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<a class="page-scroll" href="#call">Call for papers</a>
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<a class="page-scroll" href="#keynotes">Keynotes</a>
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<h1 class="brand-heading">TTT</h1>
<p class="intro-text">Symposium call Transmission of Tunes and Tales</p>
<p class="intro-text">May 12th-13th, 2016</p>
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<h2>Call for Papers</h2>
<p>In the symposium we aim to focus on understanding and modelling the cultural transmission of stories and songs.
Topics include the (computational) modelling of narrative contents of stories, the identity and stability of
melodies in oral transmission, relationships between melody and text in singing and chanting, and so on.</p>
<p>Next to the keynotes on various aspects of cultural transmission, we will also have contributions from Dutch
researchers studying transmission of narratives and melodies, and we will release a call for abstracts soon
to invite poster presentations.</p>
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<h2>Keynotes</h2>
<p><a href="https://www.dur.ac.uk/anthropology/staff/academic/?id=5388">Jamie Tehrani</a>:
<b>On the genealogies of stories: modelling oral traditions with phylogenetics</b>
</p>
<p>
Since the time of the Brothers Grimm, researchers have speculated that similarities among folktales
told in different cultures could be explained by common descent. However, the lack of historical and
literary evidence made it difficult to test this hypothesis, leave alone trace the growth and spread
of storytelling lineages. Here, I will outline an approach that uses “phylogenetic comparative methods”,
which were developed to reconstruct the evolution of biological organisms.
I will discuss the similarities and differences between biological and cultural evolution,
and present case studies that demonstrate how these methods can be applied to the analysis of oral transmission.
</p>
<p>
<a href="https://music.uchicago.edu/page/philip-v-bohlman">Philip Bohlman</a>:
<b>"The Voice of the People, a Song, a Notable Phrase, a Rhyme Managed to Survive": The Moment of Song from Herder to Heroes</b>
</p>
<p>
In Johann Gottfried Herder’s foundational work on folk song, Volkslieder (1778/79), the moment of song formed at the confluence
of tunes and tales. It was at the moment of song that the human spirit was most fully voiced, that history gathered its narratives,
and that the nation emerged as the site toward which the transmission of tunes and tales ultimately flowed.
By publishing anthologies of folk songs and translating epics – not only the Spanish El Cid in full, but the Sanskrit Bhagavad Gita
in parts – Herder introduced song into history on a global level.
In the two centuries since his seminal work on song, scholars have turned to the moment of song as a site for more fully understanding
the transmission of the tunes and tales that underlie the most universal narratives of history.
</p>
<p>
With my keynote in Amsterdam I myself turn to the moment of song in search of a global historiography
made legible through the transmission of tunes and tales. I begin with Herder and the ontological shift
brought about not only by the Enlightenment in Europe, but the ways in which global enlightenments afforded song
a universal presence. In the course of the presentation, I explore the ways in which transmission itself led
collectors and scholars across a vast intellectual spectrum to the moments in which new meaning accrued to song,
especially in the ways it articulated the collective of the nation. The talk unfolds as an intellectual history
of transmission itself, with specific moments of song from my own studies of European and Asian vernacular music history,
and my ethnographic studies of folk song in North America and Europe providing case studies. If such an intellectual history
can begin with the moment of song identified by Herder, it reaches at least to the contemporary moment of song in May 2016,
when Måns Zelmerlöw’s “Heroes” provides the occasion for national competition among tunes and tales at the
Eurovision Song Context to Sweden.
</p>
<p>
<a href="http://musicpsychology.co.uk/about-vicky/">Victoria Williamson</a>: <b>Music memory and cultural transmission </b>
</p>
<p>
Music is a universal and effective vehicle for the transmission of traditions, rules and inventions.
All known cultures have songs to transmit ideas that underpin cultural identity. Why?
Why do people so often sing stories rather than speak? In my presentation I suggest that one key reason for the survival of music as a vehicle for
cultural transmission is the power of music in our memory.
</p><p>
I will focus on three sources of music’s memory power.
Firstly, music is a recipe of structures that play to our sensory abilities, that we begin to
learn before we are even born, including pitch and rhythm shapes. Secondly, music activates
the brain in a unique and deep way across several key structures. This pattern may be one reason
why musical memories survive when other memory functions are impaired. Thirdly, there is the pivotal
but poorly understood relationship between music and movement.
In particular, here we see the power of the implicit memory system, a deep connection between body and mind.
Together these three ingredients (music, mind, and body) combine to create a strong memory trace,
well suited to passing on key cultural ideas across time.
</p>
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<h2>Organizers</h2>
<p>
Theo Meder
<br>
Peter van Kranenburg
<br>
Folgert Karsdorp
<br>
Berit Janssen
<br>
The Tunes and Tales project at the <a href="http://www.meertens.knaw.nl/cms/en/">Meertens Institute</a>
</p>
<h2>Contact us</h2>
<p>Feel free to email us if you have any questions about the symposium.</p>
<p><a href="mailto:[email protected]">[email protected]</a>
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