South African Society for Research in Music (SASRIM) Eighth Annual Congress

Invitation and Call for Papers


University of the Witwatersrand, Johannesburg 12-14 September 2014

SASRIM cordially invites you to its 2014 annual congress to be held at the University of the Witwatersrand.

The keynote speaker will be well-known music education specialist Lucy Green from the Institute of Education at the University of London.

Submissions are invited on any research related to music. Presentations will be accepted solely on the basis of their quality, and not on their subject matter or approach. SASRIM hopes that the conference in this way will stimulate the submission of a wide variety of proposals, including those that may cross the boundaries of conventionally segregated disciplines and thereby offer new perspectives.

We extend a special invitation to students to submit proposals and use the conference as a forum for networking and their development. Students whose proposals are accepted may apply to SASRIM for limited financial support.

SASRIM invites proposals for

  • papers (20 minutes for presentation and 10 minutes for response)
  • lecture-demonstrations (45 minutes for presentation and 15 minutes for response)
  • panel discussions (45 minutes for presentations and 15 minutes for responses)
  • study group sessions (90 minutes, i.e. 3 presentations by different presenters and responses)
  • poster sessions

Proposals for all presentations, lecture-demonstrations and poster sessions must include

  • an abstract with title (maximum 300 words)
  • biographical information and contact detail of presenter(s) (maximum 50 words)
  • audio-visual or display requirements

Proposals for panel discussions and study group sessions must include

  • an explanation of the topic and a structure for its discussion (maximum 400 words)
  • a list of all members as well as their institutional affiliation and contact details
  • audio-visual requirements

Proposals must be submitted to by no later than 15 April 2013.

Lucy Green is Professor of Music Education, Institute of Education, University of London. She is a leading music education specialist, with a focus on the philosophy and sociology of music education, particularly musical identities. She is the author of five single-author books and her work has significantly influenced the thinking about musical learning and pedagogy,  particularly how the learning practices of popular musicians can inform and change formal learning (e.g. Music, Informal Learning and the School and How Popular Musicians Learn).

Phone: +27 (012) 429 6662 – Fax: 086 525 3704
Conference Website:


On Collecting: Music, Materiality and Ownership

11-12 July 2014, National Museum of Scotland, Edinburgh

A collaborative conference between the Reid School of Music at the University of Edinburgh and the National Museum of Scotland

Conference website:


Music—in its various material forms—has long been collectable and collected. Scores into annuals, phonographs as furniture, building a library, record clubs, anthologies, limited editions, bootlegs, test pressings, remixes, hard drives, playlists, likes; music has been and is desirable, as capital and as property. But despite its centrality to everyday musical life, collecting has not been sufficiently studied. Collecting, elsewhere, contributes to compositional processes from song cycles to musique concrete and more. While from another footing, collecting occupies a central space in histories of folk and world music, with connotations of music’s thingness intact.

Sound archives have become repositories of collections; collectors have acted as catalysts for the global traffic of music: across continents, across formats, across economies, across regimes of value. Individual enthusiasts—private collectors—have contributed to the recent cultural blurring of oral history and institutional exhibition, as previously held assumptions about the disposability of popular musics and their attendant materials have been subverted in museum displays. And the act of collecting extends live music experiences through retention of the material extensions of gigs and concerts: posters, ticket stubs, set lists.

Digital music and its micromaterialisation have made music easier to gather and possess than ever, and new collecting practices have emerged: in the developing world, memory cards and USB sticks have become new containers for collecting and circulation; in the UK and USA digitisation has effected a rise in vinyl sales, and international events like Record Store Day exist to encourage the purchase of certain formats. Listeners continue to collect, digitally, even as the concept of ownership runs counter to streaming and subscription services.

In a variety of ways, then, collecting has a central role in many strands of music history and many practices that are currently unfolding. Yet it occupies a strange position: straddling processes of production, reproduction, preservation, mediation, consumption, and recreation. This conference seeks to explore music and collecting from cross- and interdisciplinary perspectives, from inside the academy and out: to contribute from musical perspectives to ongoing discussions of theorising materiality; to make sense of how the concepts of collecting inform relationships between music, ownership, and listening; to develop ideas on how to study music’s material forms; to understand how music consumption can become an act of composition or performance; to investigate how the act of collecting can compress processes of mediation and issues of power; to examine how collecting music interfaces with issues of gender, identity, class, affect, memory, and value.

We invite papers from across and beyond the music disciplines on the theme of music and collecting. Areas of discussion may include, but are not limited to:

•       Music and materiality
•       Music, ownership and listening
•       Collecting, copyright and ethics
•       Digitisation and music collecting
•       Music and museums
•       Collecting and gender
•       Music consumption as composition or performance
•       Issues of affect, identity, memory and value
•       Collectors as mediators, creators, traffickers, producers
•       The commercialisation of collecting

Please submit abstracts of no more than 250 words to by 28 February 2014.

Conference organisers: Tom Western, Sarah Worden, Tami Gadir, and Arnar Eggert Thoroddsen

Further information at


Verona, Conservatorio di musica “Evaristo Felice Dall’Abaco”

17-19 October 2014


The twenty first Annual Conference of the Italian Musicological Society will take place in Verona in collaboration with Conservatory of Music “Evaristo Felice Dall’Abaco” from 17 to 19 October 2014.

Scholars from all over the world are invited to submit their paper proposals. Every topic in the field of musicological studies is accepted.

In the abstract (which has not to exceed 30 lines) please indicate the title of the proposed paper, the state of the art in your research field, with an outline of the project and the specific contribution to the current knowledge.

Along with the text please send also a short C/V (max 15 lines) and indicate the A/V equipment required.

The paper shall not exceed 20 minutes in duration (corresponding to an 8-page text containing to a maximum of 16000 characters). Scholars are not allowed to send more than one abstract. The abtsracts have to be sent to the e-mail address or – by mail – to the Società Italiana di Musicologia, Casella Postale 318 Ag. Roma Acilia, via Saponara 00125 Rome, Italy (please add on the envelope the indication “XXI Convegno Annuale”) no later than June 15, 2014.

Acceptance of papers will be notified by July, 15, 2014.

Please provide your full name, address, phone number, fax number and e-mail address. For further information about the conference please visit the web site: <>.



Postmodernity’s Musical Pasts: Rediscoveries and Revivals after 1945

The Barry S. Brook Center for Music Research and Documentation
at The City University of New York,
The Graduate Center
announces an international conference
Postmodernity’s Musical Pasts:
Rediscoveries and Revivals after 1945
To be held at
The City University of New York, The Graduate Center
26-27 March 2015

In the longue durée of music history, rediscovery, recovery, revival, and renewal were central in the creation of repertoires and performance practices. With the end of the Second World War musical dealings with pastness assumed new turns, not only because of the different historicity the postwar era has faced, but also because of the rupture of 1945. We are inviting papers based on new research that address the multi-faceted topics related to rediscoveries and revivals while drawing upon the methodologies of ethnomusicology, historical musicology, music theory, cultural studies, and anthropology. We favor approaches that consider the plurality of musical responses to the postwar era and thus avoid clichés that give way to one-dimensional interpretations of a complex era. We encourage presentations on a variety of topics from the early music revival in the U.S. and Europe to the folk revival movement in the post-Soviet era, from compositions responding to revivalist notions to cur
rents in the discipline of musicology. We hope to inspire broader reflections on the following themes:

· Responses to Modernity
· Memory
· Nostalgia
· Utopia vs. Dystopia

Please submit a title with an abstract of 300 words maximum, and include contact information (address, phone, and e-mail). Proposals may be submitted before May 31, 2014 to:

Tina Frühauf
The Barry S. Brook Center for Music Research and Documentation
The City University of New York, The Graduate Center
365 Fifth Avenue
New York, NY 10016-4309
TFruhauf at

Further information will be posted at

Workshop on Folk Music Analysis (FMA 2014)

4th International Workshop on Folk Music Analysis (FMA)
June 12-13 2014
Bogazici University, Istanbul

We would like to invite you to submit an extended abstract for the 4th International Workshop on Folk Music Analysis. The deadline is 17 February 2014.

The workshop focuses on computational methods applied to research questions in ethnomusicology, and on the methods which generally aim at Music Information Retrieval applied to Folk Music and Musics of the World different from popular and classical music of the “West”.

Like past workshops we will provide an opportunity for lively discussions and exchange. Note that the program on the website is still tentative, as invited speaker(s) will be confirmed in the next months.

We would appreciate you interest, and hope to see you in Istanbul!

On behalf of the organizing committee,

Andre Holzapfel

Cutting Edge: Culture, Identity, Representation

Cutting Edge Postgraduate Conference

Creative Edge, Edge Hill University


We live in an age of growing globalisation and expanding engagement with new media such as on-demand entertainment and social networking. The question of culture, identity and representation therefore becomes ever more pertinent to academic enquiry in the 21st century. How is identity and culture represented through visual image, sound, literature or performance, and conversely, how do these representations reflect or perform identity and culture?

We invite submissions of abstracts for 15-minute papers from postgraduate researchers, where their research encompasses one or more aspects of culture, identity or representation.

Proposals are welcome on, but by no means limited to, the following topics:

  • Representations in media
  • Cultural performance and identity
  • Representation in literature
  • The mediated image
  • The politics and ethics of representation
  • Mapping, culture and identity
  • Historical representation and authenticity
  • Gender, performance and identity
  • Urban identity and culture
  • Music, memory and self
  • Race, culture and representation
  • Identity and representation in Sport
  • Animals, identity and representation
  • Science, Representation and Society

Abstracts for papers should be no more than 200 words in length, and should be emailed to by Friday 17th January 2014.

On a separate page, please list your name, email address, institutional affiliation and a short 50 word biography.

More information can be found at

Please contact us at if you have any queries.

Music and War in Europe from the Napoleonic Era to the WWI

organized by
Centro Studi Opera Omnia Luigi Boccherini (Lucca/Pistoia)
Palazzetto Bru Zane – Centre de musique romantique française (Venice)

28-30 November 2014


The Centro Studi Opera Omnia Luigi Boccherini of Lucca and the Palazzetto Bru Zane – Centre de musique romantique française are pleased to invite submissions of proposals for the symposium «Music and War in Europe from the Napoleonic Era to the WWI», to be held in Lucca, Complesso Monumentale di San Micheletto, from Friday 28 until Sunday 30 November 2014.
On the occasion of the centennial of the First World War the conference aims to investigate the complex phenomenon of war from the point of view of its influences on the musical landscape, in a time-span ranging from the Napoleonic Wars until the outbreak of the First World War.
This interdisciplinary conference will explore the political, social and economical transformations and the diverse musical responses to war during the whole of the nineteenth century, starting from the French Revolution, followed by the Napoleonic Wars, encompassing phenomena such as colonialism and modernism.

The programme committee encourages submissions within the following areas, although other topics are also welcome:

  • Music and Economics
  • Music and Commercial Routes
  • Music and Politics
  • Music and Colonialism
  • Modernism, WWI and the New World
  • Music for War / Music and War: Aesthetic and Sociological Perspectives
  • Musique de bataille: Descriptive Musical Works Inspired to War
  • Symphonic Poems and Programme Music
  • Battle Pieces: Beethoven’s La Victoire de Wellington, Tchaikovsky’s Ouverture solennelle 1812, Listz’s Hunnenschlacht (The Battle of the Huns), D’Indy’s Sinfonia brevis de bello gallico, and so forth.
  • Military Music during the Nineteenth Century
  • Military bands and Ensembles
  • Popular Music and Revolutions
  • Iconography and the Music of War

Programme Committee:

Étienne Jardin, Paris/Venice
Roberto Illiano, Lucca
Fulvia Morabito, Lucca
Luca Lévi Sala, Poitiers
Massimiliano Sala, Lucca

Keynote Speakers:

Martin Kaltenecker (Université Paris-Diderot)
Svanibor Pettan (University of Ljubljana/ICTM, Secretary General)

The official languages of the conference are English, French and Italian. Papers selected at the conference will be published in a miscellaneous volume.
Papers are limited to twenty minutes in length, allowing time for questions and discussion. Please submit an abstract of no more than 500 words and one page of biography.
All proposals should be submitted by email no later than ***Sunday 20 April 2014*** to . With your proposal please include your name, contact details (postal address, e-mail and telephone number) and (if applicable) your affiliation.
The committee will make its final decision on the abstracts by the end of May 2014, and contributors will be informed immediately thereafter. Further information about the programme, registration, travel and accommodation will be announced after that date.
For any additional information, please contact:

Folklore, Ethnology, and Ethnomusicology Conference

‘Steppin Steens o Knowledge’
Folklore, Ethnology, and Ethnomusicology Conference (Aberdeen)
Elphinstone Institute, University of Aberdeen, Scotland
4–6 July, 2014

We are pleased to announce a call for papers for the inaugural Folklore, Ethnology, and Ethnomusicology Conference (Aberdeen). FEECA aims to answer the need for an academic forum for postgraduate research students and early-career researchers and to strengthen relations between relevant scholars and institutions in the UK, Ireland, and elsewhere.

‘Steppin Steens o Knowledge’ refers to a life philosophy of the late Stanley Robertson, a Traveller and former research associate at the Elphinstone Institute. Drawn from the incremental nature of Stanley’s ballad and storytelling traditions, the concept encapsulates both the initial career steps being taken by conference-goers, as well as the new ‘stepping steens’ being created through each participant’s research.
Small by design, this conference of around thirty presenters is open to papers touching on any aspect of folklore, ethnology, or ethnomusicology. Each presenter will be given twenty minutes for their paper, followed by ten minutes for questions. Proposals for themed sessions are also welcome, and there will be space for research poster presentations.

Registration will be on Friday afternoon, followed by a keynote address. Saturday and Sunday will have morning and afternoon paper presentations followed by possible excursions.

Please submit proposals by e-mail to with the following by 31 January, 2014:
1) An abstract of up to 250 words;
2) A brief biography/career description of no more than 200 words;
3) Author name, e-mail address and affiliation, if any.

All applicants will be contacted with the results of their submission by 10 February, 2014.

12th Annual Conference of the Society for Musicology in Ireland

             12th Annual Conference of the Society for Musicology in Ireland

University College Dublin, 6 – 8 June, 2014

Call for papers

The twelfth annual conference of the Society for Musicology in Ireland/Aontas Ceoleolaíochta na hÉireann will be hosted by the School of Music, University College Dublin, on 6–8 June 2014. This conference marks the centenary of music at UCD. The Keynote Lecture will be delivered by Professor Scott Burnham (Princeton University).

Proposals from all areas of musicology are invited for the following:

  • Individual papers;
  • Themed panel sessions (comprising three individual papers);
  • Lecture recitals;
  • Roundtable sessions (up to six people, each presenting a position paper, followed by a discussion).

Individual papers will be twenty minutes in duration, to be followed by ten minutes for questions and discussion. Abstracts for all categories should not exceed 300 words (in the case of panel sessions, there should be individual abstracts for each paper as well as an abstract for the overall session). Please include in one file, along with your abstract or proposal, your name, contact details, affiliation, and a brief biography (150 words).

All proposals should be submitted by e-mail as a Microsoft Word attachment to Majella Boland, at

Deadline for submissions: Friday, 29th November 2013

The Programme Committee will endeavour to inform all applicants of the outcome by the end of January 2014.

Programme Committee:

Majella Boland (Chair), Paul Higgins, Julian Horton, Nicole Grimes, Wolfgang Marx.

For further information on the conference, please see:


Sounds of Wars and Victories: Images of Military Musicians on Battlefields and Promenades

The thirteenth conference of the Research Center for Music Iconography, City University of New York, The Graduate Center,

commemorating the centennial of World War I

New York, 11–13 November 2014

Marking the centennial of the beginning of World War I and starting on Armistice Day 2014, the conference will focus on the iconography of military musicians of all time and performing in any occasion. Throughout history, military musicians formed a significant part of the soundscape not only on battlefields during wartime, but also in the neighbourhood of their military barracks during peacetime. Still, as historical documentation of their performances, repertoire, and personnel is most often integrated with military matters at national war archives, music historians too often leave them out of their historical narratives.

Traditions of military ensembles are as rich and varied as they could be. Different nations and military branches have developed preferences for specific repertoires and instruments. Their performances were equally integrated into military and civilian musical life, having a variety of purposes spanning from strengthening national identity and patriotism to providing music accompaniment at middle class dances and ceremonies. Therefore, the visual aspect of their performances has always been as significant as their music repertoire. Whether marching across town or attending a welcoming ceremony for a state dignitary, they were always proponents of the government and its power. With that purpose, their uniforms developed over time into specific distinctive attributes forming national symbolism, and their performances became ceremonies in their own right.

The conference aims to examine the visual aspects of military musicians throughout history, in particular the role of military bands in creating national visual identities; occasions in which military ensembles performed and their interactions with audiences; their instruments and performing formations; graphic designs of editions of compositions by military bandmasters; and representations of music on commemorative war monuments.

Abstracts of 200–300 words may be submitted before 1 May 2014 to:

Zdravko Blažeković

Research Center for Music Iconography

City University of New York, The GraduateCenter

365 Fifth Avenue

New York, NY10016-4309