BEGIN:VCALENDAR
VERSION:2.0
PRODID:-//jEvents 2.0 for Joomla//EN
CALSCALE:GREGORIAN
METHOD:PUBLISH
BEGIN:VTIMEZONE
TZID:Europe/Paris
BEGIN:STANDARD
DTSTART:20140301T140000
RDATE:20140330T030000
TZOFFSETFROM:+0200
TZOFFSETTO:+0100
TZNAME:Europe/Paris CET
END:STANDARD
BEGIN:STANDARD
DTSTART:20141026T020000
RDATE:20150329T030000
TZOFFSETFROM:+0200
TZOFFSETTO:+0100
TZNAME:Europe/Paris CET
END:STANDARD
BEGIN:STANDARD
DTSTART:20151025T020000
RDATE:20160327T030000
TZOFFSETFROM:+0200
TZOFFSETTO:+0100
TZNAME:Europe/Paris CET
END:STANDARD
BEGIN:STANDARD
DTSTART:20161030T020000
RDATE:20170326T030000
TZOFFSETFROM:+0200
TZOFFSETTO:+0100
TZNAME:Europe/Paris CET
END:STANDARD
BEGIN:STANDARD
DTSTART:20171029T020000
RDATE:20180325T030000
TZOFFSETFROM:+0200
TZOFFSETTO:+0100
TZNAME:Europe/Paris CET
END:STANDARD
BEGIN:STANDARD
DTSTART:20181028T020000
RDATE:20190331T030000
TZOFFSETFROM:+0200
TZOFFSETTO:+0100
TZNAME:Europe/Paris CET
END:STANDARD
BEGIN:STANDARD
DTSTART:20191027T020000
RDATE:20200329T030000
TZOFFSETFROM:+0200
TZOFFSETTO:+0100
TZNAME:Europe/Paris CET
END:STANDARD
BEGIN:STANDARD
DTSTART:20201025T020000
RDATE:20210328T030000
TZOFFSETFROM:+0200
TZOFFSETTO:+0100
TZNAME:Europe/Paris CET
END:STANDARD
BEGIN:STANDARD
DTSTART:20211031T020000
RDATE:20220327T030000
TZOFFSETFROM:+0200
TZOFFSETTO:+0100
TZNAME:Europe/Paris CET
END:STANDARD
BEGIN:STANDARD
DTSTART:20221030T020000
RDATE:20230326T030000
TZOFFSETFROM:+0200
TZOFFSETTO:+0100
TZNAME:Europe/Paris CET
END:STANDARD
BEGIN:STANDARD
DTSTART:20231029T020000
RDATE:20240331T030000
TZOFFSETFROM:+0200
TZOFFSETTO:+0100
TZNAME:Europe/Paris CET
END:STANDARD
BEGIN:STANDARD
DTSTART:20241027T020000
RDATE:20250330T030000
TZOFFSETFROM:+0200
TZOFFSETTO:+0100
TZNAME:Europe/Paris CET
END:STANDARD
BEGIN:STANDARD
DTSTART:20251026T020000
RDATE:20260329T030000
TZOFFSETFROM:+0200
TZOFFSETTO:+0100
TZNAME:Europe/Paris CET
END:STANDARD
BEGIN:DAYLIGHT
DTSTART:20140330T030000
RDATE:20141026T020000
TZOFFSETFROM:+0100
TZOFFSETTO:+0200
TZNAME:Europe/Paris CEST
END:DAYLIGHT
BEGIN:DAYLIGHT
DTSTART:20150329T030000
RDATE:20151025T020000
TZOFFSETFROM:+0100
TZOFFSETTO:+0200
TZNAME:Europe/Paris CEST
END:DAYLIGHT
BEGIN:DAYLIGHT
DTSTART:20160327T030000
RDATE:20161030T020000
TZOFFSETFROM:+0100
TZOFFSETTO:+0200
TZNAME:Europe/Paris CEST
END:DAYLIGHT
BEGIN:DAYLIGHT
DTSTART:20170326T030000
RDATE:20171029T020000
TZOFFSETFROM:+0100
TZOFFSETTO:+0200
TZNAME:Europe/Paris CEST
END:DAYLIGHT
BEGIN:DAYLIGHT
DTSTART:20180325T030000
RDATE:20181028T020000
TZOFFSETFROM:+0100
TZOFFSETTO:+0200
TZNAME:Europe/Paris CEST
END:DAYLIGHT
BEGIN:DAYLIGHT
DTSTART:20190331T030000
RDATE:20191027T020000
TZOFFSETFROM:+0100
TZOFFSETTO:+0200
TZNAME:Europe/Paris CEST
END:DAYLIGHT
BEGIN:DAYLIGHT
DTSTART:20200329T030000
RDATE:20201025T020000
TZOFFSETFROM:+0100
TZOFFSETTO:+0200
TZNAME:Europe/Paris CEST
END:DAYLIGHT
BEGIN:DAYLIGHT
DTSTART:20210328T030000
RDATE:20211031T020000
TZOFFSETFROM:+0100
TZOFFSETTO:+0200
TZNAME:Europe/Paris CEST
END:DAYLIGHT
BEGIN:DAYLIGHT
DTSTART:20220327T030000
RDATE:20221030T020000
TZOFFSETFROM:+0100
TZOFFSETTO:+0200
TZNAME:Europe/Paris CEST
END:DAYLIGHT
BEGIN:DAYLIGHT
DTSTART:20230326T030000
RDATE:20231029T020000
TZOFFSETFROM:+0100
TZOFFSETTO:+0200
TZNAME:Europe/Paris CEST
END:DAYLIGHT
BEGIN:DAYLIGHT
DTSTART:20240331T030000
RDATE:20241027T020000
TZOFFSETFROM:+0100
TZOFFSETTO:+0200
TZNAME:Europe/Paris CEST
END:DAYLIGHT
BEGIN:DAYLIGHT
DTSTART:20250330T030000
RDATE:20251026T020000
TZOFFSETFROM:+0100
TZOFFSETTO:+0200
TZNAME:Europe/Paris CEST
END:DAYLIGHT
END:VTIMEZONE
BEGIN:VEVENT
UID:52044e97df3e27b425b4c651cfb2a4e0
CATEGORIES:Séminaire du CREM, CREM
CREATED:20170630T120448
SUMMARY:Transforming African Music Cycles in 12 Easy Steps, Michael Tenzer
LOCATION:Salle 308F du LESC (3e étage) - MSH Mondes (bât. Ginouvès) \n21\, allée de
l’Université\, Nanterre\, \, 92000\,
DESCRIPTION:Avec Michael Tenzer, ethnomusicologue, Professeur à l’University of
British Columbia.
This paper,
an exercise in speculative music theory, studies two African cyclical stru
ctures of very different origins and hypothesizes deep structural connectio
ns between them. Rhythm and grouping, and the idea of directed compositiona
l process—specifically, the process of transposition—are considered.
I depart from a hunch that the cycles, even with different numbers of pulsa
tions or available pitch-classes, can be shown to be based on compelling pr
inciples of equivalence.
The analysis juxtaposes the Zimbabwean
mbira dzavadzimu tradition’s Nhema Musasa (kush
aura part only) and the recording of Hindehu f
rom the Central African Republic (Arom 1998). The presentation moves step-b
y-step from one piece to the other, using transformations that leave the im
portant structural features undisturbed. The process raises questions about
musical ontology and the history of compositional practice. As for t
he significance of the findings, they are critically considered in light of
related previous research by Kubik 1988, England 1995, Brenner 1997, and F
ernando 2009.
Michael Tenzer is Profess
or of Music at the University of British Columbia in Vancouver. He has been
active as performer, composer, and scholar. His book Gamelan Gong Keby
ar: The Art of Twentieth Century Balinese Music (Chicago 2000) was the
recipient of an ASCAP-Deems Taylor Award and the Society for Ethnomusicolo
gy’s Merriam Prize for book of the Year, and his two edited volumes on
Analytical Studies in World Music (Oxford 2006, and 2011 [co-edited wi
th John Roeder]) have helped revitalize the practice of analysis in ethnomu
sicology.
Son site internet: http://www.michaeltenzer.com
X-ALT-DESC;FMTTYPE=text/html:Avec Michael Tenzer, ethnomusicologue, Professeur à l’University of
British Columbia.
This paper, an exercise in speculative music theory, studies two
African cyclical structures of very different origins and hypothesizes deep
structural connections between them. Rhythm and grouping, and the idea of
directed compositional process—specifically, the process of transposition—a
re considered. I depart from a hunch that the cycles, even with diffe
rent numbers of pulsations or available pitch-classes, can be shown to be b
ased on compelling principles of equivalence.
The analysis juxt
aposes the Zimbabwean mbira dzavadzimu tradition’s Nhema
Musasa (kushaura part only) and the recording of Hind
ehu from the Central African Republic (Arom 1998). The pres
entation moves step-by-step from one piece to the other, using transformati
ons that leave the important structural features undisturbed. The process r
aises questions about musical ontology and the history of compositional pra
ctice. As for the significance of the findings, they are critically c
onsidered in light of related previous research by Kubik 1988, England 1995
, Brenner 1997, and Fernando 2009.
Michael Tenze
r is Professor of Music at the University of British Columbia in V
ancouver. He has been active as performer, composer, and scholar. His book
Gamelan Gong Kebyar: The Art of Twentieth Century Balinese Music (
Chicago 2000) was the recipient of an ASCAP-Deems Taylor Award and the Soci
ety for Ethnomusicology’s Merriam Prize for book of the Year, and his two e
dited volumes on Analytical Studies in World Music (Oxford 2006, a
nd 2011 [co-edited with John Roeder]) have helped revitalize the practice o
f analysis in ethnomusicology.
Son site internet: http://www.michaeltenzer.com
DTSTAMP:20240328T195412
DTSTART;TZID=Europe/Paris:20150302T140000
DTEND;TZID=Europe/Paris:20150302T160000
SEQUENCE:0
TRANSP:OPAQUE
END:VEVENT
END:VCALENDAR