Music and image in cultural, social and political discourse

Association RIdIM: Conference, Canterbury 9-12 June, 2018

One of the most distinctive features of any cultural, social and/or political movement is its soundtrack—to the point where the music and its associated iconography may outlive the message for later generations. With or without words, the music and images accompanying social and cultural change are often their most powerful bequests to contemporary culture.

The annual conference of Association RIdIM welcomes proposals for papers which make a contribution to our ongoing discussion of music and image in cultural, social and political discourse. The full CfP may be found at

The official language of the Conference is English. Papers are limited to thirty minutes in length, allowing time for questions and discussion.

Proposals should be submitted electronically, from, no later than Monday 8 January 2018. There will be a registration fee of €uro 140.00.

The Programme Committee will make its final decision on the abstracts by 1 February 2018, and contributors will be informed immediately thereafter. Further information about the programme, registration, travel and accommodation will be available on the Conference Website (

Association Répertoire International d’Iconographie Musicale (RIdIM)

Badergasse 9, CH-8001 Zurich


New Perspectives on the Music of Sir Peter Maxwell Davies

Saturday 3 March 2018, Canterbury Christ Church University
(and 2 March 2018)


Call for Paper and Performance Presentations


The School of Music and Performing Arts at Canterbury Christ Church University is pleased to announce a study day on the music of Sir Peter Maxwell Davies on 3 March 2018. The keynote talk will be given by Dr Nicholas Jones (Cardiff University), and titled: ‘For the Islands I Sing: Composing the Orkney Landscape. Dr Jones is the author of many publications on the music of Sir Peter Maxwell Davies, and the editor of his forthcoming selected writings.


Sir Peter Maxwell Davies passed away in 2016 at the age of 81. Universally acknowledged as one of the foremost composers of our time, he was appointed Master of the Queen’s Music in 2004. ‘Max’ was a great friend to Canterbury Christ Church University, regularly working with our Music and Performing Arts students in his role as Visiting Professor and, latterly, Honorary Doctor. We were privileged to enjoy a long and fruitful relationship with Max over many years. His legacy endures, not only in the building named in his honour but also in the many staff and students whose lives and understanding of music were enriched by his teaching, inspiration and the extraordinary enthusiasm with which he shared his considerable talents and experience. This study day will explore Sir Peter’s music and influence within and beyond Christ Church.


Maxwell Davies’s ten Naxos Quartets (2001–07) were commissioned by Naxos Records and composed specifically for the University’s Quartet in Residence, the Maggini Quartet (whose viola player, Martin Outram, is Senior Lecturer in Music at Christ Church and conductor of the University Symphony Orchestra). The Naxos Quartets were rehearsed here, in the St Gregory’s Centre for Music, with the composer present in creative collaboration. The Maggini Quartet recorded all ten of the Naxos Quartets for the record label.


We welcome proposals for twenty minute papers exploring any aspect of the music of Sir Peter Maxwell Davies. Topics that could be explored include:

▪     Analysis of the music of Sir Peter Maxwell Davies;

▪     Reflections on performing the music of Sir Peter Maxwell Davies;

▪     Collaborative relationships in and around the music of Sir Peter Maxwell Davies;

▪     Sir Peter’s contribution to music education in the UK and beyond.


In addition, we welcome proposals for chamber performances that might be included in a lunchtime concert, or lecture recitals. These will be staged in St Gregory’s Centre for Music, the University’s flagship chamber music concert hall. The hall has Yamaha and Steinway C grand pianos. If your performance proposal contains anything out of the ordinary, please contact us to see if we can provide what you need. Unfortunately we cannot provide financial support to pay performers for the presentation of works.


Paper proposals should be for 20 minute presentations with 10 minutes of questions.

Lecture recital proposals should be for 30 minute presentations and performance proposals may be of any length.


Please send proposals to Dr Lauren Redhead <> by 5pm on Friday 1 December.


The study day will be preceded by a musical celebration on Friday 2 March which will include a lunchtime concert and afternoon workshop. (Full confirmed concert and workshop details will appear here in due course.) Delegates at the study day are very welcome at both events. During the study day, works by Sir Peter Maxwell Davies will be presented, and a specially commissioned installation will present further responses to his work

Encounters, Discussions, Experimentations: Art, Research and Artistic Research in Music

Nordic Research Symposium, Venice 16th to 17th June 2017

Uniarts Helsinki’s Sibelius Academy is organising a Nordic research symposium in Research Pavilion in Venice, Italy on June 16th-17th 2017 together with its partners, the Arne Nordheim Centre for Artistic Research at the Norwegian Music Academy and the Academy of Music and Drama at the University of Gothenburg. The two-day event focuses on music and the multifaceted interrelationships between music and research, as well as artistic research in music.

The Research Pavilion is created and hosted by Uniarts Helsinki. It is a platform for artistic research, hosting 3 international art exhibitions & 40+ cross-artistic events in the context of the 57th Venice Biennale.

Additional information and event programme:

Join us on Facebook

Public Musicology Symposium

Organized by the Society for Musicology in Ireland

The Kevin Barry Recital Room
National Concert Hall, Dublin
Wednesday 26 April 2017
Time: 08.30-18.30

This international one-day symposium on Public Musicology, organized by  the Society for Musicology in Ireland, is in accordance with the aims of that society: to nurture and highlight the role of music in education and broader society on a national and international platform. The aim of this symposium is to ask how musicology relates to the ‘public voice’, the voice of culture at large. At a time when the government is calling for a new level of connectedness between higher education and wider society, academics are under increasing pressure to address this issue of civic engagement. Additionally, as many of our doctoral graduates do not follow an academic career path, there is an urgent need to offer alternative pathways to graduate students forging a career beyond the academy.

Our eleven guest speakers will explore a diverse range of themes: careers in and beyond musicology, community-based projects, curating concerts and issues of programming, musicology in journalism, musicology and civic engagement, music theory, musicological entrepreneurship, public musicology in Ireland, public musicology projects, and musicology and the media. This symposium aims to bring together the published scholar but also the journalist, the writer of programme notes, the teacher, the radio broadcaster and any others in a position to affect the wider discourse on music. The primary objective of the symposium is to raise awareness of how music scholars, educators, music journalists and industry professionals engage with the public at large.


Keynote Speaker:
Prof. Christopher H. Gibbs

Bard College | New York

Dr Lorraine Byrne Bodley MRIA | Maynooth University | President of the Society for Musicology in Ireland
Prof. Harry White MRIA | University College Dublin
Prof. Julian Horton | Durham University
Dr Anne M. Hyland | University of Manchester
Dr Stephen Graham | Goldsmiths, University of London
Dr J. Griffith Rollefson | University College Cork
Dr Aidan Thomson | Queen’s University, Belfast
Dr Alexandra Buckle | Oxford University
Dr Melanie Marshall | University College Cork
Dr Deirdre Ní Chonghaile | NUI Galway


General Admission: €10
Student Tickets: FREE

Tickets are €10 which includes tea and coffee and admission to all sessions, including the keynote address by Professor Christopher Gibbs, Bard College, New York. Students attend for FREE but must register and purchase a student ticket. Please note that there will be a wine reception following the symposium: 18.30-19.15, The 1st Floor Foyer, outside The Kevin Barry Recital Room.

Please fill out the registration form, which also contains the link to purchase tickets, via the National Concert Hall Box Office. The link to the National Concert Hall Box Office is provided at the bottom of the registration form. Please click on the link to book your ticket:




If you have any queries in relation to the event, please contact the symposium coordinator, Barbara Strahan:

Funded by the Irish Research Council New Foundations scheme

Principles of Music Composing: ratio versus intuitio

17th International Music Theory Conference

November 8th – 10th 2017

Vilnius, Lithuania

The aim of the annual conference ‘Principles of Music Composing’ is to foster theoretical thought that is essential for compositional practice and education of composers. Sixteen conferences of this series have already been held in Vilnius. The 17th conference draws attention to the phenomena of rationality and intuition, which are considered to be contrasting yet complementary poles in the compositional process. Intuition often alters the realization of rational scheme, model or archetype chosen by the composer. Meanwhile rational revision may improve intuitive improvisation, sonorous vision, or the artistic idea.

The topic of the conference could be divided into suggested subtopics:

  1. Rational processes of composition and aural intuition (theoretical insights, definition, conceptions, typology)
  2. Musical work as the result of rational and intuitive creative activity (theoretical, historical and aesthetical aspects)
  3. Adaptation of interdisciplinary ideas in the compositional practice based on rational and intuitive origin
  4. Rational and intuitive qualities in new musical resources and techniques (sonorism, microchromatics, extended techniques, aleatory, electronics, etc.)
  5. ‘Rational’ and ‘Intuitive’ composers: features of their works and the creative process
  6. Phenomena of rationality and intuition in the contemporary compositional practice
  7. Lithuanian composers: between rationality and intuition

Paper proposals (abstract and a short biography) should be sent by email . The abstract must not exceed 500 words. The duration of full presentation is limited to 20–25 minutes.

 The main language of the conference is English.

The deadline for proposal submissions is August 20th 2017. Proposals will be reviewed by the members of the scholarly committee and all applicants will be notified of the outcome in the beginning of September 2017.

The participation fee is 20 Euros.

Selected papers of the conference will be published in the annual peer reviewed scientific journal ‘Principles of Music Composing’. 

ARTikulationen – Artistic Research Festival

October 5th-7th 2017, University of Music and Performing Arts Graz, Austria.

The Artistic Doctoral School of the University of Music and Performing Arts Graz will be holding its annual conference focusing on Artistic Research. The program will feature keynotes, lecture-recitals, guest-lectures etc. All contributions by the doctoral candidates will be considered for a Best Practice Award.

More detailed information will be provided soon.

Electroacoustic Winds 2017: SYNCHRESIS – Audio Vision Tales

EAW 2017, November 13th – 17th, University of Aveiro, Portugal

The International Conference Electroacoustic Winds 2017: SYNCHRESIS – Audio Vision Tales is organised by the Center of Electroacoustic Research (CIME), the Institute for Ethnomusicology – Research Center for Music and Dance (INET-MD), Research Institute in Design, Media and Culture (ID+) and CIC.Digital. This conference seeks to establish bridges between Music Creation, Design & Soundscapes and New Media.

The relation between Sound and Image, two different languages within the multimedia art form, and the technological tools to improve this relationship are at the nucleus of this symposium. There are many research areas that address this problem in one way or another. Our main focus will be not only on the relationship itself, discussing the argument from both technical-linguistic and aesthetic points of view, but also the discussion on how technology is enabling these two mediums to merge, creating tools of manipulation that enhance not only the artist’s creativity but also the audience’s immersion. 

Abstracts and Posters for the Conference
Deadline for submission of abstracts: April 28th, 2017.
Pre-notification of acceptance or rejection of abstracts: June 28th, 2017.
Deadline for submission of the reviewed abstracts: July 28th, 2017

Folk Music as a Fermenting Agent for Composition, Past and Present

Gheorghe Dima Music Academy in Cluj-Napoca, Romania

in collaboration with

Sigismund Toduţă Doctoral School and the Association of the Composers and




is pleased to announce the Symposium


Folk Music as a Fermenting Agent  for Composition,

Past and Present


hosted by Gheorghe Dima Music Academy on April 27, 2017 and coordinated by musicologist Bianca Ţiplea Temes.

The event is organized within the “Cluj Modern” Festival and features an exciting line-up of contributors, aiming to provide a forum for a dialogue among scholars from various musical standpoints.



 Session 1:   In Bartók’s Wake


William Kinderman (Illinois University) – keynote speaker

Béla Bartók’s Idea of “Idealized Folk Music”: A Community of Peoples “despite all war and strife” 


Vikárius László (Budapest Bartók Archives, Institute for Musicology, Research Centre for the Humanities of the Hungarian Academy of Sciences; Ferenc Liszt Academy of Music)

Bartók’s Credo: Editing Cantata Profana for the Béla Bartók Complete Critical Edition


István G. Németh (Institute for Musicology, Research Centre for the Humanities, Hungarian Academy of Sciences, Budapest)

‘Verbunkos’, Béla Bartók, and Adrian Pop: A Hidden History of Folk Musical Influence


Dan Variu (Gh. Dima Music Academy Cluj-Napoca)

(Pan)Cultural Interference as a Compositional Tool


Pavel Puşcaş (Gh. Dima Music Academy Cluj-Napoca)

Archetype and/or Sonorous Substance


Bianca Ţiplea Temeş (Gh. Dima Music Academy Cluj-Napoca)

Modern Tapestry from Vintage Fabrics: Colindă Baladă by György Kurtág


Session 2:    Folk music worldwide


Feza Tansuğ  (Istanbul)

The Humanely Unison: Beethoven’s Turkish Source of Inspiration in His Chorus of Dervishes


Javier Suárez-Pajares (Universidad Complutense Madrid)

“Folk Traditions and Sources in the Guitar Works of Julián Arcas (1832-1882) and His Contemporaries”


Belén Pérez Castillo (Universidad Complutense Madrid)

From Conflict to Normalization: Two Approaches to the Basque Folk Heritage from the Spanish Concert Music


Nicolae Gheorghiţă (National University of Music Bucharest)

In the Service of Propaganda: Aesthetic Discourses and Musical Genres in the Music of the Romanian People’s Army


Ioan Haplea  (Gh. Dima Music Academy Cluj-Napoca)

Ratios and Proportions in Folklore and in Several Works of Cristian Misievici. The Issue of Privileged Locations in Anonymous and in Cultured Musical Speech


Adrian Pop (Gh. Dima Music Academy Cluj-Napoca)

Did George Enescu Know Romanian Folklore?

REEM Annual Conference 2017

Music and Revolution

Goldsmiths, University of London


On the occasion of the centenary of the Russian revolution, the BASEES Study Group for Russian and Eastern European Music invites proposals for its 2017 conference, to be held at Goldsmiths, University of London, on Friday 15th December. The theme of the conference is ‘Music and Revolution’, and we welcome proposals that deal with a broad range of revolutionary moments in Russia and Central and Eastern Europe: from Decembrists to Bolshevists, from Springs to Singing Revolutions and the collapse of communism.

Possible topics include, but need not be limited to:

  • Music at the time of and in response to revolution
  • Protest music and revolutionary song
  • Sounds and soundscapes of revolution
  • Musical change and continuity post-revolution
  • Politicisation of music
  • Emigration, exile and changing musical landscapes

The conference’s official language is English.

Abstracts of no more than 400 words and short biographical notes (c.200 words) should be sent to by 1st May 2017. Abstracts will be reviewed and the results announced by mid-June.

REEM has a modest amount of money available to assist speakers, especially postgraduates and those without access to other funds, with the costs of attending. If you would like to be considered for such funding, which is likely to cover only an element of your travel and/or accommodation, please indicate this in your proposal.


Convenors: Tamsin Alexander, Philip Bullock, Pauline Fairclough, Katerina Levidou, Ivana Medić, Danijela Špirić-Beard and Patrick Zuk.

Any enquiries should be sent to