2010 & 2009 News Archive
Print versionFlute and Piano Recital
7.30pm Thursday 9 December
St Davids Room, Strand Campus
Olivier Messiaen Le merle noir for flute and piano
Stephen Beville New Work for piano
James Clarke 2010-F for solo flute
Stephen Beville Aria for flute and piano
Luciano Berio Six encores for piano
Franco Donatoni Fili for flute and piano
Carola Nielinger-Vakil (flute)
Stephen Beville (piano)
Admission Free – all are welcome to attend
For further information, please contact the Music Department
King's College London,
Strand, London WC2R 2LS
email: music@kcl.ac.uk
St Davids Room, Strand Campus
Olivier Messiaen Le merle noir for flute and piano
Stephen Beville New Work for piano
James Clarke 2010-F for solo flute
Stephen Beville Aria for flute and piano
Luciano Berio Six encores for piano
Franco Donatoni Fili for flute and piano
Carola Nielinger-Vakil (flute)
Stephen Beville (piano)
Admission Free – all are welcome to attend
For further information, please contact the Music Department
King's College London,
Strand, London WC2R 2LS
email: music@kcl.ac.uk
Piano Recital by Rob Keeley
7pm Monday 1 November 2010 (note start time)
Great Hall, Strand Campus
Poulenc Pastourelle: Melancolie
Carmargo Guarnieri Three Ponteios
Fauré Barcarolle No.5 in F sharp, Op. 66
Copland Variations
Messiaen Le Traquet Stapazin (Catalogue d'oiseaux)
Jolivet Mana
Admission Free – all are welcome to attend
For further information, please contact the Music Department
King’s College London,
Strand, London WC2R 2LS
Tel 020 7848 2029
Email music@kcl.ac.uk
Great Hall, Strand Campus
Poulenc Pastourelle: Melancolie
Carmargo Guarnieri Three Ponteios
Fauré Barcarolle No.5 in F sharp, Op. 66
Copland Variations
Messiaen Le Traquet Stapazin (Catalogue d'oiseaux)
Jolivet Mana
Admission Free – all are welcome to attend
For further information, please contact the Music Department
King’s College London,
Strand, London WC2R 2LS
Tel 020 7848 2029
Email music@kcl.ac.uk
Musical Transitions project awarded major ERC grant
We are delighted to announce that Dr Katherine Butler Schofield has been awarded a €1.18M European Research Council Grant. She will lead a team in a four-year research programme entitled "Musical Transitions to European Colonialism in the Eastern Indian Ocean", to be based in the Music Department of King's College London.
"Musical Transitions" aims to produce a history of transitions from pre-colonial to colonial musical fields in the eastern Indian Ocean, focussing on India and the Malay peninsula during the period of British expansion, c.1750-1900. Previous scholarship has argued that colonialism created a rupture with past knowledge systems in colonised musical fields.
This project will seek to show that although such fields did indeed undergo large-scale changes, continuities with pre-colonial systems suggest gradual transformation rather than radical disjuncture. Colonial infrastructures in the eastern Indian Ocean did not, in other words, wholly displace the longstanding networks that preceded them, and in many cases even facilitated new exchanges. The process is best seen as one of overlapping but chronologically staggered layers of pre-colonial, colonial and hybrid discourses, undertaken in several language-cultures and by different constituencies over time.
Viewing India and the Malay peninsula as a single, multiply connected region throws substantial and unexpected light on these patterns of transition, bringing pre-colonial and colonial musical pasts, and multipleindigenous- and European-language archives, into sustained critical dialogue. By doing this on an unprecedented scale, "Musical Transitions" will strive to develop a new historical model for the interactions of music and colonialism: one that will persuasively account for both continuities and transformations in musical knowledge systems. The end result will be a picture of cross-cultural appropriations in the colonial era that is considerably more complex than current models of European hegemony allow.
The project will recruit a number of postdoctoral and administrative staff over the next few months; funding will also be available for two doctoral studentships.
"Musical Transitions" aims to produce a history of transitions from pre-colonial to colonial musical fields in the eastern Indian Ocean, focussing on India and the Malay peninsula during the period of British expansion, c.1750-1900. Previous scholarship has argued that colonialism created a rupture with past knowledge systems in colonised musical fields.
This project will seek to show that although such fields did indeed undergo large-scale changes, continuities with pre-colonial systems suggest gradual transformation rather than radical disjuncture. Colonial infrastructures in the eastern Indian Ocean did not, in other words, wholly displace the longstanding networks that preceded them, and in many cases even facilitated new exchanges. The process is best seen as one of overlapping but chronologically staggered layers of pre-colonial, colonial and hybrid discourses, undertaken in several language-cultures and by different constituencies over time.
Viewing India and the Malay peninsula as a single, multiply connected region throws substantial and unexpected light on these patterns of transition, bringing pre-colonial and colonial musical pasts, and multipleindigenous- and European-language archives, into sustained critical dialogue. By doing this on an unprecedented scale, "Musical Transitions" will strive to develop a new historical model for the interactions of music and colonialism: one that will persuasively account for both continuities and transformations in musical knowledge systems. The end result will be a picture of cross-cultural appropriations in the colonial era that is considerably more complex than current models of European hegemony allow.
The project will recruit a number of postdoctoral and administrative staff over the next few months; funding will also be available for two doctoral studentships.
Bettina Varwig awarded Westrup Prize
Bettina Varwig has been awarded the 2009 Westrup Prize by the journal Music & Letters for her article ‘“Mutato semper habitu:” Heinrich Schütz and the Culture of Rhetoric’, Music & Letters 90/2 (2009), 215-239. The prize is awarded for the "most distinguished" article.
Dr Varwig's article "proposes a fundamental reappraisal of the scope and significance of rhetoric in early seventeenth-century compositional theory and practice. Moving beyond the inherited conception of musical rhetoric as a hermeneutic tool to match musical gestures with specific affective meanings, it reconstructs the discipline as the dominant intellectual force it was, and situates early seventeenth-century German music and music theory within this wider cultural domain."
Music & Letters website (Oxford University Publishing)
Dr Varwig's article "proposes a fundamental reappraisal of the scope and significance of rhetoric in early seventeenth-century compositional theory and practice. Moving beyond the inherited conception of musical rhetoric as a hermeneutic tool to match musical gestures with specific affective meanings, it reconstructs the discipline as the dominant intellectual force it was, and situates early seventeenth-century German music and music theory within this wider cultural domain."
Music & Letters website (Oxford University Publishing)
myScholarship awards for Music students
The Music Department is delighted to announce that two students on the BMus programme are the recipients of myScholarship awards for 2009-10.
Jonathan Carvell (Year 3) and Jennifer Dingley (Year 2) will each receive awards worth £1,800.
120 myScholarships were awarded across the College to reward students' academic excellence and outstanding contribution to their departments. For more information please see the myScholarship web page.
Jonathan Carvell (Year 3) and Jennifer Dingley (Year 2) will each receive awards worth £1,800.
120 myScholarships were awarded across the College to reward students' academic excellence and outstanding contribution to their departments. For more information please see the myScholarship web page.
ESF Exploratory Workshop
Music, Culture and Politics in Early Nineteenth-Century Europe
London, 6-9 May 2010
This workshop, funded by the European Research Foundation and convened by Michael Fend and Roger Parker (King's) and Michel Noiray (IRPMF), took place in the Music Department. It included twenty-two participants from nine countries. The primary purpose was to work towards establishing a large-scale international and interdisciplinary research project concerned with Music, Culture and Politics in Early Nineteenth-Century European Cities. The workshop brought together an interdisciplinary group of (mostly) European scholars specialising in this area; by means of focussed discussion, it explored new research aims and objectives in the subject, discussed methodologies, and developed a programme of future events, publications and funding applications.
London, 6-9 May 2010
This workshop, funded by the European Research Foundation and convened by Michael Fend and Roger Parker (King's) and Michel Noiray (IRPMF), took place in the Music Department. It included twenty-two participants from nine countries. The primary purpose was to work towards establishing a large-scale international and interdisciplinary research project concerned with Music, Culture and Politics in Early Nineteenth-Century European Cities. The workshop brought together an interdisciplinary group of (mostly) European scholars specialising in this area; by means of focussed discussion, it explored new research aims and objectives in the subject, discussed methodologies, and developed a programme of future events, publications and funding applications.
Young Composers Advanced Training Programme
The Music Department is pleased to announce a new initiative in doctoral composition training, generously supported by the Stanley Thomas Johnson Foundation and the Radcliffe Trust. The Young Composers Advanced Training Programme seeks to provide a forum for the lively exchange of artistic views and cutting-edge cultural debate, alongside the traditional one-to-one supervision system.
The Programme has awarded three bursaries to first-year doctoral composition students (Nicola Moro, Italy, Matias Hancke de la Fuente, Argentina, and Paul Everden, UK) that pay partial fees for the three years of their research degree studies . In addition to benefiting the individual students at a crucial stage in their artistic career, by making it possible for a substantial number of students to start their advanced studies together in an environment that encourages artistic cross-fertilisation, the Music Department hopes to pioneer an inspirational approach to the training of advanced composers. The eight first-year doctoral students taking part in this programme come from all over the world.
King’s doctoral programme in composition (three-years full-time) leads to a portfolio of compositions and a technical commentary. Composers work under the close supervision of one of the three composers in the staff (George Benjamin, Robert Keeley, and Silvina Milstein). Each student has a research committee led by the main supervisor, assisted by two other staff members with relevant expertise. In addition students benefit from having some of their music performed at workshops by our ensemble in residence (Lontano, conducted by Odaline de la Martinez). During the course of their training students are expected to start to establish themselves in the musical profession with the support of their
The Programme has awarded three bursaries to first-year doctoral composition students (Nicola Moro, Italy, Matias Hancke de la Fuente, Argentina, and Paul Everden, UK) that pay partial fees for the three years of their research degree studies . In addition to benefiting the individual students at a crucial stage in their artistic career, by making it possible for a substantial number of students to start their advanced studies together in an environment that encourages artistic cross-fertilisation, the Music Department hopes to pioneer an inspirational approach to the training of advanced composers. The eight first-year doctoral students taking part in this programme come from all over the world.
King’s doctoral programme in composition (three-years full-time) leads to a portfolio of compositions and a technical commentary. Composers work under the close supervision of one of the three composers in the staff (George Benjamin, Robert Keeley, and Silvina Milstein). Each student has a research committee led by the main supervisor, assisted by two other staff members with relevant expertise. In addition students benefit from having some of their music performed at workshops by our ensemble in residence (Lontano, conducted by Odaline de la Martinez). During the course of their training students are expected to start to establish themselves in the musical profession with the support of their