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 Only original, unpublished research will be taken into consideration: papers in print will not be accepted.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.

 

Musica movet: affectus, ludus, corpus

MUSICA MOVET: AFFECTUS, LUDUS, CORPUS

12th Biennial International Conference on Music Theory and Analysis
Belgrade, 13-15 October 2017

Call for papers

International Conference
Musica movet: affectus, ludus, corpus
October 13-15, 2017

Organised by
Faculty of Music
University of Arts
Belgrade, Serbia

To be held at:
Faculty of Music,
University of Arts, Belgrade

Keynote Speakers
Danuta Mirka (University of Southampton, UK)
Arnie Cox (Oberlin Conservatory of Music, USA)
Michael Spitzer (University of Liverpool, UK)

Program Committee
Patrick McCreless (University of Yale, USA)
Márta Grábocz (University of Strasbourg, Alsace, France)
Gesine Schröder (University of Music and Performing Arts, Austria)
Benedict Taylor (University of Edinburgh, UK)
Denis Collins (University of Queesland, Australia)
Milena Medić (University of Arts, Serbia)
Miloš Zatkalik (University of Arts, Serbia)
Srđan Teparić (University of Arts, Serbia)

Call for papers deadline: March 31, 2017.
Notification of acceptance (by e-mail): May 1, 2017.

Conference theme

In the year in which the Faculty of Music celebrates its 80th anniversary, the 12th International Conference on Music Theory and Analysis will be devoted to the issues of effect and impact of music, and its ability to arouse and move the emotions (soul), intellectual play (mind) and gesture (body) of the recipient (listener, performer, analyst) beyond the pleasure principle. Although the idea of movere, as a rhetorical, psychological, philosophical, and music-theoretical concept is thousands of years old, throughout the intellectual history of music it was being elucidated, examined and comprehended in various ways, and even today it invites theoretical and analytical rethinking. The Conference, therefore, aims to consider two essential questions as its starting point. One relates to the manners in which music with its musical eloquence is able, rhetorically speaking, to move the recipient. This question of HOW presupposes certain dispositional properties of musical composition in the sense of specific stylistic, genre, parametric, expressive, compositional-technical, gestural, tropic, intertextual, medial and other configurations that produce a kind of deviation, excess, frustration or inhibition with respect to normative expectations (intensification, concentration, condensation, expansion, fractalization, chromatization, diatonization, atonalization, dramatization, silence, quotation, allusion etc.). Possibilities seem to be enormous.The other question is the one of the effects of music in the recipient’s response. It is the question of WHAT (music) DOES; it suggests an attaining of the desired, intended goal, and this means movere (to be moved, aroused, provoked, transformed and so on).
The Conferences chooses three concepts (affectus, ludus, corpus), namely, the affective, ludic and corporeal kinds of compositional, (a)perceptual, cognitive, signifying, interpretative, epistemological experience as its focal point, and in this regard, it suggests the following topics:
1. affectus: pathos, ethos, affect, emotion, feeling, Empfindsam, atmosphere, mood, Stimmung etc.;
2. ludus: an (inter)play as a way of doing/perceiving music, music as ludus; compositional procedures, strategies, rules, conventions, operations for listeners, performers, analysts in a manner of ilinx, agon, alea, mimesis (mimicry);
3. corpus: the expressive gestures, embodied meaning, bodily metaphors in musical discourses; embodiment in the perception and cognition of music, embodied music theory, etc.
The Conference suggests diverse historical and/or contemporary theoretical and analytic approaches connecting the two aforementioned questions and three concepts, with their intra- and interdisciplinary combinations
− historical examination of musical concepts and compositional techniques;
− contemporary music-theoretical and analytic approaches: tonal and post-tonal analysis;
− thematic, transformational, generative and prolongational processes;
− from rhetoric to semiotic;
− from theory of genre to gestural theory;
− from perceptive to cognitive theories (psychology of music);
− arousal theory, association theory, expression theory, resemblance theory;
− theory of embodied meaning,
− theory of affect, affective signification;
− other approaches are welcome.
The Conference is particularly interested in original and innovative approaches.

The official language of the Conference is English.
A selection of papers will be considered for publication in an edited book.

Conference fee: 50 € (Euros)

Proposal formats
1. Spoken papers (20 minutes plus 10 minutes for discussion)
2. Panels (3-4 participants, 80 minutes plus 10 minutes for discussion)
3. Book presentations (30 minutes)

Submission guidelines
Please send (in Word format, not Pdf)
− title, abstract (up to 300 words) and a short biography (up to 150 words plus five representative publications which are not included in the word count) for proposal of spoken papers;
− title, description of the panel (up to 400 words), an abstract of each individual paper (up to 300 words) and a short biography of each participant (up to 150 words plus five representative publications which are not included in the word count) for proposal of panels;
− the exact title of the book, year of publication, name of the publisher and a short abstract for proposal of a book presentation,

to the following mail:
musicamovet2017@fmu.bg.ac.rs

Kindest regards,
Miloš Zatkalik, Milena Medić and Srđan Teparić

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

‘I Am Not There’ International Conference on Bob Dylan

18-19 May 2017

Lisbon, Faculty of Social and Human Sciences, NOVA University of Lisbon.
Organization: CETAPS and CESEM

Call for Papers
(until 26 January 2017)

In 1999, Bob Dylan (b. 1941) was included in the ‘Time 100: The Most Important People of the Century’ as a “master poet, caustic social critic and intrepid, guiding spirit of the counterculture generation”. In 2008, the Pulitzer Prize jury awarded Dylan a special citation for “his profound impact on popular music and American culture, marked by lyrical compositions of extraordinary poetic power”. In May 2012, Dylan received the Presidential Medal of Freedom from President Barack Obama. In 2016, the artist was awarded the Nobel Prize in Literature “for having created new poetic expressions within the great American song tradition”. The New York Times (13-10-2016) reported: “Mr. Dylan, 75, is the first musician to win the award, and his selection on Thursday is perhaps the most radical choice in a history stretching back to 1901…In choosing a popular musician for the literary world’s highest honor, the Swedish Academy, which awards the prize, dramatically redefined the boundaries of literature, setting off a debate about whether song lyrics have the same artistic value as poetry or novels”. After the official Nobel announcement, opinions divided the public and critics. CETAPS (Centre for English, Translation and Anglo-Portuguese Studies) and CESEM (Sociology and Musical Aesthetics Research Center), NOVA University of Lisbon, decided to analyze and celebrate the aesthetic, historical, political, and cultural significance of Bob Dylan’s musical, literary and artistic (visual) work, as well as its influence(s).
The initial expression in the conference’s title is the title of the biographical musical drama film I Am Not There (2007, directed by Todd Haynes and co-written with Oren Moverman), which intercuts the storylines of seven different Dylan-inspired characters. According to Haynes, “the minute you try to grab hold of Dylan, he’s no longer where he was. He’s like a flame: If you try to hold him in your hand you’ll surely get burned. Dylan’s life of change and constant disappearances and constant transformations makes you yearn to hold him, and to nail him down. And that’s why his fan base is so obsessive, so desirous of finding the truth and the absolutes and the answers to him – things that Dylan will never provide and will only frustrate” (apud D. Dalton, Who Is the Man?: In Search of the Real Bob Dylan, 2012).

We will privilege comparative and transdisciplinary approaches. Potential contributors are invited to submit a bionote and a 300 word abstract on themes related to any of the following conference tracks:

• Influences in/of Dylan’s music;
• Bob Dylan and awards;
• The ‘power’ of the Nobel prize for literature;
• The alter-egos and personas of Robert Zimmerman/Bob Dylan (Blind boy Grunt, Bob Landy, Tedham Porterhouse, etc.);
• Dylan’s music videos;
• Dylan in/as performance;
• Dylan and religion;
• Art, activism, protest, and social unrest;
• Dylan on stage – presence, performance and liveliness;
• Dylanesque spaces and places;
• Influences in/of Dylan’s visual art;
• Intertextuality in Dylan’s lyrics, music and videos (text-music relationship);
• Intermediality in musical genres and practices;
• Lyrics as/and poetry/literary narratives;
• Dylan depicted (visual biographies, photography, press and record [album] covers, official website);
• Dylan in cyberspace (myspace, facebook, youtube, etc);
• Dylan’s songs;
• Dylan as trend-setter;
• Musical style(s) in Dylan;
• Bob Dylan in the classroom;
• Adaptation of Dylan’s texts as children’s literature;
• Dylan in/and translation;
• Dylan’s fandom;
• Academia and Dylan’s fandom;
• Music as a social and political agent in Dylan’s and other composers’ production;
• Dylan, music and the moving image (cinema, documentary, television, internet);
• The roles and ideologies of musical, literary and artistic criticism: after Dylan;
• Gender and music;
• Listening to Dylan: social behaviors, musical taste, consumption patterns.

Working languages: Portuguese, English, Spanish. No translation will be provided.

Papers and panels on the above themes are invited. However, papers/panels on other subjects related to the above topics will also be considered. Participants will be held to a twenty minute presentation limit. Please submit an abstract and a bio note, by 05 January 2017, to the conference email:

bobdylanconferenceportugal@gmail.com

To ensure prompt notification, please include your e-mail address on your submission. If you are interested in chairing a session, please note this at the top of your abstract.
Registration fee: 80 euros. BA and MA students: 30 euros.

Conference website: https://internationalconferenceonbobdylanportugal2017.wordpress.com/

Coordination: Rogério Puga (CETAPS) e Paula Gomes Ribeiro (CESEM).

TAGS 2017

Saturday 18th to Sunday 19th February, 2017 – SMA & Bangor University

Society of Music Analysis & School of Music, Bangor University,College Road, Bangor LL57 2DG

Deadline for proposals: 16th December 2016
Keynote Speaker: Professor John Rink (University of Cambridge)

The SMA’s annual Theory and Analysis Graduate Students (TAGS) Conference will be hosted by Bangor University, in the newly refurbished building of the School of Music on Saturday 18th and Sunday 19th of February, 2017. The conference interlinks with the Bangor Music Festival. The event provides a supportive and friendly environment in which postgraduates can gain experience in presenting their work and meet fellow researchers. Participants who do not wish to give a paper are also very welcome.

Our keynote speaker, Dr John Rink, is Professor of Musical Performance Studies in the Faculty of Music at the University of Cambridge. In our TAGS 2017 conference, the SMA particularly invite papers from postgraduate students exploring the intersections between analysis and musical performance and/or performance analysis, but proposals are invited for 20-minute papers, themed sessions and lecture recitals addressing any analytical, critical or theoretical subject and in relation to any style of music. This includes:

•         Analysing non-Western Musics;

•         Performance as Analysis / Analysis as Performance;

•         Analysis, Philosophy, and Critical Theory;

•         Intersections between History, Theory, and Analysis;

•         Analysing Popular Music and Improvisation;

•         Music Perception and Cognition;

•         Empirical Approaches to Music

•         Analysing a-/microtonal Music;

•         Themed sessions focusing on the analysis of a particular work(s), or on specific arrangements or transcriptions are also welcomed.

For 20-minute paper proposals, abstracts of no more than 250 words should be sent by email to Matthias Wurz at m.wurz@bangor.ac.uk. Please include name, affiliation, postal address, email address, and AV requirements on a separate cover sheet (Ms Word or PDF). Organisers of themed sessions should submit a brief overview together with the individual abstracts. Proposals for lecture recitals / composition performances should include full details of the proposed performance and any relevant requirements in their cover sheet.

The closing date for receipt of proposals is 16th December 2016. All those submitting proposals will be notified of the outcome by the beginning of January 2017. Delegates will be invited to register from lunchtime on Saturday 18th February, and the conference will run until Sunday afternoon, 19th February, 2017.

For information about travel to the School of Music at Bangor University: https://www.bangor.ac.uk/music/study-with-us/find-us/en

If you are presenting a paper you will be eligible to apply for an SMA Student Travel Bursary to help cover the costs of travel and accommodation (B&B accommodation will be available). Further details can be found here; please note that the deadline for applications for bursaries is 17th February 2017.

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

Professor Reicha: Pactice and Legacy of a Composer-Teacher

organized by
Centro Studi Opera Omnia Luigi Boccherini (Lucca)
Palazzetto Bru Zane – Centre de musique romantique française, Venice

Lucca, Complesso Monumentale di San Micheletto
10-12 November 2017

Call for Papers

The Centro Studi Opera Omnia Luigi Boccherini of Lucca has organised the symposium «Professor Reicha: Pactice and Legacy of a Composer-Teacher», to be held in Lucca, Complesso Monumentale di San Micheletto, from Friday 10 until Sunday 12 November 2017. Antonin Reicha (1770-1836), as a counterpoint teacher at the Paris Conservatoire, had the privilege to form, between 1818 and his death, a new generation of composers. Berlioz, Liszt, Gounod, Franck, Habeneck, Kastner, and Onslow, are the most famous names within an army of unknown musicians that influenced their time during a crucial period. Furthermore, the musical views of Reicha had an impact beyond Paris: both as an author of four musical treaties translated all around Europe, and as a composer.
This international conference aims to focus on the figure of Reicha, on the link existed between his musical production and his teaching, on the becoming of his students, and on the filiations that we can find between Reicha’s thoughts and romantic works produced in Europe during the 19th century.

The programme committee encourages submissions within the following areas:

  • Reicha’s Contemporaries: Beethoven, Cherubini, Haydn, Salieri, etc.
  • Reicha’s Treatsies: From Redaction to Reception
  • Reicha and the Counterpoint
  • Reicha’s Work at the Paris Conservatoire
  • The Music Educational Overview in 19th-Century Paris
  • Reicha’s Pupils: Carriers and Works of Berlioz, Liszt, Franck, Gounod, etc.
  • Performing Style and Virtuosity: From Reicha to Liszt and Franck
  • Reicha’s Chamber Music and the Parisian Musical Life in the Public and Private Spheres
  • The Legacy of Antonin Reicha in the 19th-Century Europe

Programme Committee:

  • Hervé Audeon (Institut de Recherche en Musicologie – IreMus, Paris)
  • Louise de Raymond (Université François-Rabelais, Tours)
  • Étienne Jardin (Palazzetto Bru Zane)
  • Roberto Illiano (Centro Studi Opera Omnia Luigi Boccherini)
  • Fulvia Morabito (Centro Studi Opera Omnia Luigi Boccherini)
  • Alban Ramaut (Université Jean Monnet, Saint-Etienne)

Keynote Speakers:

  • Alban Ramaut (Université Jean Monnet, Saint-Étienne)
  • Hervé Audeon (Institut de Recherche en Musicologie – IreMus, Paris)

The official languages of the conference are English, French and Italian. Papers selected at the conference will be published in a miscellaneous volume.
Papers are limited to twenty minutes in length, allowing time for questions and discussion. Please submit an abstract of no more than 500 words and one page of biography.
All proposals should be submitted by email no later than ***Sunday 17 April 2017*** to <conferences@luigiboccherini.org>. With your proposal please include your name, contact details (postal address, e-mail and telephone number) and (if applicable) your affiliation.
The committee will make its final decision on the abstracts by the end of April 2017, and contributors will be informed immediately thereafter. Further information about the programme, registration, travel and accommodation will be announced after that date.
For any additional information, please contact:

Dr. Massimiliano Sala
conferences@luigiboccherini.org
www.luigiboccherini.org

Be not afeard: language, music and cultural memory in the operas of Thomas Adès

Senate House, London 24–25 April 2017

CfP deadline: Monday 16th January 2017

 

Thomas Adès has drawn attention to the ‘mysterious thing that happens when you set actions to music: a third shape that emerges when something non-visual like a musical score is acted out by people moving on a stage’. This conference will explore Adès’s three operatic shapes of music, text, and performative realisation through the lenses of language and cultural memory.

The event will take place over two days. The first day will focus on analytical approaches to Adès’s operas, and will conclude with a round table on The Exterminating Angel prior to the UK premiere of the opera at the Royal Opera House that evening. The second day will focus on interdisciplinary approaches to Adès’s operas and their broader contexts.

 

Call for Papers

The conference organisers welcome paper proposals (20 minutes maximum, with 10 minutes for questions) for this event. The themes of the conference will include:

  • the translingual negotiation between music, verbal, filmic and theatrical languages
  • translations and reworkings of source materials for the operas
  • place, space and cultural memory (including on stage, screen or in performance)
  • time and temporality (music, text, staging)

 

Send proposals (including title, academic affiliation, 300-word abstract and technical requirements) to Edward Venn (e.j.venn@leeds.ac.uk) by 4pm (GMT) on Monday 16th January 2017.

 

Confirmed Speakers: Thomas Adès; Peter William Evans (Queen Mary University of London); and John Roeder (University of British Columbia, Vancouver)

Programme Committee: Paul Archbold (Kingston University), Catherine Davies (Institute of Modern Languages Research, School of Advanced Study), Christopher Dromey (Middlesex Univeristy), Philip Stoecker (Hofstra University), Edward Venn (University of Leeds)

Sponsors: AHRC Open World Research Initiative, Institute for Modern Languages Research, Music and Letters Trust, Society for Music Analysis

 

Cross-Language Dynamics – Reshaping Community: Translingual Strand

http://www.sma.ac.uk

Musical Improvisation in the Baroque Era

organized by
Centro Studi Opera Omnia Luigi Boccherini (Lucca)

In collaboration with
Ad Parnassum. A Journal of Eighteenth- and Nineteenth-Century Instrumental Music

Lucca, Complesso Monumentale di San Micheletto
19-21 May 2017

Call for Papers

The Centro Studi Opera Omnia Luigi Boccherini of Lucca, in collaboration with Ad Parnassum Journal, is pleased to invite submissions from scholars of proposals for the symposium on «Musical Improvisation in the Baroque Era» to be held in Lucca, Complesso monumentale di San Micheletto, from Friday 19 until Sunday 21 May 2017. Baroque culture liked testing the possibilities of every field of art. The new scientific mentality of the seventeenth century gave rise to a continuous experimentation whose music improvisation was an important part. The invention on the continuo bass, the evolution of the tonal system, the rich music theory production, the most part in manuscript, the close relationship between poetry, music, painting, architecture, are all signs of an open state of mind that this international conference aims to clarify. Luxury, rather than monumentality, was the real purpose of baroque art. Motion, not stillness, had to surprise listeners and viewers. Improvisation surprises listeners with motion and luxury, and it is one of the best key to understand the century.

The Symposium aims to investigate the many different facets of music improvisation in the said period. The scholarly committee particularly welcomes proposals that address the themes listed below, although other, related topics are also welcome:

  • Gesture and Improvisation
  • Improvisation into Composition
  • Issues of Performance Practice
  • Castratos and Instrumental Virtuosos
  • Improvisation in Instrumental and Vocal Music: Genres, Embellishments, Figuring Continuo
  • Contemporary Treatises and Aesthetics
  • Pedagogical Exercises and the Art of Partimento

Programme Committee:
• Simone Ciolfi, Rome
• Roberto Illiano, Lucca
• Fulvia Morabito, Lucca
• Massimiliano Sala, Bergamo
• Rohan H. Stewart-MacDonald, Warwickshire, UK

Keynote Speakers:
• Guido Olivieri (University of Texas at Austin)
• Giorgio Sanguinetti (Università Tor Vergata, Roma)

The official languages of the conference are English and Italian. Papers selected at the conference will be published in a miscellaneous volume.
Papers are limited to twenty minutes in length, allowing time for questions and discussion. Please submit an abstract of no more than 500 words and one page of biography.
All proposals should be submitted by email no later than ***Sunday 19 March 2017*** to <conferences@luigiboccherini.org>. With your proposal please include your name, contact details (postal address, e-mail and telephone number) and (if applicable) your affiliation.
The committee will make its final decision on the abstracts by the end of March 2017, and contributors will be informed immediately thereafter. Further information about the programme, registration, travel and accommodation will be announced after that date.
For any additional information, please contact:

Dr. Massimiliano Sala
conferences@luigiboccherini.org
www.luigiboccherini.org