International Conference on Performance and Creativity

Conference: International Conference on Performance and Creativity
CFP Deadline: 15 August 2016

Conference dates: 31 October – 2 November 2016

Conference web site:

Conference venue (institution and city): Hong Kong Baptist University, Hong Kong


Details: The conference provides a forum for an exchange of ideas and concepts pertinent to musical performance and creativity, as well as factors intertwined with the development of musical creativity in the 21st century. We welcome proposals that explore innovative approaches in musical performance, newer approaches of performance pedagogy, and the latest development in historically-informed performance.

Keynote participants: Prof. John Rink, Melvyn Tan, Bart van Oort, American Brass Quintet, Prof. Gabriel Kwok

As a Swiss I’m neutral – Othmar Schoeck’s Opera “Das Schloss Dürande” in context

The world première of Othmar Schoeck’s opera Das Schloss Dürande took place at the Berlin State Opera on 1 April 1943. Hermann Goering declared it to be “bullshit” and ensured that it disappeared from the programme after four performances. Goering’s verdict was prompted primarily by his having read its libretto by Hermann Burte – but perhaps also by having learnt of the explosive end to the ancient régime at the close of the opera, which was already being interpreted by certain contemporaries as a portent of the Third Reich’s own fate. Even today, Hermann Burte’s libretto is agreed by commentators to be the opera’s real weak point. This symposium, organised by Thomas Gartmann and Chris Walton, will endeavour to determine whether it is possible to “decontaminate” a work whose text and context are redolent of National Socialism, and thereby free it to enter the discourse again, even to take its place on the operatic stage. This symposium is part of a research project funded by the Swiss National Science Foundation and run by the Bern University of the Arts.

The topic here is not just Schoeck’s opera Das Schloss Dürande, but its historical and musical context. In lectures, workshops and concerts, this symposium will investigate composers who suffered under cultural dictatorship and opposed it, alongside others who were opportunists, hangers-on or even advocates of it. The symposium will discuss the context and conditions of Dürande’s performances in Berlin and Zurich in 1943, it will ask questions of guilt and innocence in art and culture, and question the consequences of Schoeck’s declaration that “as a Swiss, I’m neutral”. The results of the symposium will be published afterwards.

Website of the Symposium and detailed programme (in german)

15th International Conference ‘Art Studies Readings’ 2017

Sofia, Bulgaria

The Institute of Art Studies at the Bulgarian Academy of Sciences announces its 15th International Conference ‘Art Studies Readings 2017. We kindly invite you to present a paper to its ’New Art’ Module.

‘Crossing Borders in Arts: beyond Modern & Postmodern’

The simultaneous advancement of processes that foster a renaissance of styles and a birth of new ones, create a fertile ground for an interdisciplinary dialogue and analysis of the diachronic change and synchronic variations of artwork. The Module aims to explore the art forms and the approaches studying them that overcome the borders between Modern and Postmodern thus outlining new research areas and horizons. It aims to encourage the dialogue between artists and art researchers from diverse schools and art areas on topics related to the Modern–Postmodern transition and interrelations, such as: driving forces and factors, dominant philosophies, survival strategies, stylistic incarnations, intercultural parallels.

The thematic scope of the Module assumes but is not limited to the following aspects of the topic:
– interactive variabilities, intertextuality, polydisciplinarity, trans-territoriality and historical transitions, content – form dynamics, hybridization of arts;
– stylistic, type, and genre transformations, challenging conventions, rethinking rules, reestablishing criteria, terminology evolution, style manifestations;
– periodization and cultures of memory, modern and postmodern representations of traditional art forms, the role of context (social, cultural, political, ideological, etc.), topography of artistic endeavors.

The Conference will take place on 2-5 April 2017 in the Institute of Art Studies, 21 Krakra Str., Sofia. The working language of the Conference is English. Paper presentations should take up to 15 minutes. Multimedia projectors are provided. Conference proceedings will be published in a separate edition. The articles should be 10 000 to 18 000 characters long with no more than 10 illustrations. No participation fee is required.

Please fill in the attached registration form and submit it no later than 1 September 2016 to:

On the website of the Institute of Art Studies you can download the registration form:

Organizing Committee:

Prof. Marina Frolova-Walker, University of Cambridge,

Prof . Adrian-Silvan Ionescu, Director of The Institute of Art History “G. Opresku” – Romanian Academy of Sciences

Prof. Fani Vavili-Tsinika, Director, Dept. of Architectural Design & Technology, School of Architecture, Thessaloniki, Greece

Prof. Yana Hashamova, College of Arts and Sciences, Ohio State University

Assoc. Prof. Elvira Popova, Autonomous University of Nuevo Leon, Monterrey, Mexico

Prof. Milena Bozhikova, Institute of Art Studies, Bulgarian Academy of Sciences

Prof. Milena Georgieva, Institute of Art Studies, Bulgarian Academy of Sciences

Prof. Nadezhda Marinchevska, Institute of Art Studies, Bulgarian Academy of Sciences

Prof. Kamelia Nikolova, Institute of Art Studies, Bulgarian Academy of Sciences

Prof. Vesselina Penevska, Institute of Art Studies, Bulgarian Academy of Sciences


2017 Biennial Conference of the Royal Musical Association Music and Philosophy Study Group

Conference dates: 13-14 July 2017

Strand Campus, King’s College London

With the move to biennial conferences, we have changed the overall format in order to continue our mission to maximise diversity and inclusivity, whilst upholding the highest scholarly standards. With that in mind, we hope that the following information will be of interest, and that you will consider the possibility of hosting an Associates or Themed session, or, in due course, of submitting a paper proposal.

The 2017 RMA MPSG Conference will feature three types of session:

  • Associates sessions will be hosted by other organisations with related interests;
  • Themed sessions will be organised by individual session convenors, who will issue a call for papers on a specific topic, and select papers themselves (in conjunction with the central programme committee);
  • Free sessions will consist of papers submitted to an open, unthemed, call for papers.

In addition to these sessions, there will be two plenary debates with invited speakers, one at the start of the conference and one at its close. All other conference time will be devoted to Associates, Themed, and Free sessions.

For further information on the various session types and for guidelines to submitting a proposal, please visit the page on our website, where you may also subscribe to our E-Newsletter.  To keep up to date with smaller announcements and news, please ‘like’ our Facebook page and follow us on Twitter

Musicology Applied To The Concert: Performance Studies At Work

Call for Papers



1-3 December 2016

International University of Andalusia

“Antonio Machado” Campus, Baeza, Jaen (Spain)


Performance studies are encouraging a massive turning point in musicology. To such an extent that many scholars are claiming to rethink a fundamental premise of the discipline, namely the change of a traditional orientation of music as text to a recent one of music as performance. This perspective takes then performance as the object of study and the concert as the privileged space where it takes place. This conceptual change challenges established methodologies and scholarly practices, while bringing together more easily musicologists and musicians. This International Conference aims to impulse the recent debate promoted by performance studies within Iberian musicology. It will consist of a series of keynote presentations, experimental lab-concerts, selected papers and practical workshops.


  • Keynote speakers:

John Sloboda (Guildhall School of Music and Drama, London)

Pablo L. Rodríguez (Universidad de La Rioja / El País)

Aaron Williamon (Royal College of Music, London)

Miguel Angel Marin (Universidad de La Rioja / Fundacion Juan March)

  • Lab-concerts: Ensemble Armonia Concertada (Switzerland/Spain), Capella Prolationum & Ensemble La Danserye (Spain) (16th- and 17th- century music)
  • Workshops: Conjunto Ars Longa de La Habana (Cuba) & Albert Nieto (Spain) (18th-, 19th- and 20th- century music)


Proposals for 20-minutes papers or workshops are welcome. Potential topics include:

  • Creative experimentation
  • Analysis and performance
  • Historically Informed Performance (HIP)
  • Embodiment
  • History of performance
  • Discology and recording practices
  • Gestural meaning in performance
  • Composer-performer collaborations
  • From score to performance
  • Performance philosophies
  • Improvisation and arrangements
  • Concert programming
  • Creative role of listeners

Applications should include:

  • Title of the paper or workshop proposed
  • Abstract (maximum 250 words)
  • Full name, contact details, and institutional affiliations (if any)
  • Short biography (maximum 150 words)
  • Audio-visual and other requirements (data projection, CD/DVD player, piano, etc.)

Proposals should be sent as email attachment (.doc, .docx, .rtf) to Ana Lombardía (<>)

– Deadline for submission: 12 September 2016

– Deadline for notification of selected proposals: 22 September 2016

– Official languages: English and Spanish

Conference organization will provide accommodation on demand in the 17th-century University building. Baeza was declared World Heritage Site by UNESCO in 2003 together with Ubeda for its outstanding Renaissance old city. Tourist routes will be offered to conference members.


  • International University of Andalusia (UNIA)
  • Research Group “Music in Spain: Composition, Reception and Performance” (MECRI), University of La Rioja
  • Early Music Festival of Ubeda & Baeza (member of REMA and FestClasica)


  • Miguel Ángel Marín (University of La Rioja / Juan March Foundation)
  • Javier Marín-López (University of Jaen / Early Music Festival of Ubeda & Baeza)

For more information, please contact Ana Lombardía:





1- 3 diciembre 2016

Universidad Internacional de Andalucía

Campus “Antonio Machado” de Baeza, Jaén (España)


Los estudios sobre performance están impulsando un profundo cambio de dirección en la musicología. Hasta tal punto que muchos investigadores han sugerido reformular una de las premisas fundamentales de la disciplina: el cambio de una orientación tradicional que entiende la música como texto a una más reciente que considera la música como performance. Esta perspectiva toma, pues, la performance como objeto de estudio y el concierto como el espacio privilegiado en el que tiene lugar. Este giro conceptual desafía las metodologías establecidas y las prácticas académicas, al tiempo que vincula de manera más directa a musicólogos e intérpretes. Este Congreso Internacional se propone impulsar el reciente debate promovido por los estudios de performance dentro de la musicología ibérica. El congreso se articula a través en una serie de ponencias invitadas, lab-conciertos experimentales, comunicaciones libres y talleres prácticos.


  • Ponentes:

John Sloboda (Guildhall School of Music and Drama, Londres)

Pablo L. Rodríguez (Universidad de La Rioja / Diario El País)

Aaron Williamon (Royal College of Music, Londres)

Miguel Angel Marín (Universidad de La Rioja / Fundación Juan March)

  • Lab-conciertos: Ensemble Armonia Concertada (Suiza/España), Capella Prolationum & Ensemble La Danserye (España) (música de los siglos XVI y XVII)
  • Talleres: Conjunto Ars Longa de La Habana (Cuba) y Albert Nieto (España) (música de los siglos XVIII, XIX y XX)


Los interesados pueden presentar propuestas de comunicación y de talleres sobre los siguientes posibles temas:

  • Experimentación creativa
  • Análisis y performance
  • Interpretación Históricamente Informada
  • Corporización
  • Historia de la interpretación y de la performance
  • Discología y prácticas de grabación
  • Significados del gesto en la interpretación
  • Colaboraciones compositor-intérprete
  • De la partitura a la performance
  • Filosofías de la interpretación
  • Improvisación y arreglos
  • Programación de conciertos
  • El papel creativo del oyente

La propuestas deben incluir:

  • Título de la comunicación o taller propuesto
  • Resumen (máximo 250 palabras)
  • Nombre completo, información de contacto y afiliación institucional (si procede)
  • Breve biografía (máximo 150 palabras)
  • Medios audio-visuales y otros requerimientos (proyector, reproductor de CD/DVD, piano, etc.)

Las propuestas deberán remitirse como archivo adjunto (.doc, .docx, .rtf) a Ana Lombardía (<>)

– Fecha límite para la presentación: 12 Septiembre 2016

– Fecha límite para la notificación de propuestas seleccionadas: 22 Septiembre 2016

– Idiomas oficiales del congreso: español e inglés

La organización proporcionará alojamiento a aquellos interesados en la Residencia de la Universidad, ubicada en un edificio del siglo XVII. Baeza fue declarada Patrimonio de la Humanidad por la UNESCO en 2003 junto a Úbeda por su sobresaliente casco histórico del Renacimiento. Se ofrecerán visitas turísticas a los participantes.


  • Universidad Internacional de Andalucía, Baeza (UNIA)
  • Grupo de Investigación “Música en España: Composición, Recepción e Interpretación” (MECRI), Universidad de La Rioja
  • Festival de Música Antigua de Úbeda y Baeza (miembro de REMA y FestClásica)


  • Miguel Angel Marín (Universidad de La Rioja / Fundación Juan March)
  • Javier Marín López (Universidad de Jaen / Festival de Música Antigua Úbeda y Baeza)

Para más información, por favor contacte con Ana Lombardía:

Authenticity versus Improvisation in the Philosophy of Music?

The Institute of Philosophy of the University of Bern invites abstracts for papers to be presented at the two-day conference (May, 19/20, 2017) ‘Authenticity versus Improvisation in the Philosophy of Music’, organized in collaboration with with the Hochschule der Künste Bern.

The Conference is part of the Project ‘Ontology of Musical Works and Analysis of Musical Practices’ (Link) organized by Prof. Dr. Dale Jacquette, Prof. Dr. Thomas Gartmann, Dr. Marcello Ruta and Annabel Colas.

The Symposium aims to investigate, from both the ontological and the musicological viewpoints, the notions of authenticity and improvisation, as they seem to constitute two unattainable ideals for musical performance that are nevertheless descriptive of types of musical practice.
Keynote addresses are held by Julian Dodd (Manchester University), Roger Pouivet (Université de Lorraine) and Bastien Gallet.

Possible topics may include, but are by no means limited to, the following:

  • The notion of authenticity and improvisation in different musical traditions and practices.
  • Theoretical implications of the notions of authenticity and/or improvisation for the ontology of music.
  • Authenticity, improvisation and identity conditions of musical performances or works.
  • Authenticity of performance and hermeneutics.
  • Improvisation and performative-turn.

Presentations can be held in German or English and should last around 25 mins, followed by Q & A. Please send abstracts of no more than 400 words to the following Address:

Submission deadline: 30th November 2016

Information on registration and accommodations will be posted in due time.

The Power of Hip Hop: EXCHANGE

One day seminar around hip hop and social change


FRIDAY 8TH JULY, 9.30 – 17.00 (plus post-event networking and music)

Venue: RichMix, Bethnal Green Road, London


Full Price: £45

Student / Concession: £36

SPECIAL DISCOUNT: Use code hiphop15 at checkout to get your £15 ticket

Lunch, refreshments and delegate packs provided.

To Book:

The Power of Hip Hop: LIVE is a unique academic seminar that explores the role, challenges and potential of hip hop culture in facilitating social change in global contexts, and its role as a site of resistance and identity.

Keynote Speakers

Martha Diaz (NYU Gallatin)

Hip-Hop Without Borders: A Revolutionary Global Movement of Struggle, Liberation and Sustainable Living”

Jason Nichols (University of Maryland)

Lean wit it:  Black Masculinities in Hip-Hop Dance”

Plus special introduction about In Place of War’s work by Professor James Thompson


Four diverse panels exploring: 

  • Global power of hip hop
  • Cultural power of hip hop
  • Power of place & identity
  • Hip hop and pedagogy

International Artist Presentations by

Shhorai (Colombia)

Zambezi News (Zimbabwe)

Smockey (Burkina Faso)


For a full programme and speaker list visit:

Steering Group

Richard Bramwell (University of Cambridge)

Eithne Quinn (University of Manchester)

Teresa Bean (In Place of War)

Featuring a programme of academic panels, keynote papers, artist presentations and practitioner provocations, this event harnesses In Place of War’s vast international network of grassroots artists and blends it with a rich selection of researchers exploring issues including but not limited to hip-hop and gender, race, religion, commerce, and conflict.

A day full of rich discussion, unique encounters, thought-provoking papers and academic-artist exchange.

The Power of Hip Hop: EXCHANGE is part of In Place of War’s event series Culture. Conflict. Change. taking place at RichMix throughout 2016. It is proudly funded by the Arts & Humanities Research Council, and supported by Index on Censorship.

Find out about the rest of the series here: 


About In Place of War:

About Index on Censorship:



Symposium: On the Edge. Improvisers on music and methods

Oslo, Norway, 30 November – 2 December 2016

Dear colleagues,

The Norwegian Academy of Music, the Arne Nordheim Centre for Artistic Research (NordART) and Victoria – Nasjonal jazzscene proudly presents the symposium On the Edge, in Oslo, Norway, 30 November – 2 December 2016.

A fine selection of improvisers meets at this mini-festival with concerts, interviews, presentations and discussions. This year’s theme is Improvisation in Studio. At On the Edge practitioners meet to perform on stage, give presentations, interviews and to discuss these matters. Confirmed artists are:

  • Sidsel Endresen & Jan Bang — Helge Sten & Ståle Storløkken of Supersilent
  • Stian Westerhus — Tone Åse/Thomas Strønen : VOXPHERIA — Monkeyplot
  • Skrap — Kjell Bjørgeengen / Keith Rowe duo — Maja Ratkje — Bugge Wesseltoft

David Sylvian has curated an ensemble for On the Edge: Keith Rowe, David Toop, Rhodri Davies, Rie Nakajima and Phil Durrant.

Improvisation in Studio

Improvised music is ephemeral. It emerges from dialogue between musicians and their surroundings. It happens in the moment, and then it disappears. The sound disappears, it enters our memories.

For many of the people involved in it, one of the enduring attractions of improvisation is its momentary existence: the absence of a residual document (Derek Bailey).[1]

What happens when we record improvised music, when we try to capture the ephemeral? What is getting lost? What new doors are opened?

In his book Records Ruin the Landscape, John Cage, the Sixties, and Sound Recording writer and musician David Grubbs draws lines between the experimentalists and avant-garde composers and early generation practitioners of free improvisation and free jazz in their reluctance to record their music: ”Audio recordings are at best curiously incomplete representations of their efforts”.[2]

Miles Davis’ Bitches Brew (1970) “pioneered the application of the studio as a musical instrument, featuring stacks of edits and studio effects that were an integral part of the music. Even though it sounded like an old-style studio registration of a bunch of guys playing some amazing stuff, large sections of it relied heavily on studio technology to create a fantasy that never was. Miles and his producer, the legendary Teo Macero, used the recording studio in radical new ways (…) Through intensive tape editing, Macero concocted many totally new musical structures that were later imitated by the band in live concerts”, according to Paul Tingen.[3]

Technology has developed vastly since the seventies. Today, many musicians own their own recording devices, their own recording studios. How does this development change how practitioners work with improvisation today?

How are practitioners of improvised music affected by the certainty that the music they record can be played over and over again? How does this affect the work process? How do they facilitate intuitive interplay in the studio? Where do we draw the line between documenting something improvised and composing?

Ultimately, can one document without also composing? How is the studio work affecting later improvisations on stage?

For more information about the symposium:  / Ivar Grydeland at

[1] Derek Bailey, Improvisation: its nature and practice in music. Ashbourne, England 1992 (1980). Moorland Pub. in association with Incus Records, p35.

[2] David Grubbs, Records Ruin the Landscape, John Cage, the Sixties, and Sound Recording. London 2014. Duke University Press, iv



Dr. Darla Crispin
Director of the Arne Nordheim Centre for Artistic Research (NordART)
Norwegian Academy of Music
+47 90 62 97 78

Otto Christian Pay, Senior Adviser
Administrative Director of the Arne Nordheim Centre for Artistic Research (NordART)
Norwegian Academy of Music
T. +47 23 36 70 26



Sound::Gender::Feminism::Activism::2016 WHITE NOISE

A research event at London College of Communication, University of the Arts London, November 11th – 12th 2016

We are delighted to announce a call for the 3rd Sound::Gender::Feminism::Activism research event to take place in London on November 11th and 12th 2016.

Sound::Gender::Feminism::Activism is a bi-annual research event initially established in 2012 as a network for researchers, artists and performers working within intersectional fields of sound, gender, feminism and activism. SGFA::2012 delivered presentations and audio-visual artworks from thirty-six researchers, artists and performers from the UK, Europe, United States and Australia. SGFA::2014 incorporated performances, lectures, workshops and presentations from over thirty global participants. A publication that celebrates the presentations and participants from the previous two events will be launched at SGFA::2016.

SGFA::2016 seeks to query an expanded concept of White Noise. Working out from white noise’s original sonic conception of a random frequency, broad-based signal that masks everything else, white noise is all around us. White Noise is what Jennifer Stoever-Ackerman has termed a “sonic protocol” an often unquestioned norm based upon “culturally specific and socially constructed conventions that shape how sound is made, used and interpreted at a given moment”.

SGFA::2016 invites submissions for both twenty and ten minute contributions relating to the question;

How does whiteness, transmitted as an often sub-audible yet ubiquitous frequency, establish and maintain perceptual limits of what and who can be heard and how can this be changed?

How can we “confront and broadcast the underlying whiteness of the field and of the generic terms that provide so much currency in it: terms like “the listener,” “the body,” “the ear” and so on” (Stadler 2015) in ways that do not replicate racism, colonialism and gender violence but rather enable the audible transmission of alternative histories, forms, relations and ways of being.

SGFA::2016 will expand upon the previous research events through a combination of presentation formats over the course of two days; both twenty minute formal research papers and ten minute emerging researcher/artist presentations for the sharing of recent or ongoing work are sought.
This is an open call and we welcome responses from all relevant disciplines and will accept a variety of formats from academic presentations, proposals for artworks and documentation of artworks to more experimental contributions.

Please send expressions of interest, including the theme, topic and format of your presentation of around 200 words and a short biography of no more than 200 words by Friday 8th July, 2016 to

Kindly supported by

Brian Boydell Centenary Conference

Call For Papers: Brian Boydell Centenary Conference
Friday 23 – Saturday 24 June 2017
The Long Room Hub, Trinity College Dublin
CFP Deadline: Friday 3 February 2017


Born in Dublin in 1917, Brian Boydell was one of Ireland’s major 20th century composers. As a musicologist, he published seminal research on music in 18th century Dublin. As a broadcaster, performer, adjudicator, public lecturer, an often outspoken agitator for music, singing teacher, Professor of Music at Trinity College Dublin, one of the founders of the Music Association of Ireland and long-time member of the Arts Council, his influence on music and music education in Ireland was significant. An honorary DMus of the National University of Ireland (1974) and Fellow of the Royal Irish Academy of Music (1990), he was elected to Aosdána, the affiliation of creative artists in Ireland, in 1984.

To mark his centenary, a conference will be held on Friday 23/Saturday 24 June 2017 in The Long Room Hub, Trinity College Dublin, with a recital of his music in the Royal Irish Academy of Music, to re-evaluate his contributions to Irish musical, artistic and academic life, and their place within the wider contexts of musical, cultural and artistic developments in Ireland in the 20th century. Confirmed speakers are Professor Barra Boydell, who will give a special address, and Peter Murray, Director of the Crawford Art Gallery Cork, who will present a guest lecture on Brian Boydell’s paintings.

Proposals are invited for the following:

  • Individual papers
  • Joint papers (maximum 2 speakers)
  • Lecture recitals
  • Themed sessions
  • Panel discussions (up to a maximum of 6 speakers)

Proposal details:

All proposals should be submitted as one file in Microsoft Word or PDF format:

Individual papers of 20 minutes in duration followed by 10 minutes for questions and discussion. Proposals should include:

  • title of paper
  • abstract of no more than 250 words
  • name, contact details and affiliation
  • a brief biography (max. 100 words)
  • any technical requirements

Joint papers of 20 minutes in duration followed by 10 minutes for questions and discussion. Proposals should include:

  • overall title of presentation and abstract (max. 150 words)
  • titles of individual papers
  • individual abstracts of no more than 250 words
  • names, contact details and affiliations
  • a brief biography for each presenter (max. 100 words)
  • any technical requirements

Lecture recitals of 30 minutes (including performance) followed by 10 minutes for questions and discussion. Proposals should include:

  • overall title of lecture recital and abstract/proposal of no more than 250 words
  • name(s), contact detail(s) and affiliation(s)
  • a brief biography for each presenter (max. 100 words)
  • any technical requirements

Themed sessions of 90 minutes (3 papers) or 120 minutes (4 papers) including questions and discussion, and Panel discussions of 90 minutes (up to a max. of 6 speakers, each presenting a position paper followed by questions and discussion). Proposals should include:

  • overall title of presentation and abstract/proposal (max. 250 words)
  • titles of individual papers and abstracts of no more than 250 words
  • name, contact details and affiliation of convenor
  • names, contact details and affiliations of proposed presenters
  • a brief biography for the session/panel convenor and each proposed presenter (max. 100 words each)
  • any technical requirements

Deadline for submission of proposals is Friday 3 February 2017.

All proposals should be submitted as a Microsoft Word or PDF attachment to Dr Barbara Jillian Dignam by email at It is envisaged that notification of the conference committee’s decision will be communicated by March 2017. A conference website will be launched shortly.

Proposals might consider (but are not limited to) Brian Boydell’s contributions under any of the following areas:

  • the re-examination and assessment of his compositions – individually and collectively – and their place within Irish music of the 20th century and the wider context
  • his musicology and other writings
  • his work as a performer: conductor of the Dublin Orchestral Players for over twenty years, founder and director of the Dowland Consort, singer, oboist, and occasional conductor of the Radio Éireann/RTÉ Symphony Orchestra
  • his teaching, professorship at TCD, public lectures, adjudicating at music festivals and numerous radio and television broadcasts
  • as agitator for music, through the Music Association of Ireland, the Arts Council, Forás Éireann and other bodies to which he contributed
  • his place within the wider context of Irish artistic and cultural life in the 20th century

Brian Boydell’s papers, including his original scores, musical notebooks, radio broadcast scripts, and his extensive correspondence with musicians, musical and cultural bodies, and others covering many decades in Irish musical life, are held in the library of Trinity College Dublin and remain a largely untapped resource. The Contemporary Music Centre also holds copies of his scores. His work as an artist in the early 1940s before he devoted himself fully to music were highlighted in the recent exhibition ‘The Language of Dreams’ at the Crawford Art Gallery, Cork. See also Gareth Cox, Axel Klein and Michael Taylor (eds.) The life and music of Brian Boydell (2004), and the Encyclopaedia of Music in Ireland (EMIR).

Conference committee:

Prof. Barra Boydell, Dr Barbara Jillian Dignam (Chair, Maynooth University), Dr Kerry Houston (DIT Conservatory of Music and Drama), Roy Stanley (Trinity College Dublin), Marie Moran (Royal Irish Academy of Music), Dr Gareth Cox (Mary Immaculate College, University of Limerick)

For further information on the conference, submission process or any other queries, please contact the conference committee chair, Dr Barbara Jillian Dignam, at

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