Utrecht Colloquia in the Musicologies 2018-19  ‘Time management’ in indeterminacy: The conductor as ‘chronometer’ in John Cage’s Concert for Piano and Orchestra Emily Payne (University of Leeds)   It seems self-evident that one of the primary functions of the conductor is to indicate and control the musical beat of an ensemble. Yet, as recent research…

Utrecht Colloquia in the Musicologies 2018-19 I’ll Be Your Mixtape: Lou Reed, Andy Warhol, and the Queer Intimacies of Cassettes Judith Peraino (Cornell University) This presentation tells the story of a cassette tape housed in the Andy Warhol Museum Archive, a set of never-released (and rarely heard) songs by Lou Reed, and the tape’s intended…

Unequal Equalities: Group Music-Making as Deliberative Democracy Robert Adlington (University of Huddersfield)   The processes involved in small-scale ensemble music-making have frequently been characterised as ‘democratic’ in nature, recognising the ways in which each participant is equally involved in the musical decision-making. I will examine these claims in the light of recent theoretical writing on…

In recent years, there has been exciting cross-disciplinary work between art historians and musicologists, exploring the visual presentation of music in medieval devotional aids. Acting as visual cues for interior listening, reminders of sonic distraction or prompts towards a ‘sounding performance of prayer’, imagined or symbolic signs of sound have been usefully integrated into our…

On Wednesday 17 October the next edition of the Utrecht Colloquia in the Musicologies 2018-2019 will take place. Emilio Audissino (University of Southampton) will talk about the importance of composer John Williams.  There are many John Williamses. One is the “Jedi Maestro”, a figure idolised by a multitude of filmmusic fans, grateful to him for having…