Creating music across cultures in the 21st century

CALL FOR PAPERS:

Creating music across cultures in the 21st century

Istanbul Technical University, 25-27 May 2017

In the context of one of the world’s most organic melting pots, Istanbul, The Centre for Advanced Studies in Music, Istanbul Technical University, will host an international conference, in partnership with the European Research Council funded project “Beyond East and West,” May 25-27, 2017.

No music is an island.  Since time immemorial, cultures have traded and mixed musics across their domains, yet only in the 21st century have people around the world gained instant and virtually free access to musics beyond those of their neighbors.  The history of these mixings has been marked by a plethora of descriptors, some benign and others acerbic.  Depending on one’s perspective, the “other” musics span the gamut of primitive (“first”), Oriental, classical, art, learned, popular, etc.  Their mixtures have been termed synthetic, syncretic, trans-traditional, trans-cultural, intercultural, cross-cultural, borrowed, or globalized.  The oral and the literate have been contrasted, while the exotic has been vilified.  Quests for musical beauty and knowledge have been shaped by political, economic and social, hegemonic forces.  We are now at a point where, for the first time in history, the playing field has reached a new level of equity, with widespread access to a majority of the world’s traditions, on a scale radically different from a mere generation ago.

We invite proposals for papers (20-minute presentation plus 10-minute discussion) on any topic related to the mixing of musics from different musical traditions.  In addition to mixtures of maqam, raga, and other art traditions, we encourage proposals concerning the incorporation of “folk,” “traditional,” and “low-technology” musics in our 21st-century milieu. Our conference will be Interdisciplinary, and we welcome proposals from composers, performers, improvisers, musicologists, critical theorists, music philosophers, ethnomusicologists, and—especially—etcetera.  While springing from a notated art music tradition, we welcome other perspectives, oral traditions, and boundary stretchers.

Deadline: Please send a 250-word abstract to Robert Reigle, rreigle@gmail.com, with subject heading “Creating Music across Cultures-Abstract,” by 6 March 2017.  We will announce acceptances by 20 March.

Keynote speaker: Dr. Münir Nurettin Beken, Associate Professor of Ethnomusicology, University of California, Los Angeles.

Programme committee: Prof. Amanda Bayley, Prof. Şehvar Beşiroğlu, Prof. Sandeep Bhagwati, Dr. Michael Ellison, Dr. E. Şirin Özgün, Dr. Robert F. Reigle.

Website: http://www.miam.itu.edu.tr/cmac2017/index.html

Conference Fee: Full conference, 3 days: €60 / 200-Turkish Lira; 2 days: €40 / 140-TL; 1 day: €20 / 70-TL.

(€ international/TL local rates).  Free for students, both international and local.

We gratefully acknowledge funding from the European Research Council (ERC) under the European Union’s Horizon 2020 research and innovation programme (Grant no. 648810), and MIAM Centre for Advanced Studies in Music.

International conference for PhD students

International conference for PhD students

 “Musicology (in)action: Past musics, present practices, future prospects”

 Thessaloniki, 9 – 11 February 2018

 The Department of Music Studies of the Aristotle University of Thessaloniki and the Department of Music Science and Art of the University of Macedonia will host, under the auspices of the Hellenic Musicological Society, an international conference for PhD students entitled “Musicology (in)action: Past musics, present practices, future prospects” in Thessaloniki, Greece, from 9 to 11 of February 2018.

 

Call for papers

In recent years, musicology has tested its boundaries, objects of study, and, indeed, prospected future through the constant questioning of its subfields, themes, and methodological underpinnings. At the same time, this interrogative process has also been one of constant development of new, often interdisciplinary methodological approaches, frequently extending their grasp on new or hitherto neglected musical repertoires. It is this ambiguous state of conditions that the novice in the field of musicological research faces in her/his everyday effort to situate her/his own research within a constantly changing disciplinary environment. This conference aims to bring together fresh ideas of new researchers in an attempt to help them secure their position with respect to the ongoing discourse of musicology’s saga and with an eye to the future prospects of the field.

 

We welcome proposals of PhD students for 20-minute paper presentations or 40- to 80-minute panel presentations (of up to four participants), addressing a variety of old and new(er) research topics from the broad field of musicology (e.g. historical and cultural musicology, music theory and analysis, ethnomusicology and musical anthropology, music psychology, computational musicology, music philosophy and aesthetics). Proposals on topics that cross the strict intra- or inter-disciplinary boundaries of musicology are also welcomed.

Proposals and inquiries should be submitted to the following email address:

conf.phd.2018@gmail.com

 

Proposals for paper presentations should include:

– name of participant(s) and institutional affiliation(s)

– abstract (up to 300 words)

– brief CV (up to 100 words)

 

Proposals for panel presentations should include:

– name of participants and institutional affiliations

– general abstract of proposed panel presentation (up to 300 words)

– individual abstract of each participant’s presentation (up to 300 words)

– brief CV of each participant (up to 100 words)

 

DEADLINE FOR PROPOSAL SUBMISSION: 30 May 2017

NOTIFICATION OF APPROVAL: No later than 15 July 2017

PARTICIPATION FEE: PhD students: 50 euros, undergraduate and master’s students: 30 euros

OFFICIAL LANGUAGE: English

For more information on the reviewing committee, the venue of the conference, etc. please visit the conference’s website (which is under construction):

http://conferences.lib.auth.gr/ICMDR/index/index

 

ACADEMIC ADVISORY COMMITTEE:

Chardas Konstantinos

Nika-Sampson Evanthia

Pastiadis Konstantinos

Vouvaris Petros

 

COORDINTAING COMMITTEE

Kalaitzidou Stamatia

Spanoudakis Dimosthenis

Toumanidou Katerina

Trouka Dimitra

Zlatkou Vasiliki

 

ORGANISING COMMITTEE

Apostolou Andreas Foivos

Authentopoulou Despoina

Banteka Dimitra

Diminakis Nikos

Karamanidis Charalampos

Nikolaidis Nikos

Ntousiopoulou Antigoni

Ntovas Christos

Pouris Christos

Roumpi Antonia

Savvidou Charoula

Scarlatou Chrysa

Seglias Zisis

Sidiropoulou Christina

Sotiriadis Theophilos

Tasoudis Dimitris

Research Hands on FLUTE

Research Hands on FLUTE

Research ‘Hands on’ FLUTE is a meeting dedicated to the area of the flute, and is unique due to its symbiosis between two types of meetings: the convention, of an artistic nature which concentrates on a particular instrument (such as the British Flute Society Convention 2016, for example) and the traditional academic research conference, but focusing on an instrumental area. ‘Hands on’ Flute aims to bridge the gap between artistic production and academic research, creating opportunities to combine the artists’ and the researchers’ knowledge, for mutual benefit. This first meeting will take place at the University of Aveiro from April 10th to 13th, 2017.

 

Call for Proposals

The University of Aveiro, INET-md (Institute of Ethnomusicology, Centre for Studies in Music and Dance) and the Associação Portuguesa de Flautas, will host the research meeting Research ‘Hands on’ FLUTE, in Aveiro, Portugal, from the 10th to the 13th of April, 2017.

This research meeting aims to bring artistic production and academic research closer together, creating opportunities to combine the artists’ and the researchers’ knowledge, which will have benefits for all. The invited keynotes speakers and performers, who have already confirmed, are: Sophie Cherrier; Paolo Taballione; Mario Caroli; Sibel Pensel; Berten Dhollander; Monica Finco; Christine Erlander Beard; Michele Gori; Stefano Parrino; Francesco Parrino; Qi Wang; Marco Gaudino; Luca Bellini (as soon as new names are confirmed they will be added to this list).

This first edition in 2017 focuses on the vast instrumental area of the flute – historical and modern performance practices, repertoire, pedagogy, aesthetics, ethnomusicology, history, analysis, organology and interpretation. Proposals that centre on performance practices as research are particularly welcome. Lecture-recitals are the most natural format for these proposals.

The conference organisers accept submissions in Portuguese and Spanish, although English is preferable. Proposals that focus on the above aspects are particularly encouraged, although other proposals may also be accepted, once they lie within the general theme of the meeting. Proposals that focus on any research area relating to flute performance will also be considered.

Proposals should be submitted via the platform Easy Chair, formatted according to the nature of the proposal (in order to fulfil the form, the applicants should first create an Easy Chair account):

  • Lecture Recitals: The abstract should include information regarding the duration of the presentation, which may be between 30 and 45 minutes, and a short artistic CV of the presenter(s). These submissions may also include a link to a Youtube video of the proposed performance (you may choose to upload your video as ‘unlisted’, ‘private viewing’ or ‘public viewing’). The link must be included in the field ‘other documents’ on the platform. The proposer must also specify any technical requirements or materials necessary for the recital.
  • Papers: Communications will be of a 20 minute duration. The abstract should contain a maximum of 350 words.
  • Recitals: Recitals will have a maximum duration of 30 minutes. You must send a recording/demo, which will be evaluated by the Artistic and Scientific Commission. Please include a short artistic CV of the performer(s). These submissions must include a link to a Youtube video of the proposed performance (you may choose to upload your video as ‘unlisted’, ‘private viewing’ or ‘public viewing’). The link must be included in the field ‘other documents’ on the platform. You must also specify any technical requirements or materials necessary for the recital.
  • Panels: In addition to the abstract and/or media, please send details regarding the panel participants, including their institutional affiliations, and the themes of each individual presentation. The total duration of the panel, including debate, should not exceed 90 minutes.
  • Presentation of Projects: The organising committee does not stipulate any particular model for these abstracts, but recommends that the proposals include information regarding the context, objectives, methods and results.
  • Demonstration of pedagogical approaches: These demonstrations should be of a 20 minute duration. Abstracts must not exceed 350 words.
  • Workshops: Please send a description and the duration of your proposed workshop.
  • Performative Installations: Abstracts should not exceed 350 words. Please use the field ‘other documents’ on the Easy Chair platform to upload your technical/material requirements. The installations could be made available during the four days of the meeting.

Should you have any queries (registration, travel, accommodation), please do not hesitate to contact us at deca-hands_on@ua.pt

Important Deadlines

The deadline for proposal submission is February 15th, 2017.

The acceptance of proposals, following a process of evaluation by the scientific and artistic commission, will be communicated no later than February 28th, 2017, with proposals from outside Europe being notified as quickly as possible.

The selected authors will be invited to submit an article or recording to the book of conference proceedings (with audio-visual support). All articles and recordings must be submitted by April 30th, 2017.

 

Organization

Associação Portuguesa de Flautas (APF)

Departamento de Comunicação e Arte

Instituto de Etnomusicologia Centro de Estudos em Música e Dança (INET-md)
Universidade de Aveiro

Image

Álvaro Sousa

Symposium on Music, Education and Social Inclusion

London, 20th-21st July 2017

A symposium is to be held at the School of Oriental and African Studies (SOAS) in London on July 20th and 21st 2017 to launch the Music, Education and Social Inclusion Study Group under the auspices of the ICTM.

Founding members include musicians, senior scholars and academics from Africa, Europe, the Caribbean, North America and Asia, reflecting the multicultural nature of the collective.

Historically excluded groups such as women and girls, ethnic minorities, vulnerabilities including disabilities and other marginalities have been systematically un- or under-represented in education, reflecting wider socially discriminatory practices that in turn are perpetrated and transmitted within the school system, shaping society at large beyond schools and academic institutions.

The symposium will focus on exploring multifaceted educational practices in relation to a wider spectrum of broader issues and thinking, such as:
• Education and Representation
• Issues of Identity in Education
• Social inclusion and Education
• Education and International Development
• Ethnomusicology, Transmission Practices (teaching/learning) and Social Inclusion
Other topics that might sit well within the broader agenda are welcome and encouraged.

Papers should be 20 minutes long, followed by 10 minutes of discussion and Q&A. Abstracts should be from 200 to 250 words in length and written in English; other languages might be considered on a case-by-case basis and only where the level of English is not sufficient to express concepts fully.
Alternative presentations – other than individual papers – are welcome and length can be negotiated on a case-by-case basis. Submissions in other forms (such as video) should be no longer than 5 minutes.

In order to make participation inclusive, and aware that traveling might not be an option for many who are interested in participating, a limited number of remote presentations through Skype will be considered, so applicants are encouraged to apply even in case they might not be able to attend in person.

Deadline for submission of proposals is 20th March 2017; please submit abstracts to Keith Howard (kh@soas.ac.uk) or Sara Selleri (Sara_Selleri@soas.ac.uk). Participants will be notified by the end of April 2017.

ODC2017 Traditions-Transitions

Orpheus Doctoral Conference 2017

Traditions-Transitions

22-23 February 2017

Orpheus Institute, Ghent

 

CALL FOR PROPOSALS

The Orpheus Doctoral Conference 2017, Traditions-Transitions, will explore how different modes of relationships between past and present affect musical performance practice and composition. Further, practitioners and researchers from the fields of music and social sciences will draw on Eric Hobsbawm’s notion of “invented traditions”, examining how traditions are forged, broken or interrupted and how they might be used as sources of renewal.

The conference will feature lectures by Richard Taruskin, Joanna Dudley (tbc), Sigiswald Kuijken and Esteban Buch as well as a musical gallery in which performances and installations addressing the conference topics will be interspersed with moderated discussions between artists and our guest speakers.

We invite researchers, practitioners and artist researchers within related fields to submit proposals that address the broad range of issues involved in the conference topics. Submissions should include, but are not limited to, themes that place strong emphasis on the interplay between social practices and musical performance. We welcome contributions in the form of theoretical papers, performances or a combination of the two.

For more information please visit http://www.orpheusinstituut.be/en/news/2016/10/call-for-proposals-odc-2017.

With the friendly support of the Academy of Creative and Performing Arts of the University of Leiden.

 

GUIDELINES FOR SUBMISSION

Submissions should be sent by email to odc2017@docartes.be and must include:

  • Name, organization (if any), email and phone contact
  • Abstract (max 250 words) + 3 keywords
  • Technical rider for proposals requiring equipment other than A/V
  • List of references (optional)
  • Short bio (max 150 words) and list of main publications/performances/works as well as links to supporting image, audio and video files.

Presentations are limited to 20 minutes. The language of the conference is English.

Call for proposals deadline: 15 November 2016

Notification of acceptance: 15 December 2016

Language, Music, and Computing

Second International Workshop on Language, Music, and Computing

http://lmac.hf-guap.ru/ENG/index.html

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: al@hf-guap.ru

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

Aesthetics of Inwardness – Max Reger and the Lied around 1900

Ästhetik der Innerlichkeit – Max Reger und das Lied um 1900

A conference commemorating the 100th anniversary of Max Reger’s death (1873–1916)

Vienna, 21–23 September 2016

Department of Musicology, University of Vienna
Spitalgasse 2–4, Unicampus AAKH Hof 9
1090 Vienna, AUSTRIA

On the occasion of the 100th anniversary of the death of Max Reger, this conference commemorates one of the most important pioneers of modern music. The conference focuses on Reger’s long-neglected Lied œuvre and places it in relation to the songs of other composers working in Munich and Vienna, cities which were among the most important centres for new trends in architecture, visual arts, and literature at the turn of the 20th century.
Broader historical developments will be traced within the genre of the Lied, particularly with regard to new views of the human psyche and a new awareness for emotion(ality) and inwardness (‘Innerlichkeit’) as manifested in prose, drama, and poetry of the period (for instance, by R. Dehmel, A. Schnitzler, or H. von Hofmannsthal).

The opening keynote address will be delivered by Julian Johnson (Royal Holloway, University of London) on the topic of ‘Language, Music and Desire: The Interior Landscape of the Lied around 1900.’

A Lied recital at the Austrian National Library (Josefsplatz 1, 1010 Vienna) on Thursday, 22 September 2016, will present songs by M. Reger and other composers from the turn of the century.

Participation is free of charge. Informal registration is requested.

Contact:
Stefan Gasch (stefan.gasch -at- univie.ac.at)

Music in the Ibero-Afro-American Universe: Interdisciplinary Challenges

 

7th UFRJ INTERNATIONAL SYMPOSIUM ON MUSICOLOGY

& II MEETING OF THE BRAZILIAN ASSOCIATION FOR MUSIC THEORY AND ANALYSIS

“Music in the Ibero-Afro-American Universe: Interdisciplinary Challenges”

 

Federal University of Rio de Janeiro (UFRJ)

Rio de Janeiro, October 24–27, 2016

 

The VII SIM_UFRJ “Music in the Ibero-Afro-American Universe” proposes to approach this theme in broad scope of diverse cultural traditions, contexts and historical times, and of special interest to the II TeMA_Meeting is to promote de debate on the “Interdisciplinary challenges between Musicologies and Analytical Theories: Dialogues, Frontiers, and Intersections.” Discussion issues: issues and trends in the Ibero-Afro-American musicologies; musicologies and analytical theories: dialogues, frontiers, and intersections; critical and analytical theories and methods in the disciplinary knowledge; the field of music and the challenges of intra-, inter-, multi-, and trans-disciplinarity; analytical theories and interculturalities; identity and otherness, representation and cultural translation; interdisciplinary studies: music, film, visual arts, theatre, literature, philosophy, history, sociology, and cultural anthropology, cultural dialogues, circulation, transfer, reception, and appropriation of ideas, repertories, aesthetics, styles, techniques, musical practices and ideologies; heritage and collections; musics of written, oral, performing traditions; culture, society and politics; institutional, scientific, artistic, and cultural policies.

 

IMPORTANT DATES

Abstract submission deadline: September 5, 2016

Notification to successful applicants: September 20, 2016

Submission of the full version of the paper for publication in the Proceedings: November 30, 2016

 

SUBMISSION GUIDELINES

Proposals (abstract 300-500 words, and short bio) may be written in Portuguese, Spanish or English, and submitted as attached file (*.doc or *.rtf), indicating the preferred attendance to each conference: SIM-UFRJ to the e-mail sim@musica.ufrj.br or TeMA_Meeting to the e-mail diretoria@tema.mus.br. In case the proposal fits the full scope of the joint conference, it must be sent simultaneously to both e-mails.

 

Program Committee Chairs

Maria Alice Volpe volpe@musica.ufrj.br

Ilza Nogueira nogueira.ilza@gmail.com

 

More info: http://www.musica.ufrj.br/ and http://tema.mus.br/.

Also https://www.facebook.com/events/675180942635190/

Brian Boydell Centenary Conference

Call For Papers: Brian Boydell Centenary Conference
Friday 23 – Saturday 24 June 2017
The Long Room Hub, Trinity College Dublin
CFP Deadline: Friday 3 February 2017

Contact: boydell100@gmail.com

Born in Dublin in 1917, Brian Boydell was one of Ireland’s major 20th century composers. As a musicologist, he published seminal research on music in 18th century Dublin. As a broadcaster, performer, adjudicator, public lecturer, an often outspoken agitator for music, singing teacher, Professor of Music at Trinity College Dublin, one of the founders of the Music Association of Ireland and long-time member of the Arts Council, his influence on music and music education in Ireland was significant. An honorary DMus of the National University of Ireland (1974) and Fellow of the Royal Irish Academy of Music (1990), he was elected to Aosdána, the affiliation of creative artists in Ireland, in 1984.

To mark his centenary, a conference will be held on Friday 23/Saturday 24 June 2017 in The Long Room Hub, Trinity College Dublin, with a recital of his music in the Royal Irish Academy of Music, to re-evaluate his contributions to Irish musical, artistic and academic life, and their place within the wider contexts of musical, cultural and artistic developments in Ireland in the 20th century. Confirmed speakers are Professor Barra Boydell, who will give a special address, and Peter Murray, Director of the Crawford Art Gallery Cork, who will present a guest lecture on Brian Boydell’s paintings.

Proposals are invited for the following:

  • Individual papers
  • Joint papers (maximum 2 speakers)
  • Lecture recitals
  • Themed sessions
  • Panel discussions (up to a maximum of 6 speakers)

Proposal details:

All proposals should be submitted as one file in Microsoft Word or PDF format:

Individual papers of 20 minutes in duration followed by 10 minutes for questions and discussion. Proposals should include:

  • title of paper
  • abstract of no more than 250 words
  • name, contact details and affiliation
  • a brief biography (max. 100 words)
  • any technical requirements

Joint papers of 20 minutes in duration followed by 10 minutes for questions and discussion. Proposals should include:

  • overall title of presentation and abstract (max. 150 words)
  • titles of individual papers
  • individual abstracts of no more than 250 words
  • names, contact details and affiliations
  • a brief biography for each presenter (max. 100 words)
  • any technical requirements

Lecture recitals of 30 minutes (including performance) followed by 10 minutes for questions and discussion. Proposals should include:

  • overall title of lecture recital and abstract/proposal of no more than 250 words
  • name(s), contact detail(s) and affiliation(s)
  • a brief biography for each presenter (max. 100 words)
  • any technical requirements

Themed sessions of 90 minutes (3 papers) or 120 minutes (4 papers) including questions and discussion, and Panel discussions of 90 minutes (up to a max. of 6 speakers, each presenting a position paper followed by questions and discussion). Proposals should include:

  • overall title of presentation and abstract/proposal (max. 250 words)
  • titles of individual papers and abstracts of no more than 250 words
  • name, contact details and affiliation of convenor
  • names, contact details and affiliations of proposed presenters
  • a brief biography for the session/panel convenor and each proposed presenter (max. 100 words each)
  • any technical requirements

Deadline for submission of proposals is Friday 3 February 2017.

All proposals should be submitted as a Microsoft Word or PDF attachment to Dr Barbara Jillian Dignam by email at boydell100@gmail.com It is envisaged that notification of the conference committee’s decision will be communicated by March 2017. A conference website will be launched shortly.

Proposals might consider (but are not limited to) Brian Boydell’s contributions under any of the following areas:

  • the re-examination and assessment of his compositions – individually and collectively – and their place within Irish music of the 20th century and the wider context
  • his musicology and other writings
  • his work as a performer: conductor of the Dublin Orchestral Players for over twenty years, founder and director of the Dowland Consort, singer, oboist, and occasional conductor of the Radio Éireann/RTÉ Symphony Orchestra
  • his teaching, professorship at TCD, public lectures, adjudicating at music festivals and numerous radio and television broadcasts
  • as agitator for music, through the Music Association of Ireland, the Arts Council, Forás Éireann and other bodies to which he contributed
  • his place within the wider context of Irish artistic and cultural life in the 20th century

Brian Boydell’s papers, including his original scores, musical notebooks, radio broadcast scripts, and his extensive correspondence with musicians, musical and cultural bodies, and others covering many decades in Irish musical life, are held in the library of Trinity College Dublin and remain a largely untapped resource. The Contemporary Music Centre also holds copies of his scores. His work as an artist in the early 1940s before he devoted himself fully to music were highlighted in the recent exhibition ‘The Language of Dreams’ at the Crawford Art Gallery, Cork. See also Gareth Cox, Axel Klein and Michael Taylor (eds.) The life and music of Brian Boydell (2004), and the Encyclopaedia of Music in Ireland (EMIR).

Conference committee:

Prof. Barra Boydell, Dr Barbara Jillian Dignam (Chair, Maynooth University), Dr Kerry Houston (DIT Conservatory of Music and Drama), Roy Stanley (Trinity College Dublin), Marie Moran (Royal Irish Academy of Music), Dr Gareth Cox (Mary Immaculate College, University of Limerick)

For further information on the conference, submission process or any other queries, please contact the conference committee chair, Dr Barbara Jillian Dignam, at boydell100@gmail.com

Also follow our conference posts on Twitter https://twitter.com/Boydell100 and Facebook https://www.facebook.com/boydell100/

Piano Accompaniment in Practice

 

Call for Papers & Pianists
Piano Accompaniment in Practice
A Symposium with Masterclass by Malcolm Martineau OBE
 
 
Middleton Hall & Recital Room
University of Hull, UK
 
 
Friday 11th & Saturday 12th November 2016
 
 
Recent years have seen significant developments in studies on chamber ensemble rehearsal and performance; however, the function of the pianist in the duo chamber ensemble and, more specifically, in their capacity as a piano accompanist, is still a relatively unexplored area of research. The purpose of this two-day symposium is to bring together researchers and practitioners to explore piano accompaniment practices. The event will feature renowned soprano Sarah Fox and international piano accompanist Malcolm Martineau OBE who will present both a Friday lunchtime concert as well as a concert on Friday evening presented in conjunction with Hull Chamber Music. In addition, Mr Martineau will conduct a masterclass for pianists and their duo partners following the Friday lunchtime concert. The Saturday symposium will include spoken presentations (20 minutes), poster presentations and lecture-recitals (30 minutes) relating but not restricted to the following aspects of piano accompaniment:
 
·         instrumental and/or vocal accompaniment
·         the pianist in the duo chamber ensemble context
·         the pianist as a collaborative artist
·         pedagogical and empirical studies
·         techniques, skills and attributes
·         perceptions and expectations
 
The Friday masterclass will focus on piano accompaniment skills and techniques through work with selected duo ensembles (instrumental/vocal with piano). The selection process will include consideration of programming with the aim to incorporate as many different duo combinations as possible in the class. The masterclass will be in 30-minute slots, therefore a short excerpt (up to 5 minutes) from any duo work is the recommended duration for participants. Applications should be submitted by duo ensembles (instrumentalist/vocalist and pianist) and should include a short statement (250 words) detailing ensemble experience and proposed repertoire for the masterclass with supporting video file of a recent duo performance (up to 10 minutes duration).
 
Submission deadline for symposium abstracts (250 words) for spoken/poster presentations and lecture-recitals as well as masterclass participation applications: Friday 1 July 2016. Contributions are welcome from researchers and practitioners at all levels, and are especially encouraged from postgraduate students and practitioners or researchers early on in their careers.
 
For further information or to apply to participate, please contact the Symposium Organiser:
Evgenia Roussou, School of Drama, Music & Screen, University of Hull, HU6 7RX, UK