Music and Sonic Art: Theories and Practices

Tenth International Conference
Music /Sonic Art: Practices and Theories

Collaborative creativity / Creative Collaboration

MuSA 2019 – Karlsruhe
31 May – 2 June 2019

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


We are pleased to announce the Tenth International Conference on Music and Sonic Art: Practices and Theories (MuSA 2019), an interdisciplinary event to be held in Karlsruhe, Germany at the Institute for Music Informatics and Musicology, University of Music Karlsruhe (

Conference dates: 31 May – 2 June 2019

Keynote speaker:
Professor Jane Ginsborg (Royal Northern College of Music, UK)

Deadline for abstract submission: Friday, 29 March 2019

Proposals for sessions and individual papers for the Tenth International Conference 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 Conference committee encourages presentations in which practice forms an integral part of the research. All proposals will be ‘blind’ peer-reviewed. The conference language will be English.


The theme of MuSA 2019 is Collaborative Creativity / Creative Collaboration. The twenty-first century has witnessed some profound transformations in the institutional ethos of arts and humanities research, one of these being the sharp decline of the romantic image of the lone researcher and artist, breaking through the frontiers of knowledge or creating works of genius independently, and the simultaneous rise of a culture of collaboration. While much has already been written about the value of collaborative artistic and scholarly work, particularly in relation to the creative synergies it generates, much remains to be explored with regard to the notion of collaborative creativity or creative collaboration. MuSA2019 aims to explore the psychological, social, institutional-political, artistic and philosophical issues surrounding this notion. We invite submissions on the following, and other relevant topics, in relation to collaborative creativity and creative collaboration in Music and Sonic Art:

  • Creative collaboration and authorship
  • Creative collaboration in historical context
  • Psychological mechanisms of collaborative creativity
  • Creative collaboration and copyright
  • Collaborative creativity and technology
  • Pedagogies of creative collaboration
  • Expertise and creative collaboration
  • Creative collaboration and material cultures
  • Social contexts of collaboration
  • Artistic identities and creative collaboration
  • Embodied, embedded, enacted and extended approaches to creative collaboration

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

As in previous MuSA conferences MuSA 2019 will continue to include the popular, one-day event devoted to ‘Re-thinking the Musical Instrument’, focusing on 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 also 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

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 Friday, 29 March 2019. Notification of acceptance will be sent by 8 April 2019.

CONFERENCE FEE – includes registration, lunch, coffee/tea and conference concerts
€150 for delegates (day rate: €50), and €75 for students (day rate: €25)

If additional information is required please contact Prof. Dr. Mine Doğantan-Dack

Prof. Dr. Mine Doğantan-Dack (University of Cambridge) ¬¬–

Prof. Dr. Christoph Seibert (HfM Karlsruhe) –

Dr. John Dack (Middlesex University, UK) –

Prof. Miroslav Spasov (Keele University, UK)

Prof. Dr. Marc Bangert (HfM Karlsruhe)

Prof. DMA Damon T. Lee (HfM Karlsruhe)

Prof. Dr. Paulo Ferreira Lopes (HS Mainz/HfM Karlsruhe)

Dr. Stefanie Steiner-Grage (HfM Karlsruhe)

Nanna Schmidt (HfM Karlsruhe)

Timothy P. Schmele (HfM Karlsruhe)

Administrative support: Gundi Rössler (HfM Karlsruhe) –