2015 Conference of the Historical Keyboard Society of North America (HKSNA): French Connections – Networks of Influence and Modes of Transmission of French Baroque Keyboard Music

2015 International Conference of the Historical Keyboard Society of North America

May 21-24, 2015

The Schulich School of Music of McGill University, Montreal, Canada


The Historical Keyboard Society of North America (HKSNA) and the Schulich School of Music of McGill University (Montreal, Canada) are pleased to invite submissions of proposals for the Fourth Annual Meeting of HKSNA:

“French Connections: Networks of Influence and Modes of Transmission of French Baroque Keyboard Music”

The conference will be held at the Schulich School of Music, McGill University, from May 21 to 24, 2015.

Details of the Event and Requirements for Presenters:

The conference aims to deepen understanding of French baroque keyboard music, its style, influence, transmission, and the different teaching traditions that nourished it. Although it is difficult to speak of a single French baroque keyboard style, it remains true that the grand siècle generated a musical classicism cultivated by keyboardists not only in France but transnationally. Often, the terms ‘baroque’ and ‘classical’ are used interchangeably in relation to both the repertoire and instruments of the period.

A special section of the conference is dedicated to the internationally-renowned organist and pedagogue, John Grew, Professor Emeritus at McGill University and an expert of the French baroque organ and harpsichord repertoires.Concerts by guest keyboard performers will also be offered to conference participants and the general public, and master classes will be open to qualified students and participants.

The programme committee encourages submissions of individual papers, round-table discussions, group sessions, lecture-recitals, mini-recitals, and multimedia demonstrations on the following topics as they relate to French baroque keyboard music and historical keyboards:

  • Networks of influence within and beyond France;
  • Pedagogical treatises and other sources of transmission;
  • Legacies and influence of composers or groups of composers and performers;
  • Repertoires, genres, and contexts of performance;
  • Connections with other media such as literature and art;
  • Instruments and builders;
  • Patronage and politics;
  • New perspectives or insights into le goût français.

Although the principal theme for this year’s international conference is French baroque keyboard music, proposals of presentations outside or peripheral to this theme, including contemporary repertoires and issues for historic keyboard instruments, are also welcome and will be accommodated if possible.

Available instruments include single- and double-manual harpsichords by Yves Beaupré, Willard Martin, Frank Hubbard and William Post Ross, clavichords and a fortepiano, and, on May 21 only, the French-classical organ by Hellmuth Wolff in Redpath Hall.

Submission procedure. Abstracts of no more than 400 words excluding titles must be received by 5 p.m. EST on 30 September, 2014. Only one proposal per presenter or group of presenters can be chosen.

Lecture-recital, mini-recital, and multimedia demonstration proposals must also include a sample recording, provided via internet link or as an attached MP3 file.

All proposals, whether they be for papers, lecture-recitals, mini-recitals, multimedia demonstrations, round tables or group sessions, must include short biographical statements for all presenters. Presentations should last no longer than 25 minutes.

  • Presenters must be members of HKSNA. Presenters must also register for the conference and cover their own travel and other expenses.

Presenters whose proposals are chosen will be invited to revise their abstracts for the conference program. Results will be transmitted to presenters by 30 October, 2014. Please send your proposal abstracts directly to hksna2015@gmail.com.

Programme Committee:
Frances Conover Fitch

Hank Knox

Sonia Lee

Rachelle Taylor

Lena Weman

Of special note: This year, HKSNA hosts the Ninth Aliénor International Harpsichord Composition Competition. For more details: http://historicalkeyboardsociety.org/competitions/alienor-competition/.

Re-thinking Music Analysis and Performance

Re-thinking Music Analysis and Performance

19 November 2014

 Study day

 Jointly organized by the Institute of Musical Research,

Faculty of Music, University of Oxford, and

AHRC Research Centre for Musical Performance as Creative Practice (CMPCP)


With a substantial literature that represents a variety of theoretical positions as well as diverse methodological approaches, research on the relationship between music analysis and performance constitutes one of the largest, and at times most controversial, areas within performance studies. The aim of this study day is to re-think the relationship between music analysis and performance by considering well established as well as newly emerging perspectives in musicological, philosophical, psychological, ethnomusicological and practice-led research.

The three main themes of the study day are: analysis for performance; analysis of performance; and the role of performance in analysis. Proposals for individual papers and workshops/lecture-demonstrations (20 minutes presentation + 10 minutes discussion) are invited on the following topics as they relate to these three main themes of the conference:

- embodied approaches

- processes of performance preparation

- tradition and style

- pedagogical implications

- recordings

- technology

- musical ‘work’, ‘text’, ‘script’

- creativity

- musical instruments

- expression and affect

- value judgments

- notation

- historical perspectives

- epistemological and aesthetic perspectives

- intersubjectivity

- cross-cultural perspectives

Please submit a 250-word abstract as an email attachment to analysisandperformance@gmail.com including the following information:

Name, affiliation, email address, AV requirements.

Please also include a brief biography (100 words maximum) for inclusion in the study day programme should your presentation be accepted.

Deadline for the receipt of abstracts is Friday, 26 September 2014.

Notification of acceptance will be sent by Friday, 10 October 2014.


Dr Mine Doğantan-Dack (University of Oxford)

Advisory Board

Prof Amanda Bayley (Bath Spa University)

Dr Elaine King (University of Hull)

Prof Daniel Leech-Wilkinson (King’s College London)

Prof John Rink (University of Cambridge)



Revitalising Early Twentieth-Century German Opera

Wednesday 17 September 2014, 9:30am-6pm


Prince Philip Room, RSA Building, 8 John Adam St, London, WC2N 6EZ

This is a one-day early career networking event sponsored by the British Academy. Its aim is to bring together scholars and practitioners with research interests in the field of German opera from c.1900-1935. Particular attention will be given to historiographical problems and staging issues (past and present) relating to the works of key operatic composers of the period, including Korngold, Pfitzner, Schreker, and Strauss. There will also be a session devoted to Schoenberg’s ‘unfinished masterpiece’ Moses und Aron, in light of its recent Welsh National Opera revival.

The keynote address will be given by Professor Peter Franklin (University of Oxford). Other speakers include Dr Mark Berry (Royal Holloway), Dr Roger Allen (University of Oxford), Dr Ben Winters (Open University), and Philip White (Asst Chorus Master, Bayreuther Festspiele).

Registration is free of charge and includes lunch and refreshments, but places are limited. If you are interested in attending, and for a full programme and further details, please contact Dr Nicholas Attfield (Brunel University) at nicholas.attfield@brunel.ac.uk by no later than 8 September 2014. Travel expenses within the UK will be considered for early career scholars and postgraduate students who wish to attend.

Musicology in the contemporary world

International Conference of Young Musicologists

October 6-8, 2014, Yerevan, Armenia

Yerevan Komitas State Conservatory is organizing an international musicological conference for students. The main goal of the conference is to encourage the formation of a new cultural platform as well as to contribute the development of research and creative abilities of young scientists.
All undergraduate (BA) and postgraduate (MA and PhD) students may participate in the conference. Every topic in the field of musicological studies is accepted.
Age limit: 35 years old.
Working languages: Armenian, Russian and English.

For participation the applicants should send abstract (max. 600 characters, PDF form, Font type – Times New Roman Font size-14, line spacing 1.5) and application. The application must include the following:
• Name, surname and middle name of participant
• Full official name of the Higher Educational Institution
• Profession, Educational degree and faculty
• Title of paper
• Technical equipment/assistance needed during the presentation
• Name, surname, middle name of supervisor, also academic degree and academic title (write without abbreviations, in the ordered list)
• Contact details and e-mail of the participant

Paper proposals should be sent to following e-mail address: musicologconf2014@gmail.com. Please, write “Conference” in the subject line.
The maximum duration of presentation (including discussion) is 15 minutes.

The received abstracts will be united in corresponding blocks and will be reviewed by the members of scientific committee.

The selected applicants will be notified by e-mail not later than September 7, 2014.
The best papers will be published in the scientific journal of YKSC.

Deadline: July 1, 2014.
Accommodation: Accommodation and meals will be provided by the hosting organization.
Participation Fee: 50$ (equivalent Armenian Dram)
For more details please contact the coordinator of the conference Mrs. Narine Avetisyan, Docent of YKSC: anz1969@rambler.ru.

Performing Brahms in the Twenty-first Century

A Symposium on Performing Practice
June 30 to July 2, 2015
School of Music, University of Leeds

(Supported by the World Universities Network: Fund for International Research Collaborations)

Performing practices for nineteenth-century repertory changed radically during the course of the twentieth century. The period that separates us from Brahms’s lifetime saw a gradual stripping down of classical music performance to those elements of sound that can be explicitly notated, as discrepancies with the score came increasingly to be frowned upon as unwarranted violations of the composer’s intentions. Over time the stylistic revolution of the early twentieth century generated a kind of cultural amnesia, obliterating the awareness, forcibly expressed by Brahms’s close colleague Joseph Joachim, that reading between the lines of the score was essential in order to convey the composer’s conception to the listener. The new orthodoxy was based on a presumption that the score indicates most, if not all, that a composer expected to hear, and that obvious departures from it (with the exception of adding vibrato) were signs of a performer’s egoism and bad taste. Written evidence and sound recordings of musicians trained in the middle decades of the nineteenth century (including those of important composers), however, reveal a much more flexible approach to the notation.

In the case of Brahms and his circle, frequent and noticeable changes to tempo and rhythm were seen as integral to musical expression, character and structural clarity. Insinging, string playing, and even in wind playing, portamento was prominent as a means of heightening expression and enhancing legato. Vibrato had a similarly ornamental function and could appear and disappear very suddenly in response to an expressive musical gesture. In piano playing, separation between melody and bass (dislocation) and arpeggiation were employed to highlight dynamics, texture, and rhythmic inflection. Significantly too, some of Brahms’s markings appear to have elicited a range of interrelated musical responses in his colleagues’ performances, suggesting that these familiar symbols carried messages which have since been lost.

The Symposium seeks to bring together scholars, students, and professional musicians interested in historical performance, providing a forum in which they can exchange ideas and experiment with them in practice. In this way, scholars can help professional performers to engage practically with the latest research, while performers can help to refine, or even redefine the scholar’s research questions. To this end, the Symposium committee especially encourages submissions that deal with the historical evidence in experimental ways. We invite proposals for individual papers of between 20 and 40 minutes length, or presentations with a strong practical component (e.g. lecture recitals) of up to 40 minutes in length. In addition to these presentations, the Symposium will include workshops devoted to individual movements from Brahms’s sonatas and chamber music.

The official language of the symposium is English.

Every proposal must include:

• Name

• Email address

• Affiliation, if applicable

• For presentations: Title of paper/presentation including repertoire to be examined where applicable, Abstract of c. 300 words

• For workshops: instrument/ensemble, list of repertoire you’d be willing to play

• Short Biography/CV 150 words

• Technical/Audio Visual Requirements

Two nineteenth-century Erard grand pianos (1855 and 1878) and a modern Steinway grand will be available.

Proposals must be submitted by email to Professor Clive Brown (c.brown@leeds.ac.uk) by January 15, 2015. Emails must have the subject line “Performing Brahms Symposium.”

Proposals will be considered by the conference committee (Clive Brown, Kate Haynes, and Neal Peres Da Costa) and successful proposers will be notified by January 31, 2015.

Registration: Those attending the Symposium must register by April 30, 2015.

The Symposium is open to observers not giving papers / presentations.

There is no cost for attending the Symposium but attendees will be responsible for their own accommodation and subsistence. There will be a charge for the Symposium dinner.

Further practical details about the Symposium, including suggested accommodation and travel, will be available on the Symposium webpage soon.

Forte / Piano: A Festival Celebrating Pianos in History

How have the practices of composition, performance, improvisation, and listening been informed by the piano in its long history? How have the concepts, designs, materials, and sonorous resources of pianos been entwined with musical thought and affect across time and space? Specifically, how might we resituate eighteenth-century pianos in relation to harpsichords and clavichords, account for the rapid evolution of nineteenth-century pianism, and explain (or challenge) Steinway’s perceived hegemony in the twentieth century?

The Westfield Center for Historical Keyboard Studies invites proposals for recitals, talks and innovative presentations from performers, scholars, organologists, builders, and technicians for an international festival to be held at Cornell University on August 5–9, 2015. We particularly encourage individual and collaborative proposals that combine insights drawn from scholarship, performance, and organology and examine the ways in which pianos have generated, reflected, and modulated musical thought and behavior.

Proposals may focus on composers, performance traditions, improvisatory methods, and geographical centers of influence. Potential topics include Haydn’s keyboard music; Brahms’s piano music; the piano in early twentieth-century Paris; the piano in late eighteenth-century London; the improvisation of cadenzas, fantasias, and preludes; the standardization of piano manufacture in the context of industrialization; pedagogical institutions; the piano, bodily techniques, and the performance of gender.

The festival will feature a number of leading performers, including Tom Beghin, Kris Bezuidenhout, Malcolm Bilson, David Breitman, Penelope Crawford, Alexei Lubimov, and Andrew Willis among many others. The festival will focus on an array of historical instruments and replicas built by prominent builders. We encourage proposals that will take advantage of the opportunities these instruments afford, and will provide more specific information on request. Potential presentation formats include (but are not limited to) traditional conference papers, lecture-recitals, lecture-demonstrations, and discussion panels.

Proposals should include a 250-word description and a CV, and for performers, a sound or video recording of at least 30 minutes. The submission deadline is September 15, 2014. Proposals may be submitted online at www.westfield.org/festival

SMA Music Analysis Workshop

The Society for Music Analysis (SMA) Music Analysis Workshop will take place on 29th November 2014 at Cardiff University, School of Music. It is a full-day event (ca 10.00 am – 5.30 pm) led by Dr Charles Wilson (Cardiff University) and Dr Nicholas Reyland (Keele University). It will be centred around two two-hour sessions focused on two particular music-analytical methodologies designed to benefit graduate students who do not feel confident in music analysis, as well as more experienced candidates willing to explore methods they are not so familiar with.For more details and to sign up see http://www.sma.ac.uk/event/music-analysis-workshop/

Call for participants

Expressions of interest are to be sent to Martin Curda (curdam@cardiff.ac.uk) by Friday 31st October 2014. If you are interested in the individual surgeries, please include a short description of the subject you would like to discuss.

You do not have to be a member of the SMA but members will be eligible for travel bursaries. For information on membership fees see http://www.sma.ac.uk/grants/development/.

Tracking the Creative Process in Music

IRCAM, IReMus (Paris-Sorbonne University and CNRS), and CTEL (Nice-Sophia Antipolis University) are delighted to announce

3rd edition: Paris, France, 8-10 October 2015

This conference brings together researchers interested in artistic creativity and the study of processes of musical and sound creation of the past and present. Researchers working on this cluster of problems from a wide variety of disciplines (history, music analysis, psychology, philosophy, cognitive science, sociology, ethnomusicology, anthropology, etc.) are invited to assess the different methodologies developed in the last thirty years in their respective areas from an interdisciplinary perspective. Each approach contributes in its own way to the advancement of our understanding of the procedures, techniques, knowledge and know-how employed by musicians involved in creative projects.

Following the epistemological paradigm shifts that musicology underwent at the end of the last century, the notion of ‘creative process’ has been enriched. Sketch studies have extended their scope beyond notated works of art music.  Today this field includes all contemporary musical repertories as well as the oral, technological and collaborative dimensions of the creative process in music. There is growing interest, for example, in the function of improvisation and of gesture in the creative process, in the collective and collaborative dimensions of artistic work, in the redefinition of the roles of the composer and the performer, in the art of studio production and in the strategies of documentation, transmission and future performance of works involving technology, etc. The complexity and the multidimensionality of this field of study require new analytical tools and new research methods at the crossroads of analytical musicology, the social science and humanities and other academic disciplines.

This broadening of the field also provides a new context for the study of works and composers from the Western musical canon. Whether based on historical archives or on the collection of empirical data, studies of the creative process in music share many of the same methodological requirements, descriptive vocabulary and models of creative action. This conference therefore aims to be a forum in which the most recent results produced by the well-established tradition of sketch studies can meet the complementary or alternative paradigms emerging from other repertories or approaches.

Our guest speakers in 2015 will be Georgina Born (University of Oxford), Nicholas Cook (University of Cambridge, author of *Musical Performance as Creative Practice*, Oxford U.P., 2016), Pierre-Michel Menger (Collège de France, author of *The Economics of Creativity*, Harvard U.P., 2014), and Friedemann Sallis (University of Calgary, author of *Musical Sketches*, Cambridge U.P., 2015).  TCPM will also include workshops/concerts on composition and performance led by Hyacinthe Ravet (Université Paris-Sorbonne) and Jean-François Trubert (Université de Nice-Sophia Antipolis).  The languages of the conference are English and French. Simultaneous translation of French papers will be provided.

Curious about TCPM?
- Go to http://tcpm2013.oicrm.org/?lang=en for an overview of the previous edition’s papers and sessions.  Many disciplines and approaches were present, but there are still many more to include in the conversation.  All disciplinary and aesthetic domains are welcome.
- Go to http://creative.arte.tv/fr/community/analysing-process-musical-creation (chapters 1 & 4) to catch glimpses of the first edition (Lille, 2011) and listen to colleagues’ statements about the creative process.


Each conference talk proposal must include the following elements:
· First and last name of presenter
· Institutional Affiliation
· Mailing Address, telephone number and email address
· Title of proposed conference talk
· Abstract, 800 to 1200 words in length, clearly presenting the subject, the theories and models of creative processes described in the talk, the goals, the methodology used and the results of the study
· Selected Bibliography (3 to 8 references to the exclusion of the presenter’s own work) and main sources used (archives, experimental or ethnographic data, etc.).
· Personal web site (optional)

Proposals must be received no later than 1 December 2014 via the conference’s website.

Proposals will be double-blind reviewed by 2 or 3 members of the Scientific Committee, depending on the areas covered in the proposal.  Notification of acceptance will be sent to applicants within 12 weeks.

Correspondence address: tcpm2015 (at) ircam (point) fr

The conference website will be online in fall 2014.

6th International Musicological Student Conference-Competition

The 6th International Musicological Student Conference-Competition April 24-26 2015. Tbilisi, Georgia

Calls and Requirements:
Participants: students of undergraduate and postgraduate (Master’s and Doctorates) courses of Higher Educational Institutions (both musicologists as well as performers).

Music History, Music Theory, Sacred Music, Ethnomusicology, Musical Interpretation. Issues of music aesthetics, philosophy, also methodological issues of musicology.

• Participants (Competitors and out of competition participants) will be selected through the abstracts they have sent.
• Abstracts must be written in English or Russian (350 – 500 words). Font – Times New Roman or Sylfaen.
• The selected papers must be no more than 6 printed page (Page format – A4, Font size – 12, Paragraph -1,5; Margins – 2).
• Time-limit for paper presentation 10 min
• Time-limit for paper discussion is 10 min.

Working Languages:
Georgian, English, Russian

• The deadline for submit the proposals: by November 30. 2014
• All proposals are submitted online: geomusicology@gmail.com;

• Applicants will receive the application form by e-mail, during 5 days after online registration.
• Filled applications and abstracts must be sent no later than 10 days after registration.
• The full version of the paper must be sent by March 10, 2015.
• Fee for participation – € 40

For more information please contact:

e-mail: geomusicology@gmail.com
Phones: +995 598 272048 – Maia Sigua
+995 593 985699 – Ketevan Chitadze
+995 593 909123 – Nana Katsia
* The program of the conference/competition also includes concert and cultural program.