The First International Conference on Women’s Work in Music

First International Conference on Women’s Work in Music

4th – 7th September 2017, Bangor University, Wales

Contact: Rhiannon Mathias –


The School of Music at Bangor University is pleased to announce the First International Conference on Women’s Work in Music. The Conference has been timed to mark the 40th anniversary of the death of the Welsh composer Grace Williams (1906-77).

The Conference aims to bring together academics, researchers and music professionals from around the world to share their research and experience of all aspects of women working in music. The Conference will seek to both celebrate the achievements of women musicians, and to critically explore and discuss the changing contexts of women’s work in music on the international stage. The diversity and richness of this work will be illustrated at the conference through presentations in areas such as historical musicology, music education, ethnomusicology, practice-led research and performance, composition, music analysis, popular music studies and much more.

The Conference Programme includes Keynote Presentations by leading scholar Dr. Sophie Fuller, author of The Pandora Guide to Women Composers: Britain and the United States, 1629-present, and the author and music journalist Jessica Duchen whose work has appeared in The Guardian, The Independent and The Sunday Times.

The Call for Papers for the First International Conference on Women’s Work in Music will be circulated in January 2017.

The Composer as Chronicler: Telemann’s “Gebrauchsmusik” as a musical diary

Call for papers

The Composer as Chronicler:
Telemann’s “Gebrauchsmusik” as a musical diary.
4th Frankfurt Telemann Symposium
5 – 7 October 2017

The conference has been organized by the Frankfurt Telemann Society together with the institute for musicology at the Goethe-Universität Frankfurt am Main and will held in the Holzhausenschlösschen of the Frankfurter Bürgerstiftung.
In the course of his 86 years, the composer Georg Philipp Telemann was an unusually alert eyewitness to the inexorable passage of time and change in social mores impacting the society in which he lived. His compositions for specific occasions, often thought of today rather disrespectfully as “Gebrauchsmusik”, can be seen as entries in a diary, entries which capture and comment upon important events in the life of his community and his world. The texts and music of such works open a window on contemporary thought and feeling about such matters as war and peace, natural catastrophes, and even stock market crashes.  They accompany the composer in his various capacities as church musician (music for weddings, for the induction of priests into their new parishes, and for funerals) and court composer (music for royal birthdays and state visits), and illuminate the complex network of interdependentcies between composer and society. Such works are valuable not only for their intrinsic beauty, but also for what they can tell us about the society of which they formed a part.
This conference in the Telemann year 2017 – the 250th anniversary of the composer’s death – proposes to examine this aspect of the composer’s oeuvre in light of its social and cultural relevance and of its place in the developing musical language of the time. Of particular interest are works which have until now received only a cursory investigation and have not appeared in critical editions (cantatas for the dedication of churches, music for the induction of priest into their new parishes, music for weddings, birthday serenades and works for political celebrations and for the schools in Hamburg and Altona).
Participants in the conference are invited to enter into a dialog with works of the above mentioned categories, whereby more general discussions of “occasional music” in the 18th century from an historical, sociological or cultural standpoint would also be most welcome.
Prospective papers should be 30 minutes in length, followed by a 15-minute interval for discussion. Conference languages are German and English. Interested parties are requested to submit a short (500 words or less) summary of their proposed topic, preferably per email, to:
Prof. Dr Thomas Betzwieser
Goethe-Universität Frankfurt
Institut für Musikwissenschaft
Senckenberganlage 29-31
D-60325 Frankfurt am Main
email: betzwieser at em dot uni-frankfurt dot de
The deadline for receipt of abstracts is January 15, 2017; the final program will be published on the web page of the Frankfurt Telemann Society (www dot telemann dot info) no later than the beginning of March, 2017. A publication of the symposium proceedings is planned.
During the symposium there will be a concert by students of the Hochschule für Musik und Darstellende Kunst Frankfurt with works discussed during the proceedings.

Music Scotica 2017

Musica Scotica 2017: 800 years of Scottish Music

Musica Scotica’s Twelfth Annual Conference

Saturday 22 April 2017

The Tolbooth
Jail Wynd
Stirling, FK8 1DE
Scotland, UK
Call for Papers for the 2017 Conference

Since 2005, the Musica Scotica Trust has conducted an annual conference during the last weekend of April each year. The 2017 conference will be held at the The Tolbooth, Stirling on Saturday, April 22, 2017

Papers for the 2017 conference, 20 minutes in length, are invited on any aspect of Scottish music. Topics presented in previous years have included chant, Gaelic song, fiddle and bagpipe music, manuscript sources, music publishing, the Scottish diaspora, opera performance, cultural organisations, music education, sectarianism, George Thomson and Haydn, Marjory Kennedy-Fraser, Learmont Drysdale, Hamish MacCunn, James MacMillan and Sally Beamish.

Please submit an abstract (250 words) as a Word document or rtf file by Wednesday, 30th November 2016 to You will be notified by December 2016 if your abstract has been accepted.

A poster session may be included; delegates are invited to indicate whether they would be interested in availing themselves of this opportunity. Publication of proceedings: Musica Scotica will publish papers from this conference along with a selection of papers from previous conferences. FULL CONFERENCE CFP ONLINE:-

ICMSN/SurreyMAC 2017

The combined Tenth Biennial International Conference on Music Since 1900 and Surrey Music Analysis Conference (ICMSN/SurreyMAC 2017) will take place on Monday 11 to Wednesday 14 September 2017 at the University of Surrey.
The ICMSN theme is music since 1900, conceived in the broadest possible terms. Proposals for papers may be submitted on any topic relating to 20th- and 21st-century musics (of any genre), drawing on scholarly approaches from any relevant intellectual discipline.
The Music Analysis Conference welcomes papers on any aspect of theory and analysis relating to music of any genre and historical period.
Proposals in the following categories will be considered:
* Papers (20 minutes maximum, with 10 minutes for discussion)
* Paper sessions (three or four papers, each of 20 minutes maximum, with 10 minutes per paper for discussion)
* Roundtable discussions (up to 6 participants, each giving a short position paper, followed by a general discussion, total running time of 90 or 120 minutes)
* Recitals, lecture-recitals and lectures illustrated by sound diffusions or audio-visual screenings (maximum duration 90 minutes)
* Demonstrations and discussions of practice (maximum duration 90 minutes)

Proposal instructions/guidelines
Abstracts and proposals should be prepared as follows:
* For individual papers: up to 250 words
* For paper sessions: 250-word (maximum) summary and up to 200 words for each session participant
* For roundtable discussions: 250-word (maximum) and up to 150 words for each panel participant
* For recitals, lecture-recitals and lectures illustrated by sound diffusions or audio-visual screenings: 250 word (maximum) summary, plus participant CVs and recordings / scores / other details of works to be included in the event (contact the organiser to discuss)
* For demonstrations and discussions of practice: 250 word (maximum) summary, plus participant CVs and recordings / scores / other details of works to be included in the event (contact the organiser to discuss, and to ascertain equipment and space available).

Further information for applicants:
* Only one proposal of each type is permitted per applicant
* Proposals should not substantially duplicate presentations being given at conferences or other events proximate in time or place to ICMSN/SurreyMAC 2017
* All proposals must be sent by email as a MS Word or pdf attachment to
* Proposals need not be anonymized.
All enquiries should be sent to

Programme Committee:
Dr Tom Armstrong (Surrey), Dr Shay Loya (City), Dr Chris Mark (Surrey; Chair), Professor Allan Moore (Surrey), Dr Lauren Redhead (Canterbury Christ Church), Dr Eva Moreda Rodriguez (Glasgow), Dr Kenneth Smith (Liverpool), Dr Georgia Volioti (Surrey).

Applicants will be informed of the outcome of their proposal by 17 March.

14th International Conference from the series “Musica Practica, Musica Theoretica” – The Music of the Past in the Postmodern World

On behalf of the Faculty of the Theory of Music at the I. J. Paderewski Academy of Music in Poznań I would like to invite you to participate in the 14th International Conference from the series “Musica Practica, Musica Theoretica” – The music of the past in the postmodern world to be held on 4th–5th April 2017 in our Academy’s Presidential Hall.

The conference shall concentrate on issues referring to a musical work and various relations between artistic and composing theory and practice. This time, it will refer to how musical past functions in a postmodern world considering the whole vagueness and indefiniteness of the postmodern stage. The focus of the meeting will be in particular on:

  • the music of past ages as a source of postmodern games (using musical tradition in the form of metatexts, citations, stylizations etc.),
  • spaces of the past of musical culture and a „new past” – cultural changes in the perception (reception and evaluation) of the music of past eras,
  • musical ways of commemorating the achievements of past generations,
  • knowledge of the history of musical culture as a source of inspiration/pre-text of the contemporary musical creativity,
  • a contemporary musical work – analysis and interpretation in the perspective of the music of the past,
  • musical tradition and the generation of „digital natives” – methods of explaining and interpreting facts of musical culture,
  • musical traditions as a subject of contemporary reflection on music.

The lecture, including musical excerpts, should not exceed 20 minutes. The conference shall be held in Polish and English. A paper delivered in Polish should be accompanied by a presentation in English or a translated paper supplied to the organizers no later than on 10 march 2017.

Conference participants shall be offered accommodation, board and modest remuneration.

You are kindly requested to declare your willingness to take part in the conference and send us (in Polish and English):

  • presentations’ title
  • biographic note (up to 400 characters),
  • abstract of your paper (up to 3000 characters).

no later than 10th January 2017.

Upon receiving our acceptance (no later than 31st January 2017) you will be asked to transfer a conference fee of PLN 300, till 20th February 2017, to the following account number:

BZ WBK S.A. VI O/POZNAŃ 66 1090 1362 0000 0000 3601 7907

Your application, subject, biographic note and abstract of the presentation should be sent to Julia Gołębiowska, Ph.D.’s email adresss:

Further details shall be sent at a later date.

Sincerely yours

Hanna Kostrzewska

Music and Material Culture

One-day Workshop – 7 December 2016, University of Cambridge

We are pleased to announce the one-day workshop on ‘Music & Material Culture’, to be held at the University of Cambridge on Wednesday 7 December. This workshop proposes to create a bridge between material culture studies and musical studies, exploring the wide range of objects that interact with musical practice and consumption, sound production, and the sense of hearing. The workshop has a wide regional and historical scope, ranging from the Renaissance to the present.

Full programme and further details at:

Attendance is free, but space is limited. Please write to (Vera Wolkowicz)


9.00 – 9.15. Registration

9.15 – 9.30. Introduction

9.30 – 10.30. Session 1 – Keynote Speaker
-Florence Gétreau (CNRS, Paris)
‘European Musical Cabinets from Renaissance to 19th Century: Typology and Philosophy’
Chair: Amparo Fontaine (University of Cambridge)

10.30 – 11.30. Session 2
-Flora Dennis (University of Sussex)
‘Listening to the Song of Objects: Material Culture and Music in Early Modern Italy’

-Moritz Kelber (University of Salzburg)
‘Quella cosa è più nobile, che ha più eternita ‒ Leonardo, Eternity and the Materiality of Music’
Chair: Vera Wolkowicz (University of Cambridge)

11.30-12.00. Coffee Break

12.00-13.00. Session 3
-Penelope Gouk (University of Manchester)
‘On the Role of Musical Instruments in the Creation of Francis Bacon’s Experimental Study of Sound’

-David Trippett (University of Cambridge)
‘Music and the Permutations of Materialism ca. 1855’
Chair: Nicolò Palazzetti (CRAL/EHESS)

13.00-14.00 Lunch break

14.00-15.30. Session 4
-Gabriele Rossi Rognoni (Royal College of Music)
‘Defining “Old” vs. “New” Organologies: Changing Perspectives in Studies on Musical Instruments’

-Marion Leonard (University of Liverpool)
‘Collection, Interpretation and Encounter: Popular Music in the Museum’

-Michele Del Prete (Accademia di Belle Arti di Foggia)
‘Remote Divisions. On the Post-Romantic Organ as Reference for (Early) Electroacoustic Music Sound Projection’
Chair: Violeta Nigro-Giunta (CRAL/EHESS)

15.30-16.00. Coffee break

16.00 – 17.30. Session 5

-Rachel Stroud (Univeristy of Cambridge)
‘Objects, Agency and Beethoven’s Late String Quartets’

-Pamela Feo (Boston University)
‘“So intangible a thing as a pianist’s touch.” Listening to the Body in Player Piano Performance’

-Laura Dolp (Montclair State University)
‘Idris Kahn and the Poetics of the Score’
Chair: Danielle Padley (University of Cambridge)

17.30-18.00. Final Remarks. Open discussion

Music and Socialism since 1917

Conference supported by the Institute of Musical Research

7-8 July 2017, Department of Music, University of Nottingham

Keynote: Eric Drott (University of Texas at Austin)

‘Music and Socialism: Past, Present and Future’


 Convenor: Danijela Špirić-Beard (IMR Early Career Fellow, Royal Holloway)

Conference committee: Robert Adlington (University of Nottingham), Pauline Fairclough (University of Bristol), Elaine Kelly (The University of Edinburgh) and John Street (University of East Anglia)

Call for proposals

The rise of Occupy, Podemos, Syriza, Bernie Sanders and Corbynism for many indicates the emergence of twenty-first century socialism, but despite this renewed interest, the concept of socialism continues to receive little attention in musicological discourse. Marking the centenary of the Russian Revolution, this conference will examine how music and socialism have been articulated at various historical and sociopolitical junctures, focusing on how composers and musicians have voiced their political engagement since 1917.

In contrast to the implicit radicalism of communism, socialism was initially championed as the more moderate and democratic means of effecting social change. The aim of this conference is to open up a dialogue between the creative and transformative inroads that socialism has made through music over the last hundred years, and the more adverse appropriation of music and socialist ideology by totalitarian regimes. The conference will challenge the semantic confusion over socialism and communism, and generate a more global understanding of socialism as an impulse that resonates beyond the Cold-War polarisation, and across many different cultures, societies and political systems.

The conference seeks to address (but is not limited to) the following themes:

– What constitutes socialist music?

– Rethinking Marx and critical theory

– Music, protest, democracy: between moral imperative and social action

– Composing socialism: mass communication and intellectual experimentation

– Rethinking music in the Cold War: towards socialist commonalities

– Pop and socialism

– Sounding socialism on screen

– Economy, capitalism and the music industry

– Music and postsocialism

– Music in socially engaged projects

– Social engagement or political commitment: liberals, radicals, progressives

– Socialist or social?



We invite proposals for both individual papers and themed panels (3−4 speakers).

– Individual abstracts (250 words)

– Panels should include individual abstracts (250 words) and a short description of the proposed panel (200 words)

All proposals must include the title of the presentation/panel, author name(s), institutional affiliation(s), email contact, technical requirements and a short biography (100 words). Proposals should be sent as a word attachment to Danijela Špirić-Beard at

The deadline is 11 January 2017.

Applicants will be informed of the outcome by 15 February. Information about the conference (including accommodation and travel information) will be sent to all successful candidates by the end of February.

A conference fee of £35 will cover the cost of a conference pack, buffet lunch and refreshments on both days. A limited number of travel bursaries will be available to postgraduates and to early career researchers without institutional support.

A selection of authors will be invited to contribute to a multi-authored volume.









Representations of Early Music on Stage and Screen 3, The University of Sheffield, 10 June 2017

CfP: Representations of Early Music on Stage and Screen 3, The University of Sheffield, 10 June 2017

The annual conference of the Representation of Early Music on Stage and Screen study group (REMOSS), now in its third year, invites abstracts on any topic looking at the way that the past is represented musically in stage and screen media. The group is hosted by Birmingham Conservatoire and is a collective of scholars and artists interested in how the musical past is evoked or reimagined in novel and exciting ways. Topics at our recent conferences and roundtables have ranged from contemporary British Opera, to historical drama on TV, to high-fantasy videogame. We would be especially interested to hear from scholars investigating topics related to:

  • Musical identities: nation, culture, gender
  • Interactions between folk and early music
  • Early music in opera
  • Early music and videogame
  • Representations of musical space/s in the Middle Ages
  • Medievalism and neomedievalism
  • Historically informed performance in popular culture

However, anything relating to early music on stage and screen media more broadly is welcomed and will be considered.

Abstracts of c.250 words should be sent, along with contact details, to James Cook ( by Friday 27 January.

For those wishing to get a feel for the kinds of topics and approaches we work with, please consider logging on to our next ‘e-roundtable’, which is due to take place on Friday 13 January 2017 3–5.30pm (UK-time). If you wish to attend, please contact Adam Whittaker ( for instructions to access our study group resource page. Also, keep an eye out for our forthcoming book Recomposing the Past: Representations of Early Music on Stage and Screen (Routledge, 2017) – hopefully the first of many publications from the REMOSS group.

We look forward to hearing from you.

Dr Adam Whittaker (Birmingham City University)

Dr James Cook (University of Sheffield)

Dr Alexander Kolassa (University of Nottingham)

Performance Studies Network International Conference

Norwegian Academy of Music, Oslo, 5-8 July 2018

The international Performance Studies Network comprises professional and amateur musicians, scholars working in a range of musicological disciplines (including music history, analysis, psychology, pedagogy, ethnomusicology and composition), and colleagues from the creative industries. Initially funded by the UK’s Arts and Humanities Research Council, the Research Centre for Musical Performance as Creative Practice (CMPCP) established the PSN as an inclusive and cohesive community of performance studies specialists and other interested parties to promote musical and musicological debate, and to enable the development of new and more diverse research activity. The first three international conferences at the University of Cambridge (in July 2011, April 2013 and July 2014) laid the foundation for dialogue and cross-disciplinary engagement. This was further developed at the fourth international conference held at Bath Spa University (July 2016).

The next Performance Studies Network International Conference, to be held from 5 to 8 July 2018, will be hosted by the Norwegian Academy of Music in Oslo. This will be the first PSN conference to be held outside the United Kingdom, a development that celebrates the truly international constituency of musical performance studies.

The Performance Studies Network maintains the online PSN Resource Guide and hosts the email forum PERF-STUD-NET, where the Call for Papers and further details will be posted approximately twelve months before the conference.

For any additional information, please contact:

Phone: +47 906 29 778
Dr. Darla Crispin
Director of the Arne Nordheim Centre for Artistic Research (NordART)
Norges musikkhøgskole
Norwegian Academy of Music
Slemdalsveien 11, Majorstuen
NO-0302 OSLO