Music, Culture and Society in Central Europe

The Antipodean East European Study Group seeks papers for a conference on the theme:

‘Music, Culture and Society in Central Europe’

Music and musicians played important roles in Central European cultural life. From the court to the street, from high literature to journalism, attitudes toward music became entwined not only with aesthetic values such as art and beauty, but also social and political values: the nation, monarchy, aristocracy, democracy, manliness, and justice. This conference seeks papers that link music, musical performance, or individual musicians with social and cultural projects in Germany, Austria-Hungary, Italy, Poland, or the Balkans. We are particularly interested in historical perspectives, but papers with a more contemporary focus will also be considered.

The conference will take place on 10 June 2017 at Victoria University.

Abstracts are Due 10 may 2017.

Questions or submissions to: Alexander Maxwell:

For a downloadable flyer, see the webpage:

Operatic objects


Institute of Musical Research, Senate House (London)

Saturday 18th March 2017

Conference organisers: Alexandra Wilson and Anna Maria Barry

(OBERTO opera research unit, Oxford Brookes University)

While historians and literary scholars have become increasingly interested in material culture over recent decades, musicology has been slower in responding to this broader ‘material turn’. As a visual and dramatic art-form, opera is a branch of music in which physical objects have a particular significance.

This conference will explore both the interface between material culture and performance practice and the rich potential objects offer to scholars researching mechanisms of life writing. It will consider how physical objects acquire ‘meaning’ in an operatic context and how such meanings may change across time.

10.00 Welcome and coffee

SESSION 1: Instruments and Puppets

10.20-10.40 Lewis Jones (London Metropolitan University): ‘The Alien and his Instruments: Giuseppe Naldi on Stage, at Home, and in Death’

10.40-11.00 Hayley Fenn (Harvard University): ‘Voice-Objects: Marionette Opera, Sound Technologies, and the Poetics of Synchronization’

11.00-11.15 Discussion

SESSION 2: Personal Possessions

11.20-11.40 Anna Maria Barry (Oxford Brookes University): ‘Locating Singers in the Archive: Interpreting Personal Possessions’

11.40-12.00 Clair Rowden (University of Cardiff): ‘Glitter and be Gay: A Singer’s Jewels’

12.00-12.15 Discussion

12.20-13.30 Lunch (own arrangements)

SESSION 3: Notes and Memories

13.30-13.50 Carrie Churnside (Birmingham Conservatoire): ‘“Memorie per la mia pastorale”: Personal Accounts of Opera, c. 1700’

13.50-14.10 Michael Burden (New College, Oxford): ‘Ruling the Roost: Louisa Pyne’s ‘Rules and Regulations’ for running an opera company’

14.10-14.30 Henrike Rost (Musikwissenschaftliches Seminar Detmold/Paderborn, Universität Paderborn): ‘Autograph Albums as Operatic Objects’

14.30-14.45 Discussion

14.45-15.15 Tea break

SESSION 4: Paraphernalia and Place

15.20-15.40 Matteo Paoletti (Genoa) ‘A Collection to be Saved: Pipein Gamba, Master of the Italian Belle Époque’

15.40-16.00 Mark Tatlow (University of Stockholm): ‘The C18th Theatre of Drottningholm as 21st-Century Operatic Object’

16.00-16.15 Discussion

16.15-16.30 Closing comments

The conference will be free to attend. However, delegates are asked to book because we need firm numbers for catering and room capacity reasons. To book a place please email conference assistant Hannah Snelling ( by Friday 3rd March. We will provide coffee and tea, but delegates are asked to make their own lunch arrangements.

The OBERTO opera research unit at Oxford Brookes University organises an annual conference in Oxford each September as well as additional conferences and study days in London. For further information about OBERTO, visit or follow us on Twitter @ObertoBrookes.

Shakespeare and Music

ESRA CONGRESS 2017 (Gdansk, 27-31 July)


Michelle Assay (Université de Paris Sorbonne, France/Canada/Iran)

David Fanning (University of Manchester, UK)

Christopher Wilson (University of Hull, UK)


‘If music be the food of love, play on’ (Twelfth Night, I/1/1)

Despite the fact that at least some Shakespeare-inspired music constitutes an important part of the concert repertoire, scholarship specifically dealing with Shakespeare and music is surprisingly under-developed. Studies in this area are far less numbered than, for example, those dealing with Shakespeare and film.

This seminar aims to approach the subject matter of Shakespeare and Music, from both aspects of music in Shakespeare’s time or on various aspects of music in Shakespeare’s works (including his musical imaging and imagination), and music inspired by Shakespeare’s works or composed either to Shakespearean themes or directly for Shakespeare plays: in short – Music in Shakespeare and Shakespeare in Music.

As John Stevens observed Shakespeare ‘inherited and enhanced a tradition of theatre music used not only for embellishment but in the delineation of character and with accepted symbolic associations.’ On the other hand, Shakespeare’s musical afterlives –works that found their inspiration in Shakespeare – not only contribute to a richer understanding and appreciation of the Bard’s works, but are often they works that can stand alone and act as gateways to the musical traditions and aesthetics of their time.

Possible threads for papers or lecture/recitals include but are not limited to:

  • Music imagery and imagination of Shakespeare
  • Original melodies for Shakespeare songs and their afterlives
  • Shakespeare and opera
  • Incidental music for Shakespeare productions: past and present
  • Analysis and contextualising of individual Shakespeare-inspired works
  • Setting Shakespeare’s words to music
  • Shakespeare in instrumental music
  • Shakespeare and film music
  • Role of Shakespeare in musical imagination and creative output of composers
  • Shakespeare and music nationalism
  • Shakespeare in non-classical music (jazz, musicals, pop)
  • Performing Shakespeare’s music
  • Afterlife of Shakespeare-inspired music


Please send 150-word abstracts and biographies to and before 31 January 2017.

SIMM-POSIUM: 2nd Research Symposium on Social Impact of Making Music (SIMM) 2017

Guildhall School of Music & Drama, London, 8-9 July, 2017
Closing date for proposals and expressions of interest:
15 February, 2017


This symposium will bring together researchers, practitioners interested in research, and policymakers concerned with social welfare, to build and strengthen a network of professionals wishing to deepen rigorous and evidence-based understanding of how active participatory music making may be used to bring measurable social benefits to groups of individuals in diverse situations.

This network is one strand of activity of the newly formed International Centre for Social Impact of Making Music, directed from the University of Ghent, Belgium, but intended to involve institutional partners in various countries, which will support a programme of collaborative research training and development under the guidance of international experts in the field.

In order to preserve a lively and fully participatory dialogue, the number of participants will be restricted to 60, based on written expressions of interest. There will be provision in the programme for up to 30 brief (10-15 minute) presentations of research or research-related work in progress (or critical reflections on research), which will be curated into thematic panels of four to five presentations followed by a plenary discussion.

Presentations on any aspect of making music’s social impact will be welcome, but we hope to include sessions on the following topics:

– Making music in the complex social ecology of the metropolis: opportunities and challenges for London and other mega-cities
– Experiences from the global south: impact of context and culture
– The role of conservatoires and other higher education institutions in delivering social impact of making music

A keynote address will be given by Samuel Araujo, Ethnomusicology Laboratory, Federal University of Rio De Janeiro.

The programme will be overseen by a scientific committee whose members are:

Geoffrey Baker Royal Holloway / Institute of Musical Research
Susan Hallam UCL Institute of Education
Jennie Henley Royal College of Music
Francois Matarasso Writer and Researcher
Lukas Pairon SIMM Centre, University of Gent
John Sloboda Guildhall School of Music & Drama


Registration fee for the entire event (excluding meals but including tea and coffee) will be £50.

Call for participants:

Expressions of interest should be sent by email to John Sloboda (, as early as possible, but no later than 15 February, 2017. This should include name, institutional affiliation, current professional role(s) and a 250 word statement of relevant professional experience and background (why you wish to attend this symposium).

Those wishing to make a presentation should additionally include a title and a 200 word abstract. Participants experiencing financial hardship may be eligible for a limited number of SEMPRE bursaries to cover travel and accommodation expenses, and should indicate their interest in such support along with their expression of interest.

Successful applicants will be notified no later than 30 March, 2017, and will then be invited to register and pay the symposium fee.

Exploring Xenakis: Performance, Practice, Philosophy



Exploring Xenakis: Performance, Practice, Philosophy

Tuesday, 12th September 2017, 9.30am – 5.30pm.

School of Music, University of Leeds, UK

Call for Proposals

The Symposium will facilitate a forum for discussions related to the rich and complex creative legacy of Iannis Xenakis, one of the most important composers of the second half of the twentieth century.

We invite scholars and performers to share their research findings and artistic insight with talks, lecture-recitals and performances, addressing a broad range of subjects: Xenakis’ Compositional Methods, Philosophy, Aesthetics and Performance.

Collaborative presentations and performances are welcome.

Of particular interest to the Symposium are the questions related to Xenakis’ performance practice. The subjects may include, but not limited to:

interdisciplinary approaches, instrumental techniques, interpretation, notation, physicality of performing, ‘theatricality’, analysis of recordings and issues related to the recording process, memorising Xenakis’ scores.

Research paper: 20 minutes followed by 10 minutes discussion

Lecture-Recitals: 25 minutes followed by 10 minutes discussion

Research statement – short spoken presentation to report on work in progress: 10 minutes followed by 10 minutes discussion

Please send proposals (approx. 300 words) and a short biography to:

The key-speakers will be announced shortly.

Selected papers may be published in a volume based on the proceedings of the Symposium.

 The deadline for proposals 30 April 2017. Notification of acceptance will be sent by 15 May 2017.


RMA Music and/as Process Study Group 5th Annual Conference

RMA Music and/as Process Study Group
Fifth annual conference in association with the
Society of Minimalist Music
20 May 2017
University of Wolverhampton Performance Hub, Walsall Campus

With the support of CCHIP: Centre for Creativity, History and Identity in Performance and the Faculty of Arts at the University of Wolverhampton.

The keynote speaker for the conference will be Jennie Gottschalk, author of the recently acclaimed Bloomsbury publication Experimental Music since 1970. An evening concert given by Paul Cassidy will include a solo performance of Steve Reich’s Piano Phase for two pianos.

Call for Presentations

We welcome proposals for contributions in the following formats:

• Paper (20 minutes + 10 minutes questions)
• Lecture Recital (30 minutes)
• Participatory lecture/workshop (30 minutes)

The theme of the conference is Patterns. Whilst the Music and/as Process Study Group has previously been aimed towards the field of music, the call remains open to other disciplines within the arts and beyond who are drawn towards an association with the theme.

Particular themes covered might include:

• Patterns, sequences, orderings, in the performance/interpretation/realisation/ actualisation of a concept
• Patterns in performance interaction
• Patterns in the construction of new music/design/creative work
• Patterns in artistic social structures, groupings
• Behavioural patterns in performance or creative design

Proposals should include all of the details of the proposed contribution:

• the name(s) of presenter(s)
• title of paper/lecture-recital/workshop
• 200-word abstract
• [for participatory workshops only] description of the format of the workshop
• A full list of any technical requirements and other resources.

Please send your proposals by email to Richard Glover: Deadline for proposals: 20 March 2017

Notification of successful presentations can be expected in late March 2017.

In your proposal please clearly indicate all of the presenters, including any performers if you do not intend to perform your own work. Unfortunately, the study group is not able to provide any financial assistance to attend the conference, or to support the creation or performance of works at the conference. All presenters and delegates will be required to pay the conference registration fee, but this will be kept as low as possible.

2nd Annual Historical Performance Conference

CFP – Historical Performance / 2nd Annual International Conference
Historical Performance: Theory, Practice, and Interdisciplinarity
CFP Deadline: February 25, 2017
Conference Dates: May 19-21, 2017
Venue: Indiana University Jacobs School of Music, Bloomington

The Historical Performance Institute of the Indiana University Jacobs School of Music calls for papers for its second-annual international conference, Historical Performance: Theory, Practice and Interdisciplinary, to convene May 19-21, 2017 on the campus of Indiana University Bloomington.

Guidelines for CFP submissions and other preliminary details can be found by following this link.

Plenary speakers to include: Margaret Bent, Davitt Moroney, Laurie Stras, Nick Wilson, Claire Holden, Eric Clarke
With guest performers/speakers: Kenneth Slowik, Catalina Vicens
Convener: Dana Marsh (Director, Historical Performance Institute)

View the full inaugural conference program from May 2016 – click here

Music, Queer, Intersections

Music, Queer, Intersections

1st Symposium of the LGBTQ+ Music Study Group

26th-27th May 2017

Edge Hill University

Call for Papers

There is now a long history of queer approaches within music studies and its sub-disciplines. A recent proliferation in publications addressing LGBTQ issues within historical musicology, ethnomusicology and popular music studies suggests the blossoming of a so-called queer musicology. Yet, scholars still often face challenges in raising queer issues in academic discussions, conference programmes and degree syllabi in different institutional and national contexts. Such challenges are compounded by neoliberal policies in the academy, reduced funding possibilities and rising conservatism regarding gender and sexuality in many parts of the world.

This symposium aims to support current and nurture future research on LGBTQ issues within music studies. On the one hand, it hopes to foster more active exchange between the sub-disciplines of music studies in terms of theoretical and methodological approaches. On the other hand, it strives to bring musicology into greater dialogue with current pressing debates in queer studies, in particular with issues of affect theory, intersectionality and transnationalism. Through diverse formats – including a keynote lecture, roundtable discussions, reading workshops and presentations – this two-day event will gather music scholars interested in queer studies as well as LGBTQ identifying musicologists of all sub-disciplines from student up to professorial level. It will be held at Edge Hill University alongside Sound City ( and participants will be given free entry to the festival.

We welcome proposals for individual 20-minute presentations and organised 60-minute panels. Please send an abstract (250 words for individual presentations; 500 words for panels) and a short bio (50 words per presenter) by 6th March 2017 to the following email address:
For those interested in participating in the event without presentation, please register using the same email address by 10th April. There will be a small registration fee for the event.

This event is organised by members of the newly formed LGBTQ+ Musicology Study Group ( with benevolent support and funding from the RMA, BFE and SMI.

Marie Bennett (University of Winchester)
Alex Harden (University of Surrey)
Thomas Hilder (University of Bergen)
James Lovelock (University of Wolverhampton)
Danielle Sofer (Maynooth University)
Shzr Ee Tan (Royal Holloway, University of London)
Richard Witts (Edge Hill University)

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 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: or by mail:


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 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.