Italian Film Music, 1950s-1970s: Between Tradition, Innovation, and Internationalisation

Organized by

Centro Studi Opera Omnia Luigi Boccherini, Lucca

Lucca, Complesso Monumentale di San Micheletto

15-17 October 2021

Because of the continuing uncertainties arising from the COVID-19 pandemic, the organisers of this conference will make contingency plans for an online event, in case an in-person gathering is not possible

CALL FOR PAPERS

The Centro Studi Opera Omnia Luigi Boccherini of Lucca is pleased to invite submissions of proposals for the symposium «Italian Film Music, 1950s-1970s: Between Tradition, Innovation, and Internationalisation», to be held in Lucca, Complesso Monumentale di San Micheletto, from Friday 15 until Sunday 17 October 2021.

The end of the Fascist era and WWii marked a watershed for Italian cinema. Gone were the well-polished style of the ‘telefoni bianchi’ melodramas, the apolitical levity of Mario Camerini’s Italianate screwball comedies, or the magniloquence of Alessandro Blasetti’s epics. The series of neorealist films that bridged the last years of WWii with the first of the postwar period brought a fracture with the style, themes, and topics of the previous cinema. Everyday life and outdoor locations were preferred over artfully arranged studio settings; regional dialects and vernacular speech patterns supplanted the artificial ‘received pronunciation’ and the literary eloquence of most of the past cinema’s dialogue; the themes indigence and underdevelopment, political struggles, and social injustice that would be silenced in the Fascist cinema gained a foregrounded position. Though neorealism per se was more successful at festivals and in film critics’ circles than with the general public, the innovations it introduced spilled all over the 1950s lighter and more popular genres – e.g. the sentimental comedies set in lower-class environments of the ‘neorealismo rosa’ – and sowed the seed for the more radical innovations of the 1960s auteur cinema. Film music too was caught in this change of tide.

The melodic lines, musical conduct, and dramaturgical approaches of Italian film music were sensibly influenced by the tradition of Italian opera. For example, compared to the seamless almost wall-to-wall musical flow of the 1930s Hollywood music that was influenced by the musical continuity of Wagner’s wortondrama, the Italian film music of the same age was preferably built in closed musical numbers, as happened in Italian opera. Yet, the cantabile, melodramatic, and at times over-sentimental quality of such opera-influenced music began appeared inappropriate and inconsistent with the unfiltered and direct representation of reality that neorealism strove to depict. The early neorealist films presented new themes through an otherwise mostly traditional style, which might explain why music remained similarly traditional in style. Yet, as the polished style of the 1930s was being increasingly superseded by new approaches in which film style, and not only the themes, became more innovative and experimental, so music too had to find new idioms and approaches to keep up with the change.

The three decades 1950s, 1960s, and 1970s were the site of such musical renewal, from the injection of jazz, pop music, musique concrète, electronic music, avant-garde, vernacular music, light and dance music, progressive rock, up to Morricone’s tradition-shattering and highly influential ‘spaghetti western’ scores. Papers are invited that examine the various aspects of these three decades of change, hybridisation, and internationalisation in Italian film music, for example:

The contribution of music to the 1960s auteur cinema

  • Vernacular music and popular film comedy
  • Director/composer relationships (e.g. Federico Fellini and Nino Rota; Pietro Germi and Carlo Rustichelli, etc.)
  • The influence of international collaborations on a composer’s approach and style (e.g. Mario Nascinbene)
  • Less studied works of prominent composers (e.g. Morricone’s minor films)
  • The synergy and cross-promotion between the film and the record industries
  • How innovations in the musical style mirrored innovations in the cinematic style
  • Comparisons between the style and function of Italian film music with the film music of other countries
  • Tthe consumption of film-music albums
  • The demographics of film-music consumers and the influence on the musical choices
  • The balance between the Italian musical tradition and the imports from abroad (e.g. how jazz or rock were integrated into Italian film music)
  • The influence of Hollywood film music or the rejection of Hollywood film music
  • Film genres and musical genres

Proposals for twenty-minute papers are sought from musicologists and music theorists aimed at presenting historical/archival surveys or music/dramaturgy analyses; from film/media scholars interested in exploring how music served the films or the innovations of a specific genre/movement/author or how film-music production was regulated and organised within the Italian film industry; from popular-music and cultural-studies scholars interested in the consumption of film music beyond the films and its presence and significance in the Italian (or even international) record market or its appropriation in specific socio-cultural groups.

Programme Committee:

  • Emilio Audissino (Linnaeus University)
  • Roberto Illiano (Centro Studi Opera Omnia Luigi Boccherini)
  • Massimiliano Locanto (Università di Salerno)
  • Fulvia Morabito (Centro Studi Opera Omnia Luigi Boccherini)
  • Massimiliano Sala (Centro Studi Opera Omnia Luigi Boccherini)

Keynote  Speaker:

  • Franco Sciannameo (Carnegie Mellon University, Pittsburgh, PA)

The official languages of the conference are English, French and Italian. Papers selected at the conference will be published in a miscellaneous volume.

Papers are limited to twenty minutes in length, allowing time for questions and discussion. Please submit an abstract of no more than 500 words and one page of biographical information.

All proposals should be submitted by email no later than ***14 March 2021*** to <conferences@luigiboccherini.org>. With your proposal please include your name, contact details (postal address, e-mail and telephone number) and (if applicable) your affiliation.

The committee will make its final decision on the abstracts by the end of April 2021, and contributors will be informed immediately thereafter. Further information about the programme, registration, travel and accommodation will be announced after that date.

For any additional information, please contact:

Dr. Massimiliano Sala

conferences@luigiboccherini.org

www.luigiboccherini.org

Chamber Music 1850-1918

On the occasion of the birth anniversaries of Antonín Dvořák and César Franck

CALL FOR PAPERS

Lucca, Complesso Monumentale di San Micheletto

10-12 December 2021

On the occasion of the birth anniversaries of Antonín Dvořák and César Franck, the Centro Studi Opera Omnia Luigi Boccherini of Lucca, the Palazzetto Bru Zane – Centre de musique romantique française (Venice) and the National Museum (Prague), are pleased to invite submissions of proposals for the symposium «Chamber Music 1850-1918», to be held in Lucca, Complesso Monumentale di San Micheletto, from Friday 10 until Sunday 12 December 2021.

The present conference aims to investigate the development of chamber music in the context of the variegated and complex Western musical world between the middle of the nineteenth and the first half of the twentieth century in light of scientific and technological progress, geopolitical upheavals, the consequent changes in social behaviors and practices, and aesthetic visions.

In particular, the conference aims to explore how chamber music developed in private social circles (families, salons, amateur gatherings, private societies) and in public concerts. Which new genres and gatherings emerged? In addition the conference will focus on the reception of the chamber music repertoire in the written accounts of musical habits (diaries, correspondence, periodicals) and contemporary music history studies — including attempts by musicographers or music critics to define an aesthetic discourse specific to chamber music (eg., the sublime, lyrical, intimate) — also dwelling on analytical and theoretical approaches applied to chamber music repertoire, such as narratology, organicism (developing variation, cyclical theme, Grundgestalt), neo-Riemannian theory, Schenkerian or reductive analysis, or Caplin’s theory of formal functions.

The programme committee encourages submissions within the following general areas:

  • Concert and performing venues
  • Professionalism vs amateurism
  • Studies focusing on the career, repertoire and reception of professional groups
  • Concerts, societies, subscriptions
  • Chamber music and publishers
  • Instruments, timbres and ensembles
  • Performing traditions in the history of chamber music
  • The conciliation or contradictions of national and individual expression
  • The use and function of musical topoi in the musical discourse
  • The quest for new sonorities and instrumental combinations
  • Issues of literary–musical correspondence and prosody in the vocal repertoire

And in particular, on Dvořák and Franck:

  • The young César Franck and the milieu of piano virtuosos in France and Europe
  • César Franck and the French organ tradition
  • César Franck’ssense of instrumental writing, voice color and orchestration
  • The spiritual conception expressed in Franck’s religious works
  • The nature of Franck’s influence on French composers from the younger generation
  • The performing tradition of César Franck’s music
  • César Franck’s reception and legacy
  • Antonín Dvořák and salon music
  • The origins and existence of theBohemianQuartet
  • The chamber works of Dvořák’s pupils (Josef Suk, Vítězslav Novák etc.)
  • The performance practice and reception of Dvořák’schamber works
  • Virtuosity vs. effect in Dvořák’s solo piano compositions
  • Publishing strategies: FritzSimrock as the main Dvořákpublisher and promoter
  • Antonín Dvořák as a musician: his performances and his compositional strategies inwriting in ‘simple style’

Programme Committee:

  • François de Médicis (Université de Montréal)
  • David Hurwitz (ClassicsToday.com)
  • Roberto Illiano (Centro Studi Opera Omnia Luigi Boccherini)
  • Étienne Jardin (Palazzetto Bru Zane – Centre de musique romantique française)
  • Fulvia Morabito (Centro Studi Opera Omnia Luigi Boccherini)
  • Massimiliano Sala (Centro Studi Opera Omnia Luigi Boccherini)
  • Veronika Vejvodová (National Museum, Prague)

Keynote Speaker:

  • François de Médicis (Université de Montréal)

Invited Speaker:

  • Veronika Vejvodová (National Museum, Prague)

The official languages of the conference are English, French and Italian. Papers selected at the conference will be published in a miscellaneous volume.

Papers are limited to twenty minutes in length, allowing time for questions and discussion. Please submit an abstract of no more than 500 words and one page of biographical information.

All proposals should be submitted by email no later than ***25 April 2021*** to <conferences@luigiboccherini.org>. With your proposal please include your name, contact details (postal address, e-mail and telephone number) and (if applicable) your affiliation.

The committee will make its final decision on the abstracts by the end of May 2021, and contributors will be informed immediately thereafter. Further information about the programme, registration, travel and accommodation will be announced after that date.

For any additional information, please contact:

Dr. Massimiliano Sala

conferences@luigiboccherini.org

www.luigiboccherini.org

The Sound of Empire: Soundscape, Aesthetics and Performance between Ancien régime and Restoration

CALL FOR PAPERS

Lucca, Complesso Monumentale di San Micheletto

12-14 November 2021

Because of the continuing uncertainties arising from the COVID-19 pandemic, the organisers of this conference will make contingency plans for an online event, in case an in-person gathering is not possible

The Centro Studi Opera Omnia Luigi Boccherini of Lucca and the Palazzetto Bru Zane – Centre de musique romantique française of Venice are pleased to invite submissions of proposals for the symposium «The Sound of Empire: Soundscape, Aesthetics and Performance between Ancien régime and Restoration», to be held in Lucca, Complesso Monumentale di San Micheletto, from Friday 12 until Sunday 14 November 2021.

The second half of the eighteenth century and the first half of the nineteenth century was a time of great historical and social upheavals — a melting pot of events whose repercussions are still felt. The first industrial revolution, the American Revolution, the French Revolution, and the Napoleonic wars: such were events that gradually undermined the status quo of the Ancien régime.

Napoleon Bonaparte is the keystone of this time period, given his role as an innovator of aspects of the military, political, civil, artistic and cultural life of his time.

This conference explores the musical changes brought on by the multifaceted pre- and post-Napoleonic sonic world.

The programme committee encourages submissions within the following areas, although other topics are welcome:

  • Soundscapes
  • Musical Aesthetics
  • Genres and Reception
  • Patronage
  • Perfomance practice
  • Musical Spaces
  • Music Publishing and Market
  • Political Identity and Nationalism
  • Public and Private
  • Circulation

Programme Committee:

  • Federico Gon (Conservatorio di Brescia / Università di Udine e Padova)
  • Roberto Illiano (Centro Studi Opera Omnia Luigi Boccherini)
  • Étienne Jardin (Palazzetto Bru Zane – Centre de musique romantique française)
  • Fulvia Morabito (Centro Studi Opera Omnia Luigi Boccherini)
  • Massimiliano Sala (Centro Studi Opera Omnia Luigi Boccherini)

Keynote Speaker:

  • Emmanuel Reibel (Université Lumière Lyon 2)

Invited Speaker:

Federico Gon (Conservatorio di Brescia / Università di Udine e Padova)

The official languages of the conference are English, French and Italian. Papers selected at the conference will be published in a miscellaneous volume.

Papers are limited to twenty minutes in length, allowing time for questions and discussion. Please submit an abstract of no more than 500 words and one page of biographical information.

All proposals should be submitted by email no later than ***28 March 2021*** to <conferences@luigiboccherini.org>. Please include your name, contact details (postal address, e-mail and telephone number) and (if applicable) your affiliation with your proposal.

The committee will make its final decision on the abstracts by the end of April, and contributors will be informed immediately thereafter. Further information about the programme, registration, travel and accommodation will be announced after that date.

For any additional information, please contact:

Dr. Massimiliano Sala

conferences@luigiboccherini.org

www.luigiboccherini.org

Between Centres and Peripheries

Music in Europe from the French Revolution until WWI (1789-1914)

———

International Virtual Conference

06-08 May 2021

The Centro Studi Opera Omnia Luigi Boccherini of Lucca, the Research Group ERASMUSH of the University of Oviedo (Spain) and the Palazzetto Bru Zane – Centre de musique romantique française of Veniceare pleased to invite submissions of proposals for the symposium «Between Centres and Peripheries: Music in Europe from the French Revolution until WWI (1789-1914)», to be held from Thursday 06 until Saturday 08 May 2021.

In the nineteenth century, music occupied a prominent position in bourgeois European society, and cities such as Paris, Vienna, Leipzig, Milan, and London became social and cultural references for the rest of the continent, inhabitants of which worked to imitate the cities’ concerts, theatrical life, their soirées and parties, its music promenades, etc.

This conference examines, from a micro-historical perspective, the tensions and dialogues developed in European musical life throughout this time period. Here we apply the concepts of centres and peripheries not to geography but also to methodology. We will analyze the reproduction of cultural models but also the tensions that these models produced in the peripheries, most of which have been ignored in the historiography of Western European music.

Periphery also refers to the emergence of musical genres that have remained relatively non-canonic, including popular repertoires from the music hall to the variétés, street bands or the music of cabarets. Furthermore, we will also examine the birth of musico-national languages situated on the European geographical margins.

The programme committee encourages submissions within the following areas,although other topics are also welcome:

  • Music from the peripheries: alternative genres and repertoires
  • The diffusion and circulation of music in new and different contexts
  • The reception and adaptations of the canon on the margins of Europe
  • Redefining centres and peripheries in European music
  • Cultural transfer of music, both geographically and socially
  • The commercialization of music
  • Models of music production in the peripheries: concert cycles, musical societies, festivals, etc.
  • Music national languages inside or outside the canon?
  • Universality vs. Nationality
  • Amateurism in the time of the virtuoso performers
  • Music for new spaces: promenades, cafés, cabarets, gardens, etc.

Programme Committee:

  • Maria Encina Cortizo Rodriguez (Universidad de Oviedo)
  • Roberto Illiano (Centro Studi Opera Omnia Luigi Boccherini)
  • Étienne Jardin (Palazzetto Bru Zane – Centre de musique romantique française, Venice)
  • Fulvia Morabito (Centro Studi Opera Omnia Luigi Boccherini)
  • Massimiliano Sala (Centro Studi Opera Omnia Luigi Boccherini)
  • Ramón Sobrino (Universidad de Oviedo)
  • José Ignacio Suárez (Universidad de Oviedo)

Keynote Speakers:

  • Étienne Jardin (Palazzetto Bru Zane)
  • Yvan Nommick (Université de Montpellier)

The official languages of the conference are English, French, Spanish and Italian. Papers selected at the conference will be published in a miscellaneous volume.

Papers are limited to twenty minutes in length, allowing time for questions and discussion. Please submit an abstract of no more than 500 words and one page of biographical information.

All proposals should be submitted by email no later than Sunday ***28 February 2021*** to <conferences@luigiboccherini.org>. With your proposal please include your name, contact details (postal address, e-mail and telephone number) and (if applicable) your affiliation.

The committee will make its final decision on the abstracts by the end of ***March 2021***, and contributors will be informed immediately thereafter. Further information about the programme and registration will be announced after that date.

For any additional information, please contact:

Dr. Massimiliano Sala

conferences@luigiboccherini.org

www.luigiboccherini.org

Music, Cinema, and Modernism. The Works and Heritage of Kurt Weill between Europe and America

The Centro Studi Opera Omnia Luigi Boccherini of Lucca and the DAMS/Università di Torino are pleased to invite submissions of proposals for the symposium «Music, Cinema, and Modernism. The Works and Heritage of Kurt Weill between Europe and America», to be held at the  Università degli studi di Torino, Palazzo Nuovo, Via Sant’Ottavio, 20 – Torino, from 21 to 22 May 2021.

Keynote Speakers

  • Nils Grosch (Universität Salzburg)
  • Stephen Hinton (Stanford University)

The conference aims to address aspects of Kurt Weill’s works in relation to his contemporaries and his heritage to succeeding generations, both in the United States and in Europe. The creative activities of the German-American composer have been characterized by his keen interest in new media: principally, in radio in Germany and in the cinema in the United States, and in new forms of experimentation in musical theater on both sides of the Atlantic.

The fact that his compositions as well as his sensibilities tended to situate themselves somewhere between the poles of highbrow and the lowbrow culture allows for multiple interpretations, while prompting various possible themes for research. The themes suggested here are not intended to be restrictive but, rather, to invite a wide range of reflections, and other topics are also welcome:

  • The modernity of Kurt Weill: borrowings and assimilations among his contemporaries
  • After 1950: the theoretical and aesthetic legacy of Kurt Weill after his death
  • Kurt Weill’s german-american contemporaries: aesthetic, artistic, and compositional choices
  • Marc Blitzstein as a translator and interpreter of the German Weill in the United States
  • Love Life on Broadway: a new musical theater genre is born?
  • Musicals, American opera, Radio Opera and so on: the ideas about musical theater by Kurt Weill
  • The debates for and against modernism among German émigré composers to the United States  before and after World War II
  • Aesthetic and theoretical debates concerning film music between the 1920s and 1940s
  • Film music as “modern music”: identity and perspectives
  • Kurt Weill and Hollywood: New Music for the Cinema?
  • Composer and arranger: new roles and new relationships
  • Berlin, Broadway, and Hollywood: a comparison of their modes of organization and cultural production

Programme Committee

  • Giaime Alonge (Università degli studi di Torino)
  • Giulia Carluccio (Università degli studi di Torino)
  • Tim Carter (University of North Carolina)
  • Pietro Cavallotti (Università degli studi di Torino)
  • Roberto Illiano (Centro Studi Opera Omnia Luigi Boccherini, Lucca)
  • Kim Kowalke (Eastman School of Music/ University of Rochester – The Kurt Weill Foundation for Music)
  • Andrea Malvano (Università degli studi di Torino)
  • Ilario Meandri (università degli studi di Torino)
  • Marida Rizzuti (Università IULM, Milano)
  • Massimiliano Sala (Centro Studi Opera Omnia Luigi Boccherini, Lucca)

The official languages of the conference are English and Italian. Papers selected at the conference will be published in a miscellaneous volume.
Papers are limited to twenty minutes in length, allowing time for questions and discussion. Please submit an abstract of no more than 500 words and one page of biography.
All proposals should be submitted by email no later than ***Sunday 29 November 2020*** to <conferences@luigiboccherini.org>. With your proposal please include your name, contact details (postal address, e-mail and telephone number) and (if applicable) your affiliation.
The committee will make its final decision on the abstracts by ***Sunday 13 December 2020***, and contributors will be informed immediately thereafter. Further information about the programme, registration, travel and accommodation will be announced after that date.
For any additional information, please contact:

Dr. Massimiliano Sala
conferences@luigiboccherini.org
www.luigiboccherini.org

Music and Science from Leonardo to Galileo

The Centro Studi Opera Omnia Luigi Boccheriniin Lucca is pleased to invite submissions for the symposium «Music and Science from Leonardo to Galileo», to be held in Lucca, Complesso Monumentale di San Micheletto, from 13 to 15 November 2020. The conference is dedicated to bringing together new scholarship dealing with the relationships between music and science from the late fifteenth to the early seventeenth century.

The relationship between music and science is particularly close during the sixteenth and seventeenth centuries, and both fields develop and thrive through their often confrontational relationship with patronage, the church, and between theory and practice. During Antiquity and the Middle Ages, music was one of the artes liberales,the inverse proportionality between string length and pitch understood as a model for relationships between art and science. In the modern era, musical sound (and acoustics) has had implications for both music and physics.

Between these two epochs is the period spanning the work of Leonardo da Vinci (1452-1519) and Galileo Galilei (1564-1642), in which a scholastic deference to authority, tradition, and theory was being replaced by knowledge derived from observation, experiment, and practice. During this century, new paradigms were developed not only in mathematics, mechanics and astronomy — creating what is commonly known as the as the Scientific Revolution — but also in religion, politics, and other fields of human endeavor.

It was during this time period that the relationship between music and science was newly defined. In addition to Leonardo and Galileo’s vivid interest in music, many of their fellow scientists also shared this interest. On the other hand, many musicians, music theorists and composers were interested in science and explored the possibility of relating music to science.

Proposals for papers are invited that address the relationship between musical and scientific topics during this period ranging from philosophy of music, tuning and temperament systems, instrument construction, patronage, biography, the impact of science on musical composition, and new work on such figures as Leonardo, Galileo, Huygens, Mersenne, and others. We welcome proposals for single papers, as well as panels of two, three or four contributions.

Programme Committee:

  • Victor Coelho (Boston University)
  • Roberto Illiano (Centro Studi Opera Omnia Luigi Boccherini)
  • Massimiliano Locanto (Università degli Studi di Salerno)
  • Fulvia Morabito (Centro Studi Opera Omnia Luigi Boccherini)
  • Rudolf Rasch (Utrecht University)
  • Massimiliano Sala (Centro Studi Opera Omnia Luigi Boccherini)

Keynote Speakers:

  • Victor Coelho (Boston University)
  • Rudolf Rasch (Utrecht University)

The official languages of the conference are English and Italian. Papers selected at the conference will be published in a miscellaneous volume in the series “Music, Science and Technology” (Brepols Publishers, Turnhout).

Papers are limited to twenty minutes in length, allowing time for questions and discussion. Please submit an abstract of no more than 500 words along with  a 150-word biography.

All proposals should be submitted by email no later than Sunday, 03 May 2020 to <conferences@luigiboccherini.org>. With your proposal please include your name, contact details (postal address, e-mail and telephone number) and (if applicable) your affiliation.

The committee will make its final decision on the abstracts by the end of May, 2020, and contributors will be informed immediately thereafter. Further information about the programme, registration, travel and accommodation will be announced after that date.

For any additional information, please contact:

Dr. Massimiliano Sala

conferences@luigiboccherini.org

www.luigiboccherini.org

Financing Music in Europe from the 18th to the Early 20th Century

The Centro Studi Opera Omnia Luigi Boccherini of Lucca, in collaboration with Palazzetto Bru Zane – Centre de musique romantique française, Venice, is pleased to invite submissions of proposals for the symposium «Financing Music in Europe from the 18th to the Early 20th Century», to be held in Lucca, Complesso Monumentale di San Micheletto, from 16 to 18 October 2020.

Keynote Speakers:

  • Katharine Ellis (University of Cambridge)
  • Yannick Simon (Université de Rouen Normandie)

The ways in which music was financed from the 18th to the early 20th centuries has usually been depicted as a slow transition from private investment (or patronage) to more public forms of financial support. In particular, the later 18th and earlier 19thcenturies marked fundamental changes in European life with the development of new technologies and expanding market economies.

Composers and musicians, no longer bound by service to a court or a patron, were fully integrated into the musical market, and new categories emerged, such as theatre impresarios and the artistic agent. During the second half of the 19th century, the concept of a career as a concert musician began to take shape concurrently with the second Industrial Revolution.

This conference aims to investigate the various aspects of financing the music world and welcomes studies focusing on the way that individual agents, private structures or public institutions (from cities to states) invested in the musical lives of their time.

The programme committee encourages submissions within the following areas, although other topics are also welcome:

  • The Long History of Patronage: Persistence and Evolution of an Economic Model
  • The Relationships between Composers and Their Sponsor(s)
  • Concert Management: Private and Public Investment, Subscriptions and Societies
  • The Musician as Entrepreneur: How Musicians (composers and instrumentalists) Financed their Activities
  • Musical Impresarios during the 19th Century
  • Organization, Management and Financing of Opera Houses
  • Funding and Management of Music Schools
  • Politics of Encouraging the Development of Musical Life
  • How European Countries financed Music
  • The Return on Investment: What do patrons or institutions expect when they finance musicians? How do they control the way(s) that their money is spent?

Programme Committee:

  • Katharine Ellis (University of Cambridge)
  • Roberto Illiano (Centro Studi Opera Omnia Luigi Boccherini)
  • Étienne Jardin (Palazzetto Bru Zane – Centre de musique romantique française)
  • Fulvia Morabito (Centro Studi Opera Omnia Luigi Boccherini)
  • Massimiliano Sala (Centro Studi Opera Omnia Luigi Boccherini)
  • Yannick Simon (Université de Rouen Normandie)

The official languages of the conference are English, French and Italian. Papers selected at the conference will be published in a miscellaneous volume.

Papers are limited to twenty minutes in length, allowing time for questions and discussion. Please submit an abstract of no more than 500 words and one page of biography.

All proposals should be submitted by email no later than ***Sunday 15 March 2020*** to <conferences@luigiboccherini.org>. With your proposal please include your name, contact details (postal address, e-mail and telephone number) and (if applicable) your affiliation.

The committee will make its final decision on the abstracts by the end of March 2020, and contributors will be informed immediately thereafter. Further information about the programme, registration, travel and accommodation will be announced after that date.

For any additional information, please contact:

Dr. Massimiliano Sala
conferences@luigiboccherini.org
www.luigiboccherini.org

Music and Resistance

CALL FOR PAPERS

The Centro Studi Opera Omnia Luigi Boccheriniof Lucca, in collaboration with the Universitat Autònoma de Barcelona (I+D+i RTI2018-093436-B-I00 “Music and Dance in Sociocultural, Identity and Political Processes during the Second Francoism and the Democratic Transition (1959-1978)”), is pleased to invite submissions of proposals for the symposium «Music and Resistance», to be held in Lucca, Complesso Monumentale di San Micheletto, from 11 to 13 December 2020.

Keynote Speakers:

  • Mark Andrew Le Vine (University of California Irvine)
  • Germán Gan Quesada (Universitat Autònoma de Barcelona)

The word “resistance” is often associated with the wars that marked the history of the twentieth century. The music of “resistance” found a huge space in popular music, but also in celebratory and protest works with which many composers reacted to the violence of dictatorship.
But in a broader sense, the word resistance is also used in modern forms of musical art in association with anti-fascist themes, or linked to social rights movements (women, LGBT movements) and ethnic groups, or as a means of generational identity (such as punk, hip-hop or rap).

This symposium aims to engage with all forms of resistance that have been put into practice through various musical forms, styles and genres, both historical and contemporary. The programme committee encourages submissions within the following areas, although other topics are also welcome:

  • Music under Wars and Dictatorships
  • Music and Holocaust
  • Popular Music and Rebellion
  • Music and Racism
  • Music and Human Rights
  • Music and Social Critique
  • Music and the Ideologies (including Music and Feminism)
  • Music and Socio-Political Associations
  • Music at the Margins of Official Cultures, Subcultures and Countercultures
  • Young Music and Resistance
  • Concerts, Recitals and Festivals as Spaces of Resistance
  • Music and Critical Theory
  • Music and Old and New Fascisms
  • Music and Resistance in the Market and in the Cultural Industry

Programme Committee:

  • Germán Gan Quesada (Universitat Autònoma de Barcelona)
  • Roberto Illiano (Centro Studi Opera Omnia Luigi Boccherini)
  • Fulvia Morabito (Centro Studi Opera Omnia Luigi Boccherini)
  • Mark Andrew Le Vine (University of California Irvine)
  • Gemma Perez Zalduondo (Universidad de Granada)
  • Massimiliano Sala (Centro Studi Opera Omnia Luigi Boccherini)

The official languages of the conference are English and Italian. Papers selected at the conference will be published in a miscellaneous volume.

Papers are limited to twenty minutes in length, allowing time for questions and discussion. Please submit an abstract of no more than 500 words and one page of biography.

All proposals should be submitted by email no later than ***Sunday 26 April 2020*** to <conferences@luigiboccherini.org>. With your proposal please include your name, contact details (postal address, e-mail and telephone number) and (if applicable) your affiliation.

The committee will make its final decision on the abstracts by the end of May 2020, and contributors will be informed immediately thereafter. Further information about the programme, registration, travel and accommodation will be announced after that date.

For any additional information, please contact:

Dr. Massimiliano Sala

conferences@luigiboccherini.org

www.luigiboccherini.org

‘Women Are not Born to Compose’: Female Musical Works from 1750 to 1950

The Centro Studi Opera Omnia Luigi Boccherini of Lucca, in collaboration with Palazzetto Bru Zane – Centre de musique romantique française, Venice, is pleased to invite submissions of proposals for the symposium «‘Women Are not Born to Compose’: Female Musical Works from 1750 to 1950», to be held in Lucca, Complesso Monumentale di San Micheletto, from 27 to 29 November 2020.

Keynote Speakers:

  • Mariateresa Storino (Conservatorio di Musica ‘G. Rossini’, Pesaro)
  • Susan Wollenberg (Oxford University)

The conference aims to investigate the music and the role of women composers from 1750 to 1950. From the second half of the 18th century women composers began to participate more actively in musical life. They were also often virtuosos of instruments and/or excellent singers, and teachers as well as founders of music schools.

Although the value of their works may already have been recognised during their own time (though with critical reception that might be unhelpfully gender-inflected), women composers and their works were routinely forgotten after their death.

The growing corpus of musicological literature, together with scholarly editions of music, produced in the late 19th and first half of the 20th century largely ignored these women and their works. In recent  decades the new perspectives in musicology have restored the presence of women composers to the history of music, and their works have begun to receive the analytical attention they deserve.

This conference focuses on the various aspects of women’s work as composers,with particular reference to somefundamental questions: when, where, what, why, how and for whom did they compose?

The programme committee encourages submissions within the following areas, although other topics are also welcome:

  • Gender and genre: women composersand musical genres
  • Women composers’ impacton the development of musical forms and genres
  • Analytical andhermeneutic approaches to women’s music
  • Virtuosity
  • Women composersand their self-beliefin the context of contemporary views on female creativity
  • Reflections on women composers’ position in the history of music
  • The critical reception of women’sworks
  • ‘Heroines of the Risorgimento’: music as a means of conveyingpatriotic and liberal ideals in women’sworks
  • Social expectations and possibilities of professional training for women composers
  • Women composers’ writings about their music (and that of others)
  • How has the social status of women composers been changing along with the transformation of the socio-cultural context?

Programme Committee:

  • Roberto Illiano (Centro Studi Opera Omnia Luigi Boccherini)
  • Étienne Jardin (Palazzetto Bru Zane – Centre de musique romantique française)
  • Fulvia Morabito (Centro Studi Opera Omnia Luigi Boccherini)
  • Massimiliano Sala (Centro Studi Opera Omnia Luigi Boccherini)
  • Mariateresa Storino (Conservatorio di Musica ‘G. Rossini’, Pesaro)
  • Susan Wollenberg (Oxford University)

The official languages of the conference are English, French and Italian. Papers selected at the conference will be published in a miscellaneous volume.

Papers are limited to twenty minutes in length, allowing time for questions and discussion. Please submit an abstract of no more than 500 words and one page of biography.

All proposals should be submitted by email no later than ***Sunday 5 April 2020*** to <conferences@luigiboccherini.org>. With your proposal please include your name, contact details (postal address, e-mail and telephone number) and (if applicable) your affiliation.

The committee will make its final decision on the abstracts by the end of April 2020, and contributors will be informed immediately thereafter. Further information about the programme, registration, travel and accommodation will be announced after that date.

For any additional information, please contact:

Dr. Massimiliano Sala
conferences@luigiboccherini.org
www.luigiboccherini.org

Beethoven the European

The Centro Studi Opera Omnia Luigi Boccherini of Lucca, in collaboration with Ad Parnassum. A Journal of Eighteenth- and Nineteenth-Century Instrumental Music, is pleased to invite submissions of proposals for the symposium «Beethoven the European», to be held in Lucca, Complesso Monumentale di San Micheletto, from 27 to 29 March 2020.

Keynote Speakers:
Barry Cooper (University of Manchester)
William Kinderman (University of California, Los Angeles)

Beethoven’s impact is widely recognised as of seemingly universal, timeless significance; 250 years since his birth his music still communicates with and inspires people across the globe. Nevertheless his iconic, enduring oeuvre stems from a specific European cultural milieu and historical context. To what extent does the tension between the universality and particularity of Beethoven’s music give rise to a richer understanding of his music and its reception history?
Beethoven’s creative inspiration was nurtured in the European context of revolution and political reshaping, at the aesthetic turning-point from Enlightenment to Romanticism, and at the social turning-point from largely private patronage to a more market-orientated environment for composers.

Born in the German Rhineland and resident in Bonn and Vienna, he travelled little compared with contemporaries such as Mozart and Clementi, but his reputation quickly spread much further, to far-off countries such as Britain and Russia. His works attest to strong musical and ideological ties with France and England, and his stage works engage with scenarios in Spain, Hungary, the Netherlands and Greece, while his vocal works include settings in Latin, Italian, French, English and other languages as well as German. Beethoven’s intellectual outlook even extended beyond Europe, especially to Indian sources, reflecting European intellectual currents of his time. Clearly there is still much to discover about the way in which Beethoven’s music was both influenced by and in turn influenced European culture, as well as about the way Beethoven as a European has been perceived and interpreted in a wider context.

Our conference aims to explore the multivalent connections between Beethoven and Europe through multifaceted study of the music both in a European and, where relevant, a wider global multi-cultural context. We would encourage consideration of the theme through the intermingling of and interface between topics and sub-disciplines, text and music, analysis and interpretation, genesis and reception. The programme committee encourages submissions within the following areas, although other topics related to the concept of ‘Beethoven and Europe’ are also welcome:

  • The European as complement or contrast to the Universal nature of Beethoven’s musical and/or personal identity
  • Connections with the forms, styles and influences of particular European countries or cultures
  • Setting of, and interest in texts in different languages
  • Dramatic works and their relation to historical contexts
  • Political attitudes reflected in works or words
  • Beyond Europe’s boundaries: Beethoven and Asia
  • Reception across Europe and in countries related to Europe
  • Historic performance as a means of understanding context, and as a basis for modern performance
  • Innovative analyses, sketch studies and reinterpretation of sources as a way to explore issues of the universal and particular
  • Dispersal of source material across European libraries and collections

Programme Committee:

  • Barry Cooper (University of Manchester)
  • Roberto Illiano (Centro Studi Opera Omnia Luigi Boccherini)
  • William Kinderman (University of California, Los Angeles)
  • Malcolm Miller (The Open University, UK)
  • Fulvia Morabito (Centro Studi Opera Omnia Luigi Boccherini)
  • Massimiliano Sala (Centro Studi Opera Omnia Luigi Boccherini)

The official languages of the conference are English and Italian. Papers selected at the conference will be published in a miscellaneous volume.
Papers are limited to twenty minutes in length, allowing time for questions and discussion. Please submit an abstract of no more than 500 words and one page of biography.
All proposals should be submitted by email no later than ***Sunday 13 October 2019*** to <conferences@luigiboccherini.org>. With your proposal please include your name, contact details (postal address, e-mail and telephone number) and (if applicable) your affiliation.
The committee will make its final decision on the abstracts by the end of October 2019, and contributors will be informed immediately thereafter. Further information about the programme, registration, travel and accommodation will be announced after that date.
For any additional information, please contact:

Dr. Massimiliano Sala
conferences@luigiboccherini.org
www.luigiboccherini.org