Porto International Conference on Musical Gesture as Creative Interface

Call for Papers:
Porto International Conference on Musical Gesture as Creative Interface

Conference info:
March 17–19, 2016
Universidade Católica Portuguesa
Porto, Portugal

(CFP Deadline: DEC 27, 2015)
Keynote Speakers:

Atau Tanaka (Goldsmiths, University of London)
Lawrence Zbikowski (University of Chicago)
Marc Leman (Ghent University)
Marcelo Wanderley (McGill University)

Miguel Ribeiro Pereira (CITAR, and ESMAE/ Instituto Politécnico do Porto)

The Research Center for Science and Technology of the Arts (CITAR) at the Catholic University of Portugal invites the submission of proposals to the Porto International Conference onMusical Gesture as Creative Interface.

In recent interdisciplinary research, the notion of musical gesture has emerged as a crucial interface for a post-Cartesian understanding of all forms of human music making involved in the creation of the multifarious relations that arise between music and sound, mind and body, movement and meaning.

The conference welcomes approaches that might clarify and further explore the various functions of musical gestures, whether metaphorical as concepts underlying movement perception and the organization of musical experience, of control as elements of interactive and computational systems, or communicative as vehicles for meaning in social interactions. In particular, we seek contributions that might be able to bring into contact the various tensions and “divides” of the field, using qualitative and quantitative methodologies; pursuing humanistic/artistic, natural, social, or technological inquiries; or exploring relations between phenomenological, perceivable, interactive, and measurable accounts of musical gesture.

We invite scholars from various disciplines to contribute to this international conference. The language of the conference is English.
Proposed Topics
The proposed topics for the conference might be of interest to a variety of fields, including musicology, music theory, psychology, cognitive sciences, human-computer interaction, social anthropology, among others.

Possible topics include, but are not limited to:

• Control, communication, and metaphorical functions of musical gesture
• Acquisition, tracking, recognition, and synthesis of gestures

• Listening and performance gestures as elements of musical analysis and experience

• Musical creativity, expression, and grammar

• Active listening, intention, agency, and narrativity

• Embodied music theory and cognition

• Social, philosophical, and cultural contexts of musical gestures

Submission guidelines

Please send abstracts (max. 500 words + max. 3 examples if appropriate), plus a short biographical note (max. 150 words), as a PDF file to the conference organizers no later than December 27, 2015, to the following email:


Notification of acceptance will be given by January 18, 2016.

The organization is unable to cover any expenses, but it may be able to offer combinations that include the conference fee, accommodation, and meals at special rates.
For further information, please contact: eventos@porto.ucp.pt

British Forum for Ethnomusicology Annual Conference 2016

British Forum for Ethnomusicology: Annual Conference, University of Kent, UK, 14–17 April 2016


University of Kent, School of Music and Fine Art, The Historic Dockyard, Chatham, Kent, UK

The BFE invites proposals for its 2016 conference, which will be held at the Historic Dockyard on the banks of the River Medway at Chatham. Proposals on any current research are welcome; papers having a nautical theme would be particularly appropriate, given the surroundings.

Proposals are invited for:

  • Papers (20 minutes with 5–10 minutes for questions)
  • Organised sessions (3 or 4 linked papers around a theme, totalling 1.5 or 2 hours)
  • Round table discussion sessions (3 or 4 shorter presentations, around 15 minutes each, followed by a chaired discussion, totalling 1.5 or 2 hours)
  • Poster or other material for digital display.

Proposals should be submitted in the following formats to enable them to be reviewed anonymously:

Paper proposals: include the name and email address of the proposer, paper title, and abstract (the latter not exceeding 300 words). The name of the proposer should not appear in the abstract.

Organised session proposals: include the names and email addresses of the proposer and the other participants, an overall abstract for the session (not exceeding 300 words), and abstracts for each contributor (no more than 300 words each). Abstracts should not include the names of any of the participants.

Roundtable proposals: include the names and email addresses of the proposer and the other participants (the proposer will be assumed to be the chair unless stated otherwise), an overall abstract for roundtable (not exceeding 300 words), and abstracts for each contributor (no more than 300 words each). Abstracts should not include the names of any of the participants.

Poster/digital display proposals (digital displays will allow research to be shared using electronic posters as well as videos and other media). Include the name and email address of the researcher, a description of the material to be presented (not exceeding 300 words), and a brief description of your technical requirements. The name of the proposer should not appear in the descriptions.

EXTENDED DEADLINE FOR SUBMISSIONS: 15 NOVEMBER 2015. Successful applicants will be notified in December.

Please note that all presenters must be members of the BFE at the time of the conference. Proposals should be submitted by email to bfeconference2016@outlook.com

BASS2016 PRAGUE: The Bass in Music

“Just a moment… Hold on… – Now! Do you hear it? There! Now! Are you listening? It will come back in a moment, the same passage, just one moment. Now! Now you can hear it! The basses, I mean. The double basses…”

(Patrick Süskind, Der Kontrabass)

Much of the world’s music, now and in the past, is supported by a deep voice, a low and booming sound that firmly grounds the music’s upper voices, fixating and liberating them at the same time. Essential to the music, yet often overlooked, this bass part can take many forms and guises: the basso profondo in Russian Orthodox choral music, the tambura drone in Indian Carnatic music, the synthesized bass lines of electronic dance music, the walking bass in Jazz, the basso continuo of Baroque music. In Western music of the past few centuries, the chosen instrument to fulfill this vital role was the double bass or its predecessors and relatives, such as the violone. Although more recently joined by the electric bass guitar, the string bass continues to be a mainstay in many a musical genre, including but not limited to Western classical music, Jazz, Country and Folk. Despite its prevalence and its worldwide community of millions of bassists, little research has been dedicated to the instrument.

For the first time, BASSEUROPE, the European foundation for double bassists, invites paper submissions dedicated to the string bass in all its facets. At BASS2016 PRAGUE , the 5th Biennial Double Bass Congress hosted by BASSEUROPE and the HAMU Academy , scholars will be given the opportunity to present their most recent work on the bass. All aspects of “bassistic” research are welcomed, and the call is open to studies in every musical genre, including non-Western music. Although the focal point is the double bass, also proposals on the electric bass and other stringed bass instruments will be considered. Some possible research areas are:

  • historical research
  • performance studies
  • biographical studies (of performers, composers, luthiers)
  • musicological research
  • pedagogy
  • organology
  • sociological or cultural studies (on reception, media, representation, identity,…)

Besides individual papers , also proposals for scientific posters and round table sessions are welcomed. Both papers and round table sessions will be 50 minutes (including a 10-minute Q&A for papers), posters will be up for the duration of the conference. Presenters are strongly encouraged to include live demonstration (e.g., lecture-performance) and/or media (audio, film, illustrations) in their session. Please note that a research presentation must be predominantly academic.

For a paper or a poster, send a 300-word abstract with a title and a description. For a round table session, describe the session’s main theme (up to 300 words) and list all names of the foreseen participants (maximum four) and their related expertise or affiliation.

Fill in the application at www.bass2016.eu/congress/presenters. By selecting “Research” you will get the option to append your abstract (PDF only).

Application deadline: March 1, 2016 (midnight) 
Authors notified by: April 1, 2016
Congress: September 20-25, 2016 at HAMU – Music and Dance Faculty of the Academy of Performing Arts, Malostranské nám. 12 – 118 00 Prague 1 – Czech Republic

The organization will investigate the possibility of publishing the conference proceedings.

The research committee is Matthias Heyman (University of Antwerp, Belgium), Mads Hermansen (Nordic School of Public Health, Denmark), and Michael Klinghoffer (Jerusalem Academy of Music and Dance, Israel).

Visit www.bass2016.eu (general information) or mail to papers@bass2016.eu (research-related questions).

Musical Cartographies

Musical Cartographies: The Harvard Graduate Music Forum Conference, 2016

29-30 January 2016

Harvard University Department of Music
Cambridge, MA

Keynote: Arun Saldanha (University of Minnesota)

Call for Proposals

This interdisciplinary conference investigates the relationship between music and the organization of space. Approaching the topic from the perspectives of both scholarly inquiry and creative practice, we will ask how music has been implicated in mappings of physical and conceptual spaces and how spatial mappings have functioned as ways of thinking about musical sound.

Topics for consideration include but are not limited to:

Geography, power, and identity:

  • How have historically and culturally contingent geographical formations conditioned music’s production, dissemination, and reception?
  • How does music intersect with geographically-mediated categories such as race, nation, and ecology?
  • How do issues of diaspora, migration, and stateless peoples complicate the relationships we draw between music and geography?

Representations of sound, time, and musical form:

  • How have music-theoretical models mapped domains such as pitch, timbre, and gesture?
  • How is map-and path- making implicated in music cognition and the phenomenology of listening, and how might models such as cognitive mapping shed light on these processes?
  • How might we think of musical notation and other visual representations of music as forms of cartography?

Practices and technologies:

  • How do scholars and creative practitioners draw and contest disciplinary, aesthetic and conceptual boundaries—for instance, between academic fields, between art forms, or between the “musical” or “extra-musical”?
  • How do composers, performers, and sound artists creatively organize the physical and conceptual spaces in which they work?
  • How have technologies been implicated in mapping musical spaces, and how have new media technologies altered the shape, nature, and limits of such spaces?

We welcome submissions from current graduate students exploring these issues from the perspectives of both research and practice. We seek proposals on all repertoires, musical practices, and historical periods from a broad array of disciplinary and methodological perspectives.

Formats for presentation include:

  • 20-minute papers, audiovisual presentations, or exploratory text works, with 10 minutes for discussion
    Please submit abstracts of a maximum of 350 words and, where appropriate, up to 4 additional pages for figures. Please add a short statement regarding AV requirements.
  • 30-minute composers’ colloquia, performances, or lecture-recitals, with 15 minutes for discussion
    Please submit details of the work to be presented in a maximum of 350 words and, where appropriate, links to downloads (via Dropbox, WeTransfer, Google Drive etc.) of relevant sound recordings, scores, and/or supplementary documentation.

In addition to the above questions, composers and performers might consider:

  • What role does space play in your conceptualization of musical form? In your approach to musical performance?
  • What is mapped during composition or performance? This could include time, coincidence, relationships, physical space, and other parameters.
  • How do you relate in your work to geographical categories such as race, nation, and ecology? Likewise, how do you relate to conceptual boundaries such as those between genres, art forms, or historical periods?
  • How do your creative practices challenge existing ways of mapping musical sound?

Deadline for the proposal: 17 November 2015

Please send submissions to: harvardgmf2016@gmail.com

For more information, please visit: http://projects.iq.harvard.edu/gmf2016/home

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).



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.



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



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/

Organizing Committee, IMS 2017 Tokyo

Creativity in musical instruments, sound and music making

4th International Scientific Meeting for Sound and Musical Instrument Studies



in TAVIRA, eastern side of Algarve, at the south Atlantic coast of PORTUGAL

CALL FOR PAPERS (open until the 20th of October)


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.


We welcome 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.


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 20th of October of 2015. The results shall be communicated individually by the end of 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.


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 Japanese 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.


Masterclass of Piano by Professor Kyoko Hashimoto (Professor at McGill University, Chair of Piano Area, Canada) and Workshop on Historical Flute and Performance by Professor Michael Lynn (Oberlin Conservatoire, USA).


Makers and inventors of musical instruments are welcome to participate at the ENCONTROIM – a time and place to communicate their art, with a special exhibition open to the public. INSTRUMENTS, CDs, TOOLS, PHOTOGRAPHS… All are welcome to this special Exhibition!

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



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.