International Chopinological Conference: ‘The integration of a work: from miniature to large scale’

We are very pleased to announce the call for abstract submissions to the conference “The integration of a work: from miniature to large scale”.

The aim of the 2018 conference is to examine the ways in which works of instrumental music were integrated during the first half of the nineteenth century. Analysing the methods and factors integrating a musical work during the early Romantic era, from miniature pieces to large-scale works, is a crucial way of identifying composition technique, and consequently of defining composers’ individual styles and the style of the epoch.

Proposed thematic areas:
I Genres
1. Genre as a way of shaping the music
2. Genre as a method of social communication: the relationship between audience and artist, the impact of reception on decisions concerning genre, form and the shaping of musical elements
3. Blurring the boundaries between genres – standard or innovative composition techniques
– popular elements in post-Classical genres
– the influence of dance forms on non-dance genres
– the merging of features from different genres in cyclic and non-cyclic forms
– the Romantics and their forerunners – the distinctiveness of Romantic composers
II Form and structure
1. The influence of the miniature on the shaping of musical form -incl. sonata form, other large forms, cyclic forms
2. The musical work as an opus. Methods of integration
3. Structuralizing musical works
– symmetry vs linear thinking in musical structure
– the use of standard and non-standard forms in genres
– building tension and climaxes in a musical work
III Culture and communication
Aspects of pedagogy and its impact on composers’ creative attitudes
– how teaching methods influenced compositional processes (e.g. Chopin and Mendelssohn vs Berlioz and Liszt), how musical training influenced musical material
– the evolution of pedagogy in nineteenth-century Europe: from individual relations to conservatory classes
IV Elements of reception
Analytical traditions – analytical methods compared (concluding with a round table discussion)

Important Deadlines
The conference is planned from 26 to 28 September 2018.
Please submit proposed titles of papers and abstracts by 31 December 2017 to the fallowing e-mail:
Abstracts, no more than 1800 characters in length, should contain the main hypothesis, information on the material analysed and the method employed, and also research results.
The Academic Committee will choose the papers no later than 15 February 2018. All those invited to participate in the conference will be obliged to submit full papers by 1 August 2016; the papers will be made available to all participants (and no one else) before the conference itself.

For full details please visit our website at:

A National Master in an International Context. Musicological Conference on the 50th Anniversary of Zoltán Kodály’s Death

December 8–10, 2017, Budapest, Archives and Research Group for 20th-21st Century Hungarian Music, Institute of Musicology, Research Centre for the Humanities, Hungarian Academy of Sciences
Zoltán Kodály (1882–1967) is one of the most influential representatives of 20th-century Hungarian and universal music culture. His concept of music education based on relative solmization and folk music is known worldwide. His diverse compositional oeuvre, combining Western European modernity and the folk music as well as the music historical tradition of Hungary, and his revolutionary new ethnomusicological activity, however, became part of the musical canon almost exclusively in his country. The most important international summaries of music history – such as Richard Taruskin’s History of Western Music, or Hermann Danuser’s 20th-century music history – define him as a master of national importance, mostly opposed to his friend Béla Bartók who proved much more successful internationally, and highlight merely the Psalmus Hungaricus (1923) as the only composition of the life work constantly present in the international concert life, whereas the Háry-Suite and the Dances of Galánta are most frequently performed in concert halls. The primary purpose of the planned musicological conference is to make Zoltán Kodály’s compositional oeuvre known to the musicological community and to incorporate it at the same time into the musicological discourse on the 20th century. On the other hand, the conference wants to create an opportunity to assess the radius of the influential composer-teacher Kodály on the international compositional and musical scene and to focus research interest on the difficulties of methodological, cultural, and political nature, or even caused by the music market, which are concerning the involvement into the international public discussion of 20th-century composers considered important from a national perspective.
For the conference, we expect applications dealing with the following topics:
1. Zoltán Kodály’s compositional oeuvre (work analyses, aesthetic and philological approaches, the cultural and musical context of the oeuvre, Kodály and music politics, Kodály and the musical life, conservative modernism, Western and Eastern traditions, national styles in the 20th century, Kodály’s influence on subsequent generations)
2. Zoltán Kodály’s artistic and scientific radius worldwide (the activity of his significant disciples, such as István Anhalt, Antal Doráti, Ferenc Fricsay, Géza Frid, Tibor Harsányi, Paul Henry Lang, Ödön Pártos, György Sándor, Mátyás Seiber, Tibor Serly, Sándor Végh, and Sándor Veress)
3. The position of national composers, their possibilities to emerge in the international musical space (What are the chances of these composers as they start their career? What is the role of the performers and of the music scholars in this process? Case studies on composers)

Accompanying programs: On the day preceding the conference (December 7), participants of the conference will have the opportunity to take part at the international Dohnányi day organized by the Archives for 20th–21st Century Hungarian Music. On the closing day of the conference (December 10), an international ethnomusicological workshop will be held about the 21st-century assessment of Kodály’s influential and innovative classification of folk music, the present-day situation of historical ethnomusicology, and the contemporary methods of systematization and analysis. In the framework of a group excursion planned for December 11, participants of the conference may also visit Zoltán Kodály’s hometown Kecskemét (approx. 100 km from Budapest).

Proposals are invited for individual papers of 20 minutes. Proposals consisting of a title, abstract (max. 250 words), and short biographical note, should be submitted as a Word-file attached to an e-mail addressed to the organizer of the conference at by August 31 2017. Please include contact details and institutional affiliation (if any), along with details of anticipated AV requirements. The official language of the conference will be English.

Keynote speaker
Richard Taruskin, University of California, Berkeley

Conference committee
Marina Frolova-Walker, Faculty of Music, University of Cambridge, Cambridge
Melita Milin, Institute for Musicology, Serbian Academy of Sciences and Arts, Belgrade
László Vikárius, Bartók Archives, Research Center for the Humanities, Hungarian Academy of Sciences, Budapest

Conference organizer
Anna Dalos, Head of the Archives and Research Group for 20th-21st Century Hungarian Music, Research Center for the Humanities, Hungarian Academy of Sciences, Budapest (

Writing About Contemporary Artists: Challenges, Practices and Complexities

University of Surrey, UK, 20–22 October 2017

An international, multi-disciplinary three-day conference to be hosted at the University of Surrey, UK

Writing about living or recently deceased figures presents unique challenges for scholars, journalists, and creative practitioners alike. This conference seeks to nurture dialogue between a range of different artistic fields concerning writing about contemporary artists. It encompasses disciplines including music, dance, theatre, film, digital arts, and creative writing as well as biographical, analytical, socio-contextual, promotional, ethnographic, and other types of discourse. It will focus upon the act of writing and the strategies, ideologies, and assumptions contained therein, as well as the boundaries as to what constitutes “writing” about contemporary artists in its multifarious forms, considering creative practice approaches alongside more conventional representations.

All types of artists, from all styles, genres, and cultures, may be considered under the aegis of the conference, including (but not limited to): classical, popular and world musics, contemporary dance and theatre, musical theatre, biopics and documentary film, digital media, and creative writing. The conference views writing about all artists – performers, directors, composers, choreographers, conductors, etc. – as being of equal importance. The expectation is that the majority of papers will address innovative, distinctive, or otherwise leading work by living or recently deceased artists active within the last c.25 years.

20-minute papers (plus 10 minutes for questions) are invited on any aspect of writing about contemporary artists, including (although not limited to) the following broad areas whether singly or in combination:

  • Strategies for meaningful writing (in all its forms) about ‘life and works’
  • Interactions of biography, analysis, and cultural context, and the legitimising function of discourse
  • Artists writing about (and influencing writing about) their work; writing about artist processes
  • Theoreticians and critics writing from the perspective of artists and/or writing about artists’ processes
  • The development of journalism and criticism concerning contemporary artists; biographical writing beyond the academic disciplines
  • Analysing promotional discourse on contemporary artists; the influence of celebrity culture
  • Perceived or potential conflicts of interest, ethical and legal sensitivities in relation to writing about living or recently-deceased figures
  • Writing about subjects who are representatives of minority groups on grounds of gender, sexuality, race, etc.
  • Contemporary artists explored through documentary film-making or biopics
  • Non-conventional forms of biographical writing e.g. music composition, dance, theatre, digital media arts, creative writing

Proposals for panels of 3–4 papers (1.5–2 hours) on a closely related topic are also warmly welcomed, as are proposals for roundtables (3–5 participants, 1 hour duration).

Proposals adopting alternative formats will be favourably considered. The organisers would particularly invite papers that incorporate a practice as research dimension, or other creative work relating to the theme of the conference. We are also proposing a roundtable exploring questions around the status of creative practice as a form of research in different arts disciplines.

The conference will not merely confine itself to academic perspectives; to this end, we hope to include a roundtable between a variety of individuals from scholarly, journalistic, promotional and other backgrounds. The language of the conference will be English. Keynote speakers and details of roundtables and performances associated with the conference will be announced shortly, on the conference webpage.

We envisage that an edited volume, to be submitted to a major academic publisher of arts research, will be developed from papers presented at the conference.


Abstracts of no more than 300 words should be sent by 29 May 2017 to Dr Christopher Wiley (


  • Submission deadline: 29 May 2017
  • Submission notification: 30 June 2017
  • Registration deadline: 1 September 2017


The conference fee will be £90 per delegate (reduced rates available for students/the unwaged), including refreshments throughout the day but excluding the conference dinner, for which there will be a supplementary charge of £35. Entry to events planned as part of the conference will be included in the registration fee. Online registration will open in June.

The University of Surrey is located in Guildford, 40 minutes away from London by train, and within easy reach of Heathrow and Gatwick airports. Travel information can be found here. Information on local hotels is available on the Accommodation page.


Enquiries may be directed to the Chair of the Conference Committee, Dr Christopher Wiley (


Dr Christopher Wiley (University of Surrey, Chair), Ian Pace (City University of London, Deputy Chair), Dr Patrick Duggan (University of Surrey), Dr Shantel Ehrenberg (University of Surrey), Dr Bella Honess Roe (University of Surrey), Kirk Woolford (University of Surrey), Dr Lucy Ella Rose (University of Surrey).

This conference is organised in association with the Department of Music and Media, Guildford School of Acting, and the School of English and Languages at the University of Surrey. The conference organisers gratefully acknowledge the financial support of the Institute of Advanced Studies, Department of Music and Media, and Institute of Performance, University of Surrey.

Musical Instruments Resource Network (MIRN) conference ‘The Life Cycle of Musical Instruments’

Musical Instruments Resource Network (MIRN) Conference

Theme: The Life Cycle of Musical Instruments and MIRN’s first Q&A surgery

Date: Thursday, 12th October, 2017

Venue: Horniman Museum and Gardens, London, SE23 3PQ

Further information and updates:

Musical instruments can have curious and complex biographies! They often accumulate layers of wear, accretion, repair and modification, presenting challenges to all who come into contact with them.

This conference will explore the myriad ways that musical instruments have been adapted to extend their working lives, and the rationale behind such adaptations. What are the outcomes when new and old materials and past and present working practices meet? What values are relevant when we repair or change musical instruments, and how do we formulate an approach to accretions and interventions?

MIRN invites contributions from musicians, dealers, instrument makers/restorers, conservators, researchers and curators who have played on or worked with instruments that have undergone change, or who have themselves been agents in that change. Contributions may address general issues, relay a specific case history, or be a combination of both. Presentations may take the form of 5 minute (plus 5 minutes questions), 10 minute (plus five minutes questions) or 20 minute (plus 10 minutes questions) talks or talk/demonstrations. Panel discussions of 60 or 90 minutes, examining one issue or instrument from a variety of perspectives would also be welcome.

Following the presentations, MIRN will hold its first musical instrument Q&A surgery where members of the audience, who may bring (small) instruments or photographs with them, will be invited to pose questions to a panel of specialists. NB It will not be possible to accommodate questions regarding the valuation of individual instruments.

The conference day will be brought to a close with MIRN’s AGM to which all members are invited, followed by a social hour at a nearby pub.

Submit proposals by 5pm BST 10th June 2017 to with the subject line: CONF2017.

Proposal submission guidelines:

  • For 5 minute presentations: not to exceed 250 words
  • For 10 minute presentations: not to exceed 300 words
  • For 20 minute presentations: not to exceed 400 words
  • For panel discussions of 60 minutes: 3-4 speakers, submit one proposal not exceeding 450 words.
  • For panel discussions of 90 minutes: 4-6 speakers, submit one proposal not exceeding 500 words.

All proposals must include the proposer’s name, address, email address and institutional affiliation (if any). Each must state clearly the type of presentation for which application is being made. All prospective panel members must be listed and their individual details included as above. All proposals must be submitted electronically as Microsoft or Microsoft-compatible WORD documents attached to an email. Acceptances will be notified by 1st July.

The conference registration fee will be £25 (MIRN members), £20 (MIRN members who are retired, students or unwaged) or £30 (non-members), to include all presentations, lunch, coffee, tea and a tour of the Horniman Music Gallery. Registration will open in July.

Updates and further information at

Creating music across cultures in the 21st century


Creating music across cultures in the 21st century

Istanbul Technical University, 25-27 May 2017

In the context of one of the world’s most organic melting pots, Istanbul, The Centre for Advanced Studies in Music, Istanbul Technical University, will host an international conference, in partnership with the European Research Council funded project “Beyond East and West,” May 25-27, 2017.

No music is an island.  Since time immemorial, cultures have traded and mixed musics across their domains, yet only in the 21st century have people around the world gained instant and virtually free access to musics beyond those of their neighbors.  The history of these mixings has been marked by a plethora of descriptors, some benign and others acerbic.  Depending on one’s perspective, the “other” musics span the gamut of primitive (“first”), Oriental, classical, art, learned, popular, etc.  Their mixtures have been termed synthetic, syncretic, trans-traditional, trans-cultural, intercultural, cross-cultural, borrowed, or globalized.  The oral and the literate have been contrasted, while the exotic has been vilified.  Quests for musical beauty and knowledge have been shaped by political, economic and social, hegemonic forces.  We are now at a point where, for the first time in history, the playing field has reached a new level of equity, with widespread access to a majority of the world’s traditions, on a scale radically different from a mere generation ago.

We invite proposals for papers (20-minute presentation plus 10-minute discussion) on any topic related to the mixing of musics from different musical traditions.  In addition to mixtures of maqam, raga, and other art traditions, we encourage proposals concerning the incorporation of “folk,” “traditional,” and “low-technology” musics in our 21st-century milieu. Our conference will be Interdisciplinary, and we welcome proposals from composers, performers, improvisers, musicologists, critical theorists, music philosophers, ethnomusicologists, and—especially—etcetera.  While springing from a notated art music tradition, we welcome other perspectives, oral traditions, and boundary stretchers.

Deadline: Please send a 250-word abstract to Robert Reigle,, with subject heading “Creating Music across Cultures-Abstract,” by 6 March 2017.  We will announce acceptances by 20 March.

Keynote speaker: Dr. Münir Nurettin Beken, Associate Professor of Ethnomusicology, University of California, Los Angeles.

Programme committee: Prof. Amanda Bayley, Prof. Şehvar Beşiroğlu, Prof. Sandeep Bhagwati, Dr. Michael Ellison, Dr. E. Şirin Özgün, Dr. Robert F. Reigle.


Conference Fee: Full conference, 3 days: €60 / 200-Turkish Lira; 2 days: €40 / 140-TL; 1 day: €20 / 70-TL.

(€ international/TL local rates).  Free for students, both international and local.

We gratefully acknowledge funding from the European Research Council (ERC) under the European Union’s Horizon 2020 research and innovation programme (Grant no. 648810), and MIAM Centre for Advanced Studies in Music.

French Musicians and the Conquest of North America: Musical Travels, Cultural Politics and Patronage

Call for papers


3-4 July 2017

Royal Northern College of Music (Manchester)


A century separates the autobiographical Offenbach in America, Notes of a Travelling Musician (1877) and the première of Henri Dutilleux’s Quartet, Ainsi la nuit (1977), which was commissioned by the Koussevitzky Foundation. It was a century during which French musicians travelled to the USA to conquer new publics, to disseminate their music, a century during which they received commissions from North American institutions and patrons, who were often Francophile. Some of their tours on American soil have become famous, such as Maurice Ravel’s in 1928, that of the Orchestre National twenty years later and the many trips Olivier Messiaen undertook in the second half of the century.


The focus of the Symposium will be to explore the diverse aspects of the relationship that French musicians had with North America in the 19th and 20th centuries.  What did this country represent to French musicians at the time of internationalisation of careers and diffusion of works?  To what extent did composers consolidate their reputations by travelling to the USA and making their music better known?  What networks did they tap into and what strategies did they employ to make an impression in the New World, with the support of particular cultural policies?


We welcome papers concerning composers who have toured or visited North America, as well as performers, conductors and ensembles (such as Nadia Boulanger, Walter Straram, the Orchestre national or Charles Munch). We are also interested in institutions, for example, the major role of the Association française d’action artistique (initially named the Association française d’expansion et d’échanges artistiques), the government organisation which largely subsidised the travel of French musicians to the United States; or the activities of American institutions, performers and patrons (for example, the Boston Symphony Orchestra, the Koussevitzky Foundation or the Elizabeth Sprague Coolidge Foundation).


Papers can be given in either French or English.


We are delighted to announce that Professor Philippe Cathé (Université Paris-Sorbonne) will be the Keynote Speaker.


Abstracts of 300 words maximum should be sent to Nicolas Southon ( by 7 April 2017.  The programme will be announced at the end of April.


Programme committee:

Nicolas Southon (Royal Northern College of Music/Keele University)

Barbara Kelly (Royal Northern College of Music)

Marie Duchêne-Thégarid (ANR HEMEF)

Caroline Rae (University of Cardiff)

International conference for PhD students

International conference for PhD students

 “Musicology (in)action: Past musics, present practices, future prospects”

 Thessaloniki, 9 – 11 February 2018

 The Department of Music Studies of the Aristotle University of Thessaloniki and the Department of Music Science and Art of the University of Macedonia will host, under the auspices of the Hellenic Musicological Society, an international conference for PhD students entitled “Musicology (in)action: Past musics, present practices, future prospects” in Thessaloniki, Greece, from 9 to 11 of February 2018.


Call for papers

In recent years, musicology has tested its boundaries, objects of study, and, indeed, prospected future through the constant questioning of its subfields, themes, and methodological underpinnings. At the same time, this interrogative process has also been one of constant development of new, often interdisciplinary methodological approaches, frequently extending their grasp on new or hitherto neglected musical repertoires. It is this ambiguous state of conditions that the novice in the field of musicological research faces in her/his everyday effort to situate her/his own research within a constantly changing disciplinary environment. This conference aims to bring together fresh ideas of new researchers in an attempt to help them secure their position with respect to the ongoing discourse of musicology’s saga and with an eye to the future prospects of the field.


We welcome proposals of PhD students for 20-minute paper presentations or 40- to 80-minute panel presentations (of up to four participants), addressing a variety of old and new(er) research topics from the broad field of musicology (e.g. historical and cultural musicology, music theory and analysis, ethnomusicology and musical anthropology, music psychology, computational musicology, music philosophy and aesthetics). Proposals on topics that cross the strict intra- or inter-disciplinary boundaries of musicology are also welcomed.

Proposals and inquiries should be submitted to the following email address:


Proposals for paper presentations should include:

– name of participant(s) and institutional affiliation(s)

– abstract (up to 300 words)

– brief CV (up to 100 words)


Proposals for panel presentations should include:

– name of participants and institutional affiliations

– general abstract of proposed panel presentation (up to 300 words)

– individual abstract of each participant’s presentation (up to 300 words)

– brief CV of each participant (up to 100 words)



NOTIFICATION OF APPROVAL: No later than 15 July 2017

PARTICIPATION FEE: PhD students: 50 euros, undergraduate and master’s students: 30 euros


For more information on the reviewing committee, the venue of the conference, etc. please visit the conference’s website (which is under construction):



Chardas Konstantinos

Nika-Sampson Evanthia

Pastiadis Konstantinos

Vouvaris Petros



Kalaitzidou Stamatia

Spanoudakis Dimosthenis

Toumanidou Katerina

Trouka Dimitra

Zlatkou Vasiliki



Apostolou Andreas Foivos

Authentopoulou Despoina

Banteka Dimitra

Diminakis Nikos

Karamanidis Charalampos

Nikolaidis Nikos

Ntousiopoulou Antigoni

Ntovas Christos

Pouris Christos

Roumpi Antonia

Savvidou Charoula

Scarlatou Chrysa

Seglias Zisis

Sidiropoulou Christina

Sotiriadis Theophilos

Tasoudis Dimitris


Call for Submissions, ICMC/EMW 2017

The 43rd International Computer Music Conference (ICMC 2017) and 6th Electronic Music Week (EMW) will be held in Shanghai, China, organized by the Shanghai Conservatory of Music. The event will take place from October 16th to 20th.

Conference Theme

Hearing the Self

There is an ancient Chinese saying (by Lao Zi):大音希声,大象无形Dà yīn xī shēng,dà xiàng wú xíng (The best music and  art lay in silence and abstraction)!We think: in silence, we hear the real sound within ourselves.  However, in a modern world of unceasing innovation, we continue to open ourselves to new music and images within and beyond our senses, searching for “the Sound of the Self.”

At the ICMC/EMW 2017 in Shanghai, we welcome you and look forward to hearing you in your work about “the Sound of the Self.”

-Qiangbin Chen

Under two major categories of open calls – Call for Paper and Call for Music, we offer vast varieties of research topics and creative practices.  We also proudly to feature the open calls for: Special Paper Edition-Mandarin language based music and music technology research paper and The EMW Young Talents Commission Program. Please join us in Shanghai at ICMC/EMW 2017. For submission details, please visit our official website:

Important date

Submission Open January 23, 2017

Submission Deadline March 24, 2017

Acceptance Notification June 16, 2017

Registrations Open June 16, 2017

ICMC October 16-20, 2017




ISSTA 2017 International Festival and Conference on Sound in the Arts, Science and Technology

Sept 7th-8th 2017

Dundalk Institute of Technology

Dundalk, Ireland




Peter Kirn (Editor–in–Chief, CDM: Create Digital Music)

Dr Theresa Dillon (Artist–Researcher, Professor of City Futures at Watershed and University of the West of England, Bristol)


Deadline for submissions

Submissions are due Monday 3rd April. Notifications will be sent by Friday 9th June.


ISSTA 2017: Sound–Makers: technologies, practices and cultures

Creative audio and visual practices are increasingly moving from the digital sphere into the ‘real’ world––moving from bits to atoms (Ishii and Ullmer, 1997)––as physical computing technologies continue to become more widely affordable and accessible. Custom–made and repurposed controllers, gestural interfaces and intentionally hackable or reconfigurable instruments now support the creation and control of music and audio-visual media outside the mouse and keyboard paradigm and beyond normative models based on previously–established practices.

These technologies are increasingly being championed by grassroots movements which are driven by the designers, makers and creators who build and use them. Maker groups, festivals and social spaces––frequently more diverse and inclusive than established communities within academia and industrial R&D––have emerged to engage new creators and audiences through music, visual and sound art performances. Spanning disciplines such as controllerism, modular synthesis, interface design, circuit bending and live sound art, many practitioners and researchers are increasingly looking beyond code, bringing, integrating sensors and soldering within their classroom, stage and studio practices.

The Irish Sound, Science and Technology Association (ISSTA) invites makers, creators, performers, thinkers and researchers to come together to share their insights on this emerging field.

Perspectives on our call may include (but are not limited to) the following:

  • New creative approaches using self-designed or hacked controllers
  • Maker movements and the democratisation of technology
  • The gendering of maker spaces/hackspaces and/or other questions of inclusivity or exclusion
  • Communities and maker spaces/hackspaces: chronicling experiences of establishing maker spaces and scenes
  • Open culture and creative technologies: sharing code, technologies and practices
  • Making/hacking and sustainability: installations and electronic music practices using recycled equipment
  • The Global West (or North) and the rest? Differences in global experiences of maker culture and spaces
  • Maker/hacker approaches and developments in education

We welcome the submission of papers, artworks, compositions/performances and workshops on these ideas and related topics for presentation at the 7th ISSTA International Festival and Conference on Sound, 7th-8th September 2017, at Dundalk Institute of Technology (DkIT).

Full call and submission details here:



Equidistant between Belfast and Dublin, with excellent flight, public transport and motorway connections with both cities, DkIT is an education hub for creative technologies in Ireland’s Eastern Corridor region.


Call conditions

Submissions are due Monday 3rd April. Notifications will be sent by Friday 9th June.

The call is open to all practitioners regardless of nationality.

Participants are responsible for their own travel and accommodation and, where relevant, transport of materials; as a small, subscriber–funded organization, we are unable to provide artists’ fees but we do aim to keep registration fees as low as possible. Registration for ISSTA 2017 is required for participation.


Registration Costs

Registration fees are as follows:
• Professional: €70 (€40 registration + €30 ISSTA membership)
• Postgraduate student: €50 (€30 registration + €20 ISSTA membership)
• Undergraduate student or unwaged: €25 (€15 registration + €10 ISSTA membership)
• Non-members €80



Chair of ISSTA 2017: Dr Niall Coghlan

Chair of Papers/Posters: Dr Caroline O’Sullivan

Chair of Workshops: Rory Walsh, Kelly McErleane

Chair of Sound Art/Installations: David Stalling, Kieran Nolan

Chair of Music: Dr Neil O’Connor, Claire Fitch


ISSTA board

President: Dr Linda O Keeffe (Lancaster University)

Vice–President: Dr Brian Bridges (Ulster University)

Treasurer: Dr Jacqueline Walker (University of Limerick)

Secretary: Dr Alan Dormer (University of Limerick)

Web/PR Editor: Dr Stephen Roddy (Trinity College Dublin)

Theater spaces for music in 18th century Europe

Call for Papers

International Conference

Theater spaces for music in 18th century Europe

Queluz National Palace, Portugal

(June 30th -July 2nd, 2017)


Divino Sospiro – Centro de Estudos Musicais Setecentistas de Portugal (DS-CEMSP)

Scientific Board:

Manuel Carlos de Brito, Paologiovanni Maione, Iskrena Yordanova,

Francesco Cotticelli, Cristina Fernandes, Giuseppina Raggi


Maria Ida Biggi (Università Ca’ Foscari, Fondazione Cini, Italy)

Luis Soares Carneiro (Universidade do Porto, Portugal)

DS-CEMSP is organizing from June 30th through July 2nd 2017 an International Conference at the National Palace of Queluz (Portugal) dedicated to the Theater spaces for the music in 18th century Europe.
The conference aims to promote a multidisciplinary dialogue around the specificity and the heterogeneity of spaces for opera during the 18th century, calling for the participation of researchers of various areas related to this subject.
Cases concerning the dense network of court and public theaters (including the ephemeral ones), the multiple aspects of theater presentations in different architectonic spaces, the contexts and the occasions of social life and representativity, will be admitted.

Scholars are invited to submit individual proposals with the maximum length of 20 minutes per paper. Session proposals will be accepted as well: a maximum of three or four papers will be taken into consideration, and the session should not exceed 1h30.

Official languages of the conference are Portuguese, Italian, English and Spanish.

Abstracts in Word format (.doc), should not exceed 300 words. Please enclose in the same file brief curriculum vitae of 150 words max. Please provide your name and surname, postal address, e-mail and telephone number, as well as you institutional affiliation.

Deadline for sending abstracts is April 1st 2017



The scientific board will examine all abstracts by April 15th 2017, and contributors will be informed immediately thereafter.