“Από Χορού και Ομοθυμαδόν” (=all together and in the same mood) Proceedings and perspectives of the Interdisciplinary research on Psaltiki

2nd International Interdisciplinary Musicological Conference

of the Department of Psaltic Art and Musicology

of the Volos Academy for Theological Studies

June 9 – 11, 2016

Thessaly Conference Centre – Melissiatika, Volos, Greece

 

Από Χορού και Ομοθυμαδόν

(=all together and in the same mood)

Proceedings and perspectives

of the Interdisciplinary research on Psaltiki

 

The 1st  International Interdisciplinary Musicological Conference of the Department of Psaltic Art and Musicology (Volos Academy for Theological Studies) had the title: «Psaltiki as an autonomous science: Scientific branches – Related Scienftific Fields – Interdisciplinary Collaboration and Interaction» aiming to highlighting a) the necessity for self-determination of the discipline of musicology on the psaltic art; b) the possibilities available for its interdisciplinary approach and c) the possibilities offered by the psaltic art as a tool for the support of other disciplines. Thus, this first Conference approached the study of Psaltiki as an autonomous science, a theoretical background of the interdisciplinarity was laid down and, for the first time, its scientific branches were defined (even if simply as suggestions, for some of them). The most important point was the strong interest expressed for for every kind of interdisciplinary collaboration, to all possible directions of research.

With the 2nd International Interdisciplinary Musicological Conference, with the title ΑπόΧορού και Ομοθυμαδόν” (=all together and in the same mood), the Department of Psaltic Art and Musicology of the Volos Academy for Theological Studies calls for actual, concrete suggestions of interdisciplinary collaboration on and about the Psaltiki, which can be formulated as topics for international research programs (even immediately, in round tables that can take place during the conference) and their realization can be planned for the near future.

As in the previous year, this time the Conference will again be open to all the scientific approaches on the study of Psaltic Art. Thus, since there are no separate thematic categories, there is an invitation to all the scientific disciplines to study the possibility of a correlation of their scientific fields with the Psaltic Art. Theology, Philosophy, Sociology, Anthropology, Philology, History, Law, Psychology, Medicine, Mathematics, Natural Science, Computer Science, Technology and, of course, Musicology; all the sciences are invited to find fields for studies in Psaltic art or topics for interaction with it.

The Conference will take place in the Conference Center of the Holy Metropolis of Demetrias, in Melissiatika, Volos, Greece, between June 9th and 11th, 2016.

Proposals for contribution in the Conference must be submitted to the Organizing Committee, to the e-mail address tomeaspsaltikis@gmail.com, not later than February 12th, 2016. Proposals must include title, abstract (not longer than 300 words) and CV of the speaker (not longer than 200 words). Alternatively, they can be submitted by ordinary post, to the address: Volos Academy of Theological Studies – Department of Psaltic Art and Musicology, P.O.Box 1308, Volos GR-38001 Greece.

Selection of proposals will be announced not later than February 22nd, 2016.

The confirmation of participation, along with the payment of the participation fee, must be not later than March 30th, 2019.

Presentations of individual papers must not be longer than 20 minutes and will be followed by a short 10-minute discussion.

Papers must be presented either in Greek or English language. There will be NO translation. Speakers who choose the Greek language are kindly requested to submit an English translation of their paper as well (or at least an extended summary), not later than June 1st, 2016 (in .doc or .pdf. form), in order to be disseminated to the participants who don’t understand Greek. Translations of English papers into the Greek language are also welcome.

The Conference participation fee is fixed as 120 € per person, and it includes accommodation for two nights (in double bed rooms) in the Olympic Games Hostel of the Municipality of Volos, all meals starting with the dinner of June 9th and ending with the lunch of June 11th, the Conference folder, coffees and cookies for the breaks, and acceptance in all the musical activities that will accompany the Conference, as well as the publication of the Conference proceedings online (in pdf. form, as submitted by the participants). It does NOT include expenses for the case of printed publication of the Conference proceedings. Considering accommodation, there will be some versatility (for participants who wish to stay in a single bed room or who don’t wish to stay in the Olympic Games Hostel) and the relevant details will be announced after the selection of the proposals.

The proceeding of the Conference will be published online in digital format, and for the text formatting there will be concrete instructions right after the selection. THE ORGANISING COMMITTEE IS WILLING TO HAVE THE PROCEEDINGS PUBLISHED TILL THE DAYS OF THE CONFERENCE. TO THIS GOAL, IT WILL TAKE THE BEST POSSIBLE CARE TO BE ACCURATE TO THE DATES ANNOUNCED ABOVE.

Forthcoming information on the conference will be uploaded in our sitehttp://www.tomeaspsaltikis.gr

For all questions related to the Conference, you can contact the Department for Psaltic Art and Musicology at the above e-mail tomeaspsaltikis@gmail.com

We kindly ask you to disseminate this message to everyone possibly interested.

‘Making the Impossible Possible’: The Feldenkrais Method in Music, Dance, Movement, and Creative Practice

University of West London

Convenors: Marcia Carr and Robert Sholl

The work of Mosche Feldenkrais (1904-1984) has been hugely beneficial to creative artists and performers, and is increasingly taught at conservatoires and Universites throughout the world. Feldenkrais himself worked with Igor Markevich, NarcisoYepes, Yehudi Menuhin, Leon Fleisher and also Peter Brook. The Method is a non-invasive, non-religious, extremely gentle, somatic learning techique that is designed to make “the impossible possible, the possible, easy, and the easy, aesthetically pleasurable,” as Feldenkrais himself stated. This is what creative artists attempt to do every day. This one day event to be held on Saturday, April 30 at The University of West London, UK, W5 5RF, invites contributions from performers, dancers, movement specialists, creative artists, practitioners, and educators (including actor training and musical performance) on the best use of the Method. To this end, this call encompasses asks for a wide variety of events: scholarly papers, posters, workshops, and demonstrations designed to make provocative incisions into the current use of the Method. Topics might include critiques of practice in music and/or dance, embodied and somatic discourses, neuro-physiology and plasticity, gesture or empathy studies, as well as reflections on practice.

Please send a 200 word abstract, for a 20-minute paper or presentation, to Marcia Carr and Prof. Robert Sholl by 15 February 2016

marcia.carr@uwl.ac.uk and robert.sholl@uwl.ac.uk.

2016 Fifth Annual Meeting of the Historical Keyboard Society of North America (HKSNA)

The Historical Keyboard Society of North America (HKSNA) will hold its Fifth Annual
Meeting, coinciding with the Eighth Mae & Irving Jurow International Harpsichord Competition, at the Oberlin Conservatory of Music, Oberlin College, Ohio, U.S.A., March 20-23, 2016. The conference, entitled “The Compleat Keyboardist: harpsichord, fortepiano, organ, clavichord, continuo” hopes to inspire us with the variety of instruments played by our forefathers and foremothers.

Morning and afternoon events will include papers, lecture-recitals, mini-recitals, and an
exhibition of publications, recordings, and contemporary instrument makers’ work.
Evening events will include a concert by Oberlin faculty and friends (March 20), as well as harpsichord recitals by Jurow competition judges Jane Chapman, Hank Knox, and Catalina Vicens (March 21 and 22). The Finals of the Jurow International Harpsichord Competition will be held on March 23.

For complete conference and registration information, visit www.historicalkeyboardsociety.org. Early bird registration ends March 10, 2016!

 

Shifts and Turns: Moving Music, Musicians and Ideas

39th National Conference of the Musicological Society of Australia

Elder Conservatorium of Music, the University of Adelaide

30 November – 3 December 2016

Fifteen years into the 21st century, we find musicology and its practitioners being re‑defined by an unprecedented engagement with the manifold traditions and cultures of a global society. The internet and new collegial networks open exciting challenges for all of us, whether we are established scholars, teachers and performers or just starting a career in music. All of us face a galaxy of new research possibilities.

In 2016, the MSA Conference invites us to reflect on recent changes in our environment and how we are dealing with them. Our conference theme, Shifts and Turns: Moving Music, Musicians and Ideas, looks in several directions, back into our shared heritage, outwards to the cultures of our region and forwards to our future.

The conference suggests consideration of a number of issues facing each of us. These include live performance, mediated and hybrid forms of music, the role of music and musicology in the community (through festivals, conferences and other events), the dissemination of music (public interface, broadcasting, music commentary and criticism), publishing and promotion, the roles of archives and music administration, issue-based policy and lobby groups, and interdisciplinary approaches to music research.

The Conference looks to expand its theme into specific strands, such as:

  • New connections and approaches in music scholarship across all eras and traditions
  • Musicology 2020: prospects for the future
  • Performance, moving emotions and the capacity for enchantment
  • The impact of technology on music practice and performance, research and pedagogy, dissemination and consumption
  • Changes to music practice and experience resulting from migration and mass communication networks
  • Refashioned identities in music
  • Australian music heritage, particularly the music heritage of South Australia

While the main strands of the conference focus on changes in musical practices and research, the conference organisers invite proposals for papers and panels relating to all other topics of interest to MSA members.

We welcome papers of 20 minutes duration (plus 10 minutes for discussion). Members are also invited to submit proposals for panel presentations. The submission deadline is 22 April 2016. Notification of acceptance will be sent via email by 24 June, 2016.

Please send abstracts or proposals of up to 250 words via email to:  conf@msa.org.au

Requests for early acceptance will be considered and should be addressed to:  conf@msa.org.au.

Co-Convenors:

Daniela Kaleva (University of South Australia)

Steven Knopoff (University of Adelaide)

Mood – Aesthetic, Psychological and Philosophical Perspectives

Call for papers

An Interdisciplinary Two-day Conference at the University of Warwick

6th and 7th May 2016

Keynote speakers:

Prof Hans Ulrich Gumbrecht (Comparative Literature, Stanford University)
Author of Atmosphere, Mood, Stimmung: On a Hidden Potential of Literature (2012), Production of Presence: What Meaning Cannot Convey (2004) and After 1945 – Latency as Origin of the Present (2013).

Prof Giovanna Colombetti (Sociology, Philosophy and Anthropology, University of Exeter)
Author of The Feeling Body: Affective Science Meets the Enactive Mind (2014) and co-editor of Emotion Experience, a 2005 special edition of the Journal of Consciousness Studies.

Mood is an affective phenomenon located at the intersection of philosophy, aesthetics, musicology, psychology and sociology. It is as central to our experience of the world and of art as it is difficult to grasp theoretically. Bringing together scholars from various disciplines, this two-day conference will foster an interdisciplinary discourse about the nature of mood and its significance for human and aesthetic experience. As an emerging topic in literary criticism, mood has been problematised in a number of recent publications, in which critics have turned to other disciplines, especially psychology and musicology, in order to develop theories of mood. At the same time, scientific disciplines, such as psychiatry and cognitive science, examine this phenomenon empirically in relation to mood disorders like depression. However, thus far the interdisciplinary potential harboured by mood has not been explored sufficiently. The main objective of this conference is to bring together and to create synergy between disciplines whose research addresses the same phenomenon in different ways.
Summarising the outcomes of the conference, we wish to submit a book proposal for an edited volume on mood with articles that bring together perspectives on mood from the disciplines mentioned above. This publication shall foster a vivid interdisciplinary discussion about the nature and significance of mood as an emerging topic in the humanities, social sciences and in the sciences, contributing to the process of conceptualising mood from a perspective that is not limited to the arts but is also informed by philosophical thought and scientific research.

CALL FOR PAPERS:

We invite abstracts of up to 300 words, plus a brief biography, for papers of no more than 20 minutes or panels of three associated papers. We encourage submissions from established scholars as well as postgraduate and early career researchers that address the concept of mood from a theoretical or interdisciplinary angle. Submissions can cover but are not limited to the following questions and topics:

 

  • Concepts of mood/‘Stimmung’ in philosophy:
    • Heidegger’s ‘Stimmung’
    • Aesthetics and mood in Kant, Schiller et al.
    • Kierkegaard, existentialism and anxiety
  • Mood in psychology, psychiatry and cognitive science
    • Mood and its relationship to the concepts of emotion and affect
    • Mood disorders: depression, bipolar disorder, etc.
    • Empirical studies of mood
    • Neurological and cognitive foundations of mood
  • Aesthetics of mood
    • Aesthetics and theories of mood in literature
      • Concepts of mood, atmosphere, disposition and ethos in literature
      • Pathetic fallacy
      • The moods of Romanticism, Modernism, etc.
    • Mood in film and theatre
      • Cinematic and theatrical atmospheres
      • Cinematic portraits of mood: Tarkovsky’s Nostalghia, von Trier’s Melancholia, etc.
    • Mood and music: theories of ‘Stimmung’, attunement, harmony and dissonance
  • Politics of mood/social moods
    • Normativity and mood
    • Social moods/collective states of mind/Prechter’s concept of mood in socionomics
  • Mood in linguistics/grammatical mood
  • Specific moods, such as:
    • Anxiety
    • Boredom
    • Melancholy
    • Nostalgia
    • Ennui
    • Paranoia
    • Exhilaration
    • Ecstasy
    • Awkwardness

 

Abstracts should be sent to mood.warwick2016@gmail.com by 29 February 2016.
For more information, please visit

Talk about Scottish Music! Musica Scotica 2016

Musica Scotica’s Eleventh Annual Conference: Saturday 23 April 2016 and Sunday 24 April, 2016
Venue: Stirling Court Hotel, University of Stirling
Stirling, FK9 4LA, Scotland, UK

CALL FOR PAPERS FOR THE 2016 CONFERENCE

Since 2005, the Musica Scotica Trust has conducted an annual conference during the last weekend of April each year. The 2016 conference will be held at the Stirling Court Hotel in the University of Stirling on Saturday/Sunday, April 23/24, 2016 (0900 to 1600).

Papers for the 2016 conference, 20 minutes in length, are invited on any aspect of Scottish music. Topics presented in previous years have included chant, Gaelic song, fiddle and bagpipe music, manuscript sources, music publishing, the Scottish diaspora, opera performance, cultural organisations, music education, sectarianism, George Thomson and Haydn, Marjory Kennedy-Fraser, Learmont Drysdale, Hamish MacCunn, James MacMillan and Sally Beamish.

Please submit an abstract (250 words) as a Word document or rtf file by Saturday 28th February 2016 to musicascotica2016conference@n-ism.org . You will be notified by mid-March 2016 if your abstract has been accepted.

A poster session may be included; delegates are invited to indicate whether they would be interested in availing themselves of this opportunity.

Publication of proceedings: Musica Scotica will publish papers from this conference along with a selection of papers from previous conferences.

FEES, FORMS, PROGRAMME

The conference fee is £85 for the two days or £45 per day (students £30 per day).
The Registration Form for the 2016 conference (PDF and Word versions) will be available soon. The Programme will be available when we’ve received some more abstracts!
Please note that accommodation is available at The Stirling Court Hotel, (the conference venue).

EMAIL AND WEBSITE DETAILS

NB we have a NEW Musica Scotica Conference email address.

Please update your address book!

Conference email address:- musicascotica2016conference@n-ism.org
(General correspondence, not related to the 2016 conference:- musicascotica@n-ism.org)

Our website has also changed, to:- http://www.n-ism.org/musicascotica.org.uk/

Musica Scotica is a charity registered in Scotland, No SC031930.

Sound: A lucky bag or a poor cousin of music theory

GMTH (association of German-speaking Music Theory), 16th annual congress in Hannover (Hochschule für Musik, Theater und Medien), Germany, 30 September 2016 – 2 October 2016

The term ‘sound’ is widely used in music theory circles. Whether it is within contemporary classical music, the music of the late Romantic period, contemporary popular music: in all these areas there has been a tendency (possibly triggered by developments in post-avant-garde music) to discuss sound as a central, unavoidable aspect of music. This is reflected not only in the analytical and theoretical writings but also in the design of academic study programmes.

Yet, there is much debate on what we mean when we speak of ›sound‹ in the individual case: is it timbre, noise, chords, is it a complex phenomenon constituted by harmonic, instrumental, figurative and rhythmic determinants, or is it simply a lucky bag from which people can take what they choose from it? What is the difference between musical and ‘extramusical’ sound, and what conceptual means should we use in order to surpass a purely associative level of meaning?

By choosing sound as the topic of the sixteenth annual conference of our society, we want to highlight the potential but also the problems associated with the term. We also intend to transfer the interest in ›sound‹ from the music ›since Berlioz‹ to that of earlier centuries. While we will focus on orchestration, we shall also explore various other aspects that ›resonate‹ while we are speaking of ›sound‹: its registration, staging, expansion, its signifier character, structural and choreographic functions, and its role within compositional-historical turnovers.

We call for papers in five sections:

1. Terminology, historical theory and philosophy

Keynote: Christian Grüny, Witten / Herdecke

This section deals with fundamental questions, such as: What is ›sound‹, and how do we translate the term? Is it a synonym for harmony or musical timbre, or is it a superordinate term that covers categories such as register, texture and process? Is it an acoustic issue, or a collection of more or less synchronous performance instructions within the score? Is it an aspect of the psychology of perception, aesthetics, semiotics or sociological momentum? Is it a kaleidoscope of aural memories, which we associate with an acoustic phenomenon? Or is it a label for all those aspects of music which are non-structural, elusive, surface-level, pure ‘presence’? Further, how does one distinguish between musical and extramusical sound?

 

2. Sound as a subject of composition

Keynote: Oliver Schneller, Eastman School of Music, Rochester

That sound has more and more (though not continuously) found a central position in compositional study, is considered to be a fait accompli. This section will, therefore, focus on the music of the recent past, including rock, popular music and electronic music. Nonetheless, within the emerging historiography of music theory, it is becoming increasingly difficult to maintain this simplistic view. First, also in earlier centuries sound has played a formative role in the approach to music composition, and has been a mainspring for stylistic changes. Second, the way in which a particular chord is registrated and performed by one single instrument, constitutes its sound similar to the representation of the same chord in a full orchestral setting. It is neither the chord itself nor its ‘Tonsatz’, but the illumination, virtual soundstaging and the resulting sound that determine its character within a given passage.

3. Sound as an analytical category in contemporary classical music

Keynote: Helga de la Motte-Haber, Technische Universität Berlin (emerita)

Since the late 1960s, there has been discussion about the analytical approaches toward those branches of contemporary music that focus to a large extent on sound, particularly since (in 1966) Pierre Schaeffer and Helmut Lachenmann presented their categories for electro-acoustic music and for (with regard to sound and playing technique) advanced instrumental music, respectively. In 1970, Rainer Wehinger demonstrated with his »Hörpartitur« (listening score) of Ligetis electronic piece Artikulation the potential of graphical forms of analysis. During the 1980s and 1990s, the exponents of musique spectrale provided their own vocabulary necessary to understand their music New methods of digitally analysing recordings have since been invented, while other methods focus on pure aural analysis or correlate sound with structure in individual works. This section offers an overview of the diverse methods currently in use, which should stimulate further investigation.

4. Sound as a partial discipline within the teaching of composition

Keynote: Fabien Lévy, Hochschule für Musik Detmold

Is orchestration an inherent aspect of today’s music composition study? If yes, how so? Or is it now obsolete to teach orchestration, because every individual’s aesthetics enforces an individual orchestration technique, turning traditional orchestration and its devices into an outdated concept?

To what extent do electronic instruments, live electronics and computer-based compositions change the compositional terrain and techniques? What happens to the technical and aesthetic endurance of composition when music production and performance is bound to a software?

In addition, this section will explore historically informed music theory. How was orchestration taught in earlier epoques? What factors influenced changes in the construction and sound production of instruments? How did new performance locations, regional schools and changing social conditions impact it?

5. Sound in popular music

There is one particular type of music where the conventional score is subordinate to the often complex, hard-to-analyse sound: popular music. In this field the analysis of sound has been, if anything, a major topic within musicological and music theory circles since the 1990s. However, this remains a vague topic without an adequate, cohesive concept. Case studies, repertoire studies and aesthetic questions are possible topics for this section.

6. Free papers

No requirements.

Self-organised panels: sound and…

This sections could relate to the previously mentioned sections. Since ›sound‹ is a quite broad topic, several other combinations are possible.

Application

The following formats are, as usual, possible:

  • Paper (20 minutes + 10 minutes discussion)
  • Book presentation (20 minutes + 10 minutes discussion)
  • Workshops (length by agreement with the chair)
  • Panels ( 4 hours. The leader of a panel is free to organize the time as it seems appropriate.The following formats are possible: papers, seminars, workshops, lecture recitals, discussion rounds, etc.)

The lengths of abstracts for single papers:

  • 2000 characters, including spaces
  • Biographical information: max. 1000 characters, including spaces

Proposals for panels should include the following information:

  • Summary (max. 3500 characters, including spaces)
  • Short presentation of each paper of the section ( 2000 characters per paper, including spaces)
  • Biographical information of each participant ( 1000 characters per candidate)

If someone intends to invite other participants to his/her section, he should make use (preferably at an early stage) of the GMTH newsletter system: or contact the president of the GMTH (schroeder@mdw.ac.at).

The languages to be used at the Conference and for the abstracts are German, English and French.

Proposals should be submitted until of May 1, 2016, via the following forms:

Individual papers: http://www.gmth.de/veranstaltungen/jahreskongress/beitragsanmeldung.aspx

Panels: http://www.gmth.de/veranstaltungen/jahreskongress/panelanmeldung.aspx

Music Science Today: the permanent and the changeable

05.05.2016 – 06.05.2016

Daugavpils University, Faculty of Music and Art, Vienības Street 13

 

Faculty of Music and Art of Daugavpils University in co-operation with Jāzeps Vītols Latvian Academy of Music and Lithuanian Academy of Music and Theatre (Lithuania) organize the 11th International Scientific Conference Music Science Today: the permanent and the changeable.

 

The range of themes of the conference is rather great firstly due to the common thematic line, since the permanent and the changeable issues in music are everlasting and comprehensive ones. The situation of postmodern culture, the spread of new style trends and new types of music have even more escalated the topicality of the above-mentioned issues. Secondly, apart from the tandem of history and theory, the dominant of the conference is also the other pair – the close co-existence and interaction of the research and the pedagogic-methodological aspects. Third, the total value of the conference is built also by the fact that serious presentations will be made by both Latvian scientists and foreign scholars. The content of the conference thus becomes richer with every participant, and the encouraging ideas voiced and proposed at the conference will make the basis for further research and the analysis of the cultural situation.

 

The aim of the conference is to promote the development of scientific communication on the international scale, to enrich the Latvian music science with new findings, to stimulate scientists to research the questions related to academic, traditional and popular music history and theory, as well as the 20th century music analysis in an integrated way.

 

Thematic guidelines:

  • The link between music history and theory in scientific research
  • Music in Latvia and the neighbouring countries
  • The analysis of the 20th century music

·         Latgale music culture

  • Traditional, jazz and popular music

 

Organizing Committee:

  • Ēvalds Daugulis, Daugavpils University, Latvia, Head of Conference
  • Ilma Grauzdiņa, Jāzeps Vītols Latvian Academy of Music, Latvia
  • Leonidas Melnikas, Lithuanian Academy of Music and Theatre, Lithuania
  • Romualdas Apanavičius, Vytautas Magnus University, Kaunas, Lithuania
  • Edgars Znutiņš, Daugavpils University, Latvia
  • Ineta Goldmane, Daugavpils University

 

Working languages: English, Latvian, Russian

 

Deadline for registration: March 12, 2016.
Application form (DOC, 41 kb), http://du.lv/en/News/Music_Science_Today_2016

 

 

Deadline for the submission of abstracts (300 words) electronically: March 12, 2016.

Deadline for the submission of complete manuscripts for the proceedings: June 30, 2016.

 

Participation fee: 50 EUR .
Accommodation:

Park Hotel Latgola http://www.booking.com/hotel/lv/park-latgola.en.html

Hotel Verina http://www.select-a-room.com/hotels/latvia/daugavpils

Daugavpils University Students’ hotels http://www.du.lv

 

In case of inquiries do not hesitate to contact:
Faculty of Music and Arts

Daugavpils University
Vienības Street 13-416, Daugavpils,

 

Latvia, LV5401
Phone: +371 65440819, +371 65424479
Fax: +371 65422890
e-mail: evalds.daugulis@du.lv

http://du.lv/en/News/Music_Science_Today_2016

 

Continental Drift: 50 years of jazz in Europe

CALL FOR PAPERS

Continental Drift: 50 Years of Jazz from Europe
16th and 17th of July, 2016

A two-day conference at Edinburgh Napier University, UK, in association with the Edinburgh Jazz & Blues Festival.

The organisers seek proposals for papers (to be delivered as a 20×20” slide-based presentation) based on two central themes that will function as stimulus for panel discussions:

  1. Key factors in the development of jazz in Europe.
  2. Moving forward – the future of jazz in Europe.

We intend to include a broad range of interdisciplinary perspectives around these topics including but not limited to historical, analytical, philosophical, economical, cultural, political, and pedagogical viewpoints. We welcome proposals from any disciplinary background.

Conference proceedings will take two main forms:

  1. Each presenter will be invited to submit an article based on their presentation which will be published as part of an edited collection – details TBC.
  2. The event will be filmed and released as an open-access online resource.

Proposals should include the following details:

Presenter Name
Institutional affiliation (if appropriate)
Email address
Title of paper
300-word abstract

Please send your abstract to continentaldriftconference@gmail.com by Tuesday the 1st of March 2016. You will be notified of the outcome by Monday the 14th of March.

Dr Haftor Medbøe, Dr Zack Moir, and Prof. Chris Atton
Conference Organisers
Researchers in Residence (Edinburgh Jazz and Blues Festival)

w: http://www.continentaldriftconference.co.uk
t: http://www.twitter.com/eurojazz50

Performing Knowledge Conference

25-26 April 2016

Emmanuel College, Cambridge

Call for Papers

Bringing together performing musicians engaging in practice-led research, ethnographers of Western art music, and psychologists specialising in tacit knowledge research, this two-day conference will explore performers’ interpretative processes and their uses of tacit knowledge (also called implicit, procedural, or embodied knowledge) in understanding the explicit knowledge presented in historical documents, analyses, and performance treatises.

Keynote participants include Professor Tom Beghin (fortepianist), Margaret Faultless (violinist), Professor Christopher Page (guitarist), Chris Maene (instrument builder), Professor Tina K. Ramnarine (musician and anthropologist), Dr Satinder Gill (experimental psychologist), and Professor John Rink (Director, Cambridge Centre for Musical Performance Studies).

Belgian-Canadian fortepianist Tom Beghin (Orpheus Institute/McGill University) will perform a keynote recital featuring Beethoven’s last three piano sonatas, to be presented on a replica of Beethoven’s Broadwood piano built by master instrument builder Chris Maene.

Margaret Faultless (Cambridge University/RAM) will present an open rehearsal discussing interpretative decision-making processes within conductor-less orchestras. Her presentation will be followed by a performance with the Cambridge University Collegium Musicum.

Keynote papers will be presented by:

  • Professor Christopher Page: Performance, Imagination and the Early-Romantic Guitar
  • Professor Tina K. Ramnarine: Performance, Storytelling and the Politics of Musical Knowledge
  • Dr Satinder Gill: Knowing-How and Knowing-When: researching performers’ musical timing

Proposals are invited for 20-minute papers, 30-minute lecture-recitals (each will be followed by 10 minutes of discussion), and posters. The conference language is English. Presentations that engage critically with theories and methodologies of researching performers’ tacit knowledge, such as the use of ethnographic techniques, practice-led research, or the analysis of recorded audio and audio-visual performance, are especially welcome. Interdisciplinary perspectives are also invited, for example, papers that draw on opera or dance studies, material studies, or cognitive studies in music in discussing the theme of the conference. Topics may include:

  • Performers’ creative engagement with historical documents and objects, extending beyond the conventional remit of historically-informed performance practice studies.
  • The influence of instrument affordances on performers’ interpretative choices.
  • How musicians communicate through gesture and/or vocalisation.
  • The challenges and potentials of self-reflexive research in performance.
  • The influence of tradition on performers’ interpretative ideas.
  • The dynamics of performers’ interpretative decision-making processes in practice, rehearsals, and/or public performance (both solo and in ensemble).

Please submit proposals by Friday, 5 February 2016 including:

  • Name and institutional affiliation (if applicable).
  • Curriculum Vitae and 100-word biography.
  • Title and abstract of presentation, max. 450 words. For lecture-recitals, please include programme details of any repertoire to be performed (details are excluded from the word count).
  • A list of technical requirements (computer projection and a Steinway grand piano will be available).

Proposals will be assessed by the conference committee and applicants will be notified of the outcome by 15 February. The registration fee for delegates (whether presenting or observing) will be £90 (full) and £50 (students). Early-bird registration (by 19 February) and RMA member rates are £80 (full) and £40 (students). Registration fee includes all concerts, meals (excluding breakfast), and refreshments. Additional tickets (if required) for Tom Beghin’s recital may be booked through ADC Ticketing for £25 / £15.

Proposals should be emailed to performingknowledge@emma.cam.ac.uk. Please send any enquires to this address also.

Web Page: https://www.emma.cam.ac.uk/conferences/events/perfknow/

Facebook Event Page: https://www.facebook.com/events/647358332072144/