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SUMMARY:Public seminar: Matthew Jarvis\, Electra Perivolaris\, Emmanuel So
 wicz\, and Jessie Edgar (University of Oxford)
DTSTART;TZID=Europe/London:20260618T150000
DTEND;TZID=Europe/London:20260618T163000
DTSTAMP:20260614T180611Z
UID:f9e322bf-094a-f111-bec7-7c1e52046959
CREATED:20260507T114156Z
DESCRIPTION:'What does modern Dominican chant have to do with its medieval
  origins?'\n\nAbstract\nThe Dominican Order\, founded in the thirteenth ce
 ntury\, inherited high medieval forms of Gregorian chant and moulded these
  to suit its unified liturgical and organisational structures\, to undergi
 rd an international preaching mission. Friars needed to sing the same thin
 gs in the same way\, especially when gathering annually at a General Chapt
 er. But while we have the rules of Dominican chant as codified in the 1250
 s by Humbert\, the fifth Master of the Order\, do these provide practical 
 access to how the chant was sung? How do Humbert’s rules correspond to l
 ater Dominican books\, right up to the twentieth century? Tracing tones (m
 elodic patterns) across the centuries is one thing\; interpreting the rhyt
 hm of the chant is quite another. In this presentation\, I will share some
  initial results and ongoing questions.\n\nBiography\n\nMatthew Jarvis\n\n
 'Dialogues\, Encounters\, and Entanglements: Developing a compositional pr
 actice which reimagines and examines relationships between humans and natu
 re'\n\nAbstract\nThis paper outlines my artistic research into composition
  as a means of exploring human–nature interconnection. Drawing on eco-mu
 sicology\, anthropology\, and cultural geography\, I critique anthropocent
 ric perspectives and pastoral traditions\, proposing a “post-pastoral”
  approach that embraces ecological complexity and tension. Through composi
 tion and community-based practice\, I investigate how music can express in
 terwoven relationships between human and more-than-human worlds. The resea
 rch emphasises listening as an immersive\, embodied practice and foregroun
 ds sustainable\, participatory creativity. It positions composition as a c
 ollaborative ecological process that fosters empathy\, challenges binary t
 hinking\, and highlights the interconnectedness of all life.\n\nBiography\
 n\nElectra Perivolaris\n\n 'Constructing Chamberhood | The Guitar Quartet 
 and the Making of a Tradition'\n\nAbstract\nWhat does it mean for an instr
 ument to belong to a chamber music tradition? The classical guitar has lon
 g participated in collaborative music-making\, notably within nineteenth-c
 entury salon and domestic ensemble practice. Despite this\, it has remaine
 d marginal to broader chamber narratives. This paper argues that\, in resp
 onse\, musical arrangement has been used to retrospectively construct cham
 berhood\, allowing guitarists to claim a new belonging to chamber traditio
 ns from which they found themselves previously excluded.\n\nGuitar quartet
 s\, in particular\, frequently adapt music associated with canonical compo
 sers and genres\, at once expanding their repertoire and building identity
  within broader chamber narratives. Drawing on arrangements of Brahms\, De
 bussy\, and Glinka\, I suggest how chamberhood is assembled through arrang
 ement\, repertoire emulation\, and ensemble design – grounded in the use
  of four identical instruments in equal conditions. Importantly\, these ef
 forts often take place in a post-canonical context\, where such repertoire
 s are approached under contemporary conditions\, rather than as untouchabl
 e monuments.\n\nBorrowing Stephen Goss’s notion of retrotopia\, which wa
 rns of backwards-facing cultural pressures\, I argue that guitar quartet a
 rrangements do not merely constitute nostalgic retreat or conservative emu
 lation of established chamber formations. Rather\, they often redirect ret
 rotopian impulses\, mobilising canonical repertoire as sites of ensemble e
 xperimentation and technical innovation. Recent innovations in guitar ense
 mble technique – including forms of distributed virtuosity – are enabl
 ing quartets to adopt increasingly complex repertoires\, transforming arra
 ngement into a creative laboratory that yields new ways of reconciling pas
 t and present.\n\nUnderstanding chamberhood as constructed reframes how ma
 rginalised instruments might negotiate their repertoires\, perceived legit
 imacy\, and professional viability. The guitar quartet thus offers a case 
 study in rethinking chamber music traditions beyond the lineage of stable 
 formations and canonical genres.\n\nBiography\n\nEmmanuel Sowicz is a clas
 sical guitarist and second-year doctoral researcher at the University of O
 xford\, where he investigates how musical arrangement has shaped the class
 ical guitar tradition. His research is supported by St Catherine’s Colle
 ge\, where he holds the Allen Senior Music Scholarship. Winner of the Lond
 on International Guitar Competition and Dr Luis Sigall International Music
  Competition\, Emmanuel has commissioned and premiered over a dozen new wo
 rks\, and his own arrangements have been published in Gendai Guitar and re
 corded for Decca. In 2025 he performed as soloist with the Chilean Nationa
 l Symphony Orchestra and was elected an Associate of the Royal Academy of 
 Music (ARAM). Upcoming highlights include his debut as soloist with the Al
 ina Orchestra\, performing Rodrigo’s Aranjuez Concerto at the Buckingham
  Music Festival.\n\n 'The Singer as Listener: own-voice perception through
  age-related hearing loss'\n\nAbstract\nIt has been documented that partic
 ipation in choral singing can benefit aspects of the aging auditory system
  and that many people in the age range pertinent to age-related hearing lo
 ss (ARHL) participate in choral singing. But it has not been documented ho
 w one's perception of their hearing loss affects the enjoyment of and part
 icipation in singing for people who have been singing for a majority of th
 eir lives. This talk theorizes how singers are simultaneous listeners\; em
 phasizing that a singer's listening during performance can be mediated bot
 h by their immediate environment and by their metacognitive awareness of t
 heir own voice. Data will be presented about a group of 26 experienced ama
 teur choral singers with age-related hearing loss\, triangulating hearing 
 tests\, singing tasks\, interviews and surveys. \n\nBiography\n\nJessie Ed
 gar is pursuing a DPhil in music and is also affiliated with the clinical 
 auditory neuroscience lab in the Department of Physiology\, Anatomy and Ge
 netics. She graduated from Columbia University with honors in music and ps
 ychology and came to Oxford to complete her MPhil in musicology studying w
 omen's voices in the English Choral Tradition. Jessie is published in the 
 Journal of Women in Music\, the Routledge Companion to Voice and Identity 
 and the International Journal of Music\, Health and Wellbeing. She has pre
 sented her work at conferences such as the Royal Musical Association and t
 he Association for Research in Otolaryngology and has worked in labs looki
 ng at hearing loss and auditory attention. Following her DPhil\, she will 
 be working on a project at the University of Leeds to produce instrument-s
 pecific guidance for performing musicians who use hearing aids. Alongside 
 her work she enjoys singing early music and swimming.
LAST-MODIFIED:20260507T114303Z
SPEAKER:Matthew Jarvis\, Electra Perivolaris\, Emmanuel Sowicz\, Jessie Ed
 gar
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