Music and shared imaginaries: nationalisms, communities, and choral singing

Music and shared imaginaries: nationalisms, communities, and choral singing
October 30th-November 1st, 2014
Hosted and organized by the University of Aveiro and INET-MD (Portugal), and co-organized by the Post-Graduate Music Program at the Federal University of Rio Grande do Sul (Brazil), Centro Studi Opera Omnia Luigi Boccherini (Italy), and the University of Rioja

Keynote speakers:
Ruth Finnegan – The Open University, UK; Mário Vieira de Carvalho – Universidade Nova de Lisboa; Salwa Castelo-Branco – Universidade Nova de Lisboa

Call for papers
Philip Bohlman’s writings about music, nationalism and the construction of the “new” Europe proposed a “multitude of angles” that comprehended the plurality of actors and musical practices that weave and fray national identities. In relation to the study of music and nationalisms, this is not merely a question of genres and repertoires, and top-down narratives, but also how musicians negotiate their own nationalities in performance.
Nationalisms coexisted with civil initiatives, which organize communities to regularly play music/sing, institutionalizing a non-professional musical practice, like choral singing, promoting different models of social/individual integration, testing new social orders or utopias. This could be described as the emergence of a third sphere, in-between the individual/domestic and the public. Our interest lies in the ways in which those musical performances and rituals constructed specific ways of being-in-the-world, conveying ways of expressing ideals, transmitting values, ritualizing behaviors, and experiencing social roles (including gender roles).
Cultural policies associated with nationalistic ideologies and regimes conditioned musical creation, musical performance and reception. Interpreting and researching repertoire that bears the mark of nationalism presents a challenge to musicians nowadays, and the understanding of the context and its practices can be the basis for the study of period performance practices, but also for the development of artistic-research projects.
We invite researchers to submit proposals within the following themes:
1 – Music and nationalisms: critical approaches
2 – Performing and ritualizing a third sphere: musical participation, cultural associations and community music
3 – Shared humanity/ feelings of wholeness: choral singing practices, rituals, and protagonists
4 – Practicing and embodying: performing practices and contexts
In addition to the above themes, we also welcome proposals exploring other aspects of music nationalisms, communities and choral singing.
We welcome abstracts, in Portuguese or English, of no more than 350 words for:
Paper presentations (max. length 20 minutes): submissions should be accompanied by a short curriculum (approx. 100 words) of the presenter, and include 3-5 keywords
Pre-formed Panels: please submit a general abstract and individual abstracts for each named speaker, and a short curriculum of each of the presenters, and include 3-5 keywords. Panels should last 1 hour and 30 minutes, including discussion.
Lecture-Recitals (max. length 45 minutes): submissions should specify exact length and be accompanied by a short curriculum of the presenter, and include 3-5 keywords
Abstracts should be sent to
The submission deadline for paper presentations, panels, and lecture-recitals is July 15th, 2014.
Abstracts will be reviewed by a panel, and presenters will be advised as to their acceptance or otherwise by the beginning of August, 2014. The deadline for the submission of proceedings articles (accepted authors only) is November 30th, 2014.