Neapolitan musical pedagogy of the eighteenth century: Theory, sources and reception

Milano (I), January 25, 2017
Bern (CH), January 26/27, 2017

The international and multilingual conference will be held by the  Università degli Studi di Milano (Centro Studi Pergolesi) and the Bern University of the Arts (SNF project Creating the Neapolitan Canon). Starting in Milano on January 25, 2017 it will continue in Bern on January 26/27, 2017.
Topic is the pedagogy of composition around 1800, its european reception and the creation of a pedagogical canon and its myth by the so-called neapolitan school.

Die internationale und mehrsprachige Tagung wird gemeinsam von der Università degli Studi di Milano (Centro Studi Pergolesi) und der Hochschule der Künste Bern (SNF-Projekt Creating the Neapolitan Canon) getragen. Sie fängt am 25. Januar 2017 in Mailand an und setzt sich am 26. und 27. Januar in Bern fort. Gegenstand der Tagung ist die Pädagogik der Komposition um 1800, ihre europäische Rezeption sowie die Schaffung eines pädagogischen Kanons und des damit verbundenen Mythos der sogenannten neapolitanischen Schule.

Claudio Toscani (Università degli Studi di Milano)
Rosa Cafiero (Università Cattolica del Sacro Cuore)
Marilena Laterza (Università degli Studi di Milano)
Claudio Bacciagaluppi (Hochschule der Künste Bern)
Giulia Giovani (Hochschule der Künste Bern/Università degli Studi di Siena)

Invited speakers/Eingeladene ReferentInnen (Milano):
Nicholas Baragwanath (Nottingham)
Ludwig Holtmeier (Freiburg)
Markus Neuwirth (Leuven)
Marco Mangani (Ferrara)
Giorgio Sanguinetti (Roma)
Roberto Scoccimarro (Köln)
Paolo Sullo (Roma)
Peter van Tour (Uppsala)
Felix Diergarten (Basel)
Marilena Laterza (Milano)
Rosa Cafiero (Milano)

Invited speakers/Eingeladene ReferentInnen (Bern):
Rosalba Agresta (Paris)
Rosa Cafiero (Milano)
Lydia Carlisi (Bern)
Sean Curtice (Evanston, IL)
Giulia Giovani (Bern)
Nathalie Meidhof (Freiburg)
Johannes Menke (Basel)
Cécile Reynaud (Paris)
Claire Roberts (Bern)
Martin Skamletz (Bern)

Conferences will be held in Italian, French, English and German.

Die Vorträge finden in italienischer, französischer, englischer und deutscher Sprache statt.

Radio and Ethnomusicology: BFE One Day Conference


Date: 22 October, 2016

Location: University of Edinburgh and the Museum of Communication, Scotland

Keynote Speaker: Prof. Tim Taylor, UCLA


The 2016 British Forum for Ethnomusicology one-day conference is being organised by the Reid School of Music at the University of Edinburgh, and will be hosted by the Museum of Communication, Scotland.

Radio was one of the most important innovations of the 20th century, reconfiguring notions of intimacy, ushering in new forms of consumer economy, and playing a primary role in the rise of entertainment culture (Taylor 2012). At the same time, radio contributed to the democratisation of everyday life, reinvented a sense of national community, and created new communicative potentials for marginalised social groups (Scannell 1989). Politically, radio has been at the centre of global events such as the rise of National Socialism in Germany in the 1930s (Birdsall 2012), the Algerian Revolution (Fanon 1965), Cold War antagonism and cooperation (Badenoch et al 2013), and the Rwandan Genocide (Kellow and Steeves 1998). Across the world, it has been a tool of nation building, nationalism and internationalism, war and peace, sounding and silencing.

Despite proclamations of the death of radio (and television) in the 21st century, as a mode of broadcasting its contemporary importance has not diminished. Rather, broadcasters have migrated online, new digital listening forums have adopted techniques and practices from older media, and listening publics continue to be shaped by radio. Globalising and localising processes have been described as complementary rather than organised hierarchically (Appadurai 1996), with sounds and technologies made meaningful locally. Radio has adapted to the new technological forms and social logics of the digital era; it could therefore be argued that radio is as influential as ever.

It is a good time, then, to examine the relationships – both historical and contemporary – between radio and ethnomusicology. Within the discipline, radio has been heard in numerous ways: as a force of modernity that would destroy traditional music cultures; a means of circulating and developing respect for certain musics; a vehicle for musical scholarship; an accompaniment to musical migration and displacement; and a contact zone between music cultures. Moreover, radio broadcasters have frequently worked collaboratively with ethnomusicologists, commissioning, archiving and broadcasting field recordings (Davis 2005, Arnberg et al 1969, Reigle 2008). And radio serves as a productive site of ethnomusicological study today in its capacities as mediator, disseminator, and disciplinary mouthpiece.

Radio means different things in different times and places, and ethnomusicology is well equipped to provide form-sensitive and ethnographic accounts of its varying roles in musical and social life.


«Composing with the Eyes». The Swiss Composer Hermann Meier

The oeuvre of the Swiss composer Hermann Meier (1906-2002) has a special place in the sparsely inhabited landscape of the early Swiss avant-garde. His method of composition using large-scale graphic plans nevertheless just found few attention during the time of his life. The Symposium invites international experts, fellows and contemporaries of Meier to discuss different aspects of Meiers oeuvre. A Discussion and a concert complement the lectures, serving also as a prelude to an exhibition in the Kunstmuseum Solothurn.

January 27/28, 2017 – Bern, Hochschule der Künste, Papiermühlestr. 13a/d

Further information:


Der Solothurner Komponist Hermann Meier zählt zu den Hauptvertretern der frühen Avantgarde der Schweizer Musik. Sein Schaffen mit grafischen Kompositionsplänen fand jedoch Zeit seines Lebens wenig Anerkennung. Das Symposium lädt international führende Expert/innen, Nachwuchsforschende und Zeitzeugen nach Bern, um verschiedene Aspekte von Hermann Meiers Schaffen zu diskutieren. Ein Gespräch und ein Konzert ergänzen die Referate, die zudem den vorweggenommenen Auftakt zu einer Ausstellung im Kunstmuseum Solothurn bilden.

27./28. Januar 2017 – Bern, Hochschule der Künste, Papiermühlestr. 13a/d

Nähere Informationen:

Edmund Rubbra Study Day

The Royal College of Music and Open University Music Department present a study day on the composer Edmund Rubbra (1901–86).

Sunday 6 November 2016, 10.00–16.30, Inner Parry Room, Royal College of Music.

2016 marks the 30th anniversary of the death of Edmund Rubbra, RCM composition alumnus and former student of Gustav Holst. Although chiefly known today for his 11 symphonies and liturgical choral music, Rubbra’s compositions embrace all genres. This study day provides a rare opportunity to find out more about Rubbra’s life, work and music, and includes a lunchtime recital of chamber and solo instrumental works performed by RCM musicians.

Full programme details will be available in early October via the RCM website: . Speakers include Lewis Foreman (editor of Edmund Rubbra: Composer-Essays), Leo Black (author of Edmund Rubbra: Symphonist), Fiona Richards (Open University), John Pickard (Bristol University), Jonathan Clinch (Birmingham University), and Lucy Cradduck (Open University). Talks will cover specific aspects of Rubbra’s music, his writings about music, his relationship with the BBC, and the influence of his teaching on Australian composer Peter Sculthorpe.

Tickets are free, and include admission to the lunchtime recital, plus lunch and refreshments throughout the day. Places are limited and booking is essential. Please contact the RCM Box Office 020 7591 4314 (Mon-Fri 10am-4pm).

After Idealism: Sound as Matter and Medium in the 19th Century

17 March 2017 – 18 March 2017

Alison Richard Building, 7 West Road, Cambridge, CB3 9DT


David Trippett (University of Cambridge)



The legacy of idealism has been a guiding doctrine for the study of 19th-century music, from an emphasis on neo-Platonic musical works, acousmatic voices and intangible structures, to listening experiences disembodied, creatively imaginative, and ineffable. But idealism has arguably obscured the emergent perspective of natural science during the period, and with it, those of philosophical and scientific materialism that engaged composers, listeners, and their art.

This conference aims to enlarge substantially our understanding of the dialogue between 19th-century music and natural science, examining in particular how a scientific-materialist conception of sound was formed alongside a dominant culture of romantic idealism. It takes as its subject sound as matter and medium, focusing on the domains of natural science, emergent technologies, sentient communication and acoustics. It investigates the view that sound, for a time the cherished mantle of idealist metaphysics, was also regarded by writers, composers, scientists and engineers as tangible, material and subject to physical laws; that scientific thinking was not anathema but—at key moments—intrinsic to music aesthetics and criticism; that philosophies of mind and theories of the creative process also drew on mechanical rules of causality and associative ‘laws’; and that the technological innovations brought about by scientific research were accompanied by new concepts and new ways of listening that impacted the sound world of composers, critics, and performers.

This event brings together approaches from the philosophy of science, musicology, phenomenology, sound studies, and media theory / communication studies.

A series of addresses come from leading figures across these disciplines. By placing the respective disciplinary perspectives in dialogue the conference aims to foster discussion on such topics as:

  • Historical soundscapes
  • Histories of sensation / materialities of communication
  • Acoustics & theories of sounding matter
  • Phenomenologies of listening
  • Embodied / materialist theories of the creative process
  • Philosophical & scientific materialism

Within this array of approaches to the subject of sound as matter and medium, the conference will promote a dialogue between materialist philosophies of mind and historical understanding of acoustics, between sound as cognitive phenomenon and vibrational event, between constructed identities of the composer as natural genius and a sentient body engaging with the tangible, noisy, physical environment.



Supported by the Centre for Research in the Arts, Humanities and Social Sciences (CRASSH) and the European Research Council (ERC).


Administrative assistance:

Christian Congregational Music: Local and Global Perspectives


Christian Congregational Music: Local and Global Perspectives Conference

Conference dates: 18-21 July 2017
Deadline for proposals: 15 December 2016
Conference website:
Venue: Ripon College Cuddesdon, Oxford, United Kingdom

Congregational music-making is a vital and vibrant practice within Christian communities worldwide. It reflects, informs, and articulates convictions and concerns that are irreducibly local even as it flows along global networks. The goal of the Christian Congregational Music conference is to expand the avenues of scholarly inquiry into congregational music-making by bringing together world-class scholars and practitioners to explore the varying cultural, social, and spiritual roles music plays in the life of various Christian communities around the world.

Paper proposals on any topic related to the study of congregational music-making will be considered, but we especially welcome papers that explore one or more of the following:

Gender, Sexuality, and the Worshipping Body:
In what ways do gender and sexuality condition the production and experience of congregational music? How are these differences constructed, perpetuated, or challenged in musical performance? In what ways does social anxiety around sex and gender condition who is involved in congregational music and how they participate?

Soundscapes and Resonant Spaces:
How have particular built environments (e.g., concert halls, theatres, public spaces) shaped the sounds of Christian congregations? What do these spaces afford sonically and what do they preclude? How might considering the broader landscape or soundscape enhance our understanding of congregational music and sound? Perspectives from architecture, cultural geography, and ecomusicology are particularly encouraged.

Congregational Music in and as Prayer:
In congregational worship, music exists alongside a range of other sonic, spoken, internal, textual, material and visual forms through which congregations engage in personal and communal prayer. What role does music play within the wider activity of corporate prayer? How does music facilitate prayer, and in what ways can textless music be considered prayer?

Ecumenical and Interfaith Dialogues:
How does music erect or challenge the boundaries among different Christian traditions, and among Christian music and music of other faiths? How can music promote ecumenical and interfaith relationships and conversations? What insights and approaches can scholars studying Christian communities draw from scholars of other faith traditions?

Music and Reformation:
In marking 500 years since the start of the Protestant Reformation, we welcome new perspectives on the role of music in the Protestant Reformation and counter-Reformation, as well as continuing effects of the Reformation in discourse and practice on music in the present-day. How can studying music challenge or nuance received narratives and historiographical models? What new perspectives can be brought to bear on this much-considered historical moment?

Rethinking “Congregation”:
How have new transportation and communications technologies changed the way Christians gather and understand themselves as congregations? How does gathering in spaces outside local church congregations—from festivals to concerts to online worship environments—influence the production and experience of Christian music-making? How does music work within these spaces to facilitate new modes of congregating?


We are now accepting proposals (maximum 250 words) for individual papers and for organised panels consisting of three papers. The online proposal form can be found on the conference website at Proposals must be received by 15 December 2016. Notifications of acceptance will be sent by 31 January 2017, and conference registration will begin on 15 February 2017. Further instructions and information will be made available on the conference website.

The Future of Music History

The Future of Music History


Institute of Musicology of the Serbian Academy of Sciences and Arts (SASA)

Department of Fine Arts and Music of the Serbian Academy of Sciences and Arts


Serbian Academy of Sciences and Arts, Belgrade, 28–30 September 2017




The Institute of Musicology of the Serbian Academy of Sciences is pleased to invite proposals for an international conference on music historiography to be held at the Serbian Academy of Arts and Sciences in Belgrade, from 28 to 30 September 2017. The conference will feature a one-day seminar, held on 28 September, convened and introduced by Jim Samson and consisting of invited lectures given by Katharine Ellis, Marina Frolova-Walker, Martin Loeser, Katherine Schofield, and Reinhard Strohm.


In recent years the various sub-disciplines of musicology have evolved in challenging ways. However, these (often radical) changes in disciplinary discourses have not always fed through to the writing of music history. This symposium sets out to look again at some of the latent assumptions underlying music historiography, and to ask how it might better align itself to new political realities and new modes of critical thinking. We welcome papers and panels exploring revisionist discourses of all kinds, including case studies positioned on the borderlands between music history and such disciplines as anthropology, music theory, performance studies, and aesthetics. In all this, our central aim is to recover something of the urgency of historical endeavour, and to that end we offer the following headings and notes. They are indicative only, and are not intended to be in any way restrictive.


  1. Towards a post-European history of music

How might music history address the challenge represented by the cultural relativism implicit in many anthropological studies? Is it feasible to devise explanatory frameworks that embrace the histories of multiple different cultures? How do we circumvent the danger of ‘speaking for’ non-European cultures from a European perspective?

  1. De-nationalizing music histories

Might we challenge the practice of writing national histories of music, and explore instead the commonalities that arise from shared cultural substrata, common imperial legacies, the lure of modernity, and (paradoxically) the rise of nationalism itself? Might we explore more fully a historiography of periphery, acknowledging chauvinism where we find it? And within national histories themselves, might we liberate the regions at the expense of the charismatic cultural capitals, and do adequate justice to mobility and migration flows?

  1. Performance as/in history

Although the rise of Performance Studies has helped liberate performance from the paradigm of interpretation, music histories still tend to place works and institutions centre stage. Should performance play a more significant role in music historiography? And if so, might not other elements shift around somewhat, notably gender and place? A swerve towards performance raises a further important question, currently addressed by several ethnomusicologists. How should music history address and accommodate music that has been disseminated very largely through oral tradition, including non-European art musics, traditional agrarian repertories and popular music?

  1. Everyday history

From the 1970s onwards a number of historians have developed a conception of historiography that has been labelled ‘everyday history’ [Alltagsgeschichte], and there are signs that this is increasingly penetrating the writing of music history. Might there be a further shift of emphasis from a history grounded in human consciousness to one grounded in human communication, concerned with motivations and agency, and placing the spotlight firmly on the consumer and her/his daily routines, experiences and ideas?


The official language of the conference is English. Proposals (of no more than 400 words) for 20-minute papers and short biographical notes (of up to 200 words) should be sent both to Srđan Atanasovski ( and Melita Milin ( by 15 February 2017 (receipt of proposals will be acknowledged by e-mail). We also encourage panel proposals; please provide a short description of the session in addition to individual abstracts and biographical notes. Proposals will be reviewed by the conference committee and the results will be announced by 15 March 2017. A selection of papers will be considered for publication either in an edited volume or in the journal Musicology. Conference fee: 50 Euros (students are exempted).


Programme Committee:

Dejan Despić

Jim Samson

Katherine Schofield

Katy Romanou

Helmut Loos

Jernej Weiss

Melita Milin

Katarina Tomašević

Jelena Jovanović

Ivana Medić

Srđan Atanasovski


Organisational Committee:

Vesna Peno

Biljana Milanović

Marija Dumnić

Gaspar van Weerbeke: Works and Contexts

Call for Papers
“Gaspar van Weerbeke: Works and Contexts”
June 29 – July 1, 2017
University of Salzburg
Salzburg, Austria

Deadline for the submission of proposals: 31 January 2017

Following the recent completion of the editorial work for the publication of the final volumes of Gaspar van Weerbeke’s “Collected Works”, this conference aims to revitalize research on this long neglected Flemish composer. We are interested in papers which contextualize Gaspar and his work with that of his contemporaries at the Sforza court in Milan and in the Papal Chapel in Rome, including Josquin, Compère, and Gaffurius. Topics concerning Gaspar’s life, analysis of his music, or source studies would also be welcome. The conference will also hold a reconstruction workshop for the songs attributed to “Gaspart” surviving uniquely in FlorC 2442. Keynote addresses will be given by Klaus Pietschmann and Fabrice Fitch.

More information, including a catalog of works and sources, may be found on the website of the editorial project, Those interested are welcome to request personal access to some of the currently unpublished editorial materials. We especially want to encourage young scholars to engage in research on Gaspar and his music.

Please send titles and abstracts for consideration to paul.kolb -at- Alternatively, let us know if you are interested in taking part in the reconstruction workshop or would like to be receive email updates about the conference. The conference language is English, and basic accommodation will be provided for all speakers.

We look forward to seeing you in Salzburg!

Andrea Lindmayr-Brandl
Agnese Pavanello
Paul Kolb

Rethinking Collaborative Authorship through Music

2017 Royal Musical Association Music and Philosophy Study Group Conference
Themed Session: Rethinking Collaborative Authorship through Music
Convener: Nina Penner
Deadline: 15 October 2016
Conference Dates: 13–14 July 2017
King’s College London

The nature of authorship in the collaborative arts has been subject to lively debate in philosophical aesthetics, yet these debates have focused almost exclusively on cinema with scant attention to music. Music scholars, on the other hand, often need to make decisions about the authorship of particular musical works, yet there has been little theoretical discussion of how such determinations ought to be made.

Through a conversation between philosophers and music scholars, this panel seeks to evaluate the applicability of current philosophical theories of authorship to music, propose revisions where necessary, and explore new models. We invite papers theorizing the nature of authorship in any collaborative art form involving music, including but not limited to song, opera, musical theatre, dance, cinema, and television. Of particular interest are considerations of musical traditions that have been historically underrepresented in the philosophy of music, especially jazz, popular music, and non-Western musics.

Topics of interest might include (but are not limited to):
* critiques of current understandings of authorship, both of musical works for performance and performances thereof
* discussions of changing historical understandings of authorship in particular musical arts
* explorations of the consequences of determinations of authorship for the histories we tell

Proposals of no longer than 300 words should be submitted to with the subject heading “MPSG Authorship Session.”

Language, Music, and Computing

Second International Workshop on Language, Music, and Computing

Aims of the workshop: to encourage interdisciplinary communication and collaboration of linguists, musicians and IT-specialists in the sphere of some actual problems, among which are the following:
1. Language and music acquisition; influence of music skills on language acquisition and language processing; influence of linguistic skills on music acquisition; relationship between music and language training.
2. Linguistic and music knowledge, their structure and functioning; explicit and implicit knowledge of music and language; similarities and differences in understanding of music and language.
3. Automatic classification of linguistic and music knowledge; formal models of linguistic and music knowledge; musical information retrieval vs. linguistic information retrieval.

This year special topics of the workshop are:
– Formal representation of language and music: differences and similarities
– Sound corpora in music and linguistics

Keynote speakers:
Sabine Iatridou, USA
Sergi Jordà, Spain
Merryl Goldberg, USA
Elena Riekhakainen, Russia

Languages of the conference:
Russian & English (some sessions will be simultaneously translated)

Submission process:

Abstracts from different fields are warmly invited. Presentations will last 20 minutes, followed by a ten minute discussion. Abstracts should be submitted before November 27, 2016. Notification of acceptance follows on January 20, 2017. Abstracts should be 450-500 words long (without any subheadings) and clearly present a research question/aim, critical review of the literature, methodology, results and conclusions. Abstracts should be submitted as a pdf. If you wish to include any specific symbols (such as phonetic transcription), please submit your paper both in DOC and PDF format. We have the intention to select papers for a peer-reviewed special issue.
Please send each abstract both in anonymized and unanonymized forms (with author(s) and affiliation) to the following address:

Registration fee (includes program, coffee-breaks, post-conference publication, visa support (if needed)):
Early-bird fee (before March 15, 2017) – 2500 rubles, or 45 euros; students – 1000 rubles, or 20 euros;
regular fee (after March 15, 2017) – 3000 rubles, or 55 euros; students – 1500 rubles, or 35 euros.

Important dates:

Submission deadline: November 27, 2016
Notification of acceptance: January 20, 2017
Registration starts: February 1, 2017
Early-bird registration ends: March 15, 2017
Workshop: April 17-19, 2017
Final papers: June 1, 2017
Results of the revision process: July 25, 2017
Publication – Fall 2017