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 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 (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:;

• 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:

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 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

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.

II International Congress: Music and Audio-visual Culture MUCA

From 22-24 January 2015, the University of Murcia will host the Second 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 1, 2014.

Further information:

Mapping the post-Tridentine motet (ca. 1560-ca. 1610): Text, style and performance

The University of Nottingham, 17-19 April 2015

All the most relevant composers of the late sixteenth century (from Palestrina to Byrd, from Guerrero to Lassus) composed and published motets, undoubtedly responding to the needs of both their employing institutions and the printing market. Likewise, they were surely receptive to contemporary shifts in spirituality and religious life (although the real extent of the Council of Trent’s direct influence still needs to be determined). The sacred counterpart to the madrigal, the motet became a workshop for experimenting with text-tone relationships, form organization, and rhetorical strategies. It often featured intriguing instances of imitatio and all sort of intertextual cross-references. Moreover, it proved a versatile medium suitable for fulfilling different functions in a wide array of contexts. This versatility also applied to the choice of texts.

In spite of all that, the post-Tridentine motet has been surprisingly neglected in recent scholarship, and many crucial questions remain unanswered. With this conference we aim to re-open the discussion on the immense corpus of polyphonic and polychoral motets produced and performed all over Europe in the period ca. 1560 to ca. 1610. Some of the questions we would like to examine are listed below, under three headings: Text, Style, and Performance (the latter including also issues of context and function). But, of course, we are open to other proposals regarding neighbouring problems.

1. Text:

  • Who chose/edited/wrote the texts?
  • For what spiritual, religious, political purposes?
  • What types of texts (and textual sources) can we distinguish?

2. Style:

  • The compositional process
  • Issues of intertextuality, imitation and emulation

3. Performance:

  • Contexts: liturgical, paraliturgical, ceremonial, recreational
  • How did motets sound? ‘Ideal’ versus ‘historical’ performances.
  • Repertories and motet books
  • The motet in inter-confessional confrontations

Invited speakers will include David Crook, Christian Leitmeir, Kerry McCarthy and Noel O’Regan.

There will also be two discussion panels, one on the influence of the Council of Trent on the late-sixteenth century motet and the other on performance issues, led by Noel O’Regan and Christian Leitmeir, and Owen Rees and Michael Noone respectively.

We intend to publish a volume containing a number of papers presented in the conference. The contributions will go through a process of selection, peer revision, and editing, as per academic standard.

Abstracts for 20-minute papers (max. 250 words) and short biographies (max. 150 words) should be sent to James Cook at <> by 10 October2014. Participants will be informed of whether their abstracts have been accepted by 1 November 2014.

Information and updates will be available soon at

Conference organizing committee: Daniele V. Filippi, Esperanza Rodríguez-García and Juan Ruiz Jiménez.

Musica Britannica Critical Music Editing Study Day Methodology, Sources, Repertoire, 1600-1900

Saturday 4 October, 2014

School of Music, University of Leeds


This study day, sponsored by Musica Britannica and LUCEM (Leeds University Centre for English Music), investigates the critical editing of British music from 1600-1900.

Musica Britannica, formed in 1951, has been at the forefront of the critical editing of important and often times overlooked British music. Even as it approaches its 100th volume, many areas of the repertoire remain unexplored. This day will consider areas still in need of exploration through scholarly editions, and the sources and methodologies available. The study day is aimed at current and potential research students, as well as existing editors wishing to improve their skills, and performers just wishing to get the most out of their MB volumes.

The morning session will feature talks on Musica Britannica (Julian Rushton, Chair of Musica Britannica Editorial Committee), methodology (H. Diack Johnstone, General Editor), sources (Nicolas Bell, member of the editorial committee and Curator of the music collections at the British Library), and the history of the editing of British music (Peter Holman, member of the editorial committee), and will conclude with a Round Table on repertoire.

The afternoon will be devoted to practical sessions on music from 1600-1750 (led by Rebecca Herissone, Peter Holman, H. Diack Johnstone, and Bryan White) and music from 1750-1900 (led by Nicholas Bell, Peter Horton, Valerie Langfield and Julian Rushton).

It will be possible to attend sessions in both strands or to concentrate on one of them. While a good general grasp of music theory and history relevant to the periods to be studied is essential, no prior specialist knowledge of the critical editing of music is required.

Registration fee: (inclusive of morning and afternoon coffee and lunch): £16; students £10. Places are limited, so please apply early. Please register at the Study Day Website. Some student travel bursaries may be available. Contact Bryan White ( for further information.

Study Day Website:

SEMPRE Conference, Postgraduate Study Day, and Hickman Award

SEMPRE conference: Children’s musical worlds

Saturday 25 October 2014

Institute of Education, University of Reading

This one-day SEMPRE conference in music psychology and education is hosted by The Institute of Education, University of Reading. We welcome submissions on a broad range of topics related to the theme, including research into the various musical worlds created by, with and for children, and studies which focus on aspects of engagement with music in childhood and its impact across the life course.

Contributions are invited from researchers at all levels and are particularly encouraged from postgraduate students. Submissions should show how the topic relates to the conference theme. Accepted submissions will be organised thematically and presentations will be chaired by leading researchers. Please send abstracts for spoken presentations (200 words) by email to the conference organiser Mary Stakelum ( by Friday 11 July 2014.


Postgraduate study day

Friday 24 October 2014

Institute of Education, University of Reading

Exploring music education and psychology research

This SEMPRE Postgraduate Study Day is hosted by the Institute of Education, University of Reading and precedes the SEMPRE conference on ‘Children’s musical worlds’ to be held on Saturday 25 October. Students are warmly invited to attend both events. The aim of the Postgraduate Study Day is to provide opportunities for research students to present and discuss ideas in a friendly and supportive environment, as well as to create a meeting place for students from different institutions. The event will include spoken presentations (20 minutes each), a poster display, and open discussions about research in music psychology and education led by invited academics. We welcome submissions from part-time and full-time students who are undertaking research in music psychology and education. Accepted submissions will be broadly organized into themes and presentations will be chaired by experienced researchers.

Please send abstracts for spoken presentations (200 words) and for posters (100 words) by email to Dr Mary Stakelum ( by Friday 11 July 2014.


Applying for an award

Students submitting a proposal for this conference will be eligible to apply for the The Aubrey Hickman Award, worth £500. Please see for further details.


The Study of Musical Experiences: Data Collection, Interpretation and Analysis

Grieg Research School in Interdisciplinary Music Studies (GRS) invites Ph.D. candidates and other researchers to a research course focusing on methods and methodology as related to the collection of data material and the analysis of data material.

Dates: November 25th -28th, 2014

Location: University of Bergen, Norway


The course will be taught through lectures and workshops. Topics covered will include:

Methods of Data collection

  • Interviews: procedures and process
  • Interpersonal Process Recall Method
  • Working with focus groups: methods, concepts and practicialities
  • Workshops will focus on how to write interview guidelines, issues of reflexivity and practical conduct of interviews

Methods of Data Analysis

  • Interpretation of empirical material in qualitative music studies
  • The role of theory in the process of interpreting data.
  • Can hermeneutics be used as an analytical method?
  • Understanding the social dimension of reflexive methodology
  • “HyperRESEARCH” as a tool for analysis. Introduction and Workshop

The lecures and workshops will be given by David Hebert, Kari Holdhus, Kirsti Malterud, Randi Rolvsjord and Brynjulf Stige.

Candidates are invited to present work in progress from the fields of music education, music therapy, musicology and music performance/creative practice. For more information about the course, please visit the GRS website.


Abstract submission: Send the abstract to

Deadline for submission of abstract: Wednesday October 15th, 2014


Registration: online registration opens September 1st (link will be posted later)


Please contact us at if you have any queries.

5th Annual Future Music Forum

An annual international music conference based in Barcelona that gathers the leading minds in the world of music to exchange views on how music is being shared in today’s digital age and discuss new developments taking place in music technology.

Our aim to provide a professional yet relaxed platform to explore, engage and discuss these topics with over 200 selected groups of music futurists, label owners, managers, music and mobile technology entrepreneurs and digital music consumption analysts.

Fabrica de Estrella Damm Barcelona
September 17th, 18th & 19th