The Music Profession in Britain 1780-1920: New Perspectives on Status and Identity

The Open University in London, Camden, 14 September 2015
The idea of the music profession plays an important part in research into music’s cultural and social history, nowhere more so than the flourishing area of research into music in nineteenth-century Britain. Yet the profession, its meaning and its history remain as difficult to define in the twenty-first century as in the nineteenth. Cyril Ehrlich’s seminal 1985 book The Music Profession in Britain Since the Eighteenth-century: A Social History continues to occupy a central role in tracing the history of the profession, contributing a wealth of case studies and data. As Ehrlich’s work reaches its thirtieth anniversary in 2015, this day conference is intended to draw together strands of research which cast new light on the history of the music profession. The scope and historical time-frame are set broadly, in order to capture a wide variety of perspectives and draw together scholars with different backgrounds and expertise.
We warmly encourage proposals for 20-minute papers on topics of music history related to the theme of the conference.
Potential themes may include (but are not limited to):
– Professional institutions and organisations
– Professionals and amateurs
– Career paths and portfolios
– Gender, class and professional status
Abstracts of no more than 200 words, together with a short biography of no more than 100 words and details of AV requirements, should be submitted as an email attachment to by 5.00pm on Wednesday 15 July.

Women and the Canon

‘Women and the Canon’
Christ Church, University of Oxford
22-23 January 2016

This conference seeks to problematize received notions of canonicity, and therefore of artistic and intellectual authority, by approaching them through their relationship to gender. The Oxford English Dictionary defines the canon as ‘the list of works considered to be permanently established as being of the highest quality’. We are seeking to hold an interdisciplinary debate in which ‘work’ includes all forms of artistic and intellectual endeavour. We invite proposals for 20-minute papers on any aspect of this topic. Submissions from postgraduate and early career researchers are warmly encouraged. Papers may address, but are in no way limited to, the following sub-topics:

  • Why and how were some women canonized rather than others? (e.g: Sappho, Christine de Pisan)
  • What was the relationship of their work with that of their male contemporaries?
  • The creation of an alternative canon: is there a ‘female canon’ (e.g: undergraduate electives on ‘Women Writers’)? And how does it interact with the ‘dominant’ canon?
  • Have some female creators or thinkers escaped our attention because they were not expressing themselves in an officially recognized medium? (e.g: was the Bayeux Tapestry woven by women?)
  • Is the canon created by men for men?
  • What are the institutions (educational, legal or other) that uphold the canon? To what degree are they inclusive/exclusive? (e.g: accessibility of fine arts schools to women historically)
  • How does the question of gender, canonicity and structures of inclusion and exclusion intersect with issues of race, nationality, class, disability, and/or sexuality and the canon? Which authors from demographics conventionally excluded from the canon (for instance, black women, colonized women, poor women, disabled women, queer women) have begun to feature in alternative canons, and why? (How) do these alternative canons articulate an emancipatory feminism?
  • Canons of femininity: is there an accepted definition of what is considered feminine or womanly?
  • The idea of negative femininity, as in the joining together of negative dialectics and feminism (e.g. work by Drucilla Cornell and Seyla Benhabib)
  • Women as audience, critics, editors or assistants to male thinkers or creators: what is the boundary between passivity and agency? (e.g: Simone de Beauvoir’s relationship with Sartre’s work; the new documentary film Written by Mrs Bach; art collectors the Cone sisters)

Confirmed keynote speakers:

Doctor Elena Lombardi, Faculty of Medieval and Modern Languages, University of Oxford

Professor Suzanne Aspden, Faculty of Music, University of Oxford

Confirmed respondent:

Professor Ankhi Mukherjee, Faculty of English, University of Oxford

Please send an abstract of 250 words with a brief biography by 15th September to the following email address:

The organisers

Adele Bardazzi, David Bowe, Natalya Din-Kariuki, Julia Hartley

Musicology in the Contemporary World

International Conference of Young Musicologists
October 8-10, 2015, Yerevan, Armenia

Yerevan Komitas State Conservatory is organizing an international musicological conference for students. The main goal of the conference is to encourage the formation of a new cultural platform as well as to contribute the development of research and creative abilities of young scientists.
All undergraduate (BA) and postgraduate (MA and PhD) students may participate in the conference. Every topic in the field of musicological studies is accepted.

Age limit: 35 years old.
Working languages: Armenian, Russian and English.

For participation the applicants should send abstract (max. 600 characters, PDF form, Font type – Times New Roman Font size-14, line spacing 1.5) and application. The application must include the following:

  • Name, surname and middle name of participant
  • Full official name of the Higher Educational Institution
  • Profession, Educational degree and faculty
  • Title of paper
  • Technical equipment/assistance needed during the presentation
  • Name, surname, middle name of supervisor, also academic degree and academic title (write without abbreviations, in the ordered list)
  • Contact details and e-mail of the participant

Paper proposals should be sent to following e-mail address: Please, write “Conference” in the subject line.
The maximum duration of presentation (including discussion) is 15 minutes.

The received abstracts will be united in corresponding blocks and will be reviewed by the members of scientific committee.The selected applicants will be notified by e-mail not later than September 7, 2014.

The best papers will be published in the scientific journal of YKSC.

Deadline: July 1, 2014.
Accommodation: Accommodation and meals will be provided by the hosting organization.
Participation Fee: 50$ (equivalent Armenian Dram)

For more details please contact the coordinator of the conference Mrs. Narine Avetisyan, Docent of YKSC:














The 7th International Musicological Student Conference-Competition

April 22-24. 2016. Tbilisi, Georgia

The aim of Conference-Competition is to encourage young scientists to carry out future research, form professional skills in students, exchange information, establish professional contacts among young musicologists from different countries and develop cultural relations between nations and countries on the basis of fundamental spiritual values among which the one of the great importance is science.

Calls and Requirements:

Participants: students of undergraduate and postgraduate (Master’s and Doctorates) programs 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 should be written in English or Russian (350 – 500 words). Font – Times New Roman or Sylfaen.
• The papers submitted shouldn’t be more than 6 printed pages (Page format – A4, Font size – 12, Paragraph -1,5; Margins – 2cm).
The paper will be allotted up to 10 minutes, followed by 10 minutes for questions and discussion;

Working Languages:
Georgian, English, Russian

• All proposals are submitted online:;
• The deadline for abstract submission – November 30. 2015
• The full version of the paper should be sent by March 1, 2016.
• Registration fee- € 40

For more information, please contact:

Phones: +995 598 272048 – Maia Sigua
+995 593 985699 – Ketevan Chitadze
+995 593 140311 – Lika Khorbaladze

For more information, please follow the link
or contatc to the organizing comiteee
* The program of the conference/competiOron also includes concert and excursion.

The 8th International Symposium on Traditional Polyphony

International Research Center for Traditional Polyphony of Vano Sarajishvili Tbilisi State Conservatoire and the International Centre for Georgian Folk Song are pleased to announce that The scholars working on the problems of polyphony are invited to participate in the 8th International Symposium on Traditional Polyphony will be held on 26-30 September, 2016, in Tbilisi, Georgia.

One of the features of the symposium is the diversity of themes, which is allowed by the interdisciplinary character of ethnomusicology.

Official languages of the Symposium are English and Georgian. All the papers will be published after the symposium in both English and Georgian.

Complete information including the history of previous symposia, information on the participants, contents of bilingual books of proceedings with the full texts of all symposium papers and the International Research Center for Traditional Polyphony of Tbilisi State Conservatoire is provided at the Web Site

Topics of the Symposium:
The participants are encouraged to submit abstracts on all aspects of traditional polyphony. The submitted papers will be grouped according to the problems discussed in them and will be presented at the corresponding session. This will allow better to cover the wide range of issues of polyphony. Alongside the traditional themes, we would like to introduce a special new theme for the 8th symposium:

Intercultural Relations, Migrations and Geographical Dynamics of Traditional Polyphony: Past and Present

Migrations played crucial role in cultural interrelations throughout centuries and millennia. From the second half of the 20th century, with the changed socio-cultural and economic circumstances, migration gained new meanings and new forms. New cultural-geographic dynamics was reflected in traditional music as well, so “multiculturality” became one of the chief characteristics of contemporary society. We would like to discuss the need for study and preservation of national minorities and vanishing cultures with small number of people and at the same time to research the ongoing processes related to the changes among the peoples involved in various types of migration.

The other themes are as follows:

1. General Theory and Musical-Aesthetic Aspects of Polyphony
This topic considers wide range of general problems of Polyphony, characteristic of contemporary cultural anthropology.

2. Regional Styles and Musical Language of Traditional polyphony

This theme unites wide range of regional studies of the polyphonic singing styles of huge regions as well as in-depths studies of a small region, ethnic minority, or even a village.

3. Comparative Study of Traditional Polyphony
It is impossible to have a comprehensive understanding of the phenomenon of traditional polyphony without the comparative approach. We suggest scholars to work on the development of new methodologies in this direction.

4. Sociological Aspects of Traditional Polyphony: Performers and Listeners; Gender, Age, Social Class and the Media

Wide range of topics on different aspects of social life of traditional community is covered under this theme. These problems will be viewed both in contemporary life and from the historical perspectives.

5. Polyphony in Secular and Sacred Music

Interaction between traditional polyphony and early forms of professional polyphony in various European countries are the main topics of this theme, although the papers dedicated to other regions and time span are also welcome.

6. Traditional Instrumental Polyphony

Although the central topic of the symposium is vocal polyphony, different aspects of the interaction of vocal and instrumental polyphony might be discussed under this theme.
7. Traditional Polyphony and Traditional Dance
In many cultures singing and dancing are intimately connected. Dance is particularly closely related to specific dance forms (for example, round dance), affecting each other’s rhythmic, and emotional development.
8. Polyphony and Monophony: Is There Border Between Them?
Let us discuss what we mean under the terms “Polyphony” and “Monophony”. Is unison and heterophonic singing, or overtone singing polyphony or monophony? Are there any “purely polyphonic” or “purely monophonic” cultures in the world?
9. Historical Sources of Polyphony
From Sumerian and Hurrian hymns to the Medieval European manuscripts and later, polyphony represents an important part of historical sources about music of different epochs and different regions. What do we learn from these sources?
10. Traditional Polyphony and Popular Musical Genres
We suggest discussing the “long and winding road” from traditional forms of polyphonic singing to the “Europeanized” forms of contemporary urban polyphonic singing traditions and the polyphony in contemporary pop- and rock- music.
11. Is Polyphonic Singing Uniquely Human Phenomenon? – Duet Singing and Choruses in Animal Societies
Some animal species (ranging from whales and apes to birds) use interesting forms of duet singing and choruses in their social life. Could the studies of animal duets and choruses provide an evolutionary model for our understanding of the origins of human polyphony?
12. World Music and Traditional Polyphony “World Music” expresses the aspiration towards the harmonization of different cultures. The idea of “Global Village” testimonies the universal character of music. Interested people study traditional singing at local places; traditional singers are invited to teach in other countries. What is lost or gained in this process?

Round table: “Forms, Structural Types, and Cartography of Traditional Polyphony”

Our gradually increasing knowledge of the polyphonic forms and structural types from various regions of the world gives us an opportunity to create elaborated cartographic representation of polyphony distribution of polyphony in its worldwide complexity. Participants of the symposium will receive several maps of polyphony at the opening of the symposium for critical discussion during the round table. We are expecting symposium participants to discuss the ways to improve these maps, primarily by bringing their unique personal experience to the common pool of knowledge. We will appreciate if our guests contribute to the discussion by bringing other (existing or new) maps of polyphonic traditions of various regions of the world.

Contact Information for Symposium Participants
Prof. Rusudan Tsurtsumia, E-mail:
Dr. Joseph Jordania, E-mail:

Abstracts and CVs
Abstracts and short CVs – both texts no more than 150 words – should be e-mailed before April 15, 2016.

The Program Committee encourages the submission of individual, panel, poster and roundtable proposals:
 Individual paper will be allotted up to 20 minutes followed by 10 minutes for questions and discussion;
 Panel presentation includes two or three papers, 20 minutes each, followed by 10 minutes discussion;
 The poster presenters will be allotted 7 minutes for presentation in the Power point format and 3 minutes for discussion by sending previously the paper in the required format to be placed on the board.

 About 2-hour-long Round table session includes not more than four presenters (10 minutes each). The audience is encouraged to participate in the discussion.

The deadline for submitting the full texts of a paper (maximum 7 pages: font size 12, with 1.5 spacing) with the consideration of the time for translation is 30 May, 2014.

Program Committee
Dr. Rusudan Tsurtsumia (Georgia)
Dr. Joseph Jordania (Australia/Georgia)
Dr. Izaly Zemtsovsky (USA/Russia)
Prof. Anzor Erqomaishvili (Georgia)
Dr. Nino Tsitsishvili (Australia/Georgia)
Dr. Daiva Rachiunaite-Vichiniene (Lithuania)
Dr. Maka Khardziani (Georgia)


On-line conformation of Acceptance: 15 November, 2015 (click here: confirmation)
On-line registration for participation and deadline for Abstracts and CVs: 15 April, 2016 (The link for registration will be uploaded after 15 November, 2015) Notification of the Acceptance: 25 April, 2016 Deadline for submission of full text of papers: 30 May, 2016

Symposium registration fee is 80 USD (for students – 30 USD).

Accommodation, local transportation, food

Arrival – 25 September
Departure – 1 October

All the cost of accommodation, meals and local transportation throughout the stay in Georgia, including the transfer Tbilisi International Airport –hotel- Tbilisi International Airport will be borne by the Organizing Committee of the Symposium.

Cultural Program
The Organizing Committee of the Symposium plans a day of cultural program for the Symposium participants. Cultural program includes visiting a traditional village in one of Georgia’s regions.
The Tbilisi International Symposium is not only a scholarly discussion of the problems of folk multi-part singing, but is accompanied by a wide spectrum of polyphonic music from Georgia and elsewhere. We expect that, as always, a number of ensembles from around the world will present polyphonic singing during the symposium.

Weather in Georgia
Georgia has mild climate, similar to Mediterranean countries. September is a pleasant month with warm days and fresh nights.

Pre-Symposium Trip to Mountains
During past several symposiums a new informal tradition was established. A group of foreign singers of Georgian songs, together with scholars, visit Svaneti – one of Georgia’s mountainous regions. They live in the families of traditional singers for several days, learn traditional polyphonic songs and visit the sights of Svaneti. In 2016 this will be an 11-daytrip and apart from visiting Svaneti will include a visit to Samegrelo – another West Georgian region.
If you have time and are interested to take part in this pre-symposium trip, please let us know about your interest. The group will be leaving Tbilisi early morning on September 13, and will be back to Tbilisi in the evening September 24 (symposium starts on September 26) The fee for the entire trip is 550 USD per person (the fee includes transportation, accommodation, food, workshops with traditional singers, visits to glaciers and museums). Participants will need hiking boots and warm cloths. The pre-symposium trip is organized by Joseph Jordania (see his email above).

Music and Ecology

Symposium and concerts in Ljubljana, 28-29 August 2015

Since 2011, when the inauguration of the stay of the Secretariat of the International Council for Traditional Music (ICTM) in Slovenia was marked by a symposium and a series of concerts titled Encounters Between Traditional Music and Dance and European Musical Culture in Various Places and at Various Times, comparable events with specific thematic frames have taken place in Slovenia’s capital in every August. The events were co-organized by six participating institutions (Imago Sloveniae, Faculty of Arts of the University of Ljubljana, International Council for Traditional Music, Cultural and Ethnomusicological Society Folk Slovenia, Institute of Ethnomusicology SRC SASA, and Radio Slovenia) and were titled Whither Accordion? (2012), Music and Protest (2013), and Music and Otherness (2014).

The theme of the 2015 symposium and accompanying concerts and workshops will be Music and Ecology. While reflecting the growing interest in sound perception in regard to the relationships between people and their environments, it will provide a much needed opportunity for discussion about ecological strategies, environmental planning, heritage politics, and activism from the perspective of music and sound. Presentations will address music and sound in our everyday environments, sound pollution, historical and contemporary cases of sound policy control, and the roles of music and sound in revealing implicit discrimination and exclusion, but also inclusion and multiculturalism. Some basic notions to be considered by the presenters include:

Nature, pollution, and ecology in music and in musical scholarship


Music and sustainable development

Empowerment and applied ethnomusicology


Reduce – Reuse – Recycle in music

The event will be part of the 27th Festival Nights in the Old Ljubljana Town. The invited keynote speakers will be Huib Schippers (Griffith University, Australia) and Kjell Skyllstad (Chulalongkorn University, Thailand).

The following presentation formats are invited: individual paper, organized session, film, workshop, concert demonstration.

The deadline for receiving 250-word-long abstracts is 15 June 2015. The following information should be sent to full name, institution, contact information, and abstract text in English.

Registration fee per person: 30 Euros.

Programme Committee: Svanibor Pettan, Janoš Kern, Teja Klobčar, Mojca Kovačič, Carlos Yoder.

RMA Study Day: Listening to the Listener: Contemporary Perceptions of Classical Music

16th November 2015, Sheffield University Humanities Research Institute

Keynote Speakers
Professor John Sloboda and Dr. Karen Wise, Guildhall School of Music & Drama.

The relevance of classical music today is in question. In the UK and US, it has been shown to consistently attract audiences who are predominantly white, middle-aged, middle-class and well-educated, struggling to draw new, younger and ethnically diverse attenders (Chan et al. 2008, League of American Orchestras 2009). Amongst these non-attenders, classical music is often perceived as stuffy and elitist, out of touch with an increasingly pluralist society. In order to attract new audiences, many organisations have tried alternative means of presentation, for example through informal concerts formats or use of digital technology. Any new ventures are however tempered by the current economic climate, with cuts to arts funding and reduced disposable income affecting the willingness to take risks of arts organisations and attenders alike.

Against this background, there is a growing body of research into current classical music audiences from within both academia and the industry. Much of this research goes beyond socio-demographics to explore their perceptions of classical music and experiences at concerts. Recent additions have challenged the paradigm of a ‘still and silent listener’ (Sennett 1977), instead highlighting the diversity of experiences and attitudes within an audience (Pitts 2005). More work is needed to understand how changes to the culture of classical music today are affecting both attenders and non-attenders. We hope that this Study Day will provide a space for further discussion on the current state of classical music and its audiences.

We welcome empirical or theoretical papers from research students, academics or practitioners on the following topics or any other topic related to the overall theme of the day:

  • The relevance of classical music today
  • Changes to the presentation of classical music
  • Impact of technology on classical music
  • Current audiences’ experiences at concerts
  • Understanding the non-attender
  • Methods and ethics of researching with audiences

Papers from research students are especially welcome. Submit proposals up to 250 words for 20 minute papers (followed by 10 minutes for discussion). Please include your name, email address, short biography and any AV requirements. Proposals and any enquiries should be sent to Lucy Dearn and Sarah Price at:
Deadline: Friday 4th September 2015

Borders and definitions of music in the times of Isabella II

Call for Papers


Borders and definitions of music in the times of Isabella II

(Jornadas de estudio: Fronteras y definiciones en la música isabelina)

April 1st and 2nd, 2016. Madrid, Museo Nacional del Romanticismo

Deadline for submissions: October 31st, 2015

Keynote speaker: Professor Dr. Jesús Cruz Valenciano (University of Delaware)


This conference aims to delve into the knowledge on the musical reality during the reign of Isabella II of Spain, by taking the idea of the “border” as a starting point. The “border” has been traditionally described as a physical as well as visible barrier which separates different spaces. Conventionally associated with topography, it also possesses a symbolic nature which is enriched with different historical, temporal, ethical, psychological and artistic connotations. In this scenario, borders are now understood not only as barriers that divide, but also as dynamic spaces in which political, social, economic or cultural identities are negotiated.

At the same time, to draw up a border also means to trace a limit -to define. If defining concepts is a necessary task within any area of study, it becomes imperative in a field such as the “music in the times of Isabella II” (“música isabelina”). As the Spanish historiography of the 19th century has traditionally avoided periodizations, the idea of a “música isabelina” as a period on its own is not a unanimously accepted concept. Therefore, these study days aspire to construct a theoretical framework that will open the doors to new studies and discussions related to the musical culture during the reign of Isabella II, through the development of reflections on the chronological and geographical limits of the period, definition of its fundamental concepts, as well as analysis of the diverse borders (both external and internal) that segment the musical culture of that time.

We invite abstracts for individual 20-minute papers followed by 10-minute discussions. Proposals related to the following areas are especially welcome:

-Geographical borders: definitions of centre(s) and periphery(s); cross-border mobility of musicians and repertoires; dissemination of music between the major urban centers of the period (Madrid, Barcelona, Havana); urban musical geography; musical realities in the colonies (Antilles, the Philippines, Spanish Africa).

-Chronological borders: the definition of “música isabelina” as a music-historical period; the modernization of the musical life during the decade of the thirties; internal periodizations; the “Sexenio Democrático” as culmination/breakdown of a historical process.

-Political, class and gender borders: music, ideology and social rituals; the ideas of “Spanish music”; redefinition of religious music in the liberal state; aristocratic, bourgeois and worker-class musical culture(s); the masculine/feminine.

-Borders of the musical culture: private spaces and public spaces (salons, societies, theatres, cafes…); professional/amateur musicians; taxonomies and hierarchies of musical genres; survival/innovation in the dramatic musical scenario; variety in “salon music(s)”; the construction of the concepts of “classic” and “light” music.


Abstracts of c400 words, along with a short biography of no more than 150 words should be sent in a word-compatible format by Saturday, October 31st 2015 to Successful applicants will be notified by December 31st, 2015.

Second Conference of the International Musicological Society – Regional Association for Latin America and the Caribbean (ARLAC/IMS)

Universidad Alberto Hurtado / Santiago de Chile, January 12 -16, 2016

CFP Deadline: July 15, 2015

We invite musicologists and scholars in the Humanities and Social Sciences to participate with free papers, themed sessions, and presentations of books, recordings, and documentary films. The conference welcomes discipline-specific contributions as well as interdisciplinary studies on music, culture, and society in Latin America and the Caribbean from a variety of perspectives. Accepted proposals will be grouped according to affinity and thematic relevance  in either plenary (mornings) or simultaneous (afternoon) sessions.

The languages of the Conference are Spanish, Portuguese, and English.

Abstracts for free papers and topical sessions should be sent to arlac.ims.2016 -at-  by  July 15, 2015. The surname of the author should serve as label for the file in MS Word compatible (E.g.: Perez.doc). Only one contribution per participant will be accepted.

The proposal should include a title clearly defining the topic; name and institutional affiliation of the author; abstract of no more than 300 words describing the theme and purpose of the paper as well as its factual or theoretical framework; and a brief bibliography supporting the proposal. A CV not exceeding 200 words and contact information (e-mail address) should complete the proposal.

For themed sessions, the coordinator should submit an abstract not exceeding 400 words summarizing the issues to be discussed and a brief CV of all presenters. Authors will be notified by e-mail of the outcome of their abstract submission no later than August 30, 2015. Final versions of papers should not exceed 3000 words, including examples, illustrations, notes, and references. Free papers will be are allocated 20 minutes for presentation and 10 minutes for discussion. Themed sessions can follow other formats and should not exceed a total of two hours.

The registration fee is USD 50.00 for all participants, with the exception of students, who shall pay a reduced fee of USD 30.00. Registration can be paid in US dollars or the equivalent in Chilean pesos at the time of registration. No pre-registration will be available.

Neither ARLAC/IMS nor the Universidad Alberto Hurtado can offer financial help to defray costs of travel and lodging. However, participants can request official letters of invitation in order to process financial support from their respective academic institutions and visas. The contribution of institutions supporting travel expenses will be recognized in writing. Following acceptance of the proposals, contributors are expected to confirm their participation by November 15, 2015, in order to be included in printed and electronic versions of the program.

For information on ARLAC/IMS, please visit

Program Committee: Melanie Plesch (Chair); Omar Corrado, Juan Pablo González, Malena Kuss, Ilza Nogueira, Víctor Rondón, and Juan Francisco Sans (members).

Organizing Committee: Magíster en Musicología Latinoamericana, Facultad de Filosofía y Humanidades, Universidad Alberto Hurtado, Juan Pablo González (Chair).

Congress site: Universidad Alberto Hurtado, Almirante Barroso 10,  Metro Los Héroes, Downtown Santiago.

Information: phones + 562 2889 7380 / 7378;  cel + 569 222 8562 jugonzal -at-