São Paulo / Brazil (22-25 NOVEMBER)




International sound studies conference organised by NuSom – Research Centre on Sonology

22-25 November, 2016  São Paulo

For the past few years, we have seen the development and appearance of research departments, books, journals and other forms of scholarship and institutional endeavours dedicated to what we now know as sound studies. This encompasses the study of warfare and politics of sound; cultural and technological critiques; sound art and associated praxis; urban phonography and acoustic ecology; sonic epistemologies; new musicology and historically situated reflections.

In this sense, we feel that is high time to promote work done both nationally and in Latin America. In doing so, we hope to establish fruitful dialogues with researchers coming from other parts of the world, and create a platform for an interdisciplinary, deconstructive and archaeological approach that expands the discussion on the above thematics.

The terminology of sound studies itself – ‘SONOLOGIA’ – here  reflects the local academic culture and our interest in having in this event (besides the already above mentioned), researchers from different areas of study: music technology; anthropology; philosophy; gender studies; cultural, performance and media studies; experimental, popular and contemporary music.

Themes and topics

The ‘out of phase’ theme, while referring to a technical and theoretical jargon in sound, encompasses a strong metaphorical stance towards the need to incorporate views that are of out-of-sync or in opposite polarity regarding a possible familiarity in contemporary sonic theory and practice.  Thus, we are inviting submissions that can refer to, but are not limited to, the following topics:

  •         postcolonial historiographies that counter euro-american narratives and describe the importance of other geographically situated musical/sonic practices, not only in the development of a regional experimental/contemporary music scene,  but also in the wider history of such practices;
  •         practice-based artistic research and/or musicological reports of music, sound art (improvisation, composition, performance, installation, radio, field recording, performance, site-specific endeavours) or other post-medium/hybrid artwork;
  •         case studies that describe and reflect on the processes involved in the transfer of knowledge, technology and creative practices between different geographical realities (relating to music/sound);
  •         critical insights into the politics of sound: demarcation and regulation of territories and communities, online and public activism, noise abatement, sonic warfare and torture;
  •         research projects or case studies that promote the accessibility of music technology software/hardware, through repurposing old/novel technologies or using open-source platforms;
  •         discussions related to technical, social and poetic aspects regarding the role of technology in music and sound art production;
  •         inter or trans-disciplinary methodological papers that describe the study of sound/music and its pertinence to other fields;
  •         ethnographic inquiries that describe the national and institutional frameworks that support contemporary/experimental music and sound art making;
  •         expanded epistemic and multimodal accounts of knowing the world through feminist, queer, trans, race or(and) other non-normative/binary listening perspective(s);
  •         inquiries that problematise discursive and practical tropes in contemporary sonic artworks that deal with place, nature and human/non-human entities;
  •         discussion(s) regarding the mediation of composers’/artists’ presence (authorial and physical) in making/presenting music or art;

Individual papers and presentations

As stated above, we wish to bring a diverse of range of researchers, coming from different disciplines and locations in order to present original scholarship from a multi-vocal and global framework. All proposals will be submitted to a review process by an appointed scientific committee.

Please submit your extended abstract (in English) of max. 1 page full and half (A4) and a short bio (50 words) no later than June 5th, 2016 by 11:59pm Pacific Standard Time (GMT -3) via Please allow 24-48 hours for confirmed reception.

Selected presentations will need to submit camera-ready papers (in English) by October 16th with a provided (by us) ODT/ MS Word templates (up to 8 pages long in A4 format).

Selected submissions will be published in the conference proceedings, under an ISSN reference and archived using the OJS platform.

After the conference, 12 papers will be considered for a special edition of Interference: A Journal of Audio Culture, guest-edited by Rui Chaves and Lílian Campesato.


We are open to different types of presentations, that reflect the critical and creative necessities of theoretical or practice-based research.  The official language of the event is English, although simultaneous interpreting – regarding English to Portuguese – will be available to all. In certain cases, the presenters may request simultaneous interpreting for Portuguese to English.

Important Dates

Submission: June 5, 2016 by 11:59pm Pacific Standard Time (GMT -3)

Selected papers announcement: July 24, 2016

Camera-ready paper/program note deadline: October 16

For any questions regarding the submission process, please contact us at

International Conference of Young Musicologists. Young Musicology Today: tendencies, challenges and perspectives

The aim of the conference is to integrate the musicological community through the creation of an international forum for exchanging ideas and research experiences. We encourage young musicologists to present results from ongoing studies and to engage in discussion on the future of musicology, its role and place in the contemporary culture. Currently, musicology, which is not only the study of music, is starting to perform social functions, becoming not only a field of scientific inquiry but one of use to society. During the conference, we would like to consider new avenues of research, new methodologies of musicologists’ work, and the challenges and career prospects faced by musicologists entering the labour market. It will also be an opportunity to consider the subject areas of interest to young musicology.

Subject areas for consideration include

  • New research perspectives in musicology
  • Music versus other arts
  • Music in the public space (sonosphere research)
  • Music in society (music and ideologies)
  • Music and the sacred
  • Music and science (e.g. psychology of music)
  • Challenges of modern ethnomusicology
  • The state and the form of contemporary music criticism
  • Source studies and music editing
  • Music librarianship – issues and challenges
  • Performance practice
  • Theory of music
  • Music and pop culture
  • Opera nowadays

The conference will incorporate both traditional lectures and panel discussions, during which groups of researchers conducting a joint project or studying similar subjects will be able to present the results of their studies or discuss a specific subject. We encourage the participants to organise their own panel sessions during the conference (due to time constraints, we suggest no more than four papers during one session; please indicate the person leading the session during registration).

In addition, the conference programme includes:

  • “A musicologist on the labour market” panel

This will be an opportunity for an in-depth discussion of the current employment situation of musicology graduates in Poland and abroad, and for the presentation of experiences in this area. We encourage participation in this panel session by musicologists – musical life animators, employees of media and cultural and educational associations and institutions etc.

  • Masters’ lectures (plenary speakers)
  • The conference programme includes additional events, such as concerts, sightseeing in Krakow, and exhibitions.

A publication of the collected papers presented at the conference is also planned.

Conference language: English.


  • Accepting applications with abstracts – until 31th of May 2016.
  • Information about accepted papers – by 30 June 2016.
  • Conference dates: 7-9 November 2016.

Applications should be made by sending the application form via email to:  and

You can find an application form here.

For any further information please feel free to contact: Agnieszka Lakner;

Conference fee

Conference fee: 200,00 PLN / 50 €

The fee includes:

Admission to the conference, conference program, publication of the paper in the conference proceedings, lunches and coffee breaks during sessions and conference attractions such as sightseeing and concerts. Registration fee does not include accommodation and transportation. If you wish, Organizers will help you to book an accommodation.


Jagiellonian University in Kraków, Department of Musicology

Address: Westerplatte Street 10; 31-033 Kraków, Poland



Royal Musical Association Annual Conference 2019

Royal Musical Association 55th Annual Conference

Wednesday 4 to Friday 6 September 2019 at Manchester

Hosted jointly by the University of Manchester and the Royal Northern College of Music. Contacts: Prof. Thomas Schmidt and Prof. Barbara Kelly

The conference aims to celebrate the quality and diversity of current scholarship and research in music by bringing together as many as possible from home and abroad with an interest in the investigation and discussion of the subject’s many branches. The gathering is a vital complement to the impressive range of specialist musical conferences, symposia, study days, and training sessions taking place around the world. Through it the RMA seeks to encourage networking and the provision of opportunities for RMA members, officers, and councillors to meet with each other, and for students and new entrants to the world of musical scholarship and research to meet leaders in the field and vice versa. The conference programme includes the RMA Dent Medal award and lecture, the Le Huray lecture, and the Annual General Meeting.

The conference announcement and Call for Proposals are expected in September 2018.

Intersections: Conference on the History of Music in Valencia

València, Thursday 13 – Saturday 15 October, 2016.

Facultat de Geografia i Història, Universitat de València

CFP Deadline: 31 May 2016

The conference aims to promote an idea of the history of music in Valencia avoiding its reduction either to a pale reflection of a general history—identified in the canon of major composers— or to a manifestation of a radical cultural otherness.

With regard to contents, the conference will move within the coordinates of structural history, leaving in the background thematic or chronological criteria: there will be four sessions, respectively devoted to Applied Musicology, Historiography, Institutional History and Biography/Prosopography, and preceded by an inaugural introductory and methodological lecture.

Reflections on historiographical traditions and methodology will foster a debate on the recognition of the intersection between development of institutions and vicissitudes of individuals as a crucial point of music-historical becoming. This view is in accord with a historiography that—reconstructing processes, understanding products and relationships—approaches music as a practice that, originating in the past, reaches the present, while founding on interpretation one of the possible ways of understanding music: a perspective that should materialize the encounter between musicologists and performers.

Further description and full CFP in Valencian, Spanish, Italian, and English:

Scientific Committee

Dinko Fabris – President of the International Musicological Society
Juan José Carreras – Universidad de Zaragoza
Tess Knighton – Clare College, Cambridge/CSIC – Institució Milà i Fontanals, Barcelona
Álvaro Torrente – Universidad Complutense de Madrid
Cristina Urchueguía – Universität Bern

Andrea Bombi – Universitat de València
Ferran Escrivà-Llorca – Universitat Jaume I


Music and the Middlebrow

An international and interdisciplinary conference exploring the relationship between musical culture and the middlebrow.

Keynotes: Joan Shelley Rubin and Richard Taruskin

Confirmed participants:

  • Peter Franklin (University of Oxford)
  • Nicholas Mathew (University of California, Berkeley)
  • Roger Parker (King’s College London)
  • Philip Rupprecht (Duke University)
  • Laura Tunbridge (University of Oxford)
  • Heather Wiebe (King’s College London)
  • Alexandra Wilson (Oxford Brookes University)

Organizers: Christopher Chowrimootoo (University of Notre Dame) and Kate Guthrie (University of Southampton)

Time: 22-24 June 2017

Place: University of Notre Dame, London Global Gateway, 1 Suffolk Street, London, SW1Y 4HG

A call for papers will be issued in June 2016. For more information, please visit our website.

2nd Transnational Opera Studies Conference

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:


Cervantes’ Musics: From Musical Heritage to Musical Reception (XVI-XXI Centuries)

International Conference: “Las músicas de Cervantes: del patrimonio histórico a su recepción musical (siglos XVI-XXI) / Cervantes’ musics: from historical heritage to musical reception (XVI-XXI centuries)

Ciudad Real (Spain). University of Castilla-La Mancha. 21-23 September 2016.

International Conference promoted by the Economy and Competitiveness Ministry and  the Spain’s Public Agency for Cultural Action. Centenary of Cervantes’s Death.



Considering historical music heritage and the musical reception of literary works, we welcome proposals for papers on any aspect of theory, analysis and criticism about the presence of music in Cervantes’ texts, and, at the same time, related to the musical works -operas, instrumental musical, concert songs, program music, urban music, etc…- inspired in different ways by Cervantes’ plays, novels, poems or characters.

Keynote Speakers: 

Eduardo Urbina (Texas A&M University), Antonio Martín Moreno (Granada University), Antonio Ezquerro (CSIC), Luis Antonio González Marín (CSIC), Silke Leopold (Universität Heidelberg), Paulino Capdeón (Castilla-La Mancha University), Juan José Pastor (Castilla-La Mancha University)

Aspects to be considered

Proposals on the following subjects will be considered:

– Historical sources about musical context of Cervantes’ time.

– Organology and symbolic aspects of musical iconography

– Musical Contrafacta and Parodia in Cervantes’ text and  contemporary writers

– Songs, villancicos and romances in his pastoral texts and in the literature of his time.

– Italian musical influence in Cervantes’ works and in the writers of his time.

– The poets of the Golden Age and the Music Vihuela (Garcilaso or Cetina in the Mudarra’s, Valderrábano’s or Narvaez’s books)

– Dances and bailes in Cervantes’ works: theory and tradition.

– The voice as a musical instrument in the theater and the novel of the Golden Age. Historical Singing Treatises and symbolical issues.

– Sephardic songs in Golden Age Century, particularly in Cervantes’ works.

– Musical Treatises in Cervantes’ Time.

– Emblemmata Musical Iconography and its presence in Cervantes and other writers of his time.

– Musical Paremiology and musical voices in Cervantes’ texts: El Tesoro de la Lengua of Covarrubias.

– Musical Characters and jobs and professions in Cervantes’ novels and plays.

– Cervantes’ musical reception from XVIIth century to the present days: opera, zarzuela, chamber music, solo instrument; symphonies, concert songs, program musica, narrator and orchestra, contemporary music and urban musics.

Deadline for proposal submission: 15 July 2016

All the proposals must be sent by email as a MS Word or pdf attachment to . Papers (20 minutes maximum). 500 words (maximum) summary and 3 keywords. Applicants will be informed of the outcome of their proposa by 31 July. All the papers accepted will be published in Editorial Alpuerto in a book in the collection “Patrimonio e Investigación Musical”.

Program Committee: 

Eduardo Urbina (Texas A&M University); Silke Leopold (Universität Heidelberg); Joachim Steinheuer (Universität Heidelberg); Matilde Olarte Martínez (Universidad de Salamanca); José María García Laborda (Universidad de Salamanca); Antonio Martín Moreno (Universidad de Granada); Victoriano Pérez Mancilla (Universidad de Granada); Joaquín López Gónzález (Universidad de Granada); Luis Antonio González Marín (CSIC); Antonio Ezquerro (CSIC), Antonio J. Alcázar Aranda (Universidad de Castilla-La Mancha); Paulino Capdepón Verdú (Universidad de Castilla-La Mancha) y Juan José Pastor Comín (Universidad de Castilla-La Mancha); Inés María Monreal Guerrero (Universidad de Valladolid).

Organizing Committee: 

José Vicente Salido; Pedro Victorio Salido; Virginia Sánchez, Marta Nieto, Francisco López, Juan Bautista Canadillas, Silvia Nogales, Silvia Fernández, Elisa Colino.

Performance analysis: A bridge between theory and interpretation

CALL FOR PAPERS 25th April – 4th July

Conference dates: 4-6 October 2016
Porto, Portugal

Interpretation can be found everywhere whenever associated with a sign or a group of signs may that be a sacred, philosophical, literary, musical, pictorial or any other kind of text. The assignment of an interpretation always presents itself, to the recipient of the sign, under the form of an interpretative decision. Hermeneutics is the discipline which studies the meanings transmitted by signs, especially in the case of works of art. There are in fact contents which are more immediately evident, in contrast with others which demand a more meaningful interpretation. For example, concerning the works of the past, only a hermeneutic activity comprising very different skills, so much so that it is impossible to delineate them, may deepen the signs, allowing the appropriation of the cultural content of tradition, so that the work remains alive in the present and, potentially, in the future.

That is just the case of music that, from the very moment it embraces an essentially interpretative moment – through which we may have access to the musical message- faces complex interpretative problems. Hermeneutics doesn’t refer just to the performance itself, which includes a virtually infinite spectre of readings of the same text, but coexists with that same text. Hermeneutics in music plays its role on three different plans: theory, composition and performance. Music theory – that is the set of information sedimented, structured and shared by a community at a certain moment – is the only way to have access to history and to question the past. But theory must be also constantly questioned and put into perspective in order to keep its functionality; composition is precisely an attempt to give an adequate answer to the technical-expressive questions mentioned by the theory, to formulate a musical thought that is simultaneously a synthesis of the past and a projection into the future. Performance is ultimately the transmission of the musical meaning embodied in that thought.

So, this conference has a double goal: to promote a critical discussion founded in philosophical assertions and facing strictly theoretical problems and further on to enlarge the discussion to the problems concerning music theory, composition, performance and critic and all that from the point of view of their relationship with semiotic universes – stratification of languages, forms, performance styles, criteria of judgement, listening habits – which are more and more diversified and complex.

Our purpose is to explore what the concept of performance means today – performance in theory and in praxis. This discussion will allow us, on the one hand, to evaluate the pertinence of this notion in the traditional hermeneutical performative field and on the other hand to reflect on the essence and the limits of this field in the musical landscape of the XXI century. Together with these questions there will be 2 concerts inspired by these present perspectives of performing.

The conference will take place at Fundação Engenheiro António de Almeida in Porto-Portugal and it is organized by CESEM / IPP. All interested parties are invited to submit a proposal until the 4th of July, 2016 to with the subject “Performance Analysis_(title of the paper)”. Please submit an abstract in English of no more than 500 words, clear title, 3 keyword, 3 references and a short biography (up to 100 words). The abstract should be submitted in PDF, doc, docx tx formats. 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 at July 20, 2016 and contributors will be informed immediately thereafter. Further information about the programme, registration, travel and accommodation will be announced after that date.


Madalena Soveral, ESMAE, CESEM. Sara Zurletti, Conservatório Reggio Calábria.


Cristiana Vicente, CESEM (Administrative Support). Vera Inácio Cordeniz, CESEM Administrative Support)


Ana Maria Liberal (ESMAE, CESEM), Andrea Calabresa (Conservatório Reggio Calabria), António Chagas Rosa (Universidade de Aveiro, INETMD), Daniela Coimbra (ESMAE, NIMAE), Enrico Fubini (Universidade Turim), Franco Romano (Conservatório Reggio Calabria), Isabel Soveral (Universidade de Aveiro, INET-MD), Letizia Michelion (Universidade de Pádua, Conservatório G. Tartini, Trieste), Manuel Pedro Ferreira (FCSH/UNL, CESEM), Paulo Assis (Orpheus Institut, Gent), Paulo Ferreira de Castro (FCSH/UNL, CESEM) and Sharon Kanach (Centre Iannis Xenakis, Paris).

Joint ICTM-IE/SMI Postgraduate Conference



Joint ICTM-IE/SMI Annual Postgraduate Conference 2016

9-10 December 2016

School of Music, University College Dublin, Ireland

Deadline: 17 June 2016

As part of the collaboration between the Society for Musicology in Ireland (SMI) and the Irish National Committee of the International Council for Traditional Music (ICTM-IE), we are pleased to announce a joint postgraduate conference taking place in University College Dublin (UCD) on Friday the 9th and Saturday the 10th of December 2016.

The conference committee would like to invite postgraduates working in all areas of musical research to submit proposals for conference papers. Each speaker will be given 20 minutes for their paper, followed by a 10 minute discussion. Areas of research include but are not limited to historical musicology, ethnomusicology, music theory, music technology, music pedagogy, popular music studies, and performance. Aside from the traditional paper sessions, there will also be a Careers Forum on the Saturday as part of the conference.

To submit a proposal, please send an email attachment (.doc, .docx, rtf.) to the conference committee at with the following information:

  •  Title of paper
  • Abstract (maximum 250 words)
  • Full name, contact details, and institutional affiliations
  • Short biography (maximum 150 words)
  • Audio-visual and other requirements (data projection, CD/DVD player, piano, etc.)

Applicants will be notified by 31 July 2016.

Music for Liturgy and Devotion in Italy around 1600

Conference, Friday 4th November and Saturday 5th November 2016,
Martin Harris Centre for Music and Drama, The University of Manchester

The decades around the turn of the seventeenth century were marked by a new religious self-consciousness developing within the Catholic world over the course of the latter part of the sixteenth century – usually associated with the Council of Trent and the Counter-Reformation but in fact fuelled by a great diversity of intellectual and religious currents which continue to fuel discussions among historians. Italy, besides being one of the main centres of the Catholic world, was home to an extremely rich musical culture, witnessing in the time around 1600 a huge variety of musical styles designated or adapted to enhance the practice of the faith. Large-scale polychoral works for the Tridentine liturgy existed side-by-side with the more intimate genres of musica spirituale which occasionally straddled the stylistic and functional boundaries to the secular realm.

Fascinatingly diverse, this repertoire has long offered a fruitful field of research for musicologists. However, given its chronological situation in a period transgressing the traditional epochal definitions, study of this music has struggled to find a ‘home’ in the standard historiographical discourse, resulting in a perceivable lack of opportunity for researchers working in this area to communicate their knowledge. This conference aims to respond to this need and to act as a forum of exchange for scholars working on Italian liturgical and devotional music in the decades around 1600.

Call for Papers

We welcome proposals for papers (in English) of 20 minutes duration or performance workshops of 30 minutes relevant to the topic. The title along with an abstract of no more than 300 words and a short biography (approx. 100 words) should be submitted to by 18 July 2016. Applicants will be notified by 31 July 2016.

Keynote speakers:
Daniele V. Filippi (Schola Cantorum Basiliensis)
Noel O’Regan (Edinburgh College of Art)

Conference Website: