The 2019 BFE/RMA Research Students’ Conference is scheduled from Thursday 10 to Saturday 12 January at the University of Sheffield. Contact: Simon Keegan-Phipps email@example.com.
Ninth International Conference
Music /Sonic Art: Practices and Theories
At the Interface of Practice and Theory: Revisiting the Artistic Research Debate
MuSA 2018 – Karlsruhe (IMWI)
28 June – 1 July 2018
Hochschule für Musik, Karlsruhe –
Institut für Musikwissenschaft und Musikinformatik (IMWI)
Am Schloss Gottesaue 7, 76131 Karlsruhe
CALL FOR PAPERS:
We are pleased to announce the Ninth International Conference on Music and Sonic Art: Practices and Theories (MuSA 2018), an interdisciplinary event to be held in Karlsruhe, Germany at the Institut für Musikwissenschaft und Musikinformatik (IMWI) (http://www.hit-karlsruhe.de/hfm-ka/imm/).
Conference dates:28 June – 1 July 2018
Keynote speaker: Markus Noisternig, IRCAM
Deadline for abstract submission: Friday, 27 April 2018.
Proposals for sessions and individual papers for the Ninth 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.
THEME AND TOPICS:
The theme of MuSA 2018 is At the Interface Between Practice and Theory: Revisiting the Artistic Research Debate. The last decade has witnessed the establishment of artistic research in Music and Sonic Art as an original approach that brings together theory and practice. While much has been written about the integral role of artistic practice in this kind of research, much remains to be learned from exploring the multiple ways in which theory and practice can be brought to bear on each other.MuSA2018aims to explore the interface between theory and practice in the context of artistic research. We invite submissions on the following, and other relevant topics, in relation to the theory-practice interface in the context of artistic research:
- Conceptual and non-conceptual processes
- Know-that and know-how
- The role of the subjective dimension
- Role of technology
- Embodied processes
- Value judgments
- New knowledge and insights
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 2018 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 firstname.lastname@example.org
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, 27 April 2018. Notification of acceptancewill be sent by 11 May2018.
The conference 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 conference committee:
Prof. Dr. Mine Doğantan-Dack – email@example.com (University of Cambridge)
Prof. Dr. Thomas A. Troge (IMWI, Karlsruhe) – firstname.lastname@example.org
Dr. John Dack (Middlesex University, UK) – email@example.com
Prof. Miroslav Spasov (Keele University, UK) – firstname.lastname@example.org
Prof. Dr. Marlon Schumacher (IMWI, Karlsruhe) – email@example.com
Prof. Dr. Marc Bangert (IMWI, Karlsruhe) – firstname.lastname@example.org
Prof. Damon T. Lee DMA (IMWI, Karlsruhe) – email@example.com
Prof. Dr. Paulo Ferreira-Lopes (Universita Cattolica Porto/HfM-Karlsruhe) – firstname.lastname@example.org
Patrick Borgeat (IMWI, Karlsruhe) – email@example.com
Timothy P. Schmele (IMWI, Karlsruhe) – firstname.lastname@example.org
Administrative support: Gundi Rössler (IMWI, Karlsruhe) – email@example.com
The Association “Transylvania Art and Science”, Cluj-Napoca, Romania
in collaboration with
Gheorghe Dima Music Academy Cluj-Napoca
is pleased to announce the International Conference
Ligeti: a Portrait with Reich and Riley
hosted at “I. Lapedatu” Hall of the National Bank of Romania, on 21 and 22 May, 2018.
The event is organisedwithin the Festival
A Tribute to György Ligeti in his Native Transylvania
Festival director: Bianca Ţiplea Temeş
The conference brings together contributors from Europe and the U.S., aiming to provide a scientific snapshot of musical minimalism, on the occasion of Ligeti´s 95thanniversary. Taking its title from one of Ligeti’s iconic pieces for two pianos – Selbsportrait mit Reich und Riley (und Chopin ist auch dabei), the conference will provide an insight into the subject of minimalism in Eastern and Western music, and its impact on Ligeti’s work.
The papers encompass a wide range of topics on Ligeti, Reich, Riley, Nancarrow, Kurtág, as well as various Romanian and Hungarian composers. The conference concludes with the presentation of the new book György Ligeti’s Cultural Identities, with the editors Amy Bauer and Márton Kerékfy.
We welcome participants from abroad to attend this event. If interested, please sendan email to the following address, mentioning your name and affiliation:
As places are limited, applications will be considered in the order of their receipt. While attending the conference, participants will have a unique opportunity to stay in the culturally dynamic city of Cluj in the heart of Transylvania, where Ligeti started to study music.
Kofi Agawu– keynote speaker (Princeton University):
Rethinking Ligeti’s African Affiliations
Amy Bauer (University of California Irvine):
Codes, Constraints, and the Composition of Failure in Ligeti’s Keyboard Works
Manfred Stahnke(Hochschule für Musik und Theater Hamburg):
The Maximal Music of Ligeti
Felix Meyer(Paul Sacher Foundation Basel):
Mr. Hide and Dr. Seek: Conlon Nancarrow Meets György Ligeti
Pavel Puscas (Gh. Dima Music Academy Cluj-Napoca):
Maximalism vs. Minimalism. Ligeti and/or Kurtág
Pierre Michel(Université de Strasbourg):
Melody, Repetition and Periodicity as Symbols for a Certain Period beyond Cultural Differences. A Study of Parallelisms between Ligeti, Reich and Riley
Keith Potter(Goldsmith University London):
Tonality and Harmony in Steve Reich’s Music for 18 Musicians:what the Composer’s Sketchbooks Tell Us
Anna Dalos(Institute for Musicology, Research Center for the Humanities, Hungarian Academy of Sciences):
Experimentalism and Popularity: Young Hungarian Composers on the Path of Minimalism in the 1980s
Bianca Țiplea Temeș (Gh. Dima Music Academy, Cluj-Napoca):
Out of the loop? Romanian Minimalism
Anca Mihuț (Gh. Dima Music Academy Cluj-Napoca):
Practices and Theories in the Minimalist Type Stage Setting
Vlad Văidean (National University of Music Bucharest):
Hearing Voices: Speech Melody as Technique and Emotion in Steve Reich’s Music
Call for Papers 10th MaM meeting (Salamanca, June 2018)
IMS Study Group “Music and Media” (MaM) and University of Salamanca
Location: University of Salamanca, Spain
Dates: 13-16 June 2018
Call for papers:
The 10th annual conference of the IMS study group “Music and Media” (MaM) will be held in Salamanca, Spain, concurring with the 11th edition of the international symposium La Creación Musical en la Banda Sonora. Both gatherings are part of the University of Salamanca’s 800-year celebration.
Academics, practitioners, and postgraduate students are invited to submit papers and/or panel proposals on the following areas of interest, including (but not limited to):
- 2009-2018: a decade of studying the interaction between music and media – retrospectives & perspectives;
- music and documentary film;
- streaming media soundtracks;
- new methodologies for studying soundtracks in all audiovisual media.
Proposals for 20 minute long papers in English are welcomed. Each submission should include the following information: author(s) name(s), academic affiliation(s), e-mail address(es), title of presentation, abstract (300 words max.), (a) short CV(s) and a list of technological requirements (overhead, powerpoint, etc).
All proposals must be submitted by 20 March, 2018 to e.wennekes [AT] uu.nl
Emilio Audissino (University of Southampton), James Deaville (Carleton University), Matilde Olarte Martínez (University of Salamanca), Michael Saffle (Virginia Tech), Emile Wennekes (Utrecht University).
7-8 September 2018 University College Dublin
In recent months alternative facts, fake news and similar terms have become more and more commonplace among politicians, media and other public influencers alike in what is now often called the age of post-truth. Expertise appears to be discredited, gut feeling at least as important as facts, and facts themselves no longer valid and reliable. Often postmodernism and poststructuralism are blamed for the rise of a relativism that lies at the heart of post-truth attitudes. But is this really the case? And how should an academic subject such as musicology react to this development? Given the impact that postmodernism and post-structuralism have had on our disciplinary development, do we as academics in general and musicologists in particular have a special responsibility to engage productively with this challenge – as researchers, educators and last but not least as citizens? Are there potential music- specific reactions to the post-truther’s mindset? How can / should we adjust our teaching in this environment? And what role does music / do musicians play in the new “culture war” that we now find ourselves in? How is music utilised by either side? Are there differences in the responses from within popular, traditional and art music (and their respective musicologies)? Is our task as academics to neutrally analyse and describe developments, or rather to try and actively influence them through research, teaching and as public intellectuals – and if so, how?
This conference, jointly hosted by the UCD School of Music and the UCD Humanities Institute, and supported by the Society for Musicology in Ireland, the Irish chapter of the International Council for Traditional Music, and the International Association for the Study of Popular Music (UK and Ireland) will investigate these and similar questions. We invite proposals for papers of twenty minutes’ duration to be followed by ten minutes of discussion.
Please submit abstracts of up to 250 words, together with a CV of up to 150 words, your contact details and the technical requirements of your presentation in a single, word-compatible file by Friday, 9 March 2018 to firstname.lastname@example.org. We also invite proposals for themed sessions; in this case there ought to be an additional abstract of 150 words outlining the rationale behind the session. We aim to notify participants within four weeks after the deadline.
Wolfgang Marx (University College Dublin)
Siobhán Donovan (University College Dublin)
Anne Fuchs (University College Dublin)
John Millar (University College Dublin)
Lonán Ó Briain (University of Nottingham) Caroline O’Sullivan (Dublin Institute of Technology) Timothy Summers (University College Dublin)
The Department History of Music and Ethnomusicology in National Musical Academy “Prof. Pancho Vladigerov” invite you to partake in the Eighthh “ACADEMIC SPRING READINGS” on the 25-26th of April 2018.
The international scientific conference this year is on the topic “BULGARIAN CULTURE IN THE FIRST HALF OF THE XX CENTURY, INTERACTIONS AND MUSIC CONTACTS”.
Our idea is to reveal and trace the links and interactions between the musical cultures of Bulgaria and other countries around the world as well as between the artists in different spheres of Bulgarian culture.
Our Academy provides your 2 overnight stays in Sofia.
Your reports will be published in a collection of papers from the conference.
Please, send your requests to participate by March 15, 2018.
You can possibly participate in absentia by sending your report on e-mail address:
Prof. DSc. Milena Bozhikova
Institute of Art Studies
Bulgarian Academy of Sciences
Call for Papers
“PADRON MIO COLENDISSIMO…”:
LETTERS ABOUT MUSIC AND STAGE IN THE 18TH CENTURY
Queluz National Palace, Portugal (June 29th -July 1st, 2018)
Divino Sospiro – Centro de Estudos Musicais Setecentistas de Portugal (CEMSP)
Maria Ida Biggi, Francesco Cotticelli, Cristina Fernandes,
Paologiovanni Maione, Giuseppina Raggi, Iskrena Yordanova
Alberto Beniscelli and Raffaele Mellace (Università degli studi Genova, Italy)
DS-CEMSP is organizing from June29th through July 1st 2018 an International Conference at the National Palace of Queluz (Portugal), dedicated to correspondence about music and stage during the 18th century.
The conference aims to further a multidisciplinary dialogue about the important role which epistolary exchanges play in the reconstruction of theatrical contexts all over Europe in the early modern age. Archival sources, private letters, official documents are not only rich in precious data and information, but can also provide elements for new research perspectives, both related to their methodological implications and to the interpretation of music and theatre and its current revival. Correspondence often bears witness to the reconstruction of performers’ careers and theatrical venues, to the transfers of professionals and repertoires, to the questions about historical performance practices, as well as social themes and production issues.
Scholars and researchers from various scientific areas are invited to submit their individual proposals with the maximum length of 20 minutes per paper. Session proposals will be also accepted: a maximum of three or four papers will be taken into consideration, and the session should not exceed 1h30.
Official languages of the conference are Portuguese, Italian, English and Spanish.
Abstracts in Word format (.doc), should not exceed 300 words. Please enclose in the same file brief curriculum vitae of 150 words max., providing your name and surname, postal address, e-mail and telephone number, as well as you institutional affiliation. Deadline for sending abstracts is March 30th 2018.
The scientific board will examine all abstracts by April 15th 2018, and contributors will be informed immediately thereafter.
Call for Papers
International and interdisciplinary conference November 2-4, 2018 at
Detmold University of Music
From March 2016 the DFG-funded project “Technologies of singing” was established as a joint project of University Paderborn and Detmold University of Music. Recordings of singing voices from the first decade of the 20th century are investigated with respect to acoustic aspects (how does the voice’s timbre change?) and their relation to body and media discourses of that time. Instead of accepting recordings as documents of vocal praxis, we understand them as sources of media-based aesthetics that are closely linked to singing praxis and body history.
The project will be completed in November 2018 by an international and interdisciplinary conference that shall present and discuss the results from the work performed within the project. The international research community is invited to contribute with an oral or poster presentation related to or extending the following research topics:
- Careers of singers || media
- Gramophone kills the opera star – To what extent are careers of singers determined by the sound recording medium?
- Life is Live – What role do live performances play for media careers?
- Interaction between technique and voice
- Technique || voice: What is the influence of (historic) recording devices and conditions on singing?
- The phonograph is not an opera house: What aesthetic ideas and ideals influenced voice recordings?
- Singing || Body || Media discourses
- Concepts: What role did the development of technical media play for the conception of singing and body?
- Pedagogics: Can paper documents of singing pedagogics be read as sources of body discourse?
- Body-ness || bodiless-ness: Where has the body gone in sound recordings? What role does the experience of a bodiless voice play?
Please send an abstract of max. one page and a short curriculum vitae by February 15th, 2018 to email@example.com. The congress committee will decide about acceptance of the contribution as oral or poster presentation depending on the number of submissions. A decision will be communicated by March 31, 2018.
- Oral presentation 20 min. talk + 10 min. discussion
- Poster presentation: A0 upright format
A poster award will be given to the best poster, the decision will be made by the conference participants.
The conference languages are English and German.
A supplement to travel and accommodation expenses will be offered on demand. No conference fee will be required.
A book publication of selected contributions is planned. The deadline for submission of manuscripts will be December 31, 2018. Details will be made available in due time.
Further information will be continuously updated on the project webpage:
Prof. Dr. Rebecca Grotjahn, Musicology seminar of Paderborn University and Detmold University of Music (firstname.lastname@example.org)
Prof. Dr.-Ing. Malte Kob, Erich Thienhaus Institute, Detmold University of Music (email@example.com)
Dr. Karin Martensen, Musicology seminar of Paderborn University and Detmold University of Music (firstname.lastname@example.org)
Julia Daihs, Detmold University of Music (email@example.com)
Association RIdIM: Conference, Canterbury 9-12 July, 2018
One of the most distinctive features of any cultural, social and/or political movement is its soundtrack—to the point where the music and its associated iconography may outlive the message for later generations. With or without words, the music and images accompanying social and cultural change are often their most powerful bequests to contemporary culture.
The annual conference of Association RIdIM welcomes proposals for papers which make a contribution to our ongoing discussion of music and image in cultural, social and political discourse. The full CfP may be found at https://ridim.org/call-for-papers.
The official language of the Conference is English. Papers are limited to thirty minutes in length, allowing time for questions and discussion.
Proposals should be submitted electronically, from https://ridim.org/application-form-ridim-conference-2018-canterbury, no later than Monday 8 January 2018. There will be a registration fee of €uro 140.00.
The Programme Committee will make its final decision on the abstracts by 1 February 2018, and contributors will be informed immediately thereafter. Further information about the programme, registration, travel and accommodation will be available on the Conference Website (https://ridim.org/conferences-2).
Association Répertoire International d’Iconographie Musicale (RIdIM)
Badergasse 9, CH-8001 Zurich
Saturday 3 March 2018, Canterbury Christ Church University
(and 2 March 2018)
Call for Paper and Performance Presentations
The School of Music and Performing Arts at Canterbury Christ Church University is pleased to announce a study day on the music of Sir Peter Maxwell Davies on 3 March 2018. The keynote talk will be given by Dr Nicholas Jones (Cardiff University), and titled: ‘For the Islands I Sing’: Composing the Orkney Landscape. Dr Jones is the author of many publications on the music of Sir Peter Maxwell Davies, and the editor of his forthcoming selected writings.
Sir Peter Maxwell Davies passed away in 2016 at the age of 81. Universally acknowledged as one of the foremost composers of our time, he was appointed Master of the Queen’s Music in 2004. ‘Max’ was a great friend to Canterbury Christ Church University, regularly working with our Music and Performing Arts students in his role as Visiting Professor and, latterly, Honorary Doctor. We were privileged to enjoy a long and fruitful relationship with Max over many years. His legacy endures, not only in the building named in his honour but also in the many staff and students whose lives and understanding of music were enriched by his teaching, inspiration and the extraordinary enthusiasm with which he shared his considerable talents and experience. This study day will explore Sir Peter’s music and influence within and beyond Christ Church.
Maxwell Davies’s ten Naxos Quartets (2001–07) were commissioned by Naxos Records and composed specifically for the University’s Quartet in Residence, the Maggini Quartet (whose viola player, Martin Outram, is Senior Lecturer in Music at Christ Church and conductor of the University Symphony Orchestra). The Naxos Quartets were rehearsed here, in the St Gregory’s Centre for Music, with the composer present in creative collaboration. The Maggini Quartet recorded all ten of the Naxos Quartets for the record label.
We welcome proposals for twenty minute papers exploring any aspect of the music of Sir Peter Maxwell Davies. Topics that could be explored include:
▪ Analysis of the music of Sir Peter Maxwell Davies;
▪ Reflections on performing the music of Sir Peter Maxwell Davies;
▪ Collaborative relationships in and around the music of Sir Peter Maxwell Davies;
▪ Sir Peter’s contribution to music education in the UK and beyond.
In addition, we welcome proposals for chamber performances that might be included in a lunchtime concert, or lecture recitals. These will be staged in St Gregory’s Centre for Music, the University’s flagship chamber music concert hall. The hall has Yamaha and Steinway C grand pianos. If your performance proposal contains anything out of the ordinary, please contact us to see if we can provide what you need. Unfortunately we cannot provide financial support to pay performers for the presentation of works.
Paper proposals should be for 20 minute presentations with 10 minutes of questions.
Lecture recital proposals should be for 30 minute presentations and performance proposals may be of any length.
Please send proposals to Dr Lauren Redhead <> by 5pm on Friday 1 December.
The study day will be preceded by a musical celebration on Friday 2 March which will include a lunchtime concert and afternoon workshop. (Full confirmed concert and workshop details will appear in due course.) Delegates at the study day are very welcome at both events. During the study day, works by Sir Peter Maxwell Davies will be presented, and a specially commissioned installation will present further responses to his work.