2017 Biennial Conference of the Royal Musical Association Music and Philosophy Study Group

Conference dates: 13-14 July 2017


Strand Campus, King’s College London

With the move to biennial conferences, we have changed the overall format in order to continue our mission to maximise diversity and inclusivity, whilst upholding the highest scholarly standards. With that in mind, we hope that the following information will be of interest, and that you will consider the possibility of hosting an Associates or Themed session, or, in due course, of submitting a paper proposal.

The 2017 RMA MPSG Conference will feature three types of session:

  • Associates sessions will be hosted by other organisations with related interests;
  • Themed sessions will be organised by individual session convenors, who will issue a call for papers on a specific topic, and select papers themselves (in conjunction with the central programme committee);
  • Free sessions will consist of papers submitted to an open, unthemed, call for papers.

In addition to these sessions, there will be two plenary debates with invited speakers, one at the start of the conference and one at its close. All other conference time will be devoted to Associates, Themed, and Free sessions.

For further information on the various session types and for guidelines to submitting a proposal, please visit the page on our website http://www.musicandphilosophy.ac.uk/mpsg2017/, where you may also subscribe to our E-Newsletter.  To keep up to date with smaller announcements and news, please ‘like’ our Facebook page https://www.facebook.com/rmampsg and follow us on Twitter https://www.twitter.com/RMA_MPSG.

The Power of Hip Hop: EXCHANGE

One day seminar around hip hop and social change


FRIDAY 8TH JULY, 9.30 – 17.00 (plus post-event networking and music)

Venue: RichMix, Bethnal Green Road, London


Full Price: £45

Student / Concession: £36

SPECIAL DISCOUNT: Use code hiphop15 at checkout to get your £15 ticket

Lunch, refreshments and delegate packs provided.

To Book: https://www.richmix.org.uk/events/music/power-hip-hop-exchange

The Power of Hip Hop: LIVE is a unique academic seminar that explores the role, challenges and potential of hip hop culture in facilitating social change in global contexts, and its role as a site of resistance and identity.

Keynote Speakers

Martha Diaz (NYU Gallatin)

Hip-Hop Without Borders: A Revolutionary Global Movement of Struggle, Liberation and Sustainable Living”

Jason Nichols (University of Maryland)

Lean wit it:  Black Masculinities in Hip-Hop Dance”

Plus special introduction about In Place of War’s work by Professor James Thompson


Four diverse panels exploring: 

  • Global power of hip hop
  • Cultural power of hip hop
  • Power of place & identity
  • Hip hop and pedagogy

International Artist Presentations by

Shhorai (Colombia)

Zambezi News (Zimbabwe)

Smockey (Burkina Faso)


For a full programme and speaker list visit: cultconflictchange.wix.com/powerofhiphop

Steering Group

Richard Bramwell (University of Cambridge)

Eithne Quinn (University of Manchester)

Teresa Bean (In Place of War)

Featuring a programme of academic panels, keynote papers, artist presentations and practitioner provocations, this event harnesses In Place of War’s vast international network of grassroots artists and blends it with a rich selection of researchers exploring issues including but not limited to hip-hop and gender, race, religion, commerce, and conflict.

A day full of rich discussion, unique encounters, thought-provoking papers and academic-artist exchange.

The Power of Hip Hop: EXCHANGE is part of In Place of War’s event series Culture. Conflict. Change. taking place at RichMix throughout 2016. It is proudly funded by the Arts & Humanities Research Council, and supported by Index on Censorship.

Find out about the rest of the series here: www.cultconflictchange.wix.com/powerofhiphop 


About In Place of War: www.inplaceofwar.net

About Index on Censorship: www.indexoncensorship.org



False Alarm: Aurality, Errancy and Voice

25-26 June, King’s College London


False Alarm will discuss forms of mishearing – be they creative, accidental or hallucinatory – as well as false differences or resemblances between the sounds of non-human and human bodies, as embedded within the aurality and errancy of voice. The conference will explore this idea in three sections: (1) acoustic ecology and atmosphere, (2) affect, and (3) plasticity of voice. A two-day event, the conference will include talks, and a concert.

Talks by Lynne Kendrick (Central School of Speech and Drama), Martha Feldman (University of Chicago), Michael Bull (University of Sussex), Julian Henriques (Goldsmiths, University of London), Lisa Blackman (Goldsmiths, University of London), Sophie Scott (University College London), Nina Power (University of Roehampton), Anna Kvicalova (Max Planck Institute of History of Science), Peter Cusack (London College of Art and Communication), Aura Satz (Royal College of Art), and Joe Banks (Audiovisual artist and author of the book Rorschach Audio – Art & Illusion for Sound).

Performances by Atau Tanaka (Goldsmiths, University of London), Patricia Alessandrini (Goldsmiths, University of London), Seth Ayyaz (City University of London), and EXAUDI Vocal Ensemble (London).

Atau Tanaka’s performance is supported by the MetaGesture Music project, under the European Research Council grant FP7-283771.

For programme information please see:

For booking please see:




Wagner’s Parsifal and the Challenge to Psychoanalysis – Day Conference

In our conference ‘Wagner, Freud and the End of Myth’ (2013) we argued that by taking the mythic dimension and bringing it into the human realm, Wagner anticipated Freud in his depiction of unconscious processes of the mind. It could be said that Freud and Wagner were dealing with the same stuff – the “fundamental psychosexual issues that affect us all” as Barry Millington put it, and for that reason a fruitful dialogue can exist between their two bodies of work.

The present conference is entirely devoted to Wagner’s final masterpiece, Parsifal, and explores whether this sublime, troubling and contentious work prefigures psychoanalytic insight or resists psychoanalytic interpretation. As a story of compassion and redemption, which nevertheless describes a world of perversion and mental anguish, what can Parsifal tell us about the secret springs of human desire and the conflicts of human nature? And how did Wagner manage to create it?

For programme and tickets please click here
For more information about ‘Freud and Wagner’ please click here

You might also like to know that on Saturday 2nd July we will be screening Syberberg’s film of Parsifal, introduced by Patrick Carnegy. Further information on the Freud Museum website next week.

International Conference of Young Musicologists. Young Musicology Today: tendencies, challenges and perspectives

The aim of the conference is to integrate the musicological community through the creation of an international forum for exchanging ideas and research experiences. We encourage young musicologists to present results from ongoing studies and to engage in discussion on the future of musicology, its role and place in the contemporary culture. Currently, musicology, which is not only the study of music, is starting to perform social functions, becoming not only a field of scientific inquiry but one of use to society. During the conference, we would like to consider new avenues of research, new methodologies of musicologists’ work, and the challenges and career prospects faced by musicologists entering the labour market. It will also be an opportunity to consider the subject areas of interest to young musicology.

Subject areas for consideration include

  • New research perspectives in musicology
  • Music versus other arts
  • Music in the public space (sonosphere research)
  • Music in society (music and ideologies)
  • Music and the sacred
  • Music and science (e.g. psychology of music)
  • Challenges of modern ethnomusicology
  • The state and the form of contemporary music criticism
  • Source studies and music editing
  • Music librarianship – issues and challenges
  • Performance practice
  • Theory of music
  • Music and pop culture
  • Opera nowadays

The conference will incorporate both traditional lectures and panel discussions, during which groups of researchers conducting a joint project or studying similar subjects will be able to present the results of their studies or discuss a specific subject. We encourage the participants to organise their own panel sessions during the conference (due to time constraints, we suggest no more than four papers during one session; please indicate the person leading the session during registration).

In addition, the conference programme includes:

  • “A musicologist on the labour market” panel

This will be an opportunity for an in-depth discussion of the current employment situation of musicology graduates in Poland and abroad, and for the presentation of experiences in this area. We encourage participation in this panel session by musicologists – musical life animators, employees of media and cultural and educational associations and institutions etc.

  • Masters’ lectures (plenary speakers)
  • The conference programme includes additional events, such as concerts, sightseeing in Krakow, and exhibitions.

A publication of the collected papers presented at the conference is also planned.

Conference language: English.


  • Accepting applications with abstracts – until 31th of May 2016.
  • Information about accepted papers – by 30 June 2016.
  • Conference dates: 7-9 November 2016.

Applications should be made by sending the application form via email to: agnieszka.lakner@doctoral.uj.edu.pl  and musicologytoday@gmail.com

You can find an application form here.

For any further information please feel free to contact: Agnieszka Lakner; agnieszka.lakner@doctoral.uj.edu.pl

Conference fee

Conference fee: 200,00 PLN / 50 €

The fee includes:

Admission to the conference, conference program, publication of the paper in the conference proceedings, lunches and coffee breaks during sessions and conference attractions such as sightseeing and concerts. Registration fee does not include accommodation and transportation. If you wish, Organizers will help you to book an accommodation.


Jagiellonian University in Kraków, Department of Musicology

Address: Westerplatte Street 10; 31-033 Kraków, Poland




Joint ICTM-IE/SMI Postgraduate Conference


Joint ICTM-IE/SMI Annual Postgraduate Conference 2016
9-10 December 2016
School of Music, University College Dublin, Ireland
Call for Papers

Extended deadline: 30 July 2016
Email: ictm.smi.pg2016@gmail.com
Website: www.ucd.ie/music/conferences

As part of the collaboration between the Society for Musicology in Ireland and the Irish National Committee of the International Council for Traditional Music, we are pleased to announce a joint postgraduate conference taking place in University College Dublin on Friday the 9th and Saturday the 10th of December 2016.

The conference committee would like to invite postgraduates working in all areas of musical research to submit proposals for conference papers. Each speaker will be given 20 minutes for their paper, followed by a 10 minute discussion. Areas of research include but are not limited to historical musicology, ethnomusicology, music theory, music technology, music pedagogy, popular music studies, and performance. Aside from the traditional paper sessions, there will also be a Careers Forum on the Saturday as part of the conference. The keynote address will be given by Professor David Burn (University of Leuven).

To submit a proposal, please send an email attachment (.doc, .docx, rtf.) to the conference committee at ictm.smi.pg2016@gmail.com with the following information:

  • Title of paper
  • Abstract (maximum 250 words)
  • Full name, contact details, and institutional affiliations
  • Short biography (maximum 150 words)
  • Audio-visual and other requirements (data projection, CD/DVD player, piano, etc.)

Applicants will be notified by 31 August 2016.

Principles of Music Composing in the Second Half of the 20th and the Beginning of the 21th Centuries

16th International Music Theory Conference

9–11 November 2016, Vilnius, Lithuania

Organized by: Lithuanian Composers’ Union, Lithuanian Academy of Music and Theatre

The purpose of the conference is to give new impulses to the development of musicological research and to use the findings thereof in compositional practice and teaching process.

The main conference goals are to enrich the local and international musical life, to establish a center of attraction for theoretical research of compositional practice, and to contribute to fostering and preserving of a distinctive identity in the national school of Lithuanian composers.

The 16th conference is dedicated to the 75th anniversary of the Lithuanian Composers’ Union. A program of special conference sessions and other events is planned to mark this occasion.

Suggested sub-themes of the conference are:

  • Theoretical and evolutionary aspects of the principles of musical composition;
  • Principles of composition in the work by Lithuanian composers as seen in the broader context of European musical culture;
  • Aesthetic, artistic and creative self-awareness of composers representing national schools (see the list of suggested composers below);
  • Composers’ ideas about their creative principles;
  • Theoretical and creative aspects of compositional systems in the works by Lithuanian and foreign composers;
  • Binary-oppositional principles of composition in the 20th-century music (Ives, Stravinsky, Bartók, etc.) and their applications in the recent decades;
  • The manifestation of archaic and ethnic elements in the music by Lithuanian composers.

Paper proposals (abstract and a short biography) should be sent to Mr. Marius Baranauskas by email pmc@lmta.lt. The abstract must not exceed 500 words. The duration of full presentations is limited to 20–25 minutes.

 The main language of the conference is English.

The deadline for proposal submissions is June 19, 2016. Proposals will be reviewed by the members of the scholarly committee and all applicants will be notified of the outcome until the end of June 2016.

The participation fee is 20 Euros.

Selected materials of the conference (abstracts and papers) will be published in the annual peer reviewed scientific journal.

Head of the scholarly committee Prof. Dr. Rimantas Janeliauskas, Coordinator of the conference Marius Baranauskas

Conference website: http://pmc.lmta.lt/EN.html

BFE/RMA Research Students Conference 2018

British Forum for Ethnomusicology / Royal Musical Association Research Students Conference

Thursday 5 to Saturday 7 January 2017 at Canterbury Christ Church University

Call for Contributions now open, deadline for proposals: 30 September 2016. Further details at www.canterbury.ac.uk/rsc2017.

Registration opens: 11 November 2016
Open to postgraduates studying in the UK or abroad, the BFE/RMA Research Students’ Conference provides an opportunity for young researchers to meet together in a friendly and supportive atmosphere, to gain experience of the conference environment (as listeners, participants, and chairs), to present and to hear papers, to take part in workshops, and to gain insights into the profession. Each year, the programme includes skills training sessions, student papers, composition and performance workshops, concerts, and social events.

BFE/RMA Research Students Conference 2017

British Forum for Ethnomusicology/Royal Musical Association
Research Students’ Conference

‘Exploring Musical Practice’

A multidisciplinary conference for students involved in music study

5–7 January 2017
School of Music and Performing Arts, Canterbury Christ Church University, UK

Call for Contributions

Deadline: 30 September 2016

The school of Music and Performing Arts at Canterbury Christ Church University is honoured to host the second joint British Forum for Ethnomusicology/Royal Musical Association Research Students’ Conference, 5–7 January 2017. The BFE/RMA Research Students’ Conference welcomes all postgraduates studying in the UK or abroad to present research in musicology, ethnomusicology, composition, performance, sonic art, sound studies, popular music study, and any areas related to music, in a friendly and supportive atmosphere. The conference will also include a number of performances, workshops, research training, career development sessions, and opportunities to meet and connect with scholars in your area and beyond. Invited speakers include:

– Dr Kate Guthrie (University of Southampton), 2015 recipient of the RMA’s Jerome Roche Prize.
– Professor Anna Morcom (Royal Holloway, University of London)

Founded in 1874, the Royal Musical Association is dedicated to the study of any kind of music, from history, analysis, and ethnomusicology to studies of perception, reception, and practice‐based research. The British Forum for Ethnomusicology’s mission is to advance the study, practice, documentation, preservation, and dissemination of all and any music.

The Call for Contributions invites submissions in the following categories:

1. Innovative presentation formats (please contact the Conference Chair by 1 September about any extra information required)
2. Academic papers (10 or 20 minutes, please indicate which)
a. Research
b. Composition/performance work in progress
3. Compositions
4. Themed panel sessions and symposia
5. Posters

1. Innovative Presentation Formats

Research in Music is, by nature, interdisciplinary, constantly evolving, and incredibly varied. The Conference Committee wants to encourage researchers to develop ways of presenting their work in a form which may be more relevant and suited to that work than a 20-minute conference paper, and think about the relationship between content and form in a creative way.

Elements with which research students may wish to experiment may include (but may not be limited to): collaboration, composition/improvisation, practical elements (both musical and non-musical), audience participation, performance art elements, audio-visual elements beyond the PowerPoint presentation, sonic art and sound studies elements, respondents, discussion, and debate. In particular, researchers are encouraged to use innovative presentation formats to interrogate musical practices and research practices within music.

2. Academic Papers (10 or 20 minutes, please indicate which)

Research students are invited to submit abstracts for individual papers on any aspect of music study. Normal AV facilities will be available. Resources for performance or specialised audio-visual resources must be supplied by the presenter, or please contact the Conference Committee to discuss.

a. Research

Research presentations may be on any topic and represent any stage of the research in question.

b. Composition/performance work in progress

Composers and performers may wish to present a work they are preparing at any stage of readiness. This may have a practical element, for instance, incorporating performed extracts

3. Compositions

Research students are invited to submit a composition in response to one of the following commissions:
a. Catch Club Song
Songs will be read and rehearsed with Chris Price and the a capella group Cantuar (formed of Lay Clerks from the Canterbury Cathedral Choir) in an open workshop. Composers must be present for the workshop in which their composition is scheduled. A selection of the works will then be performed later on in the conference.
The archives of the Canterbury Catch Club are kept in the Cathedral, and have formed the subject of an extensive research project involving the Canterbury Christ Church School of Music and Performing Arts, Canterbury Cathedral, the City Library and Museum, and the Canterbury Festival. A website has captured some of this work: www.canterbrycatchclub.org. The website has audio tracks and scores of some of the pieces in the collection to inspire you.
Submissions should be a maximum of 4 minutes’ duration and scored for three, four or five voices.
Compositions may take the form of a Catch, or a Glee.
Catch: essentially a round, this is a piece for unaccompanied equal voices in which an underlying chord sequence (lasting any number of bars between 2 and 30+, in the longer examples) gives rise to three, four or five melodic lines which not only fit harmonically but, in the best examples, have a witty text whose meaning may only emerge when all the voices have entered—either by dint of a wry punch-line or because an altogether more salacious meaning may be heard when the voices combine. An example is here.
Glee: the descendant of the madrigal and the ancestor of the part-song, the glee is a piece for three, four or five unaccompanied voices (counter-tenor, 2 tenors, baritone, and bass in any combination), usually in a sectional structure, which took pains to match the text with appropriate music. A delightful, simple example of a glee (which explains the point of them) is here, though other examples were altogether more serious, such as Samuel Webbe’s Discord.
The work you submit should not previously have received professional performance nor have been commercially released in recording.
Scores will be accepted in all formats (e.g. conventional notation, graphic, text- based). There are no stylistic constraints. You should send separate PDFs of the full score and parts. Where possible, please also send a Sibelius or Finale file of the full score.
b. Installation
Installations will be set up and explored in open sessions during the conference in collaboration with sound artists, composers, and technicians from Canterbury Christ Church. Composers must be present for this process. Installations will be presented during a special session (or, possibly more than one session) during the conference.
Submissions should be a maximum of 12 minutes’ duration, and can be in a final digital format, or presented as a concept (written or diagram) with example audio.
In particular, submissions are encouraged that explicitly engage with issues in musical practice and musical practices, and may involve a combination of recorded and live elements. Ethnomusicologists are also encouraged to develop installations on this subject, possibly involving field recordings.
There is potential to use the architectural resources of the conference venue. Details on request, or to be discussed in set-up and preparation sessions. Any ideas or questions, please just get in touch with the Conference Committee at rsc2017@canterbury.ac.uk.
The work you submit may have been previously performed, but should not have been released commercially.
Submissions will be judged primarily on aesthetic grounds (originality, musicality, technical skill), but the panel reserves the right to take matters of practicality into consideration.

4. Themed Panel Sessions and Symposia

Themed sessions or groups of papers and/or presentations around the conference theme are particularly encouraged. Proposals may suggest non-student academics to act as respondents to the session, but this is not a necessity. Proposed sessions should be one and a half hours long, which will include at least 15 minutes for questions and/or audience discussion. The session may comprise research papers, performance, audio-visual elements, or any combination of presentation methods. Themed sessions and symposia should normally include no less than 3 and no more than 6 participants, including respondents. Topics which may be particularly relevant to the conference theme include:

• Genre and practice
• Production as practice-based research
• Research as practice
• Technology as a musical practice
• Practice and participant observation
• Practice and change
• Subjects related to the phonograph and its 140th anniversary in 2017

Themed sessions that include panellists from more than one musical sub-discipline are especially encouraged.

5. Posters

Research students are invited to submit poster displays relating to any aspect of music research. Posters will be displayed throughout the majority of the conference. A special session will allow researchers to speak briefly about aspects of their poster to the whole conference. Posters should be portrait orientation and A1 or A0 size.

How to submit a proposal

Submissions should include:

• Research student details
o Name
o Postal address
o Email address
o Institutional affiliation
o A short biography of no more than 50 words
• Title and abstract of no more than 250 words, indicating contribution category (e.g., ‘academic paper, 20 minutes, research’)
o For innovative presentation formats, include a separate description of the reasons behind the presentation format (also no more than 250 words)
o For themed sessions and symposia, you may submit an abstract covering the whole session proposal (no more than 250 words), along with separate descriptions of the components (no more than 100 words each)
• AV requirements and any other special requests
• If you would like to Chair a session (recommended: training will be provided at the start of the conference)

Submissions should be emailed to rsc2017@canterbury.ac.uk by Friday 30 Sept 2016.

Other activities

A separate call will be made in September for participants in workshops, debates and other activities during the conference.


Students are invited to act as session chairs during the conference. If you are interested in chairing a session, please express this interest when submitting your abstract. Training will be provided.

Further Information

Further Information is available at www.canterbury.ac.uk/rsc2017. For general conference enquiries, and for enquiries relating to the call for papers, please email rsc2017@canterbury.ac.uk.

Programme Committee: Dr Vanessa Hawes (Chair), Dr Erica Buurman, Dr Robert Rawson, Dr Lauren Redhead, Dr Maria Varvarigou, Prof. Matt Wright, Dr Byron Dueck, Liam Barnard, James Taylor, Dr Catherine Haworth.

ENIM 2016 – 6th Conferences on Musical Research

ENIM 2016

Aveiro (Portugal), November 3rd to 5th 2016


SPIM (Sociedade Portuguesa de Investigação em Música) and Universidade de Aveiro (PORTUGAL)

Call for papers

The 6th Conference on Musical Research (ENIM 2016) will be held in Aveiro (Portugal), November 3rd to 5th, 2016. The call is now open for paper and poster submissions, as well as for thematic panels of 3 to 4 presenters. All relevant themes on musical research are welcome.

Submissions should be sent in Portuguese, English or Castilian for the following formats:

Spoken papers: 20 minutes.

Panels: 1 hour and a half, including final discussion. Proposals should include a general abstract and individual abstracts.

Proponents should send an abstract (250 words, and 3 to 5 keywords), a short bio (ca. 150 words), as well as information about equipment requirements. Panel proposals should indicate the general title and the name of the chair, besides the general abstract (ca. 300 words), and the individual abstracts and their titles. Each proponent can only submit one proposal (including individual submissions and panels). Proposal should be sent just in Word format to:


by 15th de May 2016, at the latest. The mail should include the following information: name, institution, postal address, and phone number. The abstract should not include any identification information, only the title. The abstracts will be blind-reviewed by members of the scientific commission, and evaluation results will be sent by June 15th, 2016. For further information, please contact: <enim2016@spimusica.pt>

Keynote speakers:

Salwa Castelo-Branco
Timothée Picard

Scientific Committee:

António Sousa Dias (IPCB, Escola Superior de Artes Aplicadas)
Bernadette Nelson (Centro de Estudos de Sociologia e Estética Musical)
Gabriel Rusinek (Universidad  Complutense de Madrid)
Graça Mota (Instituto de Etnomusicologia – Centro de Estudos em Música e Dança)
Maura Penna (Universidade Federal da Paraíba)
Pablo Rodriguez (Universidad de La Rioja)
Paulo Assis (Orpheus Institute, Ghent)
Paulo Ferreira de Castro (Universidade Nova de Lisboa)
Ricardo Tacuchian (compositor)
Susana Sardo (Universidade de Aveiro)
Suzel Riley (Queen’s University, Belfast)

Organizing Committee:

Cristina Fernandes
Maria José Artiaga
Maria do Rosário Pestana