Royal Music Association Study Day

Microsoft Word – RMA-Cambridge-2019-CfP-revised.docx

The Classical Musician in the 21st Century

Thursday, 23 May 2019
Faculty of Music, University of Cambridge

Keynote Speaker:
Prof. Daniel Leech-Wilkinson (King’s College, London)

Proposal submission deadline: Friday, 22 February 2019

Call for Papers

The profession of the classical music performer has been evolving in different ways over the last few decades. In particular, the idea of a genre-specific performer is being gradually replaced by the notion of a “portfolio musician”. Not only are more and more classical performers engaging with other genres of music and collaborating with artists from other arts (such as dance and theatre), they are also undertaking scholarly research and becoming increasingly involved in the composition of music. The lines, then, that have traditionally existed between the genres that musicians engage with (such as classical, jazz, or popular) and the identities that they assume when doing so (scholar, performer, or composer) are now considerably blurred.

Including a keynote presentation by Professor Daniel Leech-Wilkinson, musical performances and a round-table discussion, this study day aims to bring together practitioners, scholars and artist-researchers to explore the following questions (to which proposals need not be strictly limited):

What new career paths have been emerging for contemporary classical musicians?

  •   How does the portfolio musician’s role function in practice in specific musical projects, and in what ways have musicians had to adapt in these circumstances?
  •   What are the new musical and cultural demands classical musicians face today, and what are the implications of these demands for their artistic practices?
  •   What are some of the new collaborative and/or unconventional classical music/artistic contexts within which practitioners currently work?
  •   To what extent is the notion of “portfolio musician” really new? Are there historical precedents and/or examples?
  •   In what ways do twenty-first century classical performers engage with past musical practices?
  •   What kind of new artistic identities and musical roles are available to classical musicians?
  •   What are some of the novel approaches to, and/or current norms of, expressivity in current classical performance practices?
  •   What are the pedagogical implications, for classical musicians, of the evolving roles and identities they can adopt in musical culture?
  • Proposals for individual papers and lecture-recitals (20 minutes + 10 minutes for discussion), and poster presentations are invited. Contributions from postgraduate students are particularly encouraged. Please submit an abstract of no more than 250 words and a short biography (c. 150 words) to Adam Behan as an email attachment (
  • Please indicate if your abstract is for a paper presentation, lecture-recital or a poster, as well as your AV requirements.
  • Notification of acceptance will be sent by Monday, 4 March 2019.
  • The study day will be free for members of the RMA and the Faculty of Music, University of Cambridge. There will be a fee of £10 for non-members.
  • Organising committee:
  • Adam Behan (PhD candidate, University of Cambridge)
  • David Cotter (PhD candidate, University of Cambridge)
  • Pierre Riley (PhD candidate, University of Cambridge)
  • Dr Mine Doğantan-Dack (University of Cambridge)

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) –