tosc@bern.2017 – 2nd Transnational Opera Studies Conference

2nd Transnational Opera Studies Conference, tosc@bern.2017

Bern 5 – 7 July 2017

Following the success of the first meeting (University of Bologna, 30 June-2 July 2015), the second Transnational Opera Studies Conference will be hosted by the University of Bern, at the Musikwissenschaftliches Institut, from 5 to 7 July 2017. Its name will therefore be: tosc@bern.2017

The Programme Committee will consist of:

Marco Beghelli (Università di Bologna), Céline Frigau Manning (Université de Paris-VIII), Anselm Gerhard (Universität Bern), Axel Körner (Univerity College London), Gundula Kreuzer (Yale University), Vincenzina C. Ottomano (Universität Bern), Arne Stollberg (Humboldt-Universität zu Berlin), Cristina Urchueguía (Universität Bern)

Anselm Gerhard and Vincenzina C. Ottomano will also serve as Conference organizers, assisted by Valeria Lucentini.

All are invited to take part, regardless of professional status. As with other events of this kind, participants and spectators will be required to pay for themselves; registration fees and other costs, however, will be kept as low as possible.


Submissions are invited on any subject related to opera and other forms of music theatre, including history, dramaturgy, libretto studies, philology, genesis, reception, voice studies, performer studies, performance practice, interpretation, the relationship between opera and society, between opera and other arts, opera and media, opera on film, and so on.  Preference will be given to proposals that explore issues, rather than simply offering descriptive accounts. Papers can be in German, English, French or Italian. Proposals must be submitted as a Word file (“.doc”, not “.pdf”), and must include the following:

– full name

– country and institution

– e-mail address

– abstract in no more than 350 words

Abstracts should include all information necessary to allow the Programme Committee to evaluate the argument, research findings and originality of the proposal, as well as its potential as a conference paper. Following acceptance, there will be an opportunity to change abstracts for publication in the conference programme. Proposals should be submitted as attachments by email to:, by 31 October 2016. Everyone submitting a proposal will be sent a confirmation email; if this has not been received within five days, please resend the proposal.

All abstracts will be anonymized before being seen by the Programme Committee; you are requested not to include in your abstract any information that could reveal your identity (such as “As I have shown in my earlier article…”).

All those who have submitted a proposal will be notified of the outcome by 20 December 2016.


The costs of the conference are funded directly by the participants (speakers and those attending). The exact registration fee will therefore depend on the number of participants, and will be confirmed along with the notification of papers accepted; it will, however, be no more than €100, and will include three buffet lunches.

2nd Transnational Opera Studies Conference

tosc@bern.2017; 5 – 7 July 2017


web site:

Sounds Between: a one-day festival exploring interdisciplinary encounters in music composition

Wednesday 7th December PATS Studio 1 and Ivy Arts Centre, University of Surrey, 10.15 – 9pm. Tickets are free but advance booking is recommended

’Sounds Between’ focuses on the places where music and other disciplines interact. Four specially commissioned works from squib-box, Jamie Hamliton/Dom Czapski, Jan Lee and Rodrigo Camacho/Sara Rodriguez explore a broad terrain of ideas: the perception of meaning and mass media, the strange attractions of digital avatars, how dancers become musicians in order to ‘play’ a space, and the formation of cultural identity in London’s Hatcham (New Cross).

Surrounding these premieres are contributions from leading artists, researchers and industry figures: Susanna Eastburn (Chief Executive of Sound and Music) leads a panel discussion on drivers and obstacles to interdisciplinary work in music composition, Jason Freeman shows how online networks can enable realtime, participatory music making, and Matteo Fargion and Jonathan Burrows perform work from their extensive back catalogue of sound/movement pieces. A workshop from Michael Picknett exploring theatrical devising techniques in composition and an installation by Scott Mc Laughlin (as well as plenty of opportunities for networking) complete the day.

‘Sounds Between’ is presented by Music Composition as Interdisciplinary Practice. MCIP is an AHRC-funded research network of artists, artistic researchers and scholars. Over the past year we have been commissioning, sharing and reflecting on music composition as a nexus of different disciplines. We have held a one-day seminar at Oxford Brookes University and a two-day symposium at the University of York. Through these events and through artists’ documentation of the commissioned pieces we have looked for insights into how such approaches to composition reflect different kinds of interdisciplinarity, how interdisciplinarity is facilitated ‘on the ground’ and how understandings of creativity might contribute to and be re-evaluated by the study of such work. ‘Sounds Between’ brings the practice that has underpinned the network into wider public view. The diversity within the programme reflects the phenomenon we are studying; it will appeal to those interested in experimental music, performance, multimedia, installation, dance and theatre practices, or simply curious to hear and see a snapshot of composers working between disciplines today.

Spectralisms: an international conference

Faculty of Music, University of Oxford
15–16 March 2017

Call for Papers

The first UK conference devoted entirely to the discussion of spectral music will take place in Oxford in March 2017, organised by the Faculty of Music in association with Ircam, Paris.

The term spectral music, coined by composer Hugues Dufourt in 1979 and now in wide use (despite ongoing disputes over its appropriateness), represents a music derived from the analysis of the structure of sound itself, and explores exciting new forms, timbres, temporalities and modes of expression. It first emerged in France in the 1970s, but its roots extend back possibly as far as Rameau, and certainly to such key figures of the twentieth century as Debussy, Messiaen, Stockhausen, Ligeti, Xenakis, Partch, and still today La Monte Young. Grisey, Murail, Dufourt and Levinas were early pioneers of this aesthetic. Today the impact of ‘spectral thinking’ can be found across a very wide range of international musical practices.

This conference aims to examine a broad gamut of critical issues springing from the idea of spectral music. The title ‘Spectralisms’ (in the plural) reflects the conference organisers’ wish to encourage contributions from the widest possible range of critical perspectives. These might include, but are certainly not restricted to:

– historical/historiographical perspectives on spectral music in France and elsewhere
– the institutions of spectral music
– philosophical contexts for the ‘ideologies’ of spectralism
– the politics of spectralism
– spectral music and modes of listening
– spectralism and technology
– music spectra, the corps sonore and music theory
– analytical methods specific to spectral repertoire
– spectral music and the creative process
– sound studies
– ‘spectralisms’ in the widest sense, including in popular, folk and world traditions

The conference keynote speaker is Tristan Murail, co-founder of Ensemble L’Itinéraire in 1973 and of the spectral movement. His key works include Mémoire/Érosion, Gondawa, Désintégrations, L’Esprit des dunes, La Barque mystique, Winter Fragments and Le Désenchantement du monde. Formerly professor at Columbia University, currently visiting professor at Shanghai Conservatory, he remains one of the world’s most influential living composers.

The conference also features a concert given by the London Sinfonietta of music by Murail, Grisey, Saariaho and others. It will take place in the Jacqueline du Pré Music Building on 15 March 2017 at 19.30. The music in the programme will be introduced by Tristan Murail.

Proposals of 250–300 words are now invited for spoken papers of 20 minutes. These should be sent as a Word attachment to and must include the following:

– title
– author(s)
– affiliation(s)
– email address for contact

The deadline for proposals is Friday 9 December 2016 at 12.00 UTC. Decisions on proposals will be communicated by early to mid January 2017.

The languages of the conference are English and French. Proposals are welcome for papers in both languages.

L’appel à contributions en français est disponible à l’adresse suivante :

Further information about the conference, including details about registration, will appear here shortly. Information about the conference – accommodation, travel information, draft programme, etc. – will be available on the dedicated website:

The programme committee is:

– Jonathan CROSS (University of Oxford) (Conference Director)
– François-Xavier FÉRON (CNRS–LaBRI)
– Robert HASEGAWA (McGill University)
– Gascia OUZOUNIAN (University of Oxford)
– Caroline RAE (Cardiff University)

If you are interested in this conference, you might also be interested in this Call for Contributions to a Special Issue of the journal Twentieth-Century Music, guest edited by Jonathan Cross, devoted to the idea of ‘spectral thinking’. Go to:


Stimme – Instrument – Vokalität. Die menschliche Stimme als instrumentales Vorbild: Ideal oder Klischee?

Ein Symposium der Schola Cantorum Basiliensis, Basel, Musik-Akademie, 24-26 November 2016

Ob für die instrumentale Fassung eines Lieds im Vergleich zum vokalen Original, ob für das Zusammenspiel von solistischem Gesang und instrumentaler Begleitung oder für den Affektausdruck in der Instrumentalmusik: Die menschliche (Sing-)Stimme als Übermittlerin von Text und Semantik bildete über Jahrhunderte das Ideal und Modell für die Instrumente. Auch das Paradigma der imitatio naturae forderte, dass die Instrumente möglichst in allem die menschliche Stimme nachahmen sollten. Als jedoch im 15. Jahrhundert die Instrumente allmählich ihren Platz in der Musiktheorie fanden und auch eine eigenständige Instrumentalmusik entstand, entwickelte sich ein ästhetischer Diskurs über die Prävalenz beider Bereiche. Zudem bezeugt die musikalische Überlieferung eine deutliche wechselseitige Beeinflussung zwischen vokaler und instrumentaler ‚Sprache‘ – ein Phänomen, über das bereits viel nachgedacht wurde, z. B. für das Repertoire des 16. Jahrhunderts, beginnend mit den textlosen Chansondrucken Ottaviano Petruccis.
Das Symposium der SCB wirft Schlaglichter auf das wechselvolle Verhältnis von Stimme und Instrument vom 9. bis zum 19. Jahrhundert. Es zeigt auf, wie die sängerische Praxis unterschiedliche ‚Ideale‘ erzeugt hat, nicht nur im Lauf ihrer Geschichte, sondern auch in gleichzeitigen, aber unterschiedlichen regionalen Ausprägungen. Schliesslich befasst sich das Symposium mit der Rolle der Instrumente, die sich im 18. Jahrhundert vom vokalen ‚Vorbild‘ endgültig emanzipieren, nicht ohne jedoch bereits vorher ihren Anspruch auf eine eigene Definition von Rhetorik, Artikulation und Vokalität angemeldet zu haben.

Das Detail-programm finden Sie hier:

Referentinnen und Referenten
Martine Clouzot (Dijon)
Rebecca Cypess (New Brunswick NJ)
Andrew Dell’Antonio (Austin TX)
Sergio Durante (Padova)
Wolfgang Fuhrmann (Mainz)
Claire Genewein (Zürich)
Inga Mai Groote (Heidelberg)
James Hankins (Cambridge)
Johannes Keller (Basel)
Martin Kirnbauer (Basel)
Jeremy Llewellyn (Oxford)
Ulrich Messthaler (Basel)
Franco Piperno (Roma)
Christoph Riedo (Cambridge)
Jeanne Roudet (Paris)
Sven Schwannberger (Basel)
Thomas Seedorf (Karlsruhe)
Anne Smith (Basel)
Edoardo Torbianelli (Basel)
Peter Wollny (Leipzig)

Eintritt frei, Anmeldung erwünscht

The Protean Musician: the musician in future society

Call for Proposals: Joint Research Centres Conference Norwegian Academy of Music, November 1 – 3, 2017

What does the future look like for the musician in society?

The four Research Centres of the Norwegian Academy of Music invite colleagues from Norway and abroad to address this question by sending proposals for their joint conference The Protean Musician: the musician in future society.


Musicians need competences that are dynamic and adaptable. Students and staff within conservatoires and university music departments must understand that what they are going to do as musicians will change over time.  They also need to be equipped to help others in this realisation.

This conference aims to explore aspects of the micro-experience of students in the conservatoire, and how these might relate, at the macro-level, to what the artistic/professional career experiences of these people may be in future.

We are aware that there are numerous human frailties involved in the music ‘profession’, and the idea that obstacles must be overcome in life through some form of self-realisation is as true for the musician as for any individual.  In contrast, the music profession has trained people through a perfectionist frame, despite the fact that we know that life is full of imperfections. Issues of inequality, lack of opportunity and exploitation remain problematic in the music world, but are largely ignored, at best, marginalised and, at worst, covertly echoed in the single-minded discipline of the teaching studio and practice room.

How might we go about resolving this situation? How might we establish a paradigm, within the conservatoire and beyond, of the previously posited but largely unrealised ‘Protean Musician’, an individual responsive to change and able not only to thrive personally but also to make a difference to others?

Issues addressed

Issues which may be addressed under this topic area include:

  • Identity: Questions around identity are very important because when they encounter the ‘real’ labour market, students are having to do things other than they had previously expected. So, what do musicians say at various stages of their careers when they are asked about identity?
  • Courage:  Do we really have the courage to ask questions of our work in the studio?  Have we really embedded the critical views around music training systems in such a way that challenging questions can be posed, and received, constructively?
  • Power Relations: Are we dealing properly with the problematics of the power relations that conservatoires include and create?
  • Actions: If, through this conference and by other means, we gain a better understanding of the actions that could elicit changes, how might we apply this knowledge in the world of our conservatoire, and in the ‘real’ world’?

Proposals relevant to the concerns of the Research Centres

The Conference Committee welcomes proposals which address the topic through any of these perspectives and through others relevant to the overall concerns of its Research Centres.  Cross-disciplinary proposals relating the ideas of two or more of the NMH Research Centres are encouraged:

The Arne Nordheim Centre for Artistic Research in Music (NordART): providing a contemporary perspective on the roles of musical artists through its development of projects within the artistic research and performance studies fields;

The Centre for Research in Music and Health (CREMAH): expanding knowledge about the relations between music and health, including Music Therapy;

The Centre for Educational Research in Music (CERM), dedicated to the understanding and advancement of all subjects within the field of Music Education including Higher Music Education;

The Centre of Excellence in Music Performance Education (CEMPE): developing knowledge that will enhance the education of musicians on a high artistic level, qualified for an international and competitive profession in a rapidly changing music environment.

Presentations and proposals details

Duration of presentations
  • Individual presentations: 25 minutes, followed by 5 minutes of discussion
  • Special sessions: 45 minutes in total, including discussion

All proposals (abstracts) should fully and clearly describe the topic of the presentation and should include the following information:

  • Background
  • Research questions
  • Aims
  • Summary of content
  • Significance

Please indicate whether or not the presentation will involve live performance and, if so, what instruments and repertoires are envisaged.

Proposals of 300 words should be sent as a PDF or Word attachment to and must include the following: title, author(s), affiliation(s) and email address for contact. This information should be supplied on a title page separate from the abstract proposal, for the purposes of blind review.  When you submit your proposal you will be asked to identify:

  • Type of submission (i.e. individual presentation, special session)
  • AV requirements
  • Special requests for space/equipment for performance during the paper/session

Selection of proposals

Proposals will be accepted on the basis of their relevance to the seminar themes, their significance, originality, and rigour. Presentations incorporating live music‐making are welcome.

Proposal submission deadline: 1st February 2017

Viola bastarda


Das Repertoire für die „Viola bastarda“ (Italien, ca. 1580–1630) ist ein wichtiger Teil des Viola da gamba-Studiums an der Schola Cantorum Basiliensis. Es ist höchst anspruchsvoll und fordert grosse Virtuosität. Gleichzeitig ist aber die Frage, welches Instrument – oder welche Instrumente – verwendet wurden, immer noch ungeklärt. Der Studientag geht dieser und weiteren Fragen zu Repertoire, Spieltechnik und Verortung mit interdisziplinären Vorträgen, Vorstellung eines möglichen Prototyps und dessen Besaitung sowie direktem Austausch nach.

Referierende: Roberto Gini (Conservatorio di Parma), Bettina Hoffmann (Conservatorio de Vicenza), Davide Longhi (San Lazzaro di Savena), Joëlle Morton (University of Toronto), Valentin Oelmüller (Potsdam), Caroline Ritchie (Royal Academy of Music, London), Lucy Robinson (Royal Welsh College of Music & Drama).

Leitung: Kathrin Menzel M.A., Prof. Paolo Pandolfo, Pierre Bohr

Der Studientag wird abgerundet von einem Konzert der Studierenden und Vortragenden im Schmiedenhof um 18:00 Uhr.

Eintritt frei; Anmeldung erbeten unter:

Weitere Informationen unter:

Sounding Out the Space: An International Conference on the Spatiality of Sound

Date: 2–4 November 2017
Location: Dublin School of Creative Arts, DIT Grangegorman Campus
Organisers: DIT Conservatory of Music and Drama, Dublin School of
Creative Arts, GradCAM
Partners: Contemporary Music Centre, Lewis Glucksman Gallery, Society
for Musicology in Ireland, Solstice Gallery, Spatial Music Collective

Conference website:

Keynote Speakers:
Brandon LaBelle – artist, writer and theorist (Bergan Academy of Art and Design)
Bill Fontana – American artist and composer

Sound is an inherently spatial phenomenon. No matter what its point of
origin, be it a musical instrument, a voice, an audio speaker, or
another sound-producing entity, sound must navigate space before
reaching our ears. On this journey it enters into a complex relational
dynamic with the surrounding environment: it may be amplified,
distorted, reverberated, dissipated and subject to a multitude of
transformations which modify it in different ways. While this dynamic
is an intrinsic part of any sonic event, certain artistic endeavours
have sought to exploit this spatial aspect of sound as a distinct
parameter in its own right. Though spatial experiments have a long
history in western music stretching back centuries, the search for
novel means of expression in the twentieth century led to an
unprecedented investigation into the spatiality of sound as an
integral component of the work. From Edgard Varèse’s Poème
électronique to Karlheinz Stockhausen’s Helicopter String Quartet,
such concerns have been at the centre of some of the canonic works of
musical modernism. In the discipline of sound art, auditory dialogues
with the surrounding space have been the defining feature of sound
installations by Max Neuhaus, Bernhard Leitner, Maryanne Amacher and
others, who have sought to locate sound in relation to architecture.
While such work grew out of developments in the wider field of art
installation, increasingly the practices of both sound and art
installation have converged in the work of artists such as Janet
Cardiff and Zimoun forming multi-sensory experiences. Expanding
outwards, the multi-site sound installations of Bill Fontana have
developed the notion of spatiality across geographical locations while
recent innovations in communication and digital technologies have
created virtual networks, redefining our conception of space and
presenting new possibilities for music, sound art and visual art.

Although substantial research on the spatiality of sound has been
carried out within the disciplines of musicology, sound art, and
visual art studies, much of this work has remained separate, enclosed
within these specialised fields of research. This conference aims to
address this imbalance, acknowledging the fluid exchange of ideas
between these spheres in actual practice and fostering an
interdisciplinary spirit amongst researchers and practitioners. The
conference committee thus invites presentations from sound artists,
visual artists, composers, academics, and post-graduate researchers
which consider the spatiality of sound in all its diverse forms. While
the conference remit is broad, the committee especially encourages
contributions which address (but need not be limited by) the following
three strands:

• Sound and Visual Art
‒Contributions from Sound Artists/Visual Artists
‒Convergences between Sound and Visual Art
‒Historical Perspectives
‒Modes of Listening
‒Sound Architectures

• Spatial Music
‒Analytical Accounts
‒Attempts at Definition/Theorisation
‒Composer Perspectives
‒History of Spatial Music
‒Listener Perception
‒Performance Challenges
‒The Role of Sound Technologies

• Geographic and Virtual Spaces
‒Digital Networks and Communications Technologies
‒Live Streaming and Web-cast
‒Interactivity and Participation

Proposals are invited in the following formats:

•Individual Papers (20 mins duration plus 10 mins discussion)
•Joint Papers (max 2 speakers, same format as above)
•Themed Sessions (3 papers totalling 90 mins or 4 papers totalling 120 mins)
•Panel and Roundtable Discussions (90 mins, max 6 speakers)

Proposals for individual and joint papers must be in the form of an
abstract not exceeding 250 words. Proposals for themed sessions,
panels and roundtable discussions should not be more than 800 words
and should indicate the number and title of each individual paper with
its abstract. Abstracts may be submitted in either a Microsoft Word
document or via a PDF attachment. All proposals should include the
name, contact details, institutional affiliation (if any), technical
requirements, as well as a short biographical note of not more than
100 words of each speaker. The conference language is English.
Proposals should be submitted to

All proposals will be subject to a double-blind review process by the
conference’s scientific committee which is comprised of specialists
from the disciplines of sound art, visual art and musicology.
Applicants will receive notification as to whether their proposal has
been accepted by early May 2017.

The deadline for submissions is 31 March 2017

Conference Committee
Dr Adrian Smith (Conference Chair)
Dr Brian Fay (Acting Head of School, Dublin School of Creative Arts, DIT)
Dr Mark Fitzgerald (Senior Lecturer, DIT Conservatory of Music and Drama)
Dr Noel Fitzpatrick (Head of Research, College of Arts and Tourism, DIT)
Dr Kerry Houston (Head of Academic Studies, DIT Conservatory of Music and Drama)
Martin McCabe (Centre for Transcultural Research and Media Practice, DIT)
Jonathan Nangle (Composer and Senior Lecturer, Royal Irish Academy of Music)

Scientific Committee
Dr Enda Bates (Composer and founding member of the Spatial Music Collective)
Dr Brian Bridges (Ulster University)
Jennie Guy (Independent Curator)
Dr Kerry Hagan (Digital Media and Arts Research Centre, University of Limerick)
Fiona Kearney (Director, Glucksman Gallery, Cork)
Dr Victor Lazzarini (National University of Ireland, Maynooth)
Dr Linda O’Keefe (University of Lancaster)
Dr Karen Power (University College Cork)
Belinda Quirke (Director, Solstice Arts Gallery, Navan)
Prof Pedro Rebelo (Sonic Arts Research Centre, Queen’s University Belfast)

For further details please email:

Communicating Music Scenes: Networks, Power, Technology

CFP | Communicating Music Scenes: Networks, Power, Technology

Budapest, 19-20 May 2017

The conference aims to address the relation(ship)s and communication between people, formal and informal institutions, and technologies in the context of music making. Understanding and exploring music scenes as networks can help us to uncover the power relations that affect those scenes, while also leading to a nuanced understanding of the changing technological and media context in which music is produced, disseminated, consumed, and talked about.

We invite papers that address the following themes:

Music scenes and formal and informal communication infrastructures in view of the related technologies and economies
Music scenes and genres, technology and networks: Social Network Analysis, Actor Network Theory etc.
Communication in and about music scenes
Power as formal and political, as well as informal and subcultural: inclusion and exclusion
Musical diplomacy, music scenes and transnational communication
Technology, power and remembering/forgetting music scenes
(Sub)cultural and other forms of capital in music scenes
Music scenes and DIY media, online and offline
Music scenes and digital technology: change and/continuity
Underground scenes and the formal music industries: power and democracy
Music scenes and society: the reproduction and/or subversion of power structures through technology and communication infrastructures
Local – global dynamics and power: the global music industries and local infrastructures
Gender, sexuality and music scenes
Nation(ality), ethnicity and music scenes
Age and music scenes
Social class and music scenes

The conference will be held at the Institute of Musicology, Research Center for Humanities, Hungarian Academy of Sciences (Táncsics Mihály u. 7., 1014 Budapest, Hungary), and is jointly organised by the Institute of Musicology, the Department of Sociology and Communications, Budapest University of Technology and Economics and IASPM Hungary.

Deadline for abstracts (250 words) with short bio (50 words): 31 January 2017

Please send to:

Further information:

Codici per cantare: I “Libroni” del Duomo nella Milano sforzesca

Conference date: 14 October 2016
Conference venue: Università degli Studi di Milano, Milan, Italy

The central object of investigation of this study day is the set of manuscripts held at the Archive of the Veneranda Fabbrica del Duomo di Milano and usually known as the “Libroni” (big books). These manuscripts, copied from c.1490 under the direction of chapelmaster Franchino Gaffurio, contain a rich repertory of sacred music by such composers as Josquin des Prez, Loyset Compère, Gaspar van Weerbeke and Gaffurio himself. Thanks to the patronage of the Sforza dukes, from the 1470s Milan became one of Europe’s musical capitals. The four Libroni (the last of which was heavily damaged by a fire in 1906) are the only extant witnesses of the city’s contemporary musical repertory. Aim of the study day is to address the main open questions regarding the origin and use of the Libroni, to contextualize them both from the perspective of musicological studies and from that of other disciplines (liturgical studies, codicology, cultural history), and to further explore the repertory they contain.

The study day will include two special events:

– An exhibition of the Libroni at the Archive of the Veneranda Fabbrica, during which the ensemble Cantus Figuratus will perform motets by reading directly from the manuscripts.

– An evening concert at the Basilica of San Calimero, entirely dedicated to musical repertoire of the “Libroni”.

Organization: The Motet Cycles Project (lead by Agnese Pavanello, Schola Cantorum Basiliensis, Basel, Switzerland), in coperation with Università degli Studi di Milano; Veneranda Fabbrica del Duomo di Milano; Associazione NOEMA.

Speakers: Daniele V. Filippi, Martina Pantarotto, Klaus Pietschmann, Edoardo Rossetti, Francesco Rocco Rossi, Thomas Schmidt, Daniele Torelli, don Norberto Valli, Marie Verstraete, Massimo Zaggia.

See for all the details.

Digital Folk

Proposals are invited for the Digital Folk conference at the University of Sheffield.

This one-day conference will explore the practices, cohesions or frictions that can arise when folk and traditional arts come into contact with digital technologies.

As experiences and assertions of place and ethnicity are problematised by the ongoing impacts of globalisation, concepts of “tradition” take on new meanings, new significances and—for many—new appeal. Folk arts of various sorts have experienced a significant growth in profile and cultural currency over recent years. Digital technologies—regularly cited as key enablers of cultural globalisation—are simultaneously complicit in supporting the resurgence and maintenance of local traditions, as well as facilitating the development of new, transnational communities and activities. Folk songs are shared on websites; dancers are recruited and organised on social media; storytelling communities congregate around online discussion boards; and cultural organisations court public engagement with internet archives. Digitally mediated actions and interactions are a ubiquitous part of everyday life for folk artists and participants, but the impacts of these behaviours on tradition—as content and/or concept—remain relatively unexplored.

Submissions are invited for papers that explore the range of issues arising from the use of digital technologies as they relate to any folk/traditional arts from around the world. Themes for discussion include (but are not limited to):

—the roles played by contemporary digital technologies, materials and social networks in the participatory and performative activities of folk/traditional musicians and dancers
—the discourses related to the employment, distribution and/or rejection of digital resources in traditional contexts
—the artistic and cultural impacts of digital tools, resources and networks
—the relationships between particular traditional cultures/activities and specific media/technologies.
—the interaction of corporate or institutional digital technologies or materials, with vernacular digital practices and ‘user-generated’ media.

Contributions are invited from scholars across the fields of ethnomusicology, digital anthropology, folklore studies, media studies, ethnochoreology and other related disciplines. This conference represents an annex to the British Forum of Ethnomusicology Annual Conference, also hosted at the University of Sheffield (from 20-23 April 2017), and we envisage that some delegates will wish to attend both events, potentially contributing more than one paper.

Proposals of 250–300 words are invited for presentations of 20 minutes. These proposals should be sent as a Word attachment to and must include the following: Title, author(s), affiliation(s), email address for contact.

The deadline for proposals is 1st November 2016.