Sounds Between: a one-day festival exploring interdisciplinary encounters in music composition

Wednesday 7th December PATS Studio 1 and Ivy Arts Centre, University of Surrey, 10.15 – 9pm. Tickets are free but advance booking is recommended

’Sounds Between’ focuses on the places where music and other disciplines interact. Four specially commissioned works from squib-box, Jamie Hamliton/Dom Czapski, Jan Lee and Rodrigo Camacho/Sara Rodriguez explore a broad terrain of ideas: the perception of meaning and mass media, the strange attractions of digital avatars, how dancers become musicians in order to ‘play’ a space, and the formation of cultural identity in London’s Hatcham (New Cross).

Surrounding these premieres are contributions from leading artists, researchers and industry figures: Susanna Eastburn (Chief Executive of Sound and Music) leads a panel discussion on drivers and obstacles to interdisciplinary work in music composition, Jason Freeman shows how online networks can enable realtime, participatory music making, and Matteo Fargion and Jonathan Burrows perform work from their extensive back catalogue of sound/movement pieces. A workshop from Michael Picknett exploring theatrical devising techniques in composition and an installation by Scott Mc Laughlin (as well as plenty of opportunities for networking) complete the day.

‘Sounds Between’ is presented by Music Composition as Interdisciplinary Practice. MCIP is an AHRC-funded research network of artists, artistic researchers and scholars. Over the past year we have been commissioning, sharing and reflecting on music composition as a nexus of different disciplines. We have held a one-day seminar at Oxford Brookes University and a two-day symposium at the University of York. Through these events and through artists’ documentation of the commissioned pieces we have looked for insights into how such approaches to composition reflect different kinds of interdisciplinarity, how interdisciplinarity is facilitated ‘on the ground’ and how understandings of creativity might contribute to and be re-evaluated by the study of such work. ‘Sounds Between’ brings the practice that has underpinned the network into wider public view. The diversity within the programme reflects the phenomenon we are studying; it will appeal to those interested in experimental music, performance, multimedia, installation, dance and theatre practices, or simply curious to hear and see a snapshot of composers working between disciplines today.

The Protean Musician: the musician in future society

Call for Proposals: Joint Research Centres Conference Norwegian Academy of Music, November 1 – 3, 2017

What does the future look like for the musician in society?

The four Research Centres of the Norwegian Academy of Music invite colleagues from Norway and abroad to address this question by sending proposals for their joint conference The Protean Musician: the musician in future society.


Musicians need competences that are dynamic and adaptable. Students and staff within conservatoires and university music departments must understand that what they are going to do as musicians will change over time.  They also need to be equipped to help others in this realisation.

This conference aims to explore aspects of the micro-experience of students in the conservatoire, and how these might relate, at the macro-level, to what the artistic/professional career experiences of these people may be in future.

We are aware that there are numerous human frailties involved in the music ‘profession’, and the idea that obstacles must be overcome in life through some form of self-realisation is as true for the musician as for any individual.  In contrast, the music profession has trained people through a perfectionist frame, despite the fact that we know that life is full of imperfections. Issues of inequality, lack of opportunity and exploitation remain problematic in the music world, but are largely ignored, at best, marginalised and, at worst, covertly echoed in the single-minded discipline of the teaching studio and practice room.

How might we go about resolving this situation? How might we establish a paradigm, within the conservatoire and beyond, of the previously posited but largely unrealised ‘Protean Musician’, an individual responsive to change and able not only to thrive personally but also to make a difference to others?

Issues addressed

Issues which may be addressed under this topic area include:

  • Identity: Questions around identity are very important because when they encounter the ‘real’ labour market, students are having to do things other than they had previously expected. So, what do musicians say at various stages of their careers when they are asked about identity?
  • Courage:  Do we really have the courage to ask questions of our work in the studio?  Have we really embedded the critical views around music training systems in such a way that challenging questions can be posed, and received, constructively?
  • Power Relations: Are we dealing properly with the problematics of the power relations that conservatoires include and create?
  • Actions: If, through this conference and by other means, we gain a better understanding of the actions that could elicit changes, how might we apply this knowledge in the world of our conservatoire, and in the ‘real’ world’?

Proposals relevant to the concerns of the Research Centres

The Conference Committee welcomes proposals which address the topic through any of these perspectives and through others relevant to the overall concerns of its Research Centres.  Cross-disciplinary proposals relating the ideas of two or more of the NMH Research Centres are encouraged:

The Arne Nordheim Centre for Artistic Research in Music (NordART): providing a contemporary perspective on the roles of musical artists through its development of projects within the artistic research and performance studies fields;

The Centre for Research in Music and Health (CREMAH): expanding knowledge about the relations between music and health, including Music Therapy;

The Centre for Educational Research in Music (CERM), dedicated to the understanding and advancement of all subjects within the field of Music Education including Higher Music Education;

The Centre of Excellence in Music Performance Education (CEMPE): developing knowledge that will enhance the education of musicians on a high artistic level, qualified for an international and competitive profession in a rapidly changing music environment.

Presentations and proposals details

Duration of presentations
  • Individual presentations: 25 minutes, followed by 5 minutes of discussion
  • Special sessions: 45 minutes in total, including discussion

All proposals (abstracts) should fully and clearly describe the topic of the presentation and should include the following information:

  • Background
  • Research questions
  • Aims
  • Summary of content
  • Significance

Please indicate whether or not the presentation will involve live performance and, if so, what instruments and repertoires are envisaged.

Proposals of 300 words should be sent as a PDF or Word attachment to and must include the following: title, author(s), affiliation(s) and email address for contact. This information should be supplied on a title page separate from the abstract proposal, for the purposes of blind review.  When you submit your proposal you will be asked to identify:

  • Type of submission (i.e. individual presentation, special session)
  • AV requirements
  • Special requests for space/equipment for performance during the paper/session

Selection of proposals

Proposals will be accepted on the basis of their relevance to the seminar themes, their significance, originality, and rigour. Presentations incorporating live music‐making are welcome.

Proposal submission deadline: 1st February 2017

Sounding Out the Space: An International Conference on the Spatiality of Sound

Date: 2–4 November 2017
Location: Dublin School of Creative Arts, DIT Grangegorman Campus
Organisers: DIT Conservatory of Music and Drama, Dublin School of
Creative Arts, GradCAM
Partners: Contemporary Music Centre, Lewis Glucksman Gallery, Society
for Musicology in Ireland, Solstice Gallery, Spatial Music Collective

Conference website:

Keynote Speakers:
Brandon LaBelle – artist, writer and theorist (Bergan Academy of Art and Design)
Bill Fontana – American artist and composer

Sound is an inherently spatial phenomenon. No matter what its point of
origin, be it a musical instrument, a voice, an audio speaker, or
another sound-producing entity, sound must navigate space before
reaching our ears. On this journey it enters into a complex relational
dynamic with the surrounding environment: it may be amplified,
distorted, reverberated, dissipated and subject to a multitude of
transformations which modify it in different ways. While this dynamic
is an intrinsic part of any sonic event, certain artistic endeavours
have sought to exploit this spatial aspect of sound as a distinct
parameter in its own right. Though spatial experiments have a long
history in western music stretching back centuries, the search for
novel means of expression in the twentieth century led to an
unprecedented investigation into the spatiality of sound as an
integral component of the work. From Edgard Varèse’s Poème
électronique to Karlheinz Stockhausen’s Helicopter String Quartet,
such concerns have been at the centre of some of the canonic works of
musical modernism. In the discipline of sound art, auditory dialogues
with the surrounding space have been the defining feature of sound
installations by Max Neuhaus, Bernhard Leitner, Maryanne Amacher and
others, who have sought to locate sound in relation to architecture.
While such work grew out of developments in the wider field of art
installation, increasingly the practices of both sound and art
installation have converged in the work of artists such as Janet
Cardiff and Zimoun forming multi-sensory experiences. Expanding
outwards, the multi-site sound installations of Bill Fontana have
developed the notion of spatiality across geographical locations while
recent innovations in communication and digital technologies have
created virtual networks, redefining our conception of space and
presenting new possibilities for music, sound art and visual art.

Although substantial research on the spatiality of sound has been
carried out within the disciplines of musicology, sound art, and
visual art studies, much of this work has remained separate, enclosed
within these specialised fields of research. This conference aims to
address this imbalance, acknowledging the fluid exchange of ideas
between these spheres in actual practice and fostering an
interdisciplinary spirit amongst researchers and practitioners. The
conference committee thus invites presentations from sound artists,
visual artists, composers, academics, and post-graduate researchers
which consider the spatiality of sound in all its diverse forms. While
the conference remit is broad, the committee especially encourages
contributions which address (but need not be limited by) the following
three strands:

• Sound and Visual Art
‒Contributions from Sound Artists/Visual Artists
‒Convergences between Sound and Visual Art
‒Historical Perspectives
‒Modes of Listening
‒Sound Architectures

• Spatial Music
‒Analytical Accounts
‒Attempts at Definition/Theorisation
‒Composer Perspectives
‒History of Spatial Music
‒Listener Perception
‒Performance Challenges
‒The Role of Sound Technologies

• Geographic and Virtual Spaces
‒Digital Networks and Communications Technologies
‒Live Streaming and Web-cast
‒Interactivity and Participation

Proposals are invited in the following formats:

•Individual Papers (20 mins duration plus 10 mins discussion)
•Joint Papers (max 2 speakers, same format as above)
•Themed Sessions (3 papers totalling 90 mins or 4 papers totalling 120 mins)
•Panel and Roundtable Discussions (90 mins, max 6 speakers)

Proposals for individual and joint papers must be in the form of an
abstract not exceeding 250 words. Proposals for themed sessions,
panels and roundtable discussions should not be more than 800 words
and should indicate the number and title of each individual paper with
its abstract. Abstracts may be submitted in either a Microsoft Word
document or via a PDF attachment. All proposals should include the
name, contact details, institutional affiliation (if any), technical
requirements, as well as a short biographical note of not more than
100 words of each speaker. The conference language is English.
Proposals should be submitted to

All proposals will be subject to a double-blind review process by the
conference’s scientific committee which is comprised of specialists
from the disciplines of sound art, visual art and musicology.
Applicants will receive notification as to whether their proposal has
been accepted by early May 2017.

The deadline for submissions is 31 March 2017

Conference Committee
Dr Adrian Smith (Conference Chair)
Dr Brian Fay (Acting Head of School, Dublin School of Creative Arts, DIT)
Dr Mark Fitzgerald (Senior Lecturer, DIT Conservatory of Music and Drama)
Dr Noel Fitzpatrick (Head of Research, College of Arts and Tourism, DIT)
Dr Kerry Houston (Head of Academic Studies, DIT Conservatory of Music and Drama)
Martin McCabe (Centre for Transcultural Research and Media Practice, DIT)
Jonathan Nangle (Composer and Senior Lecturer, Royal Irish Academy of Music)

Scientific Committee
Dr Enda Bates (Composer and founding member of the Spatial Music Collective)
Dr Brian Bridges (Ulster University)
Jennie Guy (Independent Curator)
Dr Kerry Hagan (Digital Media and Arts Research Centre, University of Limerick)
Fiona Kearney (Director, Glucksman Gallery, Cork)
Dr Victor Lazzarini (National University of Ireland, Maynooth)
Dr Linda O’Keefe (University of Lancaster)
Dr Karen Power (University College Cork)
Belinda Quirke (Director, Solstice Arts Gallery, Navan)
Prof Pedro Rebelo (Sonic Arts Research Centre, Queen’s University Belfast)

For further details please email:

Communicating Music Scenes: Networks, Power, Technology

CFP | Communicating Music Scenes: Networks, Power, Technology

Budapest, 19-20 May 2017

The conference aims to address the relation(ship)s and communication between people, formal and informal institutions, and technologies in the context of music making. Understanding and exploring music scenes as networks can help us to uncover the power relations that affect those scenes, while also leading to a nuanced understanding of the changing technological and media context in which music is produced, disseminated, consumed, and talked about.

We invite papers that address the following themes:

Music scenes and formal and informal communication infrastructures in view of the related technologies and economies
Music scenes and genres, technology and networks: Social Network Analysis, Actor Network Theory etc.
Communication in and about music scenes
Power as formal and political, as well as informal and subcultural: inclusion and exclusion
Musical diplomacy, music scenes and transnational communication
Technology, power and remembering/forgetting music scenes
(Sub)cultural and other forms of capital in music scenes
Music scenes and DIY media, online and offline
Music scenes and digital technology: change and/continuity
Underground scenes and the formal music industries: power and democracy
Music scenes and society: the reproduction and/or subversion of power structures through technology and communication infrastructures
Local – global dynamics and power: the global music industries and local infrastructures
Gender, sexuality and music scenes
Nation(ality), ethnicity and music scenes
Age and music scenes
Social class and music scenes

The conference will be held at the Institute of Musicology, Research Center for Humanities, Hungarian Academy of Sciences (Táncsics Mihály u. 7., 1014 Budapest, Hungary), and is jointly organised by the Institute of Musicology, the Department of Sociology and Communications, Budapest University of Technology and Economics and IASPM Hungary.

Deadline for abstracts (250 words) with short bio (50 words): 31 January 2017

Please send to:

Further information:

Digital Folk

Proposals are invited for the Digital Folk conference at the University of Sheffield.

This one-day conference will explore the practices, cohesions or frictions that can arise when folk and traditional arts come into contact with digital technologies.

As experiences and assertions of place and ethnicity are problematised by the ongoing impacts of globalisation, concepts of “tradition” take on new meanings, new significances and—for many—new appeal. Folk arts of various sorts have experienced a significant growth in profile and cultural currency over recent years. Digital technologies—regularly cited as key enablers of cultural globalisation—are simultaneously complicit in supporting the resurgence and maintenance of local traditions, as well as facilitating the development of new, transnational communities and activities. Folk songs are shared on websites; dancers are recruited and organised on social media; storytelling communities congregate around online discussion boards; and cultural organisations court public engagement with internet archives. Digitally mediated actions and interactions are a ubiquitous part of everyday life for folk artists and participants, but the impacts of these behaviours on tradition—as content and/or concept—remain relatively unexplored.

Submissions are invited for papers that explore the range of issues arising from the use of digital technologies as they relate to any folk/traditional arts from around the world. Themes for discussion include (but are not limited to):

—the roles played by contemporary digital technologies, materials and social networks in the participatory and performative activities of folk/traditional musicians and dancers
—the discourses related to the employment, distribution and/or rejection of digital resources in traditional contexts
—the artistic and cultural impacts of digital tools, resources and networks
—the relationships between particular traditional cultures/activities and specific media/technologies.
—the interaction of corporate or institutional digital technologies or materials, with vernacular digital practices and ‘user-generated’ media.

Contributions are invited from scholars across the fields of ethnomusicology, digital anthropology, folklore studies, media studies, ethnochoreology and other related disciplines. This conference represents an annex to the British Forum of Ethnomusicology Annual Conference, also hosted at the University of Sheffield (from 20-23 April 2017), and we envisage that some delegates will wish to attend both events, potentially contributing more than one paper.

Proposals of 250–300 words are invited for presentations of 20 minutes. These proposals should be sent as a Word attachment to and must include the following: Title, author(s), affiliation(s), email address for contact.

The deadline for proposals is 1st November 2016.

II Expo of the Research Group on Renaissance and Contemporary Music

São Paulo, 28 November – 3 December 2016

You are all welcome to participate of the II Expo of the Research Group on Renaissance and Contemporary Music – GReCo directed by Prof. Cesar Villavicencio. This year we will have two special guests from abroad:

– Wendy Gillespie (viola da gamba) – Jacob’s School of Music from the Indiana University, USA

– Pedro Sousa Silva (recorder) – ESMAE, Porto, Portugal

And one guest from Brazil:

– Cecilia Aprigliano (viola da gamba) – Escola de Música de Brasília

OPEN FOR SUBSCRIPTIONS FOR RECORDER AND VIOLA DA GAMBA: Dowload the subscription form here!/pesquisa/grupos-de-pesquisa/greco/english/events/ii-mostra-do-greco/


II Expo of GReCo 2016 – November 28th until December 3rd
You are all welcome to participate of the II Expo of the Research Group on Renaissance and Contemporary Music – GReCo directed by Prof. Cesar Villavicencio. This year we will have two special guests from abroad:
– Wendy Gillespie (viola da gamba) – Jacobs School of Music from the Indiana University, USA
– Pedro Sousa Silva (recorder) – ESMAE, Porto, Portugal
And one guest from Brazil:
– Cecilia Aprigliano (viola da gamba) – Escola de Música de Brasília

OPEN FOR SUBSCRIPTIONS FOR RECORDER AND VIOLA DA GAMBA: Dowload the subscription form here!/pesquisa/grupos-de-pesquisa/greco/english/events/ii-mostra-do-greco/

Music Pedagogy in Eighteenth-Century Naples: Theory, Sources and Reception

Milano (I), January 25, 2017
Bern (CH), January 26/27, 2017

The international and multilingual conference will be held by the  Università degli Studi di Milano (Centro Studi Pergolesi) and the Bern University of the Arts (SNF project Creating the Neapolitan Canon). Starting in Milano on January 25, 2017 it will continue in Bern on January 26/27, 2017.
Topic is the pedagogy of composition around 1800, its european reception and the creation of a pedagogical canon and its myth by the so-called neapolitan school.

Die internationale und mehrsprachige Tagung wird gemeinsam von der Università degli Studi di Milano (Centro Studi Pergolesi) und der Hochschule der Künste Bern (SNF-Projekt Creating the Neapolitan Canon) getragen. Sie fängt am 25. Januar 2017 in Mailand an und setzt sich am 26. und 27. Januar in Bern fort. Gegenstand der Tagung ist die Pädagogik der Komposition um 1800, ihre europäische Rezeption sowie die Schaffung eines pädagogischen Kanons und des damit verbundenen Mythos der sogenannten neapolitanischen Schule.

Claudio Toscani (Università degli Studi di Milano)
Rosa Cafiero (Università Cattolica del Sacro Cuore)
Marilena Laterza (Università degli Studi di Milano)
Claudio Bacciagaluppi (Hochschule der Künste Bern)
Giulia Giovani (Hochschule der Künste Bern/Università degli Studi di Siena)

Invited speakers/Eingeladene ReferentInnen (Milano):
Nicholas Baragwanath (Nottingham)
Ludwig Holtmeier (Freiburg)
Markus Neuwirth (Leuven)
Marco Mangani (Ferrara)
Giorgio Sanguinetti (Roma)
Roberto Scoccimarro (Köln)
Paolo Sullo (Roma)
Peter van Tour (Uppsala)
Felix Diergarten (Basel)
Marilena Laterza (Milano)
Rosa Cafiero (Milano)

Invited speakers/Eingeladene ReferentInnen (Bern):
Rosalba Agresta (Paris)
Rosa Cafiero (Milano)
Lydia Carlisi (Bern)
Sean Curtice (Evanston, IL)
Giulia Giovani (Bern)
Nathalie Meidhof (Freiburg)
Johannes Menke (Basel)
Cécile Reynaud (Paris)
Claire Roberts (Bern)
Martin Skamletz (Bern)

Conferences will be held in Italian, French, English and German.

Die Vorträge finden in italienischer, französischer, englischer und deutscher Sprache statt.

«Composing with the Eyes». The Swiss Composer Hermann Meier

The oeuvre of the Swiss composer Hermann Meier (1906-2002) has a special place in the sparsely inhabited landscape of the early Swiss avant-garde. His method of composition using large-scale graphic plans nevertheless just found few attention during the time of his life. The Symposium invites international experts, fellows and contemporaries of Meier to discuss different aspects of Meiers oeuvre. A Discussion and a concert complement the lectures, serving also as a prelude to an exhibition in the Kunstmuseum Solothurn.

January 27/28, 2017 – Bern, Hochschule der Künste, Papiermühlestr. 13a/d

Further information:


Der Solothurner Komponist Hermann Meier zählt zu den Hauptvertretern der frühen Avantgarde der Schweizer Musik. Sein Schaffen mit grafischen Kompositionsplänen fand jedoch Zeit seines Lebens wenig Anerkennung. Das Symposium lädt international führende Expert/innen, Nachwuchsforschende und Zeitzeugen nach Bern, um verschiedene Aspekte von Hermann Meiers Schaffen zu diskutieren. Ein Gespräch und ein Konzert ergänzen die Referate, die zudem den vorweggenommenen Auftakt zu einer Ausstellung im Kunstmuseum Solothurn bilden.

27./28. Januar 2017 – Bern, Hochschule der Künste, Papiermühlestr. 13a/d

Nähere Informationen:

Edmund Rubbra Study Day

The Royal College of Music and Open University Music Department present a study day on the composer Edmund Rubbra (1901–86).

Sunday 6 November 2016, 10.00–16.30, Inner Parry Room, Royal College of Music.

2016 marks the 30th anniversary of the death of Edmund Rubbra, RCM composition alumnus and former student of Gustav Holst. Although chiefly known today for his 11 symphonies and liturgical choral music, Rubbra’s compositions embrace all genres. This study day provides a rare opportunity to find out more about Rubbra’s life, work and music, and includes a lunchtime recital of chamber and solo instrumental works performed by RCM musicians.

Full programme details will be available in early October via the RCM website: . Speakers include Lewis Foreman (editor of Edmund Rubbra: Composer-Essays), Leo Black (author of Edmund Rubbra: Symphonist), Fiona Richards (Open University), John Pickard (Bristol University), Jonathan Clinch (Birmingham University), and Lucy Cradduck (Open University). Talks will cover specific aspects of Rubbra’s music, his writings about music, his relationship with the BBC, and the influence of his teaching on Australian composer Peter Sculthorpe.

Tickets are free, and include admission to the lunchtime recital, plus lunch and refreshments throughout the day. Places are limited and booking is essential. Please contact the RCM Box Office 020 7591 4314 (Mon-Fri 10am-4pm).

After Idealism: Sound as Matter and Medium in the 19th Century

17 March 2017 – 18 March 2017

Alison Richard Building, 7 West Road, Cambridge, CB3 9DT


David Trippett (University of Cambridge)



The legacy of idealism has been a guiding doctrine for the study of 19th-century music, from an emphasis on neo-Platonic musical works, acousmatic voices and intangible structures, to listening experiences disembodied, creatively imaginative, and ineffable. But idealism has arguably obscured the emergent perspective of natural science during the period, and with it, those of philosophical and scientific materialism that engaged composers, listeners, and their art.

This conference aims to enlarge substantially our understanding of the dialogue between 19th-century music and natural science, examining in particular how a scientific-materialist conception of sound was formed alongside a dominant culture of romantic idealism. It takes as its subject sound as matter and medium, focusing on the domains of natural science, emergent technologies, sentient communication and acoustics. It investigates the view that sound, for a time the cherished mantle of idealist metaphysics, was also regarded by writers, composers, scientists and engineers as tangible, material and subject to physical laws; that scientific thinking was not anathema but—at key moments—intrinsic to music aesthetics and criticism; that philosophies of mind and theories of the creative process also drew on mechanical rules of causality and associative ‘laws’; and that the technological innovations brought about by scientific research were accompanied by new concepts and new ways of listening that impacted the sound world of composers, critics, and performers.

This event brings together approaches from the philosophy of science, musicology, phenomenology, sound studies, and media theory / communication studies.

A series of addresses come from leading figures across these disciplines. By placing the respective disciplinary perspectives in dialogue the conference aims to foster discussion on such topics as:

  • Historical soundscapes
  • Histories of sensation / materialities of communication
  • Acoustics & theories of sounding matter
  • Phenomenologies of listening
  • Embodied / materialist theories of the creative process
  • Philosophical & scientific materialism

Within this array of approaches to the subject of sound as matter and medium, the conference will promote a dialogue between materialist philosophies of mind and historical understanding of acoustics, between sound as cognitive phenomenon and vibrational event, between constructed identities of the composer as natural genius and a sentient body engaging with the tangible, noisy, physical environment.



Supported by the Centre for Research in the Arts, Humanities and Social Sciences (CRASSH) and the European Research Council (ERC).


Administrative assistance: