Seventh International Symposium on Music /Sonic Art: Practices and Theories

Seventh International Symposium on
Music /Sonic Art: Practices and Theories
MuSA 2016 – Karlsruhe (IMWI)
30 June – 3 July, 2016

Hochschule für Musik, Karlsruhe –
Institut für Musikwissenschaft und Musikinformatik (IMWI)
Am Schloss Gottesaue 7, 76131 Karlsruhe

We are pleased to announce the Seventh International Symposium on Music and Sonic Art: Practices and Theories (MuSA 2016), an interdisciplinary event to be held in Karlsruhe, Germany at the Institut für Musikwissenschaft und Musikinformatik (IMWI) ( MuSA 2016 is also supported by Middlesex University, London. The dates of the Symposium are 30 June-3 July, 2016.

Keynote presentations will be given by:

Professor Denis Smalley – Title to be confirmed
Professor Marc Leman – Theory and application of expressive enactment in music- based (bio)feedback systems

Professor Denis Smalley will also give a three-day composition master-class. Enquiries about this event should be directed to: Professor Dr Thomas Troge at

Proposals for sessions and individual papers for the Seventh International Symposium on Music and Sonic Art: Practices and Theories are invited from academics, independent researchers, practitioners and post-graduate students. Presentation formats include academic research papers (20 minutes + 10 minutes for discussion); reports on practice-based/artistic research or educational programmes (20 minutes + 10 minutes for discussion); and workshops, panel sessions, lecture-demonstrations (30 minutes + 15 minutes for discussion). The Symposium committee encourages presentations in which practice forms an integral part of the research. All proposals will be ‘blind’ peer-reviewed. The Symposium language will be English. Previous themes and topics can be seen at:;;;

The principal aim of MuSA 2016 is to advance interdisciplinary investigations in – as well as between – Music and Sonic Art. Following the interdisciplinary debate MuSA 2015 opened up on the role of embodied approaches to music and sonic art, MuSA 2016 will expand the theme of embodiment to the areas of cognition, emotion and space.
We invite submissions on the following, and other related topics:

• Embodying emotions in music and sonic art;
• Cognitive processes of embodiment;
• Neuromusicology / neuro-scientific approaches to musical experiences
• Creative uses of space and emergence of meaning;
• Gesture and space as constituents of meaning and expression;
• Kinematics and haptics as background for music and sonic art research;
• Methods for embodied analysis;
• Phenomenology of the performing body;
• The body within socio-cultural contexts of music and sonic art;
• Pedagogies of embodiment in music and sonic art;
• Ecological, biological, neuroscientific and evolutionary approaches to embodiment;
• Technology and embodiment;
• Artificial intelligence and embodiment;
• Critical discourses of embodiment in practice and research;
• Embodied aesthetics;
• Embodiment in collaborative research;

Other topics that are in line with the Symposium’s broad aim of promoting interdisciplinary research within and across Music and Sonic Art will also be considered.

In addition, MuSA 2016 will include the popular, one-day event devoted to ‘Re-thinking the Musical Instrument’, focusing in particular on the role of tradition(s) in the origination, making and playing of musical instruments.

Some of the topics that will be explored during this one-day event include:

• The acoustical, musical, cultural, symbolic, and ritualistic qualities of musical instruments and the relationships between these (theoretically) distinct kinds of qualities;
• The discourses that exist in relation to musical instruments in different genres, styles and traditions;
• The gestural affordances and ergonomic principles of musical instruments and the musical meanings that emerge as a result of these affordances and principles;
• Performers, improvisers and their instruments: phenomenologies of music making in the context of particular kinds of musical instruments;
• Composer and instruments: the material, acoustical and expressive qualities of instruments and their relationship to musical languages composers create;
• Relationships between creativity in performance, nature of musical interpretation and musical instruments;
• The role of the musical instrument in the creation of musical identities;

We invite proposals on any research area related to the nature and use of western acoustical instruments, traditional ethnic instruments and digital/virtual instruments.

Please submit an abstract of approximately 250-300 words as an e-mail attachment to

Please specify whether you wish your abstract to be considered for the one-day ‘Re-thinking the musical instrument’ event.

As contributions will be ‘blind’ peer-reviewed, please do not include information that might facilitate identification from the abstract. In addition, please include separately the name(s) of the author(s), institutional affiliation (if any) and short biography (approximately 100 words). Deadline for the receipt of abstracts is Monday, 25 April 2016. Notification of acceptance will be sent by 9 May 2016.

The Symposium fees are: €120 for delegates (day rate: €40), €100 for presenters (day rate: €35), and €60 for students and others who qualify for concessions (day rate: €20).

If additional information is required please do not hesitate to contact Prof. Dr. Mine Doğantan-Dack or any member of the symposium committee:

Prof. Dr. Mine Doğantan-Dack

Prof. Dr. Thomas A. Troge (IMWI, Karlsruhe) –

Prof. Dr. Denis Lorrain (IMWI, Karlsruhe) –

Prof. Dr. Paulo Ferreira-Lopes (Universita Cattolica Porto/ HfM-Karlsruhe) –

Prof. Miroslav Spasov (Keele University, UK) –

Dr. John Dack (Middlesex University, UK) –

Adrian Palka (Coventry University, UK) –

Marlon Schumacher (IMWI, Karlsruhe) –

Timothy P. Schmele (IMWI, Karlsruhe) –

Administrative support: Gundi Rössler (IMWI, Karlsruhe) –