From 13^th to 15^th September 2018, Head of Department Laudan Nooshin attended the Annual Conference of the Royal Musial Association, the largest annual gathering in the UK of those working across the range of music studies, including musicologists, ethnomusicologists, performers, composers, and many more! The conference was hosted by the Music Department at the University of Bristol and held in their building – the Victoria Rooms – built in the 1840s as Assembly Rooms: some of the original drinking bars are still in place and provided an interesting setting for conference sessions!

Laudan presented a paper entitled ‘A Window Onto Other Worlds: Musical Exoticism in Iranian Cinema – The Case of The Lor Girl’, which explored the role of music in processes of constructing and representing ‘otherness’ in early Iranian cinema, focusing on the first Persian-language sound film, The Lor Girl, made in Bombay in 1933.

Laudan also spoke on a panel entitled ‘Decolonising Analysis’, which considered some of the ways in which recent calls to ‘decolonise the academy’ have impacted on the practice of music analysis. In a music studies context, the notion of ‘decolonisation’ is about recognising the ways in which our knowledge is, and has been, shaped by power relations and about challenging the normative centres of privilege and taken for granted assumptions through a diversity of musics and perspectives. Given that we’re all enmeshed in some way in colonial histories that inevitably shape how we think, Laudan asked whether it is in fact possible to decolonise analysis before we decolonise our own minds and bodies, particularly in the context of academic institutions – together with their structural inequalities – that were founded on colonial thinking and funded by the riches of empire. The panel provoked an interesting discussion and the setting of the University of Bristol was particularly appropriate, given that an estimated 85% of the wealth that was used to found the university was derived from slavery. Other panel members were: Chloë Alaghband-Zadeh (University of Manchester), Freya Jarman (University of Liverpool), Byron Dueck (Open University) and Ruard Absaroka (SOAS, University of London).

The conference keynote speakers were: Professor Robert Adlington (University of Huddersfield), presenting the annual Le Huray Lecture: ‘Democracy in Action? Audience Participation as Community Organising’; and Alejandro L. Madrid (Cornell University), who was presented with the prestigious Edward J. Dent Medal and whose lecture was entitled: ‘The Importance of Being from ‘the Other Side’: Music and Border Studies in the 21^st Century’.

Next year’s RMA conference will be held from 11^th to 13^th September, and will be hosted jointly by the Music Department at the University of Manchester and the Royal Northern College of Music.

‘Decolonising Analysis’ Panel

University of Bristol, Victoria Rooms

Visitors to City, University of London have joined staff and students to create a new audio-visual art installation in the Department of Music.

Over a period of several months, participants recorded sounds from around the department’s rehearsal, teaching, studio and performance spaces. They also designed and painted artwork on walls of the foyer at the Performance Space.

Speakers have been installed in the area and the 30-minute composition of audio recordings is being played periodically into the room. The finished audio-visual artwork reflects the history, current profile and possible futures of the department, taking inspiration from the architecture of the building and activity happening within it.

Walls On Walls

The work was facilitated by Walls On Walls, a collaboration between Dr Tullis Rennie, who is a composer and City music lecturer, and artist Laurie Nouchka.

Dr Rennie said: “The idea of this project was that anybody in the City community was able to participate – we asked people to pick up paint brushes, explore the area to make recordings and help edit the audio.

“It’s a unique installation because a lot of participative art projects are visual but don’t involve sound. With this work, the group wanted to open up some of the hidden spaces in the department and record sounds that most people are not privy to.”

Practice-based research

The installation is part of Dr Rennie’s practice-based research into collaborative arts process. Practice-based research is a type of study where the aim is to develop knowledge through creative activity.

Dr Rennie’s objective was to observe participation in the creation of an audio-visual community project and see how this translated into the final artwork.

He said: “Participants were taken on a tour and recorded sound from lots of different areas, including the corridors, empty concert rooms, the spaces between rehearsal room and behind doors that are normally closed.”

Dr Rennie added: “They also had electro-magnetic equipment that they could use to record sounds from the wires around the department that connect various studio spaces.

“Students were able to access and edit the recordings themselves and we held an open listening group where everybody could voice opinions.”

The artwork is now a permanent installation in the Department of Music. It was launched at an open public event on Wednesday 30^th May 2018.

Dr Rennie recently received a commendation for his work with Walls On Walls in the Outstanding Contribution to the Local Community category of the university’s President’s Awards.

On Tuesday 29th May, the Department of Music welcomed Michael Nyman CBE, one of Britain’s most celebrated composers, to deliver its first Distinguished Lecture in Music.

In the talk – which was free and open to the public – Nyman discussed his diverse career and musical influences and borrowings. He focused in particular on his allusions to previous music which he has only seen on the page, never heard.

A champion of new music

City’s Head of Performance Ian Pace, who chaired the talk, said: “It was a great privilege to be able to welcome Michael Nyman for this talk.

“Many will know of his scores for films like The Draughtsman’s Contract, The Piano or Wonderland, but he is equally a composer of a great many autonomous and sometimes abstract works, including symphonies, string quartets, song cycles, and so on. Nyman was also a musicologist – and an ethnomusicologist – at the beginning of his career, working on early baroque music and collecting Romanian folk song.”

Ian Pace added: “Furthermore, he championed new music as a critic for The Listener, while his 1974 book Experimental Music: Cage and Beyond, was profoundly influential for many.

“For all of these reasons, his diverse work is especially relevant to a department like ours. Nyman’s work, drawing upon pre-existing musics, is far from simply nostalgic or idly eclectic, but represents a very clearly defined and individual sensibility.”

The lecture was part of the Department’s annual three-week festival of music, City Summer Sounds, featuring free events by our students alongside acclaimed international professionals.