Programme

We’re delighted to announce the programme for Words, Music and Marginalisation, the 6th Biennial Conference of the Word and Music Association Forum, hosted virtually by the University of St Andrews from 1 to 3 September 2020.

Sessions will take the form of seminar-style discussions of pre-circulated papers via Microsoft Teams. All times are British Summer Time (UTC+1).

The keynote lecture by Imani Danielle Mosley will take place as a Microsoft Teams Live Event on Tuesday 1 September from 16.30.

Visit our registration page to register for the conference and/or keynote. We will circulate links for individual sessions to registered attendees.


Tuesday 1 September 2020

12.00-12.15: Welcome
Tom Smith and Allie Reznik
12.30-14.00: Seminar 1
Instruments and Marginalisation

Rachael Durkin
The Player Piano and William Gaddis’s Agapē Agape

Zhang Lei
Yellow Orpheus in Sonic Battlefields: The Ambivalent Symbiosis between Western Music and the Asian American Subjects in Lan Samantha Chang’s Hunger and Chang-Rae Lee’s A Gesture Life

Bede Williams
Recontextualising a Singing Treasure: Eve De Castro-Robinson’s Clarion

14.30-16.00: Seminar 2
Representing Performance, Form and Marginalisation

Qianwei He
Miao Folk Music and the Marginal Modernism of Shen Congwen

Peter Cherry
Music as Metaphor: Writing Transcultural Identities in Jackie Kay’s Trumpet (1997) and Suhayl Saadi’s Psychoraag (2004)

Heidi Hart and Deniz Ertan
Absence, Detachment, Mutedness: An Exploration of Word and Music/Sound in Ceylan’s Uzak

Allie Reznik
Music as Communal Superfluity and Necessity in Octavia E. Butler’s Novel and Toshi Reagon’s Folk Opera Parable of the Sower

16.30-18.30: Keynote Lecture
Imani Danielle Mosley (University of Florida)

Imani Danielle Mosley received her PhD from Duke University in 2019 where her work examined the reception of Benjamin Britten’s postwar operas. Her current research addresses digital sonic mapping, acoustics, and ritual in the English churches and cathedrals central to Britten’s sacred music. In addition to her work on Britten, she also specializes in contemporary opera, reception history, masculinities studies, and race in 21st-century popular musics. Her contribution to the digital humanities focuses on sonic mapping, data analysis, and digital and computational musicology. Mosley is also an active performer, playing new music written for bassoon and baroque bassoon in various early-music ensembles. She is also a working dramaturg and librettist and collaborated with composer Frances Pollock on the operas Stinney: an American Execution, premiered at the Prototype Festival in New York in 2019, and Salt, premiered at the Yale Opera Studies Today conference in 2020.


Wednesday 2 September 2020

12.30-14.00: Seminar 3
Depicting the Singer

Katie Harling-Lee
The Marginalised Operatic Voice in Ann Patchett’s Bel Canto

Sigal Yona
The Musical Melodrama of George Ovadiah

Thomas Gurke
‘I have breached the limits of acceptable’: Marginalisation and the Popular in Tom Cho’s Look Who’s Morphing

Claire Ross
Black Orpheus on the Underground: Yadé Kara’s Cafe Cyprus (2008)

14.30-16.00: Seminar 4
Marginalisation and Contemporary Word and Music Practice

Jane Forner
Opera on Europe’s Streets: The Intercultural Politics of Music, Language and Space in Orfeo & Majnun (2017-19)

Elise Haller-Shannon
Remixed Subjectivities: Exploring Strategies for Communicating Female Subjective Experience through Music

Toby Young and Cayenna Ponchione-Bailey
Displaced Voices: Giving Voice through Orchestral Performance

Odirin Omiegbe
Music: A Panacea for Marginalisation and Community Building for Persons Living with Disabilities in Nigeria

16.30-18.00: Seminar 5
Composing Marginalised Identities in Popular Music

Jae Hoon Lee
Motions in Captivity: Theorising the Politics of Mobility in Slavery and Blues

Antonius Baehr, Daniel Kwasi Ampadu, Bais Kouanda and Victoria Niemann
Positive Images of Black Communities in Rap

Rachel Willis
‘Where Have All the Women Gone?’ Rhetorical Circulation of Old Hits and the Missing Women of Country Music


Thursday 3 September 2020

12.30-14.00: Seminar 6
The Artist vs. the Work

Kristin Franseen
‘A Brief Sketch…May Be Appropriate’: Gossip and the Marginal in Schubert Biography

Victoria Roskams
‘She Would Look Exactly like Richard Wagner if She Were Only More Feminine’: Ethel Smyth and the Literature of Male Gatekeeping

Penrose Allphin
Challenging the Intentional Fallacy in Music Analysis by Empowering the Transgender Voice

Sokunthary Svay
Making the (Cambodian) Band: Postcolonial Edition

14.30-16.00: Roundtable
Literature and Music: In from the Margins and out again
(Chair: Delia de Sousa Correa)

A roundtable by contributors to The Edinburgh Companion to Literature and Music (forthcoming with Edinburgh University Press).
Timothy Coombes, Peter Dayan, Christin Hoene, Michael Klein, Adrian Patterson, Emma Sutton

16.30-18.00: Seminar 7
Centring the Margins of Music History

Amy Damron Kyle
Un-Gendering Genius: Re-Writing How We Perceive Musical Genius through the Life of Pauline Viardot-Garcia

Ryan Weber
Framework of Fragility: Music, Literature and American Physical Culture in the Early 20th Century

Allison Bumsted
The Exhausted Popular Music Journalism Discourse and the Marginalisation of TeenSet Magazine

Srija Sanyal
Bol Ke Lab Azaad Hai Tere: Tracing the Musical Vox Populi in India

18.15-19.00: Plenary Discussion


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