Australasian Music at Home and Abroad
Melbourne Conservatorium of Music
University of Melbourne
3 to 5 December 2020
2020 marks 125 years since the establishment of the Conservatorium of Music at the University of Melbourne. We are delighted that the MSA has allowed us to link our celebration of this event with the 43rd MSA national conference, in conjunction with the 19th Symposium on Indigenous Music and Dance. Our initial projected grand celebrations have necessarily had to be curtailed because of COVID and sadly we are not able to physically showcase the splendour of our new building to musicologists and ethnomusicologists across the country and indeed the world. But this current online conference is still a very special event for us, which truly marks our history (a history which is directedly addressed by our three wonderful keynotes) and more generally contextualises our history by its theme, Australasian Music Making: At Home and Abroad. We have an exciting programme with outstanding scholars from across Australia, New Zealand and the world, addressing many different aspects of our theme, and beyond. I am sure that wherever you are watching you will thoroughly enjoy the conference .
– Kerry Murphy, Convenor
Convenor: Kerry Murphy
Conference Organiser: Sarah Kirby, contact here.
Organising Committee: John Gabriel, Fred Kiernan, Linda Kouvaras, Tiriki Onus, Sally Treloyn
Program Committee: Linda Kouvaras (Chair), Michael Christoforidis, John Gabriel, Rachel Orzech
Web Support: Kristal Spreadborough
Treasurer: Peter Campbell
SIMD Convenors: Tiriki Onus and Sally Treloyn
SIMD Organising committee: Tiriki Onus, Sally Treloyn, Megan McPherson
Our physical Faculty meets to make, teach and research art on the lands of the Wurundjeri and Boon Wurrung peoples of the Kulin nation, who have been custodians of this land for tens of thousands of years where they have practiced song, ceremony and art belonging to this country. We acknowledge that sovereignty to this land has not been ceded, and pay our respects to their Elders past and present, as well as to Aboriginal and Torres Strait Islander people connected to the wider Melbourne community. We meet virtually for this conference on the lands of many other Indigenous nations and peoples; we acknowledge their elders, past present and emerging.
Location: Melbourne Conservatorium of Music, University of Melbourne, Australia
Date: 3–5 December 2020
Deadline for Proposals: 15 August 2020 [extended to 24 August] THE CALL FOR PAPERS IS NOW CLOSED
Proposal Outcome: 15 September. 2020
Convenor: Kerry Murphy
Committee: John Gabriel, Fred Kiernan, Linda Kouvaras, Sally Treloyn
Conference Organiser: Sarah Kirby
Noting the significance of 2020 as marking 125 years since the establishment of the Conservatorium at the University of Melbourne, and the benefit of meeting as a musical community, we will celebrate with a three-day conference with a focus on the local theme:
Australasian Music at Home and Abroad
Possible areas could include
• Contemporary art music
• Music of diaspora communities
• Music and music-making from the 19th century to WW2
• Jazz and popular musics
• Reception of European musics in Australasia and of Australasian musics in the world
• Music institutions
We invite proposals for individual papers, lecture-demonstrations, and roundtables that relate and respond to the general theme, and we also will consider papers on any other aspect of music research.
We intend to go ahead with an ‘in-person’ conference, but in view of the unpredictability of the current pandemic situation, we will also run the conference online to accommodate speakers and listeners who prefer to participate remotely. We will ask you to indicate in your submission the manner of participation you prefer, so we can plan accordingly, but your participation preference will not be a factor in selecting the papers.
As in past years the Indigenous Music and Dance symposium will be held concurrently with the MSA. See the separate CFP for this symposium.
Conference presentations may take the following forms:
• Formal conference papers (20 minutes, plus 10 minutes for questions and discussion)
• Lecture recitals and demonstrations (20 minutes, plus 10 minutes for questions and discussion)
• Panel sessions (90 minutes, up to three participants)
All presenters must be current financial members of the MSA at the time of giving their paper.
Proposals should include the title of the presentation and an abstract of up to 200 words.
Please omit identifying details from the title and abstract, but include in a separate section the presenter name(s), affiliation(s), email address(es), and a short biography of each presenter (100 words). Please also indicate here whether you are interested in presenting in person, online, or would be comfortable with both formats.
Please also indicate if you would be interested in being potentially included in a later publication based on the conference main theme.
Proposals for panel sessions should include titles, abstracts and presenter details (as above) for individual papers (where applicable) as well as a title and abstract for the overall session.
Please send your proposal as a Word attachment to Dr Sarah Kirby at email@example.com.
Details for the student paper competition, travel and keynote speakers will be announced shortly.
Dr Suzanne Robinson
Melbourne Conservatorium of MusicUniversity of Melbourne
“Neither Athletes nor Blue stockings”: Women in the Music Profession in Melbourne, 1892–1912
It has long been assumed that the women of the Marshall-Hall Orchestra were amateurs—most of them conservatorium students—and that one of the reasons for the orchestra’s demise in 1912 was that the men of the Musicians’ Union refused to play with lady amateurs. Over the course of the twenty years of the orchestra’s existence, with up to eight concerts per season, approximately 230 musicians appeared in the orchestra, of whom around 45 were women violinists, violists or cellists. This study explores who these women were and interrogates the definition of “professional” when this is a historically contingent concept bound up with debates about feminism, modernism, equal rights and labour market economics. It also situates the increasing participation of women in the orchestra, and the profession, in the context of the social and cultural history of Melbourne: the effects of the recession in the early 1890s, the increasingly visible suffrage cause, the gradual acceptance of women into degrees at the university and the career of Marshall-Hall himself, who as founder of two conservatoriums, the orchestra and the Musicians’ Union was the central figure in the city’s musical landscape.
Dr Suzanne Robinson is the author of Peggy Glanville-Hicks: Composer and Critic(Illinois, 2019) and editor or co-editor of five other books, including Grainger the Modernist (Ashgate, 2015) and Marshall-Hall’s Melbourne (ASP, 2012). She has recently been shortlisted for the Magarey Medal for Biography (awarded by the Australian Historical Association) and the Hazel Rowley Fellowship, and is the recipient of the Kurt Weill Prize (Weill Foundation, New York) as well as awards from the Society for American Music and the American Musicological Society. Her writings on modernist composers have appeared in books including the Cambridge Companion to Michael Tippett (CUP, 2013), National Traditions in Nineteenth-Century Opera (Ashgate, 2010) and T.S. Eliot’s Orchestra (Garland, 2000), and in journals such as Cambridge Opera Journal, the Australian Journal of Biography and History and Musical Quarterly. She is currently Series Editor at Lyrebird Press and an Honorary Fellow at the Melbourne Conservatorium of Music.
Image: Weekly Times, 20 May 1899.
Prof Peter Tregear
University of Melbourne
Conflicts, Constitutions, and the ‘Con’
The global rise of institutions specialising in professional music training is one of the more significant (but surprisingly under-researched) aspects of modern music history. Arising in part out of a desire by musicians themselves to have access to the kinds of accreditation already long afforded to other, more ‘respectable’ trades, the widespread growth in conservatoria also reflected (and soon served to shape) tensions between idealistic and pragmatic views of the role of music in modern society more generally. In particular, there was a widely held belief that music could, and should, be put into the service of the emergent nation-state. This paper seeks to place the foundation of the Melbourne Conservatorium of Music into this global context, and demonstrate how it too reflected both the power of a global cultural franchise, but also global movements seeking political enfranchisement. It concludes with some thoughts on the cultural and political significance of the ‘Con’ today.
A graduate of the Melbourne Conservatorium of Music (where he is currently a Principal Fellow), Peter subsequently undertook doctoral studies at King’s College, Cambridge, and was then appointed a Lecturer and Director of Music at Fitzwilliam College. After returning to Australia he served as Executive Director of the Academy of Performing Arts at Monash University and from 2012–2015 he was Head of the ANU School of Music in Canberra. Earlier this year he was appointed the inaugural Director of Little Hall at the University of Melbourne. Active as both a performer and public commentator on music and culture, Peter has published widely in both the academic press and the mainstream media. His scholarly and performing work centres on early twentieth century Australian and European musical culture and on composers whose careers and lives were ruined by the rise of Nazi Germany. He also holds an Adjunct Professorship at the University of Adelaide.
Please click HERE register for the 2020 MSA National conference.
Due to the exceptional circumstances arising from the impact of COVID-19, and with the support of the MSA National Committee, the 2020 conference will be free for MSA members.
This year the MSA will be hosting the Postgraduate Student Prize Competition as usual. Three prizes ($500, $250, $150) and an indigenous presentation prize ($350) will be awarded. The deadline for written submissions will fall shortly before the conference, with more information to follow shortly, and all student presenters are welcome to enter. As always, all presenters must be financial members of the MSA at the time of giving their paper to enter.