Representation of Early Music on Stage and Screen (REMOSS)

Description

The practice of scoring the past, via diverse musical practices has been relatively under-explored.

The practice is sometimes seemingly contradictory, but often highly innovative. Representations of Early Music on Stage and Screen (REMOSS) hopes, through discussions, to go some way towards explaining the manifold ways in which composers, directors and programmers can use a combination of pre-existent and newly composed materials, creatively, to represent (or even re-compose) the past.

By bringing together surrounding (and occasionally divergent) debates regarding authenticity, anachronism, orientalism, with discussions of a diverse range of compositional practices, REMOSS expects to establish a fruitful forum for the exploration of the representation of Early Music on stage and screen.

Current topics of interest fall broadly into the following categories listed below:

Otherness and Authenticity (/Authenticities):

• Orientalism (the past is a different country)
• Performance practice
• Geography (and its representation/signification)
• Living traditions
• Anachronism (deliberate or ‘accidental’)

Re-composition and the re-use of the past:

• Musical vocabularies for evoking the ‘early’ and the ‘other’ (pedals, modes, etc.)
• Pastiche
• Creative use of the past – technical, material (c.f. Neoclassicism)
• Parody

REMOSS welcomes further suggestions for topics of interest.

Offers funding

No, this infrastructure does not provide funding.

Contact details

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University affiliation(s)

University of Nottingham
Nottingham

Partner Infrastructures

Early Music Theory Research Cluster

Already acknowledged as a world-leading centre for research into late medieval and early Renaissance music theory, the cluster's work combines the highest levels of historical and editorial expertise … read more about Early Music Theory Research Cluster

Birmingham