3rd International Conference of Dalcroze Studies (ICDS3)

Call for submissions

3rd International Conference of Dalcroze Studies (ICDS3)

‘The living moment: Exploring improvisational practice’

30 July – 03 August 2017

Université Laval, Quebec City, Canada



The conference

The aim of ICDS3 is to present the best of current research and practice within Dalcroze Studies and related fields. ICDS is a global, transdisciplinary forum, open to viewpoints from education, the arts and humanities, and the social, health and life sciences. We welcome practitioners and scholars alike. This year our theme is improvisation in music, dance, somatic practices, theatre and therapy, with a special focus on the relationships between music/sound and movement.


Keynote speakers (confirmed)

Reto W. Kressig, Professor and Chair of Geriatrics, University Center for Medicine of Aging Basel (UAB), Felix-Platter Hospital, University of Basel, Switzerland

Raymond MacDonald, Professor of Music Psychology and Improvisation, Reid School of Music, University of Edinburgh, Scotland

Max van Manen, Professor Emeritus, University of Alberta, Canada

Keynote practitioners (confirmed)

Ruth Alperson (PhD), Dean, Hoff-Barthelson Music School, USA

Ruth Gianadda, Professor, Institute Jaques-Dalcroze, Geneva, Switzerland

Karin Greenhead, Director of Studies, Dalcroze UK

Lisa Parker, Director, Longy Dalcroze Institute, Longy School of Music of Bard College, USA


‘The living moment: Exploring improvisational practice’

Improvisation forms the basis of human communication from infancy to the end of life. It defines the moment-to-moment flow of activity in our everyday interactions and is fundamental to creativity and innovation.

Improvisation is also central to music, dance and somatic traditions across culture, time and space. Musical and movement improvisation can be put to work in many contexts, including the pedagogical, therapeutic and performative, to bring about transformation. Improvisation can be both process and product, and an agent of change.

In Dalcroze Eurhythmics and related fields of practice, musical and movement improvisation are the main means of communication between teacher and learner, therapist and client, and between participants themselves.


Call for proposals

We welcome presentations on improvisation, as it relates to Dalcroze Eurhythmics and music, movement and the mindful body more broadly. We embrace a wide range of disciplines and areas, such as: anthropology, architecture, biomedical science, communication science, cultural studies, dance studies, somatic practices, education, ethnomusicology, gender studies, history, literature, media studies, musicology, music therapy, philosophy, politics, psychology, sociology, theatre and performance studies, and visual arts.

We invite practitioners and researchers to share their knowledge, experience and scholarship on this theme. Conference topics include, but are not limited to:

  • Music-movement improvisation
  • Descriptions and theories of improvisation
  • Improvisation and embodiment
  • Improvisation in culture and improvisation as culture
  • Improvisation as social relationship or dialogue
  • Improvisation as process, as product, as means
  • Interdisciplinary and intermedial approaches to improvisation
  • Teaching improvisation
  • The role of improvisation in pedagogy, performance, therapy and research
  • Teaching as an improvisational practice
  • Assessing and evaluating improvisation
  • Developing curricula and educational material on improvisation
  • Improvisation and the professional development of teachers
  • The interaction of technology and improvisation
  • Improvisation and wellbeing
  • Personal and social development through improvisation
  • Improvisation and ethics (empowerment, social justice)
  • Improvisation and community
  • The historical development and transmission of improvisational practice in Dalcroze Eurhythmics and related fields


Types of presentation

  • Paper* (20 mins + 10 mins discussion) – research papers and reflections on practice
  • Workshop* (60 mins, including discussion) – an interactive session offering hands-on experience. These will be limited in number due to space and time restrictions
  • Symposium (90 mins, including discussion) – a shared platform for at least three delegates to present a specific research topic in-depth and to discuss each other’s work in a public forum. Please specify who will chair the symposium.
  • Roundtable (90 mins, including discussion) – a semi-planned conversation amongst stakeholders who wish to have a public dialogue to which delegates can contribute. Instead of presenting research results, a roundtable is a public discussion with a view to arriving at shared understandings, new insights and/or proposals for action. Please specify who will chair the roundtable.
  • Informal daytime performance (duration variable, to be arranged with organising committee)
  • Evening performance (duration variable, to be arranged with organising committee)
  • Poster
  • Presentation to host ICDS5 in 2021 (20 mins + 10 mins discussion); we would love to hear from organisations or institutions in any country who would like to host a future conference! 



Submit your proposal/s at www.dalcroze-studies.com

Deadline for all submissions: Sunday 30 October 2016 23:59 (BST)

The language of presentations is English.

Delegates may submit a maximum of three proposals.

Notification to presenters by 18 December 2016


Online registration

Presenters must register and pay by 13 January 2017

All other delegates must register and pay by 30 June 2017



Before 31 March 2017 (Early bird rates): Regular $375; Student $250

After 31 March 2017: Regular $450; Student $325

Fee includes refreshments, light lunch and conference materials

(*All fees are in Canadian dollars and subject to tax by the Federal / Provincial government; please go to the registration pages for more information)


Scientific Committee

Dr John Habron (Senior Lecturer) Coventry University, Coventry, UK (Chair)

Dr Ruth Alperson (Dean) Hoff-Barthelson Music School, New York, USA

Karin Greenhead (Director of Studies) Dalcroze UK

Dr Marja-Leena Juntunen (Professor) Sibelius Academy, University of the Arts, Helsinki, Finland

Dr Louise Mathieu (Professor) Université Laval, Quebec City, Canada

Dr Selma Odom (Professor Emerita) York University, Toronto, Canada

Dr Jane Southcott (Associate Professor) Monash University, Victoria, Australia


Organising Committee

Prof. Josée Vaillancourt (Chair), Université Laval, Quebec City, Canada

Prof. Louise Mathieu (Co-Chair), Université Laval, Quebec City, Canada

Prof. Ursula Stuber, Université Laval, Quebec City, Canada

Prof. Gilles Comeau, University of Ottawa, Canada








Russia and the Musical World: Nineteenth-Century Networks of Exchange

16th December 2016

Centre for Russian Music, Goldsmiths, University of London



This study day seeks to generate discussion on how and why music, musicians and musical materials moved in, through and out of Russia during the long nineteenth century. Russia’s connections to the nineteenth-century musical world remain understudied. While various isolated moments of transfer are well known – the premiere of Verdi’s La forza del destino in St Petersburg, for instance, or Diaghilev’s Ballets russes in Paris – the breadth, depth and mechanisms of musical exchange require further investigation. After all, it was during this time that Russia became increasingly entangled in international cultural networks, enabled by a combination of remnants of the past (aristocratic patronage, royal relationships, cosmopolitan circles) and its modernisation (improving transport links, new political ties).


To pursue this line of inquiry is to participate in the recent turn towards cosmopolitan, international or transnational histories of music. Such frameworks push against entrenched methodological nationalism: a trend under which Russian music history has particularly suffered. In his epic Oxford History of Western Music, Richard Taruskin sought to ‘“mainstream” Russian music and musicians into the general narrative’, rather than lumping them into chapters on national schools (Taruskin, 2011). In order to continue this project of understanding Russia in its wider global context, the means by which connections were made need to be established.


In addition to tracing the movements of people – singers, impresarios, touring troupes, conductors, translators, writers, composers – we encourage contributions that consider the participation of nonhuman actors, such as institutions, scores, libretti, transport links and media, which should emphatically be included in the social analysis of musical life. Through debate at this meeting, we seek to establish how existing networks were used for music, how new ones were built, and also what factors limited musical mobility. By raising these issues in a study day format, we aim to bring together those examining movement in different directions, and, in so doing, to draw Russianists and non-Russianists into conversation about international mobility.


We invite proposals for papers under the following and related themes:

  • Musical networks connecting Russia and the rest of the world (people, institutions, communities);
  • Musicians and other figures from musical life travelling to or from Russia;
  • Mediators of exchange (hosts, organisers, translators);
  • Collaboration across borders;
  • The mechanisms, materials, and particular conditions of cultural transfer in the long nineteenth century;
  • Music and diplomacy;
  • Shifting borders;
  • Barriers to musical mobility (politics, gender, technology, language).


This conference will take the form of a study day in which papers will be circulated in advance. We aim to collect a selection of contributions to be developed for publication in a themed journal issue.


The language of the conference is English.


Please send abstracts of no more than 300 words to Tamsin Alexander at t.alexander@gold.ac.uk by 30th September 2016. Notices of acceptance will be sent by 7th October 2016.



Tamsin Alexander (Goldsmiths, University of London)

Rutger Helmers (University of Amsterdam)


This study day is supported by the Centre for Russian Music at Goldsmiths.

6th Annual Meeting of the Historical Keyboard Society of North America (HKSNA) | From the Old World to the New



APRIL 26–29, 2017

Greenville, South Carolina, U.S.A.

The 6th annual meeting of the Historical Keyboard Society of North America (HKSNA) will be held from Wednesday, April 26 to Saturday, April 29, 2017 in Greenville, South Carolina. The meeting’s theme, “From the Old World to the New,” aims to encourage the study of keyboard music and keyboard making in England and the Americas from 1700–1850. Selected instruments from the Carolina Clavier Collection will be featured in this meeting.

Three days of papers presentations, lecture-recitals, and mini-recitals (April 27–29) will be accompanied by an exhibition of publications, recordings, and contemporary instrument makers’ work (April 26–28). 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 Renaissance to the twenty-first century, are welcome.


Please submit proposals by electronic means only, via email to hksna2017@gmail.com by October 20, 2016.  Individual presentations will be limited to 25 minutes. For papers and themed sessions, submit an abstract of no more than 300 words attached to the e-mail address 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. A variety of period and reproduction instruments will be available for those who are not intending to bring their own keyboards or to make arrangements to use exhibitors’ instruments. If you wish to use one or more of the instruments listed below, please kindly specify this in your proposal. All proposals must include short biographical statements (no more than 250 word) for all presenters and indicate any audio-visual/media needs.

Notification of accepted proposals will be made by November 20, 2016. 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).


Patrick Hawkins, co-chair, Tom Strange, co-chair, Anne Acker, H. Joseph Butler, David Kelzenberg, Sonia Lee, Randall Love, Rebecca Pechefsky, Sally Todd

*          *          *

Below is a list of instruments that can be made available.


1570 Italian ottavino virginal c/e – e4 (scaled up one octave)

1748 Kirkman spinet (brass strung)

1749 Kirkman single manual (2×8)

1758 Kirkman double (2×8, 1×4, lute, no buff stop)

2015 Robert Brooke Italian harpsichord after Ridolfi (C to d'”)

2009 Anne Acker Flemish double 2009 (GG-d”’, 2×8′, 1×4′, buff, A392/415/440)

A French double copy

Square pianos:

1787 Broadwood

1799 Longman & Clementi

1830 William Geib

1834 Nunns & Clark

Grand pianos:

1825 Johann Schanz

1844 Collard & Collard

1845 Broadwood


2013 Anne Acker fretted clavichord (C-d”’)

Organ (Daniel Chapel, Furman University):

C.B. Fisk, Op. 121


Interfaces: tradition and technology in musical heritage work

Call for Proposals: Musikkarvkonferansen 2016

8 and 9 December 2016 at the National Library of Norway

Registration: https://goo.gl/forms/s1EPyqtYU3M3vhwF3

The digital arts and humanities are evolving at a breathtaking pace.  Within music, this has opened up a spectrum of possibilities, from the strict and tradition-based editorial approaches of the publishing houses, to the newer emphasis upon experimental digital editions and artistic research in interplay with new multi-media resources.  However, not all potential beneficiaries of this evolving research environment feel fully enfranchised to take up the new opportunities for research and dissemination that digitization offers.


The conference aims to broaden knowledge and widen enfranchisement by looking more closely at the interfaces between the materials and technical means that digitization involves.


Musikkarvkonferansen 2016 brings together examples from international institutions and colleagues with key institutions and their music researchers and artists in the Nordic environment in order to interrogate more deeply the spectrum of digital possibilities, its particular nature in relation to the Nordic environment, and its global promise for the future of research and performance in music.


A key aim of the event is to overcome perceived divisions between the ‘lived’ experience of musical research and music-making and the nature – and potential – of digitally-based practice in the post-millennial era.  As well as helping those present to become more aware of existing practices, the conference aims to point the way forward to new, and as yet unrealized, modes of digital working.


Keynote presenters:


  • Elaine Chew – Professor of Digital Media & Pianist

School of Electronic Engineering and Computer Science, Queen Mary University of London

  • Johannes Kepper – Administrative Chair of the MEI Board

Beethovens Werkstatt, Musicological Institute Detmold / Paderborn



The Committee for Musikkarvkonferansen 2016 invites proposals for papers, performances, expositions and other modes of presentation which explore the interfaces between the digital and the traditional in music research.  Proposals may be for 20-minute sessions, or 40-minute sessions.  Applications should also include any technical requirements.

The deadline for the submission of proposals is 12:00 CET, 1ST SEPTEMBER, 2016. Proposals can be emailed to musikkarvkonferansen2016@nb.no.


We look forward to welcoming you to this important event.


The Committee for Musikkarvkonferansen 2016:

Margrethe S. Bue, National Library of Norway

Darla Crispin, Norwegian Academy of Music

Astrid Kvalbein, University of Oslo

Arnulf Christian Mattes, University of Bergen

Bjarte Engeset, Norwegian Musical Heritage Project





Geography, Music, Space

One-day conference supported by the Institute of Musical Research

25 January 2017, Durham University

CFP Deadline: 15 September 2016


Keynote speaker: George Revill, The Open University


How does music shape diverse spaces, such as an immigration detention centre, a street performance, a military wives’ choir, or a family kitchen? Is there common ground to be found between researching the chants of a protest marcher, the beats of a commuter’s headphones and a soloist’s concert hall recital? What is the role of music in the construction of space, and vice versa? How and why do we research this?


This one-day conference will explore the relationship between space and how music is expressed, circulated and politicised to construct particular identities. It will also examine music at a non-representational level, with meaning emerging through affect and emotion, folded through a variety of embodied and spatially situated experiences. In short, it will consider the nuanced interplay between music and space.


The conference aims to bring together scholars working at the intersection of music and space, not only within the areas of musicology, ethnomusicology and geography, but also as approached from a variety of other disciplinary backgrounds (including politics, sociology, anthropology, philosophy). We especially encourage contributions from Postgraduates and Early Career Researchers.


20-minute papers addressing, but not limited to, the following themes are welcomed:


Music, materiality and space

– How is the materiality of music (a longitudinal wave; the materials that constitute a live performance; a recording on CD or mp3 file) significant in the construction of space?

– What does the material form that music takes bring to its circulation, governance and reception?


Music, the everyday and space

How do the materialities of music (or the sonic) fold through the multiple spaces of the everyday?

– In which social contexts are music and space mutually constitutive (performance, work, leisure)?

– What does a privileging of music bring to understanding the everyday? What other actors should be considered?


Music, the body and space

– How are spatialized identities formed through embodied acts of music such as singing, playing, and performing?

– How does music play into the construction of gendered bodies?


Music, the political and space

– What role does music have within contested, highly politicised spaces?

– What new spaces for politics open up through the circulation of music?

– How can we conceptualise the politics of music beyond textual analysis?


Researching music and space

– What methodological challenges and interdisciplinary opportunities arise from researching music and space?

– What does it mean to ‘do’ geographies of music?


Please send abstracts of no more than 250 words to Samuel Horlor at s.p.horlor@durham.ac.uk

Deadline: 15 September 2016


Successful applicants will be notified by the end of September. A limited number of travel bursaries will be available to Postgraduates or Early Career Researchers (those within three years of completing their PhD).

CIMCIM annual Conference 2017 and Fourth International Romantic Brass Symposium

The CIMCIM annual conference 2017 will take place in Basel and Bern – in collaboration with the Fourth Romantic Brass Symposium. The working title of the Conference is «Presentation, Preservation and Interpretation – Musical Instrument Collections challenged in the 21st Century».
Date: February 22–25, 2017

Programme overview (dated July 2016)

A Call for Papers is open until September 23, 2016.
By October 21, 2016, the programme will be published and registration will be open.

See also the symposium website www.hkb-interpretation.ch/cimcim

5th International Scientific Meeting for Sound and Musical Instrument Studies

‘Times and Challenges’ is the moto for the musical instruments EXHIBITION-ENCONTROIM and the 5th ORGANOLOGICAL CONGRESS, this year in the beautiful Tomar region, central Portugal.


‘Encontro’ means ‘meeting’ or ‘gathering’, an opportunity for people to exchange ideas and work experiences. Makers, collectors of musical instruments, creators/inventors are particularly welcome…

The ENCONTROIM [Encontro (for) instrumentos musicais = gathering dedicated to musical instruments] is FREE – anyone can participate, and it is also OPEN to the general public to visit. ANIMUSIC is generously offering the organization of this event completely free or charge, thanks to volunteers and the generosity of the host institution, the Câmara Municipal de Tomar.





5th International Scientific Meeting for Sound and Musical Instrument Studies

28, 29, 30, 31 October 2016

Tomar-Abrantes-Constância-Torres Novas

We look forward to scholars and artists joining us from the various disciplines touching Organology, and whose interests navigate through the very different forms of music and sound creativity.


Call for Papers : submissions until the 31st of July

(proposals welcome: congressorg2016.animusic@gmail.com )

The programme structure is available on the website, as well as the program for a post-congress unique visit to various collections in Italy (Bologna, Pisa, Firenze, etc.). More detailed information about the CfP, travel, lodging tips, and much more, you may find at our special congress website: link

or at our general ANIMUSIC site: www.animusic-portugal.org

For other information please contact: animusic.portugal@gmail.com



Music in the Ibero-Afro-American Universe: Interdisciplinary Challenges




“Music in the Ibero-Afro-American Universe: Interdisciplinary Challenges”


Federal University of Rio de Janeiro (UFRJ)

Rio de Janeiro, October 24–27, 2016


The VII SIM_UFRJ “Music in the Ibero-Afro-American Universe” proposes to approach this theme in broad scope of diverse cultural traditions, contexts and historical times, and of special interest to the II TeMA_Meeting is to promote de debate on the “Interdisciplinary challenges between Musicologies and Analytical Theories: Dialogues, Frontiers, and Intersections.” Discussion issues: issues and trends in the Ibero-Afro-American musicologies; musicologies and analytical theories: dialogues, frontiers, and intersections; critical and analytical theories and methods in the disciplinary knowledge; the field of music and the challenges of intra-, inter-, multi-, and trans-disciplinarity; analytical theories and interculturalities; identity and otherness, representation and cultural translation; interdisciplinary studies: music, film, visual arts, theatre, literature, philosophy, history, sociology, and cultural anthropology, cultural dialogues, circulation, transfer, reception, and appropriation of ideas, repertories, aesthetics, styles, techniques, musical practices and ideologies; heritage and collections; musics of written, oral, performing traditions; culture, society and politics; institutional, scientific, artistic, and cultural policies.



Abstract submission deadline: September 5, 2016

Notification to successful applicants: September 20, 2016

Submission of the full version of the paper for publication in the Proceedings: November 30, 2016



Proposals (abstract 300-500 words, and short bio) may be written in Portuguese, Spanish or English, and submitted as attached file (*.doc or *.rtf), indicating the preferred attendance to each conference: SIM-UFRJ to the e-mail sim@musica.ufrj.br or TeMA_Meeting to the e-mail diretoria@tema.mus.br. In case the proposal fits the full scope of the joint conference, it must be sent simultaneously to both e-mails.


Program Committee Chairs

Maria Alice Volpe volpe@musica.ufrj.br

Ilza Nogueira nogueira.ilza@gmail.com


More info: http://www.musica.ufrj.br/ and http://tema.mus.br/.

Also https://www.facebook.com/events/675180942635190/

Orpheus Research Seminar 2016 – Sound Work: Composition as Critical Technical Practice

The 10th Orpheus Research Seminar offers the opportunity for contributors from around the world to gather and explore the theme of composition as critical technical practice.

This seminar – convened by Jonathan Impett – will consider composition as a research activity – a process informed by theory and intuition, constraint and contingency, expectation and experience. It is a continuous iterative process of inscription and reflection in which its models, metaphors, aspirations, obligations, tools and technologies all play a part. This process is distributed temporally, socially and materially. The artefacts of composition – however notated, improvised, virtual, embodied or technologically implemented – are hybrid technical objects. Neither pure ‘inspiration’ not unmediated formalism account for what they contribute. We might rather consider composition as a design process, and study its dynamics and decisions in the spirit of critical technical practice – a term coined by Philip Agre in his work on the creation of the artefacts of artificial intelligence.

Call for Proposals

Practitioners from all disciplines are invited to submit proposals for presentations. We particularly welcome proposals for presentations that explore the demonstration of composition as research in innovative ways.

Deadline for Proposals: August 17, 2016.

Send us your proposal through info@orpheusinstituut.be

Download the full call in PDF

Keynote speakers

  • Nicolas Collins, Professor of Sound at the School of the Art Institute of Chicago (SAIC)
  • Alan Blackwell, Professor of Interdisciplinary Design, University of Cambridge (TBC

More info on the seminar

Given the prominence of the work and its author, of originality and development in Western art music, we might expect composition to be seen as the very embodiment of the notion of music as knowledge-production. Practice-as-research and artistic research have reached a relatively mature stage of assimilation and consensus, and yet the role of composition as research remains much debated in some quarters, unhelpfully unclear in others. Is this a question of communication, of discourse, of process and reflection, of composition as a cultural activity, or of its wider intellectual context?

The self-reporting of composition tends to consider the areas in which it aspires to be innovative, or the theories – musical, aesthetic, social, scientific, technological – that have informed the work, rather than research aspects of the activity of composition itself. The knowledge presented in such cases often lies outside composition. There is no shortage of investigation of the ontology and epistemology of the ‘work’ as a persisting historical cultural phenomenon, but the technologies and context of composition have undergone a paradigm shift. The present, to repurpose a phrase, is another country.

This seminar will consider composition as a research activity, as reflective critical making. Composition walks a tightrope between formalism and the arbitrary, a process informed by theory and intuition, constraint and contingency, expectation and experience. It is a continuous iterative process of inscription and reflection in which its models, metaphors, aspirations, obligations, tools and technologies all play a part. This process is distributed temporally, socially and materially. The artefacts of composition – however notated, improvised, virtual, embodied or technologically implemented – are hybrid technical objects. Neither pure ‘inspiration’ not unmediated formalism account for what they contribute. We might rather consider composition as a design process, and study its dynamics and decisions in the spirit of critical technical practice – a term coined by Philip Agre in his work on the creation of the artefacts of artificial intelligence.



YOUNG MUSICOLOGY PRAGUE: Czech and European Avant-garde Music of the Early 20th Century

We are glad to announce that the international conference
Czech and European Avant-garde Music of the Early 20th Century,

will be held from 5th to 8th September 2016 in the premises of its organizer: Department of Music History, Institute of Ethnology Academy of Sciences of the Czech Republic, p.r.i., which are located on 9th Pushkin Square in Prague.

The conference is primarily intended for PhD students and, generally, for early-career musicologists. The conference will deal with music and musical culture of the late 19
th and early 20th century (ca 1890–1939), with a special focus on Central-European, Bohemical and Moravical aspects of the issue. We welcome contributions from all disciplines of musicology and also contributions of interdisciplinary character. The conference language is English.

The good news is that there is no conference fee to be paid. The conference will include (free of charge) excursions to the city’s main musicological institutions, a concert of the rare chamber works of Czech interwar music, keynote lectures, and a wine reception.

We would like to ask you to send your
 obligatory application as a Word attachment to Miloš Zapletal (m.zapletal1987@gmail.com) no later than 30th July 2016. The application should include the proposals of 250–300 words for spoken papers of 20 minutes and also the following: title, author, affiliation(s), email address for contact, and the information about whether you want us to book your accommodation in student dormitories (338–375 CZK/night, i.e. ca 12 €/night), and if so, than for how many nights. If you have any questions regarding the conference, please feel free to send your queries to the above mentioned email address.