Event postponed - date TBC From David Lean’s 'Brief Encounter' to his 'Lawrence of Arabia' – a talk as part of the 'Distinguished Lecture in Music Studies' Series - open to the public.


Event postponed - date TBC A talk exploring the connected themes of romance and war in 'Brief Encounter' (1945) and 'Lawrence of Arabia' (1962). These two classic films by David Lean were highly charged explorations of romance and war in their post-Second World War context.

  • icon Location
    NYUAD Institute, Conference Center
  • icon Date
    17-April-2024 / 17-April-2024
  • icon Time
    6:30 pm / 8:00 pm

This event has been postponed, new date TBC

Films about transports of love and the transportation of warring parties invite questions on how films played to an emerging sense of tourism and travel through British colonies and what it meant to make a British film for a newly emerging British film industry? How did this industry differ from that in America? Most particularly, speaker Lydia Goehr (Fred and Fannie Mack Professor of Humanities, Columbia University) explores the role of new post-war technologies that introduced music as an indispensable part of film. How did the radio, for example, play to the transmission of music and news, or to a broadcast of information that brought the formal movement of film into a parallelism of tracks with the high speed and lines of a train, a plane, and an automobile?

Lydia Goehr, Fred and Fannie Mack Professor of Humanities in the Department of Philosophy at Columbia University.

In 2009/2010 Lydia Goehr received a Lenfest Distinguished Columbia Faculty Award, in 2007/8 The Graduate Student Advisory Council (GSAC)’s Faculty Mentoring Award (FMA), and in 2005, a Columbia University Presidential Award for Outstanding Teaching. She is a recipient of Mellon, Getty, and Guggenheim Fellowships, and in 1997 was the Visiting Ernest Bloch Professor in the Music Department at U. California, Berkeley, where she gave a series of lectures on Richard Wagner. She has been a Trustee of the American Society for Aesthetics and is a member of the New York Institute of the Humanities.  In 2012, she was awarded the H. Colin Slim Award by the American Musicological Society for an article on Wagner’s Die Meistersinger. In 2002-3, she was the visiting Aby Warburg Professor in Hamburg and a fellow at the Wissenschaftskolleg zu Berlin. In 2005-6, she delivered the Royal Holloway-British Library Lectures in Musicology in London and the Wort Lectures at Cambridge University. In 2008, she was a Visiting Professor at the Freie Universität, Berlin (Cluster: “The Language of Emotions”) and in 2009, a visiting professor in the FU-Berlin SFB Theater und Fest. In 2019, she was Visiting Professor at the University of Torino, and in 2020, a Mellon fellow at the Tate Museum in London. In 2022-23, she was a visiting fellow at the Max Planck Institute (Empirical Aesthetics) in Frankfurt and taught at the Courtauld Institute, London.

Moderated by:
Gwyneth Bravo, Assistant Professor of Music, NYUAD; Global Global Network Assistant Professor of Music, NYU

Gwyneth Bravo holds a PhD in Historical Musicology from the University of California, Los Angeles, and her research examines the relationship between music, politics, and philosophy in twentieth and twenty-first-century European and global contexts, with a focus on nationalism, migration, gender studies, and conflict. As a Fulbright scholar at the Musicological Institute of the University of Hamburg, Bravo worked with the research group Exilmusik, publishing in Lebenswege von Musikerrinen im Dritten Reich und im Exil (von Bockel Verlag) — a volume examining the impact of National Socialism, forced migration, and exile on European, women musicians during the period 1933-1945. As a development of her research focused on composers belonging to the interwar avant-garde in Prague, Bravo published a biography of Viktor Ullmann (Orel Foundation) and recently co-authored the chapter “Mortal Encounters, Immortal Rendezvous: Literary-Musical Counterpoints between Erwin Schulhoff’s Flammen and Karel Josef Beneš’s Don Juan (with Brian S. Locke) in New Paths in Opera: Martinů, Burian, Hába, Schulhoff, Ullmann (Vienna: Hollitzer-2022).

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