Working in Music: the Musicians’ Union (MU), musical labour and employment

Mitchell Library, Glasgow, 14-15 January 2016

Registration is now open for the ‘Working in Music’ conference, which marks the end of ‘The Musicians’ Union: A Social History’, a four year research project based at the University of Glasgow.

The conference features local and global perspectives on musical work from different disciplines, covering issues related to musicians as workers, musical practice, gender and representation, copyright and the music industries. Other papers deal specifically with the role of the MU and the conference will conclude with a panel discussion addressing the current issues facing the Union.

The keynote speakers are Matt Stahl (University of Western Ontario) and Catherine Tackley (The Open University). Matt’s subject is ‘Young Musicians, Old Beggars? American R&B and Soul Singers’ Late-Career Struggles for Union-Mandated Health Care and Pensions’. The title of Catherine’s talk is ‘‘Those who go down to the sea in ships, who do business on great waters’: Seafarers as Musicians, Musicians as Seafarers’.

For more on our keynote speakers and to read the full programme, please see our project website and follow us on Facebook and Twitter for updates.

Registration is now open at the early bird rate (£75/50) until 4 December; registration at the full rate (£100/75) closes 18 December. Register now at

Hope to see you in Glasgow!

Martin Cloonan

Heather Middleton

John Williamson

Musicians’ Union: A Social History

University of Glasgow

Tel: 0141 330 7414



13th International Conference from the series “Musica Practica, Musica Theoretica” – Cultural Identity in the European Musical Tradition

Poznań, 19–20 April 2016

On behalf of the Faculty of the Theory of Music at the I. J. Paderewski Academy of Music in Poznań I would like to invite you to participate in the 13th International Conference from the series “Musica Practica, Musica Theoretica” – Cultural Identity in the European Musical Tradition to be held on 19th our Academy’s Presidential Hall.

The conference shall concentrate on issues referring to a musical work and various relations between artistic and composing theory and practice. The problems should be presented from the perspective of the sense of cultural identity related to European tradition. Such orientation stems from a belief that it is this sense that has a significant influence on artistic and musical practice, including artists’ stylistic preferences, choice of composing techniques, and consequently the created artistic and aesthetic values.

We hereby suggest the following research areas:

● Cultural identity: semantic and historical aspect of the term, its social
indicators (with particular focus on musical culture)

● Elements that constitute an artist’s (mainly composer’s) identity rooted in heterogeneous European culture

● Planes of intercultural dialogue created in a musical work

● “Unity in diversity” versus identity and cultural diversity

● Musical work: analysis and interpretation in the context of an artist’s sense of cultural identity

● Reception of a musical work in the perspective of cultural diversity.

The lecture, including musical excerpts, should not exceed 20 minutes. The conference shall be held in Polish and English. A paper delivered in Polish should be accompanied by a presentation in English.

Conference participants shall be offered accommodation in the Academy’s guest rooms, full board and modest remuneration.

You are kindly requested to declare your willingness to take part in the conference and send us the subject and abstract of your paper in English (up to 400 words) till 31st January 2016.

Upon receiving our acceptance (no later than 20th February 2016) you will be asked to transfer a conference fee of PLN 300, till 29th February 2016, to the following account number:

BZ WBK S.A. VI O/POZNAŃ 66 1090 1362 0000 0000 3601 7907

Your application, subject and abstract of the presentation should be sent to the following e-mail address:

Further details shall be sent at a later date.

Sincerely yours

Hanna Kostrzewska

5th Symposium of the Musics of East Asia (MEA) ICTM Study Group


Organized by the Academia Sinica and the Taipei National University of the Arts
Deadline for submission: JAN 20 2016EAST ASIAN ETHNOMUSICOLOGIES?
2016 marks the 10th anniversary of the founding of the ICTM Musics of East Asia Study Group, which took place in August 2006 in Ilan, Taiwan. Coming full circle to Taiwan again, this meeting provides a forum to look back on 10 years of the MEA Study Group’s development from a fledgling research group to an important and diverse community that is itself disciplining music research in different ways, and through different voices. As such, the overlying theme of East Asian Ethnomusicologies – understood in the plural – seeks to be as inclusive as possible, while encouraging reflexivity of approach and understanding. A revisit of Witzleben 1997’s article Whose Ethnomusicology? Western Ethnomusicology and the Study of Asian Music provides a useful starting point for re-interrogating issues that continue to concern East Asian musical academia, interpreted today not simply against the proverbial and amorphous ‘Western’ musical academia in a stereotypical binary reading. But fault lines continue to be drawn intra-discipline, even as new bridges span the boundaries of different kinds of academic intersectionality.The following questions are pertinent to the conference topic:

– Are there East Asian Ethnomusicologies, and how do they relate to distinct East Asian musicologies? What are the disciplinary canons and scholarly lineages, and who are the activists of East Asian ethnomusicologies? Is there a ‘we’ in East Asian Ethnomusicology/ Ethnomusicologies? If so, are we as unique as we think we are? To what extent are differences related to cultural or political fault lines? How is ethnomusicology applied in East Asia, vis-à-vis education policies and emerging foci on sustainability and impact?

– Do East Asian Ethnomusicologies still privilege content, typologies and analysis over discourse and criticism? Is the ICTM MEA group an interventionist (or protectionist) space in an international ethnomusicology scene that sees a rumoured 40% conference abstract rejection rate (a process which potentially privileges native speakers of English)?

– How has recent economic expansion in East Asia reshaped infrastructural, funding and research/ teaching flows within the region, and also beyond? How have global academic and political communities come to understand the rising trend in foreign academics coming to work in East Asia (esp China), in tandem with an increase in the number of East Asian students conducting research and studying overseas? How have such transnational movements in themselves changed the nature of emerging sub-disciplines in ethnomusicology, music and sound studies, as well as the geographical spread of different communities of overseas students?

– How do younger scholars, or female scholars, or LGBT scholars in East Asia negotiate changing academic and institutional power structures that nevertheless continue to be dominated by the hegemonies of patriarchy and institutional hierarchy within (and also without) East Asia?

This series of preliminary questions seeks to highlight reflexively the pluralities of music and sound studies, refocused through the themes below. Many of these topics have been discussed – in changing articulations – over the course of the history the MEA study group itself. Indeed, the group’s10th anniversary meeting provides a platform for a review of milestones in the development of music scholarship in East Asia over the past few decades, and a vantage point for looking into the future.

1. Music and Embodiment
Recent studies of the role of the body in processes of listening, musical production, musical learning and musical emoting have turned in new understandings of corporeal and experiential musicianship/ dance practice (Clayton 2013, Gillan 2013). Yet, stereotypes in popular culture continue to abound of East Asian bodily ‘conservatism’, ‘stiffness’; and ‘inscrutability’. This theme calls for new examinations of whether, and if so, how, different East Asian musical bodies exist and locate themselves culturally, psychologically and materially.

2. Cosmopolitanism, transnational flows, creative labour markets
While the words ‘global’ and ‘globalisation’ in music have recently taken a back seat against newer terms such as ‘cosmopolitan’, ‘intercultural’ and ‘transnational’, what do they mean in different East Asian musical contexts, and how are they separate or related to each other? The questions may be partly addressed through understanding the above processes through the lenses of shifting global capital and changing creative labour markets, particularly in (but not limited to) the situating of East Asian musical articulations in the world/ fusion music markets, transnational pop (particularly K-pop), and in urban soundscapes. But while such new and exciting conceptualisations of culture continue percolate, where do they leave space for imagining and practising the ‘traditional’ – in postcolonial modernity or otherwise?

3. Eco-criticism and Music
As Paris hosts the UN Climate Change Conference in Nov 2015, East Asia agitates and watches with slow but increasing interest. How can music researchers and ethnomusicologists weigh in on a topical subject that has in many ways pushed for wider interdisciplinarity against rising concerns about negotiations with (and impact on) the environment? Following on from Nancy Guy’s (2009) article on Ecomusicology and Taipei’s Tamsui River, this theme encourages researchers to consider music in interaction with the environment in dynamic ecosystems, where sustainability has to be considered through intersecting realms of the physical, material, cultural and politico-economic.

4. Music history, historical musics, historical reconstructions
Do researchers of music history in East Asia approach their subject as historians, musicologists, analysts, archaeologists, or ethnomusicologists? This theme addresses the debate of content vs discourse, allowing scholars to reconsider particular East Asian (or not) hermeneutics and approaches to looking at ancient/ historical texts and the reinterpretation of them through contemporary lenses.

5. New Research

LANGUAGE English is the official language of this symposium.

PRESENTATION FORMATS Proposals are invited in the following formats:

1. Individual paper: 20 minutes long and followed by 10 minutes for discussion; a 20-minute paper is about 8 or 9 typewritten pages, double-spaced using 12 point font.

2. Organized panel: these may be presented in ONE the following formats:

– 120 minutes long, 4 presenters

– 120 minutes long, 3 presenters and a discussant (each presentation is 20 minutes with 10 minutes for initial discussion; there will be 30 minutes for summary).

– Forum/Roundtable, 120 minutes long with up to 6 presenters on a given topic, entirely organized and run by a given Chair of the Roundtable, with discussion among the presenters and the audience

3. Workshop: informal, interactive hands-on session on one topic for a maximum of two hours, completely run by the workshop organiser.

4. Film/DVD: recently completed or in-progress films, video programs or excerpts thereof, each presentation about 20 minutes in length including some discussion on the film/dvd

5. ‘TEDx’ style Lightning Papers of 10-minutes in length, featuring no more than 20 slides, with 5 minutes for Questions/ Answers.

5. Poster Presentation is the presentation of research information by an individual or representatives of research teams from ICTM-MEA. The poster presentation should be presented for 3 x 4 feet (??) paper mounting.

ABSTRACT SUBMISSION Please submit an abstract for a paper presentation in one of the above listed formats (300 words max), along with a very short biographical note (50 words or less) about the presenter. Organizers of panels and roundtables must submit a statement on the focus and central concern of the panel/ roundtable along with an abstract from each presenter on his/her presentation (each abstract is limited to 300 words and biographical notes are strictly limited to 50 words). Please note that you can only make ONE type of format submission for the conference.

Please send your proposal via the googleform on the conference website.

All proposals must be submitted in English. All proposals will undergo an anonymised peer review, and the decision on proposals will be announced in the first week of March 2016. If you have a deadline for funding applications towards etc, please notify the Program Chair in the ‘Other comments’ section of the googleform.

You should receive an email within 7 days of your submission. If you have failed to receive a response, please contact the Chair of the Programme Committee Shzr Ee TAN []

All presenters must register as a member of the International Council of Traditional Music directly with the ICTM Secretariat before attending the Study Group Symposium. The email contact is: Students will have a special registration fee for both ICTM as well as the conference. All registration fees and other information will be forthcoming from the Local Arrangements Committee.

The Local Committee is led by:
LEE Ching-huei
Hsin-Chun Tasaw LU

The Program Committee for this Symposium is:
Matthew GILLAN
LEE Ching-huei
Hsin-Chun Tasaw LU
Hilary Finchum-SUNG
Shzr Ee TAN, [Chair]
ZHAO Weiping
Hae-Kyung UM

9th Symposium of the ICTM Study Group on Music and Gender

9th Symposium
Study Group on Music and Gender
of the
International Council for Traditional Music
University of Bern, Bern, Switzerland
July 13-16, 2016


The 9th Symposium of the Music & Gender Study Group of the International Council for Traditional Music will be hosted by the Institute of Musicology and the Center for Global Studies at the University of Bern (Switzerland), July 13-16, 2016.

Papers are invited that address gender studies within the frame of current global processes—migration, transnationalism, diaspora, cross-cultural and/or cross-genre fusions and hybridity. Papers that engage the major analytical frameworks from feminist, masculinity, and queer studies by placing musical data into the interdisciplinary conversations on theory are especially encouraged. Participants are also invited to respond to questions related to the topics below, while signaling the paths that gender studies should take in this new period of scholarship and globalization more generally. We invite proposals for individual paper presentations (20 minutes plus 10 minutes discussion); three- or four-paper panels; round-table discussions; and video presentations around the following themes.

Gender, Music and Sustainability

Increasing attention worldwide is given to safeguarding the intangible cultural heritage, with UNESCO taking a lead in recognizing, identifying and preserving cultural expressions that are threatened by global and local forces of change. Ethnomusicologists are recognizing that many gender-bound traditions face profound challenges, with heightened tensions around gender restrictions. What happens if a music tradition is so strongly marginalized that its survival is only possible beyond gender-boundaries (e.g. exclusively female or male repertoires can only be revived or sustained if the gender-designation is waived)? How do challenges to gender boundaries invoke issues of activism within the field of applied ethnomusicology? Are there gender-based genres that have become accessible to everyone within the context of the western-based world music scene?

Music Transmission and Transcultural Studies in Gendered Musical Contexts

Cultural and economic globalization have altered social networks and transmission processes of music as well as the cultural contexts of performance. How have global networks of exchange and trade affected music transmission processes and the flow of music across cultural and national boundaries? How has cross-cultural transmission affected new musical creations? How might we identify gendered performance within a transcultural context? Does gender equality manifest within a particular mobile transcultural context, and if so, how?

Studying Music and Gender Worldwide: Snapshots

A broad focus of the symposium is to (re-)address the following questions: How can we assess the impact of gender studies on ethnomusicology? Is it possible to identify a rising trend line in gender-balanced studies—national, regional or otherwise? In what ways has women- dominated research into music and gender affected music studies generally and how has women’s level of participation changed? Does the issue of sexuality permeate the concept of gender, and if so, how? How does research in other areas—such as film studies, communications or the visual arts—influence scholarship on music and gender? What other kinds of interdisciplinarity have been employed? How does gender figure in relation to dimensions of other social identities? What are the characteristics of gender representation owing to politics, poetics and economy of various genres of traditional and popular music under study? What is the relationship between research and engagement?

New research

Papers that address any other new research pertaining to music and gender are also welcome.


The deadline for receipt of proposals is November 15, 2015; please include a title, a 250-word abstract of the proposed paper, an indication of your academic affiliation and contact information. Please send abstracts via email to the conference program chair Anna Hoefnagels ( A preliminary program will be announced in January 2016 and registration (and accommodation details) will be open from April 1, 2016. All presenters must be registered by 1 May 2016.


Bern is the Federal City of Switzerland and is located between the Jura Mountains and the Alpine Bernese Oberland. The historic old town center became a UNESCO World Heritage Site in 1983. The Institute of Musicology was founded by musicologist Ernst Kurth in 1912. In 2009, the department established a new study program on Cultural Anthropology of Music that is also part of the newly founded Center for Global Studies. Bern can be easily reached by train (1-2 hours) via the major airports of Zürich, Basel, and Geneva. Information about local arrangements and registration for the conference are available from the Local Arrangements Chair, Britta Sweers ( and at the study group website ( click into Music and Gender at the left column).

Collecting – Performing – Exploring. Dresden’s Eighteenth Century Court Music

January 21, 2016, 1:30 pm, to January 23, 2016, 1:15 pm

Saxon State and University Library Dresden (SLUB Dresden)

Dear Colleagues,

We would like to draw your attention to the forthcoming conference in the context of our DFG-funded project “The Music of the Dresden Court Church and the Royal Private Music Collection at the Time of the Saxon-Polish Union. Cataloging – Digitization – Presentation.”

By and large, the symposium will highlight SLUB’s 18th century Catholic court church music as well as concurrent private music treasures of various members of the ruling Wettin family, a stock mainly characterized by its secular vocal works. More specifically, the conference will shed light onto issues of collection history, take a closer look at eminent collectors at the Dresden court, discuss aspects of geographic source dissemination and also contribute to repertoire research. It will finally treat the project’s methodical approaches concerning the cataloging and presentation of the music. Initiated by papers on the interdependence of collection history and professional music history and on the historic transition of court collections to modern academic libraries, the symposium will also contribute to the bicentennial of SLUB Dresden’s Music Department.

Please find the conference program, the registration procedures and further details on the aforementioned website.

We hope you have become interested and look forward to welcome as many guests as possible in Dresden! If you have questions regarding the topic, please write to

With kind regards,

Nina Eichholz and Roberto Scoccimarro

Project Team Members

Operatic Immersions: Inaugural conference of the Northern Opera Research Network

Call for Papers:

Operatic Immersions
Inaugural conference of the Northern Opera Research Network

22-23 April 2016
22 April: Heritage Quay (University of Huddersfield, UK)
23 April: Clegg Studio (University of Leeds, UK)

Immersion is a term much debated in the field of performance and an aesthetic ideal that has shaped key developments in operatic history. One of the first associations we might make is with Wagner’s Ring (or rather his concept of Gesamtkunstwerk) and this conference coincides with the start of the 2016 Opera North Ring Cycle, offering an opportunity for delegates to attend Das Rheingold at Leeds Town Hall on the evening of 23 April.

Immersion can relate to the way performance spaces are or have been constructed, to sensory phenomena, to the use of new technologies, to emotional, phenomenological perceptions of performance, to the role of performers as active agents, and to an opera’s relationship with real-world events. Opera’s visceral and sometimes overwhelming effects on audiences invite investigation of its own specific immersive attributes. Recent trends in making new operatic work pick up the attraction of immersive environments among practitioners and academics, while historical works are experienced anew with digital technologies, improvisation, audience interaction, and in unconventional and surprising spaces (the pop-up operas of tête à tête, Silent Opera’s use of smartphone technology, Christopher Cerrone’s headphone opera Invisible Cities for LA Union Station, and Opera North’s opera installation I am Yours, Yours am I). Additionally, the rise of the opera ‘livecast’, experienced online and via cinematic platforms, opens up new questions about immersion, mediatised opera, and adaptation.

Clemens Risi, Institut für Theater- und Medienwissenschaft, Nuremberg
Rhian Hutchings, Creative Director, OperaSonic

For the purposes of this conference, the term ‘immersion’ is defined broadly and provides a focus for both historical and contemporary perspectives. Proposals (200 words max.) for 20-minute papers are invited, offering discussion of any aspects of operatic immersion, particularly relating to themes outlined above and/or including:

· immersion in the rehearsal process
· backstage perspectives and their immersive qualities
· temporal immersions (including operatic marathons)
· opera as macrocosm and/or microcosm
· opera’s relationship with the sublime
· opera and fandom

Proposals should be emailed to

Deadline: 11 January 2016

Programme Committee: Rachel Cowgill (University of Huddersfield); Sarah Hibberd (University of Nottingham), Kara McKechnie (University of Leeds).

Professor Rachel Cowgill
Head of Music & Drama
School of Music, Humanities & Media
Creative Arts Building (CAM 1/15)
University of Huddersfield
Queensgate, Huddersfield
West Yorkshire, UK, HD1 3DH
tel.: +44 (0)1484 471397

‘Das Serail’ (c. 1779) by Joseph Friebert in historical, socio-political and cultural context(s)

International Interdisciplinary Symposium

of Don Juan Archiv Wien, University Mozarteum Salzburg/ Mozart Opera Studies Institute, Salzburg Global Seminar



Salzburg, 19–21 May 2016

Call for Papers

Don Juan Archiv Wien, as the tenant of the only existing copy of the manuscript of newly-discovered Singspiel Das Serail (c. 1779) by Joseph Friebert (1724, Gnadendorf, Niederösterreich–1799, Passau), in cooperation with University Mozarteum Salzburg/ Mozart Opera Studies Institute and Salzburg Global Seminar invites you to attend the International Interdisciplinary Symposium on May 19–21, 2016, at the Castle Frohnburg in Salzburg, Austria. In the framework of the symposium, the concert of the Mozart Opera Studies Institute will be held at the Leopoldskron Castle in Salzburg on May 19, 2016.

The focus of the consideration is Josef Friebert and his life and work in the wider context of his time. Having received his education in music at the Melk Abbey (1743–1745), Friebert moved to Vienna and continued studying with Giuseppe (Joseph) Bonno. He first became a successful tenor in the 1750s, with the operas of Christoph Willibald Gluck (Le cinesi, 1754; La danza, 1755) and from 1755 to 1764 he was engaged as a singer at the Vienna Burgtheater and the Kärntnertortheater. As an influential Hofkapellmeister at the prince archbishop’s court in Passau (1763–1796), Friebert was also a composer. His career as a performer is mainly known through to his engagements as a singer and his contributions to the Passau’s musical life, which include his stage works (six lost Italian operas performed between 1764 and1774: Angelica e Medoro, Dafne vendicata, Il componimento, Il natale di Giove, La Galatea and La Zenobia, in part obviously after libretti by Pietro Metastasio) and the 1789 German-language premieres of W. A. Mozart’s operas Le nozze di Figaro (1786) and Don Giovanni (1787). Friebert also composed Singspiele, although most probably not for the Passau stage. However, except for his vocal arrangement of Joseph Haydn’s instrumental Die Sieben letzten Worte unseres Erlösers am Kreuze (1787), Friebert’s compositional output remained almost unknown, his numerous works lost.

With the discovery of the only existing eighteenth-century manuscripts-copies of his three Singspiele – Das Serail (c. 1779), as well as Nanerl bey Hof (c. 1774) and partly Adelstan und Röschen (c. 1774), all three in the possession of the Don Juan Archiv Wien – it is possible to open an important chapter in the history of Austrian/Southern German music, concerning the production, performance and perception of these compositions; Friebert’s activities and his opus; performance history in his time and the perception of his Singspiele in the context of musical life in Vienna, Passau and elsewhere. As the compositional and performance practice were closely related, with composers writing music for certain singers, the activities of itinerant music troupes (journeys, repertoire, members) and their directors are especially recommended as a research topic. Friebert’s Singspiel Das Serail was a model for Mozart’s early stage works in the German language (Zaide, 1780; Die Entführung aus dem Serail, 1782). Stage works of these composers can also be (re)considered in the context of both ideological (philosophical and aesthetical treatises, essays and criticism) and technical (compositional procedures and musical means, mainly defined by stylistic topoi) models of semiotically defined music discourse.

On the broad basis of the defined thematic circles, the following subjects, formulated from the focus to the context, are welcome:

I. Joseph Friebert: Life and work

1) Biographical coordinates:

* the life and work of Joseph Friebert in the light of newly accomplished archival research;

* the family history, especially the activities of his brother Carl Friebert;

2) Singer and conductor:

* Friebert’s contribution to the musical life of Vienna and Passau, and the perception of his work as a singer and a Hofkapellmeister and conductor;

* mapping music theatre life in the second half of the eighteenth century for the cities related to Friebert’s studies and professional activities (Melk; Burgtheater and the Kärntnertortheater in Vienna; Passau);

* itinerant music theatre troupes (repertoire, journeys, members-singers, directors);

3) Composer:

* reconstruction of the historical context based on the results of recent archival research, which should provide a correction of the incomplete or inaccurate data about Friebert’s Singspiele in literature (list and dating of works, performance history);

II. The Singspiel Das Serail in focus

Analysis of libretto and music; performance history (reconstruction of known or possible performances in Passau, Mainz, Erlangen, Nuremberg, Wels and so on); children’s itinerant theatre troupes led by Franz Joseph Sebastiani and Felix Berner; perception of the stage work;

1) Libretto studies:

* comparison and study of three versions of the libretto text: Das Serail. Oder: Die unvermuthete Zusammenkunft in der Sclaverey zwischen Vater, Tochter und Sohn (Bozen 1779) by Franz Joseph Sebastiani, Arien welche gesungen werden in der Opera genannt Das Seraile, in zwey Aufzügen aufgeführt von den jungen Schauspielern unter der Direction des Herrn Felix Berner. Die Musik ist von Herrn Fribert, s. l. [Nürnberg] 1778), and the version provided in the manuscript copy from 1779;

* sources of the plot: the story of abducted Christian European girls, their stay in a harem and their liberation through different embodiments of deus ex machina, leading always to a conventional happy ending, inspired numerous eighteenth-century librettists and composers to create their own versions in different languages; these constructed imaginative depiction of „Oriental“ were immensely popular (Alain René Lesage and d’Orneval, Voltaire and, among others, Michael Haydn, Louis Dancourt and C. W. Gluck; Carl Frieberth and Joseph Haydn; J. A. Schachtner and W. A. Mozart, to name only some of the librettists and composers); the immense popularity of these constructed, imaginative “Oriental” depictions;

* language and dramaturgy of libretto, political context, constructed image of the Orient, characterization of personage;

* analysis of conventional topoi: abduction to serail, liberation from the harem, the category of the unexpected in the eighteenth-century theatre narrative (especially unexpected encounters), hint of incest, merciful rulers and others.

2) Music research:

* musical dramaturgy, conventional style topoi and specific elements, musical image of the Orient, “authentic” Austrian self-representation, musical characterization of the protagonists, instrumentation, performance practice of the work;

* instrumentation: specific instrumental ensemble from Friebert’s Singspiel Das Serail was used earlier by Haydn and Mozart in their early symphonies of the 1750s and 1760s, as well as by other composers;

* comparative analysis of Friebert’s Das Serail with W. A. Mozart’s Singspiele Zaide (1780), Die Entführung aus dem Serail (1782) as well as with the opera Le nozze di Figaro (1786);

* critical edition of an eighteenth-century stage work in the light of the edition of Friebert’s Singspiel in preparation: methodological questions.

Papers should be based on original research and should not have already been presented elsewhere. Paper presentation should not extent beyond thirty minutes, including audio and audio-visual materials, and will be followed by a ten-minute discussion. The official languages of the symposium are German, English and Italian.

Musicologists, theatre and literary scholars as well as linguists are encouraged to submit proposals of up to 200 words to the e-mail address <office(at)donjuanarchiv(dot)at>. Proposals for panel presentations are also welcome.

The deadline for submission of all proposals is January 31, 2016.

The Program Committee will inform the authors of submissions about their decision by February 25. The participants, whose papers are chosen, by taking part in the conference, assume the obligation of submitting their papers in the language of the presentation by September 30, 2016 in accordance to the style sheet of the Hollitzer Wissenschaftsverlag.



Conference venue. The seventeenth-century Frohnburg castle, known as a location featured in the movie The Sound of Music, is a ten-minute bus ride on public transport from the city center.

Concert venue. The palace Leopoldskron is only a short walk from the old town of Salzburg.


Program Committee

Reinhard Eisendle

Michael Hüttler

Tatjana Marković

Hans Ernst Weidinger

RMA Music and/as Process Study Group 4th Annual Conference

RMA Music and/as Process Study Group 4th Annual Conference

2nd July 2016, Bath Spa University

with the support of the Centre for Musical Research at Bath Spa University

This year the Music and/as Process study group extends its focus to collective working practices which involve group decision making as part of the composition process, rehearsal, or performance. The day will include practice-led presentations, workshops, and papers and will be based at Bath Spa University’s Newton Park campus.

Call for Contributions

We welcome proposals for contributions in the following formats:

  • Paper (20 minutes)
  • Lecture-recital (30 minutes)
  • Participatory lecture/workshop (30 minutes)

Proposals on any aspect of process in music are welcome, although this year we are particularly interested in proposals that address:

  • collective composition working practice
  • collective decision-making in rehearsal
  • live group decision-making in performance
  • uses of technology to mediate collective behaviours and decision-making
  • formation and operation of collectives
  • distributed creativity

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

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

Please send your proposals by email to Lauren

Extended deadline for proposals: 18th March 2016

Notification of successful presentations can be expected in April.

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.

1st Conference on Computer Simulation of Musical Creativity (CSMC16)

We are happy to announce the 1st Conference on Computer Simulation of Musical Creativity, which will be held at the University of Huddersfield (UK) form 17 to 19 June 2016.


Keynote Speakers

  • Professor Graeme Bailey, Cornell University
  • Professor Geraint Wiggins, Queen Mary University of London


Key Dates

  • Paper submission: 15 March 2016
  • Notification of acceptance: 15 April 2016
  • Revisions and camera-ready: 30 April 2016


Call for Papers

Submissions can cover both theoretical and/or practical aspects of computer simulation of musical creativity. Interdisciplinary proposals at the intersection of music, computer science, psychology and philosophy are warmly invited. Topics of interest may include, but are not limited to:

Computer Systems

  • systems capable of generating music;
  • systems capable of performing music;
  • systems capable of (online) improvisation;
  • systems capable of analysing music;
  • music-robotic systems;
  • systems implementing societies of virtual musicians;
  • systems that foster and enhance the musical creativity of human users;
  • music recommendation systems;
  • systems implementing computational aesthetics, emotional responses, novelty and originality;


  • surveys of state-of-the-art techniques in the area;
  • validation methodologies;
  • philosophical foundations of creative music systems;
  • mathematical foundations of creative music systems;
  • evolutionary models for music creative systems;
  • cognitive models for music creative systems;
  • studies on the applicability of music-creative techniques to other research areas;
  • new models for improving music-creative systems.

Types of Submissions

We accept short papers, long papers and workshops.  Short papers should be used to illustrate research projects in an initial phase. Long papers should present a substantial contribution to the field.  Workshops should be focused on practical demonstrations and tutorials of new systems and technologies related to musical creativity.


Peer-Review Process and Proceedings

All papers are double-blind peer reviewed by at least two experts. Proceedings will be published online for downloading. Extended versions of the best papers will be published in a special issue of the Journal of Creative Music Systems.


Paper Submission

Details about submission procedure and formatting can be found on the instructions for authors page.

Medieval and Renaissance Music Conference 2016

Medieval and Renaissance Music Conference

University of Sheffield, 5–8 July 2016


We welcome proposals for individual papers of 20 mins, “lightning talks” of 10 mins, round tables, workshops, and posters. We particularly encourage proposals for themed sessions of 3 or 4 papers.

We are delighted to announce that we will have a ‘conference consort’, 4D/O Beta, available for any delegates to use in delivering their papers. The consort will comprise singer-musicologists experienced in reading from period notation. Paper proposers may wish to use the consort simply for live musical examples, or to build their paper around this facility. Please state in your proposal if you wish to include the consort in your presentation.

All proposals should include

– Title

– Indication of format

– Proposer’s name, affiliation, and a short bio

– Contact email

– AV requirements


Individual abstracts should be no longer than 200 words. Themed session abstracts should also include an additional description (no longer than 200 words) of the proposed theme.

Please send your abstract to

If intending to use the conference consort, please also email to discuss your requirements.

Conference website:

The deadline for proposals is 9am GMT on Monday 8 Feb 2016.