国际会议时间：2014年10月16日至18日
蒙特利尔大学音乐学院
会议语言：法语/英语
组织委员会：
Hugo Ferran (Université de Montréal, Banting Postdoctoral Fellow)
Nathalie Fernando (Université de Montréal)
宗教的跨国化指的是通过新的想象和叙述的认同，使得信仰、仪式和宗教习俗超越国界在真实或象征的空间中再地化（Capone 2005)。通过分析宗教跨国化问题可以揭示出宗教超越国界的各种各样的不同方式，音乐在这个过程中所扮演的角色问题很少被解决，但在伊斯兰教和基督教这样的全球性宗教的跨国化问题中，音乐却扮演者至关重要的角色。音乐对于宗教的传播、新传统主义运动以及教派与特殊地区的关系有着重要的贡献。这种并非全新的现象滋生了早期宗教的全球化。 (Irving 2010)
20世纪，新的交通运输和通讯手段的出现加速了音乐在更为广阔的世界范围内的传播。今天的传统宗教曲目也变得非常多样化。
通过音乐看宗教跨国化的问题在历史上与福音传道、奴隶制度和殖民主义存在联系。它也是移民音乐家、歌曲的传播以及唱片传播的副产品。在所有这些情况中，节奏、旋律、歌词、曲目、舞蹈和乐器都传达出一个信息，即重新定义世界观、宗教、认同、仪式、祈祷以及明圣示现的模式。
通过在当地语境中研究音乐的移动与接受，本次会议目的在于理解音乐是如何与宗教一起移动的，音乐对多民族社会的建构做出了怎样的贡献以及传统语境中音乐在观念、认同和宗教习俗的创造与再创造中扮演着怎样的角色等问题。通过集合音乐学家、音乐史学家、民族音乐学家、人类学家以及音乐社会学家，本次会议将主要从宗教观点的角度，进行一步揭示和研究这一现象。
大会设立以下四个主题：
1.从历史的立场看跨国化。（Transnationalization from a historical standpoint.）
2.田野的新领域，研究的新领域。（New areas of fieldwork, new areas of study. ）
3.过程分析（Process analysis.)
4.认同的尺度。(Poles and scales of identification.)
提案提交指南：
每份法文或英文提案应包括以下内容：
作者姓名
作者单位名称（如是学生，请特别注明）
作者的通信地址、电话号码和电子邮箱地址
作者简介（150字以内）
作者所获学位，按时间倒序排列（5个以内）
作者近期相关职位，按时间倒序排列（5个以内）
作者近期出版物，按时间倒序排列（5个以内）
陈述题目
陈述摘要（750-1000字），需分成三部分：主题部分（解释主题，方法论和结论。
陈述时间为20分钟，提案需于2013年12月1日之前以邮件附件形式发至邮箱：info＠oicrm.org.
摘要将由大会国际专家评审团进行评估，
OIRCM将给从学生申请人（蒙特利尔之外）中挑选出来的两个最为优秀的提案申请提供旅行奖学金。
学术委员会：
Nathalie Fernando (Université de Montréal)
Hugo Ferran (Université de Montréal, Banting Postdoctoral Fellow)
Deirdre Meintel (Université de Montréal)
François Picard (Université de Paris-Sorbonne)
Kay Kaufman Shelemay (Harvard University)
Université de Montréal
Faculté de musique
Observatoire interdisciplinaire de création et de recherche en musique
Laboratoire de musicologie comparée et d’anthropologie de la musique
C.P. 6128, succ. Centre-Ville
Montréal (Québec) H3C 3J7
Canada
Phone | 514-343-6111, ext. 2801
E-mail | info＠oicrm.org
The Transnationalization of Religion through Music
International Conference – October 16th to 18th, 2014
Faculté de musique, Université de Montréal
Conference Languages: French/English
Organizing Committee:
Hugo Ferran (Université de Montréal, Banting Postdoctoral Fellow)
Nathalie Fernando (Université de Montréal)
The transnationalization of religion refers to the relocalization of beliefs, rituals and religious practices beyond state lines, in real or symbolic spaces, with the help of new imaginaries and narrative identities (Capone 2005). Although the analysis of religious transnationalization has revealed the various ways religion transcends borders, the role of music in this process is rarely addressed. Yet this role is essential in the transnationalization of universal religions like Islam and Christianity. Music also contributes to the migration of local religions, neotraditionalist movements, and cults associated with a particular area, such as Haitian Voodoo, Cuban Santería, or Brazilian Candomble. Such musical phenomena, far from being new, gave birth to early religious globalizations (Irving 2010). For example, in the 16th and 17th centuries, the Jesuits used baroque music to establish Roman Catholicism in China (Picard 2002), in Ethiopia (Damon 2009) and in the Andes (Carme 1989).
During the 20th century, the emergence of new means of transportation and communication accelerated musical transfers, which took place on a more global scale. As a result, transnational religious repertoires are today extremely diverse: African American gospel (Williams-Jones 1975), Japanese Christian rock (Stevens 2004), Swedish Muslim hip hop (Ackfeldt 2012), Hindu music in Martinique (Desroches 1996), Tanzanian Christian Choirs (Barz 2003), and Papua New Guinean Pentecostal hymns (Webb 2011).
The transnationalization of religion through music is historically linked to evangelism, slavery, and colonialism; it is also a by-product of the migration of the musicians, the circulation of song books, and the spread of recordings in physical and other forms: records, tapes, CDs, DVDs, radio, television, and the Internet. In all these situations, rhythms, melodies, lyrics, repertoires, dances, and instruments convey meanings that redefine worldviews, religious identities, rituals, prayers, and modes of divine presence.
By studying musical mobility and its reception in local contexts, this conference aims at understanding how music "migrates" along with religions, how it contributes to the construction of plural societies, and the fundamental role it plays in the creation and recreation of ideas, identities, and religious practices in a transnational context. This will make it possible to highlight misunderstandings and ambivalent musical postures, which are the products of transnational processes and which are created through various religious, aesthetic, or political choices. By bringing together musicologists, musical historians, ethnomusicologists, anthropologists, and sociologists of music, this conference will shed new light on a phenomenon mainly studied from a religious point of view.
Four themes will be explored:
1. Transnationalization from a historical standpoint. Is the concept of transnationalization relevant in describing the early stages of religious spread, or should it be replaced by the concepts of globalization or internationalization? The transnationalization of religion as a process has greatly changed since the beginning of the 20th century and should be examined through a musical lens, paying particular attention to the development of new technologies and the ever increasing migration of musicians. The examination of these driving forces will reveal whether such changes are truly original or recurrences of older phenomena. While we will be primarily concerned with the diachronic dimension of the phenomenon, it will also be possible to model processes that reappeared under similar forms in various contexts and periods of history.
2. New areas of fieldwork, new areas of study. The transnational nature of the music studied leads researchers to carry out fieldwork in both locally-based and multi-sited fieldworks (Marcus 1995). Although participative observation, interviews, and life story approach are still relevant, researchers sometimes need to corroborate their findings with second-hand sources, written or oral. In some instances, they must combine urban and rural surveys, while "cyber-fieldwork", now unavoidable, sets various methodological problems. Addressing these issues will renew the way fieldwork is perceived in the social sciences.
3. Process analysis. The goal of this theme is to clarify the process of religious transnationalization by examining the reception, appropriation, creation and distribution of musical practices and objects. The identification of the various forms and functions affecting music during this process should also be considered, as exemplified by the sacralization of secular music (or vice versa). The migration of musicians and their routes and networks are also of interest, as is the evolution or non-evolution of aesthetic values.
4. Poles and scales of identification. Research has shown that religious transnationalization involves a double process: the homogenization of local worship practices and, concurrently, the reassertion of local identities (Hervieu-Léger 2001). From specific examples, an area for research might be how the conjunction of music and religion takes part in the standardization or diversification of the world. How the transnationalization of music is responsible for the creation of multiple identities is also a question that should be addressed. Comparing musical parameters with musicians’ discourses will reveal how each musical dimension is associated with the different aspects of identity, such as religion, nationality, ethnicity, and affiliation with imagined communities.
By focusing on phenomena of musical transnationalization in the specific contexts of religion and the diversity of global practices and beliefs, this conference will provide an opportunity to combine a vast array of fields and to compare works that are both historically and geographically distant.
Proposal Submission Guidelines
Each proposal, in French or English, should include:
· Author’s last and first name;
· Author’s institutional affiliation (please specify if you are a student);
· Author’s mailing address, phone number and e-mail;
· Author’s biography (up to 150 words);
· Authors degrees by field, in reverse chronological order (up to 5);
· Authors recent positions, if relevant, in reverse chronological order (up to 5);
· Authors recent publications, in reverse chronological order (up to 5);
· Presentation title;
· Presentation abstract (750–1000 words) divided into three parts: subject (topics addressed), methodology, and conclusions;
· Selected bibliography (mandatory).
Lectures must last 20 minutes. Files should be sent as e-mail attachments (Word format) to info＠oicrm.org. The deadline is December 1st, 2013.
The abstracts will be evaluated anonymously by a jury of international experts.
The OICRM will award two travel scholarships to the best applications from students living outside Montreal.
Scientific committee
Nathalie Fernando (Université de Montréal)
Hugo Ferran (Université de Montréal, Banting Postdoctoral Fellow)
Deirdre Meintel (Université de Montréal)
François Picard (Université de Paris-Sorbonne)
Kay Kaufman Shelemay (Harvard University)
Université de Montréal
Faculté de musique
Observatoire interdisciplinaire de création et de recherche en musique
Laboratoire de musicologie comparée et d’anthropologie de la musique
C.P. 6128, succ. Centre-Ville
Montréal (Québec) H3C 3J7
Canada
Phone | 514-343-6111, ext. 2801
E-mail | info＠oicrm.org
Website | www.oicrm.org
