The First International Conference on Women’s Work in Music

First International Conference on Women’s Work in Music

4th – 7th September 2017, Bangor University, Wales

Contact: Rhiannon Mathias –


The School of Music at Bangor University is pleased to announce the First International Conference on Women’s Work in Music. The Conference has been timed to mark the 40th anniversary of the death of the Welsh composer Grace Williams (1906-77).

The Conference aims to bring together academics, researchers and music professionals from around the world to share their research and experience of all aspects of women working in music. The Conference will seek to both celebrate the achievements of women musicians, and to critically explore and discuss the changing contexts of women’s work in music on the international stage. The diversity and richness of this work will be illustrated at the conference through presentations in areas such as historical musicology, music education, ethnomusicology, practice-led research and performance, composition, music analysis, popular music studies and much more.

The Conference Programme includes Keynote Presentations by leading scholar Dr. Sophie Fuller, author of The Pandora Guide to Women Composers: Britain and the United States, 1629-present, and the author and music journalist Jessica Duchen whose work has appeared in The Guardian, The Independent and The Sunday Times.

The Call for Papers for the First International Conference on Women’s Work in Music will be circulated in January 2017.

The Composer as Chronicler: Telemann’s “Gebrauchsmusik” as a musical diary

Call for papers

The Composer as Chronicler:
Telemann’s “Gebrauchsmusik” as a musical diary.
4th Frankfurt Telemann Symposium
5 – 7 October 2017

The conference has been organized by the Frankfurt Telemann Society together with the institute for musicology at the Goethe-Universität Frankfurt am Main and will held in the Holzhausenschlösschen of the Frankfurter Bürgerstiftung.
In the course of his 86 years, the composer Georg Philipp Telemann was an unusually alert eyewitness to the inexorable passage of time and change in social mores impacting the society in which he lived. His compositions for specific occasions, often thought of today rather disrespectfully as “Gebrauchsmusik”, can be seen as entries in a diary, entries which capture and comment upon important events in the life of his community and his world. The texts and music of such works open a window on contemporary thought and feeling about such matters as war and peace, natural catastrophes, and even stock market crashes.  They accompany the composer in his various capacities as church musician (music for weddings, for the induction of priests into their new parishes, and for funerals) and court composer (music for royal birthdays and state visits), and illuminate the complex network of interdependentcies between composer and society. Such works are valuable not only for their intrinsic beauty, but also for what they can tell us about the society of which they formed a part.
This conference in the Telemann year 2017 – the 250th anniversary of the composer’s death – proposes to examine this aspect of the composer’s oeuvre in light of its social and cultural relevance and of its place in the developing musical language of the time. Of particular interest are works which have until now received only a cursory investigation and have not appeared in critical editions (cantatas for the dedication of churches, music for the induction of priest into their new parishes, music for weddings, birthday serenades and works for political celebrations and for the schools in Hamburg and Altona).
Participants in the conference are invited to enter into a dialog with works of the above mentioned categories, whereby more general discussions of “occasional music” in the 18th century from an historical, sociological or cultural standpoint would also be most welcome.
Prospective papers should be 30 minutes in length, followed by a 15-minute interval for discussion. Conference languages are German and English. Interested parties are requested to submit a short (500 words or less) summary of their proposed topic, preferably per email, to:
Prof. Dr Thomas Betzwieser
Goethe-Universität Frankfurt
Institut für Musikwissenschaft
Senckenberganlage 29-31
D-60325 Frankfurt am Main
email: betzwieser at em dot uni-frankfurt dot de
The deadline for receipt of abstracts is January 15, 2017; the final program will be published on the web page of the Frankfurt Telemann Society (www dot telemann dot info) no later than the beginning of March, 2017. A publication of the symposium proceedings is planned.
During the symposium there will be a concert by students of the Hochschule für Musik und Darstellende Kunst Frankfurt with works discussed during the proceedings.

Music Scotica 2017

Musica Scotica 2017: 800 years of Scottish Music

Musica Scotica’s Twelfth Annual Conference

Saturday 22 April 2017

The Tolbooth
Jail Wynd
Stirling, FK8 1DE
Scotland, UK
Call for Papers for the 2017 Conference

Since 2005, the Musica Scotica Trust has conducted an annual conference during the last weekend of April each year. The 2017 conference will be held at the The Tolbooth, Stirling on Saturday, April 22, 2017

Papers for the 2017 conference, 20 minutes in length, are invited on any aspect of Scottish music. Topics presented in previous years have included chant, Gaelic song, fiddle and bagpipe music, manuscript sources, music publishing, the Scottish diaspora, opera performance, cultural organisations, music education, sectarianism, George Thomson and Haydn, Marjory Kennedy-Fraser, Learmont Drysdale, Hamish MacCunn, James MacMillan and Sally Beamish.

Please submit an abstract (250 words) as a Word document or rtf file by Wednesday, 30th November 2016 to You will be notified by December 2016 if your abstract has been accepted.

A poster session may be included; delegates are invited to indicate whether they would be interested in availing themselves of this opportunity. Publication of proceedings: Musica Scotica will publish papers from this conference along with a selection of papers from previous conferences. FULL CONFERENCE CFP ONLINE:-

ICMSN/SurreyMAC 2017

The combined Tenth Biennial International Conference on Music Since 1900 and Surrey Music Analysis Conference (ICMSN/SurreyMAC 2017) will take place on Monday 11 to Wednesday 14 September 2017 at the University of Surrey.
The ICMSN theme is music since 1900, conceived in the broadest possible terms. Proposals for papers may be submitted on any topic relating to 20th- and 21st-century musics (of any genre), drawing on scholarly approaches from any relevant intellectual discipline.
The Music Analysis Conference welcomes papers on any aspect of theory and analysis relating to music of any genre and historical period.
Proposals in the following categories will be considered:
* Papers (20 minutes maximum, with 10 minutes for discussion)
* Paper sessions (three or four papers, each of 20 minutes maximum, with 10 minutes per paper for discussion)
* Roundtable discussions (up to 6 participants, each giving a short position paper, followed by a general discussion, total running time of 90 or 120 minutes)
* Recitals, lecture-recitals and lectures illustrated by sound diffusions or audio-visual screenings (maximum duration 90 minutes)
* Demonstrations and discussions of practice (maximum duration 90 minutes)

Proposal instructions/guidelines
Abstracts and proposals should be prepared as follows:
* For individual papers: up to 250 words
* For paper sessions: 250-word (maximum) summary and up to 200 words for each session participant
* For roundtable discussions: 250-word (maximum) and up to 150 words for each panel participant
* For recitals, lecture-recitals and lectures illustrated by sound diffusions or audio-visual screenings: 250 word (maximum) summary, plus participant CVs and recordings / scores / other details of works to be included in the event (contact the organiser to discuss)
* For demonstrations and discussions of practice: 250 word (maximum) summary, plus participant CVs and recordings / scores / other details of works to be included in the event (contact the organiser to discuss, and to ascertain equipment and space available).

Further information for applicants:
* Only one proposal of each type is permitted per applicant
* Proposals should not substantially duplicate presentations being given at conferences or other events proximate in time or place to ICMSN/SurreyMAC 2017
* All proposals must be sent by email as a MS Word or pdf attachment to
* Proposals need not be anonymized.
All enquiries should be sent to

Programme Committee:
Dr Tom Armstrong (Surrey), Dr Shay Loya (City), Dr Chris Mark (Surrey; Chair), Professor Allan Moore (Surrey), Dr Lauren Redhead (Canterbury Christ Church), Dr Eva Moreda Rodriguez (Glasgow), Dr Kenneth Smith (Liverpool), Dr Georgia Volioti (Surrey).

Applicants will be informed of the outcome of their proposal by 17 March.

Professor Reicha: Pactice and Legacy of a Composer-Teacher

organized by
Centro Studi Opera Omnia Luigi Boccherini (Lucca)
Palazzetto Bru Zane – Centre de musique romantique française, Venice

Lucca, Complesso Monumentale di San Micheletto
10-12 November 2017

Call for Papers

The Centro Studi Opera Omnia Luigi Boccherini of Lucca has organised the symposium «Professor Reicha: Pactice and Legacy of a Composer-Teacher», to be held in Lucca, Complesso Monumentale di San Micheletto, from Friday 10 until Sunday 12 November 2017. Antonin Reicha (1770-1836), as a counterpoint teacher at the Paris Conservatoire, had the privilege to form, between 1818 and his death, a new generation of composers. Berlioz, Liszt, Gounod, Franck, Habeneck, Kastner, and Onslow, are the most famous names within an army of unknown musicians that influenced their time during a crucial period. Furthermore, the musical views of Reicha had an impact beyond Paris: both as an author of four musical treaties translated all around Europe, and as a composer.
This international conference aims to focus on the figure of Reicha, on the link existed between his musical production and his teaching, on the becoming of his students, and on the filiations that we can find between Reicha’s thoughts and romantic works produced in Europe during the 19th century.

The programme committee encourages submissions within the following areas:

  • Reicha’s Contemporaries: Beethoven, Cherubini, Haydn, Salieri, etc.
  • Reicha’s Treatsies: From Redaction to Reception
  • Reicha and the Counterpoint
  • Reicha’s Work at the Paris Conservatoire
  • The Music Educational Overview in 19th-Century Paris
  • Reicha’s Pupils: Carriers and Works of Berlioz, Liszt, Franck, Gounod, etc.
  • Performing Style and Virtuosity: From Reicha to Liszt and Franck
  • Reicha’s Chamber Music and the Parisian Musical Life in the Public and Private Spheres
  • The Legacy of Antonin Reicha in the 19th-Century Europe

Programme Committee:

  • Hervé Audeon (Institut de Recherche en Musicologie – IreMus, Paris)
  • Louise de Raymond (Université François-Rabelais, Tours)
  • Étienne Jardin (Palazzetto Bru Zane)
  • Roberto Illiano (Centro Studi Opera Omnia Luigi Boccherini)
  • Fulvia Morabito (Centro Studi Opera Omnia Luigi Boccherini)
  • Alban Ramaut (Université Jean Monnet, Saint-Etienne)

Keynote Speakers:

  • Alban Ramaut (Université Jean Monnet, Saint-Étienne)
  • Hervé Audeon (Institut de Recherche en Musicologie – IreMus, Paris)

The official languages of the conference are English, French and Italian. Papers selected at the conference will be published in a miscellaneous volume.
Papers are limited to twenty minutes in length, allowing time for questions and discussion. Please submit an abstract of no more than 500 words and one page of biography.
All proposals should be submitted by email no later than ***Sunday 17 April 2017*** to <>. 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 by the end of April 2017, and contributors will be informed immediately thereafter. Further information about the programme, registration, travel and accommodation will be announced after that date.
For any additional information, please contact:

Dr. Massimiliano Sala

14th International Conference from the series “Musica Practica, Musica Theoretica” – The Music of the Past in the Postmodern World

On behalf of the Faculty of the Theory of Music at the I. J. Paderewski Academy of Music in Poznań I would like to invite you to participate in the 14th International Conference from the series “Musica Practica, Musica Theoretica” – The music of the past in the postmodern world to be held on 4th–5th April 2017 in our Academy’s Presidential Hall.

The conference shall concentrate on issues referring to a musical work and various relations between artistic and composing theory and practice. This time, it will refer to how musical past functions in a postmodern world considering the whole vagueness and indefiniteness of the postmodern stage. The focus of the meeting will be in particular on:

  • the music of past ages as a source of postmodern games (using musical tradition in the form of metatexts, citations, stylizations etc.),
  • spaces of the past of musical culture and a „new past” – cultural changes in the perception (reception and evaluation) of the music of past eras,
  • musical ways of commemorating the achievements of past generations,
  • knowledge of the history of musical culture as a source of inspiration/pre-text of the contemporary musical creativity,
  • a contemporary musical work – analysis and interpretation in the perspective of the music of the past,
  • musical tradition and the generation of „digital natives” – methods of explaining and interpreting facts of musical culture,
  • musical traditions as a subject of contemporary reflection on music.

The lecture, including musical excerpts, should not exceed 20 minutes. The conference shall be held in Polish and English. A paper delivered in Polish should be accompanied by a presentation in English or a translated paper supplied to the organizers no later than on 10 march 2017.

Conference participants shall be offered accommodation, board and modest remuneration.

You are kindly requested to declare your willingness to take part in the conference and send us (in Polish and English):

  • presentations’ title
  • biographic note (up to 400 characters),
  • abstract of your paper (up to 3000 characters).

no later than 10th January 2017.

Upon receiving our acceptance (no later than 31st January 2017) you will be asked to transfer a conference fee of PLN 300, till 20th February 2017, to the following account number:

BZ WBK S.A. VI O/POZNAŃ 66 1090 1362 0000 0000 3601 7907

Your application, subject, biographic note and abstract of the presentation should be sent to Julia Gołębiowska, Ph.D.’s email adresss:

Further details shall be sent at a later date.

Sincerely yours

Hanna Kostrzewska

Be not afeard: language, music and cultural memory in the operas of Thomas Adès

Senate House, London 24–25 April 2017

CfP deadline: Monday 16th January 2017


Thomas Adès has drawn attention to the ‘mysterious thing that happens when you set actions to music: a third shape that emerges when something non-visual like a musical score is acted out by people moving on a stage’. This conference will explore Adès’s three operatic shapes of music, text, and performative realisation through the lenses of language and cultural memory.

The event will take place over two days. The first day will focus on analytical approaches to Adès’s operas, and will conclude with a round table on The Exterminating Angel prior to the UK premiere of the opera at the Royal Opera House that evening. The second day will focus on interdisciplinary approaches to Adès’s operas and their broader contexts.


Call for Papers

The conference organisers welcome paper proposals (20 minutes maximum, with 10 minutes for questions) for this event. The themes of the conference will include:

  • the translingual negotiation between music, verbal, filmic and theatrical languages
  • translations and reworkings of source materials for the operas
  • place, space and cultural memory (including on stage, screen or in performance)
  • time and temporality (music, text, staging)


Send proposals (including title, academic affiliation, 300-word abstract and technical requirements) to Edward Venn ( by 4pm (GMT) on Monday 16th January 2017.


Confirmed Speakers: Thomas Adès; Peter William Evans (Queen Mary University of London); and John Roeder (University of British Columbia, Vancouver)

Programme Committee: Paul Archbold (Kingston University), Catherine Davies (Institute of Modern Languages Research, School of Advanced Study), Christopher Dromey (Middlesex Univeristy), Philip Stoecker (Hofstra University), Edward Venn (University of Leeds)

Sponsors: AHRC Open World Research Initiative, Institute for Modern Languages Research, Music and Letters Trust, Society for Music Analysis


Cross-Language Dynamics – Reshaping Community: Translingual Strand

Music and Material Culture

One-day Workshop – 7 December 2016, University of Cambridge

We are pleased to announce the one-day workshop on ‘Music & Material Culture’, to be held at the University of Cambridge on Wednesday 7 December. This workshop proposes to create a bridge between material culture studies and musical studies, exploring the wide range of objects that interact with musical practice and consumption, sound production, and the sense of hearing. The workshop has a wide regional and historical scope, ranging from the Renaissance to the present.

Full programme and further details at:

Attendance is free, but space is limited. Please write to (Vera Wolkowicz)


9.00 – 9.15. Registration

9.15 – 9.30. Introduction

9.30 – 10.30. Session 1 – Keynote Speaker
-Florence Gétreau (CNRS, Paris)
‘European Musical Cabinets from Renaissance to 19th Century: Typology and Philosophy’
Chair: Amparo Fontaine (University of Cambridge)

10.30 – 11.30. Session 2
-Flora Dennis (University of Sussex)
‘Listening to the Song of Objects: Material Culture and Music in Early Modern Italy’

-Moritz Kelber (University of Salzburg)
‘Quella cosa è più nobile, che ha più eternita ‒ Leonardo, Eternity and the Materiality of Music’
Chair: Vera Wolkowicz (University of Cambridge)

11.30-12.00. Coffee Break

12.00-13.00. Session 3
-Penelope Gouk (University of Manchester)
‘On the Role of Musical Instruments in the Creation of Francis Bacon’s Experimental Study of Sound’

-David Trippett (University of Cambridge)
‘Music and the Permutations of Materialism ca. 1855’
Chair: Nicolò Palazzetti (CRAL/EHESS)

13.00-14.00 Lunch break

14.00-15.30. Session 4
-Gabriele Rossi Rognoni (Royal College of Music)
‘Defining “Old” vs. “New” Organologies: Changing Perspectives in Studies on Musical Instruments’

-Marion Leonard (University of Liverpool)
‘Collection, Interpretation and Encounter: Popular Music in the Museum’

-Michele Del Prete (Accademia di Belle Arti di Foggia)
‘Remote Divisions. On the Post-Romantic Organ as Reference for (Early) Electroacoustic Music Sound Projection’
Chair: Violeta Nigro-Giunta (CRAL/EHESS)

15.30-16.00. Coffee break

16.00 – 17.30. Session 5

-Rachel Stroud (Univeristy of Cambridge)
‘Objects, Agency and Beethoven’s Late String Quartets’

-Pamela Feo (Boston University)
‘“So intangible a thing as a pianist’s touch.” Listening to the Body in Player Piano Performance’

-Laura Dolp (Montclair State University)
‘Idris Kahn and the Poetics of the Score’
Chair: Danielle Padley (University of Cambridge)

17.30-18.00. Final Remarks. Open discussion

Musical Improvisation in the Baroque Era

organized by
Centro Studi Opera Omnia Luigi Boccherini (Lucca)

In collaboration with
Ad Parnassum. A Journal of Eighteenth- and Nineteenth-Century Instrumental Music

Lucca, Complesso Monumentale di San Micheletto
19-21 May 2017

Call for Papers

The Centro Studi Opera Omnia Luigi Boccherini of Lucca, in collaboration with Ad Parnassum Journal, is pleased to invite submissions from scholars of proposals for the symposium on «Musical Improvisation in the Baroque Era» to be held in Lucca, Complesso monumentale di San Micheletto, from Friday 19 until Sunday 21 May 2017. Baroque culture liked testing the possibilities of every field of art. The new scientific mentality of the seventeenth century gave rise to a continuous experimentation whose music improvisation was an important part. The invention on the continuo bass, the evolution of the tonal system, the rich music theory production, the most part in manuscript, the close relationship between poetry, music, painting, architecture, are all signs of an open state of mind that this international conference aims to clarify. Luxury, rather than monumentality, was the real purpose of baroque art. Motion, not stillness, had to surprise listeners and viewers. Improvisation surprises listeners with motion and luxury, and it is one of the best key to understand the century.

The Symposium aims to investigate the many different facets of music improvisation in the said period. The scholarly committee particularly welcomes proposals that address the themes listed below, although other, related topics are also welcome:

  • Gesture and Improvisation
  • Improvisation into Composition
  • Issues of Performance Practice
  • Castratos and Instrumental Virtuosos
  • Improvisation in Instrumental and Vocal Music: Genres, Embellishments, Figuring Continuo
  • Contemporary Treatises and Aesthetics
  • Pedagogical Exercises and the Art of Partimento

Programme Committee:
• Simone Ciolfi, Rome
• Roberto Illiano, Lucca
• Fulvia Morabito, Lucca
• Massimiliano Sala, Bergamo
• Rohan H. Stewart-MacDonald, Warwickshire, UK

Keynote Speakers:
• Guido Olivieri (University of Texas at Austin)
• Giorgio Sanguinetti (Università Tor Vergata, Roma)

The official languages of the conference are English and Italian. Papers selected at the conference will be published in a miscellaneous volume.
Papers are limited to twenty minutes in length, allowing time for questions and discussion. Please submit an abstract of no more than 500 words and one page of biography.
All proposals should be submitted by email no later than ***Sunday 19 March 2017*** to <>. 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 by the end of March 2017, and contributors will be informed immediately thereafter. Further information about the programme, registration, travel and accommodation will be announced after that date.
For any additional information, please contact:

Dr. Massimiliano Sala

Rethinking the Dynamics of Musical Nationalism

an International Conference, 12-15 September 2017, University of Amsterdam

Call for papers.
“National music” (music as an expression of the nation’s character or identity) and “musical nationalism” (music as a vehicle or mobilizing agent for the spread of national ideals) have received fresh attention from music historians and cultural historians over the past decades, and interpretive patterns are now firmly emerging. These involve a curious ambivalence between a geographic centralism, emphasizing Europe’s metropolitan countries, arranged concentrically around Germany, and a canonical marginality: the ideological freighting of music is generally deprecated as an adulteration of its aesthetic purity or its innovatory progress towards ever purer, wide-ranging and non-traditional modes of expression. “National music” is usually seen as a European-centred example of 19th-century taste, dubiously ethnocentric and chauvinistic in its assumptions, and posing a challenge to the composer to overcome its inherent slant towards kitsch and facile effect.
This ambivalence invites further reflection on a number of fields of interest.
[1] The impact and function of national music further afield, and its interaction with the German-centred heartland and breeding-ground of Romantic Nationalism: South-Eastern Europe, as well as non-European countries beyond the Bosporus, the Mediterranean and the Atlantic; and these not just as delayed epigons of European developments, but involved in dynamics of their own.

[2] “Nothing is as transnational as nationalism”: not only does the nationalization of music affect many countries, the composers themselves were a highly mobile group and what was their “own” national idiom in the home country was appreciated as exotic local colour elsewhere. (National and exoticizing choices were never far apart, in that both offered a fresh stylistic register to spice up the ingrained classical idiom.) This transnationalism does not stop at Europe’s borders.

[3] Musical nationalism is also situated on a sliding scale from “advanced” works for the concert hall, by way of commissioned incidental pieces for public occasions, to work (mostly choral) written for general amateur performance. These margins of canonicity likewise invite closer reflection, also as regards the complex relationship between canonical prestige and social/political impact.
A conference will be held at the University of Amsterdam on these dynamics of musical nationalism and national music. The conference will take place on 12-15 September 2017 and is hosted by the Department of European Studies. The conference will consist of invited keynote lectures and sessions of self-submitted papers; the conference language is English. A proceedings publication with a reputable academic publisher in an international, peer-reviewed series is envisaged
Submission of papers, preferably on the historical negotiations of European/global/transnational or popular/canonical dynamics, is cordially invited; Please send an abstract (500 words max.), before 31 December 2016, to Dr. Kasper van Kooten,