The Historical Performance Institute of the Indiana University Jacobs School of Music invites the submission of abstracts for its fourth-annual international conference—Historical Performance: Theory, Practice, and Interdisciplinarity—to be convened 17-19 May 2019, on the IU Bloomington campus.
The three-day event will bring together scholar-performers (and performer-scholars) to present new research, engage in conversation, and consider emergent areas in historical performance research. Scholars and practitioners working within arts or humanities disciplines adjacent to the field of music are particularly encouraged to participate.
Please send abstracts via email with the subject line—HPI Conference Abstract 2019—to Mr. Adam Dillon (email@example.com) no later than March 3, 2019. Receipt of all submissions will be acknowledged by email, with final notifications sent March 12. Abstracts may focus on any subject relevant to historical performance, from the Middle Ages through to the early-twentieth century, including but not limited to:
- Historical Performance, race and diversity (see bracketed text below*)
- Interdisciplinary strategies and methodology
- Memory and improvisation
- Rhetoric and gesture
- Source studies
- Early music theory and performance
- Early recorded sound
- Ethnography and critical theory in historical performance research
- HIP: modern relevance, entrepreneurship, and cultural production
[* To support national dialogues and educational initiatives promoting diversity in academic curricula, we wish to sustain conversation on the relationship between historical performance as a discipline and the representation and inclusion of diverse backgrounds and perspectives. How can performers and teachers in historical performance create a more inclusive environment in HIP education and in the profession? How can we better include people of color in curricula dealing with the history of music and its performance practices?
While a number of path-breaking ensembles/orchestras in classical music have been founded in recent decades to help raise awareness of this issue, historical performance as a field has yet to address the need in a similar manner. This year’s conference at IU aims to break new ground on the topic in a conference format, following the lead of the annual Medieval-Renaissance music conference held last summer in Maynooth, Ireland.
Suggested topics for abstract submissions deal with the following questions: how can we better offer inclusive education, performance opportunities, and representation for people of color in HIP? How do we focus on the teaching of music history where people of color have been ignored or entirely excluded from the “historical canon?” We will deal with issues of exclusion in music historiography, with reference to the contributions of musicians of color as performers and composers. We shall welcome Chi-Chi Nwanoku OBE (Royal Academy of Music), to deliver a plenary address offering international perspective on the subject. In addition to being a founder-member and principal bassist in the Orchestra of the Age of Enlightenment for 30 years, Prof. Nwanoku founded Europe’s first black, minority and ethnic orchestra (The Chineke! Foundation). A panel discussion, facilitated by Prof. Ayana Smith (Indiana University), will also provide a space for discussion dealing with current reflections and discourse on the subject.]
Abstracts (maximum 250 words) should be cogent and concise, intelligible to non-specialists, and
- put forward an evidence-based argument with particular relevance to performance practice procedures;
- take fully into account previous research linked with the topic at hand;
- articulate the broader implications and significance of the argument for historical performance research and practice more generally.
Papers run at 30 minutes maximum, with 10-15 minutes for questions and discussion. The submission should provide your name, email address, postal address, and institutional affiliation (or, enter “independent scholar” if not affiliated institutionally).
Submissions will be screened by an assessment panel anonymously. Accepted papers may be considered for publication in the second- or third-annual volumes of the new journal, Historical Performance (IU Press, 2019 and 2020).
Thomas Forrest Kelly (Harvard University): Author, Capturing Music: The Story of Notation (W.W. Norton, 2014); Early Music: A Very Short Introduction (OUP, 2011).
Chi-Chi Nwanoku, OBE (Royal Academy of Music): Founder, Double-Bassist of the Orchestra of the Age of Enlightenment (30 years); founder of Europe’s first black, minority, and ethnic orchestra (The Chineke! Foundation)
Conference Convener: Dana Marsh (Director, Historical Performance Institute)
For those who wish to attend, please contact HPI administrator, Adam Dillon, (firstname.lastname@example.org) for further details about registration and accommodation in Bloomington.
Registration Fee: $100, 3 days | $80, 2 days | $50, 1 day
Registration available from March 15th.
Past Conference Programs
Since its inaugural gathering in 2016, this conference has drawn attendants from a dozen countries. More than three-dozen papers are presented during the proceedings. Please follow the links below to view past programs: