Newcastle University in partnership with Sage Gateshead, have announced the first English Fiddle Symposium, running from Thursday 30 April - Friday 1 May as a sister event to the Folkworks Fiddles on Fire festival at Sage Gateshead. They are currently looking for people to contribute at the conference - see their message below.
The aim of the English Fiddle Symposium is to bring together a wide range of expertise, thinking and practice, to discover the "state of the nation" for the fiddle in traditional English music. We aim to discuss and document the current shared aesthetics of performance practice, and to provide a forum for the further dialogue about regional styles, repertoire, belonging and mediation of traditional English music. In so doing we aim to share understandings about the fiddle tradition in the English context, in terms of the transmission, educational utility and digitalization of English folk music, the place of song accompaniment in shaping the new tradition and ultimately, to create a useful resource focused upon the fiddle in English traditional music.
We welcome contributions from a wide range of practice, including but not limited to the disciplines of musicology, ethnomusicology, history, performance practice, arts management, policy-making etc.
The following list of topics is indicative and not meant to be exclusive:
A selection of papers will be included in an edited book or journal.
The deadline for submission of abstracts is 23rd January 2015. The selected contributors will be notified by 1 February 2015.
We are witnessing a successful revival in English folk music, a thriving performing scene, and robust teaching traditions. However, in comparison to the visibility of World and Celtic musics, English folk music has been neglected within the public discourse, particularly in the press, radio and television.
The English media, although they comprise a substantial and highly articulate audience for music of ‘the Other’, they often revert to lazy cliché or tired denigration of indigenous musical traditions. English traditional music and English folk music are today healthier than ever before, but are unevenly geographically distributed. The Edwardian collectors, in particular, discovered and preserved much of our dance music, met many players and documented what they found. But old music is still being unearthed, re-contextualized and recorded by modern collectors, performers and enthusiasts. Today there is a substantive community of professional and semi-professional performers driving the current folk revival performing alongside and within vibrant community settings where English folk music constitutes a powerful practice for community belonging and social cohesion.
17 October 2014
International Centre for Music Studies,
School of Arts & Cultures,
Newcastle upon Tyne,