BEGIN:VCALENDAR VERSION:2.0 PRODID:-//132.216.98.100//NONSGML kigkonsult.se iCalcreator 2.20.4// BEGIN:VEVENT UID:20260729T075618EDT-2096jAkbdt@132.216.98.100 DTSTAMP:20260729T115618Z DESCRIPTION:The Doctoral Colloquium is open to all.\n\nDoctoral Colloquium: Linda Pearse and Zachary Milliman\n\n\n Find out more about attending even ts at Schulich\n\n\n\nTitle: Austrian Habsburg’s Sonic Responses to the Ot toman Other: 1593-1606 | Linda Pearse\n\nAbstract: In the sixteenth centur y\, the Ottoman Empire was a powerful\, multicultural society that elicite d a profound sonic response from a confessionally fractured Europe. Descri ptions of battles\, celebrations\, prayers\, and music point to Europe’s s ense of vulnerability on the global stage as both Europeans and Ottomans a like sought to control trade routes in the Mediterranean and central Europ e and assert religious identity. In central Europe\, at risk of land incur sions\, songs report news and sacred music reveals the political motivatio ns of the Habsburg courts. Polyphonic music\, such as motets\, are part of communication networks that extend far beyond the walls of the church.\n \nI consider music and ritualistic practices—bell ringing\, prayers\, lita nies\, and hymns—mandated by Rudolf II (1552–1612) during the Long War (15 93–1606) to elaborate a soundscape that both voiced fears and allayed anxi eties. Mandates prescribing special practices in response to Habsburg defe ats reveal a pattern that dates back to the years following the first Sieg e of Vienna (1529). Dancing\, street music\, ice skating\, parties\, and o ther entertainments were banned\; people were admonished to conduct themse lves morally to please God\, to improve Austrian fortunes on the battlefie ld.\n\nBy revealing the embedded context of these anti-Ottoman materials\, a reflection on their communicative power and possible circumstances of p erformance exposes new directions for scholarship. Viewing these works as responses to Habsburg–Ottoman encounters moves away from a binary framewor k (i.e.\, as either Catholic\, Protestant\, or both) to account for global interactions\, and invites a reconsideration of other music composed in r esponse to the Ottomans.\n\nBiography: D. Linda Pearse is Canada Research Chair in Music\, Contact\, and Conflict\, Associate Professor of Music at Mount Allison University. With her extensive experience as a performer and instructor of early European art music\, Pearse draws on combined musicol ogical and performance methodologies informed by studies in musicology (Mc Gill University) and performance (Schola Cantorum Basiliensis\, Indiana Un iversity Bloomington). Her doctoral work\, supported by SSHRC\, is guided by Julie E. Cumming (Musicology) and Aslihan Gürbüzel (Institute of Islami c Studies).\n\n \n\n\nTitle: Bartók\, Communist Propaganda\, and the Ban o n Musical Works under Rákosi | Zachary Millman\n\nAbstract: The regime of Mátyás Rákosi\, who served as the head of the Hungarian Communist Party fr om 1945 to 1956\, has drawn scrutiny and ultimately denunciation from near ly all sectors of academic research. In music\, the ban on works viewed by the Communist Party as socially\, politically\, or morally transgressive has been taken as incontrovertible historical fact and an indictment of th e party’s politico-aesthetic program. The most egregious example cited of this practice was the case of The Miraculous Mandarin by Hungary’s preemin ent musical ambassador Béla Bartók. Historians point to Géza Losonczy’s 19 50 article “The Opera House Belongs to the People!” published in the party ’s paper Szabad Nép––in which the author criticized The Miraculous Mandari n for its sexual depravity––as launching a campaign against Bartók and sig naling the freeze of Hungary’s music culture\, one that would take a revol ution to thaw.\n\nBut closer examination complicates this account as well as the accepted notions of unbridled political terror and authoritarian ar tistic suppression during the early years of Hungarian state socialism. In this paper\, I examine the limitations of the totalitarian narrative buil t up around the era’s musical politics through analysis of Losonczy’s arti cle and the artistic policies it advances. I also draw from and contribute to the substantial literature on Bartók’s pantomime to argue that there w as some validity to the Communists’ objections to the work. Doing so\, how ever\, requires delving beyond superficial communist propaganda to critica lly interrogate how race and gender structure the work and its violent den ouement. This study thus advocates for a nuanced historical inquiry that p roblematizes some of the calcified Cold War conceptions that have erected (often artificial) binaries—such as art/propaganda\, freeze/thaw\, freedom /oppression\, sanctioned/banned—that serve to delimit and police the discu rsive field of this charged period in Hungary’s history.\n\nBiography: Zac hary Milliman is a PhD candidate in musicology. His dissertation “Opera an d Goulash Communism” focuses on the operatic culture under Hungarian state socialism. He has presented his research at many international conference s including the annual meetings of the American Musicological Society and the Society for American Music and has published in the Journal of the Int ernational Alliance of Women in Music. Zachary holds a bachelors and maste rs degree in vocal performance\, and in 2015-2016 conducted research at th e Hungarian Musicological Institute as a Fulbright scholarship recipient. He currently resides in Anchorage\, Alaska with his husband\, artist Matt Klinn\, and is a professor with the University of Alaska Anchorage’s Alask a Native Studies Program.\n\n \n DTSTART:20231025T203000Z DTEND:20231025T220000Z LOCATION:A-832\, Elizabeth Wirth Music Building\, CA\, QC\, Montreal\, H3A 1E3\, 527 rue Sherbrooke Ouest SUMMARY:Doctoral Colloquium (Music) | Linda Pearse & Zachary Milliman URL:/music/channels/event/doctoral-colloquium-music-li nda-pearse-zachary-milliman-351134 END:VEVENT END:VCALENDAR