SMA Music Analysis Summer School

Keele University
6-7 July 2015 – preceding Keele Music Analysis Conference (8-10 July 2015)

Guest tutors:

Professor Amanda Bayley (Bath Spa)

Professor. James Hepokoski (Yale)

Professor David Neumeyer (Texas)

Building on the great success of its previous Summer Schools, the Society for Music Analysis is organising another summer school at Keele University, 6-7 July 2015. The residential course will be open to both national and international applicants, and will provide a unique forum for advanced study in theory and analysis in the UK. It will segue into the Keele Music Analysis Conference (KeeleMAC, 8-10 July2015), convened by Dr Nicholas Reyland (Keele), to which applicants are warmly invited to submit paper proposals.

Designed as an intensive programme run in small seminar and tutorial groups, the 2015 Summer School will be taught by international experts in performance studies, sonata theory and screen music – the three topics that will be the focus of its seminars and tutorials.

Attendance will be capped at c. 20 students. To be considered for a place, please submit a two-page CV including details of your academic qualifications and publications (if any), plus a short statement (up to 250 words) concerning your current work and how a place on the Summer School would assist it, to by 5 January 2015. Documents should be sent in Word or .pdf format. The Summer School is open to current masters and doctoral students, and to scholars within two years of completing a doctorate. Applicants will be informed of their proposal’s outcome by 9 February 2015.

The Editorial Board of Music Analysis has provided a subvention that will offer successful music students free accommodation and meals at the Summer School: participants need only cover the cost of their travel to Keele. If they intend to stay for KeeleMAC, Summer School participants will have to register and pay for the conference (student rate) separately.

Feedback on previous SMA Summer Schools:

‘Classes were intensive and interactive, taking the form of small seminar groups rather than lectures, and encouraged an equal exchange of ideas, transcending the usual tutor/student hierarchy. The SMA merits our gratitude and praise for spearheading such a valuable initiative, and one which is set to evolve and (one hopes) to become a permanent fixture in its calendar of events.’ (Dr Anne Hyland, Manchester University).


Dr Shay Loya, Information Officer, Society for Music Analysis,

Music in Video Games Study Afternoon


University of Southampton, 21 October 2014

The Music Department at the University of Southampton are hosting a Music in Video Games Study Afternoon on Tuesday 21 October 2014 (3pm) in Building 2/Room 1083, Highfield Campus, Southampton SO17 1BJ. This event is open to the public and admission is free.

Music in Video Games Study Afternoon
·       William Gibbons (Texas Christian University) ‘Remixed Metaphors: Manipulating Classical Music and its Meanings in Video Games’
·       Tim Summers (University of Oxford) ‘Playing against the Rules: Game Music’s Challenge to Musicology’.
·       Mark Sweeney (University of Oxford) ‘Songs of Skyrim: Folk Music and Identity in The Elder Scrolls V’
·       K.J. Donnelly (University of Southampton) ‘Play is Purposeless Art: What is Video Game Music?’
For further details, contact Hettie Malcomson:
Or visit:

Interpretationsforschung – Musical Performance with Reference to Historical Texts and Sound Documents

Interpretationsforschung – Musical Performance with Reference to Historical Texts and Sound Documents, Bern, 6–8 May, 2015
Hochschule der Künste Bern (HKB), Forschungsschwerpunkt Interpretation, Prof. Dr. Kai Köpp
Universität Bern, Institut für Musikwissenschaft, Prof. Dr. Florian Bassani
This conference focuses on forgotten principles of musical performance and interpretation practice which can be traced in written sources and early sound recordings. Central to this are vocal traditions and aesthetics (1600-1950) and “Instructive Editions” (Instruktive Ausgaben) concerning interpretation practice in the 19th century. Papers can address particular issues which go beyond the score itself, such as ornamentation, portamento, rubato, vibrato etc., but also special interpretation concepts (e.g. the performance of the “classics”). Practical demonstrations welcome.
Conference languages: German and English. Proposals for papers (abstracts of 1000 chars. and a short CV to be submitted until 1st November 2014 by email to
Information (English):
Interpretationsforschung – Künstlerischer Vortrag im Spiegel historischer Texte und Tonaufnahmen, Bern 6.–8. Mai 2015
Hochschule der Künste Bern (HKB), Forschungsschwerpunkt Interpretation, Prof. Dr. Kai Köpp
Universität Bern, Institut für Musikwissenschaft, Prof. Dr. Florian Bassani
Das Symposium befasst sich mit heute weitgehend verschwundenen Prinzipien musikalischer Aufführungs- und Interpretationspraxis, die dank Text- und Tondokumenten historisch sehr wohl nachweisbar sind. Dabei stehen die Themen Gesangspraxis und -ästhetik (1600-1950) sowie Instruktive Ausgaben zur Interpretationspraxis des 19. Jahrhunderts im Zentrum. Insbesondere solche Fragestellungen, die über den Notentext hinaus führen, etwa zu Verzierung, Portamento, Rubato, Vibrato, aber auch zu besonderen Interpretationskonzepten (z.B. schulbildenden Merkmalen des „Klassikervortrags“), sollen in den Referaten thematisiert werden. Praktische Demonstrationen sind willkommen.
Konferenzsprachen: Deutsch und Englisch. Bitte senden Sie Ihren Vorschlag für einen Tagungsbeitrag (Abstract – max. 1000 Zeichen – und Kurz-CV) bis zum 1. November 2014 an:
Information (deutsch):

Music and capitalism in historical and cross-cultural perspective

Registration for this event is £45 and £25 concessions, and will include tea, coffee, a sandwich lunch and drinks. To register, please follow this link:


Wednesday 8 October 2014
Room G22/26, Senate House, Malet Street, London, WC1E 7HU
Institute of Musical Research (IMR), University of London
Convener: Anna Morcom, Royal Holloway, University of London
Kindly supported by the Music and Letters Trust, the Royal Holloway Humanities and Arts Research Centre (HARC) and the Royal Holloway Music Department


Alan Bradshaw, Senior Lecturer in Marketing, School of Management, Royal Holloway
10.30  Copyright, capitalism and ‘religion': A postcolonial critique of Karnatic Music,Rajalakshmi Nadadur Kannan, Teaching Assistant in Religion at the Division of Literature and Languages, University of Stirling
11.00  Rap music and street capitalism, David Diallo, Associate Professor, Center for the Study of Anglophone Cultures and Literatures, l’Université de Bordeaux
11.30   Welcome to Church™: The evolving use of music, media and marketing in the United States and beyond, Tom Wagner, Teaching Fellow, Music Department, University of Edinburgh
12.00  Music, Labor, and Value in Indian Music Stores, Jayson Beaster-Jones, Assistant Professor, Department of Music and Performance Studies at Texas A&M University

12.30 LUNCH

13.30   Richard Wagner and ‘music drama’, Mark Berry, Lecturer, Music Department, Royal Holloway, University of London
14.00   Through a Capitalist Lens: Performances of Zapatista Music in the Tourist Economy of San Cristobal de las Casas, Andrew Green, PhD student, Music Department, Royal Holloway, University of London
14.30   ‘I Want the Moon’: Negotiating Capitalism and Creativity in the Commercial Music Industry through Acts of Resistance, Leah O’Brien Bernini, PhD student, Music Department, University of Limerick

Byron Dueck, Lecturer, Music Department, Open University
15.00  Meaningful Action: Forms of Value of Cultural Commodities, Timothy Taylor, Professor of Ethnomusicology, School of Music, University of California, Los Angeles


Patrick Neveling, Senior Researcher, Department of Cultural Anthropology and Sociology, University of Utrecht; Visiting Professor, Institute of Social and Cultural Anthropology, University of Hamburg.
16.30   The Many Capitalisms of the U. S. Music Business, 1930-1970, Charles F.   McGovern, Associate Professor, American Studies and History, College of William and Mary Williamsburg, VA
17.00   ‘Theorizing’ the Social Musician, Tim J. Anderson, Associate Professor, Communication and Theatre Arts Department, Old Dominion University
17.30   Music, potlatch and capitalism – articulation and ritual in Central Africa and beyond, Joe Trapido, British Academy Postdoctoral Fellow, Department of Anthropology and Sociology, SOAS, London

18.00 Drinks reception

19.00   End

Listening Cinematically

Listening Cinematically
25-26 June 2015, Royal Holloway, University of London, UK.

It has long been suggested that films have changed the way we listen, but cinema’s contribution to broader cultures of listening has only recently started to receive serious academic attention. This two-day conference aims to bring together scholars who are working on listener-centred accounts of the cinema and on the relationship between listening practices inside and outside the movie theatre. In particular, it welcomes papers (from musicology, film studies, media studies, cultural studies, sociology, philosophy and other cognate disciplines) that engage with the following broad themes:

•    The history of the cinema as a place for listening
•    The way specific filmic texts and film genres structure listening
•    Listening ‘cinematically’ outside the cinema

The CFP is coming soon, and the deadline for abstracts will be Friday 9 January 2015. Proposals and queries should be emailed to

=== ===

Dr Carlo Cenciarelli
British Academy Postdoctoral Fellow
Department of Music
Royal Holloway
University of London
Surrey TW20 0EX

IAML/IMS New York 2015 “Music Research in the Digital Age”

Inter-congressional Symposium of the International Musicological Society

The Programme Committees of the International Association of Music Libraries, Archives and Documentations Centres (IAML) and the International Musicological Society (IMS) are pleased to announce the calls for papers for the joint IAML/IMS Congress to be held in New York, 21–26 June 2015.

Call for papers – IAML/IMS New York 2015 “Music Research in the DigitalAge”

Deadline: November 1, 2014

“Music Research in the Digital Age,” the theme of our joint New York conference with IAML, not only focuses attention on the past, present, and future of digital musicology, but also evokes a long tradition of cooperation between the International Musicological Society and the International Association of Music Libraries, Archives, and Documentation Centers. The conference will include a celebration of RILM’s 50th anniversary. RILM’s Editor-in-Chief, Barbara Dobbs Mackenzie, is President of IAML and Director of the Barry S. Brook Center for Music Research and Documentation at the Graduate Center, CUNY. The vast legacy of Barry S. Brook, founder of RILM (1965) and co-founder of RIdIM (1971), IAML President (1977–1980), and already a pioneer in computer applications to musicology in the 1960s, stands as a symbol of the symbiotic relationship between musicology and music librarianship that has driven the work of many scholars before and since his time. Barbara Dobbs Mackenzie; Jane Gottlieb, Vice President for Library and Information Resources, Graduate Studies, The Juilliard School; and Jim Cassaro, Head, Theodore M. Finney Music Library, University of Pittsburgh, are co-chairs of the overall Organizing Committee. Stanislaw Hrabia, Music Librarian in the Department of Music at the Jagiellonian University in Krakow, is the chair of IAML’s Program Committee; Malena Kuss, Professor Emeritus of Musicology, University of North Texas, Denton, and IMS Vice-President, is chair of the IMS Program Committee. Both IMS and IAML program committees will collaborate to create joint sessions.

The IMS Program Committee invites papers on digital musicology, links between musicology and librarianship, and, in general, on the impact of technology on musical culture and musicological research. “Music Research in the Digital Age,” broadly defined, should not only focus on digitized resources and how connectivity can remap scholarly disciplines, but also represent both reflections on the meta-discourse generated by this connectivity and the diversity of conceptual frameworks that inform the practice of musicology in the intercultural age.

Paper presentations are limited to 30 minutes (including questions and discussion). Proposals can be submitted in one of the five official languages of IMS, namely English, German, French, Italian, and Spanish.

Deadline for submission of proposals is November 1, 2014. Proposals should be sent to Malena Kuss, Chair, IMS Program Committee, at

Participants will be notified on December 20, 2014. After the evaluation process has been completed, participants will receive information on the availability of financial support.

Proposals should include:

  • Title of paper or presentation;
  • Abstract of proposed content (not to exceed 400 words);
  • Brief CV (approximately 100 words in length); and
  • Contact information (up to two participants may be entered)
    • Surname
    • First name
    • Email address
    • Institutional affiliation and position
    • Town/City/Country
    • Member of IMS?
  • Technical equipment requirements

Please note that the following standard equipment will be provided:

  1. PC running a recent version of MS PowerPoint and connected to a data projector;
  2. Internet connections available in all rooms; and
  3. Audio/video playback from CD/DVD/audio file.
  4. Own laptop connection possible (also Mac).

Call for posters – IAML/IMS New York 2015 “Music Research in the Digital Age”

Deadline: November 1, 2014

An alternative approach to the presentation of projects will be available for conference participants. An area on the conference premises has been designated for the presentation of information regarding specific projects or activities of interest to librarians and musicologists.

Parameters for presentation:

Poster sessions will convey the subject using a combination of graphics and narrative text attached to a poster board together with relevant handouts. Applications requiring an internet connection are not encouraged, given that data connections will not be available. A table for handouts, business cards, and sign-up sheets will be provided if required. The presenter(s) must be in attendance throughout the designated time to answer questions and elaborate on the presentation’s topic. Posters may be presented in any of the IMS official languages: English, French, German, Italian, and Spanish.

Guidelines for submission:

Deadline for submission of proposals is November 1, 2014. Proposals should be sent to Malena Kuss, Chair, IMS Program Committee, at

Participants will be notified on December 20, 2014. Submissions will be evaluated by the IAML/IMS Program Committees. Authors of the selected posters will receive detailed guidelines concerning effective preparation, presentation, and relevant dimensions.


The European Salon – Nineteenth-Century Salonmusik

Call for Papers

International Bilingual Conference

The European Salon: Nineteenth-Century Salonmusik

2-4 October 2015, National University of Ireland, Maynooth

Deadline for submissions: 6 February 2015

Keynote speakers: Professor Susan Youens, Professor Harald Krebs, and Professor Glenn Stanley

As socio-cultural institutions, salons had a great political, artistic and scientific impact on nineteenth-century history. Although the depth of salon acquaintanceships that developed between salon attendees of different backgrounds is questioned by such famous salon visitors as Heinrich Heine (1797-1856) and Frances Milton Trollope (1779-1863), the attempt at overcoming social, religious and educational limitations in the salon was a singular phenomenon of the time. The typical salon sociability, which gathered a few regular attendees and a changeable circle of visitors around a female host and moderator, provided a unique opportunity for female artists to share their knowledge and skills on a semi-public platform, which also welcomed artists of varied social and cultural backgrounds.

While the purposes of nineteenth-century salons were diverse, all of them had in common the ubiquity of music. Johann Wolfgang von Goethe (1749-1832) considers music as the ‘most innocent and most comfortable mediator in a society’, which reflects the purely entertaining function of music in non-musical salons. In an ironic way, E. T. A. Hoffmann (1776-1822) provides a critical perspective on the role of music in the salon in his satire Des Kapellmeisters Johannes Kreislers Dissertatiuncula über den hohen Wert der Musik (published in 1812): ‘You enter the hall, the centre of attention is the steaming kettle, around which the elegant ladies and gentlemen are gathering. Gambling tables are being moved, the piano has been opened, and the music serves as a pleasant way of entertainment. Indeed, a good musical selection will not do any harm as even the card players will accept it, although they are dealing with such important issues as profit and loss’. The ubiquity of music was related to the domestic status of music towards the middle of the nineteenth century, as then, according to Andreas Ballstaedt, the salon became an opportunity for members of the bourgeoisie to present their houses to a selected audience in order to demonstrate their wealth and educational background. However, as the aesthetic appreciation of music increased, the marginal role assigned to music in a salon was, for connoisseurs, no longer acceptable. In 1844/1845, Hermann Hirschbach (1812-1888) makes the critical point that ‘everybody plays the piano, and a bunch of bad composers is rushing to satisfy the lustfulness of low-standard dilettantes’. The decrease of compositional thought in music specifically intended for performance in a salon was also noted by Robert Schumann (1810-1856), who coined the term Salonmusik for such productions in 1836. He describes Salonmusik as a ‘combination of sentiment and piano passage’, a definition which alludes to the distinction between music lovers driven by sentimental emotion and connoisseurs looking for an intellectual challenge.

The audience in a nineteenth-century salon could include both music lovers and connoisseurs, well-educated and rather less-educated dilettantes, which resulted in a repertoire of mixed compositional quality. Additionally, musical salons such as the Sunday gatherings led by Fanny Hensel (1805-1847) attracted excellent musicians and composers at an international level, whose performance and compositional standards were incomparably superior to those in a non-musical salon. In 1853, Johann Christian Lobe (1797-1881) responds to the general renunciation of music for the salon in the middle of the nineteenth century. He categorises Beethoven’s bagatelles, Weber’s Aufforderung zum Tanze, Schubert’s marches for four hands, Mendelssohn’s Songs without Words and Schumann’s Kinderszenen as Salonmusik, and asks provocatively if these compositions should be despised just because initially they were composed for performance in salons. ‘Nobody would deny that there are cheap and inelegant compositions among the Salonmusik,’ he continues, ‘but we must not disregard the entire genre because of such indifferent compositions’. In accordance with Lobe, both Ballstaedt and Peter Gradenwitz ascertain that the musical repertoire generated by the nineteenth-century salon was as diverse as the salons’ purposes and audiences. It ranges from Lieder to opera arias, passages from sacred and chamber music to piano miniatures.

Encouraged by Ballstaedt’s and Gradenwitz’s observation as well as Johann Christian Lobe’s espousal of Salonmusik,and despite the rather sceptical nineteenth-century reception of music for the salon, this interdisciplinary conference seeks to re-evaluate the significance of both the broad and diverse category of music performed in and/or composed for the salon and the extra-musical functions of the salon within the context of the nineteenth-century socio-cultural discourse.

We invite abstracts for individual 20-minute papers by both academic scholars and performers in either English or German; for themed panel sessions (comprising three individual papers); and for roundtable sessions (up to six people, each presenting a position paper, followed by a discussion). Considering the practical nature of the overall topic, we especially welcome proposals for lecture recitals and other performative forms of presentation.

Proposed research areas include but are not limited to:

–          The nineteenth-century European salon as a social forum and its artistic output as a social document;

–          The salon as a special performative opportunity for women;

–          A re-classification of composers specialising in Salonmusik and composers of European art music performing in European salons;

–          The role of music during the Biedermeier period;

–          Case studies of specific nineteenth-century European music salons and/or their attendees;

–          The relationship between salonieres, attendees, performers, publishers, and/or reviewers, i.e. the relationship between the private, the semi-public and the public domains;

–          Publishers of Salonmusik and their contribution to the popularity of the genre;

–          Virtuosity and quasi-virtuosic Salonmusik versus dilettantism;

–          A re-evaluation of art-forms typically performed in salons, and their impact on the musical repertoire of the nineteenth century and beyond;

–          Analyses of typical Salonmusik and works performed in salons such as fantasias, impromptus, etudes, transcriptions, variations, polonaises, ballades, waltzes, boleros, mazurkas and others.

Abstracts of c300 words, along with a short biography of no more than 150 words and an outline of the technology needed for the presentation, should be sent in a word-compatible format by Friday, 6 February 2015 to Successful applicants will be notified by mid-March 2015.

The organising committee includes Brigitte Bark (NUIM), Anja Bunzel (NUIM), Dr Lorraine Byrne Bodley (NUIM), Dr Patrick Devine (NUIM), Dr Alison Hood (NUIM), Dr Aisling Kenny (DkIT), Barbora Kubečková (NUIM), and Dr Wolfgang Marx (UCD).

Modernist Musics and Political Aesthetics

8th-10th April 2015, University of Nottingham, UK

Modernist Musics and Political Aesthetics is a three-day conference aiming to explore interfaces between:

cultural modernism (literary and visual, architectural, musical, and/or philosophical); music, musicality, and musicology in relation to modernism and literature; and the political implications of art and theories of the aesthetic in the twentieth century.

The conference remit is intentionally capacious. ‘Modernism’ is open for all speakers and attendees to interpret as any instance of the experimental strategies that emerged throughout cultural life at the turn of the twentieth century, though papers focusing on new interdisciplinary contexts for literary questions are sought in the first instance. Likewise, the plural use of ‘musics’ is meant to reflect a variety of musical modernisms, but also the fact that ‘music’ as an idea meant many things to different modernist artists and critics. Above all, the conference organisers seek interdisciplinary papers that will develop scholarly understandings of the convergences between modernism, music, and politics.

The Call for Papers (CFP) deadline is 1st November 2014.

For full details please see:

Authorship in Music

RMA Study Day: Authorship in Music

Friday 6 March 2015

Faculty of Music, University of Oxford

The question of authorship has been a central concern in poetics and literary theory for a long time and there is a large literature on this topic representing various critical perspectives. However, this sustained and systematic treatment of authorship has yet to be reflected in musicological discourse concerned with the particular conditions of musical practices.

Including an invited paper (‘I tell you what to do: autonomy, control and play in game compositions’) by Professor James Saunders (Head of Centre for Musical Research, Bath Spa University) and musical performances, this study day seeks to address and explore issues surrounding the notion of ‘authorship’ in relation to different kinds of engagement with music across cultures and genres and from a range of interdisciplinary perspectives including musicology, psychology, sociology, philosophy, ethnomusicology, and anthropology,

Proposals for individual papers (20 minutes + 10 minutes) are invited on the following, and other related topics.

– Authorship and the ‘work’ concept
– Historical perspectives on authorship in music
– Methods in researching and documenting authorship
– Philosophical perspectives on authorship in music
– Economic, legal and political perspectives on authorship and ownership
– Authorship and embodiment
– The concept of co-authorship in musical practices
– Authorship in recording practices
– Technology and authorship in music
– Authorship and creativity

Please submit a 200-word abstract as an email attachment to, and include the following information:

Name, institution, email address and AV requirements.

Deadline for the receipt of abstracts is Friday, 21 November 2014.

Notification of acceptance will be sent by Friday, 12 December 2014.

Organizing committee:
Professor Mine Doğantan-Dack, Dr Adam Harper, Emily Payne and Cayenna Ponchione.

Tacit or Loud

Tacit or Loud: where is the knowledge in art?
Symposium and festival for artistic research
Nov 28-Dec 3

Call for contributions
Tacit or Loud is an international symposium and a festival for experimental arts at the Inter Arts Center in Malmö, Sweden. Tacit or Loud focuses on intermedia art and presents several international world premieres. Inter Arts Center (IAC) is an organization within the Faculty of Fine and Performing Arts located in the old Mazetti chocolate factory in Malmö. IAC provides good facilities for interdisciplinary projects, including fine arts, music and theatre, but also other arts and disciplines. For information on the venues please see

Where is the knowledge in art?
We embrace an ecological perspective on knowledge that stretches from the tacit and embodied knowing of the artist to propositional and scientific knowledge production. Indeed, the knowledge in art can sometimes be more loud than silent. We now welcome proposals to a symposium that challenges the format of the scientific symposium. Contributions may be in artistic form (encouraged), as conference papers or in a format that combines the two. The ambition with Tacit or Loud is to merge various kinds of knowledge production in the arts with analytical modes of thinking. Hence, it is centered around the concept of the lab as a venue for a review of artistic work and research as process. These lab sessions are the core of the event and will address the following five perspectives on knowledge in the arts:

1. Epistemology, embodiment and knowledge in the arts
The American philosopher Mark Johnson (2007) argues that all knowledge is embodied, and that “the arts are exemplary cases of embodied, immanent meaning” (Johnson, 2011, p. 234). The Routledge Companion to research in the arts emphasizes the practical and non-conceptual nature of artistic knowledge and Johnson writes in his article in this anthology: “Art presents (enacts) the meaning of a situation, rather than abstractly conceptualizing it” (Johnson, 2011, p. 247).

2. Action, situation, performativity and intention
The idea of ​​situatedness has been largely applied to theater and the art of acting, where one of its most significant theorist Konstantin Stanislavski in the 1920s and 1930s sees action, situation and intention as the key elements of the actor’s work, which he describes as primarily an exploratory activity. How can these practices inform research and artistic development?

3. Musical Gesture and Embodied Cognition
Research on musical gesture during the past decade has contributed to a shift in our understanding also of musical cognition. Meanwhile, the development of theories of “situated cognition” and “enacted cognition” created new interpretative horizons where studies of musicians’ actions and cognitive processes may constitute material for the development of new artistic practices (Leman 2007).

4. Gesture, action and reaction.
What are the new directions in intermedia art? How can a deeper understanding of action, movement and gestures, and the relationship between action and cognition, become a springboard for new artistic expressions?

5. Whose knowledge? A critical perspective on knowledge production in the arts.
No discussion of knowledge and art can avoid gender theory and postcolonial perspectives. Whose knowledge are we discussing?

There will be no parallel sessions so all participants can take part in all labs and, furthermore, each day invited artists/scholars will give a key presentation framing the perspective of the day’s sessions. Our ambition is to create a format for discussion and dissemination of artistic work and thinking about and through artistic work, while avoiding the all too common theory/practice dichotomies and allow for a creative and intellectually vital environment in which artistic and scholarly approaches to the five perspectives can be molded together.

The submissions will be peer-reviewed and a notification of acceptance will be announced no later than september 24. All accepted contributions will be published in a multimedia publication which will constitute the peer reviewed conference proceedings.

The deadline for proposals is September 15. The results of the peer-review will be announced on September 24.
Tacit or Loud starts with an opening event in the evening of Nov 28. The lab sessions will take place between Nov 29 and Dec 3.

Format and content of the proposal
– Please send proposals to
– The description of the content and format of the presentation should be no more than 300 words and may also include audio and video material.
– Please indicate which theme/themes the proposal addresses. the duration of the presentation and also a technical rider if applicable.
– Artistic materials for review can either be submitted as links for download (mp4 or h264, only stereo files and one screen video) or links to webpages for streaming.

Tacitorloud web page: