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

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/

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

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

Subject areas for consideration include

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

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

In addition, the conference programme includes:

  • “A musicologist on the labour market” panel

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

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

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

Conference language: English.

Schedule

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

Applications should be made by sending the application form via email to: agnieszka.lakner@doctoral.uj.edu.pl  and musicologytoday@gmail.com

You can find an application form here.

For any further information please feel free to contact: Agnieszka Lakner; agnieszka.lakner@doctoral.uj.edu.pl

Conference fee

Conference fee: 200,00 PLN / 50 €

The fee includes:

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

Organizer

Jagiellonian University in Kraków, Department of Musicology

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

www.muzykologia.uj.edu.pl

 

 

VIRTUAL WORKS – ACTUAL THINGS

International Orpheus Academy for Music and Theory 2016
4-6 April 2016, Orpheus Institute Ghent, BE
The Orpheus Academy for Music and Theory 2016 will focus on the relation between the virtual multiplicities that enable an imaginary perception of musical works and the actual, concrete materials and practices that make such imaginary constructions possible. With the contribution of a most distinguished faculty, the event will give room for discussion on recent developments that are challenging the debate around the work-concept (Lydia Goehr), the question of the autonomy of music (Gunnar Hindrichs), the canonical tendency of past musical pieces (Andreas Dorschel), new ontologies (David Davies), the potentialities emerging from editorial and performative practices (John Rink), and a new image of work inspired by the notion of multiplicity and pointing towards a domain specific assemblage theory (Paulo de Assis, convenor).image Academy2016.jpg
In our globalized and hyper-mediatized culture, musical works are currently determined by Western consumers and profit-oriented professional performers rather than by transhistorical creative and productive processes. A renewed gaze upon the innumerable things that actually enable the here-and-now appearance of musical works (drafts, sketches, manuscripts, editions, recordings, comments, instruments, analysis, etc.) opens up wider horizons for reflection and, crucially, for future practices.

Faculty

With the contribution of a most distinguished faculty, the Orpheus Academy for Music and Theory 2016 will discuss recent developments that are challenging the debate around the work-concept (Goehr), the question of the autonomy of music (Hindrichs), the canonical tendency of past musical pieces (Dorschel), new ontologies (Davies), the potentialities emerging from editorial and performative practices (Rink), and a new image of work inspired by the notion of multiplicity and pointing towards
a domain specific assemblage theory (Assis).

  • Lydia Goehr, Columbia University, New York, US
  • David Davies, McGill University, Montreal, Canada
  • Andreas Dorschel, University of Music and Performing Arts Graz (KUG), Graz, Austria
  • Gunnar Hindrichs, University of Basel, Basel, Switzerland
  • John Rink, St John’s College, Cambridge, UK

Academy convenor

Paulo de Assis

(Per)Forming Art: Performance as Research in Contemporary Artworks

20 Sep 15

University of Leeds

The acts of composing and performing are central processes to the formation of a musical work. Performance is a medium through which music is formed. It is a significant part of a work’s compositional process and, as such, forms a symbiotic relationship with the act of composing. An iterative cycle between performance and composition comes about when the composer performs their own work and/or composes through performance. Performance in this manner can be seen as a form of practice-based research that can guide the compositional process.

This RMA conference focuses on performance as a type of compositional technique and as a mode of practice-based research for the act of composing a work. Primarily engaging with music of the twentieth and twenty-first centuries, ‘(Per)Forming Art’ invites proposals for a series of lecture-recitals by composers to demonstrate their research through performance. Such disciplines include, but are not limited to, acoustic composition, electronic composition, composing with improvisation, live coding. Presenters and delegates will have the opportunity to meet other researchers, performers, and composers as well as learn about a variety of approaches, techniques, and processes relevant to the formation of an artwork.

Proposals are invited for forty-minute lecture-recital slots (thirty minutes for presenting and performing followed by ten minutes for questions and answers). Composers may perform their own works or invite performers to accompany them (performers will not be provided by the conference).

Possible topics include, but are not limited to:

  • Performance as practice-based research of compositional techniques in general
  • Performance as an actual technique for composing music
  • How performing other works can inform the compositional process of one’s own work and/or how one engages with performance as a compositional technique
  • How engaging with other performers performing other works can inform the compositional process of one’s own artwork.
  • Live coding and its influence on compositional practice
  • Improvisation and its influence on compositional practice
  • Performance as a unifying medium between separate artistic disciplines within interdisciplinary artworks
  • Performance as a technique for composing a work vs performing a ‘finished’ composed work

Presenters will also be asked to perform in the conference concert on the evening of the conference. The artwork(s) they perform should be related to (if not the same as) their lecture-recital topic. Proposed lecture-recitals should be emailed as abstracts (of up to 500 words, and with titles) to the (Per)Forming Art Symposium (performingartsymposium@gmail.com) no later than Monday 6th July, 2015.

Lecture-recital proposals should include the following details: name, institutional affiliation (if any), email address, any special requests such as AV requirements.

Further information can be found here.

Musicological conference on the 90th birthday of György Kurtág

June 2-3, 2016 Budapest, Archives and Research Group for 20th-21st Century Hungarian Music, Institute of Musicology, Research Centre for the Humanities, Hungarian Academy of Sciences

György Kurtág, born in Lugos (Lugoj, Romania) in 1926, has been one of the most appreciated Hungarian composers and influential teachers of chamber music worldwide since the 1980s. His oeuvre comprises vocal pieces, orchestral and chamber music, and choruses: this rich output expressing his personal commitments and his individual interpretation of the whole music history affects listeners immediately. His works and personality have greatly influenced composers, performers, interpreters and musicologists of different generations and nations. The planned conference aims at paying tribute to him by analyzing his oeuvre, interpreting his life events and scrutinizing the cultural and national context he has worked in based on primary and secondary sources. We invite proposals for papers reflecting on the composer’s whole oeuvre and personality.

Proposals are invited for individual papers of 20-minute-duration. The proposals including the title and abstract of the paper (max. 250 words), and a short biographical note should be submitted as an attached word file by e-mail to the conference organizers at magyar.zenei.archivum@btk.mta.hu by September 15 2015. Please include contact details and institutional affiliation (if any), along with details of anticipated AV requirements. The conference language will be English.

 

Conference organizers

Anna Dalos (dalos.anna@btk.mta.hu)

Péter Halász (halasz.peter@btk.mta.hu)

More information about the conference and about the Archives and Research Group for 20th-21st Century Hungarian Music: http://zti.hu/mza/index_en.htm

A Laboratory of Spring

Call For Papers
September 27-28, 2014
Centre For Philosophical Research & Department of the History of Art and Culture, Nicolaus Copernicus University, Torun, Poland

We invite you to participate in the symposium A LABORATORY OF SPRING devoted to the research on contemporary music and dance, as well as to their socio-cultural context – in the age after “The Rite of Spring” by Igor Stravinsky.
Research Areas: Musicology; Choreography and Dance Studies; Philosophy of Music; Cultural Studies; History of Art; History of Music; Psychology of Music; Sociology of Music; Ethnomusicology, Cognitive Science of Music; others related.
Key Speakers: Richard Taruskin (University of California, Berkeley), Pieter C. van den Toorn (University of California, Santa Barbara)

Thematic Section I:
– “The Rite of Spring”
– Igor Stravinsky
– Vaclav Nijinksy

Thematic Section II:
– creation and perception of contemporary music/dance
– cultural, social, and political context of music of last century
– empirical research on music and dance
– (new) philosophy of new music
– does music/dance express anything?
– others related

Deadlines
Abstract submission: June 30
Notification of acceptance: July 15
Registration fee: September 10
Booking the accommodation with organizers’ help: September 10

Language: English

Registration: http://avant.edu.pl/en/symposium

Organizers: Department of the History of Art and Culture, Nicolaus Copernicus University (local co-organizer), Centre For Philosophical Research (main organizer).

The symposium is supported by the Ministry of Science and Higher Education.

The symposium website: http://avant.edu.pl/en/symposium

Notation in Contemporary Music: Composition, Performance, Improvisation

Notation in Contemporary Music: Composition, Performance, Improvisation

Call for Papers / Performance Presentations

Contemporary Music Research Unit
Department of Music, Goldsmiths, University of London

18 – 19 October, 2013

This symposium proposes to bring together composers, researchers and practitioners working in contemporary music, and musicologists studying the influence notation has had for composers and performers.
From the problematics of the score as music’s sound-image to the the (im)possibility of transcription, contemporary music has been challenging the role of notation on various levels. Several responses such as non-standard formats of open works, graphic or text-based scores, have today become standard practice. To the extent that new notation seeks to problematize traditional ideologies of music performance, the symposium seeks to address the limits that current notational practices wish to explore, and to throw open possibilities for future endeavours. As such, post-WWII approaches are considered to be part of standard performance practice, although past practices can prove fruitful today in unexpected ways. Especially after the deconstructive turn in philosophy and the arts, music notation has seen novel interpretations, which are particularly welcome, although the symposium is aimed at accommodating all current directions. Recent developments in composition, aesthetics, technology, or performance can inform this gathering, which hopes to constitute a space of thinking today’s notation at the intersection of current research in such fields.

Themes might include, but are not limited to:
Graphic notation
Relationship between notation and improvisation
New complexity
Aesthetics, philosophy, and notation
Visual music
Interpretation
Word scores

Proposals of up to 300 words are invited for 20 minute presentations with 10 minutes questions. Please also include a short biographical note of around 100 words.

In addition, proposals involving practice are encouraged. These may take the form of a 30 minute presentation split between practice, speaking and questions as desired by the proposer, or pieces which could be performed as concert items. In the case of these presentations, please supply a full list of equipment needed for the presentation/piece.

Simultaneous to, and affiliated with, the symposium will be a study day devoted to the AHRC funded Digital Scores project led by Mick Feltham (University of Sussex) and Alistair Zaldua (Goldsmiths). Depending on the number of applicants this study day may run in parallel with the Notation in Contemporary Music symposium, however a discourse between acoustic notation and digitally determined/influenced notation will be sought and encouraged. Composers, performers and researchers involved in the this area are invited to submit abstracts. Information on the Digital Scores project can be found at http://thedigitalscore.net.

Please send proposals and indications of interest to either Professor Roger Redgate: r.redgate@gold.ac.uk , Dr Dimitris Exarchos: d.exchargos@gold.ac.uk, or Alistair Zaldua: a.zaldua@gold.ac.uk

Deadline for proposals: Friday, 14 June 2013