Folk Music as a Fermenting Agent for Composition, Past and Present

Gheorghe Dima Music Academy in Cluj-Napoca, Romania

in collaboration with

Sigismund Toduţă Doctoral School and the Association of the Composers and




is pleased to announce the Symposium


Folk Music as a Fermenting Agent  for Composition,

Past and Present


hosted by Gheorghe Dima Music Academy on April 27, 2017 and coordinated by musicologist Bianca Ţiplea Temes.

The event is organized within the “Cluj Modern” Festival and features an exciting line-up of contributors, aiming to provide a forum for a dialogue among scholars from various musical standpoints.



 Session 1:   In Bartók’s Wake


William Kinderman (Illinois University) – keynote speaker

Béla Bartók’s Idea of “Idealized Folk Music”: A Community of Peoples “despite all war and strife” 


Vikárius László (Budapest Bartók Archives, Institute for Musicology, Research Centre for the Humanities of the Hungarian Academy of Sciences; Ferenc Liszt Academy of Music)

Bartók’s Credo: Editing Cantata Profana for the Béla Bartók Complete Critical Edition


István G. Németh (Institute for Musicology, Research Centre for the Humanities, Hungarian Academy of Sciences, Budapest)

‘Verbunkos’, Béla Bartók, and Adrian Pop: A Hidden History of Folk Musical Influence


Dan Variu (Gh. Dima Music Academy Cluj-Napoca)

(Pan)Cultural Interference as a Compositional Tool


Pavel Puşcaş (Gh. Dima Music Academy Cluj-Napoca)

Archetype and/or Sonorous Substance


Bianca Ţiplea Temeş (Gh. Dima Music Academy Cluj-Napoca)

Modern Tapestry from Vintage Fabrics: Colindă Baladă by György Kurtág


Session 2:    Folk music worldwide


Feza Tansuğ  (Istanbul)

The Humanely Unison: Beethoven’s Turkish Source of Inspiration in His Chorus of Dervishes


Javier Suárez-Pajares (Universidad Complutense Madrid)

“Folk Traditions and Sources in the Guitar Works of Julián Arcas (1832-1882) and His Contemporaries”


Belén Pérez Castillo (Universidad Complutense Madrid)

From Conflict to Normalization: Two Approaches to the Basque Folk Heritage from the Spanish Concert Music


Nicolae Gheorghiţă (National University of Music Bucharest)

In the Service of Propaganda: Aesthetic Discourses and Musical Genres in the Music of the Romanian People’s Army


Ioan Haplea  (Gh. Dima Music Academy Cluj-Napoca)

Ratios and Proportions in Folklore and in Several Works of Cristian Misievici. The Issue of Privileged Locations in Anonymous and in Cultured Musical Speech


Adrian Pop (Gh. Dima Music Academy Cluj-Napoca)

Did George Enescu Know Romanian Folklore?

REEM Annual Conference 2017

Music and Revolution

Goldsmiths, University of London


On the occasion of the centenary of the Russian revolution, the BASEES Study Group for Russian and Eastern European Music invites proposals for its 2017 conference, to be held at Goldsmiths, University of London, on Friday 15th December. The theme of the conference is ‘Music and Revolution’, and we welcome proposals that deal with a broad range of revolutionary moments in Russia and Central and Eastern Europe: from Decembrists to Bolshevists, from Springs to Singing Revolutions and the collapse of communism.

Possible topics include, but need not be limited to:

  • Music at the time of and in response to revolution
  • Protest music and revolutionary song
  • Sounds and soundscapes of revolution
  • Musical change and continuity post-revolution
  • Politicisation of music
  • Emigration, exile and changing musical landscapes

The conference’s official language is English.

Abstracts of no more than 400 words and short biographical notes (c.200 words) should be sent to by 1st May 2017. Abstracts will be reviewed and the results announced by mid-June.

REEM has a modest amount of money available to assist speakers, especially postgraduates and those without access to other funds, with the costs of attending. If you would like to be considered for such funding, which is likely to cover only an element of your travel and/or accommodation, please indicate this in your proposal.


Convenors: Tamsin Alexander, Philip Bullock, Pauline Fairclough, Katerina Levidou, Ivana Medić, Danijela Špirić-Beard and Patrick Zuk.

Any enquiries should be sent to

Between the Lands. Alexander Ivashkin Remembered

International Conference

‘Between the Lands.

Alexander Ivashkin Remembered.’

Celebration of the legacy, musicological and performance interests of the late Professor Alexander Ivashkin
Chair of Performance and Postgraduate Studies,
Director of the Centre for Russian Music,
Founder of the Alfred Schnittke Archive,
Music Department, Goldsmiths, University of London, 1999-2014

2-3 June 2017
Council Chamber, Deptford Town Hall, Goldsmiths, University of London

Focusing on music and the other arts, the conference will bring together international renowned specialists and will include lunchtime and evening concerts as well as round table discussions.

Call for Papers
Submissions are invited for spoken papers and poster presentations. Proposals for 20-minute papers in English on any topics related to:

  1. Legacy of Alexander Ivashkin as a cellist, recording artist, founder of competitions and organiser of festivals, educator, music dedicatee, researcher, writer of books and articles.
  2. Performance issues and stylistic approaches.
  3. Russian music from Mikhail Glinka to the twenty-first century.

    Philosophy and religion. Visual arts and cinema.

  4. Music of Charles Ives, John Cage, George Crumb, Krzysztof Penderecki,

    Mauricio Kagel, Luigi Nono, Benjamin Britten, James McMillan, Gabriel Prokofiev and Roger Redgate.

5. Music from the Southern Hemisphere: Brett Dean, Peter Sculthorpe, Lyell Cresswell, Gillian Whitehead and Carl Vine.

Abstracts limited to c. 200-words and a short CV in Pdf format should be submitted by 20 April to Professor Natalia Pavlutskaya, the chair of the programme committee, to the following email address:

100-word CV should include information about the author:

  1. Nameandposition.
  2. Postal address.
  3. Phone and email.
  4. Institution/affiliation and its address.
  5. The list of audio-visual equipment necessary for presentation.

Applicants will be notified by 1 May 2017.

The full programme will be announced in May.

It is intended that selected papers will be published.

Registration/Conference fee of £35 will cover the cost of the conference pack and refreshments on both days.

Visitors: £5.

Goldsmiths staff and students: free.

Further information can be obtained from PureGold Festival, go to

Important dates:
20 April submission deadline
1 May notification of submission decision 2-3 June conference

Conference address: Council Chamber, Deptford Town Hall, Goldsmiths, New Cross, London SE14 6NW.

Performing Restoration Shakespeare




The AHRC-funded project ‘Performing Restoration Shakespeare’ (2017-2020) invites applications from UK and EU researchers (including PhD students in their second year or beyond) to participate in a scholar-artist workshop at Shakespeare’s Globe in July 2017. For this collaborative and practice-based event, we seek to recruit 10 researchers drawn from the disciplines of theatre history, musicology and Shakespeare studies. Selected participants will receive accommodation in London for 3 nights, subsistence, and up to £120 for travel expenses.


The selected researchers will work with performing artists (actors, instrumentalists, singers) in a 4-day workshop on Restoration versions of The Tempest, to be held in the Globe’s rehearsal space and in the Sam Wanamaker Playhouse from 10-13 July 2017. The sessions in the Wanamaker will be open to the public.


Through a combination of archival study and reflective creative practice, we will investigate how Restoration Shakespeare can be performed today in a way that understands the historical context of this distinctive performance genre and then uses that understanding to create meaningful performances for contemporary audiences. This workshop offers a unique opportunity for collaboration with researchers from cognate disciplines, performing artists in theatre and music, Globe staff, and the general public. Additionally, the workshop offers the potential for publication in an edited volume arising from the project as a whole.


‘Performing Restoration Shakespeare’ is jointly led by theatre historian Richard Schoch (Queen’s University Belfast) and musicologist Amanda Eubanks Winkler (Syracuse University). Our partners are Shakespeare’s Globe, the Folger Shakespeare Library and the Shakespeare Birthplace Trust.


To apply for a place in the workshop, please email a brief CV (2-3pp) and a 500-word statement of interest to Dr Claude Fretz, Research Fellow (Queen’s University Belfast) by April 1st2017. In your statement of interest please explain how you would contribute to the workshop and how participating in the workshop would benefit your research. For further information, please contact Dr Claude Fretz. We expect to notify all applicants of the outcome by April 15th 2017.

Prof. Rebecca Herissone

Professor of Musicology

Director, AHRC Research Project, Musical Creativity in Restoration England

Co-Editor, Music & Letters 

University of Manchester

Martin Harris Centre for Music and Drama

Coupland Street


M13 9PL

Tel: +44 (0)161 275 4980

Fax: +44 (0)161 275 4994

Music, Culture and Society in Central Europe

The Antipodean East European Study Group seeks papers for a conference on the theme:

‘Music, Culture and Society in Central Europe’

Music and musicians played important roles in Central European cultural life. From the court to the street, from high literature to journalism, attitudes toward music became entwined not only with aesthetic values such as art and beauty, but also social and political values: the nation, monarchy, aristocracy, democracy, manliness, and justice. This conference seeks papers that link music, musical performance, or individual musicians with social and cultural projects in Germany, Austria-Hungary, Italy, Poland, or the Balkans. We are particularly interested in historical perspectives, but papers with a more contemporary focus will also be considered.

The conference will take place on 10 June 2017 at Victoria University.

Abstracts are Due 10 may 2017.

Questions or submissions to: Alexander Maxwell:

For a downloadable flyer, see the webpage:

Operatic objects


Institute of Musical Research, Senate House (London)

Saturday 18th March 2017

Conference organisers: Alexandra Wilson and Anna Maria Barry

(OBERTO opera research unit, Oxford Brookes University)

While historians and literary scholars have become increasingly interested in material culture over recent decades, musicology has been slower in responding to this broader ‘material turn’. As a visual and dramatic art-form, opera is a branch of music in which physical objects have a particular significance.

This conference will explore both the interface between material culture and performance practice and the rich potential objects offer to scholars researching mechanisms of life writing. It will consider how physical objects acquire ‘meaning’ in an operatic context and how such meanings may change across time.

10.00 Welcome and coffee

SESSION 1: Instruments and Puppets

10.20-10.40 Lewis Jones (London Metropolitan University): ‘The Alien and his Instruments: Giuseppe Naldi on Stage, at Home, and in Death’

10.40-11.00 Hayley Fenn (Harvard University): ‘Voice-Objects: Marionette Opera, Sound Technologies, and the Poetics of Synchronization’

11.00-11.15 Discussion

SESSION 2: Personal Possessions

11.20-11.40 Anna Maria Barry (Oxford Brookes University): ‘Locating Singers in the Archive: Interpreting Personal Possessions’

11.40-12.00 Clair Rowden (University of Cardiff): ‘Glitter and be Gay: A Singer’s Jewels’

12.00-12.15 Discussion

12.20-13.30 Lunch (own arrangements)

SESSION 3: Notes and Memories

13.30-13.50 Carrie Churnside (Birmingham Conservatoire): ‘“Memorie per la mia pastorale”: Personal Accounts of Opera, c. 1700’

13.50-14.10 Michael Burden (New College, Oxford): ‘Ruling the Roost: Louisa Pyne’s ‘Rules and Regulations’ for running an opera company’

14.10-14.30 Henrike Rost (Musikwissenschaftliches Seminar Detmold/Paderborn, Universität Paderborn): ‘Autograph Albums as Operatic Objects’

14.30-14.45 Discussion

14.45-15.15 Tea break

SESSION 4: Paraphernalia and Place

15.20-15.40 Matteo Paoletti (Genoa) ‘A Collection to be Saved: Pipein Gamba, Master of the Italian Belle Époque’

15.40-16.00 Mark Tatlow (University of Stockholm): ‘The C18th Theatre of Drottningholm as 21st-Century Operatic Object’

16.00-16.15 Discussion

16.15-16.30 Closing comments

The conference will be free to attend. However, delegates are asked to book because we need firm numbers for catering and room capacity reasons. To book a place please email conference assistant Hannah Snelling ( by Friday 3rd March. We will provide coffee and tea, but delegates are asked to make their own lunch arrangements.

The OBERTO opera research unit at Oxford Brookes University organises an annual conference in Oxford each September as well as additional conferences and study days in London. For further information about OBERTO, visit or follow us on Twitter @ObertoBrookes.

Shakespeare and Music

ESRA CONGRESS 2017 (Gdansk, 27-31 July)


Michelle Assay (Université de Paris Sorbonne, France/Canada/Iran)

David Fanning (University of Manchester, UK)

Christopher Wilson (University of Hull, UK)


‘If music be the food of love, play on’ (Twelfth Night, I/1/1)

Despite the fact that at least some Shakespeare-inspired music constitutes an important part of the concert repertoire, scholarship specifically dealing with Shakespeare and music is surprisingly under-developed. Studies in this area are far less numbered than, for example, those dealing with Shakespeare and film.

This seminar aims to approach the subject matter of Shakespeare and Music, from both aspects of music in Shakespeare’s time or on various aspects of music in Shakespeare’s works (including his musical imaging and imagination), and music inspired by Shakespeare’s works or composed either to Shakespearean themes or directly for Shakespeare plays: in short – Music in Shakespeare and Shakespeare in Music.

As John Stevens observed Shakespeare ‘inherited and enhanced a tradition of theatre music used not only for embellishment but in the delineation of character and with accepted symbolic associations.’ On the other hand, Shakespeare’s musical afterlives –works that found their inspiration in Shakespeare – not only contribute to a richer understanding and appreciation of the Bard’s works, but are often they works that can stand alone and act as gateways to the musical traditions and aesthetics of their time.

Possible threads for papers or lecture/recitals include but are not limited to:

  • Music imagery and imagination of Shakespeare
  • Original melodies for Shakespeare songs and their afterlives
  • Shakespeare and opera
  • Incidental music for Shakespeare productions: past and present
  • Analysis and contextualising of individual Shakespeare-inspired works
  • Setting Shakespeare’s words to music
  • Shakespeare in instrumental music
  • Shakespeare and film music
  • Role of Shakespeare in musical imagination and creative output of composers
  • Shakespeare and music nationalism
  • Shakespeare in non-classical music (jazz, musicals, pop)
  • Performing Shakespeare’s music
  • Afterlife of Shakespeare-inspired music


Please send 150-word abstracts and biographies to and before 31 January 2017.

Arvo Pärt: Icon of Modernity

This one-day conference will be held on the eighty-second birthday of the Estonian composer Arvo Pärt September 11, 2017 at the Institute for Advanced Music Studies, Senate House, The University of London,.. It is presented under the auspices of The Royal Academy of Music, The University of West London and in association with the Estonian Embassy.


We invite papers of 25 minutes with the first 5 minutes of the paper to be given to a background introduction and placement of the paper in this field. Papers are welcome on all aspects of and approaches to the composer’s music including philosophical, theological, analytical, ethnographic studies and also research that addresses the position of Pärt in popular culture and media. In particular, papers that expand the significance of material inside the critical enclosure of Pärtian concepts as well as studies that bring fresh insights, strategies and contexts to this burgeoning scholarly literature will be well received. The conference intends to showcase the widest range of critical thinking on this important contemporary artist with full papers to be edited and published by a major University Press.  The conference supper will be held on the evening of the 11th at a major London club.


Abstracts including affiliation and a short biography should be sent in a word document to Prof. Robert Sholl by May 15. These should explain the context for the research and show the work to be presented represents a contribution to this subject.


The conference fee will be £40 for the day, and £80 with supper. The conference also follows on from the Royal Musical Association conference on 7-9 September.



New Beginnings – Beginning again: the Feldenkrais Method in Creative Practice

Conveners: Marcia Carr and Prof. Robert Sholl

This conference to be held at the University of West London on 11 March 2017 invites creative work in music, dance and dramas around the theme of beginning. As a Somatic Method that is intellectually malleable, how does the Method provide a means and an educational impetus to find new, alternative and engaging beginnings for research, teaching and practice? How can the Method be employed as an interdisciplinary hinge to illuminate other fields through a creative application of its own strategies? Where therefore are the starting points for both simple and more complex activities, and what do these signify or allow? We welcome papers, workshops, demonstrations, and lessons that excavate the potential axiomatic to the Feldenkrais Method.

Our keynote speaker will be pianist and practitioner Alan Fraser (Canada/University of Novi Sad, Serbia) who has published several books applying the Feldenkrais Method to piano technique. He works with pianists and other musicians – both those who are healthy and those suffering from focal dystonia, tendonitis, carpal tunnel syndrome and other pain issues. Alan studied piano with Phil Cohen in Montreal and Kemal Gekic in Novi Sad, Serbia, and graduated from the Hawaii Feldenkrais training program in 1992. His research shows that improved physical organization can enhance every aspect of musical performance, from sonority, agility, phrase shaping and emotional expression to the quick resolution of most pain problems. Alan will discuss how a proper understanding of function can aid practical improvements in many aspects of performance.

Please submit an abstract of 200 words in a word document to, with your affiliation and a short biography by January 31.

The cost of the conference (including lunch) will be £45/£20 for students

THE OPERATIC: an interdisciplinary symposium looking at the concept of “the operatic” in contemporary culture

Call for Expressions of Interest


THE OPERATIC: an interdisciplinary symposium looking at the concept of “the operatic” in contemporary culture.


Organised by the Sussex Centre for Cultural Studies and the Centre for Research in Opera and Music Theatre, University of Sussex.


Friday May 19, 2017





Writing in their book “Opera’s Second Death” (2001) Slavoj Žižek and Mladen Dolar argue that opera is dead, but that it lives on as the un-dead: “If opera were simply over it could be assigned a neat place in cultural archaeology and thus properly buried. The astounding thing is the enormous operatic institution’s stubborn, zombielike existence after its demise. The more opera is dead, the more it flourishes. Opera remains a huge relic, an enormous anachronism, a persistent revival of a lost past, a reflection of the lost aura, a true postmodern subject par excellence.”


This symposium will consider the post-demise dispersion of opera in the cultural forms of the “operatic”: those aspects of contemporary culture that borrow from opera to signify categories such as the “high”, the “kitsch”, the “camp”, the “sublime”, the “queer”, the “histrionic”; the use of “operatic” as a critical term (Adorno – Hamlet is “operatic”; Coppola’s and Scorsese’s films are “operatic”; Kusturica’s early work is “an operatically weird blend of magic realism, punk aesthetics and Yugoslav history”); Gramsci’s critique of the “operatic conception of life” in relation to Italian politics; re-mediations of opera in popular culture (e.g. as music for films and advertisements); opera as signifier of transcendence, disease or death in films such Shawshanks Redemption, Philadelphia, Fatal Attraction; operatic voices as backing tracks for pop songs; reality TV shows like Pop Star to Opera Star; the operatic “scoring” of experience – music as heightened soundtrack to everyday life; the operatic elements of soap opera and horse opera. What and why does modern culture draw from the afterlife of opera?


Keynote speaker: Professor John Storey, University of Sunderland. Author of What is Cultural Studies? (1996), Cultural Studies and the Study of Popular Culture (2009), Culture and Power in Cultural Studies(2010); Utopian Desire (forthcoming), and ‘Expecting Rain: Opera as Popular Culture?’ in Jim Collins (ed.), High-Pop, (2001).


Please send proposals for 20-minute papers (approx 100 words) or queries to Nick Till, Director, Centre for Research in Opera and Music Theatre

( by Friday January 6th 2017.