{"id":188,"date":"2014-04-20T09:29:18","date_gmt":"2014-04-20T09:29:18","guid":{"rendered":"http:\/\/reframe.sussex.ac.uk\/musmat\/?page_id=188"},"modified":"2014-06-10T17:07:13","modified_gmt":"2014-06-10T17:07:13","slug":"conference","status":"publish","type":"page","link":"https:\/\/reframe.sussex.ac.uk\/musmat\/conference\/","title":{"rendered":"Conference"},"content":{"rendered":"

\"MM-logo\"<\/a>
\nMusical Materialities in the Digital Age<\/strong>
\n2-Day Conference
\nUniversity of Sussex, Brighton, UK
\n27-28 June 2014<\/p>\n

Keynote Speakers<\/strong>
\nNoel Lobley (Ethnomusicologist and Research Associate, Pitt Rivers Museum, University of Oxford)<\/p>\n

Michael Bull (Professor of Sound Studies and Co-Director\u00a0 of the Centre for Material Digital Culture, University of Sussex) (tbc)<\/p>\n

Unearthing music\u2019s association with materiality reveals a fascinating array of artefacts, including instruments, scores, transcribing devices and sound recordings. Such artefacts provide vital reference points for historical research as well as inviting new creative uses, rediscoveries and (re)mediations. They also add to the ever-growing archives of past objects, whether stored in physical or digital forms. Music\u2019s material traces serve as vital ways of mediating memory, whether in private collections or public exhibitions. Furthermore, the use of musical \u2018ephemera\u2019 such as record sleeves, programmes, flyers and posters as a primary means for putting the popular musical past on display in museums and galleries has highlighted the ways in which such objects are not so ephemeral after all.<\/p>\n

The persistence of musical artefacts and musical materialities following the period of their initial use value poses interest questions. What is the fate of musical artefacts once they become obsolescent? What becomes of music and its objects once relegated to archives? What is the role of musical artefacts in helping us to understand the past? What is the relationship between the physical and the digital in terms of music\u2019s objects? To what extent does a focus on music\u2019s objects challenge the idea of music as a social process? Conversely, what role does musical materiality play in the maintenance and development of rituals long associated with music? What does the remediation of the musical past via \u2018media archaeology\u2019 have to tell us about present desires, anxieties and needs? What is the role of museums, galleries, sound archives and libraries in these processes?<\/p>\n

Conference organisers<\/strong>
\nRichard Elliott (University of Sussex)
\nElodie Roy (Newcastle University)<\/p>\n

Links<\/strong>
\nCall for Papers<\/a>
\nProgramme<\/a>
\nFees and Registration<\/a>
\nTravel and Accommodation<\/a>
\nFacebook page<\/a><\/p>\n

\"synth-diy\"<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

Musical Materialities in the Digital Age 2-Day Conference University of Sussex, Brighton, UK 27-28 June 2014 Keynote Speakers Noel Lobley …
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