Thanatos in Contemporary Music: from the Tragic to the Grotesque

The Association “Transylvania Art and Science”, Cluj-Napoca, Romania

in collaboration with

Gheorghe Dima National Music Academy Cluj-Napoca

is pleased to announce the International Conference

Thanatos in Contemporary Music:

from the Tragic to the Grotesque

October 30th and 31st, 2020 (ZOOM platform, each day from 11 a.m. to 2 p.m., Romanian time)

The event is organised within the Festival

A Tribute to György Ligeti in his Native Transylvania

3nd edition

supported by:

A.F.C.N. Romania and the Town Hall of the city of Cluj-Napoca

Festival director: Dr. Bianca Ţiplea Temeş

The present edition of the festival reflects the ways in which the subject of death is approached in contemporary music and Ligeti serves as an ideal focus for both the conference and its accompanying concerts. In the context of the current global pandemic, this might be said to be rather darkly appropriate, especially at Halloween in Transylvania.

Between the volatile, sublime ”Lux aeterna”, the dramatic ”Requiem”, the evocation of Romanian folk laments in the Piano Étude ”Automne à Varsovie” and the strong grotesque flavour of the opera  ”Le Grand Macabre”, Ligeti´s music explores a wide range of funebral nuances. Through his music, researchers are invited to explore the music of many other composers whose work occupies similar emotional terrain.

The conference brings together contributors from leading European and American Universities, aiming to outline the many masks of Thanatos, as a kaleidoscope made by pieces of Béla Bartòk, Arnold Schönberg, György Ligeti, Bruno Maderna, Ștefan Niculescu, Myriam Marbe, Zoltán Jeney, Violeta Dinescu, Doina Rotaru, Zygmunt Mycielski, Roman Palester, Dan Dediu, Kaija Saariaho, etc.

The conference concludes with the presentation of the new volume A Tribute to György Ligeti in his Native Transylvania, edited by Bianca Țiplea Temeș and Kofi Agawu at MediaMusica, Cluj-Napoca.  

We welcome participants from around the world to attend this event via ZOOM, by filling in the FREE REGISTRATION FORM, by October 25th:

The festival will be streamed online,

between October 28th to November 1st, 2020, at

Conference program:

Hermann Danuser (keynote speaker) (Humboldt University Berlin)

Memorial-Topic in the 20th Century, or: Schoenberg’s Modernist Genealogies

Wolfgang Marx (University College Dublin)

“a long time spent in the shadow of death”. Death and Mourning in Ligeti’s Music                           

László Vikárius (Bartók Archives, Institute for Musicology, Research Centre for the Humanities Budapest      

“This is my death song”: Between “funèbre” and “grotesque” in Béla Bartók’s Compositions of 1908

Zoltán Farkas (Béla Bartók Memorial House, Budapest)

Zoltán Jeney’s Funeral Rite

Amy Bauer (University of California, Irvine)

“Are you dead, like us?” The liminal status of the undead in the music of Ligeti

Beata Bolesławska-Lewandowska (Institute of Art, Polish Academy of Sciences, Warsaw)

Zygmunt Mycielski’s “Rescue” songs to words by Czesław Miłosz and Roman Palester’s “Requiem” – two ways for reflecting death in Polish music shortly after WW2 

Benjamin Levy (University of California, Santa Barbara)

Death in Hamburg? Memorial Aspects of Ligeti’s Late Concerto

Olguța Lupu  (National University of Music Bucharest)

From Thanatos to Elysian Fields in Dan Dediu’s Music

Elena Maria Șorban (Gh. Dima National Music Academy Cluj-Napoca) 

Exercises on Dying? Reflexions on Ligeti’s Unpublished Early Latin Cantatas

Pavel Pușcaș.(Gh. Dima National Music Academy Cluj-Napoca)

Bruno Maderna’s Requiem

Bianca Țiplea Temeș (Gh. Dima National Music Academy Cluj-Napoca)

The sound of tears falling: the Dawn Song (Cântecul zorilor) in Romanian composition

8th Conference of the Royal Musical Association Music & Philosophy Study Group

Department of Music, King’s College London, Thursday and Friday, 1–2 July 2021

Conference webpage:

Keynote speakers to be announced shortly

The RMA Music and Philosophy Study Group warmly invites session and paper proposals for this two-day international conference, to be held in London on 1–2 July 2021. The event will offer an opportunity for those with an interest in music and philosophy to share and discuss work, in the hope of furthering dialogue in this area. Following the success of the 2019 conference format, we will run three types of session:  

  • AssociatesSessions will be hosted by organisations with related interests;  
  • Themed Sessions will be organised by individual session convenors, who have issued calls for papers on specific topics;  
  • Free Sessions will be open to papers on all topics relating to music and philosophy.

    Proposals may be on any topic relating to music and philosophy broadly conceived; we particularly encourage proposals engaging with ethnomusicologyenvironmental issues, and ethics.

    Call for AssociatesSessions (open from 10 July 2020)

    Related organisations, including scholarly societies, study groups and institutional departments, are warmly invited to host a session at the conference. The topic and organisation of such sessions is left to the host: sessions may feature invited speakers. All formats (including but not limited to workshops, roundtables, experimental or hybrid virtual/IRL sessions) will be considered; the maximum overall time available for the session will be 2 ½ hours.

    If you would like to be involved in this way, please upload your session abstract (of up to 350 words), proposed paper titles and speaker names where applicable to the Associates Sessions form ( on the Music and Philosophy website by 17 August 2020. We hope to communicate decisions within a week, with a suggested deadline of 30 October 2020 for submission of any participant abstracts to session convenors. Organisers will be asked to submit participants’ abstracts (where applicable) along with information about all contributors to their session to the programme committee by 6 November 2020.

    Call forThemed Sessions (open from 10 July 2020)

    We seek enthusiastic individuals to propose Themed Sessions on topics that are focused yet inclusive. All topics and formats (including but not limited to workshops, roundtables, experimental or hybrid virtual/IRL sessions) will be considered but should be designed to encourage submissions from both music studies and philosophy, whilst assuming a broad and inclusive definition of each. The maximum overall time available for the session will be 2 ½ hours.

    If you would like to host such a session, please upload a 300-word draft call for papers/contributions that will also function as a session abstract to the websiteby 17 August 2020 using the Themed Sessions form ( on the Music and Philosophy website. The draft call for papers should focus on the topic of, and rationale for, the session. 

    We hope to communicate decisions on the selection of Themed Sessions within a week, with a further deadline of 30 October 2020 for submission of paper abstracts (where applicable) to session organisers. Organisers will be asked to submit paper choices to the programme committee by 6 November 2020. The intention is that the programme committee will, in most circumstances, simply approve the organisers’ choices, however the committee reserve the right to request changes if there are problems of topical balance or scholarly quality. Final decisions on panel acceptance will be communicated by 13 November 2020.

    Call for Free Sessions (open from 20 August 2020)

    We invite submissions for papers on any topic relating to music and philosophy. The conference presumes inclusive definitions of both music and philosophy. We take music to include all forms and genres of music, art music and popular, secular and sacred, from any and all historical and geographical locales. We take philosophy to include analytic, continental, classical, and non-western thought, as well as critical theory. Regardless of disciplinary affiliation, the committee seeks conceptually rigorous and clearly articulated research that presents a novel argument and advances understanding of its topic.  

    Collaboration between persons from different disciplines (including music studies, philosophy, performance, composition, psychology, history, literary studies, art history, anthropology, and others) would be especially welcomed.  

    Proposals are invited for:   
  • individual papers (20 minutes) – up to 350 words  
  • collaborative papers (up to 30 minutes) – up to 500 words  
  • lecture recitals (30 minutes) – up to 350 words  

    Please submit proposals by 30 October 2020 using the Free Sessions form ( on the Music and Philosophy website. Decisions will be communicated in November.   

    All paper submissions will be considered by blind review by the programme committee:  
  • Dr Jeremy Coleman (University of Malta)  
  • Dr Andrew Huddleston (Birkbeck, University of London)  
  • Professor Derek Matravers (Open University)  
  • Dr Matthew Pritchard (University of Leeds) 
  • Friedlind Riedel (Bauhaus-University Weimar)  
  • Professor Martin Stokes (King’s College London)  
  • Dr Férdia Stone-Davis (University of Cambridge) 
  • Dr Naomi Waltham-Smith (University of Warwick)

    If you have queries about the CFP and your proposal, please contact the Chair of the RMA Music & Philosophy Study Group Dr Férdia Stone-Davis, fjs23 -at-

2020 Institute for Russian Music Studies Annual Conference

July 2-5, Vipiteno, Italy

Utopia and Dystopia in Russian Music

Special sessions:

“Tchaikovsky and Friends” to commemorate 180th Tchaikovsky’s anniversary

“Russian Women Composers and Performers”

Two IRMS 2020 Prizes and monetary awards to be awarded: for the Best Junior Scholar Paper and the Best Student Paper

Further detail on Website:  

The conference of the Institute for Russian Music Studies (IRMS) is hosted July 2-5, 2020 (July 1 arrival – July 6 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. The committee will select papers of special interest for conference presentations and panel sessions. Papers are planned as 20-minute presentations followed by 10-minute discussions. 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 head shot, name, institutional affiliation or independent scholar status and your contact information. Email to:

March 15: Paper acceptance notifications are sent out. 

March 20 – May 31Registration is open on the website.

Fees: $190 for 4 days & includes lunch, Early Registration $150 by 3/30, Student Registration available.

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 (Brandeis University, USA)
Marina Frolova-Walker (Cambridge University, UK)
Larisa Jackson (University of Houston – Downtown, USA; OMF, Italy)
Simon Morrison (Princeton University, USA)

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’



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

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:


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.


  • 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).


  • 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. 


  • 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

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

Conference secretaries – Anastasia Khakhalkina, Natalia Saamishvili.

Organizing committee


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


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______________________________________________________________


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________________________________________________________


И.И. Иванов


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. 


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:


Self-Management as a Predictor of Student Performance

Elena Petanova 

Faculty of Psychology

Saint Petersburg State University

St. Petersburg, Russia

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. 


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


Text, text, text, text…… [5].


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


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



[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


(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)

(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 ( 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 Department is delighted to host the 2020 British Forum for Ethnomusicology and Royal Musical Association 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 Schofield (King’s College, London) and 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:

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 | @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

Conference organizers: Katelijne Schiltz, Lucinde Braun, Fabian Weber

Belonging and Detachment: Representing Musical Identity in Visual Culture


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: The deadline for submission is 1 April 2019.

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

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 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: