Musicology in the Contemporary World

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

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

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

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

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

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

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

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

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

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














The 7th International Musicological Student Conference-Competition

April 22-24. 2016. Tbilisi, Georgia

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

Calls and Requirements:

Participants: students of undergraduate and postgraduate (Master’s and Doctorates) programs of Higher Educational Institutions (both musicologists as well as performers).


Music History, Music Theory, Sacred Music, Ethnomusicology, Musical Interpretation. Issues of music aesthetics, philosophy, also methodological issues of musicology

Participants (Competitors and out of competition participants) will be selected through the abstracts they have sent.
Abstracts should be written in English or Russian (350 – 500 words). Font – Times New Roman or Sylfaen.
• The papers submitted shouldn’t be more than 6 printed pages (Page format – A4, Font size – 12, Paragraph -1,5; Margins – 2cm).
The paper will be allotted up to 10 minutes, followed by 10 minutes for questions and discussion;

Working Languages:
Georgian, English, Russian

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

For more information, please contact:

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

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

The 8th International Symposium on Traditional Polyphony

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

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

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

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

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

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

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

The other themes are as follows:

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

2. Regional Styles and Musical Language of Traditional polyphony

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

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

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

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

5. Polyphony in Secular and Sacred Music

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

6. Traditional Instrumental Polyphony

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

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

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

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

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

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

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

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

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


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

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

Accommodation, local transportation, food

Arrival – 25 September
Departure – 1 October

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

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

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

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

Music and Sound Design in Film/New Media

1-3 October, Vilnius, Lithuania

We are pleased to invite you to attend the 1st International Conference
“Music and Sound Design in Film/New Media”
that will be organized by the Film and TV Department together
with the Music Innovation Studies Centre of the Lithuanian
Academy of Music and Theatre on
1-3 October 2015The basic objective of the Conference is
to bring together researchers, scientists and professionals for a corporate
scientiffic discussion about the ongoing Music and Sound design
changes in the Film and New Media.
A conference like this would be an excellent opportunity to meet
colleagues, to exchange knowledge and experience among the participants
from various countries, as well as the promotion of opportunities
for further professional cooperation.
The pleasant atmosphere of the Conference,
including innovative workshops programme and evening activities,
will create a stimulating environment.

English is the official language of the Conference.

The selected papers of the Conference are going to be published.

In conjunction with the conference
Workshop of Creative Technologies
will be held. Workshop is built to meet the needs of those interested in the
creation of sample based virtual music instruments and their adaptation in
the artistic creation process of composers, sound artists, and students.
28 September – 1 October 2015

Contact persons:
Giedrė Kabašinskienė, international projects coordinator
for organisational issues:

Prof. Antanas Kučinskas, PhD, for scientific issues:

Lectr. Mantas Krukauskas responsible for the workshop programme

Submissions deadline 6 July 2015

Music Theory and Analysis

International Conference
Department of Music Theory
Faculty of Music
University of Arts in Belgrade
6-8 November 2015
Department of Music Theory, Faculty of Music, University of Arts in Belgrade, is pleased to invite proposals for the 11th conference Music Theory and Analysis to be held from 6 to 8 November 2015 in Belgrade.
The main topic of the conference is Temporality in Music
The other two topics of the conference – History of Music Theory and Concepts and Methods of Music Theory and Analysis make it possible for authors to give contributions in these domains, independently of the approach to main topic.
Official language of the conference is English. We kindly ask the contributing authors to submit their abstracts (about 400 words) for 20-minute papers, as well as their short biographies to the following address: by 15 July 2015. The submitted papers will be reviewed by the scientific committee, and the results will be announced by 25 July 2015.
Organising committee:
dr Anica Sabo
dr Ana Stefanović
dr Ivana Vuksanović
Atila Sabo

Music and Ecology

Symposium and concerts in Ljubljana, 28-29 August 2015

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

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

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


Music and sustainable development

Empowerment and applied ethnomusicology


Reduce – Reuse – Recycle in music

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

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

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

Registration fee per person: 30 Euros.

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

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

16th November 2015, Sheffield University Humanities Research Institute

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

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

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

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

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

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

Borders and definitions of music in the times of Isabella II

Call for Papers


Borders and definitions of music in the times of Isabella II

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

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

Deadline for submissions: October 31st, 2015

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


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

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

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

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

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

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

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


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

Bodies of Art: Music, Literature, and Disability

Bodies of Art: Music, Literature, and Disability

Deadline for receipt of materials is October 1, 2015.

Saturday, April 9, 2016

Misericordia University (Dallas, PA)

The Department of Fine Arts and the Department of English at Misericordia University invite submissions of paper and panel proposals (3-4 speakers) that address the theme: Bodies of Art: Music, Literature, and Disability. As part of the university’s Medical and Health Humanities initiative, this interdisciplinary conference seeks to bring together scholars of musicology, literature, and related disciplines for a one-day symposium that investigates issues related to:

  • Specific representations of disability throughout music and literature, including works by disabled and nondisabled artists
  • Scientific, anthropological, and vernacular images of disability and how they have influenced music and literature
  • Performance in the everyday lives of disabled individuals
  • Theorizing disability through the arts
  • Narratives of illness and disability
  • Examples of music/literature that represent and/or challenge stereotypes of disability
  • Mental illness and creativity
  • Accessibility
  • (Ab)normalizing Literature, Music, and Thought
  • Other topics related to the conference theme.

Papers that are interdisciplinary in nature are especially welcome.

Proposals for individual papers (20 minutes) should include: 1) full name, contact information, institutional affiliation; 2) Short bio (no more than 150 words); and 3) an abstract of no more than 300 words.

Proposals for themed sessions should include: 1) full name, contact information, and institutional affiliation of all participants; 2) Short bio of all participants; 3) an abstract of no more than 700 words that summarizes the content of each contributor as well as a description of how the papers relate.

Submit completed proposals in a Word (.doc/.docx) format to: Dr. Ryan Weber AND Dr. Amanda Caleb .

Participants will be notified of their acceptance by November 1, 2015. Conference fee of $50 provides for breakfast, lunch, and dinner as well as admission to the evening concert.

Towards the Origin of Music. Myths, Legends, and Historiographies in Interdisciplinary Discourses

Symposium, University of Berne, Switzerland Institute of Musicology, 19th&20th November 2015

Call for Papers (deadline for proposals: 31st July 2015)

„The origin of music is obscure“ (Bruno Nettl). Hitherto, thinking about the beginning of music and its representation occurred only sporadically – , especially in the context of myth and religion – and here mostly with sober perplexity. Strikingly, stories about the origin of music in history arise where different developments of music take place, namely as a way of thinking about stylistic shifts and changes, which are often drastically described as “the rise and fall” of certain musical directions. But what do these myths, legends and stories tell about our relation to music in the past and present? The symposium seeks to reflect about the origin of music by focusing in particular on the spectrum of general art mythology, inside and outside of European contexts: The comparisons to other arts, on a structural level, would open the scope to picture these questions in other disciplines. In addition to all the scientific and non-scientific theories, artistic representations, which have a special appeal on the subject, shall be considered as well: e.g. as subjects in operas and oratorios, carved in stone, on canvas and “al fresco” or as a priority issue of Romantic literature. The range of topics is broad, and therefore also capable for a stimulating interdisciplinary dialogue. Thus, the symposium offers a forum for disciplinary and interdisciplinary research projects (especially on doc or post-doc level) located at the boundaries of Art History, History of Science, Literature Studies, Cultural Studies, Anthropology, and (Ethno-)Musicology. These fields of research are largely devoted to the subject of music or the origin of the arts and seek for – or are in need of – a substantive and methodological dialogue. The main focus may be located in historiographically and/or artistically representations of the origin of music and/or the arts: myths and legends of origins in the historiographies of ancient, medieval, modern and contemporary times; historicity, philosophy of history, narratives of “emancipation”; collisions at the end of myths and supposedly new beginnings…

The symposium is organised by the Institute of Musicology at the University of Berne. Keynotes and responses will be provided by researchers, who are known for their interdisciplinary competence (Prof. Franz Körndle, Dr. des. Dominik von Roth, Prof. Michela Garda, Prof. Joachim Kremer). Please note: The conference languages are German and English. Arrival day shall be the 18th November 2015; travel expenses (Europe) and accommodations (2 nights) will be fully covered; the publication of conference proceedings are sought. Proposals for papers in English or German (max. 500 words) must be submitted by 31st July 2015 via e‐mail to or (Authors will be notified about acceptance of submissions by 14.8.2015).