XXIV Annual Conference of the Italian Musicological Society

XXIV ANNUAL CONFERENCE OF ITALIAN MUSICOLOGICAL SOCIETY

Lucca, Institute Superior Musical Studies “Luigi Boccherini”, 20-22 October 2017

CALL FOR PAPERS

The twenty-four Annual Conference of the Italian Musicological Society will be hosted in Lucca from 20th-22rd October, in collaboration with the Institute Superior Musical Studies “Luigi Boccherini”. On October 21nd at 3 p.m. the annual Meeting of all members will take place.

The Conference will be divided into free paper sessions.

Scholars from all over the world are invited to submit their proposals.

In your abstract (which has not to exceed 30 lines in word format) 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. Only original, unpublished research will be taken into consideration: papers in print will not be accepted.

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

ed 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. Please provide your full name, address, phone number, fax number and e-mail address. The abstracts have to be sent to the e-mail address convegni@sidm.it no later than June 15, 2017. Acceptance of papers will be notified by July, 15, 2017.

We inform you that one session of the conference will be entitled: Paisiello 1816-2016. “The post anniversary”.

For further information about the conference please visit the web site: http://www.sidm.it or by mail: segreteria@sidm.it.

 

The 12th International Scientific Conference “Music Science Today: the permanent and the changeable”

05.05.2017 – 06.05.2017

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

Faculty of Music and Arts of Daugavpils University (LATVIA) in co-operation with Lithuanian Academy of Music and Theatre and Vytautas Magnus University in Kaunas (Lithuania) and Institute of Music of University of Silesia in Katowice (Poland) organize the 12th 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
  • Leonidas Melnikas, Lithuanian Academy of Music and Theatre, Lithuania
  • Romualdas Apanavičius, Vytautas Magnus University, Kaunas, Lithuania
  • Hubert Miška, Institute of Music of University of Silesia in Katowice, Poland
  • Edgars Znutiņš, Daugavpils University, Latvia
  • Olga Ušakova, Daugavpils University

Working languages: English, Latvian, Russian

 Deadline for registration: March 20, 2017.
https://du.lv/en/the-12th-international-scientific-conference-music-science-today-the-permanent-and-the-changeable/

Deadline for the submission of abstracts (300 words) electronically: March 20, 2017.

Deadline for the submission of complete manuscripts for the proceedings: June 30, 2017.

 

Participation fee: 50 EUR .
Accommodation:

Park Hotel Latgola http://www.booking.com/hotel/lv/park-latgola.en.html

Hotel Verina http://www.select-a-room.com/hotels/latvia/daugavpils

Daugavpils University Students’ hotels http://www.du.lv

 

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
e-mail: evalds.daugulis@du.lv

Sounds of Prehistory and Antiquity

Fourteenth conference of the Research Center for Music Iconography

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

New York, 24 May 2017

The study of music from the earliest past draws upon iconography and archaeology, and any attempt to understand the earliest acoustic ecologies requires some level of approximation based on material artefacts. Participants are invited to offer embodied, experiential, phenomenological, creative, practice-based and practice-led research that explores the sonic contexts of prehistory and antiquity. These explorations may consider the examination of sound-producing objects and musical instruments, acoustics of performance spaces, or role of sound in rituals, ceremonies and everyday events. Research is welcomed that uses digital technologies in (re)constructions of ancient soundscapes, and explorations of sonic textures drawing upon iconographic, archaeological and literary sources. Also considered may be performances or other artistic content, whether focused on musical, sonic, performance or visual arts. They should provide information about the source material which has created the basis of the work, but subsequently freely engage with performative explorations.

Abstracts of 250-300 words may be submitted before 15 February 2017 to:

Zdravko Blažeković
Research Center for Music Iconography
City University of New York, The Graduate Center
365 Fifth Avenue
New York, NY 10016-4309
zblazekovic@gc.cuny.edu

Rupert Till
Department of Music and Drama
University of Huddersfield
Queensgate, Huddersfield HD1 3DH
r.till@hud.ac.uk

The First International Conference on Women’s Work in Music

The First International Conference on Women’s Work in Music – Call for Papers
Conference Dates and Venue: 4 –7 September 2017, Bangor University, Wales
Deadline for Proposals: 1 March 2017
Proposal Submissions: wwm@bangor.ac.uk
Conference Website: wwm.bangor.ac.uk

The First International Conference on Women’s Work in Music aims to bring together academics, researchers and music professionals to share their research and experience of women working in music. The conference will explore and analyse the diverse historical, cultural and political themes of women’s work in music, and will provide a platform for participants to present and discuss recent developments and concerns as well as practical challenges encountered and solutions adopted.

The conference is organised by the School of Music at Bangor University, Wales and has been timed to mark the 40th anniversary of the death of Grace Williams (1906-77), one of the first professional Welsh composers of the 20th century to attain international recognition. Although Williams is best known as the composer of pieces such as the Fantasia on Welsh Nursery Tunes (1940), 2 Symphonies (No. 1, 1943 and No. 2, 1956) and Penillion for orchestra (1955), her career consisted of a number of different strands. A noted pianist and conductor, she became a successful music teacher in London in the 1930s and 40s, and also worked for the BBC’s Schools Music Services, writing scripts and musical arrangements for school radio programmes.

Williams’s multi-faceted career can be seen to be part of a much broader development of increased opportunities for women musicians in the 20th century. Even so, her achievements today suffer from a lack of public awareness. Is this lack of awareness connected to broader developments in the struggle for and against gender equality in society, culture, education and in the music industries? What are the intellectual, practical and institutional challenges that women musicians have encountered? While much progress has been made in terms of awareness of women’s work in music in the past 50 years, what solutions need to be adopted to ensure that women achieve recognition and parity in the future? The First International Conference on Women’s Work in Music will seek to both celebrate the achievements of women musicians, and to critically explore and discuss the changing contexts of women’s work in music on the international stage.

We invite researchers and practitioners to submit proposals which engage with a range of methodologies and perspectives on women’s work in music, whether these be from an academic, practice-based or educational viewpoint. Proposals are encouraged on the subject of women’s work in music in any musical genre, period or practice which may address, but need not be limited to, the following topics:
• Composers
• Performers
• Conductors
• Popular Music
• Internationalism in Music
• Ethnomusicology
• Feminist Musicology
• Music Analysis
• Music Technology
• Music, Women and the Politics of Gender
• Queer Perspectives
• Canonisation in Music
• The Music Industries
• Music Education (primary, secondary and tertiary / higher levels)
• Musical Work by Women (historical and contemporary perspectives)
• The Representation of Women making Music (photography, internet, CD covers, blogs)

Individual Papers
Proposals for papers should be sent as abstracts of not more than 200 words. Individual papers should be 20 minutes in length and will be followed by 10 minutes of discussion.

Lecture-recitals
Proposals for lecture-recitals should be sent as abstracts of not more than 300 words. Recitals should be 45 minutes in length and will be followed by discussion.

Panels
Proposals for organised panels of 4 speakers (2 hours) should submit a panel abstract (100 words) and individual abstracts (200 words each) in a single document together with the full names and email addresses of the participants. Questions about the organisation of panels should be directed to the conference organiser – wwm@bangor.ac.uk

Posters
Proposals for posters should be sent as abstracts of not more than 200 words. Proposals from graduate and postgraduate students will be particularly encouraged.

Submission
Please send your proposal as a Word document to wwm@bangor.ac.uk no later than 1 March 2017. The following format should be used:
• Name, affiliation (if applicable) and contact details (postal address, email and phone)
• Type of presentation (paper, lecture recital, panel or poster)
• Title of presentation
• Abstract
• Audio-visual and other requirements (the following are available: Data projector or large plasma screen; Desktop PC; VGA, HDMI and 3.5mm audio inputs; CD player; DVD player; Visualiser; Piano)
• Brief biography (150 words)
The Conference Committee will make its final decision on the abstracts by 3 April 2017, and contributors will be informed immediately thereafter. Further information about the programme, registration, accommodation and the conference dinner will be posted on the website after that date.

Conference Organising Committee
Chris Collins, Bangor University; Annika Forkert, Bristol University; Christina Homer, Bangor University: Laura Hamer, Liverpool Hope University: Rhiannon Mathias (Organiser), Bangor University; Wyn Thomas, Bangor University.

Keynote Speakers
Dr Sophie Fuller, Faculty of Music, Trinity Laban Conservatoire of Music and Dance
Jessica Duchen

For any additional information, please contact Rhiannon Mathias – wwm@bangor.ac.uk

Rethinking the Dynamics of Musical Nationalism

an International Conference, 12-15 September 2017, University of Amsterdam

Call for papers.
“National music” (music as an expression of the nation’s character or identity) and “musical nationalism” (music as a vehicle or mobilizing agent for the spread of national ideals) have received fresh attention from music historians and cultural historians over the past decades, and interpretive patterns are now firmly emerging. These involve a curious ambivalence between a geographic centralism, emphasizing Europe’s metropolitan countries, arranged concentrically around Germany, and a canonical marginality: the ideological freighting of music is generally deprecated as an adulteration of its aesthetic purity or its innovatory progress towards ever purer, wide-ranging and non-traditional modes of expression. “National music” is usually seen as a European-centred example of 19th-century taste, dubiously ethnocentric and chauvinistic in its assumptions, and posing a challenge to the composer to overcome its inherent slant towards kitsch and facile effect.
This ambivalence invites further reflection on a number of fields of interest.
[1] The impact and function of national music further afield, and its interaction with the German-centred heartland and breeding-ground of Romantic Nationalism: South-Eastern Europe, as well as non-European countries beyond the Bosporus, the Mediterranean and the Atlantic; and these not just as delayed epigons of European developments, but involved in dynamics of their own.

[2] “Nothing is as transnational as nationalism”: not only does the nationalization of music affect many countries, the composers themselves were a highly mobile group and what was their “own” national idiom in the home country was appreciated as exotic local colour elsewhere. (National and exoticizing choices were never far apart, in that both offered a fresh stylistic register to spice up the ingrained classical idiom.) This transnationalism does not stop at Europe’s borders.

[3] Musical nationalism is also situated on a sliding scale from “advanced” works for the concert hall, by way of commissioned incidental pieces for public occasions, to work (mostly choral) written for general amateur performance. These margins of canonicity likewise invite closer reflection, also as regards the complex relationship between canonical prestige and social/political impact.
A conference will be held at the University of Amsterdam on these dynamics of musical nationalism and national music. The conference will take place on 12-15 September 2017 and is hosted by the Department of European Studies. The conference will consist of invited keynote lectures and sessions of self-submitted papers; the conference language is English. A proceedings publication with a reputable academic publisher in an international, peer-reviewed series is envisaged
Submission of papers, preferably on the historical negotiations of European/global/transnational or popular/canonical dynamics, is cordially invited; Please send an abstract (500 words max.), before 31 December 2016, to Dr. Kasper van Kooten, K.B.vanKooten@uva.nl.

The Soundscape of Early Modern Venice

International Conference
Venice, 25–27 May 2017

Organised by the Ca’ Foscari University of Venice (Department of Philosophy and Cultural Heritage), in collaboration with the Archivio Storico del Patriarcato di Venezia, the Swiss National Science Foundation and the Spazio Svizzero in Venice

CALL FOR PAPERS
Deadline for proposals: 30 November 2016

On basis of new perspectives offered by urban history, humanistic geography and historical anthropology, the conference aims to bring together inter- and multidisciplinary approaches to the significance of “soundscape” in the context of the rich and complex urban system of early modern Venice. As a supreme example of “ceremonial city”, Venice is particularly suitable for investigating how soundscape interacts with urban space in the creation of an elaborate social and cultural identity.

The conference forms part of ‘The Sound of Eternity. A Digital Platform for the Polyphonic Choir-Books of the Ducal Chapel of St Mark’s, Venice’, a research project funded by the Ca’ Foscari University of Venice, in continuation of ‘The Sound of Eternity. Investigating the Choir Books of the Ducal Chapel of St Mark’s, Venice’, funded by the Swiss National Science Foundation.

The official languages of the conference are English and Italian.

Suggested topics for the conference include:
Soundscape and urban identity
Sound and civic ceremonial
Sound and space in urban life
Sound and the “Myth of Venice”
Tradition and innovation in urban soundscape
Urban sound and cultural patronage
The economics of sound in performance
Methodological perspectives

Selected papers will be published in English in a dedicated, peer-reviewed volume (to be published by Brepols, Turnhout, in the new series Venetian Music Studies).

Please email proposals (250-350 words) for 20-minute papers (with 10 minutes for questions and discussion) as well as a short biography to

soundscape2017@unive.it

Further updates and conference information will be available (from January 2017) on the conference website (which will continue to be updated with details about costs, events and accommodation as the conference draws nearer):

vmo.unive.it/soundscape2017

Accepted proposals will be announced before 15 December 2016.

Organising Committee
David Bryant, Augusto Celentano, Luigi Collarile, Renzo Orsini
Ca’ Foscari University of Venice

Please address all queries to:
David Bryant – david.bryant@unive.it
Luigi Collarile – luigi.collarile@unive.it

1st Young Musicologists and Ethnomusicologists International Conference (YMEIC ROME 2017)

Music, Individuals and Contexts: Dialectical Interactions

1st Young Musicologists and Ethnomusicologists International Conference

University of Rome “Tor Vergata”, 27-28 April 2017

The Association “Ricerca Continua. Alumni Lettere e Filosofia Tor Vergata”, in collaboration with the Department of History, Humanities and Society – University of Rome “Tor Vergata”, is glad to announce that the 1st Young Musicologists and Ethnomusicologists International Conference will be held on 27-28 April 2017 at the University of Rome “Tor Vergata” – Lettere e Filosofia, via Columbia 1, Rome.

The conference is primarily intended for early-career musicologists and ethnomusicologists (max. 40 years old). The aim of the YMEIC ROME 2017 is to encourage the circulation of knowledge and to create an opportunity to share ideas on music and its academic disciplines.

The conference is focused on the following theme: «Music, Individuals and Contexts: Dialectical Interactions». We welcome contributions which consider both the role of innovators and key figures (composers, musicians, theorists, librettists, etc.) in specific or in different cultural contexts, and/or the influence of contexts on the individual experience. The lines of investigation can assume all musicological and ethnomusicological research fields and also contributions of interdisciplinary character.

Both individual paper (20 minutes) and panel discussions (min. 3 scholars per session) are equally encouraged. The conference languages are: Italian, English, Spanish and French. All the slides (Powerpoint or pdf) must be exclusively in English.

Proposals (max. 400 words) should be sent as a Word attachment to the following e-mail address: ymeic2017@gmail.com, by using the specific (see http://www.ymeic.com). We plan to publish the conference proceedings, following review process.

Deadline for submission of proposals: 31 January 2017
Notification of abstract acceptance: by 1 March 2017
Conference dates: 27-28 April 2017
Deadline for submission of final papers: 31 May 2017

Organizing Committee:
Nadia Amendola
Alessandro Cosentino
Giacomo Sciommeri

Scientific Committee:
Giorgio Adamo
Nadia Amendola
Alessandro Cosentino
Serena Facci
Teresa M. Gialdroni
Giorgio Sanguinetti
Giacomo Sciommeri

ODC2017 Traditions-Transitions

Orpheus Doctoral Conference 2017

Traditions-Transitions

22-23 February 2017

Orpheus Institute, Ghent

 

CALL FOR PROPOSALS

The Orpheus Doctoral Conference 2017, Traditions-Transitions, will explore how different modes of relationships between past and present affect musical performance practice and composition. Further, practitioners and researchers from the fields of music and social sciences will draw on Eric Hobsbawm’s notion of “invented traditions”, examining how traditions are forged, broken or interrupted and how they might be used as sources of renewal.

The conference will feature lectures by Richard Taruskin, Joanna Dudley (tbc), Sigiswald Kuijken and Esteban Buch as well as a musical gallery in which performances and installations addressing the conference topics will be interspersed with moderated discussions between artists and our guest speakers.

We invite researchers, practitioners and artist researchers within related fields to submit proposals that address the broad range of issues involved in the conference topics. Submissions should include, but are not limited to, themes that place strong emphasis on the interplay between social practices and musical performance. We welcome contributions in the form of theoretical papers, performances or a combination of the two.

For more information please visit http://www.orpheusinstituut.be/en/news/2016/10/call-for-proposals-odc-2017.

With the friendly support of the Academy of Creative and Performing Arts of the University of Leiden.

 

GUIDELINES FOR SUBMISSION

Submissions should be sent by email to odc2017@docartes.be and must include:

  • Name, organization (if any), email and phone contact
  • Abstract (max 250 words) + 3 keywords
  • Technical rider for proposals requiring equipment other than A/V
  • List of references (optional)
  • Short bio (max 150 words) and list of main publications/performances/works as well as links to supporting image, audio and video files.

Presentations are limited to 20 minutes. The language of the conference is English.

Call for proposals deadline: 15 November 2016

Notification of acceptance: 15 December 2016

‘Towards an Aesthetics of Dwelling’, International Society for Ethnology and Folklore 2017

SIEF 2017, Göttingen, 26–30 March 2017
CFP: ‘Towards an Aesthetics of Dwelling’
Conveners: Dr. Lillis Ó Laoire & Dr. Férdia Stone-Davis

We inhale the world and we breathe out meaning” (Rushdie 1996). Just as certain sounds, gestures, and expressions are hospitable to certain forms of meaning so are songs, musics, stories, and aesthetics. They are embedded in different worlds and in different ways of being in the world; hospitality is a fluid, multidirectional dynamic.

Philosophical concerns deriving from the mainstream western tradition tend to separate ideas such as hospitality from aesthetics,
preferring, in a Kantian sense, a distanced appeal to objectivity.
Arguably, however, distanciation is balanced by the desire for
appropriation; an aesthetics of dwelling would include such a balance.

This panel discusses ideas of an aesthetics of dwelling by inscribing the body as a creator, a breather of meaning, in a linkage that acknowledges our existence as beings of thought, as thinkers of being. The study of folklore and popular culture contributes to this in a major way, revealing deeply ingrained human concepts of the aesthetic that continue to persist across cultures and that are everywhere present in contemporary mediascapes.

This panel invites paper proposals from music and other disciplines that explore an aesthetics of dwelling in relation to hospitality, focusing on the balance of proximity and distance across cultural frames and considering the relationship between ideas and bodily existence, tradition and novelty, and movement between bodies, ideas and cultural expressions.

The deadline for submissions is November 7th 2016.
Website for abstract upload:
http://www.nomadit.co.uk/sief/sief2017/panels.php5?PanelID=5023

Radio and Ethnomusicology: BFE One Day Conference

Link

Date: 22 October, 2016

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

Keynote Speaker: Prof. Tim Taylor, UCLA

Wesbsite: https://sites.eca.ed.ac.uk/radioethnomusicology/

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.