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Distinguished Lecture Series 2014-2015

  • Fast Girls, Fast Music: Kittitian and Nevisian Women, Wilders, and the Legacy of Coloniality,” Jessica Swanston Baker, University of PennsylvaniaSince its debut in the early 1990s as a locally produced genre of carnival music, wilders has been embraced by a younger, post- independence generation of Kittitians and Nevisians and rejected by an older group who considers the music’s tempo to be “too fast.”Positing an association between “fast” music and “fast” women, the musical and social merit of wilders is largely conceived of in terms of the genre’s correlation to women and their bodies. Commentary on how women’s bodies move to the music, with whom they dance, when, and what their bodies temporarily forgo in order to listen or dance to wilders serves as proxy critique of the music itself.The discursive auxiliary relationship between the criticism of wilders and that of Kittitian and Nevisian women illustrates how a local aversion to being “too fast” is indicative of the persistent and fraught relationship with colonial ideals.

    Where wilders is ambivalently regarded as a representation of “national music” in St. Kitts-Nevis, women’s bodies vis-à-vis wilders function as gauges of the nation’s morality and progress. (See Jessica Swanston Baker DLS Flyer [pdf])

    • Friday, September 26, 2014, 3:30 PM, Natalie L. Haslam Music Center, Room G025

  • Lecture-Demonstration by Slovenian Accordionist Marko HatlakPresent on international stages since 2000, Slovenian accordionist Marko Hatlak has played as a soloist with symphony orchestras in Slovenia and abroad, including the Moscow Philharmonic, Jena Philharmonic, and RTV Slovenia Symphony Orchestra. He has played in chamber music ensembles with accordionist Stefan Hussong, soprano singer Irena Preda, cellist Karmen Pečar, clarinetist Mate Bekavac, harpist Mojca Zlobko, and pianist Miho Maegaito.After studying accordion at the Secondary Music and Ballet School in Ljubljana, Marko spent nine years studying in Germany, first at the Franz Liszt College of Music in Weimar, then at the Würzburg College of Music, gaining the expertise to establish himself as a classical concert accordionist of baroque and contemporary music. He won wide acclaim in Slovenia beginning in 2005 as a member of folk rock group Terrafolk. Hatlak has recently returned to solo performances; his repertoire includes a fusion of energetic melodies that draw upon tango, Balkan folk traditions, baroque music, and contemporary music. (See Marko Hatlak DLS Flyer [pdf])
    • Tuesday, October 21, 11:10am, Natalie L. Haslam Music Center, Room 110

  • “What does early music notation (really) tell us?,” Karen Cook, Assistant Professor, Music History, The Hartt SchoolDr. Cook’s research focuses primarily on medieval and Renaissance music theory and performance, specifically on the development of musical notation in both music manuscripts and theoretical treatises between the thirteenth and sixteenth centuries.She is currently working on a new critical edition of the treatise “De arte cantus” by Johannes Pipudi, as well as a monograph exploring the development of notation in the fourteenth and early fifteenth centuries.She also maintains active research interests in popular and contemporary music, especially on music as a means of creating identities in television, film, and video games; the history of the Sistine Chapel Choir; and the role of music in religious worship, particularly in medieval, early modern, and American Christian traditions. (See Karen Cook DLS Flyer [pdf])
    • Thursday, February 5, 2015, 4PM, Natalie L. Haslam Music Center, Room G9
  • Peaks and Valleys: Annual Conference of the Society for Ethnomusicology, Southeast and Caribbean ChapterThe conference theme — “Peaks and Valleys” — signifies a wide range of scholarly and poetic meanings. It evokes the geographical specificity of the Appalachian region that surrounds Knoxville, and of other mountainous regions like the Andes and Himalayas. The theme also alludes to the visual representation of sound on an oscilloscope — the peaks and valleys of amplitude and frequency. As such, we seek creative interdisciplinary interpretations of the theme that draw together scholarly practices in ethnomusicology, historical musicology, sound studies, and other disciplines. (See SEMSEC Conference webpage, Peaks and Valleys Flyer [pdf], and Conference Program [pdf])
    • March 13-14, 2015, School of Music, University of Tennessee
  • Conference Featured Performer: “American Songster,” Dom Flemons

    Dom Flemons is the “American Songster,” pulling from traditions of old-time folk music to create new sounds. A multi-instrumentalist, Dom plays banjo, guitar, harmonica, fife, bones, bass drum, snare drum and quills, in addition to singing. He incorporates his background in percussion into his banjo playing.

    As a founding member of the Carolina Chocolate Drops, an African-American string band, Dom was able to explore his interest in bringing traditional music to new audiences. The band won a GRAMMY for its 2011 album Genuine Negro Jig and was nominated for its most recent album, Leaving Eden, in 2012.

    Sponsored by the University of Tennessee Ready for the World Program, The School of Music, College of Arts & Sciences, and The Distinguished Lecture Series in Musicology.

    • Friday, March 13, 2015, 1:30 PM, Sandra G Powell Recital Hall, Natalie L. Haslam Music Center
  • Conference Keynote Address: “Deep Rivers, Vigilant Mountains: Sonic Geographies of War in the Andes,” Jonathan Ritter, Associate University of California, Riverside

    Jonathan Ritter is an ethnomusicologist whose research focuses on the indigenous and Afro-Hispanic musical cultures of Andean South America. His work, as both a scholar and a teacher, addresses broad questions of how musical expressions are implicated in the work of cultural memory and political activism, particularly during times of political violence.

    His book, We Bear Witness With Our Song: The Politics of Music and Violence in the Peruvian Andes (Oxford University Press, forthcoming) explores these themes as they emerged within the traditional and folkloric music of Ayacucho, Peru, in the context of the Shining Path guerrilla insurrection and ensuing conflict that took place in that country.

    Sponsored by the University of Tennessee, School of Music, College of Arts & Sciences, and The Distinguished Lecture Series in Musicology.

    • Friday, March 13, 2015 at 5:15 PM, Sandra G. Powell Recital Hall, Natalie L. Haslam Music Center

  • “The Low Tech Ensemble” — The Western Carolina University Gamelan
    • Workshop & Concert
    • Joy Shea, Director, and Will Peebles, Clinician

    (See Low Tech Ensemble DLS Flyer [pdf])

    • Workshop — Monday, Mar. 30, 2015 at 11:15 AM, Sandra G. Powell Recital Hall, Natalie L. Haslam Music Center
    • Concert — Monday, Mar. 30, 2015 at 12:20 PM, Sandra G. Powell Recital Hall, Natalie L. Haslam Music Center
The Winners of the 2015 Student Research Contest In Music

  • Tyler Mitchell & Nathan Reeves, 2014 Winners Student Research ContestOld Harp Singing In Sevierville, Tennessee: Family Traditions And Rural Identity,” Corey Blake
  • “‘Let’s Hope We Are Singing To God’: Commemoration And Exploitation Of Verdi’s Requiem in Theresienstad,” Catherine Greer
  • “Finding A Blend: Contemporary Worship Music And Spiritual Hearing In An East Tennessee Methodist Church,” Nathan Reeves

Friday, April 17, 2015, 4:30 pm, Room 25, Natalie L. Haslam Music Center

See 2015 Contest Winners DLS Flyer [pdf]

Musicology wishes to thank UT’s Ready for World program for its support. We also wish to thank Dr. Jeffrey Pappas, Director of the School of Music, for his support of this series.

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