Title: Experiments in Music Research: Reassessing Pierre Schaeffer's Contributions to Music and Sound Studies

Location: University of Birmingham, Department of Music

Date: Friday 9th December, 2016

See below for Schedule and Call for Papers

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Attendance is free, but registration is required due to limited capacity:

https://www.eventbrite.com/e/experiments-in-music-research-tickets-29213354931


The Traité des objets musicaux (Treatise of musical objects) is the central theoretical text for the loosely-defined 'acousmatic' school of composers that spun off from Pierre Schaeffer's quarter century of research for the French public broadcaster, first as director of the Groupe de recherche de musique concrète (GRMC), and later with the Groupe de recherche musicale (GRM). Now, fifty years after its original publication, Schaeffer's work is finally beginning to appear in English translation. At the same time, his carefully wrought meta-language for the relationship between human listening and musical sound is increasingly being tested as a conceptual resource for musicology and sound studies more generally. For all his notoriety, however, it is remarkable how little critical attention has yet been paid to the anatomy and genealogy of Schaeffer's thought. Engagement with Schaeffer's ideas, in English especially, has been unevenly focused on a small portion of his eclectic conceptual repertoire, and mostly written from a microscopic perspective that favours putting his system to work over understanding its historical and intellectual implications. Meanwhile, histories of experimental and electronic music have typically emphasized Schaeffer's work as an engineer and composer over the theoretical project which he considered his highest achievement.

A closer reading of the Traité complicates such reductions. The book is both a prolegomenon to experimental composition, and an exploration of the implications of a musical pluralism brought about by an expanding global mediascape. His concern was not simply with studying listening as a phenomenon or with prescribing specific listening practices, then, but with repositioning listening as the foundation of all musical discipline: from the savoir faire of his solfège, to the analytical attention of his 'music research'. Any critical reevaluation of Schaeffer's work should thus be situated not only in relation to the history of electronic music, but also in relation to the history of musical listening and its representation in musicology and sound studies.

 

Schedule

This one-day conference brings together new critical readings of Pierre Schaeffer's work on the occasion of the 50th anniversary of his major theoretical work, the Traité des objets musicaux. While previous Schaeffer scholarship has largely maintained a prescriptive focus on the composition and reception of musique concrète, this meeting will seek to amplify the conversation around Schaeffer's contributions to other disciplines. Its goals are to rethink the position of Schaeffer’s theory in the history of musicology and sound studies, its proximity to contemporary studies of listening and auditory culture, and the implications of engaging with its terminology and epistemology outside of the acousmatic tradition. It is timed to precede the appearance of the English translation of the Traité.

Opening Remarks 10:00-10:15

Introductory Session 10:15-11:15

  • Évelyne Gayou (Institut National de l'Audiovisuel) The Traité, the GRM, and the Acousmatic
  • John Dack (Middlesex University), Pierre Schaeffer and Music Theory

Break 11:15-11:30

Session 1 11:30-13:00

  • Iain Campbell (Independent) Process and Formalization in Pierre Schaeffer’s Experimental Methodology
  • Christoph Sökler (Staatliche Akademie der Bildene Künste Stuttgart) Failing not Failed, Schaeffer and the Baroque
  • Sam Ridout (Independent) Pierre Schaeffer, Pierre Henry, and the Problem of Contingency

Lunch Break 13:00-14:00

Session 2 14:00-15:30

  • Katherine J. Kaiser (Stony Brook University) Beyond the 'Acousmatic': Discussions of Listening and Voice in Pierre Schaeffer's Writings from the Early 1950s
  • Andrea Cohen (Independent) Pierre Schaeffer and Radio Art
  • Thomas Fogg (Columbia University) Schaeffer on TV: Navigating the Mediascape with McLuhan and Walden

Break 15:30-15:45

Session 3 15:45-17:15

  • Patrick Valiquet (Institute of Musical Research) Schaeffer's Structuralist Humanism
  • Martin Kaltenecker (Université Paris 7) Theological Backgrounds for Schaeffer's Listening Theory and Practice
  • Milo Taylor & Salomé Voegelin (London College of Communication) Discussion

 

Organisation and Selection Committee

  • Brian Kane (Yale University)
  • Danielle Sofer (Maynooth University)
  • Patrick Valiquet (Institute of Musical Research)
  • Scott Wilson (University of Birmingham)

Call for Papers

This one-day conference invites new critical readings of Pierre Schaeffer's work. Its goal is to reassess the position of Schaeffer's theory in the history of musicology and sound studies, its proximity to contemporary concerns in the study of listening and auditory culture, and the implications of engaging with its terminology and epistemology outside of the acousmatic tradition. While previous Schaeffer scholarship has largely maintained a prescriptive focus on the composition and reception of musique concrète, this conference seeks to amplify the dialogue between Schaeffer's theory and other disciplines. It is timed to precede the appearance of the English translation of the Traité, and will thus set the agenda for future research in the field.

Possible topic areas include, but are not limited to:

  • the Traité des Objets Musicaux as a historical document
  • the Traité, the GRM, and acousmatic music as cultural institutions
  • comparative readings of Schaeffer's theory with that of his contemporaries in France
  • critical re-readings of the Traité's 'taxonomy'
  • Schaeffer's work as a media personality, novelist or essayist
  • Schaeffer's philosophy of science and technology
  • the Traité as an analytical or compositional resource for non-acousmatic repertoire
  • Schaeffer and the theory of interdisciplinarity
  • Schaeffer's work from the perspective of music psychology and cognitive science
  • Schaeffer's work from the perspective of ethnomusicology and auditory culture studies
  • applications of Schaeffer's ideas to the cinema and visual media
  • language, speech, and semiotics in the Traité

Abstracts of up to 300 words should be sent to patrick.valiquet@rhul.ac.uk by 30 September 2016. Decisions will be communicated shortly after. The conference will take place in the Department of Music at the University of Birmingham on 9 December 2016 and will be free to attend. A limited number of small travel stipends are available for doctoral students and early career researchers. Please indicate your intention to apply for a stipend when you submitting an abstract. Selected presenters will be invited to contribute to an edited volume of essays to be published after the conference.

Experiments in Music Research is presented in collaboration with Scott Wilson, director of the Birmingham Electro-Acoustic Sound Theatre, University of Birmingham, and with the support of the Institute of Musical Research, Royal Holloway, University of London. For further information, see also the Birmingham Electro-Acoustic Sound Theatre page here.