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 http://www.iac.lu.se

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 tacitorloud@gmail.com
– 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: http://www.teatrweimar.se/tacitorloud

Digital Libraries for Musicology

The 1st International Digital Libraries for Musicology workshop (DLfM 2014)

12th September 2014 (full day), London, UK

Registration is via City University. See http://www.city.ac.uk/digital-libraries-2014/registration


Many Digital Libraries have long offered facilities to provide multimedia content, including music. However there is now an ever more urgent need to specifically support the distinct multiple forms of music, the links between them, and the surrounding scholarly context, as required by the transformed and extended methods being applied to musicology and the wider Digital Humanities.

The Digital Libraries for Musicology (DLfM) workshop presents a venue specifically for those working on, and with, Digital Library systems and content in the domain of music and musicology. This includes Music Digital Library systems, their application and use in musicology, technologies for enhanced access and organisation of musics in Digital Libraries, bibliographic and metadata for music, intersections with music Linked Data, and the challenges of working with the multiple representations of music across large-scale digital collections such as the Internet Archive and HathiTrust.


DLfM will focus on the implications of music on Digital Libraries and Digital Libraries research when pushing the boundaries of contemporary musicology, including the application of techniques as reported in more technologically oriented fora such as ISMIR and ICMC.

DLfM also provides a venue for reflecting upon and and reassesing Music Digital Libraries more than a decade since the last dedicated workshop on “Music Information Retrieval (MIR) and Music Digital Library (MDL) Evaluation”, held at JCDL 2002, which was instrumental in the development and evaluation of technical methods now widespread in these research communities.

The workshop objectives are:

  • to act as a forum for reporting, presenting, and evaluating this work and disseminating new approaches to advance the discipline;
  • to create a venue for critically and constructively evaluating and verifying the operation of Music Digital Libraries and the applications and findings that flow from them;
  • to consider the suitability of existing Music Digital Libraries as they have evolved over the last decade since the JCDL 2002 workshop, particularly in light of the transformative methods and applications emerging from musicology;
  • to set the agenda for work in the field to address these new challenges and opportunities.


What will the next generation of musicologists be studying? And how will they carry out their research? What part will digital technology play in the musicology of the future and how will future musicologists be using digital libraries?

The Transforming Musicology Challenge solicits short position paper submissions to DLfM that describe, in detail, a musicology investigation or scenario that uses, or might use in the future, the technologies relevant to DLfM (listed in the Topics section below). The ideal entry would describe speculative work that one could envision being conducted by current researcher’s successors. While the primary focus of Challenge papers should be musicological scholarship, authors are encouraged to relate research questions to the technical challenges that must be addressed. Entries should follow all other requirements of the DLfM Call for Papers and use the Transforming Musicology Challenge submission category via Easychair. Challenge papers will be peer reviewed by the same process as general short papers; a prize winning paper will then be selected by the Senior Programme Committee from the top ranking accepted papers in the category. The lead author of the prize winning paper will be invited to expand their entry into a chapter for the forthcoming Transforming Musicology book and win an Apple iPad Mini generously donated by the Department of Computing, Goldsmiths, University of London.


Topics of interest for the workshop include but are not limited to:

  • Music Digital Libraries.
  • Music data representations, including manuscripts/scores and audio.
  • Interfaces and access mechanisms for Music Digital Libraries.
  • Digital Libraries in support of musicology and other scholarly study; novel requirements and methodologies therein.
  • Digital Libraries for combination of resources in support of musicology (e.g. combining audio, scores, bibliographic, geographic, ethnomusicology, performance, etc.)
  • User information needs and behaviour for Music Digital Libraries.
  • Identification/location of music (in all forms) in generic Digital Libraries.
  • Techniques for locating and accessing music in Very Large Digital Libraries (e.g. HathiTrust, Internet Archive).
  • Mechanisms for combining multi-form music content within and between Digital Libraries and other digital resources.
  • Information literacies for Music Digital Libraries.
  • Metadata and metadata schemas for music.
  • Application of Linked Data and Semantic Web techniques to Music Digital Libraries.
  • Optical Music Recognition.
  • Ontologies and categorisation of musics and music artefacts.



Kevin Page, University of Oxford
Ben Fields, Goldsmiths University of London

Senior Programme Committee

David Bainbridge, University of Waikato
Tim Crawford, Goldsmiths University of London
Julia Craig-McFeely, University of Oxford
Matthew Dovey, Jisc
J. Stephen Downie, University of Illinois
Ichiro Fujinaga, McGill University
Charlie Inskip, University College London
Tillman Weyde, City University London

Programme Committee

David De Roure, University of Oxford
Jürgen Diet, Bavarian State Library
Jon Dunn, Indiana University
David Lewis, Goldsmiths University of London
Laurent Pugin, RISM Switzerland
Andreas Rauber, Vienna University of Technology
Stephen Rose, Royal Holloway University of London
Mohamed Sordo, Universitat Pompeu Fabra
Sandra Tuppen, British Library
Marnix van Berchum, Utrecht University and KNAW-DANS
Raffaele Viglianti, University of Maryland
Frans Wiering, Utrecht University

Musical Transitions to European Colonialism in India and the Malay World: Conference

10-11 April 2015, King’s College London
You are warmly invited to attend the final major conference of the European Research Council project “Musical Transitions to European Colonialism in the Eastern Indian Ocean.” 
For further information at this preliminary stage, please see the project website: http://www.kcl.ac.uk/artshums/depts/music/research/proj/mutran/index.aspx
Alternatively, please email the Principal Investigator, Dr Katherine Schofield: katherine.schofield@kcl.ac.uk

2015 Conference of the Historical Keyboard Society of North America (HKSNA): French Connections – Networks of Influence and Modes of Transmission of French Baroque Keyboard Music

2015 International Conference of the Historical Keyboard Society of North America

May 21-24, 2015

The Schulich School of Music of McGill University, Montreal, Canada


The Historical Keyboard Society of North America (HKSNA) and the Schulich School of Music of McGill University (Montreal, Canada) are pleased to invite submissions of proposals for the Fourth Annual Meeting of HKSNA:

“French Connections: Networks of Influence and Modes of Transmission of French Baroque Keyboard Music”

The conference will be held at the Schulich School of Music, McGill University, from May 21 to 24, 2015.

Details of the Event and Requirements for Presenters:

The conference aims to deepen understanding of French baroque keyboard music, its style, influence, transmission, and the different teaching traditions that nourished it. Although it is difficult to speak of a single French baroque keyboard style, it remains true that the grand siècle generated a musical classicism cultivated by keyboardists not only in France but transnationally. Often, the terms ‘baroque’ and ‘classical’ are used interchangeably in relation to both the repertoire and instruments of the period.

A special section of the conference is dedicated to the internationally-renowned organist and pedagogue, John Grew, Professor Emeritus at McGill University and an expert of the French baroque organ and harpsichord repertoires.Concerts by guest keyboard performers will also be offered to conference participants and the general public, and master classes will be open to qualified students and participants.

The programme committee encourages submissions of individual papers, round-table discussions, group sessions, lecture-recitals, mini-recitals, and multimedia demonstrations on the following topics as they relate to French baroque keyboard music and historical keyboards:

  • Networks of influence within and beyond France;
  • Pedagogical treatises and other sources of transmission;
  • Legacies and influence of composers or groups of composers and performers;
  • Repertoires, genres, and contexts of performance;
  • Connections with other media such as literature and art;
  • Instruments and builders;
  • Patronage and politics;
  • New perspectives or insights into le goût français.

Although the principal theme for this year’s international conference is French baroque keyboard music, proposals of presentations outside or peripheral to this theme, including contemporary repertoires and issues for historic keyboard instruments, are also welcome and will be accommodated if possible.

Available instruments include single- and double-manual harpsichords by Yves Beaupré, Willard Martin, Frank Hubbard and William Post Ross, clavichords and a fortepiano, and, on May 21 only, the French-classical organ by Hellmuth Wolff in Redpath Hall.

Submission procedure. Abstracts of no more than 400 words excluding titles must be received by 5 p.m. EST on 30 September, 2014. Only one proposal per presenter or group of presenters can be chosen.

Lecture-recital, mini-recital, and multimedia demonstration proposals must also include a sample recording, provided via internet link or as an attached MP3 file.

All proposals, whether they be for papers, lecture-recitals, mini-recitals, multimedia demonstrations, round tables or group sessions, must include short biographical statements for all presenters. Presentations should last no longer than 25 minutes.

  • Presenters must be members of HKSNA. Presenters must also register for the conference and cover their own travel and other expenses.

Presenters whose proposals are chosen will be invited to revise their abstracts for the conference program. Results will be transmitted to presenters by 30 October, 2014. Please send your proposal abstracts directly to hksna2015@gmail.com.

Programme Committee:
Frances Conover Fitch

Hank Knox

Sonia Lee

Rachelle Taylor

Lena Weman

Of special note: This year, HKSNA hosts the Ninth Aliénor International Harpsichord Composition Competition. For more details: http://historicalkeyboardsociety.org/competitions/alienor-competition/.

Re-thinking Music Analysis and Performance

Re-thinking Music Analysis and Performance

19 November 2014

 Study day

 Jointly organized by the Institute of Musical Research,

Faculty of Music, University of Oxford, and

AHRC Research Centre for Musical Performance as Creative Practice (CMPCP)


With a substantial literature that represents a variety of theoretical positions as well as diverse methodological approaches, research on the relationship between music analysis and performance constitutes one of the largest, and at times most controversial, areas within performance studies. The aim of this study day is to re-think the relationship between music analysis and performance by considering well established as well as newly emerging perspectives in musicological, philosophical, psychological, ethnomusicological and practice-led research.

The three main themes of the study day are: analysis for performance; analysis of performance; and the role of performance in analysis. Proposals for individual papers and workshops/lecture-demonstrations (20 minutes presentation + 10 minutes discussion) are invited on the following topics as they relate to these three main themes of the conference:

– embodied approaches

– processes of performance preparation

– tradition and style

– pedagogical implications

– recordings

– technology

– musical ‘work’, ‘text’, ‘script’

– creativity

– musical instruments

– expression and affect

– value judgments

– notation

– historical perspectives

– epistemological and aesthetic perspectives

– intersubjectivity

– cross-cultural perspectives

Please submit a 250-word abstract as an email attachment to analysisandperformance@gmail.com including the following information:

Name, affiliation, email address, AV requirements.

Please also include a brief biography (100 words maximum) for inclusion in the study day programme should your presentation be accepted.

Deadline for the receipt of abstracts is Friday, 26 September 2014.

Notification of acceptance will be sent by Friday, 10 October 2014.


Dr Mine Doğantan-Dack (University of Oxford)

Advisory Board

Prof Amanda Bayley (Bath Spa University)

Dr Elaine King (University of Hull)

Prof Daniel Leech-Wilkinson (King’s College London)

Prof John Rink (University of Cambridge)



Revitalising Early Twentieth-Century German Opera

Wednesday 17 September 2014, 9:30am-6pm


Prince Philip Room, RSA Building, 8 John Adam St, London, WC2N 6EZ

This is a one-day early career networking event sponsored by the British Academy. Its aim is to bring together scholars and practitioners with research interests in the field of German opera from c.1900-1935. Particular attention will be given to historiographical problems and staging issues (past and present) relating to the works of key operatic composers of the period, including Korngold, Pfitzner, Schreker, and Strauss. There will also be a session devoted to Schoenberg’s ‘unfinished masterpiece’ Moses und Aron, in light of its recent Welsh National Opera revival.

The keynote address will be given by Professor Peter Franklin (University of Oxford). Other speakers include Dr Mark Berry (Royal Holloway), Dr Roger Allen (University of Oxford), Dr Ben Winters (Open University), and Philip White (Asst Chorus Master, Bayreuther Festspiele).

Registration is free of charge and includes lunch and refreshments, but places are limited. If you are interested in attending, and for a full programme and further details, please contact Dr Nicholas Attfield (Brunel University) at nicholas.attfield@brunel.ac.uk by no later than 8 September 2014. Travel expenses within the UK will be considered for early career scholars and postgraduate students who wish to attend.

Musicology in the contemporary world

International Conference of Young Musicologists

October 6-8, 2014, 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: musicologconf2014@gmail.com. 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: anz1969@rambler.ru.

Performing Brahms in the Twenty-first Century

A Symposium on Performing Practice
June 30 to July 2, 2015
School of Music, University of Leeds

(Supported by the World Universities Network: Fund for International Research Collaborations)

Performing practices for nineteenth-century repertory changed radically during the course of the twentieth century. The period that separates us from Brahms’s lifetime saw a gradual stripping down of classical music performance to those elements of sound that can be explicitly notated, as discrepancies with the score came increasingly to be frowned upon as unwarranted violations of the composer’s intentions. Over time the stylistic revolution of the early twentieth century generated a kind of cultural amnesia, obliterating the awareness, forcibly expressed by Brahms’s close colleague Joseph Joachim, that reading between the lines of the score was essential in order to convey the composer’s conception to the listener. The new orthodoxy was based on a presumption that the score indicates most, if not all, that a composer expected to hear, and that obvious departures from it (with the exception of adding vibrato) were signs of a performer’s egoism and bad taste. Written evidence and sound recordings of musicians trained in the middle decades of the nineteenth century (including those of important composers), however, reveal a much more flexible approach to the notation.

In the case of Brahms and his circle, frequent and noticeable changes to tempo and rhythm were seen as integral to musical expression, character and structural clarity. Insinging, string playing, and even in wind playing, portamento was prominent as a means of heightening expression and enhancing legato. Vibrato had a similarly ornamental function and could appear and disappear very suddenly in response to an expressive musical gesture. In piano playing, separation between melody and bass (dislocation) and arpeggiation were employed to highlight dynamics, texture, and rhythmic inflection. Significantly too, some of Brahms’s markings appear to have elicited a range of interrelated musical responses in his colleagues’ performances, suggesting that these familiar symbols carried messages which have since been lost.

The Symposium seeks to bring together scholars, students, and professional musicians interested in historical performance, providing a forum in which they can exchange ideas and experiment with them in practice. In this way, scholars can help professional performers to engage practically with the latest research, while performers can help to refine, or even redefine the scholar’s research questions. To this end, the Symposium committee especially encourages submissions that deal with the historical evidence in experimental ways. We invite proposals for individual papers of between 20 and 40 minutes length, or presentations with a strong practical component (e.g. lecture recitals) of up to 40 minutes in length. In addition to these presentations, the Symposium will include workshops devoted to individual movements from Brahms’s sonatas and chamber music.

The official language of the symposium is English.

Every proposal must include:

• Name

• Email address

• Affiliation, if applicable

• For presentations: Title of paper/presentation including repertoire to be examined where applicable, Abstract of c. 300 words

• For workshops: instrument/ensemble, list of repertoire you’d be willing to play

• Short Biography/CV 150 words

• Technical/Audio Visual Requirements

Two nineteenth-century Erard grand pianos (1855 and 1878) and a modern Steinway grand will be available.

Proposals must be submitted by email to Professor Clive Brown (c.brown@leeds.ac.uk) by January 15, 2015. Emails must have the subject line “Performing Brahms Symposium.”

Proposals will be considered by the conference committee (Clive Brown, Kate Haynes, and Neal Peres Da Costa) and successful proposers will be notified by January 31, 2015.

Registration: Those attending the Symposium must register by April 30, 2015.

The Symposium is open to observers not giving papers / presentations.

There is no cost for attending the Symposium but attendees will be responsible for their own accommodation and subsistence. There will be a charge for the Symposium dinner.

Further practical details about the Symposium, including suggested accommodation and travel, will be available on the Symposium webpage soon.

Forte / Piano: A Festival Celebrating Pianos in History

How have the practices of composition, performance, improvisation, and listening been informed by the piano in its long history? How have the concepts, designs, materials, and sonorous resources of pianos been entwined with musical thought and affect across time and space? Specifically, how might we resituate eighteenth-century pianos in relation to harpsichords and clavichords, account for the rapid evolution of nineteenth-century pianism, and explain (or challenge) Steinway’s perceived hegemony in the twentieth century?

The Westfield Center for Historical Keyboard Studies invites proposals for recitals, talks and innovative presentations from performers, scholars, organologists, builders, and technicians for an international festival to be held at Cornell University on August 5–9, 2015. We particularly encourage individual and collaborative proposals that combine insights drawn from scholarship, performance, and organology and examine the ways in which pianos have generated, reflected, and modulated musical thought and behavior.

Proposals may focus on composers, performance traditions, improvisatory methods, and geographical centers of influence. Potential topics include Haydn’s keyboard music; Brahms’s piano music; the piano in early twentieth-century Paris; the piano in late eighteenth-century London; the improvisation of cadenzas, fantasias, and preludes; the standardization of piano manufacture in the context of industrialization; pedagogical institutions; the piano, bodily techniques, and the performance of gender.

The festival will feature a number of leading performers, including Tom Beghin, Kris Bezuidenhout, Malcolm Bilson, David Breitman, Penelope Crawford, Alexei Lubimov, and Andrew Willis among many others. The festival will focus on an array of historical instruments and replicas built by prominent builders. We encourage proposals that will take advantage of the opportunities these instruments afford, and will provide more specific information on request. Potential presentation formats include (but are not limited to) traditional conference papers, lecture-recitals, lecture-demonstrations, and discussion panels.

Proposals should include a 250-word description and a CV, and for performers, a sound or video recording of at least 30 minutes. The submission deadline is September 15, 2014. Proposals may be submitted online at www.westfield.org/festival