21–22 October 2021
Research Centre of the Slovenian Academy of Sciences and Arts, Institute of Musicology, Ljubljana, Slovenia
The word ‘authentic’ has become controversial among musicians in recent years because of its use as a term for the historically informed performance of music. Instead, this conference will focus on its seemingly more straightforward meaning, denoting a musical work, instrument or other artefact that is proved to be genuine, and to its opposite, an artefact created with intent to deceive. Such fakes or forgeries in music and the related visual arts, whether compositions, documents, musical instruments or art works, are not so uncommon as one would expect, though scholarly investigations to unmask them are still rare. Furthermore, there are multiple grey areas to be investigated, covering the misdating, misattribution and misidentification of musical artefacts of all types, the process of borrowing, arranging and reuse of compositions, or techniques of deception in composition.
CALL FOR PAPERS
The programme committee invites papers from a variety of disciplinary and methodological perspectives on any topic related to these concepts, including but not limited to:
— authenticity in music
— forgery in music, musical instrument making and the visual arts as they relate to music
— the detection of fake music, musical manuscripts and prints or instruments
— cases of misattribution, misidentification and misappropriation of music
— the process of borrowing, arranging, adapting or reuse of music
— deception in musical composition
Proposals (for papers of 20 minutes) need to comprise a title, a short abstract of 150 to 300 words and the contact details of the speaker.
Submissions should be sent to: email@example.com or firstname.lastname@example.org.
The deadline for the receipt of proposals is the end of August 2020.
For further information see https://authentic-fake.zrc-sazu.si.