Symposium on Music, Education and Social Inclusion

London, 20th-21st July 2017

A symposium is to be held at the School of Oriental and African Studies (SOAS) in London on July 20th and 21st 2017 to launch the Music, Education and Social Inclusion Study Group under the auspices of the ICTM.

Founding members include musicians, senior scholars and academics from Africa, Europe, the Caribbean, North America and Asia, reflecting the multicultural nature of the collective.

Historically excluded groups such as women and girls, ethnic minorities, vulnerabilities including disabilities and other marginalities have been systematically un- or under-represented in education, reflecting wider socially discriminatory practices that in turn are perpetrated and transmitted within the school system, shaping society at large beyond schools and academic institutions.

The symposium will focus on exploring multifaceted educational practices in relation to a wider spectrum of broader issues and thinking, such as:
• Education and Representation
• Issues of Identity in Education
• Social inclusion and Education
• Education and International Development
• Ethnomusicology, Transmission Practices (teaching/learning) and Social Inclusion
Other topics that might sit well within the broader agenda are welcome and encouraged.

Papers should be 20 minutes long, followed by 10 minutes of discussion and Q&A. Abstracts should be from 200 to 250 words in length and written in English; other languages might be considered on a case-by-case basis and only where the level of English is not sufficient to express concepts fully.
Alternative presentations – other than individual papers – are welcome and length can be negotiated on a case-by-case basis. Submissions in other forms (such as video) should be no longer than 5 minutes.

In order to make participation inclusive, and aware that traveling might not be an option for many who are interested in participating, a limited number of remote presentations through Skype will be considered, so applicants are encouraged to apply even in case they might not be able to attend in person.

Deadline for submission of proposals is March 1st, 2017; please submit abstracts to Keith Howard (kh@soas.ac.uk) or Sara Selleri (Sara_Selleri@soas.ac.uk). Participants will be notified by the end of April 2017.

The Sixth International Research and Practical Conference for Undergraduate, Graduate and Postgraduate Students “Ethnomusicology: History, Theory and Practice”

Dear colleagues,

On May 15–18, 2017 the Department of Ethnomusicology, the Center for Folklore and Ethnography named after A. M. Mekhnetsov and the Cabinet for Traditional Folk Music at St. Petersburg State Conservatory named after N. A. Rimsky-Korsakov hold The Sixth International Research and Practical Conference for Undergraduate, Graduate and Postgraduate Students “Ethnomusicology: History, Theory and Practice”. The event is dedicated to the 155th anniversary of St. Petersburg State Conservatory and the 90th anniversary of the Cabinet for Music Ethnography at St. Petersburg State Conservatory named after N. A. Rimsky-Korsakov foundation.

The main event of the Conference is The Sixth International Research Work Competition among Undergraduate, Graduate and Postgraduate Students. Laureates will be awarded diplomas of 1st, 2nd and 3rd degrees.

Sample topics for competitive paper presentations are:

  • History of ethnomusicology;
  • Calendar ritual folklore specifics;
  • Songs and laments for wedding rituals: function, style, typology;
  • Music epos and its diversity in ethnic culture;
  • Traditional folk song and dance specifics;
  • Traditional folk music instrument, piece and musician: problems of systematical approach;
  • Lyrical songs: style, structure and content;
  • Research in local folk songs traditions;
  • Composer and folklore;
  • Folklore in the modern world: problems of teaching and performance.

The jury could recommend awarded papers for publication in academic journals of  St. Petersburg State Conservatory named after N. A. Rimsky-Korsakov and other educational organizations.

Conference program include:
– competitive papers presentations;
– round table dedicated to 155th anniversary of Rimsky-Korsakov St. Petersburg State Conservatory and 90th anniversary of the Cabinet for Music Ethnography at Rimsky-Korsakov St. Petersburg State Conservatory foundation;
– master classes and open lectures of leading specialists in ethnomusicology, folkloristics, study of traditional folk instruments, ethnography and ethnology;
– master classes in traditional folk singing and instrumental playing in Russia and abroad;
– round table dedicated to relevant problems in professional training in the field of ethnomusicology, traditional folk sings and instrumental performance in modern conditions;
– concert of traditional folk music ensembles of secondary and higher educational organizations of Russia and abroad;
– presentation of academic, educational and methodological publications and multimedia projects related to traditional folk music culture;
– exhibition of digital and printed publications (CD, DVD), related to traditional folk music culture and prepared by the Department of Ethnomusicology, the Center for Folklore and Ethnography named after A. M. Mekhnetsov.

The deadline for applicants to participate in the conference is April 1, 2017. Samples of applications and conditions for participation in the conference are in the Regulations. Applications are accepted at: e_redkova@mail.ru (for Evgenia Redkovа) and antost@yandex.ru (for Anton Ostapenko).

The Organization Committee is searching for the opportunity to cover fees for staying at guest rooms of Conservatory’s hostel (ul. Doblesti, d. 22). Travel expenses are due to the sending party. Online participation (by Skype) is possible.

Contacts of the Organization Committee representatives:
Galina Lobkova, the head of the Department of Ethnomusicology at the Faculty of Musicology of St. Petersburg State Conservatory named after N. A. Rimsky-Korsakov. Tel.: 8 (812) 571-29-47, e-mail: galina-lobkova@yandex.ru
Eugenia Redkova, associate professor of the Department of Ethnomusicology, the head of the Cabinet for Traditional Folk Music of St. Petersburg State Conservatory named after N. A. Rimsky-Korsakov. Tel.: 8 (812) 312-04-68, +7-911-213-07-12, e-mail: e_redkova@mail.ru
Anton Ostapenko, specialist in folklore at the Center for Folklore and Ethnography named after A. Mekhnetsov of St. Petersburg State Conservatory named after N. A. Rimsky-Korsakov. Tel.: +7-952-261-89-77, e-mail: antost@yandex.ru.

2nd Annual Historical Performance Conference

CFP – Historical Performance / 2nd Annual International Conference
Historical Performance: Theory, Practice, and Interdisciplinarity
CFP Deadline: February 25, 2017
Conference Dates: May 19-21, 2017
Venue: Indiana University Jacobs School of Music, Bloomington

The Historical Performance Institute of the Indiana University Jacobs School of Music calls for papers for its second-annual international conference, Historical Performance: Theory, Practice and Interdisciplinary, to convene May 19-21, 2017 on the campus of Indiana University Bloomington.

Guidelines for CFP submissions and other preliminary details can be found by following this link.

Plenary speakers to include: Margaret Bent, Davitt Moroney, Laurie Stras, Nick Wilson, Claire Holden, Eric Clarke
With guest performers/speakers: Kenneth Slowik, Catalina Vicens
Convener: Dana Marsh (Director, Historical Performance Institute)

View the full inaugural conference program from May 2016 – click here

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