Premises of the cycle
The aim of the cycle is to produce comparative material for Chopin studies, to address issues that are important in Chopin's music and to examine to what extent, if at all, and in what way they function also in the music of other composers of his times. In seeking to satisfy those premises, over the period 2016-2019, we plan to focus on the following themes:
Conference themes 2016-2019
2016 The lyric and the vocal element in instrumental music of the nineteenth century
The influence of vocal techniques on the instrumental music of the nineteenth century is widely accepted and emphasised. The aspects highlighted in discussions of this issue include similarities in the shaping of melodic lines, the adoption of modes of articulation (portamento) and thematic affinities between particular works.
Terms such as ‘vocality', ‘songfulness' and ‘lyricism' (indicating the character of Romantic compositions, often strongly subjective and focussed on the expression of inner experiences, in accordance with the properties of the lyric poem as a literary genre) are often used in relation to nineteenth-century music in a descriptive way, not referring to any actual features of a work.
It would appear, however, that all these categories are of real significance in instrumental music and that during the nineteenth century they became integral elements of a work, determining its form.
The aim of this conference is to examine whether - and if so, to what extent - the lyric and the vocal element in nineteenth-century instrumental music help to create form.
2017 Classical and Baroque traditions in the music of the Romantics during the first half of the nineteenth century
Romantic style took shape in relation to Classical style - as a reaction to it and a retreat from the principles and aesthetics elaborated by it. That reaction was more or less radical depending on individual creative attitudes, ranging from a desire to engage with Classical ideals, through the individual development of those ideals to their complete negation and deconstruction.
Distinct relations and reactions during the first half of the nineteenth century are also visible with regard to Baroque style, which was variously negated or adapted by particular composers.
The starting point for this conference is the need to examine the actual role played by Baroque and Classical style in the output of composers of the first half of the nineteenth century. Consideration of the functions of those two styles should not be confined to indicating and cataloguing the adoption of genres or the copying of formal schemes characteristic of previous eras, but should lead to analysis of examples of the use of Baroque and Classical aesthetics representing the incorporation of those aesthetics and their combining with the work of the early Romantics, as a mode of thinking about form and determining it.
2018 The integration of a work: from miniature to large scale
The aim of this conference is to examine the ways in which works of instrumental music were integrated during the first half of the nineteenth century. Analysis of the methods and factors integrating a musical work during the early Romantic era, from miniature pieces to large-scale works, is a crucial way of identifying composition technique, and consequently of defining composers' individual styles and the style of the epoch.
2019 The element of dance in instrumental music of the first half of the nineteenth century
Dances as genres of instrumental music have been particularly numerous and popular for many centuries. During the nineteenth century, dance genres reached a pinnacle of stylisation, with a dance sometimes forming the canvas for a composition of a different character and purpose, its characteristic features used as a framework for a different musical vision. In addition, the presence of the element of dance in the music of the first half of the nineteenth century is not confined to unequivocal references to a particular dance (through generic titles, such as waltz or polonaise). Like the vocal element, it is a form-generative, architectonically or expressively determinant, element of a musical work, and it can also serve a local function.
2020 International Chopinological Congress
In 2020, the organisers are intending to convoke an International Chopinological Congress, giving rise to thorough research into the styles of Romantic composers, with the emphasis on the central role and context of the oeuvre of Fryderyk Chopin, considered with regard to particular components of a work: melody, harmony, rhythm, etc.
You are invited to propose a paper by submitting the completed form together with an abstract of your paper corresponding to the theme of the particular year's conference by 30 April that year (the deadline for abstracts and titles for the first conference in the series, ‘The Lyric and Vocal Element in Instrumental Music of the Nineteenth Century', is 30 April 2016).
Abstracts, no more than 1800 characters in length, should contain the main hypothesis, information on the material analysed and the method employed, and also the research results.
The full programme of conferences will be presented by the organisers no later than 31 May 2016.
All those invited to participate in the conference will be obliged to submit full papers by 1 August 2016. The conferences are planned for September each year (in 2016, 16-18 September).
Conferences will be conducted in English and Polish.
Proceedings will be published subject to the organisers' selection.
The fee for participation in the conference is 50 euro [200 PLN], which should be paid into the account of the Fryderyk Chopin Institute between 31 May 2016 and 30 August 2016. The organiser will provide accommodation and meals during the conference, but will not refund travel expenses.
Please send any queries to Ewa Bogula: email@example.com.
Dom Pracy Twórczej w Radziejowicach
ul. Henryka Sienkiewicza 4