{"id":36,"date":"2022-04-04T20:46:09","date_gmt":"2022-04-04T20:46:09","guid":{"rendered":"https:\/\/globalmusichistory.ams-net.org\/?page_id=36"},"modified":"2022-04-11T16:31:59","modified_gmt":"2022-04-11T16:31:59","slug":"past-sessions","status":"publish","type":"page","link":"https:\/\/globalmusichistory.ams-net.org\/?page_id=36","title":{"rendered":"Past Sessions"},"content":{"rendered":"\n<h3 class=\"wp-block-heading\">Past Global Music History Study Group Sessions<\/h3>\n\n\n\n<p class=\"wp-block-paragraph\">Below are descriptions of GMH sessions at the national meeting of the American Musicological Society since the group\u2019s inception in 2019.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><a href=\"https:\/\/docs.google.com\/document\/d\/1ojQqygtCh5TXIfwVATaxN6PIMTonHK7LxUrVdEebvBU\/edit#heading=h.uioo5z75t9wh\">AMS Virtual 2021<\/a><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><a href=\"https:\/\/docs.google.com\/document\/d\/1ojQqygtCh5TXIfwVATaxN6PIMTonHK7LxUrVdEebvBU\/edit#heading=h.qtqy6ki4xxqz\">AMS\/SMT Virtual 2020<\/a><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><a href=\"https:\/\/docs.google.com\/document\/d\/1ojQqygtCh5TXIfwVATaxN6PIMTonHK7LxUrVdEebvBU\/edit#heading=h.8ipzj7h8nfco\">Boston 2019<\/a><\/p>\n\n\n\n<h3 class=\"wp-block-heading\">2021 AMS Virtual Conference<\/h3>\n\n\n\n<p class=\"wp-block-paragraph\">Sunday, November 21, 2021<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Session: Centering Discomfort in Global Music History (Global Music<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">History Study Group)<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Chairs:<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Yvonne Liao, University Of Edinburgh<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Olivia Bloechl<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">As global music history continues to gain currency worldwide, conference panels and publications are increasingly articulating field-defining questions, beyond the work of contributing relevant case studies. An aspiration to democratize professional music history arguably lies at the heart of these efforts, against the concentration of resources and authority in the hands of those working in wealthy institutions, in imperial (or formerly imperial) nations, and in dominant \u201cuniversal\u201d languages such as English. Yet, if there is an emerging consensus on the importance of decentering knowledge production internationally, there is less cohesion on how to resist pressure exerted by hegemonic pasts, narratives, and social groups closer to home, wherever \u201chome\u201d might be.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Call this a grounded global music history that proceeds from local discomfort and is most at home with contextually uprooted pasts. Such music histories may center the memories of Indigenous, dispossessed, and racially or religiously oppressed peoples; those of the poor or the untouchable; or those whose lands have been polluted or rendered uninhabitable by climate change, and so forth. Indeed, as global approaches gain traction in musicology, how might we not just include, but recenter discomforting pasts within the \u201chome\u201d practices of global musicology; and how might we critically intervene in the likelihood that uneven power and hegemonic narratives will tend to predominate? Our study group session features speakers whose research and public-facing work give them valuable fresh perspectives on these pressing scholarly questions.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Speakers and topics<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">&nbsp;Alexandria Carrico<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">&nbsp;\u201cListening to Understand: Unsettling Hierarchies of Musical Excellence through Disability Studies\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">&nbsp;Daniel Castro Pantoja<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">&nbsp;&#8220;Modernity as Coloniality, Arche-Politics, and Other Decolonial Intimacies: Transmodern Thoughts on Centering Discomfort in Global Music History Studies&#8221;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Hedy Law<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">&nbsp;\u201cJust Sound Right: Cantonese Music in the Age of Global Music History\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Pablo Palomino<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cMusic, Global Frameworks, and Cultural History: Discomforts of a Latin Americanist\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Jessica Bissett Perea<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cToward a More Native Music Studies and a More Musical Native Studies: Indigelogical and Eurological Perspectives on American Music Histories since 1970\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Maria Ryan<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cWhite Adjacency and Settler Moves to Innocence\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">&nbsp;Parkorn Wangpaiboonkit<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">&nbsp;\u201cOn Offering Oneself to Music History: Positionalities and Perspectives from Colonial Siam\u201d<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">AMS\/SMT Virtual Conference 2020<\/h3>\n\n\n\n<p class=\"wp-block-paragraph\">Sunday, November 8, 2020<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Global Music Histories at the Interstices: Perspectives across North and South (Global Music<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">History SG)<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Moderators:<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Gabriel Solis<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Yvonne Liao, University Of Oxford<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Olivia Bloech<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Speakers\/topics:<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Aliah Ajamoughli<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cListening to the Silences in the Archive of Anti-Muslim Racism in the United States\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Brian Barone<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cBlack Orpheus: Colonialism and the Early Modern Globalization of African Musics\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Juliana M. Pistorius<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cSpeaking in Tongues: Language, Diversity, and the Challenge of Musicological Translation\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Carlos Roberto Ram\u00edrez<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><em>\u201cTodos juntos<\/em>: Using Codicology, Organology and Ethnohistory as a Framework for Global Histories of Music\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Sergio Ospina Romero<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cRecording Scouts in the Acoustic Era, or the Writing of a Global History of the Phonograph from Below\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Makoto Harris Takao<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cAll for One and One for All? Japanese Contributions to \u201cGlobal History\u201d and the Need for Emic Musicology\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">CFP:<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">CFP: The AMS Global Music History Study Group will host a roundtable at the 2020 AMS and SMT Joint Meeting in Minneapolis. This year\u2019s theme, building on the inaugural session, is \u201cGlobal Music Histories at the Interstices: Perspectives across North and South.\u201d We invite abstracts of no more than 200 words for 10-minute position papers. Proposals from early career researchers and senior graduate students are especially welcome.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">We are particularly interested in proposals from music historians, including historical ethnomusicologists, and theorists that explore global music histories and their potentiality in remapping the Global North and South at the interstices, and in engendering new, connected perspectives that seek to bridge and collaboratively engage ideas of the \u201cNorth\u201d and \u201cSouth.\u201d<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">AMS Boston 2019<\/h3>\n\n\n\n<p class=\"wp-block-paragraph\">Thursday, October 31st, 2019 Afternoon 4:00\u20135:30&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cGlobal Music History\u201d: Rethinking Questions of Knowledge and Access<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Olivia Bloechl (University of Pittsburgh), Yvonne Liao<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">(University of Oxford), Gabriel Solis (University of<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Illinois at Urbana-Champaign), Co-conveners<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The new AMS Global Music History Study Group provides a timely forum for<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">scholars and teachers working in this rapidly growing area of musicological study.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The Study Group was established in response to the recent resurgence of interest<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">among the Society\u2019s members in music histories whose scope extends beyond regional<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">and national boundaries, and beyond a central focus on socially dominant musics<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">of western Europe and its settler colonies. Indeed, excluding non-western musical<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">pasts from the customary study of music history has cut the discipline off from a<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">crucial mode of understanding even canonic western and western-influenced musics.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">As importantly, expanding the geo-cultural scope of \u201cmusic history\u201d can reveal wider<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">trajectories of connection among past musics and musical actors, present scholarship,<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">and future agendas for research, pedagogy, and public engagement.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Music histories on a large scale are not new, of course. Since the early modern<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">period, general or \u201cuniversal\u201d histories of music have offered chronologically and geo-<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">graphically broad treatments of the world\u2019s musical pasts, usually from a Europe-cen-<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">tered perspective. The problems with this historiographic tradition are well known,<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">and the new Study Group has a distinctly different mandate. Its conception of \u201cglobal<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">music history\u201d does not refer to the \u201chistory of everything\u201d i.e. a collapsing of all<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">musics everywhere, much less general, universal, or world music histories. Rather,<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">the Study Group is interested in charting the knowledge terrain of geo-culturally<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">connected or integrated musical pasts, explored in a mode of trans-historical inquiry<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">that is scaled diversely across time and place, sources and subjectivities, and institu-<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">tions and locations.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">By extension, the Study Group takes a particular interest in rethinking questions<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">of distributive knowledge, including notions of access across multiple research lan-<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">guages and archival experiences. How and to what degree, in global academies of<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">the twenty-first century, can scholars and teachers more equitably understand the<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">long-contested histories of cross-cultural encounter, and their multiple worlds of<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">performance and listening? What prospects and challenges are there in interrogat-<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">ing received practices that exclude Indigenous voices from scholarly constructions of<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">music history and historical musicology? Crucially, too, such questions will dovetail<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">with the rise of decolonial epistemologies and decolonizing methodologies across the<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">humanities, including in the AMS.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Moreover, this Study Group is keen to approach (rather than frame) \u201cglobal music<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">history\u201d as a constellation of intersections between the Global North and the Global<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">South (itself a problematic binary). In that explorative spirit, the Study Group\u2019s inau-<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">gural meeting will take shape as a participatory seminar for students and pedagogues<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">alike, a \u201cknowledge lab\u201d in lieu of position statements and a general Q&amp;A. As such,<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">the first seminar will center on the various possibilities and limitations of a \u201ccollab-<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">orative global repertoire,\u201d notably the proven scenarios and ongoing complexities of<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">cultivating a democratic knowledge for historical music studies, and potential key<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">directions, going forward, for the Study Group\u2019s activities. In order to initiate that<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">debate and reflection, the seminar will be structured around (but not bound by) the<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">discussion of two topical inter\/disciplinary texts, pre-circulated on the Study Group\u2019s<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">AMS webpage.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">From the Study Group\u2019s AMS webpage forum (2019):<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Our inaugural meeting will be an exciting participatory seminar entitled \u201c\u2018Global Music History\u2019: Rethinking Questions of Knowledge and Access.\u201d As such, it will explore the possibilities for cultivating democratic knowledge of global historical music studies (including what &#8220;globality&#8221; might mean), and key directions going forward for the group\u2019s activities.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The seminar itself will focus on two topical readings: the introduction to Sebastian Conrad\u2019s <em>What is Global History? <\/em>(2016), and Martin Stokes\u2019s opening essay in Reinhard Strohm\u2019s <em>Studies on a Global History of Music <\/em>(2018).&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Past Global Music History Study Group Sessions Below are descriptions of GMH sessions at the national meeting of the American Musicological Society since the group\u2019s inception in 2019.&nbsp; AMS Virtual 2021 AMS\/SMT Virtual 2020 Boston 2019 2021 AMS Virtual Conference Sunday, November 21, 2021 Session: Centering Discomfort in Global Music History (Global Music History Study&hellip; <a class=\"more-link\" href=\"https:\/\/globalmusichistory.ams-net.org\/?page_id=36\">Continue reading <span class=\"screen-reader-text\">Past Sessions<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"nf_dc_page":"","footnotes":""},"class_list":["post-36","page","type-page","status-publish","hentry","entry"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.3 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Past Sessions - AMS Global Music History Study Group<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/globalmusichistory.ams-net.org\/?page_id=36\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Past Sessions - AMS Global Music History Study Group\" \/>\n<meta property=\"og:description\" content=\"Past Global Music History Study Group Sessions Below are descriptions of GMH sessions at the national meeting of the American Musicological Society since the group\u2019s inception in 2019.&nbsp; 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AMS Virtual 2021 AMS\/SMT Virtual 2020 Boston 2019 2021 AMS Virtual Conference Sunday, November 21, 2021 Session: Centering Discomfort in Global Music History (Global Music History Study&hellip; Continue reading Past Sessions","og_url":"https:\/\/globalmusichistory.ams-net.org\/?page_id=36","og_site_name":"AMS Global Music History Study Group","article_modified_time":"2022-04-11T16:31:59+00:00","twitter_card":"summary_large_image","twitter_misc":{"Est. reading time":"6 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"WebPage","@id":"https:\/\/globalmusichistory.ams-net.org\/?page_id=36","url":"https:\/\/globalmusichistory.ams-net.org\/?page_id=36","name":"Past Sessions - AMS Global Music History Study Group","isPartOf":{"@id":"https:\/\/globalmusichistory.ams-net.org\/#website"},"datePublished":"2022-04-04T20:46:09+00:00","dateModified":"2022-04-11T16:31:59+00:00","breadcrumb":{"@id":"https:\/\/globalmusichistory.ams-net.org\/?page_id=36#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/globalmusichistory.ams-net.org\/?page_id=36"]}]},{"@type":"BreadcrumbList","@id":"https:\/\/globalmusichistory.ams-net.org\/?page_id=36#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/globalmusichistory.ams-net.org\/"},{"@type":"ListItem","position":2,"name":"Past Sessions"}]},{"@type":"WebSite","@id":"https:\/\/globalmusichistory.ams-net.org\/#website","url":"https:\/\/globalmusichistory.ams-net.org\/","name":"AMS Global Music History Study Group","description":"","potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/globalmusichistory.ams-net.org\/?s={search_term_string}"},"query-input":{"@type":"PropertyValueSpecification","valueRequired":true,"valueName":"search_term_string"}}],"inLanguage":"en-US"}]}},"jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/globalmusichistory.ams-net.org\/index.php?rest_route=\/wp\/v2\/pages\/36","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/globalmusichistory.ams-net.org\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/globalmusichistory.ams-net.org\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/globalmusichistory.ams-net.org\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/globalmusichistory.ams-net.org\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=36"}],"version-history":[{"count":2,"href":"https:\/\/globalmusichistory.ams-net.org\/index.php?rest_route=\/wp\/v2\/pages\/36\/revisions"}],"predecessor-version":[{"id":46,"href":"https:\/\/globalmusichistory.ams-net.org\/index.php?rest_route=\/wp\/v2\/pages\/36\/revisions\/46"}],"wp:attachment":[{"href":"https:\/\/globalmusichistory.ams-net.org\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=36"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}