Leopold Mozart and Life in the Age of Enlightenment

Call for Papers

The Academy for Mozart Research of the Mozarteum Foundation Salzburg plans an international conference in Salzburg from 4 to 6 April 2019. The theme of the conference is

Leopold Mozart und die Lebenswelt der Aufklärung

Gesellschaft – Bildung – Kultur

Leopold Mozart and Life in the Age of Enlightenment

Society – Education – Culture.

The conference is also open to all current topics of Mozart Research. Conference papers will be published in the Mozart-Jahrbuch.

Abstracts of no more than 200 words in any of the conference languages (German, English, Italian, and French), a short CV, and contact details should be sent by 30 November 2018

– by mail to: conference@mozarteum.at

– or by post to: Akademie für Mozart-Forschung, Stiftung Mozarteum Salzburg, Schwarzstraße 26, A-5020 Salzburg, Austria

A decision on acceptance will be made by the end of December 2018.

Auditors are welcome to all paper sessions at no charge; please register in advance at conference@mozarteum.at.

Prof. Dr. Ulrich Konrad

Chair, Academy for Mozart Research

Music and Materialisms: A Free One-day Conference

Saturday 23rd February 2019,

Visconti Studio, Kingston University

Keynote Speaker: Prof. Eric Clarke (University of Oxford)



We are delighted to announced a call for proposals for one day conference discussing issues surrounding music and materialisms. The conference will be held at the Visconti Studio at Kingston University on Saturday 23rd February. A full version of the call, including detailed submission instructions can be read online here.


This transhistorical conference seeks to draw together scholars interested in using such frameworks to challenge existent ontologies of sound and sound-making. The conference organisers are particularly interested in contributions relating to music and materialism as relating to the following themes:

Power: Material inscriptions of power; The foregrounding or loss of questions about power/inequalities in different materialist approaches; Politics of making; feminist and queer materialisms; Forms of organisation;

Bodies: The body in performance and reception; The place of the senses (beyond hearing); Affect; Materiality of performative acts; Explorations of bodies/genders in performance; Embodiment and materiality limits; Interfaces; Touch and materiality;

Notation: Role of the score as a “script” for performance; Material indeterminacy; Participatory music-making and politics of performance; The score as a material object; New notational approaches;

Histories: The history of material objects; Historical dimensions of materialist theories themselves – why materialisms, and why now? Is it possible to conceive of history without a place for materiality?;

Culture: Organology; Museology; Curatorial practices; Analysis of physical objects and social meanings; Imagery; Mediation of material objects in practices of production; Dissemination; Consumption; Simulation; computational technology and non-parametric notions of making;

Ontology: Beyond representationism; Non-repeatability; Actuality of musical sound vs. nothingness; Post-sapien/post-humanism; Notions of flux; Indeterminacy,

The conference organisers welcome proposals for contributions in a variety of formats. Papers (20 minutes), artistic reports, performances, lecture-recitals, and interactive demonstrations (along with other formats of the proposer’s devising) are all welcome.


Successful applicants will be notified by 11 January 2019

If you wish to attend, please reserve your free ticket asap via EventBrite here. Please direct all other enquiries to musicandmaterialism@gmail.com


Prof. Isabella van Elferen, Kingston University

Dr Matthew Sergeant, Bath Spa University

Dr Samuel Wilson, Guildhall School of Music and Drama

Conference Organisers

Italian Musical Migration to the British Isles, 1700-1950


University of Birmingham, 10 April 2019


The study of migration and mobilities is crucial to the modern histories of Britain and Italy, and especially their complex artistic exchanges. This one-day conference will shed light on this interdisciplinary field of investigation by focusing on Italianmusical migration to the British Isles from the eighteenth century to the Second World War. It aims to provide a new critical overview of the diffusion of Italiansinging culture and instrumental music in British theatres and concert halls, the migration of Italian-born musical professionals and entrepreneurs to the British Isles, and the publication of Italian scores by British publishers. The long time period will help to create a sense of the profound impact of these musical transfers and networks on British politics and society, on the institutionalisation of national and regional identities in modern Europe, and on the development of Italian cultural diplomacy and colonialism following the Unification (1861).

Potential topics include:
• The biographical and professional trajectories of Italian-born singers, composers, performers, virtuosos, impresarios, librettists, stage designers, conductors, prompters, and street musicians active in the British Isles from 1700 to 1950, and their impact on local policies and institutions.
• The diffusion and reception of Italian music in British theatres and concert halls and the activities of Italian opera companies and musical associations in the British Isles.
• British musicians and artists trained or educated in Italy.
• The circulation of Italian music-related goods, items, instruments and tools.
• Patterns of mobility, routes of travel, networks and Anglo-Italian cultural transfers from a transnational perspective. This may include reflection on issues of territory, borders, national and regional identities, gender, religion, cultural diplomacy and colonialism.
• The relation between the Italian musical migration to the British Isles and the first Italian diaspora as a mass and global phenomenon, especially in the late nineteenth and early twentieth centuries. This could also involve comparison with different artistic migrations from Italy (e.g. to different countries or continents in the same epoch).

Abstracts for 20-minute papers (max 300 words) and short biographies (max 150 words) should be sent to italianmigration2019@gmail.com by Monday 10 December 2018. Interdisciplinary approaches and paper proposals from early career researchers would be particularly welcome. The programme committee will communicate its decisions by Monday 14 January 2019.

The conference will be free to attend. A small number of travel and accommodation bursaries, generously provided by the Institute of Musical Research, will be available to doctoral candidates, early career researchers and independent scholars who cannot obtain institutional support. Potential recipients should send a short statement giving their rationale.

Susan Rutherford (University of Manchester), Alexandra Wilson (Oxford Brookes University), Flora Willson (King’s College London)

Nicolò Palazzetti and Ben Earle

Ben Earle (University of Birmingham), Matthew Gardner (University of Tübingen), Federica Nardacci (Royal College of Music), Nicolò Palazzetti (University of Birmingham), Rupert Ridgewell (British Library), Amelie Roper (British Library).

Dr Nicolò Palazzetti (University of Birmingham/Institute of Musical Research)

Patterns – Models – Dеsigns




Institute of Art Studies,

Bulgarian Academy of Sciences,


Patterns – Models – Dеsigns

April 8–9, 2019

Creative practices that precede the coming into life of the work of art and the ways in which the initial spark is visualized in the process, are the focus of the New Art Module of the Art Readings’2019 conference. To outline the contours of the essence of creation is a challenging goal that has stimulated a number of scientific disciplines to develop their own perspective to its interpretation. Research interests motivated by the postmodern view of the art world have so far neglected or even ignored the analytical approaches that gravitate around the tactile matter of the working practice of artists. Conceptual sketches, preparatory drawings and sounds, volumetric models, rhythmic patterns are the objectivated – hence empirically approachable – projection of the otherwise shrouded in a mystical halo art creation. The New Art Module aims at bringing forward and discussing the spectrum of preparatory approaches and techniques of arts.

The thematic scope of the New Art Module assumes but is not limited to the following aspects of the topic:

–     from idea to matter: creative assignment or brief and its interpretation, transforming texts into images, transfiguration of ideas into forms, dynamics of client–artist interrelations, dialectics of order and realized art work;

–     from variant to invariant: approaches and algorithms in creating preliminary variants of the work of art, paradigms in unfolding the entry idea, variations in the process of image re-creation, cross-pollination of working methods and tools between arts;

–     from amorphous to concrete: technologies and techniques for visualizing creative concepts at the work stages, typology of the models of the future work of art, contemporary application and modification of traditional means and tools, computer-based methods for pre-creating art works.

International editorial board:

Prof. Adrian-Silvan Ionescu, PhD, Director of the Institute of Art History “G. Opresku” – Romanian Academy of Sciences, Romania

Assoc. Prof. Elvira Popova, PhD, Autonomous University of Nuevo Leon, Monterrey, Mexico

Prof. Fani Vavili-Tsinika, PhD, Aristotle University of Thessaloniki, Director, Dept. of Architectural Design & Technology, School of Architecture, Faculty of Engineering, Greece

Prof. Marina Frolova-Walker, PhD, Music History, University of Cambridge, Director of Studies in Music, Clare College, UK

Prof. Yana Hashamova, PhD, College of Arts and Scienses at the Ohio State University, USA

Prof. Kamelia Nikolova, D.Sc., National Academy of Theatre and Film Arts, Institute of Art Studies, BAS Sofia, Bulgaria

Prof. Milena Bozhikova, D.Sc., Institute of Art Studies, BAS, Sofia, Bulgaria

Prof. Milena Georgieva, PhD, Institute of Art Studies, BAS, Sofia, Bulgaria

Prof. Nadezhda Marinchevska, PhD, Institute of Art Studies, BAS, Sofia, Bulgaria

Prof. Vesselina Penevska, PhD, Institute of Art Studies, BAS, Sofia, Bulgaria

Deadlines: 01.10.2018 – deadline for paper abstracts and applicants’ short bio; 15.11.2018 – informing potential participants for the result of their application; 01.03.2019 – deadline for announcing Conference programme.

Send your abstract and a short CV to:

for fine arts: mggeorgieva@mail.bg

for music: mbojikova@yahoo.com

for theatre: kamelian@hotmail.com

for cinema: nadmih@yahoo.co.uk

for architecture: veselina.penevska@consultant.bg

Please, send a copy to: infoartstudies@gmail.com

Art Bands, DiY Music and Cultural Identity in an Age of Transnational Mobility


21.09.2018, 9:30-18:00
£12 / £8 concessions (students/unwaged/OAP)
Book here: https://store.rdg.ac/Euronoize2018

This conference is the first iteration of EuroNoize, a collaborative project held between the University of Reading, Kunsthall Oslo and A.R.E. Prague and funded by the European Commission. The project aims to explore the history and existing practices of the DiY music scene in Europe and beyond, to evaluate this particular form of artistic production alongside other contemporary aesthetic modes, to consider its historical and current relationship to art education (the art band emerging from art school) and to consider the social, economic and cultural structures that shape it in the present. In this context, we will be exploring the relationship between a global (predominantly Anglo-Saxon) culture industry and localised and independent nodes of production. This one-day conference is serve as a starting point in generating a theoretical discussion around an artistic and musical genre that is rarely given enough attention in art criticism.


Philip Auslander
Bryan Biggs
Chris Bohn
Paula Guerra
Sarah Lowndes
Pil and Galia Kollectiv
Stephanie Phillips
Simon Reynolds
Matt Worley


University of Reading
Madjieski Lecture Theatre
Room RGL04
Agriculture Building

Travel Information
Download Map

About EuroNoize

EuroNoize is a project researching the relationship between art and DiY music scenes in Europe across several platforms. At the heart of the EuroNoize project is an alternative music showcase modeled on the Eurovision Song Context, in which musicians will be invited to consider the interplay of local and global identities in representing their country with a specially commissioned song and video. The live event in London will be streamed online and broadcast at partner venues. Viewers will be able to vote digitally for the winning entry. This is accompanied by a conference at the University of Reading, exploring the histories connecting DiY music and the visual arts and investigating the challenges inherent in formalising the informal networks upon which this cultural activity is built. Conference proceedings will lead to a publication in which these themes will be expanded. Finally, the music produced for this live event will be released as a record and disseminated internationally together with the book and an exhibition at Kunsthall Oslo. The project’s explicit aim is to think of and implement strategies and modes of cooperation between art institutions, DiY musicians and internally between various bands across the continent to facilitate the continuation of these often short-lived practices. In doing so, the project investigates the way European co-operation transcends borders and raises questions about the meaning (and sound) of cultural identity in an age of transnational mobility.

More information



Oper im Wechselspiel der Medien: Transformationsprozesse der Oper durch Digitale Medien und das Filmische/Audi-Visuelle in Zeiten von Krisen und Reformen

Veranstalter:                          Bayerische Akademie der Wissenschaften

Veranstaltungsort:                  Bayerische Akademie der Wissenschaften, München

Veranstaltungsdatum:            17. Januar 2019


Call for Papers

Der aktuelle Krisendiskurs europäischer Theater und Musiktheater befasst sich neben Fragen zur Finanzierung und zum demographischen Wandel u.a. auch mit den Herausforderungen, die die rasante Entwicklung der Neuen Medien hervorbringen.[i]Daher widmet sich dieser Workshop der Frage: Welche Rolle spielen die Digitalen Medien und das Filmische/Audio-Visuelle bei den Transformationsprozessen der Oper als Gattung und Institution?


Themenkomplex A: Transformationsprozesse in der Oper als Institution

Héctor Pérez, Associate Professor für audio-visuelle Kommunikation und Ästhetik, konstatiert, dass nach den 1990er Jahren nun eine zweite Phase der Bedrohung von live Opernaufführungen durch audiovisuelle Technologien anstehe und verweist damit auf eine für diesen Workshop zentrale und kontrovers zu diskutierende Debatte. Dabei sei auf der einen Seite auf die neuesten Streaming-Möglichkeiten von Opern, wie z.B. durch die digitalen Angebote der MET verwiesen und auf der anderen Seite auf die neue Mobilität der Verwendung von Streaming-Angeboten auf Computern, Tablets oder Smartphones.[ii]

Die Musikwissenschaftler*innen Carolyn Abbate und Roger Parker diskutieren kritisch die Bedeutung des Internets als neues und sich permanent erweiterndes „easy access“-Archiv von internationalen Opernaufführungen (historisch und aktuell). Während Abbate/Parker negativ hervorheben, dass die Hoffnung auf ein neues Publikum, durch die mediale Präsenz im Internet nicht erfüllt werde,[iii]artikulieren gerade kleinere Operngesellschaften, wie z.B. wie die kanadische City Opera Vancouver oder Tapestry Opera, durchaus positive Effekte durch soziale Medien. Sie verweisen sowohl auf eine erhöhte Visualität des Operngenres und ihrer eigenen Produktionen als auch auf eine bessere Kommunikation mit ihrem Publikum.[iv]

Mit Blick auf die Institutionen stellen sich somit folgende Fragen: Wie werden digitalen Medien (Streamings von Mitschnitten, Making Offs, Trailern auf Homepages und in sozialen Netzwerken) durch Operngesellschaften und Komponisten für neue Vermarktungs- und Kommunikationsstrategien eingesetzt? Wer nutzt welche Kanäle? Haben Operngesellschaften eine multi-channel bzw. multi-platform Strategie?


Themenkomplex B: Transformationsprozesse der Oper als Gattung

Carolyn Abbate und Roger Parker suggerieren, dass die Oper aktuell womöglich einen evolutionären turn zum Filmischen nehme und eine „art-for-the screen“ werde. Sie beobachten dies sowohl in den Operninstitutionen selbst, die institutionell Internetstreamings HD-Übertragungen verwenden, als auch bei neuen Konzeptionsformen von Opern, die sich am Filmischen orientieren.[v]Im Workshop soll erörtert werden, welche ästhetischen Verfahren verwendet werden und welche neuen (Hybrid-)Formen für die Bühne, DVD oder das digitale Netz entstehen können.

Um den neuen Facettenreichtumanzudeuten, sei hier nur exemplarisch auf die Inszenierung der Zauberflöte mit Elementen des Stummfilms und des Comicromans an der Komischen Oper Berlin durch den Intendanten Barrie Kosky und die britische Theatertruppe „1927“, die opera-documentary Fig Treedes kanadischen Regisseurs John Greyson, die südafrikanische, filmische Adaption Unogumbe – Noye’s Fludde des „Isango Ensembles“, die Vocaloid Opera The Ende am Theatre du Chatelet in Paris, die Internetoper Die Affäre Manondes Gelsenkirchener Musiktheaters oder die interaktive Musiktheater PerformanceA Magnificent Crossbreeding of Protein and Tinplatevom Attenborouch Centre for the Creative Arts verwiesen.


Themenkomplex C: Transformationsprozesse der Aufführungskultur und Rezeption

Mit den neuen Formaten und ihrer neuen Ästhetik stellt sich auch die Frage nach neuen Rezeptionsweisen und deren soziokulturellen Dimensionen. Welches Potenzial haben digitale Medien für einen Wandel im Opernpublikum? Ob und in welcher Form findet ein Wandel der musiktheatralen Aufführungskultur im Sinne des Theaterwissenschaftlers Wolf-Dieter Ernst statt?[vi]Und kann dies zu einem Wandel des Operndiskurses als Elitenkultur führen?


Es wird besonders zu Vorträgen eingeladen, die sich folgenden Aspekten widmen:


  • Digitale Medien in Opernaufführungen / Konzeptionsformen von Opern, die sich am Filmischen orientieren
  • Neue (Hybrid-)Formen von Opern und ihre neuen Rezeptionsweisen
  • Medienästhetik möglicher Hybride
  • Wandel musiktheatraler Aufführungskultur
  • neue Vermarktungs- und Kommunikationsstrategien von Operninstitutionen in und außerhalb Europas
  • Public-Screenings, digitale Angebote der MET / Streaming-Angebote
  • Potenzial medialer Innovationen für freie Opernszene
  • Wandel des Operndiskurses als Elitenkultur durch mediale Innovationen


Bitte senden Sie Abstracts (max. 2000 Zeichen) für einen 20minütigen Beitrag im thematischen Rahmen des Workshops und die Angabe der benötigten technischen Voraussetzungen für den Vortrag, sowie eine Kurzvita (max. 500 Zeichen) inklusive Kontaktdaten bis 8. Juli 2018 per E-Mail an Lena van der Hoven (Lena.van-der-Hoven@uni-bayreuth.de). Gleichermaßen willkommen sind Beiträge aus den Geistes- und Sozialwissenschaften (Musik-, Medien-, Theater- und Kulturwissenschaft). Nachwuchswissenschaftler*innen seien nachdrücklich zu einer Bewerbung aufgefordert. Die ausgewählten Referent*innen werden bis zum 15. Juli 2018 benachrichtigt und das Konferenzprogramm unter http://www.badw.de/veranstaltungen.htmlund http://www.prof-musikwissenschaft.uni-bayreuth.de/de/index.htmlonline veröffentlicht. Für die ausgewählten Referent*innen können voraussichtlich im begrenzten Umfang die Reisekosten (im Inland) sowie die Übernachtungskosten erstattet werden.

[i]Vgl. DFG-Projekt „Krisengefüge der Künste“ (http://www.theaterwissenschaft.uni-muenchen.de/forschung/krisengefuege/index.html), Internationale Konferenz: „Systemische Krisen im europäischen Theater“ (https://www.goethe.de/ins/gb/de/ver.cfm?fuseaction=events.detail&event_id=21131063), Sarah Zalfen,Staats-Opern? Der Wandel von Staatlichkeit und die Opernkrisen in Berlin, London und Paris am Ende des 20. Jahrhunderts, München / Berlin 2011 (Die Gesellschaft der Oper. Musikkultur europäischer Metropolen im 19. und 20. Jahrhundert, 7), Vorwort.

[ii]ebd. S. 7-8.

[iii] Vgl. Carolyn Abbate / Roger Parker, A history of opera: the last four hundred years, London u.a. 2015,S. 549ff.

[iv]Vgl. Richard Turp / Vincent Turp, Terms of Engagement: As New Technologies Redefine the Way We Communicate, Opera Companies Are Tuning Their Marketing Programs into the Fast Paced World of Social Media, in: Opera Canada 58 (2017), Nr.1, S. 33-37.

[v]Vgl. Carolyn Abbate / Roger Parker, A history of opera: the last four hundred years, London u.a. 2015, S. 565.

[vi]Vgl. Wolf-Dieter Ernst, Institutionelle Dramaturgie und digitale Oper,in: Die Musikforschung (2016), Heft 4, S. 380–392, hier S. 387.

Modes, Church Tones, Tonality: Tonal Spaces, c. 1550 – c. 1720

Call for Papers:
Modes, Church Tones, Tonality: Tonal Spaces, c. 1550 – c. 1720

Deadline: June 30, 2018

The international conference Modes, Church Tones, Tonality: Tonal Spaces, c. 1550 – c. 1720 will be held at the University of Ferrara, Italy, 8­–10 November 2018.

Academics, researchers, and postgraduate students are invited to submit papers on the following areas of interest:

·         Tonal types and modes in late 16th-century polyphony;
·         Church tones in theory and/or practice;
·         Thorough bass in theory and/or practice;
·         Relations between style and tonal space in the 17th century;
·         Instrumental music between the 17th and 18th centuries;
·         Theories of tonality up to c. 1720

Proposals for 30-minute papers in Italian, English, Spanish, German, and French are welcomed. Each submission should include the following information: author(s) name(s), academic affiliation(s), email address(es), title of presentation, abstract (max. 300 words), short CV(s), and a list of technological requirements (video projector, audio, etc).

All proposals must be submitted by June 30, 2018 to marco.mangani -at- unife.it, specifying “Conference in Ferrara – Proposal” in the subject field (mandatory).

Scientific Committee:  Michael Dodds (University of North Carolina School of the Arts), Marco Mangani (University of Ferrara), Massimo Privitera (University of Palermo), Daniele Sabaino (University of Pavia – Cremona)

‘SotonMAC 2019’ and the Music Analysis Summer School 2019

We are delighted to announce that the Department of Music at the University of Southampton will be hosting the Society for Music Analysis’s International Music Analysis Conference on 29-31 July 2019 (‘SotonMAC 2019’). We are equally delighted to announce that this will be preceded by a Music Analysis Summer School for postgraduate students and early career scholars on 27-28 July 2019. Further details will be announced in Autumn 2018.

North American British Music Studies Association Eighth Biennial Conference

Registration available here: https://nabmsa.org/product-category/2018-biennial-conference/

the conference website here: https://nabmsa.org/conferences/2018-biennial-conference/

The North American British Music Studies Association will hold its Eighth Biennial Conference from Monday, 30 July to Wednesday, 1 August 2018, in Logan, Utah, hosted by Utah State University. the programme boasts sessions reaching from seventeenth-century music to jazz, and from cross-atlantic collaborations to a performance of Vaughan Williams’s Sancta Civitas.

Overlooking the magnificent Cache Valley with the Wellsville Mountains looming to the west, USU is consistently recognized as one of the most beautiful college campuses in the US. It is also home to the Caine College of the Arts and boasts fantastic performance facilities including the Caine Performance Hall, and the newly renovated Daines Concert Hall. The campus sits at the mouth of Logan Canyon which offers a myriad of outdoor activities which are just minutes away.

Registration is now open.

BFE/RMA Research Students’ Conference

Date: 10-12 January 2019

Venue: University of Sheffield

Website: https://www.sheffield.ac.uk/music/research/conferences/bfe_2019



Laudan Nooshin (City, University of London)

Yvonne Liao (University of Oxford)


Call for Proposals

The Department of Music at the University of Sheffield is delighted to host the 2019 British Forum for Ethnomusicology and Royal Musical Association Research Students’ Conference. We welcome 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 welcome both traditional and innovative formats for presentations relating to any areas of musical research, including composition, audiovisual media, performance, and/or other creative practices, as well as musicology, ethnomusicology, music psychology, and research that cuts across (sub-)disciplinary boundaries. Presentations should be 20 minutes in length, and will be followed by an additional 10 minutes for questions and discussion. Alternatively, papers can be proposed for a shorter ‘lightning’ format, allowing 5 minutes and one slide.

We also welcome proposals for posters, which optionally can be linked to a paper in either conventional or ‘lightning’ format.

Proposals responding to this general call should be sent to bferma2019@sheffield.ac.uk by 9am Monday 29 October 2018.

Proposals should include:

  • your name
  • email address
  • affiliation
  • title of your presentation
  • abstract of no more than 250 words

Please make any unusual space, format, or equipment requirements clear in addition to your abstract.

Alongside this general invitation, we encourage proposals for the following specific session calls. Participants may submit one abstract to the general call and an additional one to any of the sessions below (students may have more than one proposal selected for presentation).

Ligeti Quartet Composition Workshop

Convened by Dr Dorothy Ker.

As part of the conference, CeNMaS (Centre for New Music at Sheffield) are excited to be able to offer a one-day workshop for composers with our associate ensemble Ligeti Quartet. Pieces, movements or excerpts of up to 6 minutes’ duration scored for string quartet will be played through, followed by discussion.

Submit a pdf of your piece, movement or excerpt not longer than 6 minutes. Shorter durations are welcome.

Scores should be formatted in portrait orientation (preferably) unless the music particularly calls for being presented in landscape. Note that parts will not be required as the Quartet plays from score on A4-sized iPads (page turns should be managed helpfully, but do not need time/non-playing bars to execute).

Compositions should be accompanied by an abstract (max 300 words, as a separate word file) that briefly describes the aims and methods of the piece, for publication in the conference proceedings.

Submit scores and abstracts (2 separate pdf files) to cenmas@shef.ac.uk by 9am Monday 29th October 2018. The email text should state your institution and the stage you are at in your studies.

The conference composition panel will select 8 or so pieces to be presented.

Electroacoustic Strand

Convened by James Surgenor, Chris Bevan, Alejandro Albornoz and John Mercer.

The conference incorporates an open call for proposals in the field of electroacoustic music, under the following categories:

Paper: Papers on topics relating to electroacoustic composition in any form. Papers will be delivered as a 20 minute talk at the conference.

Submission criteria:

  • An abstract of no more than 200 words

Piece: Works of electroacoustic composition for performance over a diffusion system.

Submission criteria:

  • Pieces should be no greater than 15 minutes in duration
  • Pieces should be submitted at 44.1kHz sampling rate
  • Multi-channel works are permitted, but due to performance restrictions, must not require more than 8 channels
  • Multi-channel submissions should be a stereo downmix. Full multi-channel will be requested upon acceptance.

Piece and Paper: Works of electroacoustic composition for performance over a diffusion system, and an accompanying paper on the piece being performed. Presentations will be 30 minutes in total. Accompanying papers should be of a critical nature on a particular aspect of the piece or practice relating to it (i.e. papers should not be extended programme notes).

Submission criteria:

  • Paper: An abstract of no more than 200 words
  • Piece: The piece, following the same guidelines as for a piece submission

Submissions will be selected on merit by blind review, by a panel of postgraduate researchers at the University of Sheffield.

Submissions are via this Google Form, and should be received by 9am Monday 29th October 2018.

Technical Demonstrations

Convened by Dr Renee Timmers.

Technical demonstrations are invited that operate as a stand-alone or in combination with a full paper (20 minutes), a lightning paper (5 minutes), or a poster. Technical demonstrations showcase a piece of software and/or hardware relevant for music research or music generation. The demonstration may consist of the presenter explaining the tool to visitors or may be more interactive where visitors try out various aspects of the tool.

To propose a technical demonstration, please submit an abstract of up to 250 words that explains the main background, aims, and contribution of the tool. Please add a brief description of the proposed format in which the demonstration will be held. This description is to provide further information to the conference organisers.

As for all submissions, proposals further require inclusion of name of contributing author(s), affiliation, e-mail address, and title, in addition to the abstract.

Submissions to bferma2019@sheffield.ac.uk by 9am Monday 29 October 2018.

Performance Workshop: Interpreting Contemporary Music

Led by Sarah Watts: http://www.sarahkwatts.co.uk/ .

Take away the melodies and the harmonic stability of classical and romantic music that is the foundation of learning an instrument, and that provides us with a sense of familiarity and understanding, and suddenly learning a piece of contemporary music can become a daunting task. With a lack of barlines, complex rhythms, contemporary techniques, quarter and eighth tones; what looks on paper to a classical musician like a complete breakdown of familiar structure will all too often take a music student too far outside of their comfort zone. How does a contemporary specialist interpret such music? Especially when contemporary pieces often have no or few recordings to use as a comparison or a resource to help learning.

As a soloist or a small chamber ensemble, this workshop provides you the opportunity to bring a post-1960 contemporary work to the session to look ways of interpreting, preparing and finding the music in your work.

All submissions must include:

  • Name of group and instrumentation
  • Name, title and date of work proposed for workshop
  • A PDF of a sample score. (If you are accepted for the workshop, you must provide an original or PDF copy of the score by 1st January 2019).

Submissions to bferma2019@sheffield.ac.uk by 9am Monday 29 October 2018.

World Music Workshop: Indian Music on Western Instruments

Led by John Ball (World Musician in Residence, University of Sheffield)

The workshop will explore effective ways of bringing Indian music repertoire into performance and learning environments including institutional settings and classroom teaching. Indian music is both a rich resource for melodic and rhythmic music material with huge potential to be creatively integrated into wider musical experience, and a major world classical music tradition with extensive historical and cultural connections to the UK and the North of England. Indian music offers established and transferable methods, techniques and aesthetic approaches that can enrich musicianship. The focus for learning is the participant’s own primary instrument (including voice) thereby utilising existing skills, and is of particular interest for musicians and singers who are looking to explore working creatively between more than one music genre (e.g. Indian music and jazz).

No pre-submission is required to participate.

Folk Session

The conference will incorporate an informal folk/traditional music session, interspersed with more formal sets from the professional folk performers among Sheffield’s PGR community. The session will focus on traditional musics of the British Isles, but will welcome input from further afield. There is no pre-submission to participate, but you will have to remember your instrument!

Programme Committee

Dr Tim Shephard

Dr Simon Keegan-Phipps

Dr Dorothy Ker

Dr Renee Timmers

Helen Gubbins

Phil Robinson

Dr Matthew Machin-Autenrieth

Dr Michelle Assay