British Shakespeare Association Biennial Conference 2005
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Programme : Panels - Seminars - Workshops
Seminar - Shakespeare and Music
Friday 2nd September 2005, 11.00am-12.30pm,
Bedson Teaching Centre LG37
Participants | Call for Papers
Participants
Convenor - Julie Sanders,
University of Nottingham
Ruth Bernander, Raymond Walters College
Dr. Saviour Catania, University of Malta
Dr. Kendra Preston Leonard, National Coalition of Independant
Scholars
Dr. Lucy Munro, Keele University
Heather Violanti, Shakespeare Institute
Call for Papers
Below is the original Call for Papers, as circulated. Please note that the date for submissions has passed and the successful participants are listed above.
Convenor: Julie Sanders (University of Nottingham)
This seminar is built around the wide-ranging topic of ‘Shakespeare and Music’. The idea is not to explore specific examples of the reinterpretation or appropriation of Shakespeare plays and poems into music per se, but rather to interrogate the methodologies and motives of these acts of appropriation and the aesthetic premises that inform them. Since the aim of the seminar format is to open up discussion rather than presenting work in the more finalized or formal shape of conference papers, the hope is to use particular examples of Shakespearean musical adaptation, chosen from a diverse range of sources that might include, for example, jazz, hip-hop, film soundtrack, classical symphony, opera, ballet, and Broadway musical, as the foundation for discussion and debate between the seminar members. Audio-visual equipment will be available for use on the day.
The call for papers therefore invites suggestions of material of this kind for inclusion and study, as well as proposals (no longer than 500 words) for formal papers on ‘Shakespeare and Music’ that can be circulated in advance to seminar members in order to shape and facilitate discussion on the day.
One objective is to enrich and expand the idiom in which appropriation as a process is described and analysed by Shakespearean critics. For example, the topic of ‘Shakespeare and Music’ could be approached from the enlightening standpoint of recent scholarship in musicology: on jazz improvisation, perhaps, or the appropriation of linguistic and structural effects from drama in the arena of hip-hop duelling. By circulating theoretical material in advance of the seminar – for example, revisiting Adorno’s theories of aesthetics – new ways of talking and thinking about ‘Shakespeare and Music’ will hopefully emerge from the discussions. Suggestions for theoretical material for circulation among seminar members are also welcome at this stage.
Contact: Julie Sanders (Julie.Sanders@nottingham.ac.uk)
