Expression and Self-Expression in Music: Philosophical Universals, Historical Particulars?

The Symposium Expression and Self-Expression in Music: Philosophical Universals, Historical Particulars? will take place at the Institute of Musical Aesthetics, University of Music Graz, 29-31 October 2015

Driven by one of the most fascinating and challenging questions in the aesthetics of music, the symposium aims at an intricate and musically concrete dialogue between thinkers and scholars in music philosophy and musicology. It includes lecture performances and is open to the public. Admission is free.


Philip Alperson (Temple University) – Expression at the Margins
Aaron Ben Ze’ev (University of Haifa) and Angelika Krebs (Universität Basel) – Emotions and Moods as Paradigm Objects of Musical Expression
Sara Gross Ceballos (Lawrence University) – Gender, Performance and the Sociable Self in the Accompanied Sonatas of Anne Louise Brillon de Jouy
John Deathridge (King’s College London) – Trouble in C Major
Andreas Dorschel (University of Music Graz) – Self and Mask: Expression in Robert Schumann’s ‘Chiarina’ op. 9/11
Denise Elif Gill (Washington University) – Expressing Paradox: Turkish Classical Musics between the Celestial and Terrestrial
Anthony Gritten (Royal Academy of Music) – Delivering Expression from Stravinsky
Felicity Laurence (Newcastle  University) – tba
Laura Leante (University of Durham) – Expressing Identity and Emotion in North Indian Classical Music
Jerrold Levinson (University of Maryland) – Musically Specific Emotion: An Elusive Quarry
Deniz Peters (University of Music Graz) – Whose Bliss, Whose Anguish? Musical Expression, Hermeneutic Models, and Emotional Individuation
Roger Scruton (Brinkworth) – tba
Bettina Varwig (King’s College London) – Musical Expression: Lessons from the Eighteenth Century
Richard Wistreich (Royal College of Music) – “Ab aeterno ordinate sum”: Embodying the Voices of Ancient Others in Monteverdi’s Late Works


To express is to express something. The objects of expression, it seems, can be manifold: ideas, thoughts, attitudes, desires, moods – there is little reason to trust, as commonly done, that emotions form the exclusive or paradigmatic domain of what is expressed. We also speak of self-expression. Are expression and self-expression two distinct types? But then, in the way I express something that is impersonal, say an idea, do I not also betray something about myself? Is self-expression a concomitant of all expression or a special case of expressing something? What role do expression and self-expression play in music? Was there, in the instance of European music, an epoch of self-expression, starting with Monteverdi in the 17th century or Carl Philipp Emanuel Bach in the 18th century or the composers of 19th century Romanticism and ending, possibly, with 20th century musical Expressionism? Or is self-expression plainly a cultural universal of music?

These questions imply interrelated philosophical and historical problems. Research will have to move towards a philosophically informed history of musical expression in its varieties. Over the past decades, philosophers of music, often relying on techniques of conceptual analysis, have attempted to elucidate with much sophistication how music expresses – structurally, or gesturally, by means of character, or symbolically. These accounts of expression and/or self-expression in music have been constructed with minute concern for the musicological literature. And they, in turn, have had minute resonance in historical musicology, although the philosophers mean to speak precisely about the objects which historical musicologists explore. Are the latter, preoccupied with historical particularities, perhaps put off by philosophers’ supposed universals? At any rate, historical musicology widely shrinks from the topic of expression, although expressivity has been, throughout history, one major motive why people have been so gripped by music.

The lack of integration in research may well be understandable, though. It is not at all clear how and on what levels musical expression is constituted. Are compositions the right entities to inquire into musical expression? Is, rather, performance more pertinent? Or should expression be seen as a mode of listening? Is it caused, communicated, or shared? If the levels of composition, performance and listening are relevant, how can their interplay be understood? To deal with these, and related, questions, scholars from a number of fields as well as artists need to engage far more intensely with each other than has happened so far; i.a., the topic of expression, with its anthropological dimension, requires that musics of diverse cultures are considered. The symposium at the Institute for Music Aesthetics Graz has been set up in this spirit.

The symposium is organized by Deniz Peters and Andreas Dorschel and is co-funded by the Austrian Science Fund as part of the research project on musical expression (P25061-G15).

More information about the symposium can be found at

Musicology at Kalamazoo (51st IMC)

CFP: Musicology at Kalamazoo (51st IMC)
Dear colleagues,

The program committee for Musicology at Kalamazoo (Anna Kathryn Grau, Cathy Ann Elias, Daniel DiCenso) invites abstracts for the 51st International Congress on Medieval Studies, May 12-15, 2016. The topics include: Music  & Liturgy: In Memory of Clyde Brockett; Music Analysis; Music, Text, and Image; Musical Sources and Materiality; Music and the Medieval Soundscape.
We hope these topics can foster dialogue between musicologists and scholars in other areas, so we encourage specialists in fields other than Music to submit proposals. Please keep in mind that we intend these session titles mostly as “hooks,” rather than limitations, on which a multitude of proposals can be placed, so send us your best work.

Abstracts should be submitted by 15 September. Electronic submissions are strongly encouraged. Please send submissions to, and write in the subject part of the e-mail the following: KZOO 2016.

If you use US mail, send material to:
Anna Kathryn Grau
5430 S. Drexel Ave., Apt. 3N
Chicago, IL 60615

You’ll also need to complete and submit the “Participant Information Form” from the conference website, available at This is very important, not only because it is your only chance to make A-V requests, but because it is required by the Medieval Institute. It is available as either a Word or PDF document. 

If you have any questions, please contact the committee at We look forward to seeing you in Kalamazoo next May.
The Program Committee
Anna Kathryn Grau
Cathy Ann Elias
Daniel DiCenso

iFIMPaC 2016

In celebration of Leeds College of Music’s 50th Anniversary IFAI presents iFIMPaC 2016.

Thursday, 10 March 2016 and Friday, 11 March 2016

Keynote speakers and performers to be announced soon.

The International Festival for Innovations in Music Production and Composition is a metropolitan festival and takes place at Leeds College of Music and venues around the City of Leeds.

The festival creates a unique environment for composers, producers, performers, academics and students to perform and discuss their compositional/production work as practice-led research. This year’s event will continue its association with Nonclassical where we will be running a Nonclassical club night.

Submissions will be selected for either:
  • Concert hall with diffusion rig and projection
  • ‘Nonclassical’ club night event curated by Gabriel Prokofiev
  • ‘Off The Beaten Track’ evening event curated by Matthew Bourne

The following is not meant to be an exhaustive list and submissions may fit more than one of the daytime or evening events. As a guide we welcome:

  • Live Music embracing hybridity/plurality as part of the composition process
  • Solo instrument/small ensemble with live electronics*
  • Improvised sets
  • Experimental DJ sets
  • Live Coding
  • Experimental DJ sets
  • Laptop improvisation/live coding
  • Left Field Improvisation/Jazz
  • Solo instrument/small ensemble and live electronics*
  • Club music (electronic music influenced by pop, IDM and electronica)
  • Live IDM

For ‘Nonclassical’ and ‘Off the Beaten Track’ events we are happy to consider music that does not fall into the above categories and escapes definition.

  • Stereo acousmatic music for diffusion
  • Interdisciplinary work that includes sound/music
  • Multichannel pieces (5.1 and up to 8 channels + LFE)
  • Multimedia/Audio Visual pieces (including installations)
  • Solo instrument and fixed medium and/or live electronics*

*we may be able to supply performers in some instances, but you should consider acquiring your own performers as iFIMPaC’s budget is small.

  • 50 second audio visual works to be played as part of an installation (must be precisely 50 seconds)**
  • Format (MOV or MP4); H264 video codec; ACC audio codec (stereo); between 720 and 1080p

**selected 50 second video works will be played back-to-back as part of an audio-visual installation.


The following are welcome, but this is not an exhaustive list:

  • New Music: composition practice and plurality
  • ‘Shifting’ practices in electroacoustic music
  • Electroacoustic music and hybridity
  • Interdisciplinary practices
  • Electroacoustic music and analysis
  • Approaches to live coding
  • Unique interfaces and approaches to performance
  • Composition systems and techniques
  • The shifting relationships between spaces and places in music production practice
  • Dispersed creativity and how people are collaborating as a result of new technologies
  • Production analysis and innovative approaches: music technology in a commercial and/or academic settings

Preference will be given to topics that include interdisciplinary approaches that inform new insights into the creative applications of music technology, compositional methodology and/or production. Individual presentations should be no more than 20 minutes in duration (there will be a further five minutes for questions).



Successful applicants will need to register and pay a delegate fee in order to be programmed.

If your submission is successful, and is acousmatic, but you cannot attend, you will still need to register and pay the delegate fee. You may nominate an attendee to diffuse your work.

Registration fees are as follows:

Two days:

  • Single delegate £135
  • Institutional rate (up to four delegates) £340
  • Concessions* £60

One day:

  • Single delegate £75
  • Institutional rate (up to four delegates) £180
  • Concessions* £35

*concessions are for unemployed, OAPs and non-LCoM students who are not performing or presenting. Concessions are not available for participants.



The deadline for the submission of proposals is Monday, 16 November 2015.



Please submit your work here for iFIMPaC 2016:

Any queries about a proposal or attending iFIMPaC should be directed to James Wilson.

Pavel Haas Study Day

Saturday, 30th January 2016

Cardiff University, School of Music

The Pavel Haas Study Day, takes place in conjunction with the performance of Haas’s String Quartet No. 2, ‘From the Monkey Mountains’ (1925) and String Quartet No. 3 (1937–38), played by the Graffe Quartet (Brno, Czech Republic) and accompanied by a researched-based commentary by Mgr. Martin Čurda (Cardiff University).

The keynote lecture will be delivered by Prof Michael Beckerman (New York University).

In the case of Pavel Haas (1899–1944) a number of factors conspired to push the music of a highly accomplished composer to the verge of oblivion. As a student of Leoš Janáček and a life-long resident of Brno (Moravia), Haas has been marginalised in the dominantly Prago-centric historiographical accounts of Czech music. During the Nazi occupation of Czechoslovakia, the composer was banned from performance, imprisoned and killed due to his Jewish origins. In the following communist era, his music was passed over in silence, apparently for the same reason. Since the 1990s, Haas’s music has been slowly finding its way on to international concert stages, although the main body of his output, which engages in fascinating ways with inter-war avant-garde movements in Czechoslovakia and beyond, risks being overshadowed by Haas’s association with the Holocaust.

The purpose of the Pavel Haas Study Day is to stimulate critical discussion about Haas’s work, bringing together individual scholars, performers, enthusiasts, and representatives of relevant professional societies and research groups. The long-term goals of this discussion are: 1) to raise awareness of Haas’s music; 2) to enhance its understanding and appreciation by placing it in a varied inter-disciplinary context, from which it has so far been excluded; and 3) to establish for the first time an international network of scholars working on Haas and Czech music more generally in order to reinvigorate this field – which, while it does not lack strong individual scholars, lacks a sense of collective direction – and plan strategies for its future development.

The event is sponsored by the Royal Musical Association, the Music & Letters Trust, and Cardiff University, School of Music.


Individual 20-minute presentations are invited on themes that may include but are not limited to the following:

  • Janáček’s students and the problem of a Moravian compositional tradition
  • Moravian affiliations in Czechoslovak avant-garde music, arts, and culture
  • Haas’s music in the context of Nazi occupation
  • Haas’s music in the context of Czechoslovak and European avant-garde movements
  • Pavel Haas and musical historiography
  • Analytical and hermeneutical approaches to Haas’s music
  • Haas’s music in performance and concert life

One session of the day will be dedicated to the opera Charlatan (premiered 1938), an enigmatic work full of fantastic imagery, disturbingly resonating with the approaching threat of the Holocaust. The panel will include Prof John Tyrrell, a renowned specialist on Czech opera, the director and scenographer Prof Pamela Howard (Royal Welsh College of Music and Drama), and Czech theatre scholar and translator of the Charlatan, Prof Pavel Drábek (University of Hull).

Enquiries, expressions of interest, or abstracts (up to 250 words) are to be sent to Martin Čurda ( by Monday, 30 November 2015.

‘We Feel the Breath of the Soil and Fate…’ Georgy Sviridov and Russian Culture in the Twentieth Century

for the 100th anniversary of the composer’s birth

16-18 December 2015 Moscow

International Scholarly Conference

1 – 4 March 2016 Saint-Petersburg

International conference of young researchers

Saint-Petersburg State University and State institute of Art History wishes to draw the attention of the scholarly community to the conference “We feel the breath of the soil and fate…: Georgy Sviridov and Russian culture in the twentieth century” dedicated to the 100th anniversary of the composer’s birth. The conference organizers invite scholars, teachers, graduate and undergraduate students in history, philosophy and religious studies departments, as well as representatives from the fields of art history, musicology, literary criticism, sociology and cultural studies to take part.

This interdisciplinary conference will provide the opportunity to examine problems in music history and the creativity of composers more broadly than from a purely musicological perspective. The conference organizers see its main aim as the opportunity to consider the life and work of Sviridov in the light of the underlying problems of Russian history in the twentieth century and its culture, as well as from the perspective of global artistic processes. We wish to see the centenary of Sviridov’s birth serving as the occasion for serious scholarly discussion of a range of basic issues relating to approaches to the history of the Soviet period of Russian music and to the elaboration of new criteria for aesthetically, culturally and sociologically evaluating what has been achieved in the recent past in order to prepare a prognosis for the future development of our musical culture.

Sviridov’s life was a long one. He was born, shortly before the revolutions of 1917, and died after perestroika. The vicissitudes of Russian history of the twentieth century have been reflected in his fortunes. Numerous significant events and shifts in Russian history came to the composer’s attention, became the subject of artistic interpretation and gained musical realisation. In his creative work Sviridov was a rather solitary figure. After the war, as he found his way, critics wrote that he was “swimming against the tide”. Soon after, he bypassed the temptation offered by various trends in the western music of his time and did not join any musical party. He created an individual style of his own. In particular, it may be said that Sviridov differed from his contemporaries in his inclination to word-centredness or, more accurately, logocentrism.

The composer produced a significant collection of romances and songs from the second half of the twentieth century. Sviridov’s choral music, his cantatas, oratorios and numerous a cappella choruses provided an impetus for the development of the genre of choral music in Russia. Such creations as the choral concerto A Pushkin Garland or the choral cycle Canticles and Prayers have won recognition beyond Russia and have become widely famous all over the world.

Sviridov’s art is inextricably connected with Russian music, both past and present. At the same time, while being a national composer, Sviridov is inconceivable without the context of world culture. This concerns however, not only musical creativity. As an enlightened man, the composer could perfectly well find his way around the entire expanse of humanity’s lofty spiritual heritage.

The structure of the conference is presented in eight main sections. The sections are arranged chronologically. Depending on the number and character of paper proposals submitted to the organizing committee, the conference will take place in either a single or parallel sequence of plenary and sectional sessions.

The key research objectives for the conference are as follows:

I. Left march: revolution and culture of Russia in the early twentieth century.

II. Art of the 1930s (1930 – 1941).

III. The war years (1941-1945).

IV. The post-war situation: the end of the Stalin régime.

V. The Khrushchev “Thaw” and the artistic culture of Soviet Russia in the mid-1950s
and early 1960s.

VI. The state of art in the last decades of Soviet power (1964-1991).

VII. The problem of the cultural interaction of Russia and the West at the end of
the twentieth and the beginning of the twenty-first century.

VIII. Music and the word in the self-consciousness and creative work of Georgy Sviridov

IX. The place of Georgy Sviridov in the modern musical process.

Subjects for the concluding discussion:

1. The current state and horizons for the development of Russian culture;

2. «The end of Soviet music», what next? Perspectives on the development of Russian
music in the post-Soviet period: “spiritual independence” or “multiculturalism”?

To participate in the conference, send an application (full name, place of work and position, phone numbers and email) and an abstract (1000-1500 printed characters) to the organizing committee in Russian and/or English before 15 October 2015 (for Moscow) and 15 January 2016 (for Saint-Petersburg – young investigators’ conference).

The working languages of the conference are Russian and English.

Forms of taking part in the conference: plenary paper, session paper, written rather than spoken paper. Each presentation should last 15 minutes with an additional 5 minutes for discussion.

The conference in Moscow will be based at the State Institute of Art Studies.

Address: Moscow, Kozitsky pereulok, 5.

The conference in Saint-Petersburg will be based at Saint-Petersburg State University< Institute of History.

Address: Saint-Petersburg, Vasilevsky Island, Mendeleev line, 5.

Contact Information (for Moscow):

Secretaries of the organizing committee:

Alexander Sergeevich Belonenko


Nadezhda Ivanovna Teterina


(questions about sending proposals for papers to the organizing committee and the wording of topics)

Contact Information (for Saint-Petersberg):

Secretary of the organizing committee:

Е-mail: (questions about sending proposals for papers to the organizing committee and the wording of topics for papers) – Nikolaev Nikita Ivanovich (about conference organization) – Yakovlev Ivan Dmitrievich (about conference organization)

Enclosure № 1

Registration Form

First Name:

Last Name:

Scientific degree:


Institution Address:

Country Representing at the Conference:

Post address______________________________________________________


Fax _____________________________________________________________


I plan to take part in the conference with

  • a plenary paper (with a title)

  • a session paper (with a title)

  • round table discussion

  • stand paper + a title (external participation)

Special requests__________________________________________________________

Christian Wolff at Orpheus

The Orpheus Institute (Ghent, Belgium; announces “Christian Wolff at Orpheus,” two study days September 28 and 29, 2015, with the composer in attendance. Included is a keynote talk by Philip Thomas (University of Huddersfield) and an open rehearsal by TWO (Joseph Houston, Aisha Orazbayeva) of American experimental works, including a new composition by Wolff. A performers’ workshop will be held on Tuesday afternoon (29th) at which appropriate repertoire can be presented and coached by Thomas and Wolff. Proposals for papers and presentations are also invited for sessions on Monday (28th). Interested performers or presenters should contact William Brooks ( for further details. There is no fee, but the study days are followed by the Orpheus Research Festival, in which Christian Wolff is also participating; for that there is a fee (indicated on the website). Registration in advance is advised; contact the Orpheus Institute after 17 August for details.

III International Congress: Music and Audio-visual Culture MUCA

From 21-23 January 2016, the University of Murcia will host the Third International Congress: Music and Audio-Visual Culture MUCA, to provide a forum to scientific exchange with participation of composers, visual artists and researchers from several national and international universities.

We welcome proposals for individual papers (in English or Spanish) in order to promote new perspectives and dialogue about the main topics. Proposals should include:

– Abstract (250-300 words)

– Institutional affiliation (if applicable), brief biography and email address.

– Audiovisual required.

Topics for the paper presentation (not exclusive):

Music and film.

Music and television.

Music in advertising.

Music and videogames.

Music and the Internet.

Prosumers and media.

Musical analysis in audiovisual culture.

Music and technology.

Digitization, globalization and new ways of marketing.

Teaching music in audiovisual culture.

After reviewed by the Scientific Committee, the main contributions will be published on a volume which will collect the event arising scientific production.

Deadline for accepting proposals: November 8, 2015.

Further information:

Alternative Histories of Electronic Music (AHEM)

International Conference:
Alternative Histories of Electronic Music (AHEM)

15-16 April 2016
The Science Museum Research Centre, Queen’s Gate, London

The story of the genesis and development of electronic/electroacoustic music is often told in the same familiar way. Experiments in musique concrète in Paris and elektronische Musik in Cologne played a central role in European developments, while activities in New York such as those of the Columbia-Princeton Electronic Music Center, John Cage and his Music for Tape-Recorders group, and Louis and Bebe Barron are frequently proffered as the most prominent American contributions. These activities were significant, of course; but they were not the only progenitors of modern-day electronic music. There are many, many other ways in which the story of electronic music’s history and development could be told.

For example… What does electronic music look like if we focus on the contributions of individuals whose work is less widely known; less widely recognised? What happens if we step away from the Western European and North American institutions that are normally figured as central to the genesis and development of electronic music? Or, what happens if we question, or explore the mechanisms of, their authority? What happens if we change our object(s) of study; if we look at artefacts and objects rather than composers and works, for instance? Are there tools, techniques, instruments that played an important role in shaping electronic music that remain under-recognised or misunderstood? What about when we listen to the marginalised voices; what versions of electronic music’s history do they tell? Or, what happens if we change our methods of study, so as to highlight aspects that hitherto went unnoticed, such as underlying social, political, or economic dimensions? How does current music draw on the origins of the form?

This conference is being staged as part of an AHRC-funded project exploring the work of the English musician and musicologist Hugh Davies (1943-2005). In the late 1960s, Davies produced a comprehensive inventory of electronic music compositions, entitled International Electronic Music Catalog (1968), in which he documented the output of 560 studios in 39 countries. This challenged the hegemony of the Paris, Cologne, and New York schools, whose activities dominated the literature of the 1950s and 60s. As such, Davies provided what was perhaps the first alternative version of electronic music’s history. While this conference is not directly ‘about’ Hugh Davies, then, it does explore some of the broader issues raised by his work.

There are many ways in which an ‘alternative’ history could be framed. The purpose of this conference is to explore all possibilities; to focus upon different ways of telling the story of electronic music; to explore its alternative histories.

Call for Papers

We seek proposals for papers/presentations that fall under the rubric of ‘alternative histories of electronic music’, as sketched out above. We welcome submissions that focus on any one or combination of the following (note that these are suggestive rather than prescriptive):

  • Pathways from electronic music’s past to electronic music’s present that are ‘a little bit different’ from what one might expect.
  • Individuals, institutions, inventions, or perspectives that have been neglected or under-represented up to now.
  • Alternative methodological and/or theoretical perspectives; studies that encourage us to look at the history of electronic music in a different way.
  • Ethnographic, anthropological, and/or interdisciplinary approaches; implementation of methods native to science and technology studies (STS); other methodological approaches that are apt to reveal ‘alternative histories’.
  • Alternative narratives; studies that compel us to attend to, or listen to, different things as we navigate electronic music’s history.
  • Marginalised voices; stories of electronic music’s history and development that have been sidelined, for whatever reasons.
  • Non-Western European, Non-North American developments, and/or activities that happened outside those typically considered in electronic music histories.
  • Unconventional or DIY approaches; work that has flouted the norms and expectations of its epoch.
  • Developments that have shaped or changed the direction of electronic music, but which remain as yet under- or un-recognised.
  • Notions of genre/style/idiom as a lens for alternative histories.
  • Studies that might be thought of as continuing the work that Hugh Davies started with his International Electronic Music Catalog, for example by focusing on the electronic music of under-represented nations.
  • Tools, techniques, instruments (etc.) that played an important role in shaping electronic music, but which remain under-recognised or misunderstood.
  • Interrogating the (perhaps invisible) driving forces behind institutions of cultural production, so as to reveal why certain models of electronic music dominate, or appear to dominate.
  • Historic perspectives on relationships between electronic music and other musical/cultural practices.

We are interested in how electronic music came to be the way it currently is; and in the developments and perceptions that have shaped this. Proposals are therefore likely to incorporate a strong historical element, either focusing directly upon historic developments, and/or framing the current state of affairs in the light of historic perspectives. (Proposals from individuals to discuss their own creative work are discouraged unless they provide strong insights in the above areas.)

Submissions are welcomed from all disciplines, but particularly from electroacoustic music studies, science and technology studies, history/philosophy of science/technology, and sound studies.

Submission Guidelines

Please submit an abstract of approximately 500 words, plus brief biographies of approximately 100 words for each author, using the template provided, by email to The template can be downloaded here in MS Word and RTF (Rich Text Format).


  • Call for papers: 7 July 2015
  • Deadline for abstracts: 31 October 2015
  • Notification of results: 1 December 2015
  • Conference: 15-16 April 2016

Publication Plans

There are plans for a thematic issue of Organised Sound. A separate call for submission will be released in due course. Conference delegates interested in publication are encouraged to conceive of their conference papers/presentations such that they could be developed into full-length journal articles (c. 6-7000 words); a deadline for submission of articles for peer review is provisionally anticipated around 5 months after the conference (September 2016).

Contacts and Other Information

For any enquiries please contact

This conference is being staged as part of an Arts and Humanities Research Council funded project led by Dr James Mooney, School of Music, University of Leeds, in partnership with Dr Tim Boon, Head of Research and Public History, The Science Museum.


Placing Art and Music in Nature: KNEW 2015

Kazimierz Dolny, Poland – August, 10th to 14th, 2015

Recent scientific research concerning art and music has thrown up a plethora of new aspects to be integrated into our understanding of these phenomena. Individual studies, such as attempts to explain aesthetic responses in terms of some aspect of human neurology, have at times been deemed reductionist. Quite apart from such ‘accusations’ often being wholehearted accepted by researchers, the overall picture of art that science is revealing is anything from simplistic. Instead, research coming out of a variety of disciplines is presenting philosophy with ever new challenges if it is to provide anything like an integrated understanding of art and music. Thus, among others, ecological approaches provide a novel perspective upon meaning in music, embodied approaches explore the role of the specific played by the body in experiencing music and evolutionary approaches examine the significance of human evolutionary history for art and music. Far from being simplified, the view that tended to focus upon cultural factors has been enriched by consideration of cognitive and evolutionary factors as well as novel tools and ways of thinking about the interplay between art and music and the broader cultures in which they exist. In effect, it is philosophy that is forced to extend its perspective in order to seek a synthesis that reflects the new research. In our workshop we will seek to further this process by engaging philosophers and scientists in a dialogue concerning the multifaceted place that art and music hold in nature.

Invited Key-speakers

Ian Cross (University of Cambridge)

Ellen Dissanayake (University of Washington) 

Piotr Przybysz (Adam Mickiewicz University)

Sample Questions

  • To what extent recent neuroscientific findings explain the nature of our interactions with art and music?
  • How can we relate empirical data from empirical musicology to evolutionary theories of music?
  • What is the role of computational modelling of music cognition in our understanding of music (in evolutionary context)?
  • To what degree can current neuroaesthetics explain the meaning of art and aesthetic pleasure?
  • In what ways current naturalistic philosophy of science can inform recent debates on art and music?

Call for Papers

300 word abstracts are invited no later than July 15th (extended deadline). Accepted speakers will have 40 minutes for their presentations, including discussion time. Preference will be given to presentations directly connected to the work carried out by the key speakers. Abstracts are to be submitted via EasyChair.

Registration and accommodation

Applications will be accepted till June 30th, with late applications being accepted till July 31st. Early registration fee is 150 Euro (reduced rate – 75 Euro), while late registration fee is 200 Euro. Fees are payable upon acceptance of application. They cover the workshop sessions, conference materials, lunches, coffee breaks and the minibus to and from Warsaw. Accommodation is available at the hotel at which the workshop will take place and costs an additional 100 Euro in total for the whole workshop (including breakfasts) in twin en-suite rooms (limited single rooms available at higher price). Availability of accommodation cannot be guaranteed for late registrants.

KNEW’15 is being organised by Marcin Miłkowski (PAN, CPR), Konrad Talmont-Kaminski (UF&M, CPR) and Jakub Ryszard Matyja (PAN, CPR) with the financial assistance from the Centre for Philosophical Research.