iFIMPaC 2016

In celebration of Leeds College of Music’s 50th Anniversary IFAI presents iFIMPaC 2016.

Thursday, 10 March 2016 and Friday, 11 March 2016

Keynote speakers and performers to be announced soon.

The International Festival for Innovations in Music Production and Composition is a metropolitan festival and takes place at Leeds College of Music and venues around the City of Leeds.

The festival creates a unique environment for composers, producers, performers, academics and students to perform and discuss their compositional/production work as practice-led research. This year’s event will continue its association with Nonclassical where we will be running a Nonclassical club night.


Submissions will be selected for either:
  • Concert hall with diffusion rig and projection
  • ‘Nonclassical’ club night event curated by Gabriel Prokofiev
  • ‘Off The Beaten Track’ evening event curated by Matthew Bourne

The following is not meant to be an exhaustive list and submissions may fit more than one of the daytime or evening events. As a guide we welcome:

  • Live Music embracing hybridity/plurality as part of the composition process
  • Solo instrument/small ensemble with live electronics*
  • Improvised sets
  • Experimental DJ sets
  • Live Coding
  • Experimental DJ sets
  • Laptop improvisation/live coding
  • Left Field Improvisation/Jazz
  • Solo instrument/small ensemble and live electronics*
  • Club music (electronic music influenced by pop, IDM and electronica)
  • Live IDM

For ‘Nonclassical’ and ‘Off the Beaten Track’ events we are happy to consider music that does not fall into the above categories and escapes definition.

  • Stereo acousmatic music for diffusion
  • Interdisciplinary work that includes sound/music
  • Multichannel pieces (5.1 and up to 8 channels + LFE)
  • Multimedia/Audio Visual pieces (including installations)
  • Solo instrument and fixed medium and/or live electronics*

*we may be able to supply performers in some instances, but you should consider acquiring your own performers as iFIMPaC’s budget is small.

  • 50 second audio visual works to be played as part of an installation (must be precisely 50 seconds)**
  • Format (MOV or MP4); H264 video codec; ACC audio codec (stereo); between 720 and 1080p

**selected 50 second video works will be played back-to-back as part of an audio-visual installation.

 


The following are welcome, but this is not an exhaustive list:

  • New Music: composition practice and plurality
  • ‘Shifting’ practices in electroacoustic music
  • Electroacoustic music and hybridity
  • Interdisciplinary practices
  • Electroacoustic music and analysis
  • Approaches to live coding
  • Unique interfaces and approaches to performance
  • Composition systems and techniques
  • The shifting relationships between spaces and places in music production practice
  • Dispersed creativity and how people are collaborating as a result of new technologies
  • Production analysis and innovative approaches: music technology in a commercial and/or academic settings

Preference will be given to topics that include interdisciplinary approaches that inform new insights into the creative applications of music technology, compositional methodology and/or production. Individual presentations should be no more than 20 minutes in duration (there will be a further five minutes for questions).


 

Registration

Successful applicants will need to register and pay a delegate fee in order to be programmed.

If your submission is successful, and is acousmatic, but you cannot attend, you will still need to register and pay the delegate fee. You may nominate an attendee to diffuse your work.

Registration fees are as follows:

Two days:

  • Single delegate £135
  • Institutional rate (up to four delegates) £340
  • Concessions* £60

One day:

  • Single delegate £75
  • Institutional rate (up to four delegates) £180
  • Concessions* £35

*concessions are for unemployed, OAPs and non-LCoM students who are not performing or presenting. Concessions are not available for participants.


 

Deadline

The deadline for the submission of proposals is Monday, 16 November 2015.


 

Submission/Contact

Please submit your work here for iFIMPaC 2016: http://bit.ly/iFIMPaC2016

Any queries about a proposal or attending iFIMPaC should be directed to James Wilson.

International Musicological Society (IMS), 20th Quinquennial Congress in Tokyo

homepage  Tokyo University of the Arts, March 19 ‒ March 23, 2017

Call for Proposals
All musicologists and researchers in relevant fields, whether they are IMS members or not, are cordially invited to propose a contribution.

Congress Theme
Musicology: Theory and Practice, East and West

Presentation Categories
1) Free Papers (20-minute presentation and 10-minute Q&A)
2) Roundtables (focused on topics relevant to the theme of the Congress: 120 minutes including Q&A)
3) Study Sessions (90 minutes including Q&A)

Languages of Presentation
English, French, German, Italian, and Spanish. (Proposals must be transmitted in English.)

Deadline: January 15, 2016

Travel Subsidies
We are able to offer a limited number of travel subsidies to those who have no full-time professional affiliations and will be traveling to Tokyo from overseas, including students and post-doctoral researchers. The amount of subsidies ranges from 30,000 to 100,000 Japanese yen. (Please visit our Web site for more details.)

For Further Information   http://ims2017-tokyo.org/

Contact
Organizing Committee, IMS 2017 Tokyo
office[AT]ims2017-tokyo.org

Creativity in musical instruments, sound and music making

CONGRESSO DE ORGANOLOGIA | 2015 | ORGANOLOGICAL CONGRESS

International Scientific Meeting for Sound and Musical Instrument Studies

ANIMUSIC – PORTUGAL

18.19.20/Dezembro|December : TAVIRA – ALGARVE – PORTUGAL

CALL FOR PAPERS

THEME

The wide capacity for inventing sound tools and music has been a constant human evolution factor, from regional environments to the application of leading-edge technology. Modernity does not imply a merging homogeneous reality, nor entails a comprehensive Western permeation. Musical instruments reflect individuals and their societies, traditions and quests for novelty, as well as links and differences between cultures. Some sound objects are endlessly duplicated and common in all corners of the world while others are rare or even unique. So is each voice. We believe this meeting to be a good opportunity for bringing to light different spectra on the importance of musical instruments, sound and music making in human history. 

Following the natural crossroads in Organology, this year’s main theme is «Creativity in musical instruments, sound and music making». The theme is the ‘leitmotif’ of the conference and it is not exclusive; participants are welcome to explore the interdisciplinary essence of Organology and sound studies, on all topics and techniques relevant to our field. We may add that performance issues should especially refer to the instruments or sound producing devices used for the artistic communication, being possible to focus on the “creativity” of the composer in the use of the particular instrument/s or sound producing.

PARTICIPATION

We accept proposals for papers (15+5mn for questions and handover), panels (one hour), and posters, as well as lecture-recitals (30 to 40 minutes) and concerts. In addition, participants, namely inventors, makers and collectors, have the possibility to show a selection of their musical instruments or designs at the Exhibition. There is also a specific display area for books, scores, and other items, available during the conference days.

The common language for presentations is English. Papers may be read in Portuguese, Spanish, French or Italian, provided the PowerPoint projection is in English. We also accept participation with direct translation in special cases.

SUBMISSION

We look forward to abstracts that describe original and technically excellent research from various perspectives. The title, abstract (in English or bilingual, of up to 300 words), and a biographical note (up to 100 words) should be received by email on or before the 1st of October of 2015. The results shall be communicated individually by middle October after being peer-reviewed by the Scientific Committee. Papers presented at the Organological Congresses may be submitted for publication in the conference proceedings.

 

Please send proposals to congressorg2015.animusic@gmail.com

For further and updated information please check the website www.animusic-portugal.org or contact us at the email above.

CONCERTS

The exquisite art of the Hungarian Organist Gyula Szilágyi will be heard in a concert (Friday night, 18th of December) and in a lecture-recital (Sunday), playing on two historical organs, the first at the Igreja de Santiago and the second at the Igreja da Misericórdia. The famous Pianist Kyoko Hashimoto will perform on Saturday night, the 19th of December, works from one of her last recordings, “La danse des B…”, by Bach, Beethoven, Brahms, Blumenfeld and Bartók.

EXTRA-PROGRAM

Masterclass of Piano by Professor Kyoko Hashimoto (Japan/Canada) and Workshop on Historical Flute and Performance by Professor Michael Lynn (Oberlin, USA).

Towards the Origin of Music. Myths, Legends, and Historiographies in Interdisciplinary Discourses

Symposium, University of Berne, Switzerland Institute of Musicology, 19th&20th November 2015

Call for Papers (deadline for proposals: 31st July 2015)

„The origin of music is obscure“ (Bruno Nettl). Hitherto, thinking about the beginning of music and its representation occurred only sporadically – , especially in the context of myth and religion – and here mostly with sober perplexity. Strikingly, stories about the origin of music in history arise where different developments of music take place, namely as a way of thinking about stylistic shifts and changes, which are often drastically described as “the rise and fall” of certain musical directions. But what do these myths, legends and stories tell about our relation to music in the past and present? The symposium seeks to reflect about the origin of music by focusing in particular on the spectrum of general art mythology, inside and outside of European contexts: The comparisons to other arts, on a structural level, would open the scope to picture these questions in other disciplines. In addition to all the scientific and non-scientific theories, artistic representations, which have a special appeal on the subject, shall be considered as well: e.g. as subjects in operas and oratorios, carved in stone, on canvas and “al fresco” or as a priority issue of Romantic literature. The range of topics is broad, and therefore also capable for a stimulating interdisciplinary dialogue. Thus, the symposium offers a forum for disciplinary and interdisciplinary research projects (especially on doc or post-doc level) located at the boundaries of Art History, History of Science, Literature Studies, Cultural Studies, Anthropology, and (Ethno-)Musicology. These fields of research are largely devoted to the subject of music or the origin of the arts and seek for – or are in need of – a substantive and methodological dialogue. The main focus may be located in historiographically and/or artistically representations of the origin of music and/or the arts: myths and legends of origins in the historiographies of ancient, medieval, modern and contemporary times; historicity, philosophy of history, narratives of “emancipation”; collisions at the end of myths and supposedly new beginnings…

The symposium is organised by the Institute of Musicology at the University of Berne. Keynotes and responses will be provided by researchers, who are known for their interdisciplinary competence (Prof. Franz Körndle, Dr. des. Dominik von Roth, Prof. Michela Garda, Prof. Joachim Kremer). Please note: The conference languages are German and English. Arrival day shall be the 18th November 2015; travel expenses (Europe) and accommodations (2 nights) will be fully covered; the publication of conference proceedings are sought. Proposals for papers in English or German (max. 500 words) must be submitted by 31st July 2015 via e‐mail to vincenzina.ottomano@musik.unibe.ch or sascha.wegner@musik.unibe.ch (Authors will be notified about acceptance of submissions by 14.8.2015).

Visual Manifestations of Power and Repression in Music, Dance, and Dramatic Arts. 15th RIdIM Conference

Deadline to submit proposals: extended to July 31, 2015

VISUAL MANIFESTATIONS OF POWER AND REPRESSION

IN MUSIC, DANCE AND DRAMATIC ARTS

15th Conference of Association Répertoire International d’Iconographie Musicale (RIdIM)

The Ohio State University Libraries, Columbus, Ohio

9-10 November 2015

The Conference will address research related to manifestations of power and repression reflected in the visual representation of music, dance, and dramatic arts of all periods, cultures and media, including topics related to

  • the oppression of peoples and systems.
  • the establishment and performance of power, supremacy and repression.
  • peoples in diaspora and slavery.
  • Colonial and Postcolonial discourses.
  • social classes, ethnic groups, gender, sexuality.
  • economic, social, religious and political discrimination.
  • media and style-related discourses (for example, “photography and power”).

Also of particular interest are papers and posters that contextualise objects and issues of visual culture in its wider sense and thus present contemporary media within the subject areas. We would also be interested in papers and posters that focus on meta-discourses on manifestations of power and repression as linked with the representation of music, dance, and dramatic arts.

In recognition of the fact that the conference is hosted by The Ohio State University Libraries, the home of the Editorial Centre of the Association RIdIM database, sessions and activities related to data strategies will form an important part of the Conference. Paper and poster proposals in this area are therefore most welcome.

Proposals for papers and posters must present original research and findings, and may be on any topic related to the above themes. Paper presentations will be 20 minutes in length followed by 10 minutes time for discussion. For poster presentations a specific time slot will be assigned prior to the conference.

The language of the Conference is English. Papers and posters must be presented in person by at least one of the authors. There will be a registration fee for participation in the Conference.

Proposals for papers and posters must be submitted via the customised application form by July 31, 2015. Authors will be notified about acceptance of submissions by Friday, 21 August 2015.

Selected papers from the Conference may be published after the Conference. Authors may therefore need to ensure that any material presented is done so with the appropriate copyright clearance and that the paper presentation, or a version of it, has not been committed with a publisher. If there are any issues with this matter, please inform the organisers immediately following the submission of your paper proposal.

Programme Committee

  • Beatriz Magalhães Castro, Chair of the Programme Committee, Professor, Head of Graduate Studies in Music, Universidade de Brasília,
  • Antonio Baldassarre, Professor, School of Music, Lucerne University of Applied Sciences and Arts, and President, Association Répertoire International d’Iconographie Musicale
  • Zdravko Blažeković, Director Research Center for Music Iconography, The Graduate Center, The City University of New York
  • Alan Green, Professor, Head, Music/Dance Library Ohio State University
  • Clair Rowden, Senior Lecturer, School of Music, Cardiff University
  • Tatjana Marković, Professor, Universität für Musik und darstellende Kunst Wien
  • Suzanne Verderber, Associate Professor, Humanities and Media Studies, Pratt Institute

To submit a paper or poster proposal please fill in the application form following this link.

For further information please visit the homepage of Association Répertoire International d’Iconographie Musicale (RIdIM).

OM: Orient in Music – Music of the Orient

Łódź (Poland), Grażyna and Kiejstut Bacewicz Academy of Music, Department of Music Theory, International Conference, 10-11.03.2016

OM, a fundamental meditation sound present in the cultures of Buddhism, is a syllable full of philosophical and transcendental meanings. The category of Orient, as contrasted, antithetical and complementary to the Occident (West) and its culture, appears to be one of the most interesting and long lasting issues discussed in the humanities throughout the centuries. European fascination with oriental cultures has found multifaceted manifestations in science, art, fashion and beliefs.

Music, being an important element of the cultural communication, has always been well suited for transitions and inspirations. The relationship between Orient and Western music seems to compound a wide and fascinating scope of problems, a field of various multidimensional influences which brings an opportunity not only to study particular questions but also search for universal and fundamental values. The main aim of the proposed conference is to outline a range of the relationship between Western music and oriental cultures, the idea that could arouse interest mainly in both groups of researchers: ethnomusicologists and historians (or theoreticians) of music. However, the scope of musicological knowledge can be interestingly broadened by taking into account other perspectives, such as sociological, philosophical and others.

 

Call for papers

20-minute papers or longer panels of a few speakers (up to 60 minutes) are expected on any aspect connected to the conference theme, including (although not limited to) the following areas:

  1. Orient as a musical category (terminological/geographical frames and ranges of the musical Orient; the Orient and the Occident: musical correspondences; the Orient in musicology and other humanities)
  1. Music of the Orient (musical cultures of the Orient; music of the Orient: idioms and styles; ethnomusicological research regarding oriental cultures)
  1. The Orient as perceived musically (images of the Orient in Western music; oriental inspirations and stylizations in Western music; oriental elements in Western music – classical, popular, folk)
  1. Musical orientalism from theoretical perspective (the Orient in musicological research; methodology of oriental studies in theory of music and musicology; category of the musical Orient from colonial and postcolonial perspectives).

The language of the conference is English. Each submission should include the following information: author(s) name(s), academic affiliation(s), e-mail address, title of presentation, abstract (300 words max.), a short CV. All proposals must be submitted by 1 October 2015 to Prof. Marta Szoka (martaszoka@amuz.lodz.pl) or Małgorzata Grajter, Ph.D. (mgrajter69@wp.pl). Final decisions will be announced to speakers by 1 November 2015.

During the conference, an extensive program of mid-day and evening concerts on the 10th and 11th March 2016 (as well as a performance of Carl Maria von Weber’s opera Abu Hassan on the evening preceding the conference, i.e. on the 9th March 2016) is arranged (with a free admission for all participants) – the events will be announced in the build-up to the conference. There will be no conference fee. The organizers could only provide the information about travel opportunities and accommodation in Łódź. After the conference, selected papers will be published in a miscellany.

 

Analysis – Interpretation – Performance

A Contact Zone for the Reconsideration of Musicological Methods

Annual Conference of the Austrian Society for Musicology (ÖGMW) 2015

University of Music and Performing Arts Graz (KUG)
November 18–21, 2015

Programme Committee:
Christian Utz (chair); Klaus Aringer, Christa Brüstle, Federico Celestini, Martin Eybl, Werner Goebl, Gerd Grupe

Call for Papers [download]

Processes of musical performance are increasingly the focus of musicological attention. The discourse on the relevance of an aural interpretation for a contemporary understanding of music from the past was triggered by the trend towards historically-informed performance practice that developed from the 1960s onwards. Further “performative turns” in aesthetics, literature and theatre studies did not, however, bring about major repercussions in musicology until the 1990s. Together with an enhanced interest in the history of reception and performance, these developments finally contributed to an understanding of musical works not solely as objects of contemplation but also as frameworks for a “performance culture”. Parallel developments in technology enabled recordings to be used broadly as fundamental research material, often in performance-oriented corpus studies.

Nevertheless, the question of the position of musical analysis, as a traditional musicological tool, in the face of this methodological integration of performance and sound remains unresolved. Conventional approaches that considered musical analyses to be “guidelines” for performance have been decidedly refuted since the 1990s, culminating in Carolyn Abbate’s categorical separation of “drastic” musical experiences through live performances and “gnostic” interpretations based on established musicology and analysis. Recently, a more differentiated approach to this field of tension has emerged, paradigmatically represented in Nicholas Cook’s extensive concept of “music as performance”. Increasingly, the term “performance” is understood to encompass not only live situations but also various forms of medially-documented performances.

How can intuitive knowledge applied and gained in performances (as documented in “arts-based research”, for instance) and analytically-substantiated musicological insights synergize fruitfully? This question may be approached from diverse research traditions: along with the studies on reception and performance history that have been carried out over the course of several decades, the historical and systematic methods of British Performance Studies (including the research projects CHARM 2004–2009 and CMPCP 2009–2014), empirical research e.g. in Performance Science (international symposia/ISPS since 2007), and performance-oriented analytical methods, the rediscovery of structural analysis in ethnomusicology (in the journal Analytical Approaches to World Music, among others) has also shed new light on the field of performance, which had always been of central importance to that discipline.

Abstracts submitted for the annual conference of the Austrian Society for Musicology 2015 may thus feature any area of musicology and should address current research on the relationship between analysis, interpretation and performance as a challenge for reconsidering musicological methods.

Section 1: The Presence of Historical Sound
Section 2: Listening to the Twentieth Century: Musical Performance in the Era of Analysis
Section 3: Analyzing Interpretations and Interpreting Analyses
Section 4: Performance and Analysis in Non-Western Musical Genres
Section 5: Performance, Analysis and Empirical Research Methods

Keynotes:
Kai Köpp (Bern University of the Arts)
Joshua Rifkin (Boston University)
John Rink (University of Cambridge)
Renee Timmers (University of Sheffield)
Sarah Weiss (Yale University / YaleNUSCollege Singapore)

Abstracts for papers (up to 500 words) and poster presentations (up to 300 words) may be submitted by e-mail to oegmw2015(at)kug.ac.at until May 31, 2015. The abstracts will be reviewed anonymously by a jury. Notification of papers accepted will be made by July 15, 2015.

www.kug.ac.at/performance-analysis

2015 SEMPRE conference on Music and Health/postgraduate study day

Paper and poster submissions are invited for the 2015 SEMPRE conference on Music and Health/postgraduate study day, Glasgow Caledonian University, 21st and 22nd October 2015.

See the call for papers at:

http://www.smhn.hss.ed.ac.uk/sites/default/files/sempre_smhn_2015_call_for_papers.pdf

Submissions are invited for:

The SEMPRE Study day on Music Psychology and Education, Wed 21st October. This day is for postgraduate students and we invite work which focuses on music psychology and/or music education, but which may encompass a variety of related disciplines. Submissions should take the form of a 200 word abstract which clearly describes the research area and its relevance to music psychology or music education.

The SEMPRE Conference on Music and Health, Thursday 22nd October. Music is fundamental to human social life around the world, and there is growing evidence that music can have a profound influence upon health and wellbeing. Submissions are invited on research which explores the relationship between music and health, and which may encompass music listening, music performance, music therapy, community music or other topics which clearly relate to the conference theme. Submissions should take the form of a structured 300 word abstract, using the format:  Aims, methods, results, conclusions.

 

The deadline for submissions for the study day and conference is Monday July 20th 2015. Please submit abstracts to Don Knox, conference organiser at d.knox at gcu.ac.uk

 

The study day and conference are organised in association with the Scottish Music and Health Network (SMHN). Delegates from the SEMPRE events on 21st and 22nd are also invited to attend the third meeting of the SMHN on Friday 23rd Oct.

Further details on registration, delegate fees and the venue will be released soon via the SMHN website:

http://www.smhn.hss.ed.ac.uk/

ENIM 2015 – 5th National Conference on Musical Research

Évora (Portugal), November 12th to 14th, 2015

Organization:
SPIM – SOCIEDADE PORTUGUESA DE INVESTIGAÇÃO EM MÚSICA Évora (PORTUGAL) and UNIVERSIDADE DE ÉVORA

Call for papers

The 5th National Conference on Musical Research (ENIM 2015) will be held in Évora (Portugal), November 12th to 14th, 2015. The call is now open for paper and poster submissions, as well as for thematic panels of 3 to 4 presenters. All relevant themes on musical research are welcome.

Submissions should be sent in Portuguese, English or Castilian for the following formats:

Spoken papers: 20 minutes.
Panels: 1 hour and a half, including final discussion. Proposals should include a general abstract and individual abstracts.
Posters.

Proponents should send an abstract (250 to 300 words, and 3 to 5 keywords), a short bio (ca. 100 words), as well as information about equipment requirements. Panel proposals should indicate the general title and the name of the chair, besides the general abstract (ca. 300 words), and the individual abstracts and their titles. Each proponent can only submit one proposal (including individual submissions and panels). Proposal should be sent in Word format to enim2015@spimusica.pt by June 15th, 2015, at the latest. The mail should include the following information: name, institution, postal address, and phone number. The abstract should not include any identification information, only the title. The abstracts will be blind-reviewed by members of the scientific commission, and evaluation results will be sent by July 15th, 2015.
For further information, please contact:
enim2015@spimusica.pt

Scientific Committee
Luísa Cymbron
Susana Sardo
Francisco Monteiro
Manuel Deniz Silva
Helena Marinho
António Vasconcelos

Just in case

Taking British Music(s) Abroad: Soundscapes of the Imperial Message

16 June 2015

King’s College London

This Study Day will bring together PhD students, early career scholars and eminent speakers across the disciplines of Musicology, Ethnomusicology, English and History, whose groundbreaking projects will intersect to explore the nexus between sound, culture and empire in colonial, quasi-colonial and/or postcolonial contexts. Confirmed speakers will present diverse topics such as music at mission stations in nineteenth-century South Africa; transnational discourses of the British popular tune ‘It’s a Long Way to Tipperary’ during the Great War; the British-conceived Municipal Brass Band in 1930s multi-jurisdictional Shanghai; and the construction of British music examining boards as an emblem of imperial power from the late nineteenth century to the present day. There will also be a roundtable on ‘the politics of the archives’.

ORGANISERS AND CONTACTS

Philip Burnett: philip.burnett@bristol.ac.uk

Erin Johnson-Hill: erin.johnson-hill@yale.edu

Yvonne Liao: yvonne.liao@kcl.ac.uk

Anyone interested in presenting a paper in the remaining available slots should contact one of the event organisers.

REGISTRATION INFORMATION

FREE to all attending. Contact the event organisers for further details.

Tea and coffee will be provided during the breaks.

Lunch will be a finger buffet, provided.

Delegates requiring an overnight stay will have to make their own accommodation arrangements.

PROGRAMME

9.30-10.00 Registration
10.00-11.30 Panel 1
11.35-13:05 Panel 2
13.05-14.00 Lunch
14.00-15.00 KeynoteProfessor Bennett Zon (Durham)
15.00-15.20 Tea
15.20-16.50 Panel 3
16.50-18.00 Roundtable: ‘The Politics of the Archive’Chair:

Dr Kate Guthrie (Southampton)

Panelists will include:

Professor Bennett Zon (Durham)

Professor Sarah Weiss (Yale-NUS)

Dr Heather Wiebe (King’s College London)

Dr Thomas Irvine (Southampton)

Dr Joanna Bullivant (Nottingham)

Each panel will consist of three 20-minute papers with ten minutes of questions per speaker.

Confirmed Speakers

Joanna Bullivant (Nottingham)

Philip Burnett (Bristol)

Thomas Irvine (Southampton)

Erin Johnson-Hill (Yale/King’s College London)

Radha Kapuria (King’s College London)

Yvonne Liao (King’s College London)

Anna Maguire (King’s College London)

Special Guests

Professor Sarah Weiss (Yale-NUS)

Further Details to follow.