University of Toronto Graduate Music Conference
CALL FOR PAPERS
Friday March 16 (evening only) – Sunday March 18 (morning/afternoon only), 2018
Faculty of Music, University of Toronto
The University of Toronto Music Graduate Students’ Association is pleased to announce our annual Graduate Music Conference, which will take place March 16-18, 2018. The program committee invites graduate students to submit proposals for twenty-minute paper presentations, with a ten-minute question period to follow each presentation. We encourage the submission of papers related to any aspect of music research, including, but certainly not limited to, musicology, music theory, ethnomusicology, performance, music education, composition, and music technology. We also invite applicants to submit proposals for themed sessions of 2-3 papers. In this case, please include an abstract describing the proposed session as well as individual abstracts for each paper. Proposals for thirty-minute lecture-recitals are also encouraged.
We are proud to welcome Dr. Colleen Renihan as the keynote speaker for this year’s conference. Dr. Renihan joined the Dan School of Drama and Music at Queen’s University in 2016 as Assistant Professor and Queen’s National Scholar in Music Theatre and Opera. She holds a PhD in Musicology from the University of Toronto, and has published chapters in several edited collections on opera, and in the journals Twentieth Century Music, The Journal of the Society for American Music, and Music, Sound, and the Moving Image. Her current book project examines contemporary American opera as a site of history and a source of cultural memory. A brief abstract of her keynote address, titled Opera, Post-Truth, Post-Reality, follows:
Opera has long been associated with notions of extravagance, and relegated to the realm of make-believe, of excess, of “heightened” emotions, and thus of the categorically un-real. Because of this, it would seem that recent works based on real events—so-called “CNN operas”—pose particular challenges with respect to how audiences engage with their truth content. And yet, the pervasiveness of virtual and augmented reality, and many other digital interventions in contemporary culture, exposes opera’s assumed contentious relationship with the “real” to new critiques and challenges. In this talk, I explore contemporary modes of engagement with opera, and consider both political and artistic implications for research and performance.