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Millennial mega-meeting

Millennial mega-meeting
Millennial mega-meeting
Writing a comprehensive report on 'Musical Intersections', a mammoth conference held at two hotels inToronto, is a risky undertaking. A book of abstracts the size of a small-city telephone directory is proof enough that the organizers, 14 North American professional music societies, meant their millennium meeting to be the biggest, broadest and most inclusive of its kind ever presented. For the observer interested primarily in early music, the first challenge was to sort out the boundaries of the term itself. Readers of this journal need hardly be reminded that the chronological and geographical boundariesof the field of historical performance are being constantly redrawn. Given the presence of so many colleagues who study such a wide variety of music, one could have spent the entire weekend following the thread of a single genre. Indeed, one could have pursued one word—for instance 'authenticity', a term that is perhaps less common now in discussions about the so-called mainstream repertory, but is critical, for instance, to the scholarly discourse of popular music. Or one could have chosen a more eclectic approach, focusing on a few events of immediate interest and spending the rest of the time cutting across as many 'intersections' as possible, a technique that brings with it the inevitable frustrations of insoluble conflicts of schedule and highlights missed while dashing from hotel to hotel. This observer chose the latter and did the best he could; any omissions are his responsibility
1741-7260
150-151
Irvine, Thomas
aab08974-17f8-4614-86be-e94e7b9cfe76
Irvine, Thomas
aab08974-17f8-4614-86be-e94e7b9cfe76

Irvine, Thomas (2001) Millennial mega-meeting. Early Music, 29 (1), 150-151. (doi:10.1093/earlyj/XXIX.1.150).

Record type: Article

Abstract

Writing a comprehensive report on 'Musical Intersections', a mammoth conference held at two hotels inToronto, is a risky undertaking. A book of abstracts the size of a small-city telephone directory is proof enough that the organizers, 14 North American professional music societies, meant their millennium meeting to be the biggest, broadest and most inclusive of its kind ever presented. For the observer interested primarily in early music, the first challenge was to sort out the boundaries of the term itself. Readers of this journal need hardly be reminded that the chronological and geographical boundariesof the field of historical performance are being constantly redrawn. Given the presence of so many colleagues who study such a wide variety of music, one could have spent the entire weekend following the thread of a single genre. Indeed, one could have pursued one word—for instance 'authenticity', a term that is perhaps less common now in discussions about the so-called mainstream repertory, but is critical, for instance, to the scholarly discourse of popular music. Or one could have chosen a more eclectic approach, focusing on a few events of immediate interest and spending the rest of the time cutting across as many 'intersections' as possible, a technique that brings with it the inevitable frustrations of insoluble conflicts of schedule and highlights missed while dashing from hotel to hotel. This observer chose the latter and did the best he could; any omissions are his responsibility

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More information

Published date: 2001
Additional Information: Conference review. Musical Intercections, Toronto, Canada, 1-5 Nov 2000

Identifiers

Local EPrints ID: 67362
URI: http://eprints.soton.ac.uk/id/eprint/67362
ISSN: 1741-7260
PURE UUID: 3f7450f0-8140-4543-b58d-30c969f9d0f0

Catalogue record

Date deposited: 26 Aug 2009
Last modified: 13 Mar 2024 18:49

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