Song performance taking place in Sydney Conservatorium recital hall.
Event_

Reimagining musical programming

24-26 November 2022

This three-day symposium will bring together interdisciplinary scholars and interpreters of music in rethinking how musical programs of the past might be meaningfully reimagined in the present.

Contributors are invited to consider how contemporary scholarship offers new possibilities for staging musical concerts in ways that innovatively weave together our musical past with our musical present. Efforts to decolonize music programs, recuperate Indigenous song practices, critique canon formation, and engage with historically-inspired performance practices, are just a few approaches at play in this expansive arena of cultural work.

We welcome individual and collaborative presentations in a range of formats, including proposals for spoken papers, lecture-recitals, themed roundtables, and workshops.

The symposium is an initiative of the ARC Discovery Project ‘Hearing the Music of Early NSW, 1788-1860’ (2021-23)

Location and dates

This symposium will take place in person at the Sydney Conservatorium of Music, University of Sydney from the 24 to the 26 of November 2022.

There is also the option to attend and/or participate in this symposium online via Zoom.

Register for in-person and online attendence via our Box Office.

Online Participation

The Sydney Conservatorium of Music will stream conference sessions on 24, 25 and 26 November 2022 via Zoom. Question and answer exchanges with conference presenters will immediately follow the streaming of their pre-recorded videos.

Alfred Hook Lecture Recital

Through the support of the Doreen Robinson Bequest, we are pleased to announce that our symposium’s keynote lecture-recital will be delivered by Dr Nicole Cherry in the Sydney Conservatorium of Music’s Alfred Hook Lecture series.

Dr Nicole Cherry is Assistant Professor of Violin at The University of Texas at San Antonio and second violinist of the award-winning Marian Anderson String Quartet. Based in Texas for over twenty years, Dr Cherry is a dedicated teacher and has held artist-teacher residencies at Texas A&M, Prairie View A&M, University of Washington, and Brown University where she has trained promising string players of all ages. D. Cherry received her Master of Music degree from the Juilliard School with training that has exposed her to the teaching and mentorship of the world’s most distinguished artists such as members of the Guarneri, Juilliard, Emerson, Colorado and the Takács String Quartet; as well as esteemed violinists including Isidore Cohen, Erick Friedman, Joseph Fuchs, Felix Galimir, and Jaap Schroeder. She has performed in ensembles conducted by Pierre Boulez, Leonard Slatkin, David Zinman, and as concertmaster under the baton of Mstislav Rostropovich. Dr Cherry received her Bachelor of Music degree from the University of Maryland and completed a Doctor of Musical Arts degree from Texas Tech University where she served as the first violinist of the graduate string quartet. Dr Cherry has also received graduate fellowships from the Peabody Institute of Music and Rice University’s Shepherd School of Music.

A champion of new music, Dr Cherry has commissioned several works including companion pieces based on her research of nineteenth-century Afro-European violinist, George Bridgetower (The ForgewithGeorge Music Project - 2033). Commissions include Berklee College composer, David Wallace’s 2017 work, “The Bridgetower” for speaking, singing, solo violinist, which incorporates the text of Pulitzer Prize winning poet Rita Dove’s book, “Sonata Mulattica.” Dr. Cherry has since premiered the work all over the US, and Canada with scheduled dates in Europe. Subsequent commissions include composers, Jessie Cox, Yvette Janine Jackson, Philip Wharton, and Grammy-nominated composer, D. J. Sparr. Upcoming projects include a recording of these new works with Albany Records and a major publication of Beethoven’s Sonata for Piano and Violin, Op. 47 with the inclusion of George Bridgetower’s original performance embellishments and his original compositions.

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Sydney Conservatorium of Music