Tacit or Loud

Tacit or Loud: where is the knowledge in art?
Symposium and festival for artistic research
Nov 28-Dec 3

Call for contributions
Tacit or Loud is an international symposium and a festival for experimental arts at the Inter Arts Center in Malmö, Sweden. Tacit or Loud focuses on intermedia art and presents several international world premieres. Inter Arts Center (IAC) is an organization within the Faculty of Fine and Performing Arts located in the old Mazetti chocolate factory in Malmö. IAC provides good facilities for interdisciplinary projects, including fine arts, music and theatre, but also other arts and disciplines. For information on the venues please see http://www.iac.lu.se

Where is the knowledge in art?
We embrace an ecological perspective on knowledge that stretches from the tacit and embodied knowing of the artist to propositional and scientific knowledge production. Indeed, the knowledge in art can sometimes be more loud than silent. We now welcome proposals to a symposium that challenges the format of the scientific symposium. Contributions may be in artistic form (encouraged), as conference papers or in a format that combines the two. The ambition with Tacit or Loud is to merge various kinds of knowledge production in the arts with analytical modes of thinking. Hence, it is centered around the concept of the lab as a venue for a review of artistic work and research as process. These lab sessions are the core of the event and will address the following five perspectives on knowledge in the arts:

1. Epistemology, embodiment and knowledge in the arts
The American philosopher Mark Johnson (2007) argues that all knowledge is embodied, and that “the arts are exemplary cases of embodied, immanent meaning” (Johnson, 2011, p. 234). The Routledge Companion to research in the arts emphasizes the practical and non-conceptual nature of artistic knowledge and Johnson writes in his article in this anthology: “Art presents (enacts) the meaning of a situation, rather than abstractly conceptualizing it” (Johnson, 2011, p. 247).

2. Action, situation, performativity and intention
The idea of ​​situatedness has been largely applied to theater and the art of acting, where one of its most significant theorist Konstantin Stanislavski in the 1920s and 1930s sees action, situation and intention as the key elements of the actor’s work, which he describes as primarily an exploratory activity. How can these practices inform research and artistic development?

3. Musical Gesture and Embodied Cognition
Research on musical gesture during the past decade has contributed to a shift in our understanding also of musical cognition. Meanwhile, the development of theories of “situated cognition” and “enacted cognition” created new interpretative horizons where studies of musicians’ actions and cognitive processes may constitute material for the development of new artistic practices (Leman 2007).

4. Gesture, action and reaction.
What are the new directions in intermedia art? How can a deeper understanding of action, movement and gestures, and the relationship between action and cognition, become a springboard for new artistic expressions?

5. Whose knowledge? A critical perspective on knowledge production in the arts.
No discussion of knowledge and art can avoid gender theory and postcolonial perspectives. Whose knowledge are we discussing?

There will be no parallel sessions so all participants can take part in all labs and, furthermore, each day invited artists/scholars will give a key presentation framing the perspective of the day’s sessions. Our ambition is to create a format for discussion and dissemination of artistic work and thinking about and through artistic work, while avoiding the all too common theory/practice dichotomies and allow for a creative and intellectually vital environment in which artistic and scholarly approaches to the five perspectives can be molded together.

The submissions will be peer-reviewed and a notification of acceptance will be announced no later than september 24. All accepted contributions will be published in a multimedia publication which will constitute the peer reviewed conference proceedings.

The deadline for proposals is September 15. The results of the peer-review will be announced on September 24.
Tacit or Loud starts with an opening event in the evening of Nov 28. The lab sessions will take place between Nov 29 and Dec 3.

Format and content of the proposal
– Please send proposals to tacitorloud@gmail.com
– The description of the content and format of the presentation should be no more than 300 words and may also include audio and video material.
– Please indicate which theme/themes the proposal addresses. the duration of the presentation and also a technical rider if applicable.
– Artistic materials for review can either be submitted as links for download (mp4 or h264, only stereo files and one screen video) or links to webpages for streaming.

Tacitorloud web page: http://www.teatrweimar.se/tacitorloud

Digital Libraries for Musicology

The 1st International Digital Libraries for Musicology workshop (DLfM 2014)

12th September 2014 (full day), London, UK

Registration is via City University. See http://www.city.ac.uk/digital-libraries-2014/registration


Many Digital Libraries have long offered facilities to provide multimedia content, including music. However there is now an ever more urgent need to specifically support the distinct multiple forms of music, the links between them, and the surrounding scholarly context, as required by the transformed and extended methods being applied to musicology and the wider Digital Humanities.

The Digital Libraries for Musicology (DLfM) workshop presents a venue specifically for those working on, and with, Digital Library systems and content in the domain of music and musicology. This includes Music Digital Library systems, their application and use in musicology, technologies for enhanced access and organisation of musics in Digital Libraries, bibliographic and metadata for music, intersections with music Linked Data, and the challenges of working with the multiple representations of music across large-scale digital collections such as the Internet Archive and HathiTrust.


DLfM will focus on the implications of music on Digital Libraries and Digital Libraries research when pushing the boundaries of contemporary musicology, including the application of techniques as reported in more technologically oriented fora such as ISMIR and ICMC.

DLfM also provides a venue for reflecting upon and and reassesing Music Digital Libraries more than a decade since the last dedicated workshop on “Music Information Retrieval (MIR) and Music Digital Library (MDL) Evaluation”, held at JCDL 2002, which was instrumental in the development and evaluation of technical methods now widespread in these research communities.

The workshop objectives are:

  • to act as a forum for reporting, presenting, and evaluating this work and disseminating new approaches to advance the discipline;
  • to create a venue for critically and constructively evaluating and verifying the operation of Music Digital Libraries and the applications and findings that flow from them;
  • to consider the suitability of existing Music Digital Libraries as they have evolved over the last decade since the JCDL 2002 workshop, particularly in light of the transformative methods and applications emerging from musicology;
  • to set the agenda for work in the field to address these new challenges and opportunities.


What will the next generation of musicologists be studying? And how will they carry out their research? What part will digital technology play in the musicology of the future and how will future musicologists be using digital libraries?

The Transforming Musicology Challenge solicits short position paper submissions to DLfM that describe, in detail, a musicology investigation or scenario that uses, or might use in the future, the technologies relevant to DLfM (listed in the Topics section below). The ideal entry would describe speculative work that one could envision being conducted by current researcher’s successors. While the primary focus of Challenge papers should be musicological scholarship, authors are encouraged to relate research questions to the technical challenges that must be addressed. Entries should follow all other requirements of the DLfM Call for Papers and use the Transforming Musicology Challenge submission category via Easychair. Challenge papers will be peer reviewed by the same process as general short papers; a prize winning paper will then be selected by the Senior Programme Committee from the top ranking accepted papers in the category. The lead author of the prize winning paper will be invited to expand their entry into a chapter for the forthcoming Transforming Musicology book and win an Apple iPad Mini generously donated by the Department of Computing, Goldsmiths, University of London.


Topics of interest for the workshop include but are not limited to:

  • Music Digital Libraries.
  • Music data representations, including manuscripts/scores and audio.
  • Interfaces and access mechanisms for Music Digital Libraries.
  • Digital Libraries in support of musicology and other scholarly study; novel requirements and methodologies therein.
  • Digital Libraries for combination of resources in support of musicology (e.g. combining audio, scores, bibliographic, geographic, ethnomusicology, performance, etc.)
  • User information needs and behaviour for Music Digital Libraries.
  • Identification/location of music (in all forms) in generic Digital Libraries.
  • Techniques for locating and accessing music in Very Large Digital Libraries (e.g. HathiTrust, Internet Archive).
  • Mechanisms for combining multi-form music content within and between Digital Libraries and other digital resources.
  • Information literacies for Music Digital Libraries.
  • Metadata and metadata schemas for music.
  • Application of Linked Data and Semantic Web techniques to Music Digital Libraries.
  • Optical Music Recognition.
  • Ontologies and categorisation of musics and music artefacts.



Kevin Page, University of Oxford
Ben Fields, Goldsmiths University of London

Senior Programme Committee

David Bainbridge, University of Waikato
Tim Crawford, Goldsmiths University of London
Julia Craig-McFeely, University of Oxford
Matthew Dovey, Jisc
J. Stephen Downie, University of Illinois
Ichiro Fujinaga, McGill University
Charlie Inskip, University College London
Tillman Weyde, City University London

Programme Committee

David De Roure, University of Oxford
Jürgen Diet, Bavarian State Library
Jon Dunn, Indiana University
David Lewis, Goldsmiths University of London
Laurent Pugin, RISM Switzerland
Andreas Rauber, Vienna University of Technology
Stephen Rose, Royal Holloway University of London
Mohamed Sordo, Universitat Pompeu Fabra
Sandra Tuppen, British Library
Marnix van Berchum, Utrecht University and KNAW-DANS
Raffaele Viglianti, University of Maryland
Frans Wiering, Utrecht University

2015 Conference of the Historical Keyboard Society of North America (HKSNA): French Connections – Networks of Influence and Modes of Transmission of French Baroque Keyboard Music

2015 International Conference of the Historical Keyboard Society of North America

May 21-24, 2015

The Schulich School of Music of McGill University, Montreal, Canada


The Historical Keyboard Society of North America (HKSNA) and the Schulich School of Music of McGill University (Montreal, Canada) are pleased to invite submissions of proposals for the Fourth Annual Meeting of HKSNA:

“French Connections: Networks of Influence and Modes of Transmission of French Baroque Keyboard Music”

The conference will be held at the Schulich School of Music, McGill University, from May 21 to 24, 2015.

Details of the Event and Requirements for Presenters:

The conference aims to deepen understanding of French baroque keyboard music, its style, influence, transmission, and the different teaching traditions that nourished it. Although it is difficult to speak of a single French baroque keyboard style, it remains true that the grand siècle generated a musical classicism cultivated by keyboardists not only in France but transnationally. Often, the terms ‘baroque’ and ‘classical’ are used interchangeably in relation to both the repertoire and instruments of the period.

A special section of the conference is dedicated to the internationally-renowned organist and pedagogue, John Grew, Professor Emeritus at McGill University and an expert of the French baroque organ and harpsichord repertoires.Concerts by guest keyboard performers will also be offered to conference participants and the general public, and master classes will be open to qualified students and participants.

The programme committee encourages submissions of individual papers, round-table discussions, group sessions, lecture-recitals, mini-recitals, and multimedia demonstrations on the following topics as they relate to French baroque keyboard music and historical keyboards:

  • Networks of influence within and beyond France;
  • Pedagogical treatises and other sources of transmission;
  • Legacies and influence of composers or groups of composers and performers;
  • Repertoires, genres, and contexts of performance;
  • Connections with other media such as literature and art;
  • Instruments and builders;
  • Patronage and politics;
  • New perspectives or insights into le goût français.

Although the principal theme for this year’s international conference is French baroque keyboard music, proposals of presentations outside or peripheral to this theme, including contemporary repertoires and issues for historic keyboard instruments, are also welcome and will be accommodated if possible.

Available instruments include single- and double-manual harpsichords by Yves Beaupré, Willard Martin, Frank Hubbard and William Post Ross, clavichords and a fortepiano, and, on May 21 only, the French-classical organ by Hellmuth Wolff in Redpath Hall.

Submission procedure. Abstracts of no more than 400 words excluding titles must be received by 5 p.m. EST on 30 September, 2014. Only one proposal per presenter or group of presenters can be chosen.

Lecture-recital, mini-recital, and multimedia demonstration proposals must also include a sample recording, provided via internet link or as an attached MP3 file.

All proposals, whether they be for papers, lecture-recitals, mini-recitals, multimedia demonstrations, round tables or group sessions, must include short biographical statements for all presenters. Presentations should last no longer than 25 minutes.

  • Presenters must be members of HKSNA. Presenters must also register for the conference and cover their own travel and other expenses.

Presenters whose proposals are chosen will be invited to revise their abstracts for the conference program. Results will be transmitted to presenters by 30 October, 2014. Please send your proposal abstracts directly to hksna2015@gmail.com.

Programme Committee:
Frances Conover Fitch

Hank Knox

Sonia Lee

Rachelle Taylor

Lena Weman

Of special note: This year, HKSNA hosts the Ninth Aliénor International Harpsichord Composition Competition. For more details: http://historicalkeyboardsociety.org/competitions/alienor-competition/.

Musicology in the contemporary world

International Conference of Young Musicologists

October 6-8, 2014, Yerevan, Armenia

Yerevan Komitas State Conservatory is organizing an international musicological conference for students. The main goal of the conference is to encourage the formation of a new cultural platform as well as to contribute the development of research and creative abilities of young scientists.
All undergraduate (BA) and postgraduate (MA and PhD) students may participate in the conference. Every topic in the field of musicological studies is accepted.
Age limit: 35 years old.
Working languages: Armenian, Russian and English.

For participation the applicants should send abstract (max. 600 characters, PDF form, Font type – Times New Roman Font size-14, line spacing 1.5) and application. The application must include the following:
• Name, surname and middle name of participant
• Full official name of the Higher Educational Institution
• Profession, Educational degree and faculty
• Title of paper
• Technical equipment/assistance needed during the presentation
• Name, surname, middle name of supervisor, also academic degree and academic title (write without abbreviations, in the ordered list)
• Contact details and e-mail of the participant

Paper proposals should be sent to following e-mail address: musicologconf2014@gmail.com. Please, write “Conference” in the subject line.
The maximum duration of presentation (including discussion) is 15 minutes.

The received abstracts will be united in corresponding blocks and will be reviewed by the members of scientific committee.

The selected applicants will be notified by e-mail not later than September 7, 2014.
The best papers will be published in the scientific journal of YKSC.

Deadline: July 1, 2014.
Accommodation: Accommodation and meals will be provided by the hosting organization.
Participation Fee: 50$ (equivalent Armenian Dram)
For more details please contact the coordinator of the conference Mrs. Narine Avetisyan, Docent of YKSC: anz1969@rambler.ru.

Performing Brahms in the Twenty-first Century

A Symposium on Performing Practice
June 30 to July 2, 2015
School of Music, University of Leeds

(Supported by the World Universities Network: Fund for International Research Collaborations)

Performing practices for nineteenth-century repertory changed radically during the course of the twentieth century. The period that separates us from Brahms’s lifetime saw a gradual stripping down of classical music performance to those elements of sound that can be explicitly notated, as discrepancies with the score came increasingly to be frowned upon as unwarranted violations of the composer’s intentions. Over time the stylistic revolution of the early twentieth century generated a kind of cultural amnesia, obliterating the awareness, forcibly expressed by Brahms’s close colleague Joseph Joachim, that reading between the lines of the score was essential in order to convey the composer’s conception to the listener. The new orthodoxy was based on a presumption that the score indicates most, if not all, that a composer expected to hear, and that obvious departures from it (with the exception of adding vibrato) were signs of a performer’s egoism and bad taste. Written evidence and sound recordings of musicians trained in the middle decades of the nineteenth century (including those of important composers), however, reveal a much more flexible approach to the notation.

In the case of Brahms and his circle, frequent and noticeable changes to tempo and rhythm were seen as integral to musical expression, character and structural clarity. Insinging, string playing, and even in wind playing, portamento was prominent as a means of heightening expression and enhancing legato. Vibrato had a similarly ornamental function and could appear and disappear very suddenly in response to an expressive musical gesture. In piano playing, separation between melody and bass (dislocation) and arpeggiation were employed to highlight dynamics, texture, and rhythmic inflection. Significantly too, some of Brahms’s markings appear to have elicited a range of interrelated musical responses in his colleagues’ performances, suggesting that these familiar symbols carried messages which have since been lost.

The Symposium seeks to bring together scholars, students, and professional musicians interested in historical performance, providing a forum in which they can exchange ideas and experiment with them in practice. In this way, scholars can help professional performers to engage practically with the latest research, while performers can help to refine, or even redefine the scholar’s research questions. To this end, the Symposium committee especially encourages submissions that deal with the historical evidence in experimental ways. We invite proposals for individual papers of between 20 and 40 minutes length, or presentations with a strong practical component (e.g. lecture recitals) of up to 40 minutes in length. In addition to these presentations, the Symposium will include workshops devoted to individual movements from Brahms’s sonatas and chamber music.

The official language of the symposium is English.

Every proposal must include:

• Name

• Email address

• Affiliation, if applicable

• For presentations: Title of paper/presentation including repertoire to be examined where applicable, Abstract of c. 300 words

• For workshops: instrument/ensemble, list of repertoire you’d be willing to play

• Short Biography/CV 150 words

• Technical/Audio Visual Requirements

Two nineteenth-century Erard grand pianos (1855 and 1878) and a modern Steinway grand will be available.

Proposals must be submitted by email to Professor Clive Brown (c.brown@leeds.ac.uk) by January 15, 2015. Emails must have the subject line “Performing Brahms Symposium.”

Proposals will be considered by the conference committee (Clive Brown, Kate Haynes, and Neal Peres Da Costa) and successful proposers will be notified by January 31, 2015.

Registration: Those attending the Symposium must register by April 30, 2015.

The Symposium is open to observers not giving papers / presentations.

There is no cost for attending the Symposium but attendees will be responsible for their own accommodation and subsistence. There will be a charge for the Symposium dinner.

Further practical details about the Symposium, including suggested accommodation and travel, will be available on the Symposium webpage soon.

Tracking the Creative Process in Music

IRCAM, IReMus (Paris-Sorbonne University and CNRS), and CTEL (Nice-Sophia Antipolis University) are delighted to announce

3rd edition: Paris, France, 8-10 October 2015

This conference brings together researchers interested in artistic creativity and the study of processes of musical and sound creation of the past and present. Researchers working on this cluster of problems from a wide variety of disciplines (history, music analysis, psychology, philosophy, cognitive science, sociology, ethnomusicology, anthropology, etc.) are invited to assess the different methodologies developed in the last thirty years in their respective areas from an interdisciplinary perspective. Each approach contributes in its own way to the advancement of our understanding of the procedures, techniques, knowledge and know-how employed by musicians involved in creative projects.

Following the epistemological paradigm shifts that musicology underwent at the end of the last century, the notion of ‘creative process’ has been enriched. Sketch studies have extended their scope beyond notated works of art music.  Today this field includes all contemporary musical repertories as well as the oral, technological and collaborative dimensions of the creative process in music. There is growing interest, for example, in the function of improvisation and of gesture in the creative process, in the collective and collaborative dimensions of artistic work, in the redefinition of the roles of the composer and the performer, in the art of studio production and in the strategies of documentation, transmission and future performance of works involving technology, etc. The complexity and the multidimensionality of this field of study require new analytical tools and new research methods at the crossroads of analytical musicology, the social science and humanities and other academic disciplines.

This broadening of the field also provides a new context for the study of works and composers from the Western musical canon. Whether based on historical archives or on the collection of empirical data, studies of the creative process in music share many of the same methodological requirements, descriptive vocabulary and models of creative action. This conference therefore aims to be a forum in which the most recent results produced by the well-established tradition of sketch studies can meet the complementary or alternative paradigms emerging from other repertories or approaches.

Our guest speakers in 2015 will be Georgina Born (University of Oxford), Nicholas Cook (University of Cambridge, author of *Musical Performance as Creative Practice*, Oxford U.P., 2016), Pierre-Michel Menger (Collège de France, author of *The Economics of Creativity*, Harvard U.P., 2014), and Friedemann Sallis (University of Calgary, author of *Musical Sketches*, Cambridge U.P., 2015).  TCPM will also include workshops/concerts on composition and performance led by Hyacinthe Ravet (Université Paris-Sorbonne) and Jean-François Trubert (Université de Nice-Sophia Antipolis).  The languages of the conference are English and French. Simultaneous translation of French papers will be provided.

Curious about TCPM?
– Go to http://tcpm2013.oicrm.org/?lang=en for an overview of the previous edition’s papers and sessions.  Many disciplines and approaches were present, but there are still many more to include in the conversation.  All disciplinary and aesthetic domains are welcome.
– Go to http://creative.arte.tv/fr/community/analysing-process-musical-creation (chapters 1 & 4) to catch glimpses of the first edition (Lille, 2011) and listen to colleagues’ statements about the creative process.


Each conference talk proposal must include the following elements:
· First and last name of presenter
· Institutional Affiliation
· Mailing Address, telephone number and email address
· Title of proposed conference talk
· Abstract, 800 to 1200 words in length, clearly presenting the subject, the theories and models of creative processes described in the talk, the goals, the methodology used and the results of the study
· Selected Bibliography (3 to 8 references to the exclusion of the presenter’s own work) and main sources used (archives, experimental or ethnographic data, etc.).
· Personal web site (optional)

Proposals must be received no later than 1 December 2014 via the conference’s website.

Proposals will be double-blind reviewed by 2 or 3 members of the Scientific Committee, depending on the areas covered in the proposal.  Notification of acceptance will be sent to applicants within 12 weeks.

Correspondence address: tcpm2015 (at) ircam (point) fr

The conference website will be online in fall 2014.

6th International Musicological Student Conference-Competition

The 6th International Musicological Student Conference-Competition April 24-26 2015. Tbilisi, Georgia

Calls and Requirements:
Participants: students of undergraduate and postgraduate (Master’s and Doctorates) courses of Higher Educational Institutions (both musicologists as well as performers).

Music History, Music Theory, Sacred Music, Ethnomusicology, Musical Interpretation. Issues of music aesthetics, philosophy, also methodological issues of musicology.

• Participants (Competitors and out of competition participants) will be selected through the abstracts they have sent.
• Abstracts must be written in English or Russian (350 – 500 words). Font – Times New Roman or Sylfaen.
• The selected papers must be no more than 6 printed page (Page format – A4, Font size – 12, Paragraph -1,5; Margins – 2).
• Time-limit for paper presentation 10 min
• Time-limit for paper discussion is 10 min.

Working Languages:
Georgian, English, Russian

• The deadline for submit the proposals: by November 30. 2014
• All proposals are submitted online: geomusicology@gmail.com;

• Applicants will receive the application form by e-mail, during 5 days after online registration.
• Filled applications and abstracts must be sent no later than 10 days after registration.
• The full version of the paper must be sent by March 10, 2015.
• Fee for participation – € 40

For more information please contact:

e-mail: geomusicology@gmail.com
Phones: +995 598 272048 – Maia Sigua
+995 593 985699 – Ketevan Chitadze
+995 593 909123 – Nana Katsia
* The program of the conference/competition also includes concert and cultural program.

Seventeenth Nordic Musicological Congress

Seventeenth Nordic Musicological Congress

11 – 14 August 2015, Aalborg University, Aalborg, Denmark


The Congress is co-organized by the Danish Musicological Society, the Department of Communication and Psychology and the Department of Culture and Global Studies, Aalborg University.

The Nordic Musicological Congress is typically a quadrennial event, gathering on the one hand researchers in music active in the Nordic countries and, on the other, researchers with an interest in the specific activities of Nordic music research or aspects of Nordic music and musical life. Recent conferences took place in Stockholm 2012, Oslo 2008, Helsinki 2004 and Aarhus 2000. The notion of a Nordic, regional community of music research might be open to debate. The 17th Nordic Musicological Congress will contribute to development of relations within this group as well as testing the very notion of Nordic musicology in the sense that has been developed through the years.

One of the main functions of the Aalborg-congress, however, is to be a broad forum for communication of current music research. The program committee has representatives from the Danish, Finnish, Norwegian, and Swedish musicological societies.

Please note that the conference will include two formats: Ordinary papers and panels.

The organizers invite submission of abstracts for both formats of no more than 2,500 characters in one of the conference languages (Nordic languages and English).


Following the conference, delegates will be invited to submit anonymized full papers for a peer-reviewed publication.

The location for the 17th congress will be Aalborg University in Aalborg, Denmark. The conference will take place at the Musikkens Hus and is hosted by the Music & Sound Knowledge Group in the Department of Communication and Psychology at Aalborg University. The Musikkens Hus is a purpose-built concert house opened early in 2014 that is home to both the university’s and the Royal Academy of Music’s music activities as well as the Aalborg Symphony Orchestra. Built right on the fjord, it has four concert halls, Denmark’s largest pipe organ, and state-of-the-art recording facilities. It is situated about 5 minutes walk from the many bars (outside in August) and restaurants of Aalborg’s late mediaeval centre.

Aalborg is located in North Jutland on the Limfjord. It is the fourth largest city in Denmark and with a compact, well-preserved centre that is ideal for walking. It is well served by several airlines, often direct from major European cities or via Copenhagen, and a taxi or the number 2 bus can take you from the airport into the city centre within 10-20 minutes. There is also a train service from Copenhagen to Aalborg central station.

Important dates:
Abstract submission deadline: 1 September 2014
Notification of acceptance: 1 October 2014
Conference: 11 – 14 August 2015

Abstract submission:
Applicants should submit an abstract of no more than 2,500 characters to:

Registration before 1 June 2015: DKK 2,000
Registration from 1 June 2015: DKK 3,100

Conference fee includes:
– Conference 4 days
– Welcome reception
– Proceedings (abstracts), programme and miscellanea
– Four lunches
– Coffee and tea during breaks
– One conference dinner

Registration and accommodation booking will open late 2014. Details to be posted on the conference website.

Keynote speakers:
To be announced.

Over and Over Exploring repetition in popular music

Over and Over Exploring repetition in popular music University of Liege, Belgium, 4–6 June 2015

Over and Over: Exploring repetition in popular music aims at identifying and studying the recent aesthetic and analytical developments of musical repetition. From the 32-bar forms of Tin Pan Alley, through the cyclic forms of modal jazz, to the more recent accumulation of digital layers, beats, and breaks in Electronic Dance Music (EDM), repetition as both an aesthetic disposition or formal musicological property stimulated a diversity of genres and techniques. After decades of riffs, loops, vamps, reiterated rhythmic patterns, as well as pervasive harmonic formulae and recurring structural units in standardized song forms, the time has come to give these notions the place they deserve in the study of popular music.

Since the 1980s, and following on Richard Middleton’s pioneering work on musematic and discursive repetition or Robert Fink’s Repeating Ourselves, repetition can no longer be conceived as a single, over-arching concept. Whether addressed from the angle of musicology, sociology, music technology, economy or cultural studies, the complexity connected to notions of repetition in a variety of musical cultures calls for a reassessment of relevant theoretical frameworks and discursive approaches. Suitable topics include (but are not restricted to) the following:

–                Theory of repetition, academic discourses on repetition, historiography

–                Music analysis, music theory, musical forms

–                History and sociology of technology

–                Mass cultural theory

–                Psychoanalysis and information theory

–                Genre studies

–                Loops, samples, riffs and remixes

–                DIY culture

–                Repetition in experimental, avant-garde and ‘Art’ music (20th & 21st Centuries)

–                Reception, discomorphosis

–                Sonic ontology of musical repetition

–                Repetition in dance and ritual music

Abstracts of no more than 300 words and short biographical notes (of no more than 75 words with affiliation, contact email and five keywords) should be sent in English to christophe.levaux@ulg.ac.be by 18 January 2015. Papers will be accepted in English, French, and Dutch.[1] Abstracts will be reviewed and results will be announced in March 2015.

Any enquiries should be sent to christophe.levaux@ulg.ac.be

Organisation Board:

Olivier Julien (Paris-Sorbonne University, France)

Christophe Levaux (University of Liege, Belgium)

Kristin McGee (University of Groningen, Netherlands)

Christophe Pirenne (University of Liege, Belgium)

Hillegonda C Rietveld (London South Bank University, United Kingdom)

Koos Zwaan (InHolland Hogeschool, Netherlands)


[1]Whatever the language of their presentation, participants will be asked to provide PowerPoint/KeyNote slides in English.