What are the differences between an opera and a lyrical drama? Or from an operetta and a zarzuela? Is Fidelio just a singspiel or Curro Vargas a zarzuela? And within género chico, where can we trace the boundaries between sainete and revista? Are they distinct enough to categorize them as independent genres? Many of these questions have never been properly addressed, in part owing to the scholarly tendency to focus on distinct genres, periods or styles, making it difficult to identify continuities that remain through centuries or frontiers. Certain aesthetic prejudices discriminate genres regarded as entertainment (operetta, salon music) against others purportedly more elevated (opera, symphony) even when they share common characteristics. The various denominations, often used as mere classification labels, decisively condition academic research as well as the access to cultural products. Therefore, it appears to be necessary to discuss the constrains generated by concepts of “genre”, particularly in relation with theatrical music.
Dates: 24-26 Abril 2017. Venue: Madrid, Teatro Real (Sala Gayarre), Plaza Isabel II s/n Registration: Students and speakers: 20 €; General: 40 €.
Organization: This conference is the result of two research proyects coordinated by the ICCMU: MadMusic: Espacios, géneros y públicos de la música en Madrid, ss. XVII-XX (Comunidad de Madrid, S2015/HUM-3483) y MuTe: Musica teatral en España: géneros, continuidades e interacciones (1680-1914) (Ministerio de Economía y Competitividad, HAR2016-80768-P).
Tim Carter. University of North Carolina
Valeria De Lucca. University of Southampton
Juan José Carreras. Universidad de Zaragoza
Call for proposals
The conference will accept paper proposals related to terminology, intertextuality, intersections and divergences between genres, encouraging perspectives beyond terminological, national and chronological limits.
- The Program Committee encourages submissions within the following areas:
- Lexicography, terminological controversies and proposals for new classification.
- Synchronic and diachronic intertextuality among different genres.
- Imbrication and interaction of literary and musical features. Consequences in the configuration of drama.
- Cultural assimilation of theatrical genres and convergence of different dramatic traditions.
- Analysis of the key points in the dramatic configuration: common elements for the creation of dramatic expectations.
- Theatrical genres from Madrid: musical map of the city, musical environments beyond the theatre and intersections.
Two documents should be sent to firstname.lastname@example.org:
- .doc or .rtf document with the title and abstract of the proposal (200-250 words), without the name of the author. It is important to avoid information that could identify the author.
- .doc or .rtf document with the title of the proposal, personal information, brief biography (200-300 words) and audiovisual media or other technical requirements.
-Proposal should be received before 15 December 2017.
-Accepted papers will be announced after 15 January 2017.
Official languages: Spanish and English.
Dates: 24-26 Abril 2017
Venue: Madrid, Teatro Real (Sala Gayarre), Plaza Isabel II s/n
Registration: Students and speakers: 20€; General: 40€.
This conference is the result of two research proyects coordinated by the ICCMU: MadMusic: Espacios, géneros y públicos de la música en Madrid, ss.XVII-XX (Comunidad de Madrid, S2015/HUM-3483) y MuTe: Musica teatral en España: géneros, continuidades e interacciones (1680-1914) (Ministerio de Economía y Competitividad, HAR2016-80768-P).
Álvaro Torrente (Instituto Complutense de Ciencias Musicales); Víctor Sánchez (Universidad Complutense de Madrid); Pilar Espín (Universidad Nacional de Educación a Distancia)
José Máximo Leza (Universidad de Salamanca), Elena Torres Clemente (Universidad Complutense de Madrid), María Encina Cortizo (Universidad de Oviedo), Cristina Urchueguía (Universität Bern), Tobias Branderberger (Georg-August Universität Göttingen), Isabelle Porto (Université François-Rabelais, Tours)
Cristina Aguilar, Carlos González Ludeña, Zoila Martínez Beltrán, Pablo Rodríguez-Tembleco.