ICTMD Baku 2024
CALL FOR PROPOSALS The Joint Symposium of the ICTMD Study Groups on Music and Dance in the Turkic World and Global History of Music Echoes of Heritage: Navigating the Legacy of Music and Dance 17-22 September 2024, Baku, Azerbaijan The ICTMD Study Groups on Music and Dance in the Turkic World and Global History of Music are excited to announce a joint symposium. Co-organized with the Azerbaijan National Conservatory and with the support of the Azerbaijan Ministry of Culture and the Turkic Culture and Heritage Foundation, the symposium will be held in Baku between the 17th and 22nd of September, 2024. The Symposium will be held in the framework of the annual Uzeyir Hajibeyli International Music Festival. At the joint symposium, we will offer several interrelated topics: We invite presentations that develop new and innovative approaches to the study of traditional cultures. The deadline for applications is May 20, 2024, at 17:00 local time (GMT +3). CONCERTS, WORKSHOPS, AND VIDEO DEMONSTRATIONS Our Joint Symposium will provide an opportunity for dialogue between scholars and music and dance practitioners involved in performance, research, and teaching. Presentations and discussions (round tables) will alternate with concerts, workshops, and video demonstrations. The Program Committee encourages scholars and artists to propose not only papers but also panels, workshops, concerts, and presentations of books, records, and films. To propose a presentation, please send abstracts of up to 200 words in English, identifying yourself (name, surname, academic degree, title, job position, e-mail). All proposals must be submitted via email to ictmdbaku2024@conservatory.edu.az. Our selection criteria for your submitted abstract follow a strong consideration of purpose, relevance, and novelty. It is planned to publish selected papers in the journal AEMR and the proceedings. Languages for 20-minute presentation: Turkish, Azerbaijani, English. The symposium will be held in both on-site and online formats. Prerecorded presentations are welcome. The registration fee is 35 euros for on-site and 25 euros for online participants, 20 euros for students. The registration fee cost includes program and abstract booklets, coffee breaks, a concert program by traditional performers of the Turkic World between September 17–22, and masterclasses.
Baku is the capital city of the Republic of Azerbaijan, as well as the largest city on the Caspian Sea and in the Caucasus region and industrial centre. Ancient foundations, a large area and a population all make Baku one of the oldest and largest cities in the East. Baku is 28 metres (92 ft) below sea level, which makes it the lowest lying national capital in the world and also the largest city in the world below sea level. Baku lies on the southern shore of the Absheron Peninsula, on the Bay of Baku. Baku’s urban population was estimated at two million people as of 2009. Baku is the primate city of Azerbaijan it is the sole metropolis in the country, and about 25% of all inhabitants of the country live in Baku’s metropolitan area. Baku is situated on the western coast of the Caspian Sea. In the vicinity of the city there are a number of mud volcanoes (Keyraki, Bogkh-bogkha, Lokbatan and others) and salt lakes (Boyukshor, Khodasan, etc.). Baku has a cold semi-arid climate with hot and humid summers, cool and occasionally wet winters, and strong winds all year long. This is largely because of its northerly latitude and the fact that it is located on a peninsula on the shore of the Caspian Sea. At the same time Baku is noted as a very windy city throughout the year, hence the city’s nickname the «City of Winds», and gale-force winds, the cold northern wind khazri and the warm southern wind gilavar are typical here in all seasons. Traces of human settlement in the region of present-day Baku date back to the Stone Age. In the 1st century AD, the Romans organised two Caucasian campaigns and reached what is today Baku. Near the city, in what is today Gobustan, Roman inscriptions dating from AD 84 to 96 survive – some of the earliest written evidences for a city there. Baku’s largest industry is petroleum, and its petroleum exports make it a large contributor to Azerbaijan’s balance of payments. The existence of petroleum has been known since the 8th century. In the 10th century, the Arabian traveler, Marudee, reported that both white and black oil were being extracted naturally from Baku. Commercial exploitation began in 1872, and by the beginning of the 20th century the Baku oil fields were the largest in the world. Baku ranked as one of the largest centres for the production of oil industry equipment before World War II. Fifty years before the battle, Baku produced half of the world’s oil supply. The core of present-day Baku is the old town, or fortress, of Icheri-Sheher. Most of the walls, strengthened after the Russian conquest in 1806, survive, as does the 90-foot (27-metre) tower of “Qız qalası” (Maiden’s Tower, 12th century). The old town is highly picturesque, with its maze of narrow alleys and ancient buildings. These include the Palace of the Shirvan-Shahs (now a museum), the oldest part of which dates from the 11th century. The walled city, along with the Palace of the Shirvan-Shahs and Maiden’s Tower were collectively designated a UNESCO World Heritage site in 2000. Around the walls of the fortress, the regular streets and imposing buildings of modern Baku rise up the slopes of the amphitheatre of hills surrounding the bay. Along the waterfront an attractive park has been laid out. Most industrial plants are located at the eastern and southwestern ends of the city. Greater Baku, divided into 11 districts, encompasses almost the entire Absheron Peninsula as well as islands off the tip of the peninsula and another built on stilts in the Caspian Sea, 60 miles (100 km) from Baku. Baku is one of the most important tourist destinations in the Caucasus. Many sizable world hotel chains have a presence in the city. Baku has many popular tourist and entertainment spots, such as the downtown Fountains Square, the One and Thousand Nights Beach, Shikhov Beach and Oil Rocks. Baku’s vicinities feature Yanar Dag, an ever-blazing spot of natural gas. On 2 September 2010 with the inauguration of National Flag Square, Baku set the world record for tallest flagpole on 24 May 2011. The city is the scientific, cultural, and industrial centre of Azerbaijan. Many sizeable Azerbaijani institutions have their headquarters there. In the 2010s, Baku became a venue for major international events. It hosted the 57th Eurovision Song Contest in 2012, the 2015 European Games, 4th Islamic Solidarity Games, the European Grand Prix in 2016, the Azerbaijan Grand Prix since 2017, the final of the 2018–19 UEFA Europa League, and was one of the host cities for UEFA Euro 2020. The Baku International Sea Trade Port is capable of handling two million tonnes of general and dry bulk cargoes per year. Baku is renowned for its harsh winds, reflected in its nickname, the «City of Winds». In 2007 the Heydar Aliyev Cultural Centre, designed by Pritzker Prize-winning architect Zaha Hadid, was opened. Baku also has many museums such as Baku Museum of Modern Art and Azerbaijan State Museum of History, most notably featuring historical artifacts and art. Many of the city’s cultural sites were celebrated in 2009 when Baku was designated an Islamic Culture Capital. Baku was chosen to host the Eurovision Dance Contest 2010. It has also become the first city hosting the first European Games in 2015. Among Baku’s cultural venues are Azerbaijan State Philharmonic Hall, Azerbaijan State Academic Opera and Ballet Theatre. The main movie theatre is Azerbaijan Cinema. Festivals include Baku International Film Festival, Baku International Jazz Festival, Novruz Festival and the National Theater Festival. International and local exhibitions are presented at the Baku Expo Centre.
Programme
INFORMATION ON ACCOMMODATION: The symposium is going to be held in Baku. Standart 3* suite costs in *** Hotel (web ****) starting from *** manat (approximately *** euro) Standart 5* suite costs in *** Hotel (web ****) starting from *** manat (approximately *** euro) including *** meals and up to *** healing procedures, swimming pool and other resort’s facilities. Arrival by September 17 is preferable due to welcome events a day prior to the opening. For more information, please follow the ICTMD web page and get in touch with the secretaries of our Study Groups: Valeriya Nedlina: leranedlin@gmail.com Anna Oldfield: aoldfield@coastal.edu Kanykei Mukhtarova: mukhtaro@ualberta.ca We are looking forward to seeing you in Azerbaijan in 2024! Abdullah Akat and Razia Sultanova Chairs of the ICTMD Study Groups on Music and Dance in the Turkic World and Global History of Music
Committees Planning Committee Abdullah Akat, Prof. Dr., Istanbul University State Conservatory (Türkiye) Sanubar Baghirova, Prof. Dr., National Academy of Sciences (Azerbaijan) Lala Huseynova, Prof. Dr., Azerbaijan National Conservatory (Azerbaijan) Razia Sultanova, Prof. Dr., University of Cambridge (United Kingdom) Program Committee Sanubar Baghirova, Prof. Dr., National Academy of Sciences (Azerbaijan) – Chair Kamila Dadashzade, Prof. Dr., University of Art and Culture (Azerbaijan) Gisa Jähnichen, Prof. Dr., Shanghai Conservatory of Music & Vienna University (China & Austria) Rezeda Khurmatullina, Assoc. Prof. Dr., Kazan Federal University (Tatarstan, Russia) Valeriya Nedlina, Assoc. Prof. Dr., Kazakh National Conservatory (Kazakhstan) Anna Oldfield, Prof. Dr., Coastal Carolina University (United States) Giultekin Shamilli, Dr. Sc. in Art History, State Institute of Art Studies (Russia & Azerbaijan) Galina Sychenko, Assoc. Prof. Dr., Archive of Eurasia (Italy) Local Organizing Committee Jahangir Salimkhanov, Advisor to Minister of Culture of the Republic of Azerbaijan – Honorary Member Siyavush Karimi, Rector of the Azerbaijan National Conservatory, professor, People’s Artist Nailya Mammadzade, Rector of the Baku Academy of Choreography, Honored Artist of the Republic of Azerbaijan Lala Huseynova, Vice-Rector of the Azerbaijan National Conservatory – Chair Habiba Mamedova, Vice-Rector for Science and Creativity of the Baku Academy of Choreography, Doctor of Philosophy, Associate Professor Fidan Aghayeva, Inspector of the International Department of the ANC Gulnara Manafova, Senior Researcher at ANC Research Laboratory Rena Fakhradova, Researcher at ANC Research Laboratory Humay Farajova-Jabbarova, Researcher at ANC Research Laboratory
Explanation the topics Prominent Personalities in the History of Music and Dance Heritage The study of the history of musical and dance heritage through the prism of the creative activity of outstanding personalities reveals the special role of the subjective factor in the history of culture. The study of the facts of life and creativity of both ― well-known and little-known ― names in the context of the modern scientific paradigm helps to expand our understanding of the deep patterns of the functioning of music and dance in a historical perspective. The researcher forms a system of selection and evaluation of personalities in the context of an ever-changing society. Forgotten names, as well as famous personalities, become facts of history in the context of research argumentation, which signals not only about the scientist, but also values the society in which he is located. One of the most striking persons ― the personality of Uzeyir Hajibekov (Hajibeyli, 1885―1948), the creator of a new cultural paradigm, whose life and work took place in the process of changing the socio―political, ideological and cultural structure of society still needs to be studied in depth, especially on the material of archival documents and new approaches to historical musicology. What are the mechanisms for selecting and evaluating historical «facts» in the context of cultural, social and political preferences affecting the global history of music? What are the criteria of the researcher in the system of assessment of individual heritage? The main directions proposed for discussion: Shusha Musical Heritage in the Context of the Dialogue of Cultures Shusha (formerly Panahabad, 1752), one of the hubs of the musical life of the South Caucasus, played a significant role in the formation of the regional cultural musical heritage. The creative resource of the capital of the Karabakh Khanate has become a source from which musicians of the Caucasus have been drawing inspiration for centuries. It included a huge pool of highly professional musicians, versatile musical knowledge, new musical, stage and concert forms, first tested in Shusha and spread throughout the Caucasus, tar of Mirza Sadiq Asad oglu (Sadıqcan tarı), who took an important place in the performing practice of the entire region. Many melodies composed by Shusha musicians have entered the repertoire of Caucasian performers of traditional music. These were popular urban songs, mugams, tesnifs, Ashig songs, dance melodies performed on such instruments as tar, kamancha, gaval, saz, balaban, gosha-nagara, which also formed traditional types of musical ensembles, and at the beginning of the twentieth century ― melodies from operas and operettas by Uzeyir Hajibeyov (Hajibeyli). Today, various ethnic and national groups of the population of the South Caucasus perceive them as their own, local creative products. Over the past century, the musical dynasties of Shusha have consistently followed the convergence of the West and the East in various forms of musical creativity. All such topics, as well as new or little-known materials about the activities of Shusha musicians, their creative tandems with Caucasian, Iranian and Turkish musicians, are of interest both in the context of the dialogue between the cultures of the peoples of the Caucasus and the cultures of the East and West. The main directions proposed for discussion: Musical and Dance Heritage: Problems of Preservation and Transformation The search for unifying roots in the traditional music of the Turkic world reveals two autonomous macroregions presenting angemitonic (Siberia, Volga-Urals, Altai, Republic of Tyva, Kazakhstan, Kyrgyzstan) and microtonal types of musical thinking (Uighur Autonomous Region of China, Uzbekistan, Turkmenistan, Azerbaijan, Iranian Azerbaijan, northeastern and central Iraq, Turkey). Does the dance heritage present such a clear contrast? Studying music and dance in a globalizing world, we discover the uniqueness of various cultural phenomena. The problems of studying the mechanisms of transfer and preservation of artistic experience in the systems of traditional and academic education actualize the issues of losing, assimilation and transformation of traditional heritage. The phenomenon of the singing voice has a particular importance because it carries specific physiological features, timbre and techniques of sound production, polished for centuries in the field of traditional culture. Modern artistic realities demonstrate numerous examples of the recontextualization of samples of musical and dance heritage as a process of extracting text from the original context and its interpretation in various musical discourses. The main directions proposed for discussion: Music Therapy: Problems and Prospects in the 21st Century The humanities of the East and West have been studying the problem of the therapeutic effect of music on the human body since ancient times (Pythagoras, Plato, Aristotle). However, despite the fact that music therapy has a centuries-old history, its scientific understanding and practical application have never been linear, rather sporadic. Even closer attention to this field of knowledge since the middle of the XIX century has not been crowned with the systematic and widespread introduction of discipline into the educational process and the practical course of medicine. Meanwhile, music therapy remains an effective means of post-traumatic treatment in the conditions of natural and military disasters, as well as socio-psychological adaptation of a person. Despite the inclusion of this field of knowledge in the field of philosophy of consciousness and the science of the human brain at the present stage, the using of new technologies such as positron emission tomography (PET) and functional magnetic resonance imaging (fMRI) is not associated with the idea of dependence of the therapeutic effect on ethnically oriented traditional music. Does the aesthetic pleasure and, consequently, the therapeutic effect of music have a culturally conditioned character? It is obvious that the obvious positive effects of music on various body functions, including the detection of the «Mozart effect», do not have the presumption of universality and need the development of ethnocognitivistics, involving the study of human, language and music on the material of ethnic cultures. The main directions proposed for discussion:
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