Carrie Danielson
10:00 a.m. – Casey Mindermann, “Gender Biases in the Music Classroom”
10:20 a.m. – Hannah Hetzel-Ebben, “The Choral Community Success Impacting Societal Success”
Break (10:40 – 11:00 a.m.)
Panel 3: 21st-Century Musical Analyses (11:00 – 11:20 a.m.) Panel Chair: Ryan Whittington
11:00 a.m. – Noah Nethery, “Classifying ‘Mozart’ or ‘Not Mozart’ Using Deep Neural Networks with Notated Music”
11:20 a.m. – 10 Minute Break/Paper Prize Committee Meeting
11:30 a.m. – Paper Prize Announcement/Presenter Photo
Please join us this Thursday during SfM for a brilliant lecture by Dr. Aimée Boutin, Professor of French in the FSU French Department. Titled, “How Do We Hear the Past,” Dr. Boutin’s talk will be held in Longmire’s Conference Room, Room 204, to facilitate a riveting, interdisciplinary discussion. Hope to see you there!
Abstract: What did the past sound like? And how do we go about answering that question for eras that predate sound recording technology? In thinking about how we reconstruct or investigate the sonic past, I will address a number of methodological issues as well as advocate for an interdisciplinary approach to historical soundscapes.
The Society for Musicology is extremely excited to welcome Dr. Stephan Pennington, Director of Graduate Studies at Tufts University, to our campus this week! On Thursday 3/22 at 4 pm, he will be giving a talk in Lindsay Recital Hall titled “‘Details Baby Details’: Gender, Race, and Vocal Performance in The Crying Game.” The lecture is free and open to anyone who is interested, and a reception will follow in the KMU lounge. Hope to see you there!
Abstract: In 1992, Neil Jordan’s 1992 film The Crying Game, a thriller about the complicated love affair between an IRA soldier, Fergus, and a black British woman, Dil, was released, causing an uproar centered on the film’s “secret,” revealed in a full frontal visual shot, that Dil had a penis. The critical discourse around The Crying Game ranges widely, but often read the film as regressive, fixating on the figure of Dil, her penis, and her gender in order to do so. Problematically, the readings of Dil’s identity are almost exclusively visual or textual, ignoring that Dil is framed just as much by her voice as by her image. In this colloquium I re-read Dil’s identity through the introduction of audio into the visual, paying careful attention to the sound editing of Dil’s performance of the song “The Crying Game.” Re-reading Dil’s musical performance of self challenges the scopophilc readings of her as Object and opens up new ways of understanding not only the film The Crying Game, but also representations of trans/gender identity in the media at an important transition moment for transgender history.