Sociomusicology: Messiaen Conference in Boston

10/12/07

Messiaen Conference in Boston

This weekend (October 12-13, 2007) is a fascinating international conference of the Boston University Messiaen Project entitled “Messiaen the Theologian.” Musicologist and organ virtuoso, Professor Andrew Shenton is the conference organizer.

French composer Olivier Messiaen (1908-1992) was inspired by Asian musical traditions, and his work has been quite influential among leading Asian and European composers.

Today I attended an insightful presentation by Wai-Ling Cheong (from Chinese University of Hong Kong) on Messiaen’s use of Japanese gagaku music and the inspiration that the Torii of Miyajima (pictured below) offered to his work:

Olivier Messiaen was among the most innovative composers of the twentieth century, and his creative output represents an important example of how European art music has increasingly incorporated elements from musical traditions of other parts of the world. This is a topic of great interest to those grappling with the issues of hybridity and transculturation in musical creativity and education.

I encourage any musicians and scholars interested in such topics to attend the remainder of this conference.

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Welcome to Sociomusicology

For a decade (since 2007), this website has offered musings on contemporary society and its music by David G. Hebert, PhD. He is a sociomusicologist specializing in global music education who has held academic positions with universities on five continents. Dr. Hebert is now a tenured full Professor with Western Norway University of Applied Sciences, Bergen. There he leads the Grieg Academy Music Education (GAME) research group and manages the multinational government-funded Nordic Network for Music Education, which organizes annual intensive Master courses and exchange of teachers and students across eight countries. He is also a Visiting Professor in Sweden with the Malmo Academy of Music (Lund University), and an Honorary Professor in China with the Education University of Hong Kong.

Professor Hebert's research applies an international-comparative perspective to issues of pluralism, identity, and cultural relevance in music education, as well as processes by which new music traditions emerge and change - both sonically and socially - as they are adopted into institutions. Born in the 1970s, he is among the most widely-published and globally-active music scholars of his generation (h-index:20; i10-index:28), with professional activities in an average of 8 countries per year across the past decade (2008-2020).