4th International Scientific Meeting for Sound and Musical Instrument Studies 18.19.20/12/2015

ANIMUSIC-Portugal and partners, welcome you to

«Creativity in musical instruments, sound and music making»

Makers and inventors of musical instruments are welcome to participate at the ENCONTROIM – a time and place to communicate their art, with a special exhibition open to the public. INSTRUMENTS, CDs, TOOLS, PHOTOGRAPHS… All are welcome to this special Exhibition!

We invite you to see some selected links:

General information (about the places, transportation, lodging, etc.)

Index of the Organological Congress 2015

Tavira/Algarve

ENCONTROIM: meeting and exhibition for makers and inventors of musical instruments

Listen to concert pianist Kyoko Hashimoto playing “La danse des B…” (excerpts)

Call for Papers, other proposals welcome

REGISTRATION TO THE ORGANOLOGICAL CONGRESS 2015 is now open: see here.

4th International Scientific Meeting for Sound and Musical Instrument Studies

18.19.20/12/2015

ORGANOLOGICAL CONGRESS

in TAVIRA, eastern side of Algarve, at the south Atlantic coast of PORTUGAL

CALL FOR PAPERS (open until the 20th of October)

THEME

The wide capacity for inventing sound tools and music has been a constant human evolution factor, from regional environments to the application of leading-edge technology. Modernity does not imply a merging homogeneous reality, nor entails a comprehensive Western permeation. Musical instruments reflect individuals and their societies, traditions and quests for novelty, as well as links and differences between cultures. Some sound objects are endlessly duplicated and common in all corners of the world while others are rare or even unique. So is each voice. We believe this meeting to be a good opportunity for bringing to light different spectra on the importance of musical instruments, sound and music making in human history. 

Following the natural crossroads in Organology, this year’s main theme is «Creativity in musical instruments, sound and music making». The theme is the ‘leitmotif’ of the conference and it is not exclusive; participants are welcome to explore the interdisciplinary essence of Organology and sound studies, on all topics and techniques relevant to our field. We may add that performance issues should especially refer to the instruments or sound producing devices used for the artistic communication, being possible to focus on the "creativity" of the composer in the use of the particular instrument/s or sound producing.

PARTICIPATION

We welcome proposals for papers (15+5mn for questions and handover), panels (one hour), and posters, as well as lecture-recitals (30 to 40 minutes) and concerts. In addition, participants, namely inventors, makers and collectors, have the possibility to show a selection of their musical instruments or designs at the Exhibition. There is also a specific display area for books, scores, and other items, available during the conference days.

The common language for presentations is English. Papers may be read in Portuguese, Spanish, French or Italian, provided the PowerPoint projection is in English. We also accept participation with direct translation in special cases.

SUBMISSION

We look forward to abstracts that describe original and technically excellent research from various perspectives. The title, abstract (in English or bilingual, of up to 300 words), and a biographical note (up to 100 words) should be received by email on or before the 20th of October of 2015. The results shall be communicated individually by the end of October after being peer-reviewed by the Scientific Committee. Papers presented at the Organological Congresses may be submitted for publication in the conference proceedings.

Please send proposals to congressorg2015.animusic@gmail.com

For further and updated information please check the website www.animusic-portugal.org or contact us at the email above.

EVENING CONCERTS

The exquisite art of the Hungarian Organist Gyula Szilágyi will be heard in a concert (Friday night, 18th of December) and in a lecture-recital (Sunday), playing on two historical organs, the first at the Igreja de Santiago and the second at the Igreja da Misericórdia. The famous Japanese Pianist Kyoko Hashimoto will perform on Saturday night, the 19th of December, works from one of her last recordings, “La danse des B...”, by Bach, Beethoven, Brahms, Blumenfeld and Bartók.

EXTRA-PROGRAM

Masterclass of Piano by Professor Kyoko Hashimoto (Professor at McGill University, Chair of Piano Area, Canada) and Workshop on Historical Flute and Performance by Professor Michael Lynn (Oberlin Conservatoire, USA).

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«We love Art and Science, knowledge and praxis. Music abounds in a whirl of continuous stimulation. Our commitment is to bring people together, welcoming makers, creators, musicians… classic-ethno-world-music-sound inspirations from all parts and fields… This is ANIMUSIC-Portugal.»

CONGRESSO DE ORGANOLOGIA | 2015 | ORGANOLOGICAL CONGRESS

CONGRESSO DE ORGANOLOGIA | ORGANOLOGICAL CONGRESS

Encontro Científico Internacional para Estudos sobre

Som e Instrumentos Musicais

CONGRESSO DE ORGANOLOGIA 2014

 

ORGANOLOGICAL CONGRESS 2014

International Scientific Meeting for 

Sound and Musical Instrument Studies

 

19 & 20/07, Museu Nogueira da Silva, Braga, Portugal

 

CALL FOR PAPERS

 

 

Submissions are now open for the 2014 Organological Congress organized by   ANIMUSIC-Portugal in collaboration with the Museum Nogueira da Silva and the University of Minho in Braga, Portugal.

 

The central objective of this conference is to bring together professionals, researchers, makers and players with an interest in the broad field of Organology. We therefore welcome proposals for papers, panels, and posters that relate to the science of musical instruments in areas such as musicology, social history, archaeology, museology, engineering, electronics, acoustics, decorative arts, iconography, psychology, or on issues related to the performance or use of musical instruments. As in the previous conferences, we particularly encourage performance practice, lecture-recitals and commented recitals, promoting the dialogue between science and art. This year’s main theme is Tradition and Modernity, following the crossroads so typical in Organology. We look forward to abstracts which describe original and technically excellent research with critical standpoints. The title, abstract (in English, of up to 300 words), and a biographical note (in English, up to 100 words) should be received by email on or before the 31^st of March of 2014. The results will be communicated individually after being peer-reviewed by the scientific committee, not later than the 15^th of April. The official language is English due to the large number of international participants. Papers presented at the Organological Congress may be submitted for publication in the conference proceedings.

 

Please send submissions to congressorg.animusic@gmail.com

 

For further and updated information please check the website 

www.animusic-portugal.org 

or contact us at 

animusic.portugal@gmail.com

 

CONGRESSO DE ORGANOLOGIA 2013 ORGANOLOGICAL CONGRESS

Encontro Científico Internacional para Estudos sobre Som e Instrumentos Musicais

CONGRESSO DE ORGANOLOGIA 2013

International Scientific Meeting for Sound and Musical Instrument Studies

ORGANOLOGICAL CONGRESS 2013

18-20 / 04 / 2013

Local: Universidade de Évora - University of Evora, Portugal

CALL FOR PAPERS

Geral-General

In furtherance of our principal aim of promoting the interchange of knowledge and experience in the field of musical instruments, the Organological Congress 2013 in Portugal will bring together scholars and all who are interested in the various subjects embraced by Organology, such as museology, engineering, acoustics, archaeology, history, applied arts, psychology, or in issues related to the performance or use of musical instruments (neuroscience, ergonomics, morphological anthropology, kinanthropometry or others). We are looking forward to the revealing of “new ideas”, new studies on instruments, new research methods, inventions and further developments of acquired scientific knowledge. While the main theme in 2013 will focus on innovation in sound studies and production and a strand of the congress will embrace this theme (see below), papers are welcomed from any branch of organology, in order to maintain our aim of representing this scientific area as an holistic whole.
Resumos-Abstracts
We are inviting potential participants to submit abstracts (200-300 words) in English (international common language),  for lecture proposals (15+5 minutes for questions and handover), lecture-recital or recital proposals (30 minutes) or posters, in all topics related to Organology, including acoustic analysis, construction or study of the mechanics of instruments, museological concerns (collections, exhibition, conservation, media, public policies, etc.), iconography or performance issues. Papers are cross-related with the opportunity being provided for open sessions. We appreciate proposals which are original, technically excellent, and with a synthetic and critical posture. Presentations should be in English, wherever possible, but may also be in Portuguese, French or Spanish, provided that the presentational material (PowerPoint) is in English.

The title, abstract and a short biography (100 words) should be received by email (to: congressorg.animusic@gmail.com) on or before the 20^th of March of 2013, independently of time zone. The results will be communicated individually after being peer-reviewed by the scientific committee, not later than the 31^st of March. Papers presented at the Organological Congress may be submitted for publication in the conference proceedings. Early registration is available during February and March. Participants are offered special discounts for flights by TAP.

Special guest speakers: Dr. Peter Holmes, Prof. Eberhard Meinel, Prof. Jeremy Montagu, Prof. Arnold Myers

For further and updated information please check the website: www.animusic-portugal.org or contact us at: animusic.portugal@gmail.com

TEMA-THEME 
Leading to new ideas : innovation from past, present and future

By identifying crossroads of diversified knowledge, this meeting will facilitate the interchange of ideas, bringing people together from various fields and expanding awareness of what exists and what might exist. Beyond the reinvention of the past, using a limitless imagination regarding the building of instruments with traditional materials, the bridge to new technology has been crossed to access a new world of sound exploration. Wonderful possibilities have been opened up with the advances in technology, both in the study of the lost past or the surviving objects of the present, as well as in the development of innovative instruments, paving the way to a future whose potential remains unimaginable even for the workers on the cusp of these developments, let alone the general public. Different perspectives will be presented at this conference, for the observation of the intersection of sound with everyday life, the physical and psychological effects of listening and playing, the interconnectivity or the regional particularities observed in the various collections around the world, or for cultural originality of any kind.  Researchers, constructors, inventors, curators, traders, artists, and all interested in this unlimited journey will gather to debate the inventive spectrum of ‘sound’ production and musical composition and also to investigate what has lead the human to value organised sound so greatly and what drives us on to expand the world of sound continuously, ensuring that the one predictable thing about the future of human sound tools will be their unpredictability. Sound and creation, from time immemorial into the future.

EXTRA PROGRAM
» CONFERÊNCIA-CONFERENCE “Art and Science” at the Goethe Institut in Lisbon, 17^th of April, 19h00, Biblioteca, free entrance: Lecture in the form of a dialogue, where the relationship between the development of the organological science and the arts is illustrated by Dr. Patricia Bastos, President of ANIMUSIC, and also where examples of schools of musical instrument construction and research carried out in Germany are shown by Prof. Eberhard Meinel, Director of the Studiengang Musikinstrumentenbau from the University of Applied Sciences in Zwickau, Germany.

» EXPOSIÇÃO-EXHIBITION OF MUSICAL INSTRUMENTS (during the Congress): Palácio do Vimioso, Universidade de Évora, Portugal

» CONCURSO ANIMUSIC / CONTEST FOR THE CONSTRUCTION OF MUSICAL INSTRUMENTS: to be announced at www.animusic-portugal.org

Conferência&Oficina no dia 19 de Janeiro de 2012, no Museu Nacional de Arqueologia, Lisboa

The sound of Archaeology
by Cajsa Lund

 

 

Lecture and workshop – listen and enjoy!

Nowadays – in the modern world – we hear sounds almost continuously. In prehistoric times there was more silence. Today most sounds come from gadgets and machines. In prehistory, sounds from nature – man’s environment – predominated. Can we have any understanding of how people listened then?

It is even more difficult to determine what kind of music may have existed in prehistoric times. The knowledge is necessarily based on surviving material traces of music and music-related activities.

Music archaeology is today an accepted term for such research which attempts to describe, explain and reconstruct music and other non-verbal sounds on the basis of archaeological finds. Every single find is really a decodable indicator of sound production. The potsherd and the refuse pit, the plough furrow and the foot imprint – all of these offer clues concerning vanished soundscapes. But the main sources of music archaeology are preserved sound-producing artefacts and pictures of them.

Some of the artefacts were clearly made for sound production, for examples bells and bone flutes with finger holes. In other cases we are faced with exciting questions. What about tubes of bone with beveled ends? Are they whistles or are they something completely different?

Workshop

In the workshop you can have a closer look at the sounding artefacts and discuss them with Cajsa S. Lund, such as buzzers, bullroarers, lithophones, jew’s harps, scrapers and many other finds from prehistory and the medieval ages. You can try out some of the instruments, and also make your own traditional sound tool of nuts and sea mussels!

This activity was proposed and organized by the Direction of ANIMUSIC with the cooperation of the Museu Nacional de Arqueologia in Lisbon - we thank the Museum and its Director Luís Raposo, who kindly welcomed this event.

SIMPÓSIO INTERDISCIPLINAR 2011

‘LE MIROIR D’UN MOMENT’:

CULTURA FRANCESA, INOVAÇAO E PIONEIRISMO

INTRODUÇÃO

A Associação Nacional de Instrumentos Musicais (ANIMUSIC), em conjunto com a Unidade de Investigação em Música e Musicologia da Universidade de Évora e com o apoio da Juventude Musical Portuguesa - Delegação do Porto, organiza o segundo Simpósio Interdisciplinar sob o tema: "Le miroir d’un Moment”: Cultura Francesa, Inovação e Pioneirismo". Subjacente a esta iniciativa está a vontade de proporcionar, num espaço e tempo, um encontro de especialistas em áreas diversificadas que, sobre uma temática, partilhem entre si conhecimento e experiências. Para além de se promoverem participações nacionais e estrangeiras, em número que não prejudique o desejado interrelacionamento, incluímos na programação momentos de música, poesia e teatro. Oferece-se um período limitado para comunicações livres (propostas (20 minutos) a serem enviadas até ao dia 15 de Novembro).

Convidamos a um olhar sobre o Simpósio do ano transacto em: http://animusic-portugal.blogspot.com/2010_10_01_archive.html. Em 2011 será realizado no dia 3 de Dezembro na sede da JMP-Porto (Rua da Restauração, n.º 418), das 10h às 19h.

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TEMÁTICA

Entre as efemérides para 2011, ressaltava o centenário da editora Gallimard e da sua Nouvelle Révue Française, um marco da, então dominante, cultura francesa – daí, a escolha deste “momento” (alusão ao poema de Paul Éluard com o mesmo título, publicado em Capitale de la Douleur) – que desde o século das Luzes impunha os seus cânones linguísticos, artísticos ou até das modas. O “Francesismo” – e seguimos a definição proposta por Álvaro Manuel Machado (1984) – como imagem e influência da “douce”, “belle” ou, para nós, chère França, cujo idioma era reconhecido como expressão da diplomacia, da filosofia, enfim, do conhecimento, linguagem da sensibilidade, da estética, como tão bem a Música expressa, “com tudo o que a cultura, como fenómeno múltiplo e complexo, implica: vida social, formação de elites, literatura, ensino, ideologia”.

A cultura francesa como veiculadora de ideias novas, de vanguarda (avant-garde), do tão apregoado empenhamento (engagement) com o tempo e o modo. Isto com tudo o que acarreta uma Weltschauung (mundividência): ideal cosmopolita, centro difusor de uma civilização, enquanto sinónimo de cidadania, urbanidade e, porque não, urbanismo, ao mesmo tempo elo e charneira entre Norte e Sul, opondo-se a um certo provincianismo patriótico ou patrioteiro – patente, por exemplo, a partir dos panfletos                        anti-napoleónicos…

Esta presença é testemunhada pelos autores constantes nas bibliotecas domésticas da época: Comtesse de Gencé – generalizadora da tão aclamada corbeille das noivas… – Ponson du Terrail, Bellot, Dumas Filho, enquanto a Bibliothèque Rose ditava os gostos no feminino. O “tocar piano e falar francês” correspondia ao “saber estar” em sociedade, ao “adequado”, de acordo com regras generalizadas pelos manuais de civilidade e etiqueta.

Tudo isto gostaríamos de recordar, não numa perspectiva nostálgica ou saudosista, mas tendo como exemplo o caminho aberto por pioneiros, vanguardistas, inovadores. Aí fica para todos os que quiserem trilhá-lo “avec sa vérité”, “avec sa réalité”.

Olga Ribeiro, da Comissão Organizadora

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Curso "Sons da Pré-História" - introdução

SONS DA PRÉ-HISTÓRIA // SOUNDS FROM PRE-HISTORY

CURSO-LIVRE   |  OFICINA DE ARQUEOLOGIA EXPERIMENTAL

WORKSHOP ON EXPERIMENTAL ARCHAEOLOGY: from clay to skin - construction of instruments based on pre-historic models

Do barro à pele: construção de tambores baseados em modelos pré-históricos 
(cartaz aqui)

INTRODUÇÃO

Convidando para uma visita à criatividade de um tempo distante, a ANIMUSIC propõe um curso-livre sobre a construção de instrumentos pré e proto-históricos, aproveitando o longo fim-de-semana que engloba o Dia de Portugal. É uma oficina essencialmente prática, em que os participantes conhecem diferentes processos de moldagem do barro e fazem o seu próprio vaso (sem fundo), em que se constrói o forno para a cozedura dos vários objectos (incluindo algumas pequenas flautas e trompas), em que se prepara a pele com lascas de pedra, em que se aprende a fazer fios e cordas com técnicas primitivas e em que se finalizam os tambores esticando as peles sobre o vaso com métodos diversos. O curso tem a duração de quatro dias, num total de 24 horas, e, tempo permitindo, é quase totalmente realizado ao ar livre. A formação é oferecida pelo Professor François Moser, francês com larga e intensa carreira em arqueologia experimental, sendo aberto a todas as idades, independentemente da sua ligação profissional. A data limite de inscrição é nos finais de Maio – existindo um número limitado de 20 vagas que, por experiências anteriores, são preenchidas com antecedência, é por isso facultada uma lista para suplentes. O preço do curso (80€, 70€ para membros da ANIMUSIC) inclui o material, todo o processo de fabricação e aprendizagem de variadas técnicas relacionadas com arqueologia experimental, bem como a oferta dos tambores construídos pelos participantes. O curso realiza-se no Centro Cultural Raiano (Idanha-a-Nova), de 10 a 13 de Junho de 2011, integrado no Festival da Paisagem, e as inscrições estarão em breve disponíveis através da ANIMUSIC (poderá ser também consultado o curso realizado em 2010, sob a etiqueta "arqueologia experimental") ou da Naturtejo (http://www.naturtejo.com/conteudos/pt/home.php), sendo esta a entidade que secretaria o curso. Organização/apoios: ANIMUSIC, Naturtejo, Unidade de Investigação em Música e Musicologia da Universidade de Évora e Câmara Municipal da Idanha-a-Nova.

OBJECTIVOS

- Esclarecer o público geral sobre os instrumentos pré-históricos, com aplicação prática (tambores e outros exemplos).
- Transmitir conhecimentos de arqueo-musicologia e consciencializar sobre a dimensão criativa, musical e metafísica (no sentido abstracto) dos seres humanos pré-históricos.
- Informação sobre o carácter científico das reconstituições e contextualização da arqueologia experimental (apresentação do argumento das cerâmicas sem fundo, hipóteses de utilização, técnicas pré-históricas de fabricação conhecidas, comparação com técnicas da era moderna, estado actual da investigação).
- Fomentação de actividades ao ar livre e de índole ecológica.
- Criatividade e expressividade artística.

PARTICIPANTES

- Crianças com acompanhamento de adultos (a partir dos 8 anos), jovens, adultos e idosos.
- Número limitado de participantes: mínimo 10, máximo 20 (número superior sujeito a aprovação por parte dos professores). Faculta-se uma lista para suplentes.