XXIV Annual Conference of the Italian Musicological Society


Lucca, Institute Superior Musical Studies “Luigi Boccherini”, 20-22 October 2017


The twenty-four Annual Conference of the Italian Musicological Society will be hosted in Lucca from 20th-22rd October, in collaboration with the Institute Superior Musical Studies “Luigi Boccherini”. On October 21nd at 3 p.m. the annual Meeting of all members will take place.

The Conference will be divided into free paper sessions.

Scholars from all over the world are invited to submit their proposals.

In your abstract (which has not to exceed 30 lines in word format) please indicate the title of the proposed paper, the state of the art in your research field, with an outline of the project and the specific contribution to the current knowledge. Only original, unpublished research will be taken into consideration: papers in print will not be accepted.

Along with the text please send also a short C/V (max. 15 lines) and indicate the A/V equipment required.

ed 20 minutes in duration (corresponding to an 8-page text containing to a maximum of 16000 characters). Scholars are not allowed to send more than one abstract. Please provide your full name, address, phone number, fax number and e-mail address. The abstracts have to be sent to the e-mail address convegni@sidm.it no later than June 15, 2017. Acceptance of papers will be notified by July, 15, 2017.

We inform you that one session of the conference will be entitled: Paisiello 1816-2016. “The post anniversary”.

For further information about the conference please visit the web site: http://www.sidm.it or by mail: segreteria@sidm.it.


Arvo Pärt: Icon of Modernity

This one-day conference will be held on the eighty-second birthday of the Estonian composer Arvo Pärt September 11, 2017 at the Institute for Advanced Music Studies, Senate House, The University of London,.. It is presented under the auspices of The Royal Academy of Music, The University of West London and in association with the Estonian Embassy.


We invite papers of 25 minutes with the first 5 minutes of the paper to be given to a background introduction and placement of the paper in this field. Papers are welcome on all aspects of and approaches to the composer’s music including philosophical, theological, analytical, ethnographic studies and also research that addresses the position of Pärt in popular culture and media. In particular, papers that expand the significance of material inside the critical enclosure of Pärtian concepts as well as studies that bring fresh insights, strategies and contexts to this burgeoning scholarly literature will be well received. The conference intends to showcase the widest range of critical thinking on this important contemporary artist with full papers to be edited and published by a major University Press.  The conference supper will be held on the evening of the 11th at a major London club.


Abstracts including affiliation and a short biography should be sent in a word document to Prof. Robert Sholl r.sholl@ram.ac.uk by May 15. These should explain the context for the research and show the work to be presented represents a contribution to this subject.


The conference fee will be £40 for the day, and £80 with supper. The conference also follows on from the Royal Musical Association conference on 7-9 September.



Music and Dance in Visual Culture

Music and Dance in Visual Culture

17th International Conference of Association Répertoire International d’Iconographie Musicale (RIdIM) in collaboration with the Music Library of Greece “Lilian Voudouri” of the Friends of Music Society

Athens, 5 to 7 October 2017


Submission Deadline: 30 April 2017

Association RIdIM and the Music Library of Greece “Lilian Voudouri” are pleased to invite submissions of proposals for the 17th International Conference of Association RIdIM «Music and Dance in Visual Culture», to be held in Athens at the Music Library of Greece “Lilian Voudouri”, 5 to 7 October 2017.

The Conference focuses on the visual representation of music and dance across periods and cultures. In addition to papers with specific chronological or cultural foci the Programme Committee also encourages submissions encompassing the broad arena of theoretical and methodological issues such as topics related to visual theory, visual culture, visual literacy, as well as subjects linked to the representation of music and dance in visual culture from a methodological and/or theoretical point of view.

The official language of the Conference is English. Papers selected at the Conference will be published in a miscellaneous volume. Papers are limited to thirty minutes in length, allowing time for questions and discussion.

Further information available at: https://ridim.org/call-for-papers-17th-ridim-conference-5-7-october-2017

All proposals have to be submitted via the automatized electronic form, available at https://ridim.org/paper-panel-submission-form-17th-ridim-conference-5-7-october-2017, no later than 30 April 2017.

There will be a registration fee of 130 Euro.

The Programme Committee will make its final decision on the abstracts by the end of May 2017, and contributors will be informed immediately thereafter. Further information about the programme, registration, travel and accommodation will be announced at the RIdIM Conference Website.


Programme Committee

Antonio Baldassarre, Lucerne University of Applied Sciences and Arts (CH)

Zdravko Blažeković, The City University of New York (US)

Theresa Buckland, University of Roehampton, London (UK)

Daniela Castaldo, Università del Salento, Lecce (IT)

Alexandros Charkiolakis, MIAM Istanbul Technical University (TR)

Richard Leppert, University of Minnesota (US)

Isabelle Marchesin, Institute national d’histoire de l’art, Paris (FR)

Stefania Merakos, Music Library of Greece “Lilian Voudouri”, Athens (GR)

Cristina Santarelli, Istituto per i beni musical in Piemonte, Turin (IT)

Margaret Walker, Queen’s University, Kingston (CA)

RMA Study Day: Music, Media and Technologies

Music, Media and Technologies

RMA Study Day, Durham University, UK
Saturday 20 May 2017

Keynote Speaker: Frederick Moehn (King’s College London)
Call for Papers deadline: 3 March 2017

How do media and technology shape music-making, music experience, and music meaning? What contemporary and historical developments in these fields influence how music (of any kind) can be understood? How has music played a role in shaping wider media and technology environments?

This study day aims to attract scholars from across music’s sub-disciplines interested in analysing the significance of media and technologies in the production, dissemination and experience of music.

Research areas might include (but are not limited to) both contemporary and historical approaches to musicology, analysis, ethnomusicology, music technology, psychology, education, composition and performance. There are no restrictions on musical genres, eras, or research approaches.

Contributions from postgraduate students and Early Career Researchers are especially welcome.

The study day will be free for Royal Musical Association (RMA) and Durham University Music Department members. There will be a fee of £10 for non-members.

All papers will be of 20-minutes duration. Please send abstracts of up to 300 words.

For enquiries or to submit an abstract, please email Samuel Horlor at s.p.horlor@durham.ac.uk.
Deadline for receipt of abstracts: Friday 3 March 2017.

The following themes are of particular interest:

Media and technologies in music production:
– Musical instruments and creative tools
– Wider technologies around creation and live music-making
– Recording and the studio

The influences of technologies at the moments of inspiration, creation and live performance in music of any kind. These may be central to the production of sound (musical instruments, creative tools) or have a less direct impact (technologies bringing together musicians and listeners, technologies of the physical or media spaces for music-making). These themes might be approached from analytical, historical or social perspectives, as well as those of creative practice.

Media and technologies in music dissemination:
– Film, broadcast, and music industries
– New media (historical or contemporary perspectives)
– Media of music learning

The roles of media and technologies in how music is spread and encountered. Focuses may include the impacts of commercialisation and the proliferation of new media (from both historical and contemporary perspectives) upon the processes and products involved in learning and sharing music. They might be explored through analysis of both musical texts and wider social contexts.

Media and technologies in music experience:
– Technologies of listening and music’s integration into everyday life
– Issues of genre, transnationalism and cultural hybridity
– Impacts upon identities, politics and communities

The effects of media and technologies in music’s broader involvements and uses. Focus here may fall on audiences, listeners, amateurs and communal music-makers, for whom music is integrated into wider life through media and technologies. Suggested areas of exploration include impacts upon global music flows, and the shaping of communal and individual experiences with music.

V Symposium on the Paradigms of Teaching Musical Instruments in the 21st Century

School of Music and Scenic Arts
Federal University of Goiás
18, 19, 20, April 2017

Considered one of the few forums concerning research relating to the overall topic of teaching musical instruments in today’s world in view of the future, the V STMI – Symposium on the Paradigms of Teaching Musical Instruments in the 21st Century reaches a new level in its mission of disseminating international research on the area of the musical instrument. While its previous editions (2009, 2011, 2013, 2015) were held at the University of Évora in Portugal, the V STMI will take place at the Federal University of Goiás in Goiânia-Brazil, thus continuing to open its doors to the international community.
As in its previous editions, the relevance of STMI continues to be centered on the mismatch between what is taught in music and contemporary production. A good example of this is generally found in music education, and in particular the teaching of musical instruments. Many techniques, methods and repertoire which are used today for teaching an instrument are the same that were used over one hundred years ago. Conscious that music education institutions – as any institution – tend to react slowly to changes and progress of the overall music creation outside the academia, we need to constantly measure our educational tools, so that what we truly teach represents where we come from and prepares and envisions artistic possibilities for the future. In order to discuss and contextualize these issues, the V STMI welcomes article presentations related to the topic of instrument teaching covering three broad chronological periods: (1) an overview of the past, (2) the present, and (3) the future. Thus, for each of these chronological periods, work can be presented from different areas of research, such as: historical musicology, performance practice, composition/repertoire, pedagogy (e.g. methods and techniques; the teaching of ‘old’ or new instruments), ‘new musicology’ (e.g. gender studies and ‘new’ music styles; jazz, pop, world), and music technology.

Keynote Speaker:
Jane Ginsborg, Royal Northern College of Music, UK

Relevant information and deadlines:

-Official languages of the Symposium are Portuguese, English and Spanish
-Article presentation proposals (20 min.) containing title, name of author(s), small bio(s), and abstract (max. 350 words), should be sent in a Word document until January 20th 2017 to stmi@uevora.pt
-Acceptance of proposals will be announced by January 29th
-Registration of accepted proposals will take place between February 13-17 upon payment of a registration fee of R$ 100 (reais) .
-Further information and details will be announced in due time in this site: http://eventos.ufg.br/V-stmi
-General inquires: stmi@uevora.pt

Symposium Chair:
Eduardo Lopes (Federal University of Goiás, Brazil/University of Évora, Portugal)

CESEM – Sociology and Musical Aesthetics Research Centre (Faculty of Humanities and Social Sciences – UNL, Portugal)
EMAC – School of Music and Scenic Arts (Federal University of Goiás, Brazil)

KOSMOS Dialogue “Music, Emotion, and Visual Imagery”

KOSMOS Dialogue “Music, Emotion, and Visual Imagery”

Humboldt-Universität zu Berlin

June 1-3, 2017

Call for Participation

Music can elicit powerful emotional reactions in the listener that are often accompanied by visual imagery (e.g., landscapes, friends, scenes of past events, colours, abstract shapes etc.). The aim of this KOSMOS Dialogue is to contextualize the research topic within broader currents of the cognitive sciences and humanities by bringing together researchers from different fields to map out interdisciplinary links and to elaborate paradigms, techniques and methods to be able to study the relationships between music, emotion, and visual imagery. Proposals for research reports and short position statements will be welcomed from researchers in any discipline from the sciences, social sciences or humanities that may be able to shed light on the ways in which music and visual imagery interact in creating an affective response.

The KOSMOS Dialogue will be led by Mats Küssner, André Weinreich (both HU Berlin) and Tuomas Eerola (Durham University), who will also give a public lecture entitled ‘How music evokes emotions’.

Submissions should be made electronically in Word or PDF format to mats.kuessner@hu-berlin.de by 15 Feb 2017. Please provide your name, postal and email addresses, and any institutional affiliation on the first page. Start your proposal on the second page and write no more than 250 words.

The format of the KOSMOS Dialogue particularly welcomes the participation of early-career researchers (PhD students and Post-Docs). We are able to provide a limited number of travel bursaries to help cover the costs of attending the KOSMOS Dialogue. To be eligible for a travel bursary, you must be a full- or part-time student or an unwaged delegate who has been accepted to participate in the KOSMOS Dialogue. To apply, please provide the following information on a separate sheet of paper: name, affiliation, contact address, email, status, country of residence and amount of funding sought. Please explain why you are unable to obtain funding from other sources and how attendance of this KOSMOS Dialogue benefits your future research.

We aim to notify all applicants of the outcome of the reviewing process by the end of March 2017.

‘I Am Not There’ International Conference on Bob Dylan

18-19 May 2017

Lisbon, Faculty of Social and Human Sciences, NOVA University of Lisbon.
Organization: CETAPS and CESEM

Call for Papers
(until 26 January 2017)

In 1999, Bob Dylan (b. 1941) was included in the ‘Time 100: The Most Important People of the Century’ as a “master poet, caustic social critic and intrepid, guiding spirit of the counterculture generation”. In 2008, the Pulitzer Prize jury awarded Dylan a special citation for “his profound impact on popular music and American culture, marked by lyrical compositions of extraordinary poetic power”. In May 2012, Dylan received the Presidential Medal of Freedom from President Barack Obama. In 2016, the artist was awarded the Nobel Prize in Literature “for having created new poetic expressions within the great American song tradition”. The New York Times (13-10-2016) reported: “Mr. Dylan, 75, is the first musician to win the award, and his selection on Thursday is perhaps the most radical choice in a history stretching back to 1901…In choosing a popular musician for the literary world’s highest honor, the Swedish Academy, which awards the prize, dramatically redefined the boundaries of literature, setting off a debate about whether song lyrics have the same artistic value as poetry or novels”. After the official Nobel announcement, opinions divided the public and critics. CETAPS (Centre for English, Translation and Anglo-Portuguese Studies) and CESEM (Sociology and Musical Aesthetics Research Center), NOVA University of Lisbon, decided to analyze and celebrate the aesthetic, historical, political, and cultural significance of Bob Dylan’s musical, literary and artistic (visual) work, as well as its influence(s).
The initial expression in the conference’s title is the title of the biographical musical drama film I Am Not There (2007, directed by Todd Haynes and co-written with Oren Moverman), which intercuts the storylines of seven different Dylan-inspired characters. According to Haynes, “the minute you try to grab hold of Dylan, he’s no longer where he was. He’s like a flame: If you try to hold him in your hand you’ll surely get burned. Dylan’s life of change and constant disappearances and constant transformations makes you yearn to hold him, and to nail him down. And that’s why his fan base is so obsessive, so desirous of finding the truth and the absolutes and the answers to him – things that Dylan will never provide and will only frustrate” (apud D. Dalton, Who Is the Man?: In Search of the Real Bob Dylan, 2012).

We will privilege comparative and transdisciplinary approaches. Potential contributors are invited to submit a bionote and a 300 word abstract on themes related to any of the following conference tracks:

• Influences in/of Dylan’s music;
• Bob Dylan and awards;
• The ‘power’ of the Nobel prize for literature;
• The alter-egos and personas of Robert Zimmerman/Bob Dylan (Blind boy Grunt, Bob Landy, Tedham Porterhouse, etc.);
• Dylan’s music videos;
• Dylan in/as performance;
• Dylan and religion;
• Art, activism, protest, and social unrest;
• Dylan on stage – presence, performance and liveliness;
• Dylanesque spaces and places;
• Influences in/of Dylan’s visual art;
• Intertextuality in Dylan’s lyrics, music and videos (text-music relationship);
• Intermediality in musical genres and practices;
• Lyrics as/and poetry/literary narratives;
• Dylan depicted (visual biographies, photography, press and record [album] covers, official website);
• Dylan in cyberspace (myspace, facebook, youtube, etc);
• Dylan’s songs;
• Dylan as trend-setter;
• Musical style(s) in Dylan;
• Bob Dylan in the classroom;
• Adaptation of Dylan’s texts as children’s literature;
• Dylan in/and translation;
• Dylan’s fandom;
• Academia and Dylan’s fandom;
• Music as a social and political agent in Dylan’s and other composers’ production;
• Dylan, music and the moving image (cinema, documentary, television, internet);
• The roles and ideologies of musical, literary and artistic criticism: after Dylan;
• Gender and music;
• Listening to Dylan: social behaviors, musical taste, consumption patterns.

Working languages: Portuguese, English, Spanish. No translation will be provided.

Papers and panels on the above themes are invited. However, papers/panels on other subjects related to the above topics will also be considered. Participants will be held to a twenty minute presentation limit. Please submit an abstract and a bio note, by 05 January 2017, to the conference email:


To ensure prompt notification, please include your e-mail address on your submission. If you are interested in chairing a session, please note this at the top of your abstract.
Registration fee: 80 euros. BA and MA students: 30 euros.

Conference website: https://internationalconferenceonbobdylanportugal2017.wordpress.com/

Coordination: Rogério Puga (CETAPS) e Paula Gomes Ribeiro (CESEM).

Aestheticizing Cultural Policy in France, 1789-1815

University of Warwick

Saturday 1st July & Sunday 2nd July 2017 (preceded by a melodrama workshop Friday 30th June)

The period from 1789 to Napoleon’s second abdication in 1815 is one marked by profound transformation in all domains, including the arts – not least because the role of the state in cultural production was a matter of key concern for both the Revolutionaries and the Imperial administration. The last two decades have a seen a resurgence of interest in revolutionary culture, producing valuable insights into spectatorship, participation, propaganda, symbolism and transparency. This conference seeks to extend these approaches to the Napoleonic period, challenging the narrative of Imperial control by re-examining the way that creative agents and institutions engaged with and negotiated around cultural policies.

Studies of theatre at the time, for example, often make much of regulations and edicts (the 1791 freedom of the theatres law or the 1806/1807 imperial decrees) but there is ample evidence that theatrical practice, especially in the provinces, did not always comply with the state’s desire to impose control. Is this also the case for other artistic production such as music, painting, or literature? This conference will focus in detail on the discrepancies between the legislation, production and reception of literary and artistic works, in order to establish continuities and discontinuities in the actions of the various political regimes – and the reactions of creative agents – at a time of considerable social and political upheaval.

We welcome paper proposals on the following themes

  • aesthetics
  • genre
  • the emergence of a new public
  • the book trade
  • the creation of institutions
  • the abolition of privilege
  • censorship and surveillance
  • theatre reform
  • prizes
  • festivals
  • monuments
  • processes of adaptation
  • ideas of authorship

Abstracts (max. 300 words) for 20-minute papers should be sent, with a short biography, to napoleonictheatre@gmail.com by 15 January 2017.  The conference languages will be English and French. For more information please contact the conference organiser katherine.astbury@warwick.ac.uk .

The conference is organised and supported by the AHRC-funded research project French Theatre of the Napoleonic Era based at the University of Warwick.

Musicology in the Age of (Post)Globalization

Musicology in the Age of (Post)Globalization
Deadline for proposals: 1 June 2017
Conference dates: 3–6 April 2018, New York City
The Barry S. Brook Center for Music Research and Documentation, New York City

In 2018 The Barry S. Brook Center for Music Research and Documentation celebrates the centennial of its founder, Barry S. Brook (1918–1997). A musicologist with a global vision who lived and worked both in New York and in Paris, his scholarly interests were broad: His research covered secular music from the Renaissance, the 18th and the 19th century, as well as music iconography, the social history of music, and aesthetics. In later years he became fascinated with ethnomusicology. His interest in the control of music sources and resources together with his vision of a global research community and the use of computers for humanities research led him to found Répertoire International de Littérature Musicale (RILM) and to cofound the Répertoire International d’Iconographie Musicale (RIdIM), along with many other publications and series.

To celebrate his vision and accomplishments, The Brook Center is organizing an international conference on the topic of Musicology in the Age of (Post)Globalization, which will take place from Tuesday, 3 April to Friday, 6 April 2018, at The Graduate Center, The City University of New York, in New York City. We are inviting papers based on new research that address the multifaceted topics of music scholarship transcending national, cultural, and disciplinary boundaries. If music theorists, historical musicologists, and ethnomusicologists inhabit separate societies, publish in separate journals, and adhere to separate methodologies and literatures, this conference seeks to nourish a dialogue that looks at music research as a whole. After U.K.’s Brexit vote and the U.S. presidential election, which signal the end of an era and the emergence of a new world, a critical look at our discipline and its international position is ever more timely. With this in mind we are particularly seeking discussions on 21st-century musicology in the context of social, cultural, economic, and political structures, and the impact of 20th-century globalization or its perceived limits.

We seek to inspire papers and panels on the following themes:

Applied ethno/musicology
Breaking the musicology-ethnomusicology divide
Ethno/musicology and economics
Ethno/musicology and mobility
Ethno/musicology and political systems
Ethno/musicology and postcolonialism
Ethno/musicology outside the academy
Global issues
Institutions and societies

Please submit a proposal, with title and an abstract of no more than 300 words, and include contact information (address, phone, and email) before 1 June 2017. Proposals for whole panels are welcome.

The Barry S. Brook Center
The Graduate Center, The City University of New York
365 Fifth Avenue
New York, NY 10016-4309
Attn: Tina Frühauf, TFruhauf at gc.cuny.edu

Dance and Ballet in Naples: a Dialogue with Europe (1806-1861)

The Italian Association for Research in Dance (AIRDanza, www.airdanza.it), in collaboration with the Pietà de’ Turchini/Centro di Musica Antica Foundation, is organizing the International Conference:

Dance and Ballet in Naples: a Dialogue with Europe (1806-1861)

The conference will take place in Naples from 9 through 11 November, 2017, at the following locations: Archivio di Stato, Biblioteca Nazionale “Vittorio Emanuele III”, MeMus (museum and historical archives of the Teatro di San Carlo), Università degli Studi Suor Orsola Benincasa, Pietà dei Turchini/Centro di Musica Antica Foundation.

With regards to that, the organizers issue this

Call for Papers

As the capital city of Italy’s largest kingdom and for centuries a crucial crossroads for theatre and ballet culture, Naples has been one of the most important centres, both in Italy and Europe, for dance education, ballet production and circulation all along the 19th century and until the Unification of Italy (1860). Naples could provide to many famous dancers precious opportunities to develop their career: the glory of its theatres depended however also from many dancers whose work still awaits exploration and celebration.

This call offers scholars a plurality of objects for researching, analysing and explaining issues that until now have been seldom approached. Properly developed, they will significantly contribute to enlighten the role played by dance in Naples within Italian and European dance culture.

Among the conference aims are the advancement of research on dance and the promotion of the Italian and international dance heritage and culture. AIRDanza invites applications from both young researchers and scholars already active in the fields of dance and theatre studies. It encourages approaches based on interdisciplinary and/or transdisciplinary methodologies with the aim to discover, analyse and study primary sources (relating to theatres, ballets, private and public dance schools, dancers, choreographers, theatre papers, music scores and publications). Moreover, it invites contributions that critically engage ballet and dance practices with reference to dynamics of national identity (also in consideration of the Risorgimento process), and to the need for self-promotion and propaganda felt both by the French Kingdom and the subsequent Bourbon Kingdom.

As to the several possible research objects, we recommend the following key issues:

  • Dancing as a performing art and as a profession;
  • Court theatres and public theatres;
  • Social and popular dances (also adapted for the stage);
  • Dance education as offered by the Ballet School of the Teatro di San Carlo;
  • The transformation of ballet typologies as bound to changes in aesthetics, taste, entertainment, and the fashion of the age;
  • Ballet subjects and librettos: their contamination and migration between various performance fields (ballet, opera, drama);
  • Specific developments of Romantic dance subjects and styles;
  • Circulation of dancers and choreographers between Naples and Europe, and in particular between Naples, Milan, Paris and Vienna;
  • The impresarios’ management and its strategies;
  • Stage and costume design for ballet;
  • Music publishing.

The conference languages are: Italian, French, and English

Contributions may consist in individual papers, panels, performances, and workshops.

Abstracts may be submitted in one of the conference languages. They should be no longer than 1500 characters, include archival and/or bibliographic reference sources related to the chosen research object. Together with the abstract, the candidates will also send a biography no longer than 800 characters.

Papers must be submitted to info@airdanza.it by 31 March, 2017.

The organizers will communicate the names of the final panellists by 30 April 2017.

The conference proceedings will be published by the Pietà de’ Turchini/Centro di Musica Antica Foundation.

Scientific Committee: Roberta Albano, Rosa Cafiero, Elena Cervellati, Arianna Fabbricatore, Francesca Falcone, Paologiovanni Maione, José Sasportes, Francesca Seller.

Organizing Committee: Roberta Albano, Francesca Falcone, Paologiovanni Maione, Letizia Gioia Monda, Maria Venuso, Patrizia Veroli.