War of Media – Media of War


The Institute for Analysis, Theory and History of Music (University of Music and Performing Arts Vienna), in cooperation with the Music and Media Study Group (MaM) of the International Musicological Society, will hold an international conference from 25-28 November, 2015 in Vienna on the topic of

War of Media – Media of War:
The Importance of Music and Media for Propaganda in
Times of Change

With respect to the “outbreak” of World War I exhibitions in the wake of commemorative activities, as well as to related research projects, this conference will focus on the diverse roles and functions of arts and media in the contexts of propaganda, both in affirmative and in a critical sense. Following those kinds of approach, the aim of the conference is to encourage a general discussion of the manifold correlations and interdependencies in times of war and revolution.

Topics for case studies may cover all historical periods and all places, with priority given to the effects of modern mass media (print and electronic). Participants may wish to reflect upon war in terms of the arts and in different types of media, war-euphoria and pacifism relating to conceptions of artistic production, and images and social positions of arts and media dealing with war-issues or the relation between ideologies of progress and/or innovation in the context of socio-political systems upturned.

Please submit proposals together with short abstracts (max 300 words) and short cvs (max. one page) by
 26 March, 2015 to Cornelia Szabó-Knotik, szabo-knotikATmdw.ac.at, or to
 Professor Emile Wennekes, Utrecht University, e.wennekesATuu.nl

For additional information, contact the:
Institute for Analysis, Theory and History of Music
University of Music and Performing Arts Vienna
Anton von Webern-Platz 1, A-1030 Vienna

Planning and organization:
Cornelia Szabó-Knotik szabo-knotikATmdw.ac.at
Christian Glanz (for IATGM) glanzATmdw.ac.at
Emile Wennekes and Michael Saffle (for MaM)





Exoticism, orientalism and national identity in musical theatre. International musicological conference on the centenary of the death of Karl Goldmark

Budapest, 11–12 December, 2015

Institute of Musicology (Research Centre for the Humanities, Hungarian Academy of Sciences)

Karl Goldmark was a key figure of the musical culture of the Austro-Hungarian Monarchy. He was born in a Hungarian city as a son of a Jewish chazzan, but his activity concentrated mostly to Vienna. He considered himself Hungarian, but all of his operas were composed in German and, except Götz von Berlichingen, premiered in Vienna. Thus, his life and oeuvre represents not only the problematic questions of citizenship, religion and national identity in Central Europe at the turn of the century, but also their impact on a variety of musical genres (operas, symphonic works, chamber music, choral music, works for piano and songs).

On the centenary of Goldmark’s death, the Archives and Research Group for 20th and 21st Century Hungarian Music (http://zti.hu/mza/index_en.htm) launches an international conference which will discuss not only the life and oeuvre of Goldmark, but also several topics in connection to him. As an initiative, this conference intends to discuss these topics in international context and for the period of 1867 to present (also contemporary music), furthermore, ‘musical theatre’ will not be restricted to opera but papers concerning further genres of musical theatre (operetta, ballet, incidental music, musical, dance, show, revue, cabaret etc.) are also invited.

Abstracts of 300 words for 20-minute individual papers are invited to be sent in English or in German. Themes that papers may address include, but are not limited to:

– The oeuvre and life of Karl Goldmark (compositions, writings, biography, discography, iconography, bibliography, gender, interpretation, reception, influence, etc.).

– Music and National identity in Central Europe between 1867 and 1945

– Jewish topics in musical theatre (not only opera, but also ballet, dance, operetta, musical plays etc., from 1867 to present)

– orientalism and exoticism in musical theatre (from 1867 to present)

All proposals should be submitted by email no later than 30 April 2015 to magyar.zenei.archivum@btk.mta.hu With your proposal please include your CV, contact details and, if applicable, your affiliation. The committee will make its final decision on the abstracts by the end of May 2015, and contributors will be informed immediately thereafter. Further information about the programme, registration, travel and accommodation will be announced after that date.

For any additional information, please contact both of the organizers of the conference:

Ádám Ignácz (ignacz.adam@btk.mta.hu)

Ferenc János Szabó (szabo.ferenc.janos@btk.mta.hu)

Handel and His Eighteenth-Century Performers

The Handel Institute
‘Handel and His Eighteenth-Century Performers’
21—22 November 2015

The next Handel Institute conference, on the theme of Handel and His Eighteenth-Century Performers, will take place at the Foundling Museum, 40 Brunswick Square, London, WC1N 1AZ, on 21–22 November 2015. Proposals of up to 300 words for papers lasting up to thirty minutes should be sent to c.r.timms@bham.ac.uk or Colin Timms, Department of Music, University of Birmingham, Edgbaston, Birmingham, B15 2TT, UK, by 1 May 2015.

Arrangements, Performance and the Work Concept 1700-1900

15th June 2015

Senate House Library, University of London, London

Keynote speaker: Professor John Butt (University of Glasgow)

Musical arrangements have rarely been studied, although they problematize the ontological identity of the musical work as well as the notion of authorship, contributing to the debates that currently emerge when performance is conceptualized as a source of meaning. This study day aims to discuss the concept of arrangement and how it relates to the work-concept, music reception and performance.

Contributions are invited, which could explore the following areas:

  • The rise of piano-vocal scores of opera arias and choral works
  • Keyboard arrangements in 18th-century Europe, including arrangements of orchestral genres
  • Arrangements made by 19th-century piano virtuosos e.g. Liszt, Busoni
  • Arrangements as a genre of publishing
  • Arrangements and notions of musical ontology
  • Arrangement as an act of performance

Please submit your abstracts to Elena.PonsCapdevila.2012@live.rhul.ac.uk by 28th February 2015


The Staatskapelle Berlin at 450 – A Review

The Development of Court Music from the Ensemble of the Elector of Brandenburg to the Court Orchestra of the First King of Prussia

Venue:           Staatsoper im Schiller Theater

Date:              16th- 18th October 2015

Call for Papers:

Deadline: 28th February 2015


The Staatskapelle Berlin celebrates its 450th anniversary in 2020, thus making it one of the oldest orchestras in the world. In advance of this occasion, the Staatsoper is holding a series of annual symposia devoted to the history of the Staatskapelle Berlin and its international significance. The symposia will go beyond considering the Staatskapelle as an institution in itself to looking at its position within the musical life of Berlin and comparing it to that of orchestras from other European cities.

The first symposium in October 2015 traces the development of the orchestra from its founding in 1570 under Elector Joachim 2nd of Brandenburg (1505-1571) until the accession of King Friedrich Wilhelm 1st of Prussia (1688-1740) in 1713. Björn Priebe has described the reorganisation of the Prussian court orchestra under King Friedrich 1st of Prussia (1657-1713) as a ‘turning point in the music history of Brandenburg-Prussia’[1]. There has, however, been little research on the orchestra thus far, aside from Curt Sachs’ 1910 monograph Music and Opera at the Electoral Brandenburg Court. [2]

In light of this, fundamental questions about the music of the Brandenburg-Prussian court need to be raised and discussed anew. We would especially welcome proposals for presentations on the following topics:


  • Musical precedents and influences on the development of the orchestra at the Electoral Brandenburg and Royal Prussian courts
  • The responsibilities of the orchestra at court
  • The impact of the orchestra at court and its involvement with the city of Berlin
  • Individual singers, instrumentalists, choirs, composers or works of relevance (e.g. Johannes Wesalius, Elias Göttling, Johan de Vaulx, Johann Eccard, William Brade, Jean-Baptsiste Volumier, Reinhard Stricker)
  • The significance of the English mode of instrumental playing for the orchestra in the 17th century
  • The extension of the orchestra under Elector Johann Sigismund
  • The Great Elector and his personal interest in music
  • The influence of Queen Sophie Charlotte’s network of musicians on the Prussian court orchestra and its repertoire
  • The repertoire at the Brandenburg-Prussian court in comparison to other German and/or European courts


Abstracts (max. 2000 characters) for 20 minute papers along with the technical requirements for the talk and a short CV with contact details should be sent by 28th February 2015 to Lena van der Hoven (Hoven@staatsoper-berlin.de). Contributions from both the humanities and social sciences are welcome (Musicology, Theatre Studies, History, Cultural Studies, Sociology). Early career researchers in particular are encouraged to contribute. The chosen speakers will be informed by 1st May 2015 and the conference programme published online at www.staatskapelle-berlin.de.





[1] Priebe, Björn (1996): Die Musik am Hofe Friedrichs III. Ein Beitrag zur Berlin-Brandenburg. Musikgeschichte. In: Musikwissenschaftl. Lehr- u. Forschungsmaterialien d. Uni. Potsdam, Band 2,2, S. 1–51, hier S.11.

[2] Sachs, Curt [1977 (1910)]: Musik und Oper am kurbrandenburgischen Hof. Nachdr. d. Ausg. Berlin 1910. Hildesheim u.a.: Olms.


Sound Studies: Art, Experience, Politics

“Sound Studies: Art, Experience, Politics”

July 8-10th 2015 – University of Cambridge

CFP Deadline: March 15th 2015

Sound Studies: Art, Experience, Politics is a three-day conference featuring leading researchers and artists in the field. The conference will include presentations by leading academics, as well as a sound art installation by an artist in residence, and an evening Sound Art and Criticism Salon.
The conceptual foundations of this conference are that sound is a vast assemblage of multisensory experiences and multivalent conceptualisations, and that sound is at once embodied, social and political. Sound Studies: Art, Experience, Politics invites researchers to consider not only the relationship between sound and broader sensory perception but also the social, political and economic implications of sound.

Conference sessions will include papers on:
Gendered Sounds
Sound, Conflict & War
Urban Phonography
Sound, Embodiment & the Multisensory

Sound Studies: Art, Experience, Politics aims to draw attention to the international growth of sound studies, and to emphasise the innovative and potentially subversive nature of research that steps outside of the norms of academic investigation into visual and textual materials.
The conference concludes with a plenary by Steven Connor, Grace 2 Professor of English, University of Cambridge.

We are seeking contributions in the form of academic papers, sound art, and an artist residency. Information can be found at the URL:
Call for Academic Papers – www.crassh.cam.ac.uk/assets/general/Sound@Cam_-Call_for_Academic_Papers.pdf
Call for Sound art and Criticism Salon – www.crassh.cam.ac.uk/assets/general/Sound@Cam-Call_for_Sound_Art_and_Criticism_Salon.pdf
Call for Artist in Residence – www.crassh.cam.ac.uk/assets/general/Sound@Cam-_Call_for_Artist_in_Residence.pdf
All proposals should be emailed to soundatcambridge@gmail.com by March 15th 2015.

Ely Rosenblum (Cambridge, Faculty of Music)
Anija Dokter (Cambridge, Faculty of Music)
Professor Steven Connor (Cambridge, Department of English)


Jewishness & the Arts: Music and Composers in Nineteenth-Century Europe

13-15 October 2015

Accademia Filarmonica Romana – Rome


organized by
Centro Studi Opera Omnia Luigi Boccherini (Lucca)
Palazzetto Bru Zane – Centre de musique romantique française (Venice)

In collaboration with
Accademia Filarmonica Romana
Ad Parnassum Journal
Hebrew University of Jerusalem (Dpt. of Musicology)

The Centro Studi Opera Omnia Luigi Boccherini of Lucca and the Palazzetto Bru Zane – Centre de musique romantique française of Venice, in collaboration with the Hebrew University of Jerusalem, Ad Parnassum Journal and Accademia Filarmonica Romana, are pleased to invite submissions of proposals for the symposium «Jewishness & the Arts. Music and Composers in Nineteenth-Century Europe», to be held in Rome, Accademia Filarmonica Romana, from Tuesday 13 until Thursday 15 October 2015.
The period which witnessed the Emancipation of the Jews, originating in Germany, has never been approached from a musical angle. The present colloquium undertakes this study, from five major perspectives: careers; Jewish themes; emancipation; circulation; collective representations. The conference aims to shed light on the relationships between musical production and Jewish culture, concerning Jewish composers and beyond, within the broader context of the European Reformist movements of the nineteenth century. The conference aims to deal with the complex world of musical production (composition, performance practice, models of musical theorisation, entertainment, performing arts and music, press criticism) during the course of the nineteenth century, at a time of revolutionary change in Jewish culture and life, spanning the Haskala movement and the first Zionist Congress (1897). The conference will analyse developments and the complex interactions wrought by Jewish Cultural heritage within the European social and economic context and its consequences for the relationships between composers, publishers, and listeners.
Interdisciplinary approaches are encouraged. The programme committee encourages submissions within the following areas, although other topics are also welcome:

– Musical Criticism & Jewish Thought (Jewish Music Criticism)
– Jewish Composers and their Cultural Heritage
– Jewish Composers and Conversions
– Meyerbeer, Halévy & the Opera
– Mendelssohn, Alkan & the Instrumental Music
– Non-Jewish Composers & Jewish Cultural Heritage
– Circulation & Collective Representations
– Musical Careers & Jewish Themes
– Jewish Emancipation & European Musical Culture
– Jewish Symbolism in the «Arts & Music»


  •  Bella Brover-Lubovsky (Hebrew University, Israel)
  •  Luis Guillherme Goldberg (Federal University of Pelotas, Brasil)
  •  Jehoash Hirshberg (Hebrew University, Israel)
  •  Étienne Jardin (Palazzetto Bru Zane)
  •  Tony Levy (CNRS-Université Paris 7)
  •  Luca Lévi Sala (Université de Poitiers — Conference Director)
  •  Patrizia Veroli (Italian Association for Research in Dance, Rome)


Jehoash Hirshberg (Hebrew University, Jerusalem)

The official languages of the conference are English, Italian and French. Papers selected at the conference will be published in a miscellaneous volume. Papers are limited to twenty minutes in length, allowing time for questions and discussion. Please submit an abstract of no more than 500 words and one page of biography.
All proposals should be submitted by email no later than
***Sunday 14 June 2015*** to romeconference@luigiboccherini.org.
With your proposal please include your name, contact details (postal address, e-mail and telephone number) and (if applicable) your affiliation.
The committee will make its final decision on the abstracts by the end of June 2015, and contributors will be informed immediately thereafter. Further information about the programme, registration, travel and accommodation will be announced after that date.

For any additional information, please contact:
Luca Lévi Sala PhD, romeconference@luigiboccherini.org

German Song Onstage, 1770-1914

German Song Onstage 1770-1914
12-14 February 2016, Royal College of Music London

Recent years have seen an explosion of interest in the public musical concert as an artistic, cultural and social phenomenon. The purpose of this conference is to explore the role a largely private genre – German song– played within these public events. Concert programmes are littered with cryptic mentions of ‘Lied’ or ‘Gesang’, and although the specific songs are rarely listed, song seems to have played a small but essential role in the makeup of public concerts alongside the more obvious symphonies, concerti, overtures and even arias. Furthermore, as William Weber has argued, it was the inclusion of song which upset the eighteenth-century hierarchies of concert genres, leading to a change in concert programming over the century. Alongside this was the gradual emergence of the practice of singing complete song cycles beginning in the 1850s, and the even later concept of the dedicated song recital.
We invite researchers to submit proposals exploring the following questions:
– What function did German song have within the public concert and how did this shift during the century?
– Which venues and cities both inside and outside the Austro-German realm were particularly significant in the emergence of German song as a recital-worthy genre?
– Who were the singers of German song both inside and outside the Austro-German realm, and what role did song play within their wider repertoires?
– How did the notion of song accompaniment emerge, and how did multifaceted musicians like Liszt, Clara Schumann, or Brahms respond to this work?
– How was German song in concert received by critics and the public?
– How did performers approach programming strategies in concerts and how did this evolve?

Keynote speaker: Professor Susan Youens (University of Notre Dame)

We welcome abstracts in English and German of no more than 250 words for
– Paper presentations (max. length 20 minutes)
– Panel presentations (maximum length 1.5 hours including questions): please submit a general abstract of 250 words and individual abstracts of 250 words for each named speaker.
– Lecture-recitals (maximum length 40 minutes)
All abstracts should be accompanied by 250-word biographies of all participants.

A special feature of the weekend is the reproduction of three historical concerts by senior students at the Royal College of Music. These concerts will be open to the public and will take place in the College’s Parry Rooms, Britten Theatre and Concert Hall. All prospective presenters are therefore strongly encouraged to propose a concert programme of particular historical significance, such as the first performance of a major cycle, or a ‘pedagogical’ concert, or a miscellaneous programme in which German song plays a substantial role. Concert proposals should include the following where possible:
– The date, time (if possible), venue, and performers of the concert
– The complete programme of music performed
– The original programme leaflet
– A 250-word rationale for proposing the concert
Concert proposals will be evaluated jointly by the committee panel and the Artistic Planning Group of the Royal College of Music.

Abstracts, biographies and concert proposals should be sent to natasha.loges@rcm.ac.uk by 29 May 2015. Presenters will be advised as to their acceptance or otherwise by 29 June 2015. Following the conference, selected presentations will be published in an edited volume surveying the history of German song onstage, and presenters may wish to keep this in mind.

Natasha Loges, Royal College of Music
Laura Tunbridge, Oxford University

This event will take place in collaboration with the German Historical Institute, London.

The Serenata and the Festa Teatrale in 18th Century Europe

Call for Papers
The Serenata and the Festa Teatrale in 18th Century Europe

Queluz National Palace, Portugal (June 26-27th, 2015)
Organized by
Centro de Estudos Musicais Setecentistas de Portugal

Scientific Committee:
Manuel Carlos de Brito (Portugal), Paologiovanni Maione (Italy), Annarita Colturato (Italy), Cristina Fernandes (Portugal), Iskrena Yordanova (Bulgaria)

Andreia Sommer-Mathis (Austria), Annarita Colturato (Italy)

The CEMSP is organizing, from 26 to 27 June 2015, an International Colloquium at the National Palace of Queluz, dedicated to the Serenata and the Festa teatrale at the courts of Europe in the 18th century.
Investigating the distinctive character and contexts of the Festa teatrale and the Serenata at a time when musical theatre was an integral part of the ceremonial of the court and was a privileged ritual of repraesentatio maiestatis, implies an approach to these works full of metaphors and symbolic allusions that takes into account the multiplicity of aspects that involve the context of celebration and the choice of themes, its textual and musical structure, the dramaturgical forms, the vocal and instrumental ensembles, and the various options with regard to the stage apparatus and performance practices.
With this Colloquium, the CEMSP aims to encourage dialogue concerning the production and circulation of the Serenata, one of the principal musical genres performed at the Palace of Queluz during the 18th century, and to focus attention on the Portuguese contribution to the European musical circuit of the time.

The official languages of the conference are Portuguese, English and Italian.

Individual Papers are limited to 20 min. Single-topic panels involving joint presentations by three of four authors may also be considered (max. length: 1h30min). Please submit an abstract of no more than 300 words and a short bio (150 words max.) in Word format.

E-mail: cemsp@sapo.pt
All proposals should be submitted no later than March 31st 2015. Please include your name, contact details (postal address, e-mail and telephone number) and affiliation.

The Scientific Committee will make the final decision on the abstracts by April 10th 2015 and contributors will be informed immediately thereafter.

Sixth International Symposium on Music /Sonic Art: Practices and Theories

MuSA 2014 – Karlsruhe (IMWI)
25-28 June, 2015

Hochschule für Musik, Karlsruhe –
Institut für Musikwissenschaft und Musikinformatik (IMWI)
Am Schloss Gottesaue 7, 76131 Karlsruhe


We are pleased to announce the Sixth International Symposium on Music and Sonic Art: Practices and Theories (MuSA 2015), an interdisciplinary event to be held in Karlsruhe, Germany at the Institut für Musikwissenschaft und Musikinformatik (IMWI) (http://www.hit-karlsruhe.de/hfm-ka/imm/). MuSA 2015 is also supported by Middlesex University, London. The dates of the Symposium are 25-28 June, 2015.

Proposals for sessions and individual papers for the Sixth International Symposium on Music and Sonic Art: Practices and Theories are invited from academics, independent researchers, practitioners and post-graduate students. Presentation formats include academic research papers (20 minutes + 10 minutes for discussion); reports on practice-based/artistic research or educational programmes (20 minutes + 10 minutes for discussion); and workshops, panel sessions, lecture-demonstrations (30 minutes + 15 minutes for discussion). The Symposium committee encourages presentations in which practice forms an integral part of the research. All proposals will be ‘blind’ peer-reviewed. The Symposium language will be English. Previous themes and topics can be seen at: musa2012.zilmusic.com, musa2013.zilmusic.com, musa2014.zilmusic.com


The principal aim of MuSA 2015 is to advance interdisciplinary investigations in – as well as between – music and sonic art.  Following the success of MuSA2014 in opening up interdisciplinary debate on the role of embodied approaches, MuSA2015 will continue to probe this research area through the Symposium theme: Exploring embodiment in music and sonic art.

We invite submissions on the following, and other related topics:

  • Body movement and emergence of meaning;
  • Embodied approaches to creativity;
  • Kinematics and haptics as background for music and sonic art research;
  • Gesture and expression;
  • Methods for embodied analysis;
  • Phenomenology of the performing body;
  • The body within socio-cultural contexts of music and sonic art;
  • Pedagogical contexts for embodied approaches to music and sonic art;
  • The body in interpersonal sound-based communication;
  • Ecological, biological, neuroscientific and evolutionary approaches to embodiment;
  • Historical roots of embodied approaches in theory and practice;
  • Technology and embodiment;
  • Artificial intelligence and embodiment;
  • Critical discourses of embodiment in practice and research;
  • Embodied aesthetics;
  • Embodiment in collaborative research;

Other topics that are in line with the Symposium’s broad aim of promoting interdisciplinary research within and across Music and Sonic Art will also be considered.

In addition, MuSA 2015 will devote one day to the specific theme: Re-thinking the Musical Instrument

Within the thriving discipline of musical performance studies, there is a general tendency to speak of ‘the performer’ as an abstract category without taking into account the kind of musical instrument that mediates the act of music making and music as a temporally emergent, sounding phenomenon. In reality, different kinds of musical instruments involve different expressive means (and at times different expressive/artistic aims), engender different phenomenologies of performance making, and generate different kinds of performer identities. The nature of the embodied interaction with different instruments in composition and performance, and the expressive and communicative meanings that emerge as a result of such interaction constitute a largely unexplored research territory.

Some of the topics that will be explored include:

    • The acoustical, musical, cultural, symbolic, and ritualistic qualities of musical instruments and the relationships between these (theoretically) distinct kinds of qualities;
    • The discourses that exist in relation to musical instruments in different genres, styles and traditions;
    • The gestural affordances and ergonomic principles of musical instruments and the musical meanings that emerge as a result of these affordances and principles;
    • Performers, improvisers and their instruments: phenomenologies of music making in the context of particular kinds of musical instruments;
    • Composer and instruments: the material, acoustical and expressive qualities of instruments and their relationship to musical languages composers create;
    • Relationships between creativity in performance, nature of musical interpretation and musical instruments;
    • The role of the musical instrument in the creation of musical identities;



We invite proposals on any research area related to the nature and use of western acoustical instruments, traditional ethnic instruments and digital/virtual instruments.


Please submit an abstract of approximately 250-300 words as an e-mail attachment to musa2015@btinternet.com

Please specify whether you wish your abstract to be considered for the one-day ‘Re-thinking the musical instrument’ event.

As contributions will be ‘blind’ peer-reviewed, please do not include information that might facilitate identification from the abstract. In addition, please include separately the name(s) of the author(s), institutional affiliation (if any) and short biography (approximately 100 words). Deadline for the receipt of abstracts is Monday, 27 April 2015. Notification of acceptance will be sent by 8 May.



The Symposium fees are: €120 for delegates (day rate: €40), €100 for presenters (day rate: €35), and €60 for students and others who qualify for concessions (day rate: €20).

If additional information is required please do not hesitate to contact Prof. Dr. Mine Doğantan-Dack or any member of the symposium committee:

Prof. Dr. Mine Doğantan-Dack (University of Oxford) – mine.dogantan-dack@music.oxford.ac.uk

Prof. Dr. Thomas A. Troge (IMWI, Karlsruhe) – troge@hfm.eu

Prof. Dr. Denis Lorrain (IMWI, Karlsruhe) – lorrain@hfm.eu

Prof. Dr. Paulo Ferreira-Lopes (Universita Cattolica Porto/ HfM-Karlsruhe) – pfl@hfm.eu

Prof. Miroslav Spasov (Keele University, Music Department) – m.spasov@keele.ac.uk

Dr. John Dack (Middlesex University, Art & Design / Science & Technology) – j.dack@mdx.ac.uk

Timothy P. Schmele (IMWI, Karlsruhe)  – t.schme@gmail.com

Administrative support: Gundi Rössler (IMWI, Karlsruhe) – roessler@hfm.eu