Principles of Music Composing in the Second Half of the 20th and the Beginning of the 21th Centuries

16th International Music Theory Conference

9–11 November 2016, Vilnius, Lithuania

Organized by: Lithuanian Composers’ Union, Lithuanian Academy of Music and Theatre

The purpose of the conference is to give new impulses to the development of musicological research and to use the findings thereof in compositional practice and teaching process.

The main conference goals are to enrich the local and international musical life, to establish a center of attraction for theoretical research of compositional practice, and to contribute to fostering and preserving of a distinctive identity in the national school of Lithuanian composers.

The 16th conference is dedicated to the 75th anniversary of the Lithuanian Composers’ Union. A program of special conference sessions and other events is planned to mark this occasion.

Suggested sub-themes of the conference are:

  • Theoretical and evolutionary aspects of the principles of musical composition;
  • Principles of composition in the work by Lithuanian composers as seen in the broader context of European musical culture;
  • Aesthetic, artistic and creative self-awareness of composers representing national schools (see the list of suggested composers below);
  • Composers’ ideas about their creative principles;
  • Theoretical and creative aspects of compositional systems in the works by Lithuanian and foreign composers;
  • Binary-oppositional principles of composition in the 20th-century music (Ives, Stravinsky, Bartók, etc.) and their applications in the recent decades;
  • The manifestation of archaic and ethnic elements in the music by Lithuanian composers.

Paper proposals (abstract and a short biography) should be sent to Mr. Marius Baranauskas by email pmc@lmta.lt. The abstract must not exceed 500 words. The duration of full presentations is limited to 20–25 minutes.

 The main language of the conference is English.

The deadline for proposal submissions is June 19, 2016. Proposals will be reviewed by the members of the scholarly committee and all applicants will be notified of the outcome until the end of June 2016.

The participation fee is 20 Euros.

Selected materials of the conference (abstracts and papers) will be published in the annual peer reviewed scientific journal.

Head of the scholarly committee Prof. Dr. Rimantas Janeliauskas, Coordinator of the conference Marius Baranauskas

Conference website: http://pmc.lmta.lt/EN.html

Silver Sounds and Moody Food: Theatre Music and Musicians 1575 – 1642

National Centre for Early Music, Walmgate, York, YO1 9TL

Saturday 16th July 2016

Theatrical entertainment was hugely popular in London in the late 16th and early 17th Centuries. Theatre sprang up on both banks of the Thames, playwrights, actors and musicians found regular employment as members and associates of acting companies that operated under wealthy patronage. This conference looks at all aspects of musical participation in early modern theatre, including the relevance and intent of playsongs and ballads, who would have performed them, and what they played.
10.00am – 1.00pm NCEM, St Margaret’s Church
£25.00 (students £10.00) including light lunch at 1.00pm
William Lyons“Excellent and Expert Musicians”: Who Played for the Plays in Shakespeare’s London?
Ross Duffin – Robert Johnson and Songs for the Shakespearean Stage
David Lindley – The Use of Music in the Plays for John Marston
2.00pm – 4.00pm NCEM, St Margaret’s Church
£20.00 (students £10.00) including a reviving glass of wine
David Klausner – The Performance of the Jig in the North Riding
Christopher Page – The Role of the Guitar on the Tudor and Stuart Stage

Log In, Live On – Music and Cyberculture in the Age of the Internet of Things

CALL FOR PAPERS
October 7 – 8 2016 FCSH-New University of Lisbon – Portugal

Organization: CysMus (Group for Advanced Studies in Music and Cyberculture) of SociMus (Advanced Studies in Sociology of Music), CESEM (Sociology and Musical Aesthetics Research Center) FCSH-UNL

The conference’s aim is to join researchers, specialists, artists, students, producers, and other interested parties, in the discussion of transdisciplinary topics and problems regarding the politic economy of music in digital communicational paradigms, in the era of the Internet of Things (IoT). This global system, seen as a network of objects, devices and services, that share information and skills, is, increasingly, a central aspect in the construction of everyday life.

With the dissemination of domestic Internet and digital applications, equipments and contents, the modes and behaviors of musical production, circulation and listening have been reconfigured in a persistent and radical way. This process sees the emergence of the peer-to-peer system, the iPod and the increase of portable listening devices, social networks and streaming, the proliferation of blogs and all kinds of online forums, the intense dissemination of musical composition software and equipment (as well as the expansion of DIY practices), the increment of production and consumption of digital audiovisual media with a wide circulation and access, such as music videos, videogames, reality shows, tv series and other television contents, animations, advertisements and other audiovisual products.

This conference seeks to inquire about the construction of realities, subjectivities and communities based on music as an essential structural element. It proposes an exploration of the aspects of production, circulation, collaborative practices, transformation and ‘remediation’, co-creation and capitalization of musical and audiovisual contents in online platforms, in the context of complex networks of cybercommunities, taking into account the sociability between users, consumers, creators and companies.

The topics to be discussed are, among others:
• the uses of music in digital audiovisual contents and processes (videogames, tv series, movies, advertisements, music videos, etc.); dramaturgy and soundscapes in the symbolic economy of the IoT;

• music in the transformation or reproduction of modes of subjectivity and alterity in the cyberworld;

• cybercommunities and fans, politics of interactivity and convergence / divergence among users, consumers, creators and companies;

• music and the production of symbolic value and representations, from the Web 2.0 to the IoT;

• the mobility of devices that allow musical listening (mobile music) and its role in the construction of everyday life;

• modes of circulation and sharing of audiovisual contents in several online platforms and systems (such as streaming, liveblogging, youtube, social networks), co-production and co-creation of audiovisual contents by users;

• internet culture, celebrity, visibility and reality programs;

• transformations of professional statuses and profiles in music and its relation with new copyright laws, as well as new modes of production and circulation of musical and audiovisual contents;

The conference will take place in Faculdade de Ciências Sociais e Humanas of UNL, organized by CysMus/SociMus, of CESEM (Sociology and Musical Aesthetics Research Center)

All interested in participating are invited to send a proposal (maximum 200 words), biographical note (maximum 150 words) and 5 keywords until 30th April 2016, to cysmusportugal [at] gmail.com with the subject “Log In Live On”. The organization will announce the results before the end of May.

Coordenation: Paula Gomes Ribeiro, Joana Freitas, Júlia Durand
Scientific committee: António de Sousa Dias (ESART-IPCB), João Pedro Cachopo (CESEM/FCSH – UNL), Jelena Novak (CESEM/FCSH – UNL), José Luís Ferreira (ESML/IDEA-CESEM), Mário Vieira de Carvalho (CESEM/FCSH – UNL), Paula Gomes Ribeiro (CESEM/FCSH – UNL), Tomás Henriques (SUNY College at Buffalo NY/CESEM).

Digital Musicology workshop at DH@Ox Summer School 2016

Digital Musicology: Applied computational and informatics methods for enhancing musicology

http://digital.humanities.ox.ac.uk/dhoxss/2016/workshops/digitalmusicology

Dates: 4—8 July 2016

Registration: http://digital.humanities.ox.ac.uk/dhoxss/2016/registration until 6 June 2016.

A wealth of music and music-related information is now available digitally, offering tantalizing possibilities for digital musicologies. These resources include large collections of audio and scores, bibliographic and biographic data, and performance ephemera — not to mention the ‘hidden’ existence of these in other digital content. With such large and wide ranging opportunities come new challenges in methods, principally in adapting technological solutions to assist musicologists in identifying, studying, and disseminating scholarly insights from amongst this ‘data deluge’.

This workshop provides an introduction to computational and informatics methods that can be, and have been, successfully applied to musicology. Many of these techniques have their foundations in computer science, library and information science, mathematics and most recently Music Information Retrieval (MIR); sessions are delivered by expert practitioners from these fields and presented in the context of their collaborations with musicologists, and by musicologists relating their experiences of these multidisciplinary investigations.

The workshop comprises a series of lectures and hands-on sessions, supplemented with reports from musicology research exemplars. Theoretical lectures are paired with practical sessions in which attendees are guided through their own exploration of the topics and tools covered. Laptops will be loaned to attendees with the appropriate specialised software installed and preconfigured.

Summer School site: http://digital.humanities.ox.ac.uk/dhoxss/2016
Contact: events@it.ox.ac.uk

Scholarships and Bursaries

A number of scholarships and bursaries are available for the Summer School, including some specifically for the Digital Musicology workshop:

http://www.t-mus.org/news/2016-03-18_digital-musicology-scholarships-at-dhoxss-2016/

For others, please see: https://digital.humanities.ox.ac.uk/dhoxss/2016/bursaries

19th Biennial International Nineteenth-Century Music Conference

19th Biennial International Nineteenth-Century Music Conference
Faculty of Music, University of Oxford
11-13 July 2016

Book here:

 

Registration fees:
Concessionary rates are available to students, unwaged and retired delegates.

– Standard 3-day registration fee – £100.00
– Concessionary 3-day registration fee – £70.00
– Standard 1-day registration fee – £45.00 per day
– Concessionary 1-day registration fee – £25.00 per day
– 3-course conference dinner at Merton College, Tuesday 12th July – £50.00

Accommodation Information:
– College and city accommodation available, see website for details.

Keynote speakers:
Professor Daniel Chua (University of Hong Kong)
Professor Jessica Gienow-Hecht (Freie Universität Berlin)

Conference programme:
– A draft can be downloaded from the website.

Conference committee:
– Philip Bullock, Barbara Eichner, Daniel Grimley, Anna Stoll Knecht, Laura Tunbridge, Benjamin Walton


Faculty of Music, University of Oxford
St Aldate’s
Oxford
OX1 1DB

Musica artificiosa: Music as an Art and Profession

51st International Musicological Colloquium, Brno, 10-12/10/2016

Faculty of Arts, Masaryk University, Brno, Czech Republic

 

The importance and the international reputation of the Brno colloquia, founded in 1966, was due not only to their varied themes (each year a separate musicological or interdisciplinary topic has been addressed), but also to the fact that these events provided an annual platform for musicological meetings between East and West during the Cold War. More or less regularly, Brno hosted leading representatives of the field (Kurt von Fischer, Zofia Lissa, Carl Dahlhaus, Hans Heinrich Eggebrecht, John Tyrrell, Michael Beckerman and many others), and it still welcomes their pupils as established representatives of foreign musicology. Today, more than ever, this event looks into the future, hoping to introduce lively new ideas, and to establish new professional contacts and collaboration.

 


Theme: Musica artificiosa: Music as an Art and Profession


The Latin noun “artificium”, in its numerous meanings, refers to art, craft, skill, talent and technology. Its derived adjective, “artificiosus”, accordingly bears a variety of meanings, ranging from skill, which is a condition of each craft, to the artificiality and unnaturalness inherent in rational compositional systems or technologies. This term is thus paradoxically capable of encompassing almost opposing significations in relation to music. With this in mind further possible topics suggest themselves for discussion at the colloquium:

 

  • music as a craft, music as a vocation, music as art;

  • aesthetic issues of “high” versus “low” music;

  • questions of rationality and irrationality in musical structure;

  • the relationship between music and technology;

  • music in the age of machines and information technology / post-technological music;

  • technologically generated / supported / mediated music;

  • virtuosity as a product of industrial society / virtuosity versus sport, etc.

The International Musicological Colloquium will be held 10-12/10/2016 in the building “N”, Faculty of Arts, Masaryk University, Janáčkovo náměstí 2a, 602 00 Brno, Czech Republic.

 

Organizing Committee of the Colloquium:

doc. PhDr. Mikuláš Bek, Ph.D.,

prof. PhDr. Lubomír Spurný, Ph.D.,

PhDr. Petr Macek, Ph.D.,

doc. Mgr. Jana Horáková, Ph.D.,

doc. PhDr. Jiří Zahrádka, Ph.D.,

PhDr. Martin Flašar, Ph.D. 

 

Proposal Submissions:

20-minute papers are welcome, with further time for questions (max. 10 mins.)

Proposals in English, containing the title and abstract of the paper (maximum length 900 characters) should be submitted by email, together with a CV of the proposer (max. 900 characters), to: colloq.brno@gmail.com.

Deadline for submissions: 30. 4. 2016.

Proposers will be informed of the committee’s decision after 31. 5. 2016.

Conference fee:

CZK 1000 (active participation) / 500 CZK (active student participation).

The fee is intended to cover the publication of the conference proceedings, refreshments during the event, an evening party and further overheads.

Deadline for payment: 30. 9. 2016 via bank transfer (an account number will be specified later) or payment in cash at the conference venue.

Further questions will be answered by the executive organizer of the colloquium:

PhDr. Martin Flašar, Ph.D.

Department of Musicology MU

Arna Nováka 1

602 00 Brno, CZ

E-mail: flasar@phil.muni.cz

Tel .: (+420) 549 493 790

 

 

Rethinking Delius, a Critical Symposium

The British Library, London, 15-16 July 2016

CFP:

The music of Frederick Delius presents fascinating challenges of interpretation, documentation, performance, and analysis. In conjunction with their current AHRC award, ‘Delius, Modernism and the Sound of Place’, Prof. Daniel Grimley and Dr Joanna Bullivant lead a symposium on Delius’s music, focusing on new developments in Delius scholarship and future directions in research. It will also celebrate the launch of the online Delius Catalogue of Works, an interactive resource created in the course of the project.
Proposals for 20-minute presentations from scholars at any stage of their career are now warmly invited. Topics may include, but are not limited to: Delius and opera; issues of editing and performance; Delius and his contemporaries; musical modernism; cosmopolitanism, nationalism and ethnicity in relation to Delius’s works.
The symposium is timed to follow the Biennial Conference on 19th Century Music at Oxford earlier in the week, for those wishing to attend both events. Confirmed speakers include Prof Jeremy Dibble (University of Durham) and Dr Sarah Collins (University of New South Wales). Abstracts (200 words) should be sent to joanna.bullivant@music.ox.ac.uk by 5pm BST on Monday 31 May.

Information about booking and attending will appear here.

Programme committee:
Prof. Daniel Grimley (Oxford)
Dr Joanna Bullivant (Oxford)
Dr Richard Chesser (British Library)

Tbilisi International Musicological Conference (TIMC) – “Challenges and Perspectives of Musicology”

7-9 April, 2017

Vano Sarajishvili Tbilisi State Conservatoire, Tbilisi, Georgia

The deadline for registration, submission of proposals and short bio is 30 September, 2016.

 

Official languages of the Conference are English and Georgian. All the papers will be published after the conference in both English and Georgian.

 

Call for papers

The Tbilisi International Musicological Conference is biennial conference on recent developments and future trends in Musicology. We welcome submissions that focus on any one or combination of the following:

  1. Musical education: traditions and perspectives
  2. Problems of theory and history of music
  3. Interdisciplinary research
  4. Music in the monocultural and multicultural society

Theme of the round table: “Musicology in the 21 century – without or with borders?”

 

Proposals

Proposals from all areas of musicology and related music studies are invited for the following:

  • Individual papers – will be twenty minutes in duration, to be followed by ten minutes for questions and discussion.
  • Poster presentations should be ten minutes in duration (in Power point presentation format), to be followed by 5 minutes for questions and discussions.
  • Round table sessions will be 90-120 minutes in duration, including time for discussion. Round table sessions will comprise a panel of up to four people, each presenting a position paper (no more than 10 minutes), followed by a discussion.

 

All proposals should include:

  • Title
  • Indication of format
  • Proposer’s name, affiliation, short bio – no more than 100 words
  • Abstract (for individual paper) / description of the project (for poster) – no more than 250 words,
  • Contact e -mail
  • AV requirements

After getting a notification of acceptance presenter must send full text of paper (no more than 7 pages – font size 12, with 1.5 spacing, margins 2 cm) which should be translated for conference.

All materials should be sent to e-mail: science@conservatoire.edu.ge

 

Timeline

Closing date for online registration, abstract and short bio30 September, 2016

Deadline for papers  – 16 December, 2016.

Notification of acceptance: 9 January,  2017

Conference: 7-9 April, 2017

 

 

 

Contacts and other information

For any additional information, please contact:

e-mail: science@conservatoire.edu.ge

Phone: +995 322 98 71 88

website: www.conservatoire.edu.ge

facebook: Research Department

 

 

Conference Fees:

 50 – for scholars

€ 30 – for PhD students

 

The program of the conference also includes workshops, concert and cultural program.

 

 

Confluences, Connections, and Correspondences: Music and Visual Culture Conference

Confluences, Connections, and Correspondences: Music and Visual Culture Conference, University of Toronto, ON, Canada

Conference Dates: October 13–14, 2016 in Toronto, ON, Canada

Abstract Submission Deadline: July 17, 2016

Keynote Speakers:

Tim Shephard (The University of Sheffield)

Joseph L. Clarke (University of Toronto)

The publication of The Routledge Companion to Music and Visual Culture in 2014 reexamined the diversity and breadth of interdisciplinary study of music and the visual arts, drawing together the various threads of scholarship that have emerged over the past two decades. The 2016 “Confluences, Connections, and Correspondences: Music and Visual Culture Conference” will reflect on the issues and questions raised by this significant publication. Drawing on various theories, methodologies, and frameworks, this conference seeks to bring together wide-ranging, multidisciplinary, and inclusive approaches to the study of these disciplines in conjunction with one another.

We invite proposals for individual papers and themed sessions examining aspects of music, visual culture, and related fields across broad-ranging media, geographical regions, and time periods. Possible topics may include, but are not limited to, the following:

  • Art and music
  • Art history and musicology
  • Music and dance
  • Music and drama studies
  • Music and film studies
  • Music and new media
  • Music and painting
  • Music and screen media
  • Music and theatre
  • Music in art
  • Notation as visual form
  • Performance and performativity
  • Sound and architecture
  • Sound and colour
  • Sound and space
  • Sound art
  • Sound sculpture
  • Spectatorship and participation
  • Synaesthesia
  • Visual communication

Proposals:

Individual paper (20-minute presentation): 300 words abstract

Themed session (90- or 120-minute session): 250 words introduction and 200 words abstract for each paper

Proposals and current CVs should be submitted to Samantha Chang (musicandvisual@gmail.com) by July 17, 2016. Selected speakers will be notified by July 31, 2016. The conference programme will be announced in August 2016.

Keynote Speakers:

Tim Shephard is a Lecturer in Musicology at the University of Sheffield, Visiting Research Fellow at the Centre for Music, Gender and Identity at the University of Huddersfield, and co-editor of The Routledge Companion to Music and Visual Culture (Routledge, 2014).

Joseph L. Clarke is Assistant Professor of Modern Architecture (18th–21st Century) at the University of Toronto and his current book project, Reverberation: Sound and Architectural Modernity, 1750–1900, explores how acoustic research has influenced the spatial ideas and auratic pretensions of modern architecture.

Conference Committee: Samantha Chang (Chair), Lauryn Smith, Elizabeth R. Mattison

https://musicandvisual.wordpress.com/

Ligeti’s Legacy in Retrospect

The Association “Transylvania Art and Science”, Cluj-Napoca, Romania in collaboration with Gheorghe Dima Music Academy is pleased to announce the International Conference

 

LIGETI’S LEGACY IN RETROSPECT

 

hosted at “I. Lapedatu” Hall of the National Bank of Romania, on 26 and 27 May, 2016. The event is organised within the Festival ‘A Tribute to György Ligeti in his Native Transylvania’ (Festival director: Bianca Ţiplea Temeş).

 

The conference features an exciting line-up of contributors and aims to provide a forum for a dialogue among scholars from various musical standpoints while presenting a portrait of the composer 10 years after his death. The official conference language is English.

 

We would be happy to welcome participants from abroad, no participation fee required. If you are interested, please send an email to the following address, mentioning your name and affiliation:

 

transylvania.art.science@gmail.com

 

As places are limited, we will consider applications in the order of their confirmation. Apart from attending the conference, participants will have the unique opportunity to visit Cluj in the heart of Transylvania, a very dynamic city full of culture where Ligeti started to study music.

 

For more information please visit the following page:

http://cimro.ro/ligeti-international-conference-in-cluj/