Middle East and Central Asia Music Forum

Friday 13th May 2016, 9.45am-6pm

‘Soundspaces of the Middle East and Central Asia: Exploring the Intersection of Sound Studies and Ethnomusicology in the Middle East and Central Asia’

Convened by the Music Department at City University London in conjunction with the Institute of Musical Research

Venue: City University London, Music Department, Room AG09, College Building, St John Street, London EC1V 4BP

All welcome and admission is free but advance registration is requested for planning purposes.


Provisional Schedule

9.45am                  Welcome 

Session 1, 9.50am – 11.30am

Meri Kyto (University of Tampere, Finland): ‘Negotiating the Acoustic Community: A sonic ethnography of a housing cooperative in Istanbul’

Ruard Absaroka (SOAS) ‘ Sounding Islam in Chinese Central Asia: Methodologies and perspectives’

and Rachel Harris (SOAS): ‘Islamic Extremism, Song and Dance, and Sonic Territoriality: Contesting the Xinjiang Soundscape’

11.30-11.50                  Tea/Coffee

Session 2, 11.50 – 1.10pm

Rachel Beckles Willson (Royal Holloway, University London) ‘Beyond “isolation wrapped in layers of silence”: when an oud is a place that narrates. [This paper will include extracts from Telling Strings, a documentary film by Anne-Marie Haller (2007) featuring Palestinian musician Kamilya Jubran.]

Abigail Wood (University of Haifa): ‘The Cantor and the Muezzin’s Duet at the Western Wall: contesting sound spaces on the frayed seams of the Israel-Palestine conflict’

Lunch (not provided)     

Session 3, 2.15pm – 4.15pm

ROUNDTABLE: Exploring the Intersection of Sound Studies and Ethnomusicology in the Middle East and Central Asia: Opportunities and Challenges

Seth Ayyaz (City University London)

Aaron Einbond (City University London)

Jason Stanyek (University of Oxford)

Elizabeth Tolbert (Johns Hopkins University)

Abigail Wood (University of Haifa)

4.15-4.30pm            Tea/Coffee

Session 4, 4.30-6.30pm


Seth Ayyaz (City University London): ‘On The Admissibility of Sound’: dual processes, a triple helix and three speculations on the Islamic sonic-social’

Stefan Williamson Fa (UCL): ‘Loudspeakers and Chains: public ritual and Shi’i soundscapes in Northeastern Anatolia’

Mohsen Shahrnazdar (Tehran Soundscapes project) title tbc

We are also hoping to including a screening of the film ‘Telling Strings’ (Anne-Marie Heller, Switzerland, 2007), during the day.

The Middle East and Central Asia Music forum has been running since 2007 and is open to researchers, students and anyone interested in the music and culture of the region. In the spirit of fostering dialogue and interdisciplinarity, we hope that the issues discussed at the forum will be of interest to a broad audience, including musicologists, ethnomusicologists and other researchers in the arts, humanities and social sciences. In addition, we welcome those working on other aspects of Middle Eastern and Central Asian culture broadly speaking (dance, visual arts, media, film, literature, etc.)

The Forum is convened by Dr Laudan Nooshin, City University London (l.nooshin@city.ac.uk) and Dr Rachel Harris, SOAS (rh@soas.ac.uk)

Log In, Live On – Music and Cyberculture in the Age of the Internet of Things

October 7 – 8 2016 FCSH-New University of Lisbon – Portugal

Organization: CysMus (Group for Advanced Studies in Music and Cyberculture) of SociMus (Advanced Studies in Sociology of Music), CESEM (Sociology and Musical Aesthetics Research Center) FCSH-UNL

The conference’s aim is to join researchers, specialists, artists, students, producers, and other interested parties, in the discussion of transdisciplinary topics and problems regarding the politic economy of music in digital communicational paradigms, in the era of the Internet of Things (IoT). This global system, seen as a network of objects, devices and services, that share information and skills, is, increasingly, a central aspect in the construction of everyday life.

With the dissemination of domestic Internet and digital applications, equipments and contents, the modes and behaviors of musical production, circulation and listening have been reconfigured in a persistent and radical way. This process sees the emergence of the peer-to-peer system, the iPod and the increase of portable listening devices, social networks and streaming, the proliferation of blogs and all kinds of online forums, the intense dissemination of musical composition software and equipment (as well as the expansion of DIY practices), the increment of production and consumption of digital audiovisual media with a wide circulation and access, such as music videos, videogames, reality shows, tv series and other television contents, animations, advertisements and other audiovisual products.

This conference seeks to inquire about the construction of realities, subjectivities and communities based on music as an essential structural element. It proposes an exploration of the aspects of production, circulation, collaborative practices, transformation and ‘remediation’, co-creation and capitalization of musical and audiovisual contents in online platforms, in the context of complex networks of cybercommunities, taking into account the sociability between users, consumers, creators and companies.

The topics to be discussed are, among others:
• the uses of music in digital audiovisual contents and processes (videogames, tv series, movies, advertisements, music videos, etc.); dramaturgy and soundscapes in the symbolic economy of the IoT;

• music in the transformation or reproduction of modes of subjectivity and alterity in the cyberworld;

• cybercommunities and fans, politics of interactivity and convergence / divergence among users, consumers, creators and companies;

• music and the production of symbolic value and representations, from the Web 2.0 to the IoT;

• the mobility of devices that allow musical listening (mobile music) and its role in the construction of everyday life;

• modes of circulation and sharing of audiovisual contents in several online platforms and systems (such as streaming, liveblogging, youtube, social networks), co-production and co-creation of audiovisual contents by users;

• internet culture, celebrity, visibility and reality programs;

• transformations of professional statuses and profiles in music and its relation with new copyright laws, as well as new modes of production and circulation of musical and audiovisual contents;

The conference will take place in Faculdade de Ciências Sociais e Humanas of UNL, organized by CysMus/SociMus, of CESEM (Sociology and Musical Aesthetics Research Center)

All interested in participating are invited to send a proposal (maximum 200 words), biographical note (maximum 150 words) and 5 keywords until 30th April 2016, to cysmusportugal [at] gmail.com with the subject “Log In Live On”. The organization will announce the results before the end of May.

Coordenation: Paula Gomes Ribeiro, Joana Freitas, Júlia Durand
Scientific committee: António de Sousa Dias (ESART-IPCB), João Pedro Cachopo (CESEM/FCSH – UNL), Jelena Novak (CESEM/FCSH – UNL), José Luís Ferreira (ESML/IDEA-CESEM), Mário Vieira de Carvalho (CESEM/FCSH – UNL), Paula Gomes Ribeiro (CESEM/FCSH – UNL), Tomás Henriques (SUNY College at Buffalo NY/CESEM).

Tbilisi International Musicological Conference (TIMC) – “Challenges and Perspectives of Musicology”

7-9 April, 2017

Vano Sarajishvili Tbilisi State Conservatoire, Tbilisi, Georgia

The deadline for registration, submission of proposals and short bio is 30 September, 2016.


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


Call for papers

The Tbilisi International Musicological Conference is biennial conference on recent developments and future trends in Musicology. We welcome submissions that focus on any one or combination of the following:

  1. Musical education: traditions and perspectives
  2. Problems of theory and history of music
  3. Interdisciplinary research
  4. Music in the monocultural and multicultural society

Theme of the round table: “Musicology in the 21 century – without or with borders?”



Proposals from all areas of musicology and related music studies are invited for the following:

  • Individual papers – will be twenty minutes in duration, to be followed by ten minutes for questions and discussion.
  • Poster presentations should be ten minutes in duration (in Power point presentation format), to be followed by 5 minutes for questions and discussions.
  • Round table sessions will be 90-120 minutes in duration, including time for discussion. Round table sessions will comprise a panel of up to four people, each presenting a position paper (no more than 10 minutes), followed by a discussion.


All proposals should include:

  • Title
  • Indication of format
  • Proposer’s name, affiliation, short bio – no more than 100 words
  • Abstract (for individual paper) / description of the project (for poster) – no more than 250 words,
  • Contact e -mail
  • AV requirements

After getting a notification of acceptance presenter must send full text of paper (no more than 7 pages – font size 12, with 1.5 spacing, margins 2 cm) which should be translated for conference.

All materials should be sent to e-mail: science@conservatoire.edu.ge



Closing date for online registration, abstract and short bio30 September, 2016

Deadline for papers  – 16 December, 2016.

Notification of acceptance: 9 January,  2017

Conference: 7-9 April, 2017




Contacts and other information

For any additional information, please contact:

e-mail: science@conservatoire.edu.ge

Phone: +995 322 98 71 88

website: www.conservatoire.edu.ge

facebook: Research Department



Conference Fees:

 50 – for scholars

€ 30 – for PhD students


The program of the conference also includes workshops, concert and cultural program.



Confluences, Connections, and Correspondences: Music and Visual Culture Conference

Confluences, Connections, and Correspondences: Music and Visual Culture Conference, University of Toronto, ON, Canada

Conference Dates: October 13–14, 2016 in Toronto, ON, Canada

Abstract Submission Deadline: July 17, 2016

Keynote Speakers:

Tim Shephard (The University of Sheffield)

Joseph L. Clarke (University of Toronto)

The publication of The Routledge Companion to Music and Visual Culture in 2014 reexamined the diversity and breadth of interdisciplinary study of music and the visual arts, drawing together the various threads of scholarship that have emerged over the past two decades. The 2016 “Confluences, Connections, and Correspondences: Music and Visual Culture Conference” will reflect on the issues and questions raised by this significant publication. Drawing on various theories, methodologies, and frameworks, this conference seeks to bring together wide-ranging, multidisciplinary, and inclusive approaches to the study of these disciplines in conjunction with one another.

We invite proposals for individual papers and themed sessions examining aspects of music, visual culture, and related fields across broad-ranging media, geographical regions, and time periods. Possible topics may include, but are not limited to, the following:

  • Art and music
  • Art history and musicology
  • Music and dance
  • Music and drama studies
  • Music and film studies
  • Music and new media
  • Music and painting
  • Music and screen media
  • Music and theatre
  • Music in art
  • Notation as visual form
  • Performance and performativity
  • Sound and architecture
  • Sound and colour
  • Sound and space
  • Sound art
  • Sound sculpture
  • Spectatorship and participation
  • Synaesthesia
  • Visual communication


Individual paper (20-minute presentation): 300 words abstract

Themed session (90- or 120-minute session): 250 words introduction and 200 words abstract for each paper

Proposals and current CVs should be submitted to Samantha Chang (musicandvisual@gmail.com) by July 17, 2016. Selected speakers will be notified by July 31, 2016. The conference programme will be announced in August 2016.

Keynote Speakers:

Tim Shephard is a Lecturer in Musicology at the University of Sheffield, Visiting Research Fellow at the Centre for Music, Gender and Identity at the University of Huddersfield, and co-editor of The Routledge Companion to Music and Visual Culture (Routledge, 2014).

Joseph L. Clarke is Assistant Professor of Modern Architecture (18th–21st Century) at the University of Toronto and his current book project, Reverberation: Sound and Architectural Modernity, 1750–1900, explores how acoustic research has influenced the spatial ideas and auratic pretensions of modern architecture.

Conference Committee: Samantha Chang (Chair), Lauryn Smith, Elizabeth R. Mattison


Ligeti’s Legacy in Retrospect

The Association “Transylvania Art and Science”, Cluj-Napoca, Romania in collaboration with Gheorghe Dima Music Academy is pleased to announce the International Conference




hosted at “I. Lapedatu” Hall of the National Bank of Romania, on 26 and 27 May, 2016. The event is organised within the Festival ‘A Tribute to György Ligeti in his Native Transylvania’ (Festival director: Bianca Ţiplea Temeş).


The conference features an exciting line-up of contributors and aims to provide a forum for a dialogue among scholars from various musical standpoints while presenting a portrait of the composer 10 years after his death. The official conference language is English.


We would be happy to welcome participants from abroad, no participation fee required. If you are interested, please send an email to the following address, mentioning your name and affiliation:




As places are limited, we will consider applications in the order of their confirmation. Apart from attending the conference, participants will have the unique opportunity to visit Cluj in the heart of Transylvania, a very dynamic city full of culture where Ligeti started to study music.


For more information please visit the following page:


Symposium Transmission of Tunes and Tales

We hereby invite you for the symposium

Transmission of Tunes and Tales

Dates: May 12th-13th, 2016
Place: Perdu, Kloveniersburgwal 86, Amsterdam
Web: http://tunes-and-tales.github.io/TTT/In this symposium, we focus on understanding and modeling the cultural transmission of stories and songs. Topics include the (computational) modeling of narrative contents of stories, the identity and stability of melodies in oral transmission, relationships between melody and text in singing and chanting, and so on. The symposium will demarcate the conclusion of the Tunes and Tales project, which was carried out at the Meertens Institute, Amsterdam, 2012-2016. Keynote lectures will be given by Jamie Tehrani (Durham University), Philip Bohlman (University of Chicago), and Victoria Williamson (University of Sheffield). For abstracts, please consult the website of the symposium.

We will provide the participants of the symposium the opportunity to present their own work in a poster session. We invite poster contributions from Dutch and international researchers related to the theme of the conference. Please, send in your abstract (max. 300 words) by email (ttt.symposium@gmail.com), including your name, affiliation, and title of the poster. The deadline for submission is April 22nd 2016.

If you want to attend the symposium, please, send an email message to ttt.symposium@gmail.com stating your name and affiliation. There is no fee. Lunch will be provided for those who have registered.

Please, forward this announcement to whoever you think would be interested.

For further information, please visit our website: http://tunes-and-tales.github.io/TTT/

We look forward to meeting you in Amsterdam.

Theo Meder
Peter van Kranenburg
Folgert Karsdorp
Berit Janssen

Composition Schools in the 20th Century: the Institution and the Context

45th Baltic musicological conference dedicated to the centennial anniversary of Julius Juzeliūnas

19–22 October 2016

Lithuanian Academy of Music and Theatre, Vilnius

Keynote speakers are dr. Algirdas Ambrazas (Lithuanian Academy of Music and Theatre), dr. Gražina Daunoravičienė (Lithuanian Academy of Music and Theatre), dr. Marina Frolova-Walker (University of Cambridge), and dr. Melita Milin (Serbian Academy of Sciences and Arts).

Secondary themes:
The idea of a composition school and the guidelines for its theoretical conceptualisation
The core of composition schools: traditions, programs, and pedagogical directions
Composition schools vs. individual tutors: differentiation and value criteria
Teachers of composition: pedagogic innovations and ties with traditions
Pedagogy of composition and the idea of writing national music: paths and crossroads
Active pedagogy in composition: ideas and realisation
Teaching the art of sounds in the 21st century
The phenomenon of Julius Juzeliūnas as teacher of composition
Exploring Julius Juzeliūnas’ personality and works
Traditions, directions and identity dimensions of the composition schools in the Baltic States
Ties between national schools of composition and traditions within the world’s largest centres of composition training
The micro-stories from different composition schools that capture imagination

There is no conference fee.

English and German are the two working languages of the conference. Participants who wish to speak during the conference or want to offer topics for round-table discussions and study group sessions should submit their proposals by 18 April 2016 to Zita Abramavičiūtė, coordinator of the conference (mokslas@lmta.lt). Individual speakers are expected to provide an abstract of up to 300 words for a 20-minute report and a CV of up to 150 words. Those intended to speak during round table discussions and study group sessions should send a general summary of their topic. The information about the selected themes is to be announced by the end of April 2016. More details regarding the programme and accommodation are due in May 2016 online. Please check the websites of the Lithuanian Academy of Music and Theatre (www.lmta.lt) and the Lithuanian Composers’ Union (www.lks.lt).

The idea of national schools of composition which emerged in the leading European centres of culture in the 19th century was later gradually adopted by smaller nations seeking statehood and cultural identity. The three Baltic States and the neighbouring countries with similar cultural traditions saw the idea of national music coming into fruition in the early 20th century, the development that prompted their national composition schools to begin taking shape between the two world wars. The latter is an undeniable sign of maturity of a national musical culture. Evidently enough, scientific papers dedicated to the development of professional music often overlook the phenomenon of national composition schools the concept of which usually exists as a non-binding general category although no one has ever tried to play down its importance. Whenever we are trying to describe a national school of composition which, according to Algirdas Ambrazas, is “the commonness of self-awareness of a national culture, aspirations, and artistic images inspired by ethnic consciousness“, the term refers to the equivalent of a national culture of music.

The formation and development of pedagogic schools of composition plays a particularly important role within the structure of the phenomenon of a composition school. They bring together teachers, students, programs, classes, and creative efforts of both students and their tutors. Pedagogic schools of composition offer knowledge and expertise, orientation and technological principles vital in the process of developing skills the craft requires and, quite often, help to define one’s creative stance. As far as their concept is concerned, pedagogic schools of composition are based on several commonly accepted components, such as programme, teachers, students, and particular location, time and tradition. This level of the phenomenon reveals the ways alongside which a teacher’s oeuvre together with his or her stylistic and technological mindset, ideals and pedagogic traits inspire their students and, through their artistic endeavours, eventually influence the advance of a particular musical culture.

Artur Kapp, Heino Eller, Jāzeps Vītols and Juozas Gruodis – the four composers behind the emergence of national pedagogic schools of composition in Estonia, Latvia and Lithuania – have set the first milestones for the development of professional music in their native countries. Spanning over more than one hundred years, its history provides a wealth of material for anyone eager to learn more about its birth and evolution. This conference aims first and foremost at exploring the concept of national schools of composition in small nations and at examining their role in the processes of musical culture of the 20th century and early 21st century.

The conference offers a ground for discussions on a number of provoking subjects: What is the role of a traditional institution, a school for composers, within the contemporary culture given the ever increasing volume of exchanges in musical information? What is key in making a centre for composition studies attractive and productive? What are the priorities and methodical tools in developing a composer’s creativity and skill of his craft? Should the contemporary knowledge about making music be limited by a national tradition? Is teaching composition the exclusive privilege of the most famous composers? What are the ways of transforming experience and creativity in teaching composition? What famous schools of composition have emerged in the 20th century outside the world’s leading centres of musical education?

These are just a few intriguing questions that have inspired the organisers of the Conference dedicated to the centennial anniversary of Julius Juzeliūnas (1916–2001), one of the outstanding representatives of the Lithuanian school of composition. In Lithuania, Stasys Šimkus was the first to offer a course in composition in 1923 while working as a teacher for Klaipėda Music School, or Memeler Konservatorium der Musik as its was officially known at the time. It took another several years for a more systemic approach to develop after Juozas Gruodis began tutoring composition at Kaunas Music School which eventually grew into a conservatory. As one of the most famous and influential teachers of composition, Julius Juzeliūnas has ensured the continuity of the national tradition in professional music as well as its rejuvenation in the second half of the 20th century.

Royal Musical Association Annual Conference 2018

Royal Musical Association 54th Annual Conference

Thursday 13 to Saturday 15 January 2018 at the University of Bristol

Contact: Prof. Katharine Ellis Katharine.ellis@bristol.ac.uk

The conference aims to celebrate the quality and diversity of current scholarship and research in music by bringing together as many as possible from home and abroad with an interest in the investigation and discussion of the subject’s many branches. The gathering is a vital complement to the impressive range of specialist musical conferences, symposia, study days, and training sessions taking place around the world. Through it the RMA seeks to encourage networking and the provision of opportunities for RMA members, officers, and councillors to meet with each other, and for students and new entrants to the world of musical scholarship and research to meet leaders in the field and vice versa. The conference programme includes the RMA Dent Medal award and lecture, the Le Huray lecture, and the Annual General Meeting.

The conference announcement and Call for Proposals are expected in September 2017.

Music, italianità and the nineteenth-century global imagination

CFP: Music, italianità and the nineteenth-century global imagination

University of Cambridge, CRASSH, 16-17 September 2016

Music has long been a signifier of Italian identity, and its bearing on both popular and scholarly views of Italian nation-building during the long nineteenth century has only recently been seriously contested. At the same time, a growing body of scholarship has emerged that approaches musical italianità in this period as a set of shifting cultural constructs shaped by acts of (real or imaginary) border-crossing. This in turn invites critical attention on the nineteenth-century musical construction of Italian-ness from novel viewpoints, including the global and transnational.

Funded by a three-year grant from the Leverhulme Trust (IN-2015-045), a new research network will seek to address these issues from a variety of perspectives (http://www.ucl.ac.uk/cth/research-and-publications/projects/re-imagining-ita). Under the general title ‘Re-imagining italianità: opera and musical culture in transnational perspective’, the network—based at UCL and with collaborators at Cambridge, Brown University (US) and Campinas (Brazil)—is intended as a platform for cross-disciplinary debate, aiming to challenge and nuance existing scholarly paradigms and inherited conceptions of music and national belonging. A series of conferences and workshops to take place in 2016-18 will each address specific research objectives within this broader theme.

The first conference of the network will be held at the Centre for Research in the Arts, Social Sciences and Humanities (CRASSH), at the University of Cambridge, on 16-17 September 2016. The conference proposes to explore different facets—geographical, historical, artistic and theoretical—of the relationship between music and italianità in an explicitly global context during the ‘long’ nineteenth century. We invite submissions for 20-minute papers on relevant topics.

Approaches that papers might take towards an exploration of different facets of a global musical italianità include:

– pace and temporality

– space and place

– visual representations of performers or operas

– sound of/and war

– colonial encounters

– touring opera

– the experience of exile

– newspaper reception of Italian music outside Italy

– opera outside opera houses

– theatre architecture

– voice and vocality

– translations

Papers must be in English. Due to the limited number of paper slots available, preference will be given to proposals that engage most closely with the network themes and that reflect ‘work in progress’ (that is, not yet presented in similar forms elsewhere). We particularly encourage submissions from doctoral students and early career researchers from any discipline.

Abstracts of 300 words may be sent to Alexander Kolassa (ucrakol@ucl.ac.uk) until 17 April. The outcome will be announced by 9 May. A limited number of bursaries covering part of the travelling and accommodation costs will be made available to students presenting a paper at the conference. Applications for these will open in June. For any queries, please contact either Francesca Vella (fv250@cam.ac.uk) or Benjamin Walton (bw283@cam.ac.uk).

Conveners: Francesca Vella and Benjamin Walton

Conference committee: Axel Körner, Paulo Kühl, Suzanne Stewart-Steinberg, Francesca Vella, Benjamin Walton



Whose Cultural Legacy?: Polish Composers and Music History 1930–1945

10am-4 pm, Friday 22 April 2016

Royal Holloway University of London, 11 Bedford Square WC1B 3RA.

Keynote speaker: Dr Katarzyna Naliwajek-Mazurek, Instytut Muzykologii Warsaw.

The International Centre for Suppressed Music and the Department of Music, Royal Holloway University of London, invite proposals for 20 min papers for presentation at a one-day symposium to be held at Bedford Square, on the practical and historiographical challenges facing scholars and performers interested in the rehabilitation of mid-twentieth-century European music history, focusing on Polish composers who have not fallen comfortably into current notions of national and cultural identities.

The shifting borders of Poland have left many musicians, who unlike writers could not be classified culturally by their native language, unclaimed by any of the countries formerly, or presently part or Poland. Would musicians and composers from Danzig or Breslau be considered Polish, Kashubian,  or German? Would those from Teschen be considered Czech, Polish or Austrian? Would musicians from Lviv/Lwów or Tarnopol/Ternopol be Austrian, Polish, Ukrainian or Russian? Many of these countries effectively classified Jews as an ethnic sub-division, often depriving them of any national identity. Today, national cultural institutions such as orchestras, schools and broadcasters play central roles in whether the works of a composer are revived and profiled. To be culturally unclaimed is to remain unperformed, and lack of performance can only lead to lack of understanding and vice-versa.  This symposium seeks to focus attention on these issues and thereby help scholarly efforts to solve them.

Call for papers

Abstracts on topics related to this theme should be no more than 250 words and should be e-mailed by 7 March 2016 to Professor Peter Tregear peter.tregear@rhul.ac.uk and include a title, author(s), affiliation(s), email address for contact.

The Programme Committee consists of Professor Erik Levi, Professor Stephen Downes, and Professor Peter Tregear.  The programme will be finalized by 21 March 2016.

The Organisers acknowledge the kind support of the Research Strategy Fund of Royal Holloway University of London.