iFIMPaC 2016

In celebration of Leeds College of Music’s 50th Anniversary IFAI presents iFIMPaC 2016.

Thursday, 10 March 2016 and Friday, 11 March 2016

Keynote speakers and performers to be announced soon.

The International Festival for Innovations in Music Production and Composition is a metropolitan festival and takes place at Leeds College of Music and venues around the City of Leeds.

The festival creates a unique environment for composers, producers, performers, academics and students to perform and discuss their compositional/production work as practice-led research. This year’s event will continue its association with Nonclassical where we will be running a Nonclassical club night.

Submissions will be selected for either:
  • Concert hall with diffusion rig and projection
  • ‘Nonclassical’ club night event curated by Gabriel Prokofiev
  • ‘Off The Beaten Track’ evening event curated by Matthew Bourne

The following is not meant to be an exhaustive list and submissions may fit more than one of the daytime or evening events. As a guide we welcome:

  • Live Music embracing hybridity/plurality as part of the composition process
  • Solo instrument/small ensemble with live electronics*
  • Improvised sets
  • Experimental DJ sets
  • Live Coding
  • Experimental DJ sets
  • Laptop improvisation/live coding
  • Left Field Improvisation/Jazz
  • Solo instrument/small ensemble and live electronics*
  • Club music (electronic music influenced by pop, IDM and electronica)
  • Live IDM

For ‘Nonclassical’ and ‘Off the Beaten Track’ events we are happy to consider music that does not fall into the above categories and escapes definition.

  • Stereo acousmatic music for diffusion
  • Interdisciplinary work that includes sound/music
  • Multichannel pieces (5.1 and up to 8 channels + LFE)
  • Multimedia/Audio Visual pieces (including installations)
  • Solo instrument and fixed medium and/or live electronics*

*we may be able to supply performers in some instances, but you should consider acquiring your own performers as iFIMPaC’s budget is small.

  • 50 second audio visual works to be played as part of an installation (must be precisely 50 seconds)**
  • Format (MOV or MP4); H264 video codec; ACC audio codec (stereo); between 720 and 1080p

**selected 50 second video works will be played back-to-back as part of an audio-visual installation.


The following are welcome, but this is not an exhaustive list:

  • New Music: composition practice and plurality
  • ‘Shifting’ practices in electroacoustic music
  • Electroacoustic music and hybridity
  • Interdisciplinary practices
  • Electroacoustic music and analysis
  • Approaches to live coding
  • Unique interfaces and approaches to performance
  • Composition systems and techniques
  • The shifting relationships between spaces and places in music production practice
  • Dispersed creativity and how people are collaborating as a result of new technologies
  • Production analysis and innovative approaches: music technology in a commercial and/or academic settings

Preference will be given to topics that include interdisciplinary approaches that inform new insights into the creative applications of music technology, compositional methodology and/or production. Individual presentations should be no more than 20 minutes in duration (there will be a further five minutes for questions).



Successful applicants will need to register and pay a delegate fee in order to be programmed.

If your submission is successful, and is acousmatic, but you cannot attend, you will still need to register and pay the delegate fee. You may nominate an attendee to diffuse your work.

Registration fees are as follows:

Two days:

  • Single delegate £135
  • Institutional rate (up to four delegates) £340
  • Concessions* £60

One day:

  • Single delegate £75
  • Institutional rate (up to four delegates) £180
  • Concessions* £35

*concessions are for unemployed, OAPs and non-LCoM students who are not performing or presenting. Concessions are not available for participants.



The deadline for the submission of proposals is Monday, 16 November 2015.



Please submit your work here for iFIMPaC 2016: http://bit.ly/iFIMPaC2016

Any queries about a proposal or attending iFIMPaC should be directed to James Wilson.

The Music Encoding Conference 2016

You are cordially invited to participate in the Music Encoding Conference, which will be held 18-19 May 2016 (with pre-conference workshops on 17 May and an “un-conference” day on 20 May) in Montreal, Canada, in cooperation with McGill University.

Music encoding is a critical component of the emerging fields of digital musicology, digital editions, symbolic music information retrieval, and others. At the centre of these fields, the Music Encoding Conference has emerged as an important cross-disciplinary venue for theorists, musicologists, librarians, and technologists to meet and discuss new advances in their fields. The Music Encoding Conference is the annual focal point for the Music Encoding Initiative community (http://music-encoding.org), but members from all encoding and analysis communities are welcome to participate.

Proposals for papers, posters, panel discussions, and pre-conference workshops are encouraged. Please see our Call for Papers.


The Music of German Emigrants Outside Europe in the 18th and 19th Centuries

The Music of German Emigrants Outside Europe in the 18th and 19th Centuries

International Conference
Universidade do Estado de Santa Catarina, Florianópolis, Brazil
Departamento de Música
4–6 May 2016

Call for Papers

The musical practice of German emigrants outside Europe in the 18th and 19th centuries has already been the subject of musicological research – although not substantially from within Germany itself. The musical practice of the Moravians or Pennsylvania Dutch, for example, has already been well documented, reconstructed and contextualized; the musical life within German settlements in Southern Brazil during the late 19th century has been the focus of several master theses at local universities. Furthermore, the musical activities of missionaries in the colonial history of the German Empire in Africa has been investigated.

All these examples have, however, two problems in common: First, they have not yet been considered together in comparison in order to recognize and discuss similarities and differences with regards to the shape of musical practices of German emigrants within their new, culturally divergent surroundings. Second, a reference back to musical practices and developments ‘at home’ together with a contextualization of emigrated music and its agents as part of German music history is still missing.

The international conference “The Music of German Emigrants Outside Europe in the 18th and 19th Centuries” will focus on these desiderata and for the first time invite researchers to an interdisciplinary exchange on the conference topic. The possible thematic priorities are:

  • German settlement colonies as places of emigrated musical practice: foundations (with reference to the settlements in the USA, Brazil, Argentina, Chile, Australia, China, and the German political colonies)
  • The music practice of German emigrants in the 18th and 19th centuries: protagonists and networks
  • Works, styles, genres, instruments: transfer and transformation
  • Musical culture as a factor for integration and acculturation: processes and events
  • Musical culture between segregation and pan-germanism
  • The German political colonies and dependencies: special forms of politically controlled immigration and music practice?
  • Church music in the parish service and in the practice of evangelization

Please send abstracts of circa 250 words (in Word-Format) and a short biography before September 30, 2015, to the following e-mail addresses: christian.storch@udesc.br and marcosholler@gmail.com. Notification of acceptance will be made by October 15, 2015.

The conference language is English. Selected papers will be published in German, English or Portuguese.

Dr. Christian Storch (UDESC Florianópolis / JGU Mainz)
Prof. Dr. Marcos Holler (UDESC Florianópolis)

Pavel Haas Study Day

Saturday, 30th January 2016

Cardiff University, School of Music

The Pavel Haas Study Day, takes place in conjunction with the performance of Haas’s String Quartet No. 2, ‘From the Monkey Mountains’ (1925) and String Quartet No. 3 (1937–38), played by the Graffe Quartet (Brno, Czech Republic) and accompanied by a researched-based commentary by Mgr. Martin Čurda (Cardiff University).

The keynote lecture will be delivered by Prof Michael Beckerman (New York University).

In the case of Pavel Haas (1899–1944) a number of factors conspired to push the music of a highly accomplished composer to the verge of oblivion. As a student of Leoš Janáček and a life-long resident of Brno (Moravia), Haas has been marginalised in the dominantly Prago-centric historiographical accounts of Czech music. During the Nazi occupation of Czechoslovakia, the composer was banned from performance, imprisoned and killed due to his Jewish origins. In the following communist era, his music was passed over in silence, apparently for the same reason. Since the 1990s, Haas’s music has been slowly finding its way on to international concert stages, although the main body of his output, which engages in fascinating ways with inter-war avant-garde movements in Czechoslovakia and beyond, risks being overshadowed by Haas’s association with the Holocaust.

The purpose of the Pavel Haas Study Day is to stimulate critical discussion about Haas’s work, bringing together individual scholars, performers, enthusiasts, and representatives of relevant professional societies and research groups. The long-term goals of this discussion are: 1) to raise awareness of Haas’s music; 2) to enhance its understanding and appreciation by placing it in a varied inter-disciplinary context, from which it has so far been excluded; and 3) to establish for the first time an international network of scholars working on Haas and Czech music more generally in order to reinvigorate this field – which, while it does not lack strong individual scholars, lacks a sense of collective direction – and plan strategies for its future development.

The event is sponsored by the Royal Musical Association, the Music & Letters Trust, and Cardiff University, School of Music.


Individual 20-minute presentations are invited on themes that may include but are not limited to the following:

  • Janáček’s students and the problem of a Moravian compositional tradition
  • Moravian affiliations in Czechoslovak avant-garde music, arts, and culture
  • Haas’s music in the context of Nazi occupation
  • Haas’s music in the context of Czechoslovak and European avant-garde movements
  • Pavel Haas and musical historiography
  • Analytical and hermeneutical approaches to Haas’s music
  • Haas’s music in performance and concert life

One session of the day will be dedicated to the opera Charlatan (premiered 1938), an enigmatic work full of fantastic imagery, disturbingly resonating with the approaching threat of the Holocaust. The panel will include Prof John Tyrrell, a renowned specialist on Czech opera, the director and scenographer Prof Pamela Howard (Royal Welsh College of Music and Drama), and Czech theatre scholar and translator of the Charlatan, Prof Pavel Drábek (University of Hull).

Enquiries, expressions of interest, or abstracts (up to 250 words) are to be sent to Martin Čurda (CurdaM@cardiff.ac.uk) by Monday, 30 November 2015.

International Musicological Society (IMS), 20th Quinquennial Congress in Tokyo

homepage  Tokyo University of the Arts, March 19 ‒ March 23, 2017

Call for Proposals
All musicologists and researchers in relevant fields, whether they are IMS members or not, are cordially invited to propose a contribution.

Congress Theme
Musicology: Theory and Practice, East and West

Presentation Categories
1) Free Papers (20-minute presentation and 10-minute Q&A)
2) Roundtables (focused on topics relevant to the theme of the Congress: 120 minutes including Q&A)
3) Study Sessions (90 minutes including Q&A)

Languages of Presentation
English, French, German, Italian, and Spanish. (Proposals must be transmitted in English.)

Deadline: January 15, 2016

Travel Subsidies
We are able to offer a limited number of travel subsidies to those who have no full-time professional affiliations and will be traveling to Tokyo from overseas, including students and post-doctoral researchers. The amount of subsidies ranges from 30,000 to 100,000 Japanese yen. (Please visit our Web site for more details.)

For Further Information   http://ims2017-tokyo.org/

Organizing Committee, IMS 2017 Tokyo

Creativity in musical instruments, sound and music making


International Scientific Meeting for Sound and Musical Instrument Studies


18.19.20/Dezembro|December : TAVIRA – ALGARVE – PORTUGAL



The wide capacity for inventing sound tools and music has been a constant human evolution factor, from regional environments to the application of leading-edge technology. Modernity does not imply a merging homogeneous reality, nor entails a comprehensive Western permeation. Musical instruments reflect individuals and their societies, traditions and quests for novelty, as well as links and differences between cultures. Some sound objects are endlessly duplicated and common in all corners of the world while others are rare or even unique. So is each voice. We believe this meeting to be a good opportunity for bringing to light different spectra on the importance of musical instruments, sound and music making in human history. 

Following the natural crossroads in Organology, this year’s main theme is «Creativity in musical instruments, sound and music making». The theme is the ‘leitmotif’ of the conference and it is not exclusive; participants are welcome to explore the interdisciplinary essence of Organology and sound studies, on all topics and techniques relevant to our field. We may add that performance issues should especially refer to the instruments or sound producing devices used for the artistic communication, being possible to focus on the “creativity” of the composer in the use of the particular instrument/s or sound producing.


We accept proposals for papers (15+5mn for questions and handover), panels (one hour), and posters, as well as lecture-recitals (30 to 40 minutes) and concerts. In addition, participants, namely inventors, makers and collectors, have the possibility to show a selection of their musical instruments or designs at the Exhibition. There is also a specific display area for books, scores, and other items, available during the conference days.

The common language for presentations is English. Papers may be read in Portuguese, Spanish, French or Italian, provided the PowerPoint projection is in English. We also accept participation with direct translation in special cases.


We look forward to abstracts that describe original and technically excellent research from various perspectives. The title, abstract (in English or bilingual, of up to 300 words), and a biographical note (up to 100 words) should be received by email on or before the 1st of October of 2015. The results shall be communicated individually by middle October after being peer-reviewed by the Scientific Committee. Papers presented at the Organological Congresses may be submitted for publication in the conference proceedings.


Please send proposals to congressorg2015.animusic@gmail.com

For further and updated information please check the website www.animusic-portugal.org or contact us at the email above.


The exquisite art of the Hungarian Organist Gyula Szilágyi will be heard in a concert (Friday night, 18th of December) and in a lecture-recital (Sunday), playing on two historical organs, the first at the Igreja de Santiago and the second at the Igreja da Misericórdia. The famous Pianist Kyoko Hashimoto will perform on Saturday night, the 19th of December, works from one of her last recordings, “La danse des B…”, by Bach, Beethoven, Brahms, Blumenfeld and Bartók.


Masterclass of Piano by Professor Kyoko Hashimoto (Japan/Canada) and Workshop on Historical Flute and Performance by Professor Michael Lynn (Oberlin, USA).

‘We Feel the Breath of the Soil and Fate…’ Georgy Sviridov and Russian Culture in the Twentieth Century

for the 100th anniversary of the composer’s birth

16-18 December 2015 Moscow

International Scholarly Conference

1 – 4 March 2016 Saint-Petersburg

International conference of young researchers

Saint-Petersburg State University and State institute of Art History wishes to draw the attention of the scholarly community to the conference “We feel the breath of the soil and fate…: Georgy Sviridov and Russian culture in the twentieth century” dedicated to the 100th anniversary of the composer’s birth. The conference organizers invite scholars, teachers, graduate and undergraduate students in history, philosophy and religious studies departments, as well as representatives from the fields of art history, musicology, literary criticism, sociology and cultural studies to take part.

This interdisciplinary conference will provide the opportunity to examine problems in music history and the creativity of composers more broadly than from a purely musicological perspective. The conference organizers see its main aim as the opportunity to consider the life and work of Sviridov in the light of the underlying problems of Russian history in the twentieth century and its culture, as well as from the perspective of global artistic processes. We wish to see the centenary of Sviridov’s birth serving as the occasion for serious scholarly discussion of a range of basic issues relating to approaches to the history of the Soviet period of Russian music and to the elaboration of new criteria for aesthetically, culturally and sociologically evaluating what has been achieved in the recent past in order to prepare a prognosis for the future development of our musical culture.

Sviridov’s life was a long one. He was born, shortly before the revolutions of 1917, and died after perestroika. The vicissitudes of Russian history of the twentieth century have been reflected in his fortunes. Numerous significant events and shifts in Russian history came to the composer’s attention, became the subject of artistic interpretation and gained musical realisation. In his creative work Sviridov was a rather solitary figure. After the war, as he found his way, critics wrote that he was “swimming against the tide”. Soon after, he bypassed the temptation offered by various trends in the western music of his time and did not join any musical party. He created an individual style of his own. In particular, it may be said that Sviridov differed from his contemporaries in his inclination to word-centredness or, more accurately, logocentrism.

The composer produced a significant collection of romances and songs from the second half of the twentieth century. Sviridov’s choral music, his cantatas, oratorios and numerous a cappella choruses provided an impetus for the development of the genre of choral music in Russia. Such creations as the choral concerto A Pushkin Garland or the choral cycle Canticles and Prayers have won recognition beyond Russia and have become widely famous all over the world.

Sviridov’s art is inextricably connected with Russian music, both past and present. At the same time, while being a national composer, Sviridov is inconceivable without the context of world culture. This concerns however, not only musical creativity. As an enlightened man, the composer could perfectly well find his way around the entire expanse of humanity’s lofty spiritual heritage.

The structure of the conference is presented in eight main sections. The sections are arranged chronologically. Depending on the number and character of paper proposals submitted to the organizing committee, the conference will take place in either a single or parallel sequence of plenary and sectional sessions.

The key research objectives for the conference are as follows:

I. Left march: revolution and culture of Russia in the early twentieth century.

II. Art of the 1930s (1930 – 1941).

III. The war years (1941-1945).

IV. The post-war situation: the end of the Stalin régime.

V. The Khrushchev “Thaw” and the artistic culture of Soviet Russia in the mid-1950s
and early 1960s.

VI. The state of art in the last decades of Soviet power (1964-1991).

VII. The problem of the cultural interaction of Russia and the West at the end of
the twentieth and the beginning of the twenty-first century.

VIII. Music and the word in the self-consciousness and creative work of Georgy Sviridov

IX. The place of Georgy Sviridov in the modern musical process.

Subjects for the concluding discussion:

1. The current state and horizons for the development of Russian culture;

2. «The end of Soviet music», what next? Perspectives on the development of Russian
music in the post-Soviet period: “spiritual independence” or “multiculturalism”?

To participate in the conference, send an application (full name, place of work and position, phone numbers and email) and an abstract (1000-1500 printed characters) to the organizing committee in Russian and/or English before 15 October 2015 (for Moscow) and 15 January 2016 (for Saint-Petersburg – young investigators’ conference).

The working languages of the conference are Russian and English.

Forms of taking part in the conference: plenary paper, session paper, written rather than spoken paper. Each presentation should last 15 minutes with an additional 5 minutes for discussion.

The conference in Moscow will be based at the State Institute of Art Studies.

Address: Moscow, Kozitsky pereulok, 5.

The conference in Saint-Petersburg will be based at Saint-Petersburg State University< Institute of History.

Address: Saint-Petersburg, Vasilevsky Island, Mendeleev line, 5.

Contact Information (for Moscow):

Secretaries of the organizing committee:

Alexander Sergeevich Belonenko

Е-mail: belonenko@mail.ru

Nadezhda Ivanovna Teterina

E-mail: nad_teterina@mail.ru

(questions about sending proposals for papers to the organizing committee and the wording of topics)

Contact Information (for Saint-Petersberg):

Secretary of the organizing committee:

Е-mail: belonenko@mail.ru (questions about sending proposals for papers to the organizing committee and the wording of topics for papers)

madnickhistory@gmail.com – Nikolaev Nikita Ivanovich (about conference organization)

Ivanyakoovleev@mail.ru – Yakovlev Ivan Dmitrievich (about conference organization)

Enclosure № 1

Registration Form

First Name:

Last Name:

Scientific degree:


Institution Address:

Country Representing at the Conference:

Post address______________________________________________________


Fax _____________________________________________________________


I plan to take part in the conference with

  • a plenary paper (with a title)

  • a session paper (with a title)

  • round table discussion

  • stand paper + a title (external participation)

Special requests__________________________________________________________

TENOR 2016 International Conference on New Technologies for Music Notation and Representation


Cambridge, UK, 27-29 May 2016
Anglia Ruskin University

The second International Conference on Technologies for Music Notation and Representation is dedicated to issues in theoretical and applied research and development in Music Notation and Representation, with a focus on computer tools and applications, music creation and cognition.

Until very recently, the support provided by computer music developers and practitioners to the field of symbolic notation has remained fairly conventional. However, recent developments indicate that the field of tools for musical notation is now moving towards new forms of representation. Moreover, musical notation, transcription, sonic visualisation, and musical representation are often associated with the fields of musical analysis, ethnology, and acoustics. The aim of this conference is to explore all recent mutations of notation and representation in all domains of music.

This year we are extending the call to include cognition as well as ontological issues of performance practice arising from the use of traditional and/or graphical notation systems in live electronics.

In addition to paper submissions, we are interested in receiving proposals for workshops involving technologies of notation and representation. We would also be happy to receive proposals involving presentation formats which challenge the paper/presentation model.


Musical creation

  • Notation in electronic and electroacoustic music
  • Notations for interactive music
  • Notation for sound installations
  • Notation for the multimedia and mixed arts
  • Live coding
  • Ontologies of notation

Musical notation

  • Innovative computer applications for music notation
  • Languages for music notation
  • Gesture notation
  • Notation and mobile devices
  • Exchange formats for music notation
  • Online tools and languages for music notation and representation

Analysis, notation & pieces studies

  • Analysis of contemporary notations
  • Semiotics of new notation forms
  • Ontology of the notation of interactive music
  • Data mining, music notation corpus, databases
  • Notation in mind: notation and cognition

Representation, transcription

  • Sound visualisation
  • Interactive representation
  • Transcription in ethnomusicology and representation of non-written musics
  • Non-western or ancient music trans-notation
  • Representation and transcription in acoustic ecology and soundscapes
  • Optical music recognition

Listening, teaching

  • Listening guides
  • Live and offline annotation
  • Notations for music pedagogy


More information & submission at http://tenor2016.tenor-conference.org

Deadline for paper and workshop proposal submission: Monday November 16, 2015.

Fifth Annual Meeting of the Historical Keyboard Society of North America (HKSNA) | The Compleat Keyboardist: harpsichord, fortepiano, organ, clavichord, continuo



21-23 MARCH 2016

Oberlin College’s Conservatory of Music (Ohio, USA) will host the fifth annual meeting of the Historical Keyboard Society of North America (HKSNA) from Monday, 21 March, to Wednesday, 23 March 2016. The meeting’s theme “The Compleat Keyboardist: harpsichord, fortepiano, organ, clavichord, continuo” hopes to inspire us with the variety of instruments played by our forefathers and foremothers.

Three days of morning and afternoon events (Monday to Wednesday) will include papers, lecture-recitals, mini-recitals, and an exhibition of publications, recordings, and contemporary instrument makers’ work. Proposals for individual presentations or for themed sessions with multiple participants on any subject relating to historical keyboard instruments, their use and repertories from the Middle Ages to the twenty-first century, are welcome.

*Of special note: Oberlin College will also host the Eighth Jurow International Harpsichord Competition during 22-24 March 2016. For more details, visit: http://historicalkeyboardsociety.org/2016-jurow-competition/.


Please submit proposals by electronic means only, via email to hksna2016@gmail.com by 30 September 2015. Individual presentations will be limited to 25 minutes. For papers and themed sessions, submit a one-page abstract attached to the e-mail as a Microsoft Word document. For mini-recitals and lecture-recitals, submit complete program information and a representative recording as an internet link or as an attached MP3 file. For performers not intending to bring their own instruments or to make arrangements to use exhibitors’ instruments, instruments will be available, based on needs for the Jurow harpsichord competition; see list below. All proposals must include short biographical statements (250 words or less) for all presenters and indicate any audio-visual/media needs.

Notification of accepted proposals will be made by 31 October 2015. Presenters must be members of HKSNA and must register for the conference. Presenters must also cover their own travel and other expenses. Further information, as it becomes available, will be posted on the website of HKSNA (www.historicalkeyboardsociety.org).


David Breitman
Lisa Goode Crawford
Frances Conover Fitch
Joseph Gascho
Sonia Lee
Webb Wiggins, chair

*          *          *

Below is a list of Oberlin Conservatory’s Historical Performance Program keyboard instruments; not all may be available for use in your proposal due to use in the Jurow harpsichord competition or hall availability.

French Harpsichords
Richard Kingston double, 1990
Keith Hill double, 1987
John G. P. Leek double, 1975
William Dowd double, 1969
Willard Martin single, 1979

Flemish Harpsichords
Zuckermann double after Moermans, 2007
Robert Myerly single, 1989
Willard Martin single, 1979

German Harpsichords
John Phillips double after Gräbner, 2014
William Dowd double after Mietke, 1986 (Wiggins)

Italian Harpsichords
David Sutherland, 1983
Anderson Dupree, 1982
William Dowd, 1965 (A=415/440/463)

Edward Kottick muselar (mother & child), 2004 (A=440)
Willard Martin muselar, 1973 (A=415)
potential Owen Daly Italian, 2016 (A=463)

Chamber Organs
Gerrit Klop chamber organ, 1985 (8’ 4’ 2 2/3’ 2’ flutes, 8’ wooden principal treble only)
Robert Byrd chamber organ, 1990’s (8’ 4’ 2’ flutes)
D. A. Flentrop chamber organ, 1956

Concert Organs
D. A. Flentrop three-manual North European organ in Warner Concert Hall, 1974
C. B. Fisk three-manual late-Romantic organ in Finney Chapel, Op. 116
John Brombaugh two-manual early 17th century meantone organ in Fairchild Chapel, 1981

Joel Speerstra pedal and two-manual clavichord, c. 2006
Gough unfretted 5-octave clavichord, c.1964
Zuckermann “King of Sweden” fretted 4-octave clavichord, 2009

Early Pianos
Thomas & Barbara Wolf after Dulcken, Viennese, 5-octave + 2 notes (FF-g’’’), c. 1990’s
Paul McNulty after Walter, Viennese, 5-octave + 2 notes (FF-g’’’), c. 2005
Anton Zierer fortepiano, Viennese, 6 ½-octave (CC-g’’’’), c. 1829
Broadwood parlor grand piano #5418, 7-octave (85 notes), c. 1865


Christian Wolff at Orpheus

The Orpheus Institute (Ghent, Belgium; http://www.orpheusinstituut.be/en) announces “Christian Wolff at Orpheus,” two study days September 28 and 29, 2015, with the composer in attendance. Included is a keynote talk by Philip Thomas (University of Huddersfield) and an open rehearsal by TWO (Joseph Houston, Aisha Orazbayeva) of American experimental works, including a new composition by Wolff. A performers’ workshop will be held on Tuesday afternoon (29th) at which appropriate repertoire can be presented and coached by Thomas and Wolff. Proposals for papers and presentations are also invited for sessions on Monday (28th). Interested performers or presenters should contact William Brooks (w.f.brooks@york.ac.uk) for further details. There is no fee, but the study days are followed by the Orpheus Research Festival, in which Christian Wolff is also participating; for that there is a fee (indicated on the website). Registration in advance is advised; contact the Orpheus Institute after 17 August for details.