Radio and Ethnomusicology: BFE One Day Conference


Date: 22 October, 2016

Location: University of Edinburgh and the Museum of Communication, Scotland

Keynote Speaker: Prof. Tim Taylor, UCLA


The 2016 British Forum for Ethnomusicology one-day conference is being organised by the Reid School of Music at the University of Edinburgh, and will be hosted by the Museum of Communication, Scotland.

Radio was one of the most important innovations of the 20th century, reconfiguring notions of intimacy, ushering in new forms of consumer economy, and playing a primary role in the rise of entertainment culture (Taylor 2012). At the same time, radio contributed to the democratisation of everyday life, reinvented a sense of national community, and created new communicative potentials for marginalised social groups (Scannell 1989). Politically, radio has been at the centre of global events such as the rise of National Socialism in Germany in the 1930s (Birdsall 2012), the Algerian Revolution (Fanon 1965), Cold War antagonism and cooperation (Badenoch et al 2013), and the Rwandan Genocide (Kellow and Steeves 1998). Across the world, it has been a tool of nation building, nationalism and internationalism, war and peace, sounding and silencing.

Despite proclamations of the death of radio (and television) in the 21st century, as a mode of broadcasting its contemporary importance has not diminished. Rather, broadcasters have migrated online, new digital listening forums have adopted techniques and practices from older media, and listening publics continue to be shaped by radio. Globalising and localising processes have been described as complementary rather than organised hierarchically (Appadurai 1996), with sounds and technologies made meaningful locally. Radio has adapted to the new technological forms and social logics of the digital era; it could therefore be argued that radio is as influential as ever.

It is a good time, then, to examine the relationships – both historical and contemporary – between radio and ethnomusicology. Within the discipline, radio has been heard in numerous ways: as a force of modernity that would destroy traditional music cultures; a means of circulating and developing respect for certain musics; a vehicle for musical scholarship; an accompaniment to musical migration and displacement; and a contact zone between music cultures. Moreover, radio broadcasters have frequently worked collaboratively with ethnomusicologists, commissioning, archiving and broadcasting field recordings (Davis 2005, Arnberg et al 1969, Reigle 2008). And radio serves as a productive site of ethnomusicological study today in its capacities as mediator, disseminator, and disciplinary mouthpiece.

Radio means different things in different times and places, and ethnomusicology is well equipped to provide form-sensitive and ethnographic accounts of its varying roles in musical and social life.


Christian Congregational Music: Local and Global Perspectives


Christian Congregational Music: Local and Global Perspectives Conference

Conference dates: 18-21 July 2017
Deadline for proposals: 15 December 2016
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. The goal of the Christian Congregational Music conference 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 music plays in the life of various Christian communities around the world.

Paper proposals on any topic related to the study of congregational music-making will be considered, but we especially welcome papers that explore one or more of the following:

Gender, Sexuality, and the Worshipping Body:
In what ways do gender and sexuality condition the production and experience of congregational music? How are these differences constructed, perpetuated, or challenged in musical performance? In what ways does social anxiety around sex and gender condition who is involved in congregational music and how they participate?

Soundscapes and Resonant Spaces:
How have particular built environments (e.g., concert halls, theatres, public spaces) shaped the sounds of Christian congregations? What do these spaces afford sonically and what do they preclude? How might considering the broader landscape or soundscape enhance our understanding of congregational music and sound? Perspectives from architecture, cultural geography, and ecomusicology are particularly encouraged.

Congregational Music in and as Prayer:
In congregational worship, music exists alongside a range of other sonic, spoken, internal, textual, material and visual forms through which congregations engage in personal and communal prayer. What role does music play within the wider activity of corporate prayer? How does music facilitate prayer, and in what ways can textless music be considered prayer?

Ecumenical and Interfaith Dialogues:
How does music erect or challenge the boundaries among different Christian traditions, and among Christian music and music of other faiths? How can music promote ecumenical and interfaith relationships and conversations? What insights and approaches can scholars studying Christian communities draw from scholars of other faith traditions?

Music and Reformation:
In marking 500 years since the start of the Protestant Reformation, we welcome new perspectives on the role of music in the Protestant Reformation and counter-Reformation, as well as continuing effects of the Reformation in discourse and practice on music in the present-day. How can studying music challenge or nuance received narratives and historiographical models? What new perspectives can be brought to bear on this much-considered historical moment?

Rethinking “Congregation”:
How have new transportation and communications technologies changed the way Christians gather and understand themselves as congregations? How does gathering in spaces outside local church congregations—from festivals to concerts to online worship environments—influence the production and experience of Christian music-making? How does music work within these spaces to facilitate new modes of congregating?


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 15 December 2016. Notifications of acceptance will be sent by 31 January 2017, and conference registration will begin on 15 February 2017. Further instructions and information will be made available on the conference website.

Rethinking Collaborative Authorship through Music

2017 Royal Musical Association Music and Philosophy Study Group Conference
Themed Session: Rethinking Collaborative Authorship through Music
Convener: Nina Penner
Deadline: 15 October 2016
Conference Dates: 13–14 July 2017
King’s College London

The nature of authorship in the collaborative arts has been subject to lively debate in philosophical aesthetics, yet these debates have focused almost exclusively on cinema with scant attention to music. Music scholars, on the other hand, often need to make decisions about the authorship of particular musical works, yet there has been little theoretical discussion of how such determinations ought to be made.

Through a conversation between philosophers and music scholars, this panel seeks to evaluate the applicability of current philosophical theories of authorship to music, propose revisions where necessary, and explore new models. We invite papers theorizing the nature of authorship in any collaborative art form involving music, including but not limited to song, opera, musical theatre, dance, cinema, and television. Of particular interest are considerations of musical traditions that have been historically underrepresented in the philosophy of music, especially jazz, popular music, and non-Western musics.

Topics of interest might include (but are not limited to):
* critiques of current understandings of authorship, both of musical works for performance and performances thereof
* discussions of changing historical understandings of authorship in particular musical arts
* explorations of the consequences of determinations of authorship for the histories we tell

Proposals of no longer than 300 words should be submitted to with the subject heading “MPSG Authorship Session.”

9th European Music Analysis Conference – EuroMAC 9

The 9th European Music Analysis Conference (EuroMAC 9) will be held in Strasbourg (France) from 28 June to 1 July 2017.

It is organised by the University of Strasbourg’s GREAM Research Centre and the French Society for Music Analysis SFAM with the support of the European societies for music analysis.

This international conference will be a key event in the field of music analysis and associated fields and will bring together researchers and other eminent academics from around the world. A call for papers is now available and we are particularly keen to receive proposals in keeping with the themes of the conference.

The first European Music Analysis Conference was held in 1989 in the city of Colmar (France); the 2017 conference thus returns to Alsace, a region with a rich cultural past and one of the areas where the humanist movement took root and flourished.

Previous meetings were held in Trento (1992), Montpellier (1995), Rotterdam (1999), Bristol (2002), Freiburg im Breisgau (2007), Rome (2011) and Leuven (2014).

Proposals should be submitted in one of the four designated conference languages, i.e. English, French, German or Italian. They should not exceed 400 words (see the presentation instructions given below for each type of proposal).

Proposals can be submitted from 1 September 2016 via the EasyChair online conference management platform. The closing date for submitting proposals is 15 November 2016.

EuroMAC 9 wishes to encourage proposals for original and innovative contributions on music analysis from a wide range of perspectives. However, special attention will be given to proposals that address the conference’s suggested themes.

Timetable for consideration of proposals

  • 1 September 2016: Opening of the EasyChair online conference management platform for the submission of proposals;
  • 15 November 2016: Closing date for submission of proposals;
  • 31 January 2017: Notification to proposal authors of the Programme Committee’s decision;
  • 1 March 2017: Deadline for the submission of short abstracts for publication in the conference’s booklet;
  • 30 April 2017: Deadline for the submission of long abstracts for publication in the conference’s proceedings.

Organising Committee

  • Xavier Hascher (University of Strasbourg, France)
  • Jean-Marc Chouvel (University of Paris-Sorbonne, France)
  • Nathalie Hérold (University of Strasbourg, France)
  • Pierre Couprie (University of Paris-Sorbonne, France)

Experiments in Music Research: Reassessing Pierre Schaeffer’s Contributions to Music and Sound Studies

Experiments in Music Research
Reassessing Pierre Schaeffer’s Contributions to Music and Sound Studies
9 December 2016
Department of Music, University of Birmingham

The Traité des objets musicaux (Treatise of musical objects) is the central theoretical text for the loosely-defined ‘acousmatic’ school of composers that spun off from Pierre Schaeffer’s quarter century of research for the French public broadcaster, first as director of the Groupe de recherche de musique concrète (GRMC), and later with the Groupe de recherche musicale (GRM). Now, fifty years after its original publication, Schaeffer’s work is finally beginning to appear in English translation. At the same time, his carefully wrought meta-language for the relationship between human listening and musical sound is increasingly being tested as a conceptual resource for musicology and sound studies more generally. For all his notoriety, however, it is remarkable how little critical attention has yet been paid to the anatomy and genealogy of Schaeffer’s thought. Engagement with Schaeffer’s ideas, in English especially, has been unevenly focused on a small portion of his eclectic conceptual repertoire, and mostly written from a microscopic perspective that favours putting his system to work over understanding its historical and intellectual implications. Meanwhile, histories of experimental and electronic music have typically emphasized Schaeffer’s work as an engineer and composer over the theoretical project which he considered his highest achievement.

A closer reading of the Traité complicates such reductions. The book is both a prolegomenon to experimental composition, and an exploration of the implications of a musical pluralism brought about by an expanding global mediascape. His concern was not simply with studying listening as a phenomenon or with prescribing specific listening practices, then, but with repositioning listening as the foundation of all musical discipline: from the savoir faire of his solfège, to the analytical attention of his ‘music research’. Any critical reevaluation of Schaeffer’s work should thus be situated not only in relation to the history of electronic music, but also in relation to the history of musical listening and its representation in musicology and sound studies.

This one-day conference invites new critical readings of Pierre Schaeffer’s work. Its goal is to reassess the position of Schaeffer’s theory in the history of musicology and sound studies, its proximity to contemporary concerns in the study of listening and auditory culture, and the implications of engaging with its terminology and epistemology outside of the acousmatic tradition. While previous Schaeffer scholarship has largely maintained a prescriptive focus on the composition and reception of musique concrète, this conference seeks to amplify the dialogue between Schaeffer’s theory and other disciplines. It is timed to precede the appearance of the English translation of the Traité, and will thus set the agenda for future research in the field.

Possible topic areas include, but are not limited to:

  • the Traité des Objets Musicaux as a historical document
  • the Traité, the GRM, and acousmatic music as cultural institutions
  • comparative readings of Schaeffer’s theory with that of his contemporaries
  • critical re-readings of the Traité’s taxonomies
  • Schaeffer’s work as a media personality, novelist or essayist
  • Schaeffer’s philosophy of science and technology
  • the Traité as an analytical or compositional resource for non-acousmatic repertoire
  • Schaeffer and the theory of interdisciplinarity
  • Schaeffer’s work from the perspective of music psychology and cognitive science
  • Schaeffer’s work from the perspective of ethnomusicology and auditory culture studies
  • applications of Schaeffer’s ideas to the cinema and visual media
  • language, speech, and semiotics in the Traité

Abstracts of up to 300 words should be sent to by 30 September 2016. The conference will take place in the Department of Music at the University of Birmingham on 9 December 2016, and will be free to attend. A limited number of small travel stipends are available for doctoral students and early career researchers. Please indicate your intention to apply for a stipend when you submitting an abstract. Selected presenters will be invited to contribute to a collection of essays to be published after the conference.

Experiments in Music Research is presented in collaboration with the Birmingham Electroacoustic Sound Theatre, University of Birmingham, and with the support of the Institute of Musical Research, Royal Holloway, University of London.

Organizing Committee:
Dr Patrick Valiquet, Institute of Musical Research
Dr Scott Wilson, University of Birmingham

3rd International Conference of Dalcroze Studies (ICDS3)

Call for submissions

3rd International Conference of Dalcroze Studies (ICDS3)

‘The living moment: Exploring improvisational practice’

30 July – 03 August 2017

Université Laval, Quebec City, Canada


The conference

The aim of ICDS3 is to present the best of current research and practice within Dalcroze Studies and related fields. ICDS is a global, transdisciplinary forum, open to viewpoints from education, the arts and humanities, and the social, health and life sciences. We welcome practitioners and scholars alike. This year our theme is improvisation in music, dance, somatic practices, theatre and therapy, with a special focus on the relationships between music/sound and movement.


Keynote speakers (confirmed)

Reto W. Kressig, Professor and Chair of Geriatrics, University Center for Medicine of Aging Basel (UAB), Felix-Platter Hospital, University of Basel, Switzerland

Raymond MacDonald, Professor of Music Psychology and Improvisation, Reid School of Music, University of Edinburgh, Scotland

Max van Manen, Professor Emeritus, University of Alberta, Canada

Keynote practitioners (confirmed)

Ruth Alperson (PhD), Dean, Hoff-Barthelson Music School, USA

Ruth Gianadda, Professor, Institute Jaques-Dalcroze, Geneva, Switzerland

Karin Greenhead, Director of Studies, Dalcroze UK

Lisa Parker, Director, Longy Dalcroze Institute, Longy School of Music of Bard College, USA


‘The living moment: Exploring improvisational practice’

Improvisation forms the basis of human communication from infancy to the end of life. It defines the moment-to-moment flow of activity in our everyday interactions and is fundamental to creativity and innovation.

Improvisation is also central to music, dance and somatic traditions across culture, time and space. Musical and movement improvisation can be put to work in many contexts, including the pedagogical, therapeutic and performative, to bring about transformation. Improvisation can be both process and product, and an agent of change.

In Dalcroze Eurhythmics and related fields of practice, musical and movement improvisation are the main means of communication between teacher and learner, therapist and client, and between participants themselves.


Call for proposals

We welcome presentations on improvisation, as it relates to Dalcroze Eurhythmics and music, movement and the mindful body more broadly. We embrace a wide range of disciplines and areas, such as: anthropology, architecture, biomedical science, communication science, cultural studies, dance studies, somatic practices, education, ethnomusicology, gender studies, history, literature, media studies, musicology, music therapy, philosophy, politics, psychology, sociology, theatre and performance studies, and visual arts.

We invite practitioners and researchers to share their knowledge, experience and scholarship on this theme. Conference topics include, but are not limited to:

  • Music-movement improvisation
  • Descriptions and theories of improvisation
  • Improvisation and embodiment
  • Improvisation in culture and improvisation as culture
  • Improvisation as social relationship or dialogue
  • Improvisation as process, as product, as means
  • Interdisciplinary and intermedial approaches to improvisation
  • Teaching improvisation
  • The role of improvisation in pedagogy, performance, therapy and research
  • Teaching as an improvisational practice
  • Assessing and evaluating improvisation
  • Developing curricula and educational material on improvisation
  • Improvisation and the professional development of teachers
  • The interaction of technology and improvisation
  • Improvisation and wellbeing
  • Personal and social development through improvisation
  • Improvisation and ethics (empowerment, social justice)
  • Improvisation and community
  • The historical development and transmission of improvisational practice in Dalcroze Eurhythmics and related fields


Types of presentation

  • Paper* (20 mins + 10 mins discussion) – research papers and reflections on practice
  • Workshop* (60 mins, including discussion) – an interactive session offering hands-on experience. These will be limited in number due to space and time restrictions
  • Symposium (90 mins, including discussion) – a shared platform for at least three delegates to present a specific research topic in-depth and to discuss each other’s work in a public forum. Please specify who will chair the symposium.
  • Roundtable (90 mins, including discussion) – a semi-planned conversation amongst stakeholders who wish to have a public dialogue to which delegates can contribute. Instead of presenting research results, a roundtable is a public discussion with a view to arriving at shared understandings, new insights and/or proposals for action. Please specify who will chair the roundtable.
  • Informal daytime performance (duration variable, to be arranged with organising committee)
  • Evening performance (duration variable, to be arranged with organising committee)
  • Poster
  • Presentation to host ICDS5 in 2021 (20 mins + 10 mins discussion); we would love to hear from organisations or institutions in any country who would like to host a future conference! 



Submit your proposal/s at

Deadline for all submissions: Sunday 30 October 2016 23:59 (BST)

The language of presentations is English.

Delegates may submit a maximum of three proposals.

Notification to presenters by 18 December 2016


Online registration

Presenters must register and pay by 13 January 2017

All other delegates must register and pay by 30 June 2017



Before 31 March 2017 (Early bird rates): Regular $375; Student $250

After 31 March 2017: Regular $450; Student $325

Fee includes refreshments, light lunch and conference materials

(*All fees are in Canadian dollars and subject to tax by the Federal / Provincial government; please go to the registration pages for more information)


Scientific Committee

Dr John Habron (Senior Lecturer) Coventry University, Coventry, UK (Chair)

Dr Ruth Alperson (Dean) Hoff-Barthelson Music School, New York, USA

Karin Greenhead (Director of Studies) Dalcroze UK

Dr Marja-Leena Juntunen (Professor) Sibelius Academy, University of the Arts, Helsinki, Finland

Dr Louise Mathieu (Professor) Université Laval, Quebec City, Canada

Dr Selma Odom (Professor Emerita) York University, Toronto, Canada

Dr Jane Southcott (Associate Professor) Monash University, Victoria, Australia


Organising Committee

Prof. Josée Vaillancourt (Chair), Université Laval, Quebec City, Canada

Prof. Louise Mathieu (Co-Chair), Université Laval, Quebec City, Canada

Prof. Ursula Stuber, Université Laval, Quebec City, Canada

Prof. Gilles Comeau, University of Ottawa, Canada






Music in the Ibero-Afro-American Universe: Interdisciplinary Challenges




“Music in the Ibero-Afro-American Universe: Interdisciplinary Challenges”


Federal University of Rio de Janeiro (UFRJ)

Rio de Janeiro, October 24–27, 2016


The VII SIM_UFRJ “Music in the Ibero-Afro-American Universe” proposes to approach this theme in broad scope of diverse cultural traditions, contexts and historical times, and of special interest to the II TeMA_Meeting is to promote de debate on the “Interdisciplinary challenges between Musicologies and Analytical Theories: Dialogues, Frontiers, and Intersections.” Discussion issues: issues and trends in the Ibero-Afro-American musicologies; musicologies and analytical theories: dialogues, frontiers, and intersections; critical and analytical theories and methods in the disciplinary knowledge; the field of music and the challenges of intra-, inter-, multi-, and trans-disciplinarity; analytical theories and interculturalities; identity and otherness, representation and cultural translation; interdisciplinary studies: music, film, visual arts, theatre, literature, philosophy, history, sociology, and cultural anthropology, cultural dialogues, circulation, transfer, reception, and appropriation of ideas, repertories, aesthetics, styles, techniques, musical practices and ideologies; heritage and collections; musics of written, oral, performing traditions; culture, society and politics; institutional, scientific, artistic, and cultural policies.



Abstract submission deadline: September 5, 2016

Notification to successful applicants: September 20, 2016

Submission of the full version of the paper for publication in the Proceedings: November 30, 2016



Proposals (abstract 300-500 words, and short bio) may be written in Portuguese, Spanish or English, and submitted as attached file (*.doc or *.rtf), indicating the preferred attendance to each conference: SIM-UFRJ to the e-mail or TeMA_Meeting to the e-mail In case the proposal fits the full scope of the joint conference, it must be sent simultaneously to both e-mails.


Program Committee Chairs

Maria Alice Volpe

Ilza Nogueira


More info: and


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, where you may also subscribe to our E-Newsletter.  To keep up to date with smaller announcements and news, please ‘like’ our Facebook page and follow us on Twitter

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:

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:

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: 


About In Place of War:

About Index on Censorship:



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: