Music Science Today: the permanent and the changeable

05.05.2016 – 06.05.2016

Daugavpils University, Faculty of Music and Art, Vienības Street 13


Faculty of Music and Art of Daugavpils University in co-operation with Jāzeps Vītols Latvian Academy of Music and Lithuanian Academy of Music and Theatre (Lithuania) organize the 11th International Scientific Conference Music Science Today: the permanent and the changeable.


The range of themes of the conference is rather great firstly due to the common thematic line, since the permanent and the changeable issues in music are everlasting and comprehensive ones. The situation of postmodern culture, the spread of new style trends and new types of music have even more escalated the topicality of the above-mentioned issues. Secondly, apart from the tandem of history and theory, the dominant of the conference is also the other pair – the close co-existence and interaction of the research and the pedagogic-methodological aspects. Third, the total value of the conference is built also by the fact that serious presentations will be made by both Latvian scientists and foreign scholars. The content of the conference thus becomes richer with every participant, and the encouraging ideas voiced and proposed at the conference will make the basis for further research and the analysis of the cultural situation.


The aim of the conference is to promote the development of scientific communication on the international scale, to enrich the Latvian music science with new findings, to stimulate scientists to research the questions related to academic, traditional and popular music history and theory, as well as the 20th century music analysis in an integrated way.


Thematic guidelines:

  • The link between music history and theory in scientific research
  • Music in Latvia and the neighbouring countries
  • The analysis of the 20th century music

·         Latgale music culture

  • Traditional, jazz and popular music


Organizing Committee:

  • Ēvalds Daugulis, Daugavpils University, Latvia, Head of Conference
  • Ilma Grauzdiņa, Jāzeps Vītols Latvian Academy of Music, Latvia
  • Leonidas Melnikas, Lithuanian Academy of Music and Theatre, Lithuania
  • Romualdas Apanavičius, Vytautas Magnus University, Kaunas, Lithuania
  • Edgars Znutiņš, Daugavpils University, Latvia
  • Ineta Goldmane, Daugavpils University


Working languages: English, Latvian, Russian


Deadline for registration: March 12, 2016.
Application form (DOC, 41 kb),



Deadline for the submission of abstracts (300 words) electronically: March 12, 2016.

Deadline for the submission of complete manuscripts for the proceedings: June 30, 2016.


Participation fee: 50 EUR .

Park Hotel Latgola

Hotel Verina

Daugavpils University Students’ hotels


In case of inquiries do not hesitate to contact:
Faculty of Music and Arts

Daugavpils University
Vienības Street 13-416, Daugavpils,


Latvia, LV5401
Phone: +371 65440819, +371 65424479
Fax: +371 65422890


Decoration of Performance Space: Meaning and Ideology

Thirteenth symposium of the ICTM Study Group on Iconography of the Performing Arts,
organized by the Centro studi per la ricerca documentale sul teatro e il melodramma europeo Fondazione Giorgio Cini, Venice

Venice, 17–20 May 2016

Thinking of music performance, we usually consider the action happening on the theater or concert stage, in front of spectators. However, performance space surrounding the spectators, its interior and exterior architectural decoration, as well as fashion of spectators and their habits are also constituent elements of a performance, supplementing the experience of a live event. Decoration elements, such as mythological compositions painted on theater ceilings, state insignia placed above the proscenium, or portraits of distinguished playwrights, composers or performers on theatre facades reflect the attitudes of past times and ideologies of political powers patronizing performances; sculptures accumulated over the time in theaters’ foyers visually represent historical memory of the space becoming (national) shrines to performing arts. Theaters and other performance spaces are architectural artworks, often representing the pinnacle in artistic careers of their architects and interior designers, frequently appropriating the status of urban iconic symbols.

The conference will focus on visual programs and decorations of spaces in which musical performances occur and the self-representation of audiences attending performances. All types of performance venues and performances which include music should be considered, including concerts and music theatre, religious ceremonies, contemporary popular music events, urban spectacles, pageantries and parades. Proposals are invited concerning:

  • Architectural interior and exterior decorations of performance spaces
  • Reflections of political power presented in theatrical performances
  • Ideological context of religious rituals and their spaces
  • Political power demonstrated in public spectacles and parades
  • Theater and concert hall architecture
  • Spectators and audiences (habits, fashion, hair-styling, behavior)
  • Interpretation and issues concerning opera staging and scenography in general

English is preferred language for the conference presentations.
Abstracts of 200–300 words may be submitted before 15 February 2016 to:

Zdravko Blažeković
Research Center for Music Iconography
City University of New York, The Graduate Center
365 Fifth Avenue
New York, NY 10016-4309


Maria Ida Biggi
Centro studi per la ricerca documentale sul teatro e il melodramma europeo
Fondazione Giorgio Cini
Isola di San Giorgio Maggiore, Venice

Images of Music-Making and Its Trans-Cultural Exchanges

Fourteenth symposium of the ICTM Study Group for Iconography of the Performing Arts,
organized by the Xi’an Conservatory of Music (西安音乐学院)

Xi’an, 27–31 October 2016

Besides notated compositions, preserved instruments, and writings on music, images can also furnish an abundance of information important for music history. The conference will provide scholars of music iconography with a forum to present their views on exchanges of cultural and musical influences. For the Chinese scholars, this will be an opportunity to get acquainted in more detail with the Western visual sources, as well as the research methodologies and techniques facilitated by the Western scholars which are often significantly different from the Chinese models. For the Western scholars, on the other hand, the conference will bring into focus the richness of Chinese iconographic sources, their significance in the music history of Asia, and methods of research facilitated within Chinese academia.

Proposals for Papers on the Following Topics are Invited:

  • Music culture of China and other Asian countries reflected in visual sources
  • Instruments and their symbolism represented in visual arts
  • Scenography and iconography of music theater
    (traditional Chinese/Asian theater forms, Western opera and music theater)
  • Iconography of dance
  • European visions of Chinese and other Asian musics
  • Methods of research in music iconography
  • Papers on other topics related to music iconography will be considered

English is preferred language for the conference presentations.
Abstracts of 200–300 words may be submitted before 15 March 2016 to:

Zdravko Blažeković
Research Center for Music Iconography
The City University of New York Graduate Center
365 Fifth Avenue
New York, NY 10016-4309


杨婷婷 / Yang Tingting
Research Center for Northwestern Ethnic Music
Xi’an Conservatory of Music
No. 108, Chang’an Mid Road
Xi’an, Shaanxi Province 710061

Timing of the symposium is coordinated with the dates of the 10th symposium of the International Study Group for Music Archaeology, which will be held at the Hubei Provincial Museum in Wuhan, 21–25 October 2016.

“Indecent Musicology” (NYU)

“Indecent Musicology”

Keynote Speaker: Emily Wilbourne

Saturday, March 26, 2016 [9:30am — 9:00pm]

Silver Center for Arts and Sciences, New York University


Call for Papers:

This is a call for the provocative, the experimental, the radical, the “fringe.” Without constantly pushing boundaries, fields are in danger of becoming stale, or worse, regressive. We invite graduate students of all disciplines to submit abstracts that meditate on an indecent musicology. Formal papers are welcome in addition to innovative, interdisciplinary, and unconventional presentations. Papers and presentations will be 20 minutes in length with 10 additional minutes designated for questions; performances and unconventional presentations will be 45 minutes. Composers are responsible for their own musicians and equipment. The following are merely suggestions:

  • “Blasphemology” and manifestations of lewdness
  • Pataphysical and supranatural meditations on music
  • Intersections of indecency, race, law, music, sexuality, sociality, performativity, etc.
  • Constructions of radical obscenity, perversions, and indecency in music
  • Phenomenology of indecent musical exposure

Submission Deadline: Monday, January 25, 2016

Submission Guidelines:

All proposals (paper, performance, composition) must include the following:

  1. An anonymous abstract of no more than 300 words sent as a PDF attachment to Make sure you have omitted any metadata that would identify you (e.g. author’s name, institution, author tags). Footnotes will be included in the word count. Please submit no more than 3 pages of supplementary materials. Please title your attachment: PaperTitle.pdf
  2. A cover letter that includes the title of the presentation, the format of the presentation (e.g. paper, performance, etc.), applicable institutional affiliation, phone number, email address, and AV equipment requests.

Applicants will be notified by email no later than February 8, 2016. Upon acceptance, presenters will be asked to send a final draft of their abstract for publication in the conference program.

For questions, please contact the conference chair, Marcus Ryan Pyle, at

Ancient Hellenic & Roman Music Conference 2016

Ancient Hellenic & Roman Music Conference 2016 

Athens, Greece

Monday, 11 to Thursday, 14 July, 2016

The Department of Music Studies of the National & Kapodistrian University of Athens in association with L’École Française d’Athènes will host the 9th Moisa Conference in Athens, Greece, from Monday, 11 to Thursday, 14 July, 2016.

The conference theme is:

“Music and the animal world in Hellenic and Roman antiquity”.

The keynote speaker will be François-Bernard Mâche, musicologist and composer. There will be paper and poster presentations, a final concert with contemporary music inspired by Antiquity, and an excursion to Delphoi on Friday 15 July, for those who would be willing to stay on after the end of the conference.


Call for Papers 

We are now soliciting submissions for oral and poster presentations. Speakers are invited from all fields of enquiry – philology, archaeology, musicology, computer science, zoology, musical acoustics, theatrology – to contribute to the theme of the conference. We welcome submissions on the following topics: 

  • Description of animal voices (tonal and rhythmic aspects; audio representation)
  • Classification of animal species by their calls
  • Association of animal sounds with the seasons and agriculture
  • Influence of human music on animals
  • Animal parts in the construction of musical instruments
  • Animals and semi-animals as musicians
  • Animal calls imitated in human music

 Papers should be presented and posters written in English and must not have been previously published. The final decision on the category will be made by the scientific committee.

Paper presentations must not exceed the limit of 20 minutes. A 10 minute discussion will follow each paper.

Full papers will be submitted after the conference by a
date to be specified in due course. A selection of accepted papers will be submitted for publication to the Moisa journal Greek & Roman Musical Studies (


Important Dates

Title and abstract submissions (deadline): March 15, 2016

Notifications: April 30, 2016


General inquiries should be directed to the conference coordinators:

Stelios Psaroudakes:

Sylvain Perrot:

Music Criticism 1900–1950

organized by
Centro Studi Opera Omnia Luigi Boccherini, Lucca
Societat Catalana de Musicologia, Barcelona

17-19 October 2016
Barcelona, Institut d’Estudis Catalans

The Centro Studi Opera Omnia Luigi Boccherini of Lucca and the Societat Catalana de Musicologia of Barcelona, asubsidiary of the Institut d’Estudis Catalans(IEC),are pleased to invite submissions of proposals for the symposium «Music Criticism 1900-1950», to be held in Barcelona from Monday 17 until Wednesday 19 October 2016 (
The relationship between music and criticism has provided a major a subject of debate within the international musicology during the last few decades. The present conference cannot treat the topic exhaustively, but aims to contribute to a better understanding of the relationship during a pivotal historical period. This conference addresses the complex world of music criticism during the first half of the twentieth century, with particular emphasis on the relationship between music and politics, focusing also on music criticism as a mechanism of expression, within the spheres of writing on music, composers’ opinions, the theatrical press and musical iconography.

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

• Musical Aesthetics and Criticism
• Writings on Music
• Composers as Critics
• Music Criticism and Identity
• Nationalism and Modernism
• Musical Criticism and Musicology under Totalitarian Regimes
• Music, Media and Criticism
• Musical and Theatrical Press
• Musical Iconography as Criticism
• Music Ctiticism Theories / Theoretical Approaches

Scholarly Committee:
• Jordi Ballester (Universitat Autònoma de Barcelona / Societat Catalana de Musicologia)
• Teresa Cascudo (Universidad de La Rioja)
• Germán Gan Quesada (Universitat Autònoma de Barcelona)
• Roberto Illiano (Centro Studi Opera Omnia Luigi Boccherini)
• Massimiliano Locanto (Università degli Studi di Salerno)
• Gemma Pérez Zalduondo (Universidad de Granada)
• Luca Lévi Sala (Yale University, New Haven, CT)
• Massimiliano Sala (Centro Studi Opera Omnia Luigi Boccherini)

Programme Committee:
• Jordi Ballester (Universitat Autònoma de Barcelona / Societat Catalana de Musicologia)
• Imma Cuscó (Societat Catalana de Musicologia)
• Xavier Daufí (Universitat Autònoma de Barcelona / Societat Catalana de Musicologia)
• Roberto Illiano (Centro Studi Opera Omnia Luigi Boccherini)
• Fulvia Morabito (Centro Studi Opera Omnia Luigi Boccherini)

Invited Speakers

• Teresa Cascudo (Universidad de La Rioja)
• Germán Gan Quesada (Universitat Autònoma de Barcelona)
• Luca Lévi Sala (Yale University, New Haven, CT)

The official languages of the conference are English, Italian, Spanish and Catalan. 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 17 April 2016*** 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 2016, 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:

Dr. Roberto Illiano

Concepts of Improvisation Between the Two World Wars

Performativity, Staged Presence and Participation in Music

September 30th – October 1st 2016, Department of Musicology, University of Basel, Switzerland.

The conference will be held as part of the SNSF-funded research project “Concepts of improvisation and their impact on early twentieth century art music” organized by the Department of Musicology at the University of Basel (Musikwissenschaftliches Seminar der Universität Basel, project website:

This project aims to advance current musicological research in improvisation and art music of the first half of the 20th century. It draws on contemporary discussions about the improvisatory approach to classical performance and the use of extempore techniques in the first decades of the 20th century. Moreover, it seeks to integrate notions of “staged improvisation” and “performativity” discussed in aesthetics as well as in cultural or performance studies.

Call for papers

Suggested topics for the conference might include:

  • Staged contingency in music of the 1920s
  • Western music compositions that integrate improvisatory and participatory qualities
  • Influences of popular, and folk music (e.g. African American popular music, Romani music, music performed by non-literary cultures) on compositions of the 1920s
  • The reception of African American music on classically trained composers and performers
  • Performance techniques of the “historical avant-garde”
  • Performance as a ritual in theatre or ballet music
  • Participatory relationships between performer and audience in art music contexts
  • Preluding and extemporization techniques in the 1910s-1920s

Although the conference will focus on the interwar period, relevant topics pre-dating WWI are also welcome. The preferred official languages of the conference are English and German.

Keynote speakers

  • Prof. Dr. Sabine Feisst (Arizona State University)
  • Prof. Dr. Michael Fjeldsøe (University of Copenhagen)

Please email your proposal (250-350 words) for 20-minute papers (thereby allowing 10 minutes for questions and discussion) as well as a short biography to

The deadline for proposals is midnight May 1, 2016.

Abstracts will be reviewed and participants will be notified by the end of May 2016.

Please feel free to address any queries to:

Conference website:

Porto International Conference on Musical Gesture as Creative Interface

Call for Papers:
Porto International Conference on Musical Gesture as Creative Interface

Conference info:
March 17–19, 2016
Universidade Católica Portuguesa
Porto, Portugal

(CFP Deadline: DEC 27, 2015)
Keynote Speakers:

Atau Tanaka (Goldsmiths, University of London)
Lawrence Zbikowski (University of Chicago)
Marc Leman (Ghent University)
Marcelo Wanderley (McGill University)

Miguel Ribeiro Pereira (CITAR, and ESMAE/ Instituto Politécnico do Porto)

The Research Center for Science and Technology of the Arts (CITAR) at the Catholic University of Portugal invites the submission of proposals to the Porto International Conference onMusical Gesture as Creative Interface.

In recent interdisciplinary research, the notion of musical gesture has emerged as a crucial interface for a post-Cartesian understanding of all forms of human music making involved in the creation of the multifarious relations that arise between music and sound, mind and body, movement and meaning.

The conference welcomes approaches that might clarify and further explore the various functions of musical gestures, whether metaphorical as concepts underlying movement perception and the organization of musical experience, of control as elements of interactive and computational systems, or communicative as vehicles for meaning in social interactions. In particular, we seek contributions that might be able to bring into contact the various tensions and “divides” of the field, using qualitative and quantitative methodologies; pursuing humanistic/artistic, natural, social, or technological inquiries; or exploring relations between phenomenological, perceivable, interactive, and measurable accounts of musical gesture.

We invite scholars from various disciplines to contribute to this international conference. The language of the conference is English.
Proposed Topics
The proposed topics for the conference might be of interest to a variety of fields, including musicology, music theory, psychology, cognitive sciences, human-computer interaction, social anthropology, among others.

Possible topics include, but are not limited to:

• Control, communication, and metaphorical functions of musical gesture
• Acquisition, tracking, recognition, and synthesis of gestures

• Listening and performance gestures as elements of musical analysis and experience

• Musical creativity, expression, and grammar

• Active listening, intention, agency, and narrativity

• Embodied music theory and cognition

• Social, philosophical, and cultural contexts of musical gestures

Submission guidelines

Please send abstracts (max. 500 words + max. 3 examples if appropriate), plus a short biographical note (max. 150 words), as a PDF file to the conference organizers no later than December 27, 2015, to the following email:

Notification of acceptance will be given by January 18, 2016.

The organization is unable to cover any expenses, but it may be able to offer combinations that include the conference fee, accommodation, and meals at special rates.
For further information, please contact:

British Forum for Ethnomusicology Annual Conference 2016

British Forum for Ethnomusicology: Annual Conference, University of Kent, UK, 14–17 April 2016


University of Kent, School of Music and Fine Art, The Historic Dockyard, Chatham, Kent, UK

The BFE invites proposals for its 2016 conference, which will be held at the Historic Dockyard on the banks of the River Medway at Chatham. Proposals on any current research are welcome; papers having a nautical theme would be particularly appropriate, given the surroundings.

Proposals are invited for:

  • Papers (20 minutes with 5–10 minutes for questions)
  • Organised sessions (3 or 4 linked papers around a theme, totalling 1.5 or 2 hours)
  • Round table discussion sessions (3 or 4 shorter presentations, around 15 minutes each, followed by a chaired discussion, totalling 1.5 or 2 hours)
  • Poster or other material for digital display.

Proposals should be submitted in the following formats to enable them to be reviewed anonymously:

Paper proposals: include the name and email address of the proposer, paper title, and abstract (the latter not exceeding 300 words). The name of the proposer should not appear in the abstract.

Organised session proposals: include the names and email addresses of the proposer and the other participants, an overall abstract for the session (not exceeding 300 words), and abstracts for each contributor (no more than 300 words each). Abstracts should not include the names of any of the participants.

Roundtable proposals: include the names and email addresses of the proposer and the other participants (the proposer will be assumed to be the chair unless stated otherwise), an overall abstract for roundtable (not exceeding 300 words), and abstracts for each contributor (no more than 300 words each). Abstracts should not include the names of any of the participants.

Poster/digital display proposals (digital displays will allow research to be shared using electronic posters as well as videos and other media). Include the name and email address of the researcher, a description of the material to be presented (not exceeding 300 words), and a brief description of your technical requirements. The name of the proposer should not appear in the descriptions.

EXTENDED DEADLINE FOR SUBMISSIONS: 15 NOVEMBER 2015. Successful applicants will be notified in December.

Please note that all presenters must be members of the BFE at the time of the conference. Proposals should be submitted by email to

BASS2016 PRAGUE: The Bass in Music

“Just a moment… Hold on… – Now! Do you hear it? There! Now! Are you listening? It will come back in a moment, the same passage, just one moment. Now! Now you can hear it! The basses, I mean. The double basses…”

(Patrick Süskind, Der Kontrabass)

Much of the world’s music, now and in the past, is supported by a deep voice, a low and booming sound that firmly grounds the music’s upper voices, fixating and liberating them at the same time. Essential to the music, yet often overlooked, this bass part can take many forms and guises: the basso profondo in Russian Orthodox choral music, the tambura drone in Indian Carnatic music, the synthesized bass lines of electronic dance music, the walking bass in Jazz, the basso continuo of Baroque music. In Western music of the past few centuries, the chosen instrument to fulfill this vital role was the double bass or its predecessors and relatives, such as the violone. Although more recently joined by the electric bass guitar, the string bass continues to be a mainstay in many a musical genre, including but not limited to Western classical music, Jazz, Country and Folk. Despite its prevalence and its worldwide community of millions of bassists, little research has been dedicated to the instrument.

For the first time, BASSEUROPE, the European foundation for double bassists, invites paper submissions dedicated to the string bass in all its facets. At BASS2016 PRAGUE , the 5th Biennial Double Bass Congress hosted by BASSEUROPE and the HAMU Academy , scholars will be given the opportunity to present their most recent work on the bass. All aspects of “bassistic” research are welcomed, and the call is open to studies in every musical genre, including non-Western music. Although the focal point is the double bass, also proposals on the electric bass and other stringed bass instruments will be considered. Some possible research areas are:

  • historical research
  • performance studies
  • biographical studies (of performers, composers, luthiers)
  • musicological research
  • pedagogy
  • organology
  • sociological or cultural studies (on reception, media, representation, identity,…)

Besides individual papers , also proposals for scientific posters and round table sessions are welcomed. Both papers and round table sessions will be 50 minutes (including a 10-minute Q&A for papers), posters will be up for the duration of the conference. Presenters are strongly encouraged to include live demonstration (e.g., lecture-performance) and/or media (audio, film, illustrations) in their session. Please note that a research presentation must be predominantly academic.

For a paper or a poster, send a 300-word abstract with a title and a description. For a round table session, describe the session’s main theme (up to 300 words) and list all names of the foreseen participants (maximum four) and their related expertise or affiliation.

Fill in the application at By selecting “Research” you will get the option to append your abstract (PDF only).

Application deadline: March 1, 2016 (midnight) 
Authors notified by: April 1, 2016
Congress: September 20-25, 2016 at HAMU – Music and Dance Faculty of the Academy of Performing Arts, Malostranské nám. 12 – 118 00 Prague 1 – Czech Republic

The organization will investigate the possibility of publishing the conference proceedings.

The research committee is Matthias Heyman (University of Antwerp, Belgium), Mads Hermansen (Nordic School of Public Health, Denmark), and Michael Klinghoffer (Jerusalem Academy of Music and Dance, Israel).

Visit (general information) or mail to (research-related questions).