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DTSTART;TZID=America/New_York:20250322T190000
DTEND;TZID=America/New_York:20250322T190000
DTSTAMP:20250228T190530Z
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UID:14492-1742670000-1742670000@www.amsmusicology.org
SUMMARY:HipHop and US Diplomacy
DESCRIPTION:The AMS proudly partners with the HipHop Literacies Conference\, Irrepressible Soul\, The Ohio State University\, and Urban Arts Space to present a special panel and performance featuring hip hop duo Mother Nature and dr. gloria j. wilson. Mother Nature is the women-led HipHop force of Klevah and TRUTH\, who are emcees devoted to building a legacy founded on defiance and self-discovery. In addition to being award winning performers\, they are both artist-educators who participated in Next Level residencies which mobilized HipHop as a tool of diplomacy in places like Morocco and Azerbaijan. \nIn this evening panel\, dr. wilson will lead a discussion with Klevah and TRUTH about their experience with HipHop education and diplomacy in the US and abroad. Following the conversation\, Mother Nature will give a brief performance. \nThis event is presented as part of the HipHop Literacies Conference\, bringing together scholars\, K–12 teachers\, and artist-practitioners from a variety of fields who use HipHop in a variety of ways\, from literacy instruction to political advocacy. It will take place at the Maroon Culture Lab\, a new performance space in the historically Black neighborhood of Bronzeville in Columbus\, Ohio. Originally built as a temple for the Knights of Pythias\, the building is dedicated to promoting and honoring artistic and cultural contributions by Black artists\, musicians\, and other creative professionals. \nTickets are free\, but registration will be required. For more information\, visit the Many Musics of America website.
URL:https://www.amsmusicology.org/calendar/hiphop-and-us-diplomacy/
LOCATION:Maroon Culture Lab (Formerly the Pythian Theatre)\, Columbus\, OH\, United States
CATEGORIES:Lectures,Performance,Public Event
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DTSTART;TZID=America/New_York:20250314T163000
DTEND;TZID=America/New_York:20250314T163000
DTSTAMP:20250228T193252Z
CREATED:20250228T193038Z
LAST-MODIFIED:20250228T193252Z
UID:14501-1741969800-1741969800@www.amsmusicology.org
SUMMARY:Science into Art: Discourses of Occult Vibration in Chicago’s Musical Culture
DESCRIPTION:Join Professors Anna Gawboy and Christopher Scheer at the University of Chicago as they discuss the fascinating ways that esoteric philosophies influenced Chicago musicians. \nAmong the many varied offerings that comprised Chicago’s Columbian Exposition of 1893 were myriad scientific exhibitions\, as well as the Parliament of World Religions\, which brought together spiritual leaders representing a wide spectrum of beliefs. The Parliament included members of the Theosophical Society\, an esoteric organization which sought to reconcile the growing divide between science and religion by treating both as corrupted branches of a universal ancient wisdom. \nOne concept which transcended these divisions at the time was vibration. At the exposition\, vibration could be seen and experienced everywhere through the electric current that powered the geysers and illuminated the amusements of White City\, as well as the novel inventions on display in the Electricity Building. At the same time\, participating Theosophists advocated a conception of reality that was founded on the fundamental presence and manipulation of spiritual vibrations. In many cases\, the language used to articulate scientific and spiritual meanings for vibration was shared\, reflecting the Theosophists’ appropriation of scientific discourse and the deployment of Theosophy’s vibrational metaphysics in explanations of natural forces by scientists such as Thomas Edison and Nikola Tesla. \nThis vocabulary of vibration was an important element in the musical culture of Chicago in the twentieth century and provides a framework to re-enchant its history. We will explore two overlapping but contrasting case studies: 1) the salon of Djane Lavoie Herz and the ultramodern musical experiments of her student\, Ruth Crawford Seeger; and 2) the relationship of Alton Abraham’s Thmei Research group to the performances and music of Sun Ra. In both cases\, the study of Theosophical texts and their discourses of vibration motivated musical experimentation\, revealing esotericism’s potential to inspire creativity in networks of Chicago musicians\, traversing divisions of style and genre\, science and religion\, and class and race. \nThis event will be held as part of the Many Musics of America Project. \nPre-Register \n 
URL:https://www.amsmusicology.org/calendar/science-into-art/
LOCATION:Fulton Hall\, University of Chicago\, 5845 S Ellis Ave.\, Chicago\, IL\, 60637\, United States
CATEGORIES:Lectures,Public Event
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DTSTART;TZID=America/New_York:20250305T180000
DTEND;TZID=America/New_York:20250305T180000
DTSTAMP:20250227T210101Z
CREATED:20250227T205130Z
LAST-MODIFIED:20250227T210101Z
UID:14485-1741197600-1741197600@www.amsmusicology.org
SUMMARY:Re-Animating the Sound Archive
DESCRIPTION:Over the past two decades\, Brian Harnetty has located historical recordings that document spoken words and musical performance in archives across Appalachia and the Midwest\, including the Berea Appalachian Sound Archives (Berea\, Kentucky)\, the Little Cities of Black Diamonds Archive (Shawnee\, Ohio)\, and the Thomas Merton Collection (Louisville\, Kentucky). In this talk\, Harnetty will discuss strategies by which people in the present relate to recorded sounds that document the past. Through listening with people who live today in the communities where the recordings were made\, Harnetty has helped these communities understand and respond to their histories. In this talk he explores themes from several recording\, performance\, and installation projects that embed old audio in new contexts\, playing illustrative examples from historic and present-day audio and video recordings. These projects document histories of extraction in Appalachia\, social and environmental justice concerns\, and contemplative practices. \nThis talk will be held in conjunction with Brian Harnetty’s residency as part of the Music Humanities Community Conversations Series at Appalachian State University. The Music Humanities Community Conversation Series provides a forum for students\, faculty\, and staff at Appalachian State University and community members to engage current topics in music humanities through invited talks and workshops given by scholars\, artists\, and cultural leaders from Appalachian State and the surrounding region. \nAttendees may park in the Schaefer Lot\, Broyhill Lot\, or Peacock Lot for free from 5:00pm to the end of the event. The Broyhill Music Center is at 813 Rivers St\, Boone\, NC\, 28608. \nClick the button below to watch the livestream. \nLivestream \n 
URL:https://www.amsmusicology.org/calendar/re-animating-the-sound-archive/
LOCATION:Schaffel Recital Hall\, Broyhill Music Center\, Appalachian State University\, 813 Rivers St.\, Boone\, NC\, 28608\, United States
CATEGORIES:Lectures,Public Event
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DTSTART;TZID=America/New_York:20250131T190000
DTEND;TZID=America/New_York:20250131T210000
DTSTAMP:20250130T203703Z
CREATED:20241230T234726Z
LAST-MODIFIED:20250130T203703Z
UID:9880-1738350000-1738357200@www.amsmusicology.org
SUMMARY:Singer Songwriter Traditions: Yesterday and Today with Allison Young
DESCRIPTION:Allison Young is composer\, vocalist\, and multi-instrumentalist whose music is influenced by her research into early twentieth-century American popular song styles. Through her solo work and collaborations with Postmodern Jukebox\, Young converses with the past even as she creates something entirely new. \nJoin us at Towson University on January 31\, 2025 to experience a wide history of American popular music in one evening! Young will discuss her influences\, her creative process\, and the challenges of retaining the sense and style of the songs as they existed in the past. Along the way\, she will discuss the problems with the repertoire\, including racialized song lyrics and outdated gendered references\, and present her model for carefully reusing old music in the present. Tickets are required. Reserve your free ticket.
URL:https://www.amsmusicology.org/calendar/singer-songwriter-traditions-yesterday-and-today-with-allison-young/
LOCATION:Harold J. Kaplan Concert Hall\, Center for the Arts\, Towson University\, 7700 Osler Drive\, Towson\, MD\, 21204\, United States
CATEGORIES:Performance,Public Event
ORGANIZER;CN="American Musicological Society (AMS)":MAILTO:events@amsmusicology.org
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DTSTART;TZID=America/New_York:20241204T070000
DTEND;TZID=America/New_York:20241204T210000
DTSTAMP:20250101T192251Z
CREATED:20240824T151356Z
LAST-MODIFIED:20250101T192251Z
UID:5733-1733295600-1733346000@www.amsmusicology.org
SUMMARY:AMS/LoC Lecture: Recovering the Extraordinary Life and Songs of Carrie Jacobs-Bond - Christopher Reynolds
DESCRIPTION:Carrie Jacobs-Bond (1861-1946) was the most successful songwriter – male or female – in the first half of the 20th century. Her most popular songs sold millions of copies of sheet music and records and were sung around the world\, translated into dozens of languages. Critics often thought of her music either as “semi-classical\,” as “high-class songs\,” or\, because so many millions of people sang her songs\, as folk music\, calling her a descendant of Stephen Foster. Americans sang her songs at weddings\, funerals\, and gatherings of all kinds\, usually by heart. She was also an early female entrepreneur\, founding her own music publishing house\, designing her early sheet music covers\, writing the lyrics to half of her nearly 200 songs. As a result she earned enough to build homes in Chicago\, in the hills north of San Diego\, and in Hollywood\, where she was one of the founding cultural figures. Before Mrs. Bond began to tour as a means of promoting her songs\, performing them to thousands of audiences over four decades\, there was no such thing as a woman singer-songwriter. And like popular folk and rock singer-songwriters in the 1960s and later\, she made no pretense of being a professional singer. Quite the contrary. \nA sure measure of Bond’s broad appeal: professional singers and performers of all musical styles embraced her songs. Many leading opera singers (e.g.\, Ernestine Schumann-Heink and Lawrence Tibbett) promoted them in their recitals\, in dozens of recordings\, and in testimonials. Vaudeville and Broadway musicians regularly performed her songs—Elsie Baker and Eubie Blake made early recordings; with the advent of national radio networks in the late 1920s\, popular musicians and swing band leaders increasingly arranged and recorded their versions. She was always among ASCAP’s top royalty earners. In 1938 her earnings of $10\,000 put her in an elite group with Irving Berlin\, Jerome Kern\, and George Gershwin’s estate. Yet while there are currently 19 biographies of Berlin (seven since 2000) and 18 of Gershwin (nine since 2000)\, there are no scholarly biographies of Mrs. Bond. \nJacobs-Bond’s life story and cultural significance\, like her songs\, are today mostly unknown. In this presentation\, Christopher Reynolds will examine what it is that made her such an extraordinarily significant figure\, and then discuss three of her songs that became central parts of American rituals: “I Love you Truly\,” at weddings\, “I’ve Done My Work\,” at funerals\, particularly those of Black Americans\, and “A Perfect Day\,” a song that was routinely sung to end public gatherings of all kinds\, a song favored above all others by WWI soldiers.
URL:https://www.amsmusicology.org/calendar/ams-loc-lecture-recovering-the-extraordinary-life-and-songs-of-carrie-jacobs-bond-christopher-reynolds/
LOCATION:Montepelier Room\, James Madison Memorial Building\, 101\,1199 Independent Ave SE\, Washington\, DC\, 20540\, United States
CATEGORIES:AMS/Library of Congress Lecture,Lectures,Public Event
ORGANIZER;CN="American Musicological Society (AMS)":MAILTO:events@amsmusicology.org
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