The First International Conference on Women’s Work in Music

First International Conference on Women’s Work in Music

4th – 7th September 2017, Bangor University, Wales

Contact: Rhiannon Mathias –


The School of Music at Bangor University is pleased to announce the First International Conference on Women’s Work in Music. The Conference has been timed to mark the 40th anniversary of the death of the Welsh composer Grace Williams (1906-77).

The Conference aims to bring together academics, researchers and music professionals from around the world to share their research and experience of all aspects of women working in music. The Conference 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. The diversity and richness of this work will be illustrated at the conference through presentations in areas such as historical musicology, music education, ethnomusicology, practice-led research and performance, composition, music analysis, popular music studies and much more.

The Conference Programme includes Keynote Presentations by leading scholar Dr. Sophie Fuller, author of The Pandora Guide to Women Composers: Britain and the United States, 1629-present, and the author and music journalist Jessica Duchen whose work has appeared in The Guardian, The Independent and The Sunday Times.

The Call for Papers for the First International Conference on Women’s Work in Music will be circulated in January 2017.

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,

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

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

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):

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 –
Luigi Collarile –

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:, by using the specific (see 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


22-23 February 2017

Orpheus Institute, Ghent



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

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



Submissions should be sent by email to 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:

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

CFP: (deadline extended) 9th European Music Analysis Conference (EuroMAC 9)


28 June–1 July 2017
University of Strasbourg, France

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

It is organised by the University of Strasbourg’s GRÉAM Research Centre and the French Society for Music Analysis (SFAM) with the support of the European societies for music analysis. The call for papers is available from the conference website and we are keen to receive proposals in keeping with the themes of the conference, as well as free proposals that will contribute to the growth and enrichment of our discipline.

The first European Music Analysis Conference was held in the city of Colmar (France) in 1989; it was followed by meetings in Trento (1992), Montpellier (1995), Rotterdam (1999), Bristol (2002), Freiburg im Breisgau (2007), Rome (2011) and Leuven (2014).

EuroMAC 9 is calling for submissions in the following formats:

• Pre-organised sessions,
• Spoken papers,
• Poster presentations.

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 on the website for each type of proposal).

EuroMAC 9 is dedicated to encouraging proposals for original and innovative contributions in the field of  music analysis from a wide range of perspectives.

Extended submission deadline (papers, posters, pre-organised sessions): 15 December 2016.

Participating societies:

• Gesellschaft für Musiktheorie (GMTH)
• Gruppo Analisi et Teoria musicale (GATM)
• Polskie Towarzystwo Analizy Muzycznej (PTAM)
• Société belge d’analyse musicale (SBAM)
• Société française d’analyse musicale (SFAM)
• Society for Music Analysis (SMA)
• Society for Theory of Music/Obščestvo teorii muzyki (OTM)
• Vereniging voor Muziektheorie (VvM)

Please visit for further information.