Russian Music in Britain – British Music in Russia

With the assistance of 

The Ministry of Culture of the Russian Federation,

The Foundation ‘Art Studies: Science, Experience, Education’

RUSSIAN-BRITISH INTERCULTURAL DIALOGUE: 

RUSSIAN MUSIC IN BRITAIN – BRITISH MUSIC IN RUSSIA

International Academic Conference

10–11 October, 2019 (Moscow, Russia)

6–7 November, 2019 (Preston, UK)

Dear colleagues,

The State Institute for Art Studies (Moscow, Russia) and University of Central Lancashire (Preston, UK) invite you to take part in an academic conference organized within the framework of the British-Russian Year of Music 2019. The conference will address the cultural heritage of both countries from the viewpoint of intercultural dialogue. It will focus on artistic links and mutual influences between Russia and the United Kingdom in the field of music and its connections with other art forms. The Conference aims to reveal new aspects of the two music cultures, unveil previously unknown facts and materials from the history of the Russian-British intercultural dialogue and assess its results in a new way.

Official languages are Russian and English.

Presentations of either 20 or 10 minutes in length are invited on the following topics:  

  • Historical evidence of Russian-British cultural interactions;
  • Artistic styles, music, literature and other art forms: parallels and meeting points; 
  • Artistic heritage of musicians of both countries and its actualization in a present-day cultural life;
  • Theoretical thought of Russian-British musical and cultural connections;
  • British musicians in Russia;
  • Russian musicians in Britain.

Proposals for posters are also welcome. It is allowed to deliver a presentation via telecommunication. Audio and video equipment will be provided for the speakers.

The conference will also offer cultural events and master classes.

Applications (in Russian or English) are to be submitted by 1 June, 2019 (see Appendix 1 for a template) by e-mail:sias.uclan@gmail.com

The Conference organizers reserve the right to reject any application that does not meet the evaluation criteria.

Authors whose presentations are included in the conference programme can request official letters of invitation.

Please, keep up to date with the conference information on our websites: 

http://sias.ru/research/events/

https://www.uclan.ac.uk/research/explore/groups/vladimir-vysotsky-centre-for-russian-studies.php

 PUBLICATION PLANS

The conference proceedings will be published in two parts (in Russian and English)

  1. Papersin Russian are to be included in the collection of the conference materials published by the State Institute for Art Studies. The proceedings are submitted to the Russian Index of Scientific Quotations.

Requirements

  • text length – up to 30 000 characters;
  • Times New Roman, 14 pts.;
  • line space 1,5, paragraph indentation – 1,25 cm;
  • endnotes (including bibliography), 10 pts.;
  • Page parameters: A4; right, left and upper fields – 20 mm, bottom – 30 mm.

Papers in Russian must include:

  • author’s full name;
  • academic degree, title, position and place of work, phone number, and e-mail;
  • title (centered);
  • Abstract in Russian (a brief description in 2–3 sentences);
  • Abstractin English;
  • Keywords both in Russian and English (no more than 7).

See Appendix 2 for an example.

A file name should include the author’s last and first names. 

  1. Papers in English(after being peer-reviewed) will be included in the “Proceedings of the International Conference on Art Studies: Science, Experience, Education” published online by Atlantis Press (Paris, France).

Requirements:

  • Text length from 20 000 to 25 000 characters without spaces;
  • Microsoft Word;
  • Times New Roman, 12 pts;
  • Footnotes,10 pts.

A file name should include an author’s last and first names. 

Structure:

  • Title (centered);
  • Author’s name (centered);
  • Name of the organization (required); faculty, department (optional);
  • City, country;
  • E-mail;
  • Abstract(at least 5 sentences);
  • Keywords(5–7 words);
  • References (at least 5 titles) are required. They appear at the end of the article as soon as the links to the source appear in the text. Links to the corresponding source are placed in square brackets (for example: [1]).

The numbering of pages is to be indicated in the bibliographic list, but not in the text of the article. The last names of the authors should be given afterthe initials.

The bibliography should be translated into English.

  • The article should include the following sections:

I. Introduction

Substantive parts with names under numbering II, III, etc.

IV. Conclusion.

  • The information about the author should be attached to the article in English, indicating their last name, first name, patronymic, academic degree, title, position and place of work, phone number, and e-mail.

See Appendix 3 for an example.

Editorial and publishing services in English are carried out by a partner of the State Institute for Art Studies — the International Science and Cultural Centre for Academic Contacts.Submitted papers are peer-reviewed in accordance with the academic and linguistic criteria.

Payment for a publication in English(EUR 100) should be made after the official confirmation of paper acceptance.

The Proceedings in English are submitted to the international database Web of Science for evaluation. In case of positive decision following the results of an expert examination, the Proceedings are included in the Web of Science database. 

Each (co)author may submit for publication in the conference proceedings one article in Russian and one in English.

Papers in Russian and/or English must be submittedby1 September, 2019 by e-mail tosias.uclan@gmail.com

Conference coordinators – Galima Lukina, Elena Artamonova, Olga Tabachnikova.

Conference secretaries – Anastasia Khakhalkina, Natalia Saamishvili.

Organizing committee

Chairs:

NatalyaSipovskaya, Director of the State Institute for Art Studies, Doctor of Arts;

Daniel Waller, Head of School of Language and Global Studies (UniversityofCentralLancashire), PhD.

Committee members:

Galima Lukina, Vice-Director of the State Institute for Art Studies, Doctor of Arts; 

Olga Pashina, Academic Secretary of the State Institute for Art Studies, Doctor of Arts;

Olga Tabachnikova, Head of Russian Studies, Director of the Vladimir Vysotsky Centre for Russian Studies (School of Language and Global Studies, University of Central Lancashire), PhD;

Elena Artamonova, Lecturer (School of Language and Global Studies, UniversityofCentral Lancashire), PhD.

The conference will not pay for travel and accommodation expenses of the participants. However, some financial support on a competitive basis for participants from Russia (speaking at UCLAN) is envisaged, and will be announced separately.

Appendix 1

Application

For the International Academic Conference

“Russian-British Intercultural Dialogue:Russian Music in Britain – British Music in Russia

10–11 October, 2019 (Moscow); 6–7 November 2019 (Preston)

Last name________________________________________________________________________

First name and patronymic__________________________________________________________

Scientific degree, title______________________________________________________________

Place of work, position______________________________________________________________

E-ail___________________________________________________________________________

Phone number____________________________________________________________________

Title of the paper__________________________________________________________________

Abstract (up to 3 000 characters with spaces) ________________________________________________________________________________

Form of participation (oral presentation/distant participation)_____________________________

Place of attendance (State Institute for Art Studies and/or University of Central Lancashire)______________________________________________________________________

A letter of invitation required________________________________________________________

Appendix2

И.И. Иванов

Заголовок

Аннотация. В статье показаны принципы составления ключевых слов для научной статьи, отражены направления их использования. Автором выделены способы повышения доступности научных статей для читателей журнала с помощью более эффективного подбора ключевых слов. 

Ключевые слова:ключевое слово, метаданные, тег, научная статья, научная публикация, научный журнал. 

Abstract. The article shows the principles of identifying of key words for research articles, reflects the directions of usage. The author identifies ways to improve the accessibility of scientific articles for the readers by using more effective selection of key words. Keywords: keyword, metadata, tag, scientific article, scientific publication, scientific journal. 

Keywords:

Текст статьи Текст статьи Текст статьи[1]Текст статьи Текст статьи Текст статьи 

Сведения об авторе. 

Иванов Иван Иванович – кандидат искусствоведения, доцент кафедры струнных, духовых и ударных инструментов Московской государственной консерватории им. П.И. Чайковского. Тел. 89269999999 E-mail: Ivanov@mail.ru

Appendix3

Self-Management as a Predictor of Student Performance

Elena Petanova 

Faculty of Psychology

Saint Petersburg State University

St. Petersburg, Russia

e.petanova@spbu.ru

Abstract—This article reviews the study of predictors in fist-year students’ academic performance with its index being calculated on the basis of their interim academic success assessments on two fields of study. The self-management capacity was determined by the methods of N. Peisakhov, and the sampling included 55 first-year students of the economic faculty of St-Petersburg State University (40 women and 15 men). The quantitative analysis was conducted using the descriptive statistics and regression analysis. The study revealed that the self-management operation ‘forecasting’ could be considered the predictor of student performance.

Keywords—students; student performance; self-management operations; academic performance predictors. 

I. INTRODUCTION  

Text, text, text, text, text, text, text, тext, text, text, text text, text, text, тext, text, text, text, …

II. THEORETICAL BACKGROUND TO THE RESEARCH

Text, text, text, text…… [5].

III. CORRELATION STUDY ON SELF-MANAGEMENT STRATEGIES AND STUDENT PERFORMANCE

Text, text, text, text, text, text, text, text…………

IV. PSYCHODIAGNOSTICS METHODOLOGY

Text, text, text, text, text, text, text, text…………

VII. CONCLUSION

REFERENCES

[1]   Y. D. Yankulova, “Cognitive personal determinants of self-regulated learning in the academic environment”, extended abstract of dissertation for a Doctor of Science degree, Sophia, Sofia University St. Kliment Ohridski, 2014, p. 39.

[2]   H. Le, A. Casillas, S.|B. Robbins, et al., “Motivational and skills, social, and self-management predictors of college outcomes: Constructing the student readiness inventory”, Educational and Psychological Measurement, 65(3), 2005, pp. 482-508.

[3]   E. I. Petanova, E.P. Bakhcheeva, Self-management capacity of psychology students as a prerequisite of professional success / Professional and personal development of future specialist: Collection of articles, SPb: Saint-Petersburg University Press, 2012, pp. 93-110.

[4]   N. M. Peisakhov, M.N. Shevtsov, “Practical psychology”, Kazan, Kazan University Press, 1991, p. 120.

[5]   N. A. Vagapova, “Structural features of self-management psychological mechanism (based on academic and professional activities)”, thesis for PhD degree, Kazan, 1998.

[6]   G. Sh. Gabreeva, Menta state self-management, KGU Press, 1981, p. 63.


[1]                Лотман Ю.М. Современность между Востоком и Западом // Знамя, 1997. № 9. С. 34.

Music Analysis Summer School

CALL FOR APPLICANTS

(Deadline: 9 May 2019)

Music Analysis Summer School

University of Southampton

27–28 July 2019 – preceding ‘SotonMAC’, the Southampton 
Music Analysis Conference (29–31 July 2019)

CALL FOR APPLICANTS
(Deadline: 9 May 2019)
Music Analysis Summer School
University of Southampton
27–28 July 2019 – preceding ‘SotonMAC’, the Southampton
Music Analysis Conference (29–31 July 2019)

Tutors and topics:

  • Prof. Michael Clarke (University of Huddersfield),‘Developing and Using Software Tools for Interactive Aural Analysis of Music’ 
  • Prof. Andrew Hicks (Cornell University), ‘Pythagoras Latinus, Arabus, et Persicus: The Divergence of Musical Mathematics’ 
  • Dr Kenneth Smith (University of Liverpool), ‘Chromatic Harmony: Drive, Function, and Transformation’ 
  • Prof. Eric Wen (Curtis Institute of Music), ‘Not the Destination, but the Journey: Mapping the Tonal Landscape’

Building on the success of previous events, the Society for Music Analysis is organising a further Music Analysis Summer School, to be hosted this time by the University of Southampton on 27–28 July 2019. Designed as an intensive study weekend with plenary sessions and small tutorials, this residential course will be open to both national and international applicants, and will provide a unique forum for advanced study in music theory and analysis. The Summer School will immediately precede the Southampton Music Analysis Conference.

Attendance will be capped at c. 25 students. To be considered for a place, please submit a two-page CV including details of your academic qualifications and publications (if any), along with a short statement (up to 250 words) concerning your current work and how a place on the Summer School would assist it, to Dr Amy Williamson (A.Williamson@soton.ac.uk) by 9 May 2019. Documents should be sent in Word or PDF format. The Summer School is open to current masters and doctoral students, and to early career scholars within two years of completing a doctorate. We will inform applicants if they have been offered a place by 28 May 2019.

The Society for Music Analysis has provided a subvention that will offer successful students free accommodation and meals at the Summer School; participants need only cover the cost of their travel to the University of Southampton, UK. 

BFE/RMA Research Students’ Conference

9-11 January 2020, The Open University, Walton Hall, Milton Keynes

The Open University’s Music Departmenthttp://fass.open.ac.uk/music is delighted to host the 2020 British Forum for Ethnomusicologyhttps://bfe.org.uk/ and Royal Musical Associationhttps://www.rma.ac.uk/ Research Students’ Conference. We look forward to welcoming UK and international postgraduates to present their research and creative practice in an inclusive, friendly, and supportive atmosphere. The conference will also include training and careers workshops, informal performance opportunities, and a variety of social and networking events.

We are pleased to announce that keynote lectures will be given by Katherine Butler Schofieldhttps://www.kcl.ac.uk/people/person?id=e12ab4cb-d3e7-4e51-aa28-561110121eb1 (King’s College, London) and Sean Curranhttps://www.mus.cam.ac.uk/directory/sean-curran (University of Cambridge).

A Call for Papers will be circulated by the BFE and RMA and on other relevant mailing lists in summer 2019, with proposals due in October 2019.

Conference website: http://fass.open.ac.uk/music/events/bfe-rma-research-students-conference-2020.

Dr Martin V. Clarke | Lecturer in Music and Director of Teaching (Arts & Humanities) Faculty of Arts and Social Sciences The Open University, Perry C Building, Walton Hall, Milton Keynes, MK7 6AA http://www.open.ac.uk/people/mvc54 | @mvclarkehttps://twitter.com/mvclarke

Interdisciplinary conference “Orgelpredigten in Europa (1600-1800). Musiktheoretische, theologische und historische Perspektiven”

Regensburg, Hochschule für katholische Kirchenmusik

16-18 May 2019

Orgeln, seit 2017 mit dem Prädikat des immateriellen Kulturerbes ausgestattet, werden heute als fester Bestandteil europäischer Kirchenmusik eingestuft. Doch nach der Reformation bedurfte es einer längeren Phase konfessioneller Grenzziehung und Selbstvergewisserung, um nicht nur der Orgel, sondern jeglicher Instrumentalmusik im Gottesdienst den theologisch abgesicherten Platz zuzuweisen, der inzwischen so selbstverständlich erscheint. Dieser Prozess spiegelt sich in den zur Einweihung neuer Orgeln gehaltenen Orgelpredigten, die sich seit etwa 1600 zu einer eigenständigen homiletischen Untergattung entwickelten. Der musiktheologische Diskurs, der sich hier mit der Zeit ausbildete, erreichte nicht nur die Kirchgänger. In gedruckter Form verbreiteten sich die Predigten auch über größere räumliche und zeitliche Distanzen hinweg und trugen zur Formierung einer barocken Musikanschauung bei.

Das Korpus heute noch ermittelbarer Orgelpredigtdrucke des 17. und 18. Jahrhunderts steht im Zentrum eines DFG-Projekts am Institut für Musikwissenschaft der Universität Regensburg. Unter der Leitung von Prof. Dr. Katelijne Schiltz werden die fast ausnahmslos von protestantischen Pfarrern verfassten Texte erschlossen und in einer wissenschaftlich fundierten Volltextedition zugänglich gemacht. Das hierzu entwickelte Online-Portal bietet vielfältige Möglichkeiten der Kommentierung und inhaltlichen Vernetzung.

Die geplante Tagung fällt in die Schlussphase des Projekts und verfolgt das Ziel, die inzwischen vorliegenden Arbeitsergebnisse in einem interdisziplinären Kreis aus Musikwissenschaftlern, Theologen und Historikern zu präsentieren und die sich daraus ergebenden Probleme und Perspektiven zu diskutieren. Neben theologisch, musiktheoretisch oder kulturhistorisch ausgerichteten Textanalysen werden Beiträge stehen, die anhand verschiedener, regional und chronologisch breit gestreuter Fallstudien repräsentative Etappen der Orgelpredigt in ihrem spezifischen Kontext beleuchten. Ein besonderes Anliegen ist es schließlich, die Orgelpredigt auch als ein gesamteuropäisches Phänomen zu sehen.

Im Rahmen der Tagung werden zwei Konzerte stattfinden. In der Minoritenkirche wird deutsche Orgelmusik des 17. Jahrhunderts erklingen; in St. Andreas gelangen zwei Orgelweihkantaten des 18. Jahrhunderts zur Wiederaufführung.

For more information, please visit https://www.uni-regensburg.de/philosophie-kunst-geschichte-gesellschaft/musikwissenschaft/orgelpredigttagung-2019/index.html

Conference organizers: Katelijne Schiltz, Lucinde Braun, Fabian Weber

Belonging and Detachment: Representing Musical Identity in Visual Culture

CALL FOR PAPERS

Hobart, Tasmania, 13-15 November 2019

The 19th International Conference of Association Répertoire International d’Iconographie Musicale (RIdIM) will be held at the University of Tasmania, Hobart (Australia), from 13 to 15 November 2019.

The Call for Papers is available at: https://ridim.org/call-for-papers-19th-international-conference-of-association-ridim-2019. The deadline for submission is 1 April 2019.

Association Repertoire International d’Iconographie Musicale (RIdIM).
Badergasse 9, CH-8001
Zurich

www.ridim.org

association@ridim.org

Ka-Ching! The Sound of Money Economic, social and aesthetic aspects of money in music

Student’s Conference 7th–10th November 2019

Department of Historical Musicology of Kiel University, Germany

»Can you hear it ring, It makes you wanna sing, It’s such a beautiful thing ‒ Ka-ching!«

If Pink Floyd or Shania Twain sing about the evils of capitalistic society; if Marilyn Monroe dedicates a song to her best friends, diamonds, (in the movie Gentlemen Prefer Blondes); if the sinister plotlines of operas such as Wagner’s Der Ring, Puccini’s La Fanciulla del West or Schreker’s Der Schatzgräber are sparked by mythical inflated means of payment, then, through music, it becomes apparent that »There’s Nothing Quite Like Money« (Brecht/Eisler). Concert halls, music labels and publishers, private and public broadcasting companies, and most of all artists require sufficient income to prevail. More often than not, public or government subsidies make the difference between pittance and prosperity in the cultural sector. As a result, musicians regularly face the dilemma of having to justify their profession, often leading to heated discussions about shutting down venues or orchestras who cannot support themselves through their revenues. Similarly, cultural studies and musicological research depend on third-party funds as well.

These systems implicate fundamental aesthetic questions: In this complex economic context, can music be truly »independent«, or is it inherently linked to a capitalistic value system, e.g. in a clerical or courtly context? If so: Is that a problem?

This conference intends to address the various interdependencies of music and money. It will be hosted at Kiel University in Germany from 7 th – 10 th November 2019 in cooperation with the DVSM (Dachverband der Studierenden der Musikwissenschaft; Association for Students of Musicology) and addresses both national and international students as well as PhD candidates. Although the conference language will be German, presentations can be held in English if preferred.

Potential areas of focus can be:

• Music and economy (e.g. publishers, concert business, media, associations, music industry)

• Socio-economics and music sociology (e.g. audience, taste, gender, aesthetic, performance practice)

• Autonomy and aesthetic (e.g. commissioned works, employment, patronage)

• Money in music (e.g. operas, songs, musicals)

• Money and music research (e.g. scientific operations, foundations)

If you are interested in presenting a topic, please send an abstract of your speech (no more than 2000 characters including blank spaces) and a short biography (no more than 500 characters including blank spaces) to info@klangdesgeldes.de. The deadline for all abstracts is April 15 th . You will receive feedback by May 13 th at the latest.

For further information, please visit: http://www.klangdesgeldes.de

IMS2019 Lucerne: Agency and Identity in Music

The IMS in collaboration with the Lucerne University of Applied Sciences and Arts, School of Music is organizing an IMS Intercongressional Symposium on the topic “Agency and Identity in Music” in Lucerne, Switzerland, from July 7 to 10, 2019.

Important notice: During the conference the IMS will be holding an Extraordinary General Assembly to which all IMS members will be invited in due time.

Visit for more details: https://www.musicology.org/ims2019

Location: Lucerne, Switzerland

Date(s): Sunday, July 07, 2019 – Wednesday, July 10, 2019

Institute for Russian Music Studies 2019 Annual Conference

July 9-12, Vipiteno, Italy

Symbols, Signs, and Meanings in Russian Music

special focus session “Sex, Gender, and the Erotic in Russian Music”

Additionally: special sessions to commemorate 180thMusorgsky anniversary and 175thRimsky-Korsakov anniversary (papers invited).

Keynote speaker – Richard Taruskin (UC – Berkeley)

Two IRMS 2019 Prizes will be awarded: for the best junior scholar paper and the best student paper.

The conference of the Institute for Russian Music Studies (IRMS) is hosted in Vipiteno July 9-12, 2019 (July 8 arrival – July 13 departure) under the auspices of the Orfeo Music Festival and the municipality of Vipiteno. 

Scholars and students of Russian music from around the world are invited to submit paper proposals of new research in Russian music and panel discussion proposals. The committee will select papers of special interest for conference presentations and panel sessions.Papers are planned as 20 min. presentations followed by short discussions. Papers will be considered for publication as a collection of articles. The official languages of the conference are English and Russian (with provided English translation).

March 1: 1) Deadline for 300-400-word abstract. Include title of proposed paper, the state of research field and the contribution of the paper to the field. 2) Your 100-word biography, digital headshot, name, institutional affiliation or independent scholar status and your contact information. Email to: InstituteRMS@gmail.com.

April 1: Paper acceptance notifications sent out. The committee will finalize the decision on the papers included in the conference by the end of March and will inform the contributors immediately thereafter. 

April 1 – May 31: Registration open on the website. Fees: €160/$195 for 4 days (includes lunch, Early Registration from $150 by 2/28); €50/$60 for 1 day (includes lunch); €35/$40 – conference dinner (student rates are discounted and posted on the website). Further information about travel, accommodation and conference schedule will be posted on the website by March.

The Institute for Russian Music Studiesis an international learned society devoted to the advancement of Russian music scholarship. The main activity of the society is its annual conference conducted in the relaxed atmosphere of the Italian Alps for participants from Europe, Russia, Americas and Asia that includes representatives of institutions of higher learning, scholars, and graduate students.

Conference Board

Ada Aynbinder (Tchaikovsky State Museum-Reserve, State Institute for Art Studies, Russia)

Philip Ross Bullock (University of Oxford, UK)

Olga Digonskaya (Shostakovich Archive, Russian National Museum of Music, Russia)

Emily Frey (Swarthmore College, USA)

Marina Frolova-Walker (Cambridge University, UK)

Larisa Jackson (University of Houston – Downtown, USA; OMF, Italy)

Simon Morrison (Princeton University, USA)

Website: https://www.orfeomusicfestival.com/registration-conference-irms-2018

Email:InstituteRMS@gmail.com

International Women and/in Musical Leadership Conference

7-8 March 2019 (International Women’s Day 2019)

Institute of Musical Research, London

Proposal Submission Deadline: 30 November 2018

Conference website: http://fass.open.ac.uk/iwmlc

Keynote Speaker: Jenni Roditi

Musical leadership remains ones of the most male-dominated musical areas. As late as 2013, female conductors achieved a significant first, when Marin Alsop became the first woman to direct the Last Night of the Proms. Although female composers, songwriters, and performers have attracted significant scholarly attention, the issue of women’s musical leadership remains intriguingly under researched. This conference – timed to coincide with International Women’s Day 2019 – seeks both to redress this by focusing upon the participation of women in musical leadership (understood in the broadest possible sense) and to promote academic-practitioner dialogue.

In addition to a keynote address by leading practitioner Jenni Roditi, the conference will also feature a roundtable debate, and two evening performances at London’s Club Inégales. Club Inégales have, since 2011, presented some 100 gigs with artists from around world music-traditions collaborating with resident band Notes Inégales, who draw players from across genre. The first evening will be hosted by club director and composer Peter Wiegold, who usually uses a mixture of score, conduction and improvisation. This evening, along with working with new scores by female composers, former Academy Inégales female graduates will be invited to lead the band. The second evening performance will be from Tic, Roditi’s professional improvisers’ choir, led by Roditi.

Proposal Submissions

We invite contributions on any aspect of women and/in musical leadership. Particular topics which papers might cover include, but are not restricted to:

• women conductors and/or impresarios (contemporary or historical);

• all-woman orchestras or choirs;

• all-woman entertainment orchestras/jazz bands/swing bands/dance bands;

• women leading music for worship (embracing all sacred or spiritual practices);

• women leading amateur musical ensembles;

• women leading ensembles and other practical music-making activities within music educational settings;

• women leading improvisation/soundpainting.

Contributions are invited from both scholars and practitioners.

Proposals are invited in the following formats:

individual/co-authored papers (20 minutes with 10 minutes for discussion);

themed sessions (of three or four papers, 20 minutes each with 10 minutes each for discussion)

practice-based sessions (40 minutes with 20 minutes for discussion);

poster presentations;

pecha kucha.

We particularly invite contributions from Early Career Researchers, who might particularly like to consider poster presentations or pecha kucha.

Proposals for individual/co-authored papers, practice-based sessions, poster presentations, and pecha kucha should be a maximum of 250 words long. Proposals for themed sessions should be accompanied by a 250-word overview of the session, along with 250-word proposals for each individual paper.

Please send proposals as an anonymous Word document to laura.hamer@open.ac.uk by 30 November 2019. Please ensure that you name and institutional affiliation (where appropriate) are included in the body of your email, rather than the proposal itself.

Bursaries:

A limited number of bursaries are available for students and scholars lacking access to alternative sources of funding. If you would like to be considered for a bursary, please indicate this in the email accompanying your (anonymous) proposal. Please also include a brief CV (no more than two A4 pages).

Receiving a bursary is conditional upon presenting at the conference.

Programme Committee:

Rebecca Berkley (University of Reading);

Enya Doyle (Durham University);

Laura Hamer (Open University, Co-Chair);

Nuppu Koivisto (University of Helsinki);

Helen Julia Minors (Kingston University, Co-Chair).

The Programme Committee acknowledge generous support from the IMR and the Open University.

Please do get in touch if you have any queries,

Yours,

Helen and Laura