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

SMA Music Analysis Workshop

The Society for Music Analysis (SMA) Music Analysis Workshop will take place on 29th November 2014 at Cardiff University, School of Music. It is a full-day event (ca 10.00 am – 5.30 pm) led by Dr Charles Wilson (Cardiff University) and Dr Nicholas Reyland (Keele University). It will be centred around two two-hour sessions focused on two particular music-analytical methodologies designed to benefit graduate students who do not feel confident in music analysis, as well as more experienced candidates willing to explore methods they are not so familiar with.For more details and to sign up see http://www.sma.ac.uk/event/music-analysis-workshop/

Call for participants

Expressions of interest are to be sent to Martin Curda (curdam@cardiff.ac.uk) by Friday 31st October 2014. If you are interested in the individual surgeries, please include a short description of the subject you would like to discuss.

You do not have to be a member of the SMA but members will be eligible for travel bursaries. For information on membership fees see http://www.sma.ac.uk/grants/development/.

Tracking the Creative Process in Music

IRCAM, IReMus (Paris-Sorbonne University and CNRS), and CTEL (Nice-Sophia Antipolis University) are delighted to announce

TRACKING THE CREATIVE PROCESS IN MUSIC
3rd edition: Paris, France, 8-10 October 2015

This conference brings together researchers interested in artistic creativity and the study of processes of musical and sound creation of the past and present. Researchers working on this cluster of problems from a wide variety of disciplines (history, music analysis, psychology, philosophy, cognitive science, sociology, ethnomusicology, anthropology, etc.) are invited to assess the different methodologies developed in the last thirty years in their respective areas from an interdisciplinary perspective. Each approach contributes in its own way to the advancement of our understanding of the procedures, techniques, knowledge and know-how employed by musicians involved in creative projects.

Following the epistemological paradigm shifts that musicology underwent at the end of the last century, the notion of ‘creative process’ has been enriched. Sketch studies have extended their scope beyond notated works of art music.  Today this field includes all contemporary musical repertories as well as the oral, technological and collaborative dimensions of the creative process in music. There is growing interest, for example, in the function of improvisation and of gesture in the creative process, in the collective and collaborative dimensions of artistic work, in the redefinition of the roles of the composer and the performer, in the art of studio production and in the strategies of documentation, transmission and future performance of works involving technology, etc. The complexity and the multidimensionality of this field of study require new analytical tools and new research methods at the crossroads of analytical musicology, the social science and humanities and other academic disciplines.

This broadening of the field also provides a new context for the study of works and composers from the Western musical canon. Whether based on historical archives or on the collection of empirical data, studies of the creative process in music share many of the same methodological requirements, descriptive vocabulary and models of creative action. This conference therefore aims to be a forum in which the most recent results produced by the well-established tradition of sketch studies can meet the complementary or alternative paradigms emerging from other repertories or approaches.

Our guest speakers in 2015 will be Georgina Born (University of Oxford), Nicholas Cook (University of Cambridge, author of *Musical Performance as Creative Practice*, Oxford U.P., 2016), Pierre-Michel Menger (Collège de France, author of *The Economics of Creativity*, Harvard U.P., 2014), and Friedemann Sallis (University of Calgary, author of *Musical Sketches*, Cambridge U.P., 2015).  TCPM will also include workshops/concerts on composition and performance led by Hyacinthe Ravet (Université Paris-Sorbonne) and Jean-François Trubert (Université de Nice-Sophia Antipolis).  The languages of the conference are English and French. Simultaneous translation of French papers will be provided.

Curious about TCPM?
- Go to http://tcpm2013.oicrm.org/?lang=en for an overview of the previous edition’s papers and sessions.  Many disciplines and approaches were present, but there are still many more to include in the conversation.  All disciplinary and aesthetic domains are welcome.
- Go to http://creative.arte.tv/fr/community/analysing-process-musical-creation (chapters 1 & 4) to catch glimpses of the first edition (Lille, 2011) and listen to colleagues’ statements about the creative process.

CALL FOR PROPOSALS

Each conference talk proposal must include the following elements:
· First and last name of presenter
· Institutional Affiliation
· Mailing Address, telephone number and email address
· Title of proposed conference talk
· Abstract, 800 to 1200 words in length, clearly presenting the subject, the theories and models of creative processes described in the talk, the goals, the methodology used and the results of the study
· Selected Bibliography (3 to 8 references to the exclusion of the presenter’s own work) and main sources used (archives, experimental or ethnographic data, etc.).
· Personal web site (optional)

Proposals must be received no later than 1 December 2014 via the conference’s website.

Proposals will be double-blind reviewed by 2 or 3 members of the Scientific Committee, depending on the areas covered in the proposal.  Notification of acceptance will be sent to applicants within 12 weeks.

Correspondence address: tcpm2015 (at) ircam (point) fr

The conference website will be online in fall 2014.

6th International Musicological Student Conference-Competition

The 6th International Musicological Student Conference-Competition April 24-26 2015. Tbilisi, Georgia

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

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

• Participants (Competitors and out of competition participants) will be selected through the abstracts they have sent.
• Abstracts must be written in English or Russian (350 – 500 words). Font – Times New Roman or Sylfaen.
• The selected papers must be no more than 6 printed page (Page format – A4, Font size – 12, Paragraph -1,5; Margins – 2).
• Time-limit for paper presentation 10 min
• Time-limit for paper discussion is 10 min.

Working Languages:
Georgian, English, Russian

Deadlines
• The deadline for submit the proposals: by November 30. 2014
• All proposals are submitted online: geomusicology@gmail.com;

• Applicants will receive the application form by e-mail, during 5 days after online registration.
• Filled applications and abstracts must be sent no later than 10 days after registration.
• The full version of the paper must be sent by March 10, 2015.
• Fee for participation – € 40

For more information please contact:

e-mail: geomusicology@gmail.com
Phones: +995 598 272048 – Maia Sigua
+995 593 985699 – Ketevan Chitadze
+995 593 909123 – Nana Katsia
* The program of the conference/competition also includes concert and cultural program.

Seventeenth Nordic Musicological Congress

Seventeenth Nordic Musicological Congress

11 – 14 August 2015, Aalborg University, Aalborg, Denmark

http://nmc.musik.aau.dk/

The Congress is co-organized by the Danish Musicological Society, the Department of Communication and Psychology and the Department of Culture and Global Studies, Aalborg University.

The Nordic Musicological Congress is typically a quadrennial event, gathering on the one hand researchers in music active in the Nordic countries and, on the other, researchers with an interest in the specific activities of Nordic music research or aspects of Nordic music and musical life. Recent conferences took place in Stockholm 2012, Oslo 2008, Helsinki 2004 and Aarhus 2000. The notion of a Nordic, regional community of music research might be open to debate. The 17th Nordic Musicological Congress will contribute to development of relations within this group as well as testing the very notion of Nordic musicology in the sense that has been developed through the years.

One of the main functions of the Aalborg-congress, however, is to be a broad forum for communication of current music research. The program committee has representatives from the Danish, Finnish, Norwegian, and Swedish musicological societies.

Please note that the conference will include two formats: Ordinary papers and panels.

The organizers invite submission of abstracts for both formats of no more than 2,500 characters in one of the conference languages (Nordic languages and English).

 

Following the conference, delegates will be invited to submit anonymized full papers for a peer-reviewed publication.

The location for the 17th congress will be Aalborg University in Aalborg, Denmark. The conference will take place at the Musikkens Hus and is hosted by the Music & Sound Knowledge Group in the Department of Communication and Psychology at Aalborg University. The Musikkens Hus is a purpose-built concert house opened early in 2014 that is home to both the university’s and the Royal Academy of Music’s music activities as well as the Aalborg Symphony Orchestra. Built right on the fjord, it has four concert halls, Denmark’s largest pipe organ, and state-of-the-art recording facilities. It is situated about 5 minutes walk from the many bars (outside in August) and restaurants of Aalborg’s late mediaeval centre.

Aalborg is located in North Jutland on the Limfjord. It is the fourth largest city in Denmark and with a compact, well-preserved centre that is ideal for walking. It is well served by several airlines, often direct from major European cities or via Copenhagen, and a taxi or the number 2 bus can take you from the airport into the city centre within 10-20 minutes. There is also a train service from Copenhagen to Aalborg central station.

Important dates:
Abstract submission deadline: 1 September 2014
Notification of acceptance: 1 October 2014
Conference: 11 – 14 August 2015

Abstract submission:
Applicants should submit an abstract of no more than 2,500 characters to:
https://www.easychair.org/conferences/?conf=nmc2015

Registration:
Registration before 1 June 2015: DKK 2,000
Registration from 1 June 2015: DKK 3,100

Conference fee includes:
- Conference 4 days
- Welcome reception
- Proceedings (abstracts), programme and miscellanea
- Four lunches
- Coffee and tea during breaks
- One conference dinner

Registration and accommodation booking will open late 2014. Details to be posted on the conference website.

Keynote speakers:
To be announced.

Over and Over Exploring repetition in popular music

Over and Over Exploring repetition in popular music University of Liege, Belgium, 4–6 June 2015

Over and Over: Exploring repetition in popular music aims at identifying and studying the recent aesthetic and analytical developments of musical repetition. From the 32-bar forms of Tin Pan Alley, through the cyclic forms of modal jazz, to the more recent accumulation of digital layers, beats, and breaks in Electronic Dance Music (EDM), repetition as both an aesthetic disposition or formal musicological property stimulated a diversity of genres and techniques. After decades of riffs, loops, vamps, reiterated rhythmic patterns, as well as pervasive harmonic formulae and recurring structural units in standardized song forms, the time has come to give these notions the place they deserve in the study of popular music.

Since the 1980s, and following on Richard Middleton’s pioneering work on musematic and discursive repetition or Robert Fink’s Repeating Ourselves, repetition can no longer be conceived as a single, over-arching concept. Whether addressed from the angle of musicology, sociology, music technology, economy or cultural studies, the complexity connected to notions of repetition in a variety of musical cultures calls for a reassessment of relevant theoretical frameworks and discursive approaches. Suitable topics include (but are not restricted to) the following:

-                Theory of repetition, academic discourses on repetition, historiography

-                Music analysis, music theory, musical forms

-                History and sociology of technology

-                Mass cultural theory

-                Psychoanalysis and information theory

-                Genre studies

-                Loops, samples, riffs and remixes

-                DIY culture

-                Repetition in experimental, avant-garde and ‘Art’ music (20th & 21st Centuries)

-                Reception, discomorphosis

-                Sonic ontology of musical repetition

-                Repetition in dance and ritual music

Abstracts of no more than 300 words and short biographical notes (of no more than 75 words with affiliation, contact email and five keywords) should be sent in English to christophe.levaux@ulg.ac.be by 18 January 2015. Papers will be accepted in English, French, and Dutch.[1] Abstracts will be reviewed and results will be announced in March 2015.

Any enquiries should be sent to christophe.levaux@ulg.ac.be

Organisation Board:

Olivier Julien (Paris-Sorbonne University, France)

Christophe Levaux (University of Liege, Belgium)

Kristin McGee (University of Groningen, Netherlands)

Christophe Pirenne (University of Liege, Belgium)

Hillegonda C Rietveld (London South Bank University, United Kingdom)

Koos Zwaan (InHolland Hogeschool, Netherlands)

 

[1]Whatever the language of their presentation, participants will be asked to provide PowerPoint/KeyNote slides in English.

9th Conference on Interdisciplinary Musicology

9th Conference on Interdisciplinary Musicology
Abstract submission deadline: 05 August 2014
Conference dates: December 4-6, 2014

http://www.sim.spk-berlin.de/cim14

National Institute for Music Research, Berlin, Germany

Technology is omnipresent in our lives and it plays an important role in contemporary social development, particularly in the so-called Westernized world. The role of technology in our daily life is even more so remarkable with the increasing ubiquity of technology, specially computing technology, in various activities of our contemporary society, music being a notable example. Yet, there is no single universally accepted definition of “technology”.

CIM14 will be aimed at all discourses on the interplay between technology and music, including collaborations between sciences and humanities, interactions between academic research and musical practice, and interdisciplinary combinations that are innovative, unusual, and creative.

Conference Sessions & Topics:

Please visit the conference site for a list of suggested topics including: Technology in Musicology, Ethnomusicology, Music- Education, Sociology, Anthropology, Psychology, Philosophy, Sound Recording and Technology of Musical- Instruments, Composition and Practice.

We are particularly interested in new emerging fields of technology in music research and practice, which could form a session on New Emerging Technologies, which might include: Music Neurotechnology, Neuromusicology & Neuro-inspired Music Theory, Evolutionary Computing in Music & Musicology, Computational Ethnomusicology and Unconventional Computing in Music.

Submission of papers:

CIM14 welcomes papers addressing the relationship between music and technology in a way or another. An important ranking criterion for the peer reviewing process will be the interdisciplinary nature of the paper.

Please see the online submission page for more information including important details about the submission format:

http://www.sim.spk-berlin.de/cim14submission

II International Congress: Music and Audio-visual Culture MUCA

From 22-24 January 2015, the University of Murcia will host the Second International Congress: Music and Audio-Visual Culture MUCA, to provide a forum to scientific exchange with participation of composers, visual artists and researchers from several national and international universities.

We welcome proposals for individual papers (in English or Spanish) in order to promote new perspectives and dialogue about the main topics. Proposals should include:

- Abstract (250-300 words)

- Institutional affiliation (if applicable), brief biography and email address.

- Audiovisual required.

Topics for the paper presentation (not exclusive):

Music and film.

Music and television.

Music in advertising.

Music and videogames.

Music and the Internet.

Prosumers and media.

Musical analysis in audiovisual culture.

Music and technology.

Digitization, globalization and new ways of marketing.

Teaching music in audiovisual culture.

After reviewed by the Scientific Committee, the main contributions will be published on a volume which will collect the event arising scientific production.

Deadline for accepting proposals: November 1, 2014.

Further information: www.congresomuca.com

Celebrating the Tercentenary of C. P. E. Bach

Sensation and Sensibility at the Keyboard in the Late Eighteenth Century: Celebrating the Tercentenary of C. P. E. Bach
Conference and festival
October 2-4, 2014
www.westfield.org/cpebach
Cornell University, Ithaca, NY

Revered across Europe during his lifetime, C. P. E. Bach was the unparalleled master of intimate expression at his favorite instrument, the clavichord; yet his stature also rested on vivid choral and orchestral masterpieces. In all genres, Bach’s highly affective music cast new light on, and was heard in terms of, contemporary theories of sentiment and the sublime.

This conference and festival explores the constellation of philosophical and aesthetic ideas, and the conditions of musical production and reception, clustered around concepts of sentiment, feeling, and sensation in the late 18th century. Celebrating the richness of late eighteenth-century keyboard culture (and C. P. E. Bach’s contribution to it), performances will feature clavichord, fortepiano, harpsichord, and organ.

The conference features contributions by Yonatan Bar-Yoshafat, Tom Beghin, Emily Dolan, Matthew Head, Nicholas Mathew, Pierpaolo Polzonetti, Annette Richards, David Schulenberg, with keynote addresses by Richard Kramer and James Kennaway.

Tom Beghin, Matthew Dirst with Ars Lyrica Houston, Matthew Hall with the Cornell Baroque Orchestra, Lucy Fitz Gibbon, Dennis James, Sarah Mesko, Annette Richards, Peter Sykes, Andrew Willis, and David Yearsley will appear in programs of music from C. P. E. Bach’s oeuvre for solo keyboard, concertos for fortepiano and organ, symphonies and vocal music, including “Klopstocks Morgengesang am Schöpfungsfeste,” as well as music by other Bach sons (including “Die Amerikanerin” by J. C. F. Bach) and the cantata “L’Harmonica” by J. A. Hasse.

The conference is co-sponsored by the Westfield Center for Historical Keyboard Studies and Cornell University, and features the Fall 2014 Atkinson Forum in American Studies.

Registration is available at www.westfield.org/cpebach

Mapping the post-Tridentine motet (ca. 1560-ca. 1610): Text, style and performance

The University of Nottingham, 17-19 April 2015

All the most relevant composers of the late sixteenth century (from Palestrina to Byrd, from Guerrero to Lassus) composed and published motets, undoubtedly responding to the needs of both their employing institutions and the printing market. Likewise, they were surely receptive to contemporary shifts in spirituality and religious life (although the real extent of the Council of Trent’s direct influence still needs to be determined). The sacred counterpart to the madrigal, the motet became a workshop for experimenting with text-tone relationships, form organization, and rhetorical strategies. It often featured intriguing instances of imitatio and all sort of intertextual cross-references. Moreover, it proved a versatile medium suitable for fulfilling different functions in a wide array of contexts. This versatility also applied to the choice of texts.

In spite of all that, the post-Tridentine motet has been surprisingly neglected in recent scholarship, and many crucial questions remain unanswered. With this conference we aim to re-open the discussion on the immense corpus of polyphonic and polychoral motets produced and performed all over Europe in the period ca. 1560 to ca. 1610. Some of the questions we would like to examine are listed below, under three headings: Text, Style, and Performance (the latter including also issues of context and function). But, of course, we are open to other proposals regarding neighbouring problems.

1. Text:

  • Who chose/edited/wrote the texts?
  • For what spiritual, religious, political purposes?
  • What types of texts (and textual sources) can we distinguish?

2. Style:

  • The compositional process
  • Issues of intertextuality, imitation and emulation

3. Performance:

  • Contexts: liturgical, paraliturgical, ceremonial, recreational
  • How did motets sound? ‘Ideal’ versus ‘historical’ performances.
  • Repertories and motet books
  • The motet in inter-confessional confrontations

Invited speakers will include David Crook, Christian Leitmeir, Kerry McCarthy and Noel O’Regan.

There will also be two discussion panels, one on the influence of the Council of Trent on the late-sixteenth century motet and the other on performance issues, led by Noel O’Regan and Christian Leitmeir, and Owen Rees and Michael Noone respectively.

We intend to publish a volume containing a number of papers presented in the conference. The contributions will go through a process of selection, peer revision, and editing, as per academic standard.

Abstracts for 20-minute papers (max. 250 words) and short biographies (max. 150 words) should be sent to James Cook at <ptmotetconference@gmail.com> by 10 October2014. Participants will be informed of whether their abstracts have been accepted by 1 November 2014.

Information and updates will be available soon at http://www.nottingham.ac.uk/music/research/conferences/intro.aspx

Conference organizing committee: Daniele V. Filippi, Esperanza Rodríguez-García and Juan Ruiz Jiménez.