(Further speakers and speaker details will be added to this page shortly.)
Georgina Born is Professor of Music and Anthropology at the University of Oxford. Her work combines ethnographic and theoretical writings on music, media and cultural production. Her ethnographies have often focused on major institutions – television production at the BBC, computer music at IRCAM in Paris, interdisciplinary art-science and new media art at the University of California, Irvine. Her books are Rationalizing Culture: IRCAM, Boulez and the Institutionalization of the Musical Avant-Garde (1995), Western Music and its Others: Difference, Representation and Appropriation in Music (edited with D. Hesmondhalgh, 2000), and Uncertain Vision: Birt, Dyke and the Reinvention of the BBC (2005). Two edited books are out this year: Music, Sound and Space: Transformations of Public and Private Experience, and Interdisciplinarity: Reconfigurations of the Social and Natural Sciences (edited with A. Barry). From 2010 to 2015 she is directing the research programme ‘Music, Digitization, Mediation: Towards Interdisciplinary Music Studies’, funded by the European Research Council, which examines the transformation of music and musical practices by digitization through comparative ethnographies in seven countries in the developing and developed world.
Professor Davies is a prominent philosopher of art, writing especially on music, but he has written also on ethics, political philosophy, and emotion. Beyond philosophy, he has published in ornithological journals and on Balinese dance and cultural history. A Hood Fellow, and often an invited speaker in the US, UK, Europe, and Canada, he is a former President of the New Zealand division of the Australasian Association of Philosophy and was the first non-American elected Vice-President and President of the American Society for Aesthetics. He is a Fellow of the Royal Society of New Zealand. He has published more than 140 single-authored journal articles, book chapters, and book sections and eight books (Cornell, Wiley-Blackwell and, mainly, Oxford). He has co-edited three books, including the Wiley-Blackwell Companion to Aesthetics. More than thirty of his essays have been re-published in collections, and his work has been translated into Chinese and many European languages. His most recent book, The Artful Species (Oxford, 2012) crosses into paleo-archaeology, ethology, psychology, cognitive science, and evolutionary theory in order to consider possible connections between our biologically shaped human nature and our aesthetic and art behaviours.
Peter Szendy is Professor of Philosophy at the University of Paris Ouest Nanterre and musicological advisor for the concert programs at the Cité de la musique. He has also taught in the Music Department at the University of Strasbourg (1998-2005) and was Visiting Fellow at Princeton University (Council of Humanities) in 2012. In addition, he has served as chief editor of the journal and book series published by Ircam. His publications include A Coups de points. La ponctuation comme expérience (Éditions de Minuit, forthcoming 2013) ; L’Apocalypse-cinéma. 2012 et autres fins du monde (Capricci, 2012); Kant in the Land of Extraterrestrials. Cosmopolitical Philosofictions (translated by Will Bishop, Fordham University Press, forthcoming 2013); Hits: Philosophy in the Jukebox (translated by Will Bishop, Fordham University Press, 2012); Sur écoute. Esthétique de l’espionnage (Éditions de Minuit, 2007); Prophecies of Leviathan: Reading Past Melville (translated by Gil Anidjar, Fordham University Press, 2009); Membres fantômes. Des corps musiciens (Éditions de Minuit, 2002); Listen: A History of Our Ears (foreword by Jean-Luc Nancy, translated by Charlotte Mandell, Fordham University Press, 2007).
Peter Dews is Professor of Philosophy at the University of Essex, where he specialises in nineteenth and twentieth century French and German thought. He has held visiting positions at the New School for Social Research, at Columbia University, and at the Institute for Human Sciences in Vienna, amongst other places. He is the author of Logics of Disintegration (Verso 1987; reissued 2007), The Limits of Disenchantment (Verso 1995) and The Idea of Evil (Blackwell 2008). In addition, he has edited Autonomy and Solidarity: Interviews with Jürgen Habermas (Verso 1986), Habermas: A Critical Reader (Blackwell 1999), and co-edited Deconstructive Subjectivities (SUNY 1996). His current research concerns the philosophy of technology and mass destruction, and the late philosophy of the German Idealist Friedrich Schelling, and its subsequent impact on nineteenth and twentieth century European thought. He is also an amateur jazz pianist.
Mark Katz is Professor of Music and Chair of the Department of Music at the University of North Carolina at Chapel Hill. He is the author of Capturing Sound: How Technology has Changed Music, The Violin: A Research and Information Guide, and Groove Music: The Art and Culture of the Hip-Hop DJ. He is co-editor (with Tim Taylor and Tony Grajeda) of Music, Sound, and Technology in America and editor of the Journal of the Society for American Music. He is currently working on his next book, Music and Technology: A Very Short Introduction.
Eric Clarke is Heather Professor of Music at the University of Oxford, and a Professorial Fellow of Wadham College. He has published on issues in the psychology of music, musical meaning, and the analysis of pop music, including Empirical Musicology (OUP 2004, co-edited with Nicholas Cook), Ways of Listening (OUP 2005), The Cambridge Companion to Recorded Music (CUP 2009, co-edited with Nicholas Cook, Daniel Leech-Wilkinson and John Rink), Music and Mind in Everyday Life (OUP 2010, co-authored with Nicola Dibben and Stephanie Pitts), and Music and Consciousness (OUP 2011, co-edited with David Clarke). He was an Associate Director of the AHRC Research Centre for the History and Analysis of Recorded Music (CHARM) and is an Associate Director of the AHRC Research Centre for Musical Performance as Creative Practice (CMPCP; 2009-14). He is on a number of editorial boards and is a Fellow of the British Academy.
Nicholas Baragwanath is Associate Professor in Music and Director of Postgraduate studies at the Department of Music, University of Nottingham. He was formerly Dean of Research and Enterprise at the Royal Northern College of Music. He is the author of The Italian Traditions and Puccini: Compositional Theory and Practice in Nineteenth-Century Opera (Indiana, 2011) and is currently leading an AHRC-funded project entitled Haydn, Solfeggio, and the Art of Melody: A New Approach to the Classical Style.
Professor Begbie is the inaugural holder of the Thomas A. Langford Research Professorship in Theology at Duke University, North Carolina. The founding Director of Duke Initiatives in Theology and the Arts, his research focuses on the interface between music and theology. His academic training was originally in philosophy and music. A professionally-trained and active musician, he is an affiliated lecturer in the Faculty of Music at the University of Cambridge and Senior Member at Wolfson College, Cambridge. His performance-lectures have been delivered internationally from Israel to Australia and Hong Kong. He has edited and authored numerous publications, including Theology, Music and Time (CUP, 2000). His forthcoming book, Music, Modernity, and God, seeks to address, through music, some of the major metaphysical and theological issues at stake in modernity; it will be published in January 2014 by Oxford University Press.
Lawrence Kramer is Distinguished Professor of English and Music at Fordham University, the editor of 19th-Century Music, and a composer whose works have been performed internationally. His work has been translated into seven languages and has been the subject of sessions of scholarly societies and symposiums in the United States, Europe, and China. His numerous books include, most recently, Expression and Truth: On the Music of Knowledge (California, 2012), Interpreting Music (California, 2010), and Why Classical Music Still Matters (California, 2007). Musical Meaning and Human Values (Fordham 2009), co-edited with Keith Chapin, is a collection based on an international conference held in Kramer’s honor in 2007. Recent premieres include “Song Acts” (Vienna 2009), “That Lonesome Whistle” (songs, New York 2010), “The Wild Swans” (piano, New York 2011), “Crossing the Water” (cantata, Santa Fe 2011), “A Short History (of the Twentieth Century)” (voice and percussion, Krakow, 2012), “Pulsation” (Piano Quartet, Ghent 2013), and “The Wind Shifts” (voices and chamber ensemble, New York 2013).
Jenefer Robinson is Professor of Philosophy at the University of Cincinnati (USA). She is the author of Deeper than Reason: Emotion and its Role in Literature, Music and Art, Oxford University Press (2005) and editor of Music and Meaning, Cornell University Press (1997). Recent work includes “Emotions in Music,” (with Robert Hatten), Music Theory Spectrum, 34 (2012) 71- 106, “Expression Theories” in the Routledge Companion to Philosophy and Music (2011) 201-211, and “Emotional Responses to Music: What are they? How do they work? And are they relevant to aesthetic appreciation?” in The Oxford Handbook of Philosophy of Emotion (2010) 651-680.