[Historyoftheory] Reminder: CfP "Identity in Music Theory and History" (March 15)

[History of Music Theory]

Dear Colleagues,



may we remind you of our *CfP* for our pre-conference in New Orleans, on
the topic of “*Identity in Music Theory and History*” , which is open until
next Tuesday, March 15.



The AMS Study Group and SMT Interest Group for the History of Music Theory
invite proposals for a *pre-conference (Nov. 9-10, 2022) *to the upcoming
meeting in *New Orleans.*



*Identity in Music Theory and History*



Building on recent interrogations of the ways in which race, gender,
ethnicity, sexuality, (dis)ability, and class have shaped disciplinary
agendas; on histories that extend or decenter Europe and the global North;
and on historicizations of music theory’s fundamental concepts, this
conference will address the role(s) identity does, might, or ought to play
in histories of music theory.



We invite proposals for 20-minute papers that engage with music theory and
identity from a wide range of perspectives, including but not limited to:



·       What does it mean to *be* a music theorist (in the present, past,
and/or future)? Who gets—or wants—to be one, and why?

·       What kinds of identities does (historically oriented) research in
music (theory) address (e.g., individual, communal, institutional, …
disciplinary, cultural, contextual,... )? In what ways does musical thought
help individuals, communities, institutions, and/or cultures negotiate
questions of identity?

·       How does (the history of) music theory look from the perspective of
disciplines with rich histories of reflection on identity and community,
e.g., ethnomusicology, anthropology, philosophy, sociology?

·       How does identity shape the ways in which music theories are read
or used? How do identities and concepts interact to shape musical values
and support or resist existing power structures? How might we understand
the patterns of exclusion that these processes involve?

·       How have links between language and identity shaped music theory,
and how do acts of translation reshape it?

·       What is the place of biography in the history of music theory?

·       How has identity functioned as a historiographic category in
histories of music theory? In what ways has identity been elided from
histories of music theory, and to what end(s)?

·       What do histories of music theory become if musical concepts (e.g.,
harmony, rhythm, proportion, timbre, and form) are understood not as
foundations of the discipline but rather as media that shape, resonate, and
interact with the identities of those for whom such concepts matter?

·       How might cultural and ethnographic approaches to the study of
music theory reshape the nature of music-theoretical claims?

·       In what ways might a focus on identity broaden the horizons of
music theory? Conversely, what are the limits of identity in, and how might
issues of identity limit, music theorizing?


Please submit abstracts (*350 words*) to
historyofmusictheory at gmail.com by *March
15, 2022*, with the heading “Identity NOLA”.


Best wishes,

your HoT AMS and SMT teams


Abigail Shupe

abigail.shupe at gmail.com



August Sheehy

August.Sheehy at stonybrook.edu


Stephanie Probst

probst-s at mdw.ac.at


Stefano Mengozzi

smeng at umich.edu


Emily Zazulia

zazulia at berkeley.edu


Scott Gleason

scottmg2010 at gmail.com



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