{"id":14345,"date":"2025-07-18T14:24:04","date_gmt":"2025-07-18T18:24:04","guid":{"rendered":"https:\/\/carleton.ca\/music\/?page_id=14345"},"modified":"2025-07-18T14:24:07","modified_gmt":"2025-07-18T18:24:07","slug":"2024-mcgss-symposium","status":"publish","type":"page","link":"https:\/\/carleton.ca\/music\/graduate\/2024-mcgss-symposium\/","title":{"rendered":"2024 Music and Culture Graduate Student Society Annual Symposium"},"content":{"rendered":"\n
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\n 2024 Music and Culture Graduate Student Society Annual Symposium\n <\/h1>\n \n <\/header>\n <\/div>\n\n <\/div>\n\n \n\n <\/div>\n<\/section>\n\n\n\n

Music, Sound and Liminality<\/h2>\n\n\n\n

With Keynote Speaker Dr. Katherine Meizel<\/p>\n\n\n\n

The term liminality has been developed and applied within diverse fields including anthropology, cultural studies, geography, and education, wherein it is often associated with concepts such as performativity, transformation, transgression, subversion, power, marginality, and more. Derived from the Latin li\u0304men, meaning threshold, liminality invokes in-betweenness, ambiguity, possibility, and uncertainty. Like sound\u2019s constant \u2018flux,\u2019 liminality allows for transition and transformation in relation to concepts and experiences such as space, emotion, aesthetics, design, being, texture, and time.<\/em><\/p>\n\n\n\n

Download the 2024 Program (PDF)<\/a><\/p>\n\n\n\n

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Keynote Speaker: Dr. Katherine Meizel<\/h3>\n\n\n\n

A game-show panel tries to identify cartoonishly-masked celebrities after listening to them sing. Another panel decides who among a group must be the best singer, based only on lip syncing. Thousands of TikTok videos feature a bland digital voice that hides the posters\u2019 own, or pass around a simulacrum of a voice whose original context has shattered into pieces that can no longer be fit back together. More than simply acousmatic, these televised or streamed voices demand that viewers attend to sonic and embodied presence and absence in new ways, to listen and imagine to something equally new that lives between the lines. This presentation will highlight how, in the 2020s, voice is heard and enacted as shaping liminal spaces and temporalities.<\/p>\n\n\n\n

Katherine Meizel is Professor of Ethnomusicology at Bowling Green State University in Ohio. Her book Idolized: Music, Media, and Identity in American Idol<\/u> (IU Press) was published in 2011. <\/em>The Oxford Handbook of Voice Studies which she co-edited with Nina Eidsheim, was published in 2019, and her monograph <\/em>Multivocality: Singing on the Borders of Identity was published in early 2020. With the nonprofit label Little Village Foundation, she co-produced the album <\/em>Raise Your Voice: The Sound of Student Protest to document the 2018 protests against gun violence. Her writing has also appeared in public venues such as <\/em>Slate, <\/em>NPR.org, <\/em>The New Republic, and <\/em>The Conversation.<\/em><\/p>\n\n\n\n

Schedule<\/h2>\n\n\n\n

SATURDAY MARCH 16TH, 2024<\/h3>\n\n\n\n

9:30-10:00 Welcome and Refreshments<\/p>\n\n\n\n

SESSION 5<\/strong>
\nMusic and Method<\/em>
\nChair: Paul Th\u00e9berge<\/p>\n\n\n\n

10:00-10:30 \u201cKaija Saariaho\u2019s Electronics: Reconceptualizing Authorship in Composer-Engineer Collaboration,\u201d Roan Ma (University of Toronto)<\/p>\n\n\n\n

10:30-11:00 \u201cIndividual Intention and Musicking: An Interdisciplinary Investigation by way of Autoethnography,\u201d Tristan Zaba (York University)<\/p>\n\n\n\n

11:00-11:30 \u201cSinging \u2018In Harmony\u2019: A Critical Examination of Intersecting the Personal in Research,\u201d Charlotte Stewart-Juby (Carleton University)<\/p>\n\n\n\n

11:30-11:45 Break<\/p>\n\n\n\n

SESSION 6<\/strong>
\nLecture Recital<\/em>
\nChair: Charlotte Stewart-Juby<\/p>\n\n\n\n

11:45-12:30 \u201cFootprint of a Record: Tracing \u201cCasiopea\u201d and the Global Web of an Independent Artist\u201d, Cecilia Lopez (Carleton University)<\/p>\n\n\n\n

* 12:30-1:45 – Lunch (catering provided) *<\/strong><\/p>\n\n\n\n

SESSION 7<\/strong>
\nSonic Encounter(s)<\/em>
\nChair: Lyndsey Hoh Copeland<\/p>\n\n\n\n

1:45-2:15 \u201cRalph Vaughan Williams\u2019 Sinfonia Antarctica: An Ecomusicological Reading,\u201d Virtual Presentation, Ryan Baxter (Western University)<\/p>\n\n\n\n

2:15-2:45 \u201cOratorio Resilience: Revealing the Hidden Christian\u2019s Songs in an Island, Nagasaki, Japan,\u201d Chieko Tanaka (Carleton University)<\/p>\n\n\n\n

2:45-3:15 \u201cOne Step Forward, One Step Back: Chaakapesh\u2019s Struggle Against Assimilation in Indigenous Opera,” Gabrielle Brochu (Carleton University)<\/p>\n\n\n\n

* 3:15-3:30 – Break *<\/strong><\/p>\n\n\n\n

SESSION 9<\/strong>
\nKeynote Presentation<\/em>
\nChair: Anna Hoefnagels<\/p>\n\n\n\n

3:30-4:30 \u201cGuess Who? Voice and Liminality in Popular Culture,\u201d Dr. Katherine Meizel (Bowling Green State University)<\/p>\n\n\n\n

4:30-5:00 Closing Comments<\/p>\n","protected":false},"excerpt":{"rendered":"

Music, Sound and Liminality With Keynote Speaker Dr. Katherine Meizel The term liminality has been developed and applied within diverse fields including anthropology, cultural studies, geography, and education, wherein it is often associated with concepts such as performativity, transformation, transgression, subversion, power, marginality, and more. Derived from the Latin li\u0304men, meaning threshold, liminality invokes in-betweenness, […]<\/p>\n","protected":false},"author":85,"featured_media":0,"parent":3551,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_acf_changed":false,"_cu_dining_location_slug":"","footnotes":"","_links_to":"","_links_to_target":""},"cu_page_type":[54],"class_list":["post-14345","page","type-page","status-publish","hentry","cu_page_type-general"],"acf":{"cu_post_thumbnail":""},"_links":{"self":[{"href":"https:\/\/carleton.ca\/music\/wp-json\/wp\/v2\/pages\/14345","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/carleton.ca\/music\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/carleton.ca\/music\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/carleton.ca\/music\/wp-json\/wp\/v2\/users\/85"}],"replies":[{"embeddable":true,"href":"https:\/\/carleton.ca\/music\/wp-json\/wp\/v2\/comments?post=14345"}],"version-history":[{"count":1,"href":"https:\/\/carleton.ca\/music\/wp-json\/wp\/v2\/pages\/14345\/revisions"}],"predecessor-version":[{"id":14346,"href":"https:\/\/carleton.ca\/music\/wp-json\/wp\/v2\/pages\/14345\/revisions\/14346"}],"up":[{"embeddable":true,"href":"https:\/\/carleton.ca\/music\/wp-json\/wp\/v2\/pages\/3551"}],"wp:attachment":[{"href":"https:\/\/carleton.ca\/music\/wp-json\/wp\/v2\/media?parent=14345"}],"wp:term":[{"taxonomy":"cu_page_type","embeddable":true,"href":"https:\/\/carleton.ca\/music\/wp-json\/wp\/v2\/cu_page_type?post=14345"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}

FRIDAY MARCH 15TH, 2024<\/h3>\n\n\n\n

9:30-10:00 Welcome and Refreshments<\/p>\n\n\n\n

SESSION 1<\/strong>
\nDigital Bodies: Exploring Materiality Through Voice and Technology<\/em>
\nChair: William Echard<\/p>\n\n\n\n

10:00-10:30 \u201cCode-Switch: Exploring Multilingual Perspectives Through Music Composition and Speech-to-Text Technology,\u201d Virtual Presentation Randall Chaves Camacho (University of Toronto)<\/p>\n\n\n\n

10:30-11:00 \u201cThe Technologized Voice: Transhumanism and Radiohead\u2019s Kid A (2000),\u201d Christine Oppedisano (Carleton University)<\/p>\n\n\n\n

11:00-11:30 \u201cHearing Voices: Public Mourning and Use of Spirit Voices by Queen and the Foo Fighters,\u201d Colin Pigeon Edwards (University of Toronto)<\/p>\n\n\n\n

* 11:30-11:45 – Break *<\/strong><\/p>\n\n\n\n

SESSION 2<\/strong>
\nLecture Recital<\/em>
\nChair: Christine Oppedisano<\/p>\n\n\n\n

11:45-12:30 \u201cThe Science of Creative Safety; Transforming Performance Anxiety by Understanding Our Bodies Through Polyvagal Theory\u201d Cheryl Ockrant (York University)<\/p>\n\n\n\n

12:30-1:45 Lunch (on your own)<\/p>\n\n\n\n

SESSION 3<\/strong>
\nLiminal Figures: Space, Time, and Identity<\/em>
\nChair: Jesse Stewart<\/p>\n\n\n\n

1:45-2:15 \u201cAt the Threshold of the Underworld: Deep Time, Myth, Music, and Ecstatic Truth,\u201d Virtual Presentation Sean Steele (York University)<\/p>\n\n\n\n

2:15-2:45 \u201cSomewhere Between Gangsta Rap and a \u2018Heart\u2019 Place: Listening to Thresholds, Liminalities, and In-Betweenness in the Contemporary Gangsta Rap Figure,\u201d Justine Walker (Carleton University)<\/p>\n\n\n\n

2:45-3:15 \u201cGender Subversion and Charismatic Resonance: k.d. lang\u2019s \u2018Big Big Love,\u2019\u201d Alyssa Fluit (Carleton University)<\/p>\n\n\n\n

* 3:15-3:30 – Break *<\/strong><\/p>\n\n\n\n

SESSION 4<\/strong>
\nKeys of Identity: Resonant Soundscapes<\/em>
\nChair: James Deaville<\/p>\n\n\n\n

3:30-4:00 \u201cThe Growing Pains of Toronto\u2019s \u2018Little Egypt\u2019: An Egyptian Diasporic Soundscape in Mississauga,\u201d Virtual Presentation
\nAlia Abdeen (University of Toronto)<\/p>\n\n\n\n

4:00-4:30 \u201cListening to Whiteness: Parliament Hill as Contested Public Space,\u201d Gale Franklin (Carleton University)<\/p>\n\n\n\n

5:30- Conference Dinner at Browns Crafthouse<\/a>.<\/p>\n\n\n\n

 <\/p>\n\n\n\n