The Art and Science of Improvisation

Dates: 8th-12th June 2015

Location: Stord/Haugesund University College, Stord, Norway

 

This Summer School is a collaboration between the two research schools NAFOL and Grieg Research School (GRS), and the hosting institution Stord/Haugesund University College (HSH).

The Summer School will offer a range of stimulating activities, workshops and presentations in addition the specific GRS course.

 

Invited speakers

Prof. Keith Sawyer (US), Dr. Laudan Nooshin (GB), Prof. Gert Biesta (Luxembourg), Prof. Colin Lee (Canada), Prof. Anna Lena Østern (Norway), Dr. Sigbjørn Apeland (Norway) and GAIMPRO (Norway).

 

GRS course

The GRS course will focus on candidate work. Ph.D. candidates and artistic research fellows are invited to present work in progress from the fields of music education, music therapy, musicology and music performance/creative practice.

For more information about the course, please visit the Summer School website.

 

Abstract submission:

Send the abstract to liv.qvale@uni.no

Deadline for submission of abstract: January 15th 2015

 

Registration opens February 1st

Link to registration form will then be found at the Summer School website

Registration closes March 1st 

 

Please contact us at liv.qvale@uni.no if you have any queries.

Women in Music since 1913

Call for Papers: Women in Music since 1913 Symposium

Liverpool Hope University, 21 March 2015

Due to Lili Boulanger’s historic triumph in the Prix de Rome competition, 1913 is often regarded as a watershed year in the history of Women in Music. A 19-year-old woman winning France’s most prestigious composition award symbolises women’s move from the private musical realm to the professional arena. Of course Boulanger’s achievement is part of a much wider set of trends, as the last century has seen the development of greater opportunities for women musicians than ever before. Conversely, the argument has been made that modernist compositional strategies were levied as a musical backlash against first-wave feminist progress in the early decades of the twentieth century, and many female music students still express some anxiety about aspirations to a compositional career in ways that suggest there is much progress left to be made. In the wake of the First-World-War centenary commemorations (another historical landmark highlighting complex developments in the struggle for and against gender equality), 2015 is a timely moment to critically consider the changing landscape of Women in Music since 1913.

We invite proposals for 20-minute papers on any musical genre or practice which may address, but need not be limited to, the following themes:

  • Composing in Lili Boulanger’s wake
  • Women’s music education in the twentieth and twenty-first centuries
  • The impact of feminist politics/the Women’s Liberation Movement on women in Music
  • Women in composition
  • Women in performance
  • Women and music technology
  • The representation of women in music since 1913
  • Women in popular music
  • Comparative views of women and men in music
  • Comparative issues for trans and cis women in music/as musicians

Proposals for 20-minute papers or suggestions for panels of four speakers (2h) should be sent as abstracts of not more than 300 words to womeninmusic@hope.ac.uk  by Friday 9 January 2015. All applicants will be informed of the outcome by early February 2015.

Enquiries should be directed to womeninmusic@hope.ac.uk

Programme Committee: Annika Forkert, University of Nottingham; Laura Hamer, Liverpool Hope University (Chair); Freya Jarman, University of Liverpool; Rhiannon Mathias, Bangor University.

 

Listening to Music: People, Practices and Experiences

24-25 October 2015, the Royal College of Music, London, UK

The conference is held as part of the Listening Experience Database (LED) Project http://www.open.ac.uk/Arts/LED

The keynote speaker will be Professor Simon Frith.

Conference website: http://www.rcm.ac.uk/research/researchareas/pps/led/callforpapers/

How have people responded to listening to music in their everyday lives? We have access to plenty of professional critical opinion, but what new insights are offered by an examination of the unsolicited observations and feelings of ordinary listeners – what can we learn about the effects of music, its cultural value and the manner of its consumption in a range of social, historical and geographical contexts?

The Listening Experience Database Project focuses on the building and interrogation of a large database of personal listening experiences, with the aim of establishing a more robust evidential base for the exploration of such questions.

As we come to the end of the first phase of the project, the conference is an opportunity to take stock of progress to date, to look ahead to future developments, and – crucially – to examine some of the themes and approaches to the study of music that may be supported by the mass of evidence of listening experiences that the database is accumulating.

Proposals are invited for papers of up to 20 minutes (followed by 10 minutes of discussion), and panels or roundtables of up to 60 minutes.

We are interested in receiving proposals on a wide range of topics unrestricted by period, musical genre or culture. As a guide, you may want to consider some of the themes which already interest the project team:
• Listening and travel
• Wartime listening
• Listening and gender
• Listening and social class
• Practitioner listening – performers and composers
• Listening to early repertoires
• The impact on listening of recording and other technologies

Your proposal should include:
• the name(s) and institutional affiliation(s) of the participant(s)
• title and abstract (250 words)
• short biographical note(s) (100 words per participant)

The deadline for proposals is midnight on Sunday 12 April 2015.

Please email your proposal to arts-listening-experience@open.ac.uk

Abstracts will be reviewed and notifications of acceptance sent out by the end of May 2015.

Registration will open in June 2015. All speakers apart from the keynote speaker and project team members will be required to register.

Please feel free to address any queries to the conference organizers, Dr Helen Barlow and Simon Brown, at arts-listening-experience@open.ac.uk

Kraftwerk and the Birth of Electronic Music in Germany

The first ever international academic conference on Kraftwerk will take place at Aston University on Wednesday 21 and Thursday 22, January 2015.

Kraftwerk have long been recognised as major pioneers of electronic music. The group attracted keen interest particularly in the UK, where their innovative sound had a decisive influence on the development of 1980s synth pop. While the announcement in 2009 of Florian Schneider’s departure from the core team of Hütter/Schneider initially suggested an end to the band, the now solely Hütter-led group has since made a stunning return to public attention.

Extensive touring attracted considerable audiences who, in many cases, were exposed to the band’s shows for the first time. The recent full move to 3D stage projections took their shows – once defined by Hütter as a succession of Musikgemälde (musical paintings) – to a new visual level. It prepared Kraftwerk for a string of appearances at international museums and leading art institutions, where, over the course of eight evenings each, they played retrospectives of their catalogue. These residencies in venues such as MoMA, Tate Modern and the Neue Nationalgalerie in Berlin in the week before the conference, have confirmed Kraftwerk’s position as major exponents of contemporary German art. Their unique standing in the twenty-first century underscores the band’s promise given in the 1986 song Techno Pop: “Es wird immer weiter gehen / Music als Träger von Ideen” (It will carry on from here / Music, the carrier of ideas).

While Kraftwerk’s recent activity rekindled interest in the band – as evidenced by David Buckley’s 2012 biography and the volume edited by Sean Albiez/David Pattie (2011) – there still remain many areas to be explored and many established views to be questioned. For example, a critical appreciation of their conceptual art or the contextualisation of the band in the wider framework of German cultural history are needed. To do justice to the many-facetted aspects of their œuvre and their artistic ‘corporate identity’ as a group of “sound researchers”, a pronounced interdisciplinary approach will provide the methodological framework to the conference. Kraftwerk specialists from Britain, as well as Finland, Austria, The Netherlands and the US, will present papers dealing with the band’s music and the impact it has had on other artists.

Registration here: http://www.aston.ac.uk/lss/news/events/indindustrielle-volksmusik-for-the-twenty-first-centuryustrielle-volksmusik-for-the-twenty-first-century/

Full Programme:

Kraftwerk Konferenz – Aston University, Birmingham

Byng Kendrick Lecture Theatre (G11), Main Building, Ground Floor

Wednesday, 21 January 2015

9.00 Registration

9.15 Welcome

9.30 Mallinder, Stephen (Brighton): Kraftwerk: Modernity and Movement

10.15 Pattie, David (Chester): Ralf und Florian, Krautrock and Germany

11.00 Adelt, Ulrich (Wyoming): Moving Up: Kraftwerk and kosmische Musik

11.45 Stevenson, Nick (Nottingham): Cabaret Voltaire and Dada Modernity

12.30 Concluding discussion

13.00 Lunch

14.15 Schiller, Melanie (Groningen): Fun Fun Fun on the Autobahn: Kraftwerk Challenging Germanness

15.00 Rietveld, Hillegonda (London): Europe Endless: Geopolitical Retro-futurism?

15.45 Schütte, Uwe (Aston): We Are the Robots! On the Cultural-Historical Origins of the Man-Machine

16.30 Concluding discussion

17.00 Launch of Midlands German Network (optional)

18.00 Buffet (MGN)

Thursday 22 January 2015

9.00 Springer, Johannes (Osnabrück): Kraftwerk and the Cultural Studies of Cycling

9.45 Monroe, Alexei (London): Trans-Slovene Expressions: Kraftwerk on the Sunny Side of the Alps

10.30 Stubbs, David (London): The Archaeological Years: Kraftwerk before Autobahn

11.15 Tea/Coffee break

11.30 Deisl, Heinrich (Vienna): Searching for Modernity: Socio-historical perspec-tives on techno music and »das Deutsche«. (Kraftwerk – Wolfgang Voigt – Dop-plereffekt)

12.15 Harden, Alexander (Surrey): Kraftwerk and the Issue of Post-Human Authen-ticity

13.00 Lunch

14.15 Grönholm, Pertti (Turku): Nostalgia For The Modern. Re-Imagining the Past Futures in the Concept of Kraftwerk

15.00 Albiez, Sean (Southampton): Kraftwerk in the context of the 20th century European avant-garde

16.00 Concluding discussion

Facing the Music of Medieval England

Study Day: University of Huddersfield. Saturday 21 – Sunday 22 March 2015

Recent work on medieval England and its music has focused on a wide range of issues, from editing fragmentary sources, to the consideration of historiographical questions. The publication of facsimiles and editions of medieval English music has made this repertoire significantly more readily available than a decade ago, yet discussions of the music of the period (its language, form, genres, style, textuo-musical relationships, and broader questions of meaning) remain underexplored.

Facing the Music of Medieval England invites participants to engage with the musical repertoire as composed, cultivated and disseminated in England before c.1500. A keynote lecture, by Dr Margaret Bent, will be complemented by paper sessions that focus on thirteenth-, fourteenth- and fifteenth-century music from a variety of analytical standpoints. A session focused on reconstructing medieval English music will also allow discussion of the notion of musical text, notations, source transmission and style.

The close focus on musical texts, editions, and issues such as reconstruction will benefit from the provision of interactive materials available to participants on iPads, to be provided to participants for use in sessions, fully networked and pre-loaded with relevant musical software, web resources and conference materials.

A publication opportunity is available for selected contributions, which will form a special issue of the journal Early Music, subject to the standard peer review process.

The organisers wish to extend a particular invitation to current research students, early career scholars, and independent scholars. The registration fee will be kept to a minimum to encourage wide participation from all sectors of the scholarly community, and is expected to be no more than £15.

Titles and abstracts for 20-minute papers to l.m.colton@hud.ac.uk by 10 January 2015.

Conference organisers: Dr Lisa Colton & Dr James Cook

Generously supported by the Plainsong and Medieval Music Society and Early English Church Music.

2nd International Conference of Dalcroze Studies

Dear colleagues,

Please find below details of the:

2nd International Conference of Dalcroze Studies: The movement connection
26-29 July 2015
University of Music and Performing Arts Vienna, Austria

https://www.mdw.ac.at/icds/

Following the successful and widely praised inaugural conference at Coventry University in 2013, we are pleased to announce that the 2015 host is the University of Music and Performing Arts Vienna (mdw), Austria.

2015 is an important year for the field of Dalcroze Studies. It is the 150th anniversary of Jaques-Dalcroze’s birth in the city of Vienna. Other celebrations include the centenaries of the Institut Jaques-Dalcroze, Geneva and Dalcroze UK (formerly the Dalcroze Society UK).

However, the aims of the conference look beyond these particular events and organisations:

>  To present the best of current research and practice within Dalcroze Studies and related fields worldwide, especially – this year – research into music and movement relationships in music, dance, somatic practices, theatre and therapy
>  To develop interdisciplinary research into Dalcroze Eurhythmics and related fields
>  To develop Dalcroze practice, and that in related fields, through research
>  To promote contact and understanding between different disciplines, including different traditions of Dalcroze practice and Dalcroze-related practice

Keynote speakers (confirmed)

Professor Dr Eckart Altenmüller, Hochschule für Musik, Theater und Medien Hannover, Germany

Dr Wayne Bowman, Professor Emeritus (to be conferred), Brandon University, Manitoba, Canada

Dr Gunhild Oberzaucher-Schüller, dance historian and author of several books on Ausdruckstanz

We also proudly present:

Professor Eleonore Witoszynskyj (University of Music and Performing Arts Vienna, Austria) in conversation with Dalcroze Diplômé Paul Hille

And:

Hilde Kappes as our guest artist

Call for abstracts

The committee invites submissions from a wide range of practitioners and researchers on the theme of movement in Dalcroze and related practices, for example: the ways in which musicians move to make music, types and theories of movement, traditions and cultures of movement, moving to diverse sources of music (improvised, live, recorded or imagined), movement for specific pedagogical, artistic or therapeutic ends, and observing and facilitating movement. The following themes are illustrative:

>  Music, sound and movement relationships in music, dance, somatic practices, theatre and therapy
>  Theories of movement
>  Improvised and codified movement in Dalcroze and related practices
>  Types and uses of movement in current and past Dalcroze practice
>  The dynamics of group and solo movement
>  Cultural perspectives on movement, gesture and personal space and how these interact with Dalcroze teaching and learning worldwide
>  The role of movement in the historical development of Dalcroze Eurhythmics
>  Observing and facilitating movement in arts, education and healthcare contexts
>  Issues in conceptualizing, visualizing and verbalizing movement
>  Anatomical, physiological, psychological and neuroscientific perspectives on movement

We welcome presentations on music, movement and the body from a broad range of disciplines (and all their sub-disciplines) including: anthropology, architecture, biomedical science, cultural studies, dance and somatic practices, education, ethnomusicology, gender studies, history, literature, media studies, musicology, music therapy, philosophy, politics, psychology, sociology, theatre and performance studies, and visual arts.

Types of presentation

> Paper (20 mins + 10 mins discussion)
> Workshop (60 mins, including discussion)
> Symposium – a shared platform for at least three delegates to present a specific topic in-depth (90 mins, including discussion)
> Informal performances (duration variable, to be arranged with conference committee)
> Poster
> Presentation to host the Dalcroze Studies conference in 2019 (20 mins + 10 mins discussion)

A paper and workshop can be combined in a 90-minute presentation. We strongly encourage practical presentations that show research-in-action, practice-as-research, or innovations in pedagogy/performance/therapy that result from research.

To submit your paper, please go to: https://www.mdw.ac.at/icds/

The language of the conference is English.

Delegates may submit up to three abstracts.

Online submission

When you submit online, you will be asked to include the following information in a pdf:

– Title of presentation
– Type of presentation (paper, workshop, symposium, performance, poster, or presentation to host future conference)
– Name/s of presenter/s
– Affiliation (i.e. principal place of work/study, or, if appropriate, ‘Independent’)
– Requirements (e.g. audiovisual, spaces, instruments)
– Email address
– Description (If a research paper, please use the following headings: introduction, methodology, results and discussion. If a workshop, please indicate the aim of the workshop, something of the content and how it relates to the conference theme.)

All submissions must be between 200-250 words.

Deadline for all submissions: 28 February 2015 (no exceptions)
Notification to presenters: by 01 April 2015

Online registration

Register: https://www.mdw.ac.at/icds/

Fee

Delegate fee: €190
Early-bird delegate fee: €160 (register before 31 March 2015 to get this discount)
(Fee includes refreshments, light lunch and conference materials)

Scientific committee

Dr John Habron, Coventry University, UK (Chair)

Dr Ruth Alperson (Dean) Hoff-Barthelson Music School, NY, USA
Karin Greenhead (Director of Studies) Dalcroze Society UK
Prof. Angelika Hauser (Head) Institute for Music-Movement Education & Music Therapy, University of Music & Performing Arts Vienna, Austria
Dr Marja-Leena Juntunen, Sibelius Academy, Helsinki, Finland
Prof. Reto W. Kressig MD (Chair of Geriatrics) University of Basel and (Head) University Center for Medicine of Aging, Felix Platter-Hospital, Basel, Switzerland
Prof. Samuel Leong (Associate Dean) Faculty of Liberal Arts & Social Sciences, The Hong Kong Institute of Education, Hong Kong
Dr Louise Mathieu, Université Laval, Quebec, Canada
Dr Sandra Nash (Director of Studies) Dalcroze Australia
Dr Selma Odom (Professor Emerita) York University, Toronto, Canada
Dr Joan Pope OAM (President) Dalcroze Australia
Dr Jane Southcott (Associate Professor) Monash University, Victoria, Australia
Dr Somchai Trakarnrung (Associate Dean) College of Music Mahidol University, Thailand
Dr Mei-Ying Liao (Chair) Department of Early Childhood Development and Education, Ming Hsin University of Science and Technology, Taiwan

Organising committee
Prof. Angelika Hauser (Chair)
Prof. Paul Hille
Mag. Eva Lirsch
Dr John Habron

Contact
Conference administration, registration & submission and finance:
Eva Lirsch lirsch@mdw.ac.at
Conference logistics, and facilities:
Angelika Hauser hauser@mdw.ac.at
Conference content and programme, and hosting in 2019:
John Habron John.Habron@coventry.ac.uk

The State We’re In: Directions in Researching post-1900 British Music

CONFERENCE
The State We’re In: Directions in Researching post-1900 British Music
University of Surrey
16–17 April 2015

Convenors:
Dr Joanna Bullivant (University of Nottingham)
Dr Christopher Mark (University of Surrey)

CALL FOR PAPERS
The last thirty years have witnessed a surge of interest in the study of British music since 1900 and a number of landmark publications. Among a diverse body of work, the concept of ‘British modernism’; the role of theory and analysis versus cultural and reception history; the question of the cultural value of indigenous music; and issues of national musical identities in the face of radical change internationally, a declining Empire, an increasingly multicultural society, and strengthening nationalisms within the constituent British nations, have proved to be major – and contested – themes.

In recognition both of the diversity of work already embarked upon, and the topicality of issues of national identity and cultural value in Britain today, we believe the time is ripe for a dedicated forum to enable the exchange and development of new ideas. This initial, exploratory conference is intended as the first step in the establishment of a new research network. It will incorporate several keynote ‘perspectives’ on the state of research from within academia and the music profession, and conclude with an open meeting concerning the goals of the proposed network. We warmly encourage papers on any aspect of music in Britain since 1900, and particularly welcome submissions from research students as well as more established scholars. Possible themes include, but are not limited to:

British modernism(s).
The role of institutions and media in modern British music, both historical and current.
Theory and analysis.
Historiography.
Nationalism(s) and identity.
Music and Empire.
Folk and popular music.
National and regional musics within the UK.
Gender and sexuality.
Reception history.
Technology/film music.

The conference will include a recital of twentieth-century British song on the evening of the 16th, performed by Justin Vickers (tenor) and Lucy Walker (piano)

Conference Committee:
Peter Atkinson(University of Birmingham)
Joanna Bullivant (University of Nottingham)
Kate Guthrie (University of Southampton)
Chris Mark (University of Surrey)
Allan Moore (University of Surrey)

Proposals for 20-minute papers should be sent as abstracts of not more than 300 words to c.mark@surrey.ac.uk by 5.00pm on Friday 5 December.

Conference website: http://tinyurl.com/ocb4p6o

Enquiries should be directed to Chris Mark at c.mark@surrey.ac.uk.

Supported by the Royal Musical Association

Study Day on Computer Simulation of Musical Creativity

We are happy to announce the first “Study Day on Computer Simulation of Musical Creativity”, which will be held at the University of Huddersfield (Huddersfield, UK), on Saturday 27 June 2015.

Keynote Speaker: Eduardo Miranda 
 

CONFERENCE OBJECTIVES
The main goal of this one-day conference is to bring together scholars from different backgrounds, interested in virtual emulation of musical creativity, providing an interdisciplinary platform to promote, present and discuss their work. 


TOPICS 
Submissions can cover both theoretical and/or practical aspects of computer simulation of musical creativity. Interdisciplinary proposals at the intersection of music, computer science, psychology and philosophy are warmly invited. Topics of interest may include, but are not limited to: 

Computer simulation 

  – systems capable of creating musical pieces and sounds; 
  – systems capable of performing music; 
  – systems capable of online improvisation; 
  – simulation of music societies; 
  – robot-based systems; 
  – systems that enhance the creativity of human users; 
  – computational aesthetics, emotional response, novelty/originalty; Theory 

  – surveys of the state-of-the-art techniques in the area; 
  – validation methodologies; 
  – philosophical foundations of music creative systems; 
  – evolutionary-based models for music creative systems; 
  – cognitive-based models for music creative systems; 
  – studies on applicability of techniques to other areas; 
  – new models for improving music creative systems. 


TYPES OF SUBMISSIONS 
We accept proposals for papers, posters and workshops. Papers have a maximum duration of 20 minutes, with 10 minutes of Q&A. Posters should be used to present research projects in an initial phase. Workshops are 45 minutes long sessions, focused on practical demonstrations and tutorials of new systems and technologies related to musical creativity. 


ABSTRACT SUBMISSION 
We welcome abstracts of no more than 300 words for papers and posters, and 500 words for workshops. Abstracts should include type of submission, AV requirements and any other special requests. The review process is managed through EasyChair. To submit an abstract, please go to the submission page and follow the instructions provided by EasyChair. 


IMPORTANT DATES
Abstract Submission Deadline: Monday 20 April 2015
Online Registration Closes: Saturday 14 June 2015
Conference Date: Saturday 27 June 2015

ADDITIONAL INFORMATION 
Presenters will be advised as to the outcome of their submission by May. For more details about the Study Day, please visit the conference website. If you have any enquiries, contact Valerio Velardo (valerio.velardo@hud.ac.uk).

Musical Legacies of State Socialism: Revisiting Narratives about Post-World War II Europe

Serbian Academy of Sciences and Arts, Belgrade, 24–26 September 2015

 

Organizers:

Institute of Musicology of the Serbian Academy of Sciences and Arts (SASA)

Department of Fine Arts and Music of the Serbian Academy of Sciences and Arts

BASEES Study Group for Russian and East European Music (REEM)

 

CALL FOR PAPERS

The Institute of Musicology of the Serbian Academy of Sciences is pleased to invite proposals for an international conference Musical Legacies of State Socialism: Revisiting the Narratives about Post–World War II Europe to be held in Belgrade in September 2015.

The countries that imposed the state socialism project were in many ways divided from the Western world by what is widely known as the ‘iron curtain’. In many respects, these countries are considered to have been totalitarian, as their ruling communist parties sought to control every aspect of their citizens’ everyday lives. However, discourses on these issues have recently become equivocal and research has drawn attention to unexplored features of cultural, artistic and musical life ‘behind the wall’. In this conference we wish to examine the musical legacies of the socialist countries of Europe in the period between the end of the World War II and the fall of the Berlin Wall. We also wish to address the possible permeability of the ‘iron curtain’ to cultural exchange and to examine related phenomena, such as the concurrent influence of socialist ideology on music in the West and the present-day political/artistic processes of reappropriation of socialist legacy. Thus, we suggest the following key issues for the conference:

  1. Beyond the Iron Curtain: In order to revisit the concept of an impermeable iron curtain which stood between the socialist countries of Europe and the capitalist West, György Péteri has developed the concept of ‘nylon curtain’. While the state-socialist countries were not completely isolated from the West, the degree to which the influence of Western culture was tolerated and the extent of state control over this communication is open to debate. We wish to examine the various channels of communication between the East and the West and to explore in what way certain countries in state socialism system were open to manifestations of Western culture such as visits of various artists, stylistic influences, cultural exchanges, etc.
  2. ‘Socialist Music’ outside Zhdanovism: Vast swathes of artistic output under state socialism are often described as socialist realism, defined by what was known as Zhdanov Doctrine. However, in certain cases there were also modernist and avantgarde tendencies. The situation was often specific to the country in question, and modernism in art could sometimes become either a part of the ruling state ideology or merely tolerated in order to improve the country’s image in the West. In this respect, the case of Yugoslavia is distinctive, as already in 1948, after the Tito–Stalin split, Yugoslav cultural policymakers began to abandon the basic precepts of socialist realism. Thus, we are interested in investigating both stylistic and political questions which are relevant to this issue.
  3. The Impact of Official State Policies on Music Production: Beside the aforementioned subtopics, we also welcome other proposals which more generally reconsider the influences of official state policies on music production, in realms of artistic, traditional, as well as popular music. We invite scholars to investigate to what extent policies have shaped (redirected, inhibited or derailed) the development of music practices, for example, in terms of style, technique and the choice of subject matter. We particularly welcome comparative research which takes into account the current scholarship in the fields of literary criticism and art history.
  4. ‘Socialist Europe’ in the West: While state socialism had been imposed in the East, the communist parties remained strong political factors in some of the post-war Western countries. Certain artists, thinkers, and musicians in Western Europe were influenced by the idea of a socialist society, either seeing it embodied in the state socialist countries, or imagining it as a utopia of the future. We wish to examine how these processes were reflected both in specific musical practices and individual artistic oeuvres.
  5. Questioned Legacy and Backward Glances: With transitional and economic crises in many of the former state socialist countries, there have been instances of revisiting musical legacies of the past and using them in order to create politically engaged practices which question the current neoliberal capitalist system. Going beyond banal and often commodified instances of ‘nostalgia’ narratives (Yugonostalgy, Ostalgie, etc.), we wish to explore how these processes work and how they recycle what is seen as the musical legacy of state socialism.

We welcome original musicological and interdisciplinary research which deals with artistic, popular or traditional musical practices. The official language of the conference is English. Proposals (of no more than 400 words) for 20-minute papers and short biographical notes (of up to 200 words) should be sent both to Srđan Atanasovski (srdjanatanasovski@music.sanu.ac.rs) and Ivana Medić (dr.ivana.medic@gmail.com) by 15 February 2015 (receipt of proposals will be acknowledged by e-mail). We also encourage panel proposals; please provide a short description of the session in addition to individual abstracts and biographical notes. Proposals will be reviewed by the conference committee and results will be announced by 15 March 2015. A selection of papers will be considered for publication in the form of conference proceedings. Conference fee: 50 Euros (students are exempted). The institute may be able to assist a number of foreign speakers by providing accommodation in Belgrade. This support will be available on a competitive basis and if you are interested in this option, please let us know when applying.

 

Keynote Speakers:

Marina Frolova-Walker, Faculty of Music, University of Cambridge

Melita Milin, Institute of Musicology SASA, Belgrade

 

Conference Committee:

Dejan Despić, Fellow of the SASA

Dr. Marina Frolova-Walker

Dr. Ivana Medić

Dr. Melita Milin

Dr. Ana Petrov

Dr. Katy Romanou

Dr. Leon Stefanija

Dr. Danijela Špirić-Beard

Dr. Katarina Tomašević

Dr. Aleksandar Vasić

Dr. Patrick Zuk

Srđan Atanasovski

Music from the perspective of globalization

On behalf of the Rector of the I. J. Paderewski Academy of Music in Poznań and the organizer: the Department of Music Theory, we have the honor and pleasure to invite you to participate in the XII International Conference from the series: MUSICA
PRACTICA, MUSICA THEORETICA, on the subject of: Music from the perspective of globalization, which will be held at the Academy on 22-23 April 2015.
Encouraged by the success of the previous conference from this series in 2014, we have decided to continue our discussion on this subject and organize the second edition next year.
In today’s world, many processes referred to as globalization or globalism are significantly manifested in culture, including music. The phenomenon, ambiguous and undergoing constant transformations, marked by various contexts and diversity, raises disputes and discussions, so it is cognitively intriguing. It seems undeniable to claim that globalization has led to the convergence of the image of the world as a homogeneous whole of interrelated elements, not just economic and political, but also cultural and social.
The globalization of culture is perceived and evaluated by many artists and authors negatively, as a process of threatening the development of local cultures, leading to uniformity, amalgamation or deformation. On the other hand, it emphasizes, among other things, the values of openness to the world, the extension of cultural diversity and the pragmatic function of interpersonal communication in the digital world. It is noteworthy to investigate the homogenization and differentiation processes in the contemporary art of music.

During this conference, we wish to draw your attention to the following subthemes/areas:

– Globalization in the musical culture, current usage and scope of the term,
the issue of adequacy of the existing terminology to changing cultural
reality (e.g. music super-culture or inter-culture, inter-and transnational
culture)
– Music and its various contexts (economic, social, ideological, geographical)
– The musical work – the analysis and interpretation in the context of cultural hybridism
– National category in music and its roots versus cultural totality in the global village
– The musical work and its reception in the light of modern techniques of communication in the media civilization.

These are the questions our conference will raise and, perhaps, it will also produce some answers.
Please note that the conference discussions, as a forum for exchanging ideas of theorists, composers, musicologists from Polish and foreign universities, will be accompanied by concerts devoted to chamber music composers of the twentieth and twenty-first century. The concerts will take place every evening at 7.30 p.m. in our concert hall Aula Nova. All participants of the conference are invited.
The presentation of the paper, together with music samples, should not exceed 20 minutes. The organizers reserve plus 10 minutes for a brief discussion after each lecture.
The main language of the conference is English. Each participant is also requested to write an abstract of the paper in English (min. 200 words) and send it until the end of February 2015. It will be included in the conference program book. We do hope you will accept our invitation and that the conference will be a great opportunity for cultural dialogue between our institutions.
The deadline for a proposal submission is February 5, 2015. (please send an email to Julia Gołębiowska golebiowska.julia@gmail.com)

More details concerning the conference will be sent later.
Yours sincerely,
dr Janina Tatarska prof. AM

Department of Music Theory
Faculty of Composition, Conducting,
Music Theory and Eurhythmics
tatarskanina@interia.pl