The «théâtre musical léger» in Europe: From the Operetta to the Music-hall

Organized by

Centro Studi Opera Omnia Luigi Boccherini, Lucca

Palazzetto Bru Zane – Centre de musique romantique française, Venice

Lucca, Complesso Monumentale di San Micheletto

5-7 October 2015

The Centro Studi Opera Omnia Luigi Boccherini of Lucca and the Palazzetto Bru Zane of Venice is pleased to invite submissions of proposals for the symposium «The théâtre musical léger in Europe: From the Operetta to the Music-hall», to be held in Lucca, Complesso Monumentale di San Micheletto, from Monday 5 until Wednesday 7 October 2015.

During the second half of the nineteenth century, the ‘official’ European performance venues were flanked by cabarets, music-halls and private spaces that welcomed new musical and theatrical genres. In Europe often miscellaneous venues hosted performances normally intended for the middle class.

In this scenario, the ‘operetta’ had a leading role. The term usually indicates different kinds of music theatre, which alternate singing and spoken language, such as opéra-bouffe, comédie musicale, music-hall performances (Madame Thérésa, Yvette Guilbert and Aristide Bruant in particular), revues (which then developed into the Italian rivista) and so forth, sometimes including ill-defined genres. Starting from the Second Empire, ‘operetta’, through a series of changes, was to arrive at the Broadway musical, often incorrectly called ‘American operetta’.

All the aforementioned varieties of entertainment have been explored in a few isolated studies, and have not received comprehensive scholarly exploration.

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

  • The genres of the théâtre musical léger: operetta, revue, caf’conc’, music-hall, chanson réaliste and so forth.
  • Musical performing venues (production system, legislation, censorship, etc.)
  • Repertoire
  • The composers of the théâtre musical léger (Hervé, Offenbach, Gilbert & Sullivan, Lecocq, R. Hahn, Varney, Audran, Planquette, Lehár, Scotto, Sidney Jones, Leoncavallo, Lombardo-Ranzato and so forth)
  • Staging and mise-en-scène
  • Exoticism as scenic and sociological component
  • Entertainment system in the European countries

 Programme Committee:

  • Olivier Bara (Université Lyon2)
  • Étienne Jardin (Palazzetto Bru Zane, Venice)
  • Lorenzo Frassà (Centro Studi Opera Omnia Luigi Boccherini)
  • Roberto Illiano (Centro Studi Opera Omnia Luigi Boccherini)
  • Fulvia Morabito (Centro Studi Opera Omnia Luigi Boccherini)
  • Michela Niccolai, Conference director (Bibliothèque Historique de la Ville de Paris – ART)

Keynote Speakers:

  • Susan Rutherford (University of Manchester)
  • Olivier Bara (Université Lyon2)

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 10 May 2015*** 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 2015, 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,

Music and Mobilities

Call for Papers

Joint Study Day of the British Forum for Ethnomusicology and the Royal Musical Association, Faculty of Music, University of Oxford, Friday 15 May 2015

Including an invited paper by Laura Tunbridge (University of Oxford), this second annual BFE/RMA Study Day seeks to bring together researchers to engage in interdisciplinary discussions about the relationship between music and mobilities. In the recently published Oxford Handbook of Mobile Music Studies (2014), Jason Stanyek and Sumanth Gopinath observe that scholars of mobility have hitherto neglected music and sound: ‘mobility studies is, by and large, silent’. The Handbook is a pioneering attempt to ‘sonify’ the field, and the authors call for ‘scholars of mobility to take music and sound much more seriously’.

A response to, and an echo of, their call, this Study Day seeks to encourage a dialogue between mobility studies and the study of music and sound. What can mobility studies learn from music scholarship, and, conversely, how can ideas from mobility studies help us better understand musical forms and practices? How can scholars of music and sound develop, refine and problematize the concept of mobility? How might we conceptualize diverse and alternative musical ‘mobilities’?

We invite proposals for 20-minute papers that offer new insights into the issues surrounding music and mobilities, and which develop these discussions across different historical periods, geographic areas and academic disciplines. Papers will be followed by 10 minutes of questions and discussion. We would particularly welcome submissions from graduate students and early career researchers.

Themes that papers may address include, but are not limited to:

  • Mobile music and sound: styles, genres, repertoires, instruments
  • Mobile musicians: migration, travel, transport
  • Mobile audiences/listeners and mobile listening devices
  • Music, mobility, and temporality
  • Music, mobility, and geography: space, place, environment
  • Music, mobility, and (im)materiality
  • Music and (im)mobility; the body, health, and wellbeing
  • The politics and ethics of mobile music and sound
  • Mobile music before the twentieth century

Titles and abstracts of no more than 200 words should be sent to by 6 March 2015. Please include name, affiliation, email address and AV requirements on a separate cover sheet. The Committee aims to notify applicants of the outcome by 20 March 2015.

The programme for the Study Day and details of registration will be announced on the website in due course:

Programme Committee: Lyndsey Hoh (University of Oxford; BFE Student Liaison Officer), Peter Atkinson (University of Birmingham; RMA Student Representative), and Stephen Millar (Queen’s University Belfast; RMA Student Committee Member).

If you have any further queries, please contact the programme committee by emailing

Musikwissenschaft: Generationen, Netzwerke, Denkstrukturen

We are happy to announce the upcoming conference dealing with the history and sociology of musicology:

Musikwissenschaft: Generationen, Netzwerke, Denkstrukturen

Carl von Ossietzky Universität Oldenburg, Institut für Musik
16.01.2015–17.01.2015, Oldenburg, BIS-Saal

Eine soziologisch und historisch fundierte Wissenschaftsforschung der Musikwissenschaft stellt nach wie vor ein Desiderat dar. Die interdisziplinäre Tagung „Musikwissenschaft: Generationen, Netzwerke, Denkstrukturen“ will dazu beitragen, entsprechende Perspektiven in der Selbstreflexion des Faches zu etablieren. Denn obwohl Geschichte und Soziologie der Musikwissenschaften heute gewiss nicht mehr als terra incognita gelten können, bleiben Denkstrukturen und Netzwerke, die als Räume und Grenzen auf den wissenschaftlichen Landkarten erscheinen müssten, merkwürdig verschwommen.

In vier Panels der Tagung – Generationen und Netzwerke, Sprachen und Kulturen, Denkstrukturen und Wissenskonzepte, Öffentlichkeiten und Medien – markieren Beiträge aus Musikwissenschaften, Kommunikationswissenschaft und Soziologie nicht nur zentrale Gebiete dieser Landkarte. Sie spüren darüber hinaus der Interaktion von Forschung und gesellschaftlichen Strukturen nach und reflektieren am Beispiel der Musikwissenschaft Zusammenhänge zwischen Kommunikation, Macht und Wissen.

Ein abschließender Roundtable weitet unter dem Titel „Warum Wissenschaftsforschung?“ noch einmal die Perspektive, um gemeinsam über Chancen und Notwendigkeiten wissenschaftsgeschichtlicher und wissenschaftssoziologischer Ansätze nachzudenken. Die Tagung bietet dabei ein generationenübergreifendes Diskussionsforum für Wissenschaftlerinnen und Wissenschaftler verschiedener Disziplinen und wird gerade der jungen Forschergeneration eine Stimme geben.

Organisation: Anna Langenbruch (Universität Oldenburg), Ina Knoth (Universität Hamburg), Sebastian Bolz (Ludwig-Maximilians-Universität München), Moritz Kelber (Universität Augsburg)





Freitag, 16.01.2015

13 Uhr Begrüßung und Eröffnung der Tagung
Grußworte von Katharina Al-Shamery (Präsidentin der Carl von Ossietzky Universität Oldenburg) und Melanie Unseld (Prodekanin der Fakultät III der Carl von Ossietzky Universität Oldenburg)

Sebastian Bolz, Ina Knoth, Anna Langenbruch:
Einführung in das Tagungsthema

13.45–16.00 Uhr Panel I: Generationen und Netzwerke
Moderation: Moritz Kelber, Sebastian Bolz

Henry Hope (Oxford)
Friedrich Gennrich und die „Frankfurter Schule“

Lisa-Maria Brusius (Oxford)
Christian Kadens „Wanderung zwischen den Welten“ – Oral History und die Fachgeschichte der Musiksoziologie an der Humboldt-Universität zu Berlin

Annette van Dyck-Hemming und Melanie Wald-Fuhrmann (Frankfurt a. M.)
Von der Generation zum Netzwerk zur Denkfigur? Auf der Suche nach einer zuverlässigen Datenbasis

Michael Custodis (Münster)
Kleiner Fisch im großen Teich? Musikwissenschaft und institutionalisierte Forschungsförderung


16.15–17.45 Uhr Panel II: Sprachen und Kulturen
Moderation: Anna Langenbruch

Michael Braun (Regensburg)
Dürrenmatt und die Bartók-Forschung: Zum Einfluss einer Sprachhürde auf Forschungsrezeption und -entwicklung

Maria Bychkova (Hannover)
Russische Emigration der „ersten Welle“ in der Betrachtung von deutschen und russischen Musikwissenschaftlern. Versuch eines methodischen Vergleichs

Carolin Krahn (Wien)
Dimensionen und Implikationen einer kosmopolitischen Musikwissenschaft im deutschsprachigen Raum


18.00–19.00 Uhr Roundtable I: Kommunikation Macht Musikwissenschaft? Ein- und Ausgrenzung von Wissen
Susanne Binas-Preisendörfer, Michael Braun, Michele Calella, Catherine Herbin, Franziska Hohl, Jens Loenhoff
Organisation: Studierende der Universität Oldenburg
Moderation: Friederike Bunten


Samstag, 17.01.2015

9.00–11.00 Uhr Panel III: Denkstrukturen und Wissenskonzepte
Moderation: Ina Knoth

Jens Loenhoff (Essen)
Implizites Wissen, gelingende Praktiken und die Gegenstände der Erkenntnis

Andreas Domann (Köln)
Analogiedenken in der Musikwissenschaft. Zu den politischen Voraussetzungen eines hermeneutischen Paradigmas

Franziska Hohl (München)
Wissenshybride zwischen Form und Fantasie. Die Materialität der sprachlichen Performanz am Beispiel der musikalischen Improvisation

Karina Seefeldt (Hannover)
Zwischen Schein und Sein – Interdisziplinarität als wissenschaftlicher Ansatz?


11.30–13.30 Uhr Panel IV: Öffentlichkeiten und Medien
Moderation: Sebastian Bolz

Kristina Richts (Detmold)
Musikwissenschaft im digital turn?

Elisabeth Treydte (Wien/Frankfurt a. M.)
Schreiben über Komponist_innen – ein geschlechterforschende Rekonstruktion des Diskurses in der Neuen Zeitschrift für Musik

Jan Hemming (Kassel)
Zwischen Strohfeuer und Nachhaltigkeit. Ein nicht nur persönlicher Erfahrungsbericht zur Medienpräsenz


14.30–16.00 Uhr Roundtable II: Wozu Wissenschaftsforschung?

Ulrike Böhmer, Andreas Domann, Melanie Unseld, Gerald Lind, Melanie Wald-Fuhrmann
Moderation: Moritz Kelber

Musical Identity And Cultural Crossroad

The  International Musicological Conference, April 17-19  2015.

Location: V. Sarajishvili State Conservatoire, Tbilisi, Georgia

Call for papers:

The conference aims to discuss the varied problems of multiculturalism, to portray the national identity in a globalization era.

TSC invites researchers to submit proposals within the following fields: Music history, Music theory, Ethnomusicology. The official languages of the conference are Georgian and English. Papers selected at the conference will be published by Tbilisi State Conservatoire.



Online registration. Closing date for registration: January 5th, 2015



Deadline for abstract (no more than 500 words) and biography (no more than 300 words) – January 12th,2015.

The committee will make its final decision on the abstracts by the end of January, 2015  and contributors will be informed immediately thereafter.

Deadline for papers (no more than 3000 words) – February 10th, 2015. Papers are limited to twenty minutes in length, allowing time for questions and discussion.

All materials should be sent to send e-mail:

The program of the conference also includes workshops, concert and cultural program.


For any additional information, please contact:


Phones: +995 322 98 71 88


facebook: Science Research Department




TENOR 2015: First International Conference on New Technologies for Music Notation and Representation

Paris, France, 29-30 May 2015
University of Paris-Sorbonne / Ircam

The first International Conference on New Technologies for Music Notation and Representation is dedicated to issues in theoretical and applied research and development in Music Notation and Representation, with a strong focus on computer tools and applications, as well as a tight connection to music creation.

Until very recently, the support provided by the computer music to the field of symbolic notation remained fairly conventional. However, recent developments indicate that the field of tools for musical notation is now moving towards new forms of representation. Moreover, musical notation, transcription, sonic visualization, and musical representation are often associated in the fields of musical analysis, ethnology, and acoustics. The aim of this conference is to explore all of recent mutations of notation and representation in all domains of music.

Topics of interest

Musical creation

  • Notation in electronic and electroacoustic music
  • Notations for interactive music
  • Notation for sound installations
  • Notation for the multimedia and mixed arts
  • Live coding

Musical notation

  • Innovative computer applications for music notation
  • Languages for music notation
  • Gesture notation
  • Notation and mobile devices
  • Exchange formats for music notation
  • Online tools and languages for music notation and representation

Analysis, notation & pieces studies

  • Analysis of contemporary notations
  • Semiotic of new notation forms
  • Ontology of the notation of interactive music
  • Data mining, music notation corpus, databases

Representation, transcription

  • Sound visualization
  • Interactive representation
  • Transcription in ethnomusicology and representation of non-written musics
  • Non-western or ancient music trans-notation
  • Representation and transcription in acoustic ecology and sound landscape
  • Optical music recognition

Listening, teaching

  • Listening guides
  • Live and offline annotation
  • Notations for music pedagogy


Information & submission:
Deadline for papers submission: January 15, 2015.

With the collaboration of:

Institut de Recherche en Musicologie, CNRS UMR 8223
Université Paris-Sorbonne
LAM, Lutheries – Acoustique – Musique, UPMC
GRAME, Centre national de création musicale, Lyon
AFIM, Association Française d’Informatique Musicale

North Atlantic Fiddle Convention Conference

DEADLINE EXTENSION: 25 December 2014

North Atlantic Fiddle Convention
October 13-17, 2015
Cape Breton Island (Sydney & Baddeck, Nova Scotia)
Celtic Colours International Festival / Cape Breton University
Trans-Atlantic Transactions

Music and dance are means by which we share culture and identity, and exchange knowledge. The theme of Trans-Atlantic Transactions is designed to frame wide-ranging explorations of fiddling and related dance traditions as expressive forms that are shared, exchanged, and disseminated, and which provide endless opportunities for dialogue.
The idea of “transaction” can be understood broadly to embrace the exchange of repertoires and styles within and between traditions, regions, generations, and populations. Transaction may also be used to reflect upon the impact of economic forces on fiddling and dancing, from the demands of recording and touring, to the expectations placed on it by the entertainment industry and tourism.

We invite papers and panels which examine the themes of giving, taking, exchanging, and transacting as they apply to fiddling and dancing across the North Atlantic region. Some topic areas may include, but are not limited to:
• Adoption and Appropriation: Where and when would these terms be appropriate for the
circulation of fiddle and dance styles and repertoires?
• Exchanging of Repertoire: How are tunes exchanged among different or separate fiddling traditions, and what transformations or modifications are made when they are?
• Transactions Among Instruments: The fiddle repertoire has been adopted by flautists,
banjoists, accordionists, pianists, guitarists, and many others. In some cases, like the bagpipes, the fiddle and pipes mutually share repertoire. How do instruments like these reshape fiddle tunes, and what do they give back to fiddling traditions?
• Vocal Music: What transactions and exchanges occur between repertoires of fiddling, dancing and vocal music? How much has one affected another in particular traditions?

• “Blàs” (“Flavour,” “accent”): What exchanges happen between the spoken language of a culture and the rhythm, cadence, or “accent” of fiddle or dance style?

• Interactions: What are the interactions among performers, between soloists and
accompanists, between dancers and fiddlers?
• Migration: How have exchanges of population, both recent and past, affected the circulations of styles and repertoires?
• Mediation: What negotiations are made when fiddling and dancing become mass mediated, and respond to commercial priorities?
• Vocation vs. Avocation: What are the issues around the rewards of fiddling and dancing, and in which contexts? What are the range of economies involved in fiddling and dancing, from communal sharing to barter to professionalism and the pursuit of various sources of revenue?

Though we encourage presentations that engage with our theme, the program committee will gladly receive proposals for presentations on any aspect of fiddling and its dance-related cultures.

Given the setting of the conference, on Cape Breton Island, and its partnership with the Celtic Colours International Festival (Friday October 9 to Saturday October 17, 2015), we anticipate that this theme will be fruitful as we reflect on fiddling in the Old World and the New, and across many different populations and histories. Delegates will have opportunities to see many Celtic Colours International Festival performances, workshops, and events, and experience the Island’s many sights and sounds over the course of the conference.

The first half of the conference will be held in Sydney (October 13-14), and the latter half in Baddeck, Nova Scotia (October 16-17), offering a full experience of the Cape Breton’s exciting urban and beautiful rural locales. October 15 will be organized as a day of touring.

As we will be applying for funding support, submissions for academic papers will need to include:
• presenter’s full name, institutional affiliation, department, student status (if applicable), and contact information;
• presentation title;
• two abstracts: one 250 words, and one 100-150 words MAXIMUM;
• a list of degrees earned, specifying discipline;
• a list of recent positions and any positions relevant to NAFCo;
• a list of recent publications and any publications relevant to NAFCo; and
• a 100 word biography.

The submission deadline is November 15 December 25, 2014. Submissions should be sent to the email address below, and will be submitted to blind peer review.
Mail: North Atlantic Fiddle Convention
c/o The Centre for Cape Breton Studies
PO Box 5300
1250 Grand Lake Road
Sydney, Nova Scotia B1P 6L2 CANADA

Work & Play: Economies of Music

Work & Play: Economies of Music

The Harvard Graduate Music Forum Conference    •    20–21 February 2015

Keynote:  Robin James (UNC Charlotte)

Round Table:  Verena Andermatt Conley, Robin James, Sindhumathi Revuluri, Kay Kaufman Shelemay


- Call for Proposals -

This interdisciplinary conference takes as its premise that music is inseparable from the economic conditions of its production and consumption. Through presentations, lecture-recitals and composers’ colloquia, we seek to explore the intersections of music and economics from a diverse array of perspectives including labor, practice, material culture, and capital.

Questions include but are not limited to:

  • How do musicians and their employers understand musical labor, and how does this impinge on issues of amateurism, professionalism, and institutionalization?
  • How have shifting economic systems — for instance, from patronage to mass consumption, or from liberalism to neoliberalism — altered the place of music in society?
  • How have issues such as postcolonialism, the North-South economic divide, and globalization, intersected with various musical practices to forge divergent models of economies of music?
  • Where does music succeed and where does it fail in transforming economic relations?
  • What are the economic consequences of the material means of musics’ dissemination, such as manuscripts, published scores, phonograph recordings, streaming and live performance?
  • How do questions of cultural and economic capital combine in appraisals and contestations of musical value?
  • How has music symbolically represented economics and status? What is music’s role in this endeavour today?

- Submissions -

We welcome submissions from current graduate students on these and related topics. We seek proposals on all repertoires, musical practices and historical periods, and representing a broad set of methodologies. Formats for presentation include:

  • 20-minute papers, audiovisual presentations, or exploratory text works, with 10 minutes for discussion
    Please submit abstracts of a maximum of 350 words and, where appropriate, up to 4 additional pages for figures. Please add a short statement regarding AV requirements.
  • 30-minute composer colloquia, performances, or lecture-recitals, with 15 minutes for discussion
    Please submit details of the work to be presented in a maximum of 350 words and, where appropriate, links to relevant sound recordings and/or scores or supplementary documentation.

Deadline for proposals: 5 December 2014

Please e-mail submissions to:

For more information please visit:

Pacific Northwest (PNW) Graduate Music Conference 2015

CALL FOR PAPERS (Submission deadline: December 1, 2014)

25th Annual Pacific Northwest (PNW) Graduate Music Conference:

University of British Columbia, Vancouver, BC

February 21–22, 2015

The 25th Annual Pacific Northwest Graduate Music Conference is taking place at the University of British Columbia (UBC) School of Music, February 21–22, 2015, in Vancouver, BC.

This conference provides an excellent forum for young music scholars in various sub-disciplines to exchange ideas and present original research. Professor Nathan Hesselink (UBC) will deliver the keynote talk, “Bring On the Night: Rhythmic Play, Compositional Intent, and Communication in the Music of The Police”.

The program committee encourages submissions from graduate students (or advanced undergraduates) in musicology, theory, ethnomusicology, music education, performance, and composition. Presentations will be 20 minutes, followed by a 10-minute question period. Lecture recitals of up to 30 minutes are also welcome.

Presentations must consist of research that has not previously been published or presented at a national conference. Individuals may submit more than one abstract, but only one may be accepted for presentation. Submissions should be sent by email to [at] gmail [dot] com no later than December 1st, 2014. The body of the email should include the submitter’s name, email address, and institutional affiliation. Abstracts should be attached as PDF or Word files, be free of any identifying information, and not exceed 300 words. If necessary, supporting diagrams and figures are permitted (max. 3 pages).

If you have any questions, please feel free to contact the committee at [at] gmail [dot] com.


The PNW 2015 Program Committee:

Antares Boyle (Music Theory)

Christina Hutten (Music History)

Kirk King (Ethnomusicology)

Grant Sawatzky (Music Theory)

Christian Congregational Music: Local and Global Perspectives


Deadline for proposals: 12 December 2014
Conference dates: 4-7 August 2015
Conference website:
Venue: Ripon College Cuddesdon, Oxford, United Kingdom

Congregational music-making is a vital and vibrant practice within Christian communities worldwide. It reflects, informs, and articulates convictions and concerns that are irreducibly local even as it flows along global networks. Congregational song can unify communities of faith across geographical and cultural boundaries; however, it can also be used to mark divisions between Christians of different denominations, cultural backgrounds, and social classes, and to negotiate or articulate difference in relation to religious outsiders. We therefore cannot understand the meanings, uses, and influences of congregational music within Christianity without exploring both its local contexts and its translocal, transnational, and global circulation.

The third biennial Christian Congregational Music conference will be held in 2015. Its goal is to expand the avenues of scholarly inquiry into congregational music-making by bringing together world-class scholars and practitioners to explore the varying cultural, social, and spiritual roles church music plays in the life of various Christian communities around the world. To this end, the conference facilitates a multifaceted dialogue among participants from a variety of academic disciplines, including musicology, ethnomusicology, theology, anthropology, history, and education.

The 2015 conference is focused on a sustained reflection about the theoretical perspectives and methodological approaches used to study congregational music. What new methodological approaches—whether from the hard sciences, social sciences, humanities, or theological disciplines—can be brought to bear on timely research questions, such as congregational music’s relation to indigenization, transnationalism, religious experience, and ethics? What new understandings about congregational music are generated with the introduction of theoretical perspectives from, for example, gender studies, postcolonial thought, neuroscience, or political economy? Although the Programme Committee will prioritise papers that bring new insights to any aspect of theory or methodology, papers addressing other topics relevant to Christian congregational music are also welcomed.

We are now accepting proposals (maximum 250 words) for individual papers and for organised panels consisting of three papers. The online proposal form can be found on the conference website at

Proposals must be received by 12 December 2014.

Notifications of acceptance will be sent by 26 January 2015, and conference registration will begin on 31 January 2015. Further instructions and information will be made available on the conference website at

Magnified & Sanctified: The Music of Jewish Prayer

AHRC “Care for the Future” Theme, Performing the Jewish Archive

University of Leeds, UK, Tuesday 16 – Friday 19 June 2015

 For the first time in Britain an International Academic Conference is being devoted to the music of Jewish prayer. Internationally acclaimed scholars in Jewish liturgical music will lead the programme presented jointly by the School of Music, University of Leeds and the Academic Wing of the European Cantors Association. The conference is organised in association with the international research project Performing the Jewish Archive, funded by the Arts and Humanities Research Council. 


  • Professor Emeritus Eliyahu Schleifer, Professor of Sacred Music and Director of the School of Sacred Music at HUC-JIR/Jerusalem
  • Professor Mark Kligman, Professor of Jewish Music University of California, Los Angeles
  • Professor Rabbi Jeffrey Summit, Research Professor, Tufts University, nr Boston 


The English music scholar Percy Scholes wrote in the Oxford Companion to Music: ‘Throughout the ancient history of the Jewish people we find music mentioned with a frequency that perhaps exceeds that of its mention in the history of any other people. Music not only impresses itself on the daily life of the Jewish people through religious observance, but it is a dominant feature of the Jews’ cultural expression of their own milieu over centuries and more recently of the wider community in which they live.  Music for the Jews is an indelible part of their existence’.

This conference will explore recent research into aspects of Jewish liturgical music. This could include Hebrew Psalmody, Cantillation, Jewish modes and melodies, Piyyutim, Missinai Tunes and synagogue composition, both cantorial and choral in areas where Jewish communities have flourished across the globe and through the centuries.  It will also examine current trends and issues and the interface between Jewish liturgical music and the musics of the wider Christian, Muslim and other societies.

Proposals for 20-minute papers with 10 minutes for discussion (which may include relevant musical presentations) are invited. Papers that make use of original archival sources, or that reinterpret known sources, will be particularly welcome, though all relevant areas of investigation will be considered. We also invite suggestions for round table sessions of c.60 or 90 mins.

THE OFFICIAL LANGUAGE OF THE CONFERENCE IS ENGLISH. It is envisaged that selected papers will be published in a volume of proceedings.

PLEASE SEND AN ABSTRACT OF up to 300 WORDS by 10 November 2014, to the Conference Director, Dr Stephen Muir Your proposal should include the title of your presentation, your name and institutional affiliation and contact details, and a biography of up to 150 words. Please indicate whether your presentation includes live or recorded musical illustrations, and the technical support required.

THE PROGRAMME COMMITTEE will make its decisions by 10 December 2014, and contributors will be informed soon thereafter.

SABBATH AND EUROPEAN CANTORS CONVENTION All delegates to the International Conference are invited to join with the European Cantors Convention in special choral Sabbath with guest cantors and choirs on Friday night 19 and Saturday 20 June. Delegates might also like to attend the Convention which will take place immediately following on Sunday 21 and Monday 22 June.

FOR ADDITIONAL INFORMATION, please contact the Conference Director Stephen Muir  (Information about the programme, registration fees, travel and accommodation will be announced by the end of December 2014). Bursaries covering all or part of the conference fee may be offered to students.



Dr Stephen Muir Senior Lecturer in Music, School of Music University Leeds

Dr Alexander Knapp Head, ECA Academic Wing. Research Associate, Department of Music SOAS University of London (retired Joe Loss Lecturer in Jewish Music, SOAS),

Dr Malcolm Miller Associate Fellow of the Institute of Musical Research, University of London

Geraldine Auerbach MBE Conference coordinator


Keynote speakers:

Professor Emeritus Eliyahu Schleifer – Jerusalem

Professor Mark Kligman – Los Angeles

Professor Rabbi Jeffrey Summit – nr Boston


Professor Philip Bohlman – Chicago

Professor Edwin Seroussi – Jerusalem