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    Montreal,  28-31 de mayo de 2010
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    El masculino gramatical se aplica a ambos sexos
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      Interconnections of Poetry and Music
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      Entrecruzamientos de la poesía y la música
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      Entrecroisements de la poésie et de la musique

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      Song, recitation, and poetry set to music are hybrid forms that call into play (and tension?) multiple discursive and performance practices. Uruguayan poet Washington Benavides invites us to reflect on the hybrid nature of these "genres" in his poem "Diferencias [Differences]," drawing attention to the mix of sound, semantic and structural elements that characterizes poetic discourse. For Benavides, this interplay evokes the dissolution of borders between "high" and "low" forms in oral poetry, whose origins date back to a relationship of dialogue between the arts. In the final lines of "Diferencias," he suggests that, in his poetry, "Gabino’s guitar [of the Argentine musician famous in the art of payada] and King David’s harp co-exist in counterpoint" (Milongas, 1965).
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      In light of these considerations, this panel seeks papers that examine the interconnections of poetry and music from a wide range of theoretical and methodological perspectives. Case studies that serve as starting points for developing inter- and multidisciplinary theoretical approaches to this relationship are especially welcome.

      Papers are invited that explore issues related to the following thematic areas:
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      I)  Oral Poetry, Music and Performance

    • History of artistic "genres," the genealogy of the intersection of poetry and music.
    • Has the song form always been a “popular” genre?: presence of “high culture” elements in “popular” songs and of “popular” elements in “art songs” and other forms of “high culture”.
    • Contemporary (re-)valuations of Ibero-American avant-garde song movements of the second half of the twentieth century: Movimiento del Nuevo Cancionero (Argentina), Canto Popular Uruguayo, Música Popular Brasileira, Nueva Canción y Canto Nuevo (Chile), Nueva Trova Cubana, Nova Cançó (Catalonia), etc.
    • Theories of setting poetry to music and definitions of “musicalization”.

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      II)  Modes of Enunciation and Reception
    • Embodiment of the musical text; musical settings of poetry.
    • The interpretation of the rhythmic structure of poetry as isorhythmic order and other resources in the writing process.
    • The voice as a material that determines the sound characteristics of poetry set to music.
    • Influence of recording and broadcasting technologies and techniques in the aesthetics of song and musical/poetic performances.
    • Performance personas and authorial figures: composers and lyricists, poets, producers, artists, vocal performers, recitadores, musicians.
    • Performance structures and spaces: recitals, concerts, albums, political acts, slam (poetry performed aloud), etc.
    • Songs and poetic/musical performances as inter-texts in literature, cinema, theater, and political demonstrations.
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      III)  Phenomenology
    • Structure and temporality.
    • Music as an open metaphor? As synesthetic act? As carrier of other aesthetic, philosophical, epistemological dimensions? As a vehicle for the quotidian and / or collective and / or mass culture?
    • Mnemonic processes and commemorative practices: the song genre as a topical (commonplace) form through which political, social, generational, racial, and gender identities are (re)articulated; the dialogue of music and poetry in narratives on “historical memory” and “heritage”.
    • Intermediality in the study of poetry/music and the effects on audience reception.

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      IV)  Poetic/Musical Performance and Song as Objects of Study

    • Critical review of theories and methodologies developed in different fields: literary studies, cultural studies, musicology, popular music studies, folklore research, performance studies, semiotics, etc.
    • Categorizations of music: revision of concepts such as “world music,” “Latin American music,” etc.
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        Presentations may be in Spanish, French, English or Portuguese.
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          Envíe su_propuesta de ponencia_(250 palabras) antes del 1 de febrero a Illa Carrillo Rodríguez  (illacarrillo@yahoo.com)  y a María Figueredo  (mfiguere@yorku.ca).

    • Formularios:
      • Propuesta de ponencia_(Word,_PDF)._Fecha límite: 1 de febrero de 2010.
      • Propuesta de sesión completa_(una vez completa)_(Word,_PDF)._Fecha límite: 15 de febrero de 2010.
      • Solicitud de equipo audiovisual_(Word,_PDF)._Envíela adjunta a su propuesta de ponencia a los organizadores de las sesiones; éstos, a su vez, se la remitirán a los organizadores generales del congreso cuando envíen su propuesta de sesión completa.
      • Solicitud de ayuda financiera_(Word,_PDF)._Fecha límite: 20 de junio de 2010. Pueden solicitarla los estudiantes y miembros a tiempo parcial/desempleados que sean canadienses o residentes en Canadá; se entregará, con los justificantes correspondientes, al tesorero durante el congreso o inmediatamente después de éste.
    Se recuerda a los participantes que deben_inscribirse al Congreso de la Federación Canadiense de Humanidades y Ciencias Sociales_y tener su_cuota de membresía a la ACH_al día.
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    Inscripción al congreso, fase a fase
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    _el 1 de enero de 2010

    Jerzy Kowal_y_José Antonio Giménez Micó
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    ©_1999-2010,_Asociación Canadiense de Hispanistas (ACH)


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