“Από Χορού και Ομοθυμαδόν” (=all together and in the same mood) Proceedings and perspectives of the Interdisciplinary research on Psaltiki

2nd International Interdisciplinary Musicological Conference

of the Department of Psaltic Art and Musicology

of the Volos Academy for Theological Studies

June 9 – 11, 2016

Thessaly Conference Centre – Melissiatika, Volos, Greece

 

Από Χορού και Ομοθυμαδόν

(=all together and in the same mood)

Proceedings and perspectives

of the Interdisciplinary research on Psaltiki

 

The 1st  International Interdisciplinary Musicological Conference of the Department of Psaltic Art and Musicology (Volos Academy for Theological Studies) had the title: «Psaltiki as an autonomous science: Scientific branches – Related Scienftific Fields – Interdisciplinary Collaboration and Interaction» aiming to highlighting a) the necessity for self-determination of the discipline of musicology on the psaltic art; b) the possibilities available for its interdisciplinary approach and c) the possibilities offered by the psaltic art as a tool for the support of other disciplines. Thus, this first Conference approached the study of Psaltiki as an autonomous science, a theoretical background of the interdisciplinarity was laid down and, for the first time, its scientific branches were defined (even if simply as suggestions, for some of them). The most important point was the strong interest expressed for for every kind of interdisciplinary collaboration, to all possible directions of research.

With the 2nd International Interdisciplinary Musicological Conference, with the title ΑπόΧορού και Ομοθυμαδόν” (=all together and in the same mood), the Department of Psaltic Art and Musicology of the Volos Academy for Theological Studies calls for actual, concrete suggestions of interdisciplinary collaboration on and about the Psaltiki, which can be formulated as topics for international research programs (even immediately, in round tables that can take place during the conference) and their realization can be planned for the near future.

As in the previous year, this time the Conference will again be open to all the scientific approaches on the study of Psaltic Art. Thus, since there are no separate thematic categories, there is an invitation to all the scientific disciplines to study the possibility of a correlation of their scientific fields with the Psaltic Art. Theology, Philosophy, Sociology, Anthropology, Philology, History, Law, Psychology, Medicine, Mathematics, Natural Science, Computer Science, Technology and, of course, Musicology; all the sciences are invited to find fields for studies in Psaltic art or topics for interaction with it.

The Conference will take place in the Conference Center of the Holy Metropolis of Demetrias, in Melissiatika, Volos, Greece, between June 9th and 11th, 2016.

Proposals for contribution in the Conference must be submitted to the Organizing Committee, to the e-mail address tomeaspsaltikis@gmail.com, not later than February 12th, 2016. Proposals must include title, abstract (not longer than 300 words) and CV of the speaker (not longer than 200 words). Alternatively, they can be submitted by ordinary post, to the address: Volos Academy of Theological Studies – Department of Psaltic Art and Musicology, P.O.Box 1308, Volos GR-38001 Greece.

Selection of proposals will be announced not later than February 22nd, 2016.

The confirmation of participation, along with the payment of the participation fee, must be not later than March 30th, 2019.

Presentations of individual papers must not be longer than 20 minutes and will be followed by a short 10-minute discussion.

Papers must be presented either in Greek or English language. There will be NO translation. Speakers who choose the Greek language are kindly requested to submit an English translation of their paper as well (or at least an extended summary), not later than June 1st, 2016 (in .doc or .pdf. form), in order to be disseminated to the participants who don’t understand Greek. Translations of English papers into the Greek language are also welcome.

The Conference participation fee is fixed as 120 € per person, and it includes accommodation for two nights (in double bed rooms) in the Olympic Games Hostel of the Municipality of Volos, all meals starting with the dinner of June 9th and ending with the lunch of June 11th, the Conference folder, coffees and cookies for the breaks, and acceptance in all the musical activities that will accompany the Conference, as well as the publication of the Conference proceedings online (in pdf. form, as submitted by the participants). It does NOT include expenses for the case of printed publication of the Conference proceedings. Considering accommodation, there will be some versatility (for participants who wish to stay in a single bed room or who don’t wish to stay in the Olympic Games Hostel) and the relevant details will be announced after the selection of the proposals.

The proceeding of the Conference will be published online in digital format, and for the text formatting there will be concrete instructions right after the selection. THE ORGANISING COMMITTEE IS WILLING TO HAVE THE PROCEEDINGS PUBLISHED TILL THE DAYS OF THE CONFERENCE. TO THIS GOAL, IT WILL TAKE THE BEST POSSIBLE CARE TO BE ACCURATE TO THE DATES ANNOUNCED ABOVE.

Forthcoming information on the conference will be uploaded in our sitehttp://www.tomeaspsaltikis.gr

For all questions related to the Conference, you can contact the Department for Psaltic Art and Musicology at the above e-mail tomeaspsaltikis@gmail.com

We kindly ask you to disseminate this message to everyone possibly interested.

‘Making the Impossible Possible’: The Feldenkrais Method in Music, Dance, Movement, and Creative Practice

University of West London

Convenors: Marcia Carr and Robert Sholl

The work of Mosche Feldenkrais (1904-1984) has been hugely beneficial to creative artists and performers, and is increasingly taught at conservatoires and Universites throughout the world. Feldenkrais himself worked with Igor Markevich, NarcisoYepes, Yehudi Menuhin, Leon Fleisher and also Peter Brook. The Method is a non-invasive, non-religious, extremely gentle, somatic learning techique that is designed to make “the impossible possible, the possible, easy, and the easy, aesthetically pleasurable,” as Feldenkrais himself stated. This is what creative artists attempt to do every day. This one day event to be held on Saturday, April 30 at The University of West London, UK, W5 5RF, invites contributions from performers, dancers, movement specialists, creative artists, practitioners, and educators (including actor training and musical performance) on the best use of the Method. To this end, this call encompasses asks for a wide variety of events: scholarly papers, posters, workshops, and demonstrations designed to make provocative incisions into the current use of the Method. Topics might include critiques of practice in music and/or dance, embodied and somatic discourses, neuro-physiology and plasticity, gesture or empathy studies, as well as reflections on practice.

Please send a 200 word abstract, for a 20-minute paper or presentation, to Marcia Carr and Prof. Robert Sholl by 15 February 2016

marcia.carr@uwl.ac.uk and robert.sholl@uwl.ac.uk.

Shifts and Turns: Moving Music, Musicians and Ideas

39th National Conference of the Musicological Society of Australia

Elder Conservatorium of Music, the University of Adelaide

30 November – 3 December 2016

Fifteen years into the 21st century, we find musicology and its practitioners being re‑defined by an unprecedented engagement with the manifold traditions and cultures of a global society. The internet and new collegial networks open exciting challenges for all of us, whether we are established scholars, teachers and performers or just starting a career in music. All of us face a galaxy of new research possibilities.

In 2016, the MSA Conference invites us to reflect on recent changes in our environment and how we are dealing with them. Our conference theme, Shifts and Turns: Moving Music, Musicians and Ideas, looks in several directions, back into our shared heritage, outwards to the cultures of our region and forwards to our future.

The conference suggests consideration of a number of issues facing each of us. These include live performance, mediated and hybrid forms of music, the role of music and musicology in the community (through festivals, conferences and other events), the dissemination of music (public interface, broadcasting, music commentary and criticism), publishing and promotion, the roles of archives and music administration, issue-based policy and lobby groups, and interdisciplinary approaches to music research.

The Conference looks to expand its theme into specific strands, such as:

  • New connections and approaches in music scholarship across all eras and traditions
  • Musicology 2020: prospects for the future
  • Performance, moving emotions and the capacity for enchantment
  • The impact of technology on music practice and performance, research and pedagogy, dissemination and consumption
  • Changes to music practice and experience resulting from migration and mass communication networks
  • Refashioned identities in music
  • Australian music heritage, particularly the music heritage of South Australia

While the main strands of the conference focus on changes in musical practices and research, the conference organisers invite proposals for papers and panels relating to all other topics of interest to MSA members.

We welcome papers of 20 minutes duration (plus 10 minutes for discussion). Members are also invited to submit proposals for panel presentations. The submission deadline is 22 April 2016. Notification of acceptance will be sent via email by 24 June, 2016.

Please send abstracts or proposals of up to 250 words via email to:  conf@msa.org.au

Requests for early acceptance will be considered and should be addressed to:  conf@msa.org.au.

Co-Convenors:

Daniela Kaleva (University of South Australia)

Steven Knopoff (University of Adelaide)

Mood – Aesthetic, Psychological and Philosophical Perspectives

Call for papers

An Interdisciplinary Two-day Conference at the University of Warwick

6th and 7th May 2016

Keynote speakers:

Prof Hans Ulrich Gumbrecht (Comparative Literature, Stanford University)
Author of Atmosphere, Mood, Stimmung: On a Hidden Potential of Literature (2012), Production of Presence: What Meaning Cannot Convey (2004) and After 1945 – Latency as Origin of the Present (2013).

Prof Giovanna Colombetti (Sociology, Philosophy and Anthropology, University of Exeter)
Author of The Feeling Body: Affective Science Meets the Enactive Mind (2014) and co-editor of Emotion Experience, a 2005 special edition of the Journal of Consciousness Studies.

Mood is an affective phenomenon located at the intersection of philosophy, aesthetics, musicology, psychology and sociology. It is as central to our experience of the world and of art as it is difficult to grasp theoretically. Bringing together scholars from various disciplines, this two-day conference will foster an interdisciplinary discourse about the nature of mood and its significance for human and aesthetic experience. As an emerging topic in literary criticism, mood has been problematised in a number of recent publications, in which critics have turned to other disciplines, especially psychology and musicology, in order to develop theories of mood. At the same time, scientific disciplines, such as psychiatry and cognitive science, examine this phenomenon empirically in relation to mood disorders like depression. However, thus far the interdisciplinary potential harboured by mood has not been explored sufficiently. The main objective of this conference is to bring together and to create synergy between disciplines whose research addresses the same phenomenon in different ways.
Summarising the outcomes of the conference, we wish to submit a book proposal for an edited volume on mood with articles that bring together perspectives on mood from the disciplines mentioned above. This publication shall foster a vivid interdisciplinary discussion about the nature and significance of mood as an emerging topic in the humanities, social sciences and in the sciences, contributing to the process of conceptualising mood from a perspective that is not limited to the arts but is also informed by philosophical thought and scientific research.

CALL FOR PAPERS:

We invite abstracts of up to 300 words, plus a brief biography, for papers of no more than 20 minutes or panels of three associated papers. We encourage submissions from established scholars as well as postgraduate and early career researchers that address the concept of mood from a theoretical or interdisciplinary angle. Submissions can cover but are not limited to the following questions and topics:

 

  • Concepts of mood/‘Stimmung’ in philosophy:
    • Heidegger’s ‘Stimmung’
    • Aesthetics and mood in Kant, Schiller et al.
    • Kierkegaard, existentialism and anxiety
  • Mood in psychology, psychiatry and cognitive science
    • Mood and its relationship to the concepts of emotion and affect
    • Mood disorders: depression, bipolar disorder, etc.
    • Empirical studies of mood
    • Neurological and cognitive foundations of mood
  • Aesthetics of mood
    • Aesthetics and theories of mood in literature
      • Concepts of mood, atmosphere, disposition and ethos in literature
      • Pathetic fallacy
      • The moods of Romanticism, Modernism, etc.
    • Mood in film and theatre
      • Cinematic and theatrical atmospheres
      • Cinematic portraits of mood: Tarkovsky’s Nostalghia, von Trier’s Melancholia, etc.
    • Mood and music: theories of ‘Stimmung’, attunement, harmony and dissonance
  • Politics of mood/social moods
    • Normativity and mood
    • Social moods/collective states of mind/Prechter’s concept of mood in socionomics
  • Mood in linguistics/grammatical mood
  • Specific moods, such as:
    • Anxiety
    • Boredom
    • Melancholy
    • Nostalgia
    • Ennui
    • Paranoia
    • Exhilaration
    • Ecstasy
    • Awkwardness

 

Abstracts should be sent to mood.warwick2016@gmail.com by 29 February 2016.
For more information, please visit

Talk about Scottish Music! Musica Scotica 2016

Musica Scotica’s Eleventh Annual Conference: Saturday 23 April 2016 and Sunday 24 April, 2016
Venue: Stirling Court Hotel, University of Stirling
Stirling, FK9 4LA, Scotland, UK

CALL FOR PAPERS FOR THE 2016 CONFERENCE

Since 2005, the Musica Scotica Trust has conducted an annual conference during the last weekend of April each year. The 2016 conference will be held at the Stirling Court Hotel in the University of Stirling on Saturday/Sunday, April 23/24, 2016 (0900 to 1600).

Papers for the 2016 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 Saturday 28th February 2016 to musicascotica2016conference@n-ism.org . You will be notified by mid-March 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.

FEES, FORMS, PROGRAMME

The conference fee is £85 for the two days or £45 per day (students £30 per day).
The Registration Form for the 2016 conference (PDF and Word versions) will be available soon. The Programme will be available when we’ve received some more abstracts!
Please note that accommodation is available at The Stirling Court Hotel, (the conference venue).

EMAIL AND WEBSITE DETAILS

NB we have a NEW Musica Scotica Conference email address.

Please update your address book!

Conference email address:- musicascotica2016conference@n-ism.org
(General correspondence, not related to the 2016 conference:- musicascotica@n-ism.org)

Our website has also changed, to:- http://www.n-ism.org/musicascotica.org.uk/

Musica Scotica is a charity registered in Scotland, No SC031930.

Performing Knowledge Conference

25-26 April 2016

Emmanuel College, Cambridge

Call for Papers

Bringing together performing musicians engaging in practice-led research, ethnographers of Western art music, and psychologists specialising in tacit knowledge research, this two-day conference will explore performers’ interpretative processes and their uses of tacit knowledge (also called implicit, procedural, or embodied knowledge) in understanding the explicit knowledge presented in historical documents, analyses, and performance treatises.

Keynote participants include Professor Tom Beghin (fortepianist), Margaret Faultless (violinist), Professor Christopher Page (guitarist), Chris Maene (instrument builder), Professor Tina K. Ramnarine (musician and anthropologist), Dr Satinder Gill (experimental psychologist), and Professor John Rink (Director, Cambridge Centre for Musical Performance Studies).

Belgian-Canadian fortepianist Tom Beghin (Orpheus Institute/McGill University) will perform a keynote recital featuring Beethoven’s last three piano sonatas, to be presented on a replica of Beethoven’s Broadwood piano built by master instrument builder Chris Maene.

Margaret Faultless (Cambridge University/RAM) will present an open rehearsal discussing interpretative decision-making processes within conductor-less orchestras. Her presentation will be followed by a performance with the Cambridge University Collegium Musicum.

Keynote papers will be presented by:

  • Professor Christopher Page: Performance, Imagination and the Early-Romantic Guitar
  • Professor Tina K. Ramnarine: Performance, Storytelling and the Politics of Musical Knowledge
  • Dr Satinder Gill: Knowing-How and Knowing-When: researching performers’ musical timing

Proposals are invited for 20-minute papers, 30-minute lecture-recitals (each will be followed by 10 minutes of discussion), and posters. The conference language is English. Presentations that engage critically with theories and methodologies of researching performers’ tacit knowledge, such as the use of ethnographic techniques, practice-led research, or the analysis of recorded audio and audio-visual performance, are especially welcome. Interdisciplinary perspectives are also invited, for example, papers that draw on opera or dance studies, material studies, or cognitive studies in music in discussing the theme of the conference. Topics may include:

  • Performers’ creative engagement with historical documents and objects, extending beyond the conventional remit of historically-informed performance practice studies.
  • The influence of instrument affordances on performers’ interpretative choices.
  • How musicians communicate through gesture and/or vocalisation.
  • The challenges and potentials of self-reflexive research in performance.
  • The influence of tradition on performers’ interpretative ideas.
  • The dynamics of performers’ interpretative decision-making processes in practice, rehearsals, and/or public performance (both solo and in ensemble).

Please submit proposals by Friday, 5 February 2016 including:

  • Name and institutional affiliation (if applicable).
  • Curriculum Vitae and 100-word biography.
  • Title and abstract of presentation, max. 450 words. For lecture-recitals, please include programme details of any repertoire to be performed (details are excluded from the word count).
  • A list of technical requirements (computer projection and a Steinway grand piano will be available).

Proposals will be assessed by the conference committee and applicants will be notified of the outcome by 15 February. The registration fee for delegates (whether presenting or observing) will be £90 (full) and £50 (students). Early-bird registration (by 19 February) and RMA member rates are £80 (full) and £40 (students). Registration fee includes all concerts, meals (excluding breakfast), and refreshments. Additional tickets (if required) for Tom Beghin’s recital may be booked through ADC Ticketing for £25 / £15.

Proposals should be emailed to performingknowledge@emma.cam.ac.uk. Please send any enquires to this address also.

Web Page: https://www.emma.cam.ac.uk/conferences/events/perfknow/

Facebook Event Page: https://www.facebook.com/events/647358332072144/

Old Is New: The Presence of the Past in the Music of the Present

Lisbon, Portugal, 24, 25, 26 November 2016
International Conference

Call for Papers

Call presentation

Any creative activity must pay dedicated attention to the information transfer that occurs between different periods. One never starts from zero, no matter what the activity is, and this is also true for music. We talk about the way the past is considered in each historical moment, extracting from it as much as one can for the understanding of the present.

Starting from the point of view of composition – which also facilitates extending the discussion into the areas of performance, teaching, and analysis, for example – this conference will bring together a wide range of perspectives about how the musical past is always a subject for consideration in recent music, even when the present seems highly innovative and different from everything that came from other historical periods.

This consideration might be expressed in many different ways, from the “neo-” movements, considered in a simplistic or sophisticated way, investing in the reformulation of past methodologies, to the most innovative and eccentric trends that base their departure from the centre on the use of the past as sustenance for their praxis, such as, for example, some retro-futuristic movements.

 

Conference Themes

– How can we creatively understand information from the past in current musical composition?
– How have new technologies altered the nature, methodology and limits of musical creation?
– What about the state of current organology, the invention of musical instruments and sound tools, from basic elements to cutting-edge technology?
– Music, urban culture and networks of communication, in the context of musical sociology.
– Unconventional and DIY approaches: composition that has subverted norms, paradigms and expectations of its age.
– Marginalised voices: stories of contemporary music with particular characteristics that have been sidelined.
– Questions of genre/style/idiom in the recycling strategy of some contemporary music.
– Musical analysis as a traditional musicological tool, facing methodological integration of musical elements from the past.
– Alternative methodological and theoretical perspectives: researches that encourage us to look at the presence of the past in a different way.
– Tools, techniques, instruments (etc.) which have played an important role in shaping contemporary music and its evolution from the past; also those that remain sidelined or unrecognized.
– Aesthetic and conceptual boundaries between the musical or extra-musical elements, and the idea of sound in contemporary music.

 

Scientific Committee

— Isabel Pires (CESEM/FCSH – UNL)
— Rui Pereira Jorge (CESEM/FCSH – UNL)
— Francisco Monteiro (ESE – IPP)
— Carlos Caires (ESML)
— Benoit Gibson (UA)
— Martin Laliberté (Univ- Paris-Est Marne-la-Vallée)
— Makis Solomos (Univ- Paris VIII)
— Ivan Moody (CESEM)
— Paulo Ferreira de Castro (FCSH – UNL)
— Manuel Pedro Ferreira (FCSH – UNL)

International Conference Diplomacy and Aristocracy as patrons of music and theatre in Europe of the ancien régime

Call for Papers
International Conference
Diplomacy and Aristocracy as patrons of music and theatre
in Europe of the ancien régime
Queluz National Palace, Portugal
(July 1-3, 2016)
Organizer:
Divino Sospiro – Centro de Estudos Musicais Setecentistas de Portugal (CEMSP)
Scientific Board:
Manuel Carlos de Brito (Portugal), Francesco Cotticelli (Italy), Cristina Fernandes (Portugal),
Paologiovanni Maione (Italy), Iskrena Yordanova (Bulgaria)
Keynote-speakers:
Francesco Cotticelli (Seconda Università degli Studi, Naples)
Helen Geyer (Institut für Musikwissenschaft, Weimar)

CEMSP will organize from July 1st through 3rd an International Conference at the National Palace of Queluz (Portugal) on the theme of Diplomacy and Aristocracy as promoters of music and theatre in Europe of the ancien régime. The conference aims to further the dialogue about the dense network created by diplomatic relationships between European courts and aristocratic households at that time frame. The offices of ministers plenipotentiary were often outposts which could provide useful information about the cultural life in foreign countries. Sometimes artistic strategies destined to leave a legacy in the history of the arts, and especially of music and theatre, were defined through the exchanges of couriers. Ministers favored or promoted careers, described or made pieces of repertoire available to other audiences, and even supported practitioners in their difficult travels by planning profitable tours. They stood behind extraordinary artists and protected with their authority many stage performers, and carefully observed the cultural and musical life of the countries where they resided, transmitting precious information.
A primary goal of the conference is to concentrate on the European links of the Portuguese court within the temporal frame of the 18th century.
Investigations will also have to place emphasis on celebratory events (feasts and other events), on the circulation of theatrical plots and practitioners promoted by political and diplomatic connections.
Scholars are invited to submit individual proposals with the maximum length of 20 minutes per paper. Session proposals will be accepted as well: a maximum of three or four papers will be taken into consideration, and the session should not exceed 1h 30.
Official languages of the conference are Portuguese, Italian, English and Spanish.
Abstracts in Word format (.doc), should not exceed 300 words. Please enclose in the same file a brief curriculum vitae of max. 150 words. Please provide your name and surname, postal address, e-mail and telephone number, as well as you institutional affiliation.
Deadline for sending abstracts is April 15th 2016
E-mail: cemsp@sapo.pt
The scientific board will examine all abstracts by April 30th 2016, and contributors will be informed immediately thereafter.

Doctors in Performance

DOCTORS IN PERFORMANCE 2016

 

The second festival conference of music performance and artistic research

Royal Irish Academy of Music

8-9 September 2016

 

 

The Royal Irish Academy of Music invites artistic research performers at doctoral and post-doctoral levels to take part in the second festival conference of music performance and artistic research.

 

Keynote performers:

Professor John Butt OBE (Gardiner Professor of Music, University of Glasgow)

Dr John O’Conor (Chair of the Piano Division at Shenandoah University, Virginia, USA)

 

The first Doctors in Performance festival conference of music performance and artistic research was held at the Sibelius Academy of the University of the Arts Helsinki) from 4-5 September 2014. The second Doctors in Performance conference will be held at the Royal Irish Academy of Music, Dublin, in 2016. Doctoral candidates and post-doctoral researchers working in the fields of musical performance and practice-based or artistic research in music are invited to participate in this festival conference.

 

The purpose of the conference is to bring together doctoral candidates and post-doctoral researchers working in the fields of musical performance and practice-based or artistic research in music. ‘Doctors in Performance’ places the emphasis on the music itself with the majority of presentations consisting principally of a musical performance in the form of a recital or a lecture recital related to the research. Shorter paper presentations on artistic research are also included.

 

Each of the presentations will consist of a musical performance (solo or chamber music) of 40 minutes maximum. The performance can take the form of a recital or a lecture recital. The music performed is expected to include or relate closely to the contents of the doctoral degree or research the participant is pursuing. Paper presentations on artistic research (20 minutes maximum) are also possible.

 

The conference language is English and all presentations should be in English.

 

Forms for presentations:

  • Recital 40 minutes (+ 10 minutes discussion)
  • Lecture recital 40 minutes (+ 10 minutes discussion)
  • Paper presentation 20 minutes (+ 5 minutes discussion)

 

Organising committee:

Denise Neary (RIAM)

Orla McDonagh (RIAM)

Anu Vehviläinen (Sibelius Academy)

Markus Kuikka (Sibelius Academy)

Lina Navickaitė-Martinelli (Lithuanian Academy of Music and Theatre)

 

Conference proceedings for Doctors in Performance 2016 will be published in advance on the conference website and in print. This will serve as a concert programme as well as provide background information about the participants and their research topics. The applicants are therefore encouraged to include written comments discussing how their artistic and other research work support each other and towards which common goal they are directed.

 

The proposal must be accompanied by:

  • a detailed programme of the recital: composers, work titles, composition years, opus numbers
  • a written summary of the candidate’s research topic (500 words maximum)
  • curriculum vitae and contact information
  • institutional affiliation
  • equipment needed for performances and presentations (instruments, data projectors, etc.)

 

Please, fill in the on-line submission form on https://sites.google.com/site/dipriam2016/ and submit it as instructed.

 

The submission deadline is 1 March 2016.

 

The proposals will be peer-reviewed anonymously. Successful contributors will be notified via email by 1 May 2016.

 

For further information, please contact:

Denise Neary: dipriam2016@gmail.com

 

 

 

Grieg Research School Summer School 2016

The Grieg Research School has the pleasure to invite PhD candidates, Artistic Research candidates and other researchers to submit abstracts for presentation during the GRS Summer School 2016:

“Beyond communication? Musical challenges in a transforming society”

to be held June 7th – 10th 2016 in Bergen, Norway at the Bergen University of Applied Sciences (Høgskolen i Bergen).

The course will include lectures, panel discussions, workshops, performances and social events.

The theme of the course aims to raise questions as to the changing role of music in contemporary society through dialogue between various music disciplines. Confirmed speakers include Professor Nicholas Cook (Cambridge University, UK), Professor Tia DeNora (University of Exeter, UK) and Professor Lauri Väkevä (Sibelius Academy, Finland). For more information, see the GRS website.

Papers and presentations are invited on a range of topics including but not restricted to:

  • Musical encounters: Towards social and intercultural perspectives on music
  • Music’s uses and powers in social and cultural life
  • Music in virtual and digital spaces
  • Music in institutions: challenges and change

Abstracts directly relating to the candidate’s PhD or Artistic Research project are also welcome. Please refer to the GRS website for guidelines.

Credits awarded: Full attendance and approved presentation will gain 3 ECTS credits.

Abstract submission deadline: March 1st 2016, which is also the opening date for course registration.

Course fee: NOK 3000 (free for GRS members).

Abstract submission address: Olav.Tveitane@uib.no.

Best regards,

The GRS team

 

Olav Tveitane

Adm. coordinator

Grieg Research School in

Interdisciplinary Music Studies

Tel: +47 5558 6961

www.uib.no/rs/grieg

 

Please forward this invitation to your colleagues and network. We apologize if you have already received a copy of this email.