Category Archives: Musicology

Ludomusicology Conference 2013

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Easter Conference (12-13 April 2013, Liverpool University)

The Ludomusicology research group will be hosting a two day conference on video game audio to take place on the 12th and 13th of April, 2013 at Liverpool University. Building upon the foundation of last year’s successful RMA Study Day, the conference will include research papers and discussion workshops.

Please read our Call for Papers (PDF) and help spread the word!  Further details will be added on our website over the coming weeks.

The theme of this year’s conference: ‘challenges and innovations’. We have chosen this theme to seek to investigate the challenges that face both game audio practitioners and analysts, and the innovations of technology and scholarship that seek to deal with these challenges. Paper topics may include:

  • Methods of analyzing game music and sound
  • New musical technologies in games
  • Ludomusicology and its relationship with wider culture
  • The challenges of composing for games
  • New trends in game music
  • Game music in wider culture
  • Video game music histories
  • Music vs./with/as sound effect(s) in the video game

A keynote address will be given by Mark Grimshaw (Aalborg University), with other speakers to be confirmed. A session with industry professionals will also take place.

You can contact us via our website at http://www.ludomusicology.org or by email at ludomusicology@gmail.com.

Organizers: James Barnaby, Jemima Cloud, Michiel Kamp, Tim Summers, Mark Sweeney.

Hosted by Anahid Kassabian, James and Constance Alsop Chair of Music, University of Liverpool.

SEMPRE: ‘Music and Empathy’ Conference

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Conference Announcement and Call for Papers: MUSIC and EMPATHY

University of Hull - Saturday 9 November 2013

This one-day SEMPRE conference hosted by the University of Hull will include invited
presentations, a specialist workshop, and selected submissions from researchers on the
theme of music and empathy. In recent years there has been a growing interest in empathy in the fields of music psychology and education. Research in music and empathy now spans a variety of contexts, including education and development, emotion, expressiveness, and performance. This conference seeks to draw together current research from a range of areas, and to encourage and stimulate discussion on research in music and empathy.

Submission Procedure
Contributions are welcome from researchers at all levels and are particularly encouraged from postgraduate students. Submissions should show how the topic relates to the conference theme. Accepted submissions will be broadly organised into themes and presentations will be chaired by leading researchers.

Please send titles and abstracts for spoken presentations (max. 200 words) by email to Caroline Waddington (contact details below) by Friday 16 August 2013.

For further information, please contact:
Caroline Waddington
Department of Drama & Music
University of Hull
Hull, HU6 7RX
Email: C.E.Waddington@2011.hull.ac.uk

Eleventh Annual Conference of the Society For Musicology in Ireland

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2013 Annual Conference of the Society for Musicology in Ireland

The eleventh annual conference of the Society for Musicology in Ireland/Aontas Ceoleolaíochta na hÉireann will be hosted by the Music Department at the National University of Ireland, Maynooth, between 21 and 23 June 2013. The keynote speakers will be Professor Katharine Ellis (Royal Holloway, University of London) and Professor Harry White (University College Dublin).

The conference committee invite proposals for individual papers in all areas of musicology (in its broadest sense), as well as for themed panel sessions (of three to four papers), for lecture recitals, and for roundtable sessions.

Particularly welcome are papers and panels which address one of the three conference themes which are outlined below.

Individual papers should be twenty minutes long, with a subsequent ten minutes allowed for questions.

Conference Themes

Musicology in Ireland: Reflection, Consolidation and Directions

The conference marks the tenth anniversary of the founding of the Society for Musicology in Ireland. Following on from the SMI Symposium Musicology in Ireland, held at UCD in April, 2012, papers and panels are particularly invited in a number of related areas:

· Reflections on recent trends, both local and global

· Musicology in Ireland: Developing and Strengthening the Discipline

· Popular Music

· Irish Traditional Music

· Music and Theology

· Musicology and Irish Studies

An Integrated Musicology: Musicology and Music Research

· Performance as Research and Composition as Research

· Music Pedagogy

· Music and Technology

· Musicology and the Digital Humanities

2013 Anniversaries: Music and the Theatre

· Benjamin Britten (1913-1976)

· Giuseppe Verdi (1813-1901)

· Richard Wagner (1813-1883)

· The Rite of Spring

Proposals can also be submitted for papers which jointly address the conference ‘Modernism, Memory and Media: Ireland 1913-1916’, which is being held by the School of English, Media and Theatre Studies. See https://www.facebook.com/events/447929725259961/ for full details of this conference.

Submission Procedure

Proposals should be sent as e-mail attachments (.doc or .docx or .pdf) to:

sminuim2013@gmail.com

Proposals for individual papers should be in the form of an abstract of no more than 250 words.

Proposals for panel sessions should include a summary (maximum 300 words) by the convenor and an individual abstract (maximum 200 words) for contributions by other participants.

All proposals should include:

the name and institutional affiliation of each speaker;
a short biography (maximum 100 words) for each speaker;
audiovisual and other requirements (data projector, CD/DVD player, overhead projector, document viewer, piano, etc.).

The submission deadline for proposals/abstracts is Friday 1 February 2013.

For further information please contact Dr Adrian Scahill, Music Department, NUI Maynooth, Maynooth, Co. Kildare at sminuim2013@gmail.com or adrian.scahill@nuim.ie.

http://www.musicologyireland.com/index.php/conferences/annual-smi-conference

The Staging of Verdi and Wagner Operas

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International Conference

Pistoia (Italy), 13-15 September 2013

http://www.luigiboccherini.org/staging.html

Organized by

Centro Studi Opera Omnia Luigi Boccherini, Lucca

Palazzetto Bru Zane – Centre de musique romantique française, Venice

Associazione Amici di Groppoli


The Centro Studi Opera Omnia Luigi Boccherini of Lucca, the Palazzetto Bru Zane – Centre de musique romantique française of Venice and the Association Amici di Groppoli are pleased to invite submissions of proposals for the symposium The Staging of Verdi & Wagner Operas, to be held in Pistoia, from Friday 13 to Sunday 15 September 2013. 

Organized in conjunction with the bicenteray of the birth of Giuseppe Verdi and Richard Wagner, this conference aims to deepen the existing understanding of opera staging through examination of the the works of these two composers, focusing on the economical, sociological and technological factors connected with opera production. The conference also welcomes studies on staging, with a particular focus on visual aspects and their relationship with theatrical space: the tradition of establishing each visual element in writing (like the livret de mise en scène in France or the disposizioni sceniche in Italy) reflects the importance that staging had acquired during the nineteenth century in the sphere of musical drama. The conference is open to a range of paper proposals, but the scientific committee would particularly welcome studies of the following:

 · Theatre and Scene: Spaces and Techniques

· Scenographies for Verdi and Wagner Operas: Originality and Tradition

· The Parisian livrets de mise en scène of the Operas of Verdi and Wagner

· Verdi and the disposizioni sceniche

· Verdi/Wagner and Stage Directors, Scenographers, Costume Designers, Stage Managers, Coreographers, and so forth

· Clients and Impresarios of Verdi and Wagner Operas

PROGRAMME COMMITTEE:
Roberto Illiano, Lucca;  Étienne Jardin, Paris/Venice; Fulvia Morabito, Lucca; Michela Niccolai, Paris; Luca Sala, Poitiers; Massimiliano Sala, Lucca
KEYNOTE SPEAKERS:
·      Jürgen Maehder (Freie Universität Berlin)
·      Michela Niccolai (Paris)

The official languages of the conference are English, French, German 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 14 April 2013*** 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 15th of May 2013, 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. Roberto Illiano
Via Nottolini, 162
San Concordio contr.
I-55100 Lucca (Lu)
tel: +39/338.9233006
conferences@luigiboccherini.org
www.luigiboccherini.org

 

Conference on Frank Bridge

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One-day conference on Frank Bridge

University of Bristol

23 March 2013

 

Music department, Victoria Rooms

Queen’s Rd, BS8 1SA

 

The Centre for the History of Music in Britain, the Empire and the Commonwealth (CHOMBEC) is pleased to announce a one-day conference on British composer Frank Bridge.

Bridge was one of the most radical British musical modernists of the early 20th century, and he is also notable for being the young Benjamin Britten’s mentor. There has been a significant increase in performances and recordings of Bridge’s music in the last few decades, as well as a notable amount of academic activity.This conference seeks to focus the growing interest in Bridge, his music and his socio-cultural context.

Speakers will include Stephen Banfield, Ben Earle, Lewis Foreman, Paul Hindmarsh, Anthony Payne, Fiona Richards, Mark Amos, Jessica Chan, and Fabian Huss. Papers will address a wide variety of aspects of Bridge life, work and cultural context, including the modernism of the late period; The Christmas Rose and issues surrounding Bridge’s stage and vocal works; interpretive issues in Phantasm; genre, style and expression in relation to Bridge’s changing language; Bridge, Britten and Boyd Neel; Bridge and Coolidge; and Bridge and the BBC.

Registration is now open; please contact Fabian Huss for more information: mufgh@bristol.ac.uk

The conference fee is £10 (£5 for students and CHOMBEC members); make cheques payable to ‘University of Bristol’, and send to CHOMBEC, Victoria Rooms, Queen’s Rd, Bristol, BS8 1SA, with a note specifying ‘Frank Bridge conference registration’ and your name and contact details.

Conference website: http://bristol.ac.uk/music/CHOMBEC/bridgestudyday2013.html

MUSICS IN THE SHIFTING GLOBAL ORDER: International Musicological Society East Asian Regional Association, Second Biennial Conference

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CFP: International Musicological Society East Asian Regional Association, Second Biennial Conference, 18-20 OCT 2013, Taipei

Inaugurated in Seoul 2011, IMS-EA invites all music researchers working in/on the region (including nonmembers) to submit proposals with the theme:

MUSICS IN THE SHIFTING GLOBAL ORDER

Within the shifting global order, East Asia has been rapidly transforming its status from an object of study to an active producer and promoter of knowledge. While the “West” has established itself since the waves of European colonization as the generator of theories and methods as well as the frame of reference, postcolonial and post-Cold War interactions between East Asia and the West have admitted mutual transformations. Music, a human phenomenon that is unifying yet alienating, transcendental yet mundane, stands inevitably at this critical juncture. Particularly, this conference aims to address these issues:

- How has the previous global order ordered, prescribed or organized our musical practices and researches in/on the region? How has the shifting of global order related to certain paradigm shifts in our discipline, e.g. from the epistemology of “the music” to that of “musics”? What musical or scholarly traditions have resisted the shifting, and what new formations have emerged from it?

- Conversely, how could our engagement with “musics” possibly shift the global order, and in what directions? Are there examples of making music or doing musicology that do matter to societies and individual lives in the region? What are the challenges and consequences for our institutions?

To embrace diverse approaches, IMS-EA also welcomes new researches beyond the general theme.

CATEGORIES

1. Panel: 90-min./3-papers or 120-min./4-papers; panels with researchers from different regions or disciplines are encouraged.

2. Individual: 20-minute.

3. Poster/Media Display: A0-size poster or desktop display.

DEADLINE: 28 FEB 2013

Further details: http://www.gim.ntu.edu.tw/imsea2013.html

 

The Music of Simon Holt

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The Institute of Musical Research in collaboration with London College of Music presents

The Music of Simon Holt

A one day symposium to celebrate his music with concerts and lectures

 

Convenors: Dr. Martin Glover, Mr. Osvaldo Glieca

Venue:  Chancellor’s Hall, Senate House

Date:  21th May 2013

Time: 2.00pm to 8.30pm

Keynote Speakers: Anthony Gilbert and Simon Holt

 

Call for Papers:

The symposium will convene to celebrate the music of Simon Holt, who is now widely recognized as one of today’s eminent British composers. Since the second half of 1980s he has gained considerable international recognition. Regarded in some circles as a ‘British expressionist’, his music is, none-the-less without obvious stylistic reference points; rather the listener is inevitably drawn into an innovative and profound experience of poetry in sound.

The organizers are looking for a number of high quality presentations on Holt’s music, whether in the form of analysis on particular works, exploration in broader terms of the new territories his music maps out or contextual studies that relate the music to current theoretical and philosophical positions on the music of today.

Proposals should be presented in the first place in the form of 300 – 400 word abstracts, accompanied by brief biographical notes on the contributor.

Proposals are to be submitted by March 22th 2013 by email to:

 martin.glover@uwl.ac.uk

Tel: +44  (0) 208 280 0225

or by post:

Dr. Martin Glover
London College of Music
Room 302
University of West London
St. Mary Road
London
W5  5RF
UK

Protest Music in the Twentieth Century

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The Centro Studi Opera Omnia Luigi Boccherini of Lucca (<http://www.luigiboccherini.org>), in association with the University of Granada (I+D+I HAR2010-17968. Ministerio de Ciencia e Innovacion de España), is pleased to invite submissions of proposals for the symposium «Protest Music in the Twentieth Century», to be held in Lucca, Complesso monumentale di San Micheletto, from Friday 15 to Sunday 17 November 2013.

The conference’s subject is protest music and ‘dissident’ composer and musicians during the twentieth century, with a particular focus on the forms with which dissent may be expressed in music and the ways composers and performers have adopted stances on political and social dissent. Moreover, the phenomenon of dissent will be investigated within the contexts of musical historiography and criticism.

Papers approaching the topic from historical, sociological and philosophical points of view will be welcomed. The programme committee encourages submissions within the following areas, although other topics are also welcome:

  • The Dissent in Music: Sociological and Philosophical Matters
  • Music and Political Struggles
  • Protest Music vs Regimes
  • ‘Classical’ Music as a Means of Protest: Aesthetic Thinking, Creative Proposals, Poets, Receptions and Events
  • The Dissent within the Contexts of Musical Historiography and Criticism
  • Circulation, Relations and Interactions of Protest-Music Repertoires, Musicians and Movements
  • Protest Songs and Songwriters
  • The Expression of Dissent in Traditional and ‘Official’ Genres and Its Interpreters
  • The Role of Music in the Civil Rights Movements
  • Protest Music of Specific Ethnic and National Groups
  • Protest Music in the Social Construction of Race and Gender
  • Jazz Music and Social Protest
  • Billie Holiday and Blues/Jazz Singing of the First Half of the 20th Century
  • Rock Music as Protest
  • Political Hip-Hop and Sociopolitical Rap: Conscience and Dissent

Scientific Commitee

  • Roberto Illiano (Centro Studi Opera Omnia Luigi Boccherini, Lucca)
  • Massimiliano Locanto (Università degli Studi di Salerno)
  • Fulvia Morabito (Centro Studi Opera Omnia Luigi Boccherini, Lucca)
  • Gemma Pérez Zalduondo (Universidad de Granada)
  • Luca Sala (Université de Poitiers)
  • Massimiliano Sala (Centro Studi Opera Omnia Luigi Boccherini, Pistoia)
Keynote Speakers:
  • Germán Gan-Quesada (Universitat Autònoma de Barcelona)
  • Marita Fornaro Bordolli (University of the Republic, Montevideo, Uruguay)

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 21 April 2013*** 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 15th of May 2013, and contributors will be informed immediately thereafter. Further information about the programme, registration, travel and accommodation will be announced by the end of May 2013.

Website: http://www.luigiboccherini.org/protest.html

For any additional information, please contact:

Dr. Roberto Illiano
Via Nottolini, 162
San Concordio contr.
I-55100 Lucca (Lu)
tel: +39/338.9233006
conferences@luigiboccherini.org
www.luigiboccherini.org

The String Quartet from 1750 to 1870: From the Private to the Public Sphere

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The Centro Studi Opera Omnia Luigi Boccherini of Lucca (<http://www.luigiboccherini.org>) and the Palazzetto Bru Zane – Centre de musique romantique française (<http://www.bru-zane.com>), in collaboration with the Italian National Edition of Luigi Boccherini’s Complete Works and Ad Parnassum Journal, are pleased to invite submissions of proposals for the symposium «The String Quartet from 1750 to 1870: From the Private to the Public Sphere», to be held in Lucca, Complesso monumentale di San Micheletto, from Friday 29 November to Sunday 1 December 2013.

The conference aims to study the genre of the string quartet from its origins to its culmination in the middle of the nineteenth century. The aim is to examine the connection between structural and stylistic facets of the genre and the social and cultural contexts that facilitated its cultivation.

Through the study of the historical development of the genre, the conference aims to illustrate the quartet’s progression from the aristocratic salon to the concert hall, in the context of changing social conditions on the cusp of the nineteenth century, involving and influencing composers, performers, listeners, publishing markets and concert societies.

The programme committee encourages submissions within the following areas, although other topics are also welcome:

  • The Birth of the String Quartet
  • The Viennese ‘Classical’ String Quartet
  • From the quatuor concertant to the quatuor brillant: The String Quartet in France
  • Boccherini: A Composer sui generis
  • Production and Reception in European Countries and Overseas
  • Aristocratic Music Rooms; Middle-Class Domestic Salon; Public Concert Halls
  • Professional Quartets and Chamber Music Societies
  • The String Quartet and the Music Publishing Trade

Programme committee:

  • Etienne Jardin, Paris/Venice
  • Roberto Illiano, Lucca
  • Fulvia Morabito, Lucca
  • Massimiliano Sala, Lucca
  • Christian Speck, Koblenz

Keynote Speakers:

  • Christian Speck (Universität Koblenz-Landau / President of the Boccherini’s Italian Edition, Lucca)
  • Cliff Eisen (King’s College, London)

The official languages of the conference are English, French, German 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 ***Tuesday 30 April 2013*** 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 15th of May 2013, and contributors will be informed immediately thereafter. Further information about the programme, registration, travel and accommodation will be announced by the end of May 2013.

Website: http://www.luigiboccherini.org/quartet.html

For any additional information, please contact:

Dr. Massimiliano Sala
Via Pelleria, 25
I-55100 Lucca (Lu)
tel: +39/338.3122409
conferences@luigiboccherini.org
www.luigiboccherini.org
 
 

International Conference Sacralization of the Profane and Profanation of the Sacred Music as a Means and an Object

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June 5-7, 2013

Ljubljana, University of Ljubljana, Faculty of Arts

Call for Papers
The Department of Musicology of the Faculty of Arts, University of Ljubljana is herewith inviting potential participants to propose contributions to the symposium Sacralization of the Profane and Profanation of the Sacred: Music as a Means and an Object.

“Sacred” – the word comes from the Lat. “sacer” (holy, ordained) – has accompanied the human species from its beginning. Almost simultaneously with the development of the initial, more advanced technologies which ensured man greater success in bis chances of survival, in settling the world and reaching for the skies, he also began to discover the mysteries of the spiritual world. On this voyage, music was his inseparable companion. Through its powerful, and at the same time evasively explicable impact on man’s spirituality, music for millennia remained intrinsically linked with everything that exceeded the trivialities of the material world. For hunter-gatherer communities it was the path to achieving states of altered consciousness in which they became one with the mysterious world of natural forces. For- organized religions of all periods it was the language of gods or a symbolic tool with which hymns and supplications of the faithful transcended everyday life. For many listeners of the 19th and 20th century it represented a saint- or godlike idiom of a Kunstreligion, then in statu nascendi, or a holy symbol of a collective identity.

Simultaneously with the growing importance of the sacred in man’s experience of the world, the so-called “profane” also became more and more prominent, i.e. everything that remained excluded from the sphere of the holy. However, even the profane did not stay completely deprived of the mysterious power of music. From old it accompanied man’s everyday life: soothing the strains of hardship and toil, being a means of emotional expression as well as a source of uncurbed, egotistically oriented pleasure.
The ambivalence of music throughout the centuries has repeatedly prompted efforts of redefining its symbolic role in the field of the sacred and the profane. All cultures have kept a vigilant eye on the role and image of music in liturgy, which was at the same time over and over again exposed to endeavours to express the contents of sacred through the symbolic vocabulary of its profane counterpart. On the other hand, many a time sacred music itself represented the key source of symbols used for denoting the sacred character of previously quite profane cultural elements.

Contributions, focused on observing the embeddedness of music in the above-sketched field of tension between the sacred and the profane, could throw light upon:

  •  processes of forming and preserving compositional practices typical of “sacred” music in various cultures and historical periods, as well as social, political, economic and spiritual factors behind them;
  •  processes of “profane” elements trespassing on areas of’ “sacred” music and its dynamics in various cultures and historical periods;
  •  ways of characterizing the “sacred” in “profane” music and their context;
  •  processes of sacralising the profane in the 19th and 20th century, as e.g. in the phenomenon of a Kunstreligion or in the special role of music in the symbolics of contemporary national states;
  •  the “sacred” and the “profane” in folk music of different cultures;
  •  the possible existence of global and supertemporal symbols presenting the “sacred” and the “profane”;
  •  other questions concerning the “sacredness” and “profanity” of music.

Official languages of the symposium are Slovene, English, and German. Presentation time for each paper should not exceed 20 minutes. Authors are kindly asked to send their summary (300-400 words), together with a short biography and e-mail address, to muzikologija@ff.uni-lj.si by January. 1, 2013 (receipt will be confirmed by e-mail). Offers will be reviewed by the Symposium Committee which, in turn, will notify each author of their decision by February 1, 2013. Contributions accepted are to be published in our periodical Musicological Annual.

Programme Committee:
Full Prof. Matjaž Barbo, PhD (University of Ljubljana, Slovenia)
Marcel Coboussen, PhD (University of Leiden, Netherlands)
Assoc. Prof. Dalibor Davidović, PhD (University of Zagreb, Croatia)
Assoc. Prof. Thomas Hochradner, PhD (University Mozarteum, Salzburg, Austria)
Full Prof. Helmut Loos, PhD (University of Leipzig, Germany)
Assist. Prof. Aleš Nagode, PhD (University of Ljubljana, Slovenia)
Full Prof. Svanibor Pettan, PhD (University of Ljubljana, Slovenia)
Assist. Prof. Gregor Pompe, PhD (University of Ljubljana, Slovenia)
Full Prof. Nico Schüler, PhD (Texas State University, San Marcos, TX, USA)
Full Prof. Leon Stefanija, PhD (University of Ljubljana, Slovenia)
Assoc. Prof. Jernej Weiss, PhD (University of Maribor, Slovenia)