Conference Agenda

Session
The Shape of Musicology to Come (AMS Critical Race Lecture)
Time:
Friday, 10/Nov/2023:
10:45am - 12:15pm

Session Chair: Lisa Barg
Session Chair: Jessica Perea
 Location: Grand Ballroom II
Session Topics:
AMS

This session features contributions from:

Invited Panelists

  • Alex Blue V (Assistant Professor of Art History and Communication at McGill University
  • Rena Roussin (PhD candidate in musicology at the University of Toronto) 
  • Ireri E. Chávez-Bárcenas (Assistant Professor of Music at Bowdoin)
  • Amanda Hsieh (Assistant Professor of Musicology at Durham University)

Emcees

  • Diane Oliva (Assistant Professor of Musicology in the School of Music, Theatre & Dance at the University of Michigan; current CRIE member and incoming CRIE co-chair) 
  • Sergio Ospina Romero (Assistant Professor of Musicology in the Jacobs School of Music at Indiana University; current CRIE member)

Session Abstract

This panel will engage current and future directions of critical race, Indigeneity, and ethnicity scholarship, centering the work of four early career scholars in music studies. The CRIE is committed to uplifting early career, emerging, and scholars from historically excluded backgrounds who face and work against multiple forms of intersectional oppression. This session makes space for the questions that keep junior and emerging scholars up at night, including (but not limited to): How do we undo the norms of whiteness in music scholarship, curriculum, and academic culture? What scholarly interventions – epistemologically and practically (at the level of both the personal and the institutional) – can we perform to counteract the dominance of Anglo-American knowledge production? To what extent colonial legacies continue to shape or complicate the work and interactions of non-white scholars (especially those coming from former colonies in the Global South) in predominantly-white scenarios like those of US academia? How do we teach about BIPOC music making (not typically associated with "the academy") in a way that does not just reinforce the overwhelming hegemony of Western European music theory? How do we teach these things without centering whiteness? Can we remove the idea of center and periphery in music academia while the academy continues to use that "center" as its entire foundation? 


No proposals were assigned to this session.