10th Music and Media meeting

 Call for Papers 10th MaM meeting (Salamanca, June 2018)



IMS Study Group “Music and Media” (MaM) and University of Salamanca


Location: University of Salamanca, Spain


Dates: 13-16 June 2018



Call for papers:

The 10th annual conference of the IMS study group “Music and Media” (MaM) will be held in Salamanca, Spain, concurring with the 11th edition of the international symposium La Creación Musical en la Banda Sonora. Both gatherings are part of the University of Salamanca’s 800-year celebration.


Academics, practitioners, and postgraduate students are invited to submit papers and/or panel proposals on the following areas of interest, including (but not limited to):


  • 2009-2018: a decade of studying the interaction between music and media – retrospectives & perspectives;
  • music and documentary film;
  • streaming media soundtracks;
  • new methodologies for studying soundtracks in all audiovisual media.



Proposals for 20 minute long papers in English are welcomed. Each submission should include the following information: author(s) name(s), academic affiliation(s), e-mail address(es), title of presentation, abstract (300 words max.), (a) short CV(s) and a list of technological requirements (overhead, powerpoint, etc).


All proposals must be submitted by 20 March, 2018 to e.wennekes [AT] uu.nl


Program committee:

Emilio Audissino (University of Southampton), James Deaville (Carleton University), Matilde Olarte Martínez (University of Salamanca), Michael Saffle (Virginia Tech), Emile Wennekes (Utrecht University).





Music and Musicology in the Age of Post-Truth

7-8 September 2018 University College Dublin

In recent months alternative facts, fake news and similar terms have become more and more commonplace among politicians, media and other public influencers alike in what is now often called the age of post-truth. Expertise appears to be discredited, gut feeling at least as important as facts, and facts themselves no longer valid and reliable. Often postmodernism and poststructuralism are blamed for the rise of a relativism that lies at the heart of post-truth attitudes. But is this really the case? And how should an academic subject such as musicology react to this development? Given the impact that postmodernism and post-structuralism have had on our disciplinary development, do we as academics in general and musicologists in particular have a special responsibility to engage productively with this challenge – as researchers, educators and last but not least as citizens? Are there potential music- specific reactions to the post-truther’s mindset? How can / should we adjust our teaching in this environment? And what role does music / do musicians play in the new “culture war” that we now find ourselves in? How is music utilised by either side? Are there differences in the responses from within popular, traditional and art music (and their respective musicologies)? Is our task as academics to neutrally analyse and describe developments, or rather to try and actively influence them through research, teaching and as public intellectuals – and if so, how?

This conference, jointly hosted by the UCD School of Music and the UCD Humanities Institute, and supported by the Society for Musicology in Ireland, the Irish chapter of the International Council for Traditional Music, and the International Association for the Study of Popular Music (UK and Ireland) will investigate these and similar questions. We invite proposals for papers of twenty minutes’ duration to be followed by ten minutes of discussion.

Please submit abstracts of up to 250 words, together with a CV of up to 150 words, your contact details and the technical requirements of your presentation in a single, word-compatible file by Friday, 9 March 2018 to wolfgang.marx@ucd.ie. We also invite proposals for themed sessions; in this case there ought to be an additional abstract of 150 words outlining the rationale behind the session. We aim to notify participants within four weeks after the deadline.

Conference Committee

Wolfgang Marx (University College Dublin)
Siobhán Donovan (University College Dublin)
Anne Fuchs (University College Dublin)
John Millar (University College Dublin)
Lonán Ó Briain (University of Nottingham) Caroline O’Sullivan (Dublin Institute of Technology) Timothy Summers (University College Dublin)

Bulgarian Culture in the First Half of the XX Century, Interactions and Music Contacts

The Department  History of Music and Ethnomusicology  in National Musical Academy “Prof. Pancho Vladigerov” invite you to partake in the Eighthh “ACADEMIC SPRING READINGS” on the 25-26th of April 2018.

The international scientific conference this year is on the topic “BULGARIAN CULTURE IN THE FIRST HALF OF THE XX CENTURY, INTERACTIONS AND MUSIC CONTACTS”.

Our idea is to reveal and trace the links and interactions between the musical cultures of Bulgaria and other countries around the world as well as between the artists in different spheres of Bulgarian culture.

Our Academy provides your 2 overnight stays in Sofia.

Your reports will be published in a collection of papers from the conference.

Please, send your requests to participate by March 15, 2018.

You can possibly  participate in absentia by sending your report on e-mail address:


Prof. DSc. Milena Bozhikova

Institute of Art Studies

Bulgarian Academy of Sciences

“Padron mio colendissimo…”: Letters About Music And Stage in the 18th Century

Call for Papers




Queluz National Palace, Portugal (June 29th -July 1st, 2018)


Divino Sospiro – Centro de Estudos Musicais Setecentistas de Portugal (CEMSP)

Scientific Board:

Maria Ida Biggi, Francesco Cotticelli, Cristina Fernandes,

Paologiovanni Maione, Giuseppina Raggi, Iskrena Yordanova


Alberto Beniscelli and Raffaele Mellace (Università degli studi Genova, Italy)

DS-CEMSP is organizing from June29th through July 1st 2018 an International Conference at the National Palace of Queluz (Portugal), dedicated to correspondence about music and stage during the 18th century.

The conference aims to further a multidisciplinary dialogue about the important role which epistolary exchanges play in the reconstruction of theatrical contexts all over Europe in the early modern age. Archival sources, private letters, official documents are not only rich in precious data and information, but can also provide elements for new research perspectives, both related to their methodological implications and to the interpretation of music and theatre and its current revival. Correspondence often bears witness to the reconstruction of performers’ careers and theatrical venues, to the transfers of professionals and repertoires, to the questions about historical performance practices, as well as social themes and production issues.

Scholars and researchers from various scientific areas are invited to submit their individual proposals with the maximum length of 20 minutes per paper. Session proposals will be also accepted: a maximum of three or four papers will be taken into consideration, and the session should not exceed 1h30.

Official languages of the conference are Portuguese, Italian, English and Spanish.

Abstracts in Word format (.doc), should not exceed 300 words. Please enclose in the same file brief curriculum vitae of 150 words max., providing your name and surname, postal address, e-mail and telephone number, as well as you institutional affiliation. Deadline for sending abstracts is March 30th 2018.

E-mail: cemsp@sapo.pt    Web: http://cemsp.blogspot.pt/

The scientific board will examine all abstracts by April 15th 2018, and contributors will be informed immediately thereafter.

Technologies of singing. Investigations of the dispositive singing – body – media at the dawn of sound recording

Call for Papers

International and interdisciplinary conference November 2-4, 2018 at
Detmold University of Music


From March 2016 the DFG-funded project “Technologies of singing” was established as a joint project of University Paderborn and Detmold University of Music. Recordings of singing voices from the first decade of the 20th century are investigated with respect to acoustic aspects (how does the voice’s timbre change?) and their relation to body and media discourses of that time. Instead of accepting recordings as documents of vocal praxis, we understand them as sources of media-based aesthetics that are closely linked to singing praxis and body history.


The project will be completed in November 2018 by an international and interdisciplinary conference that shall present and discuss the results from the work performed within the project. The international research community is invited to contribute with an oral or poster presentation related to or extending the following research topics:


  1. Careers of singers || media
    • Gramophone kills the opera star – To what extent are careers of singers determined by the sound recording medium?
    • Life is Live – What role do live performances play for media careers?


  1. Interaction between technique and voice
    • Technique || voice: What is the influence of (historic) recording devices and conditions on singing?
    • The phonograph is not an opera house: What aesthetic ideas and ideals influenced voice recordings?


  1. Singing || Body || Media discourses
    • Concepts: What role did the development of technical media play for the conception of singing and body?
    • Pedagogics: Can paper documents of singing pedagogics be read as sources of body discourse?
    • Body-ness || bodiless-ness: Where has the body gone in sound recordings? What role does the experience of a bodiless voice play?



Please send an abstract of max. one page and a short curriculum vitae by February 15th, 2018 to julia.daihs@hfm-detmold.de. The congress committee will decide about acceptance of the contribution as oral or poster presentation depending on the number of submissions. A decision will be communicated by March 31, 2018.



  • Oral presentation 20 min. talk + 10 min. discussion
  • Poster presentation: A0 upright format

A poster award will be given to the best poster, the decision will be made by the conference participants.


The conference languages are English and German.


A supplement to travel and accommodation expenses will be offered on demand. No conference fee will be required.


A book publication of selected contributions is planned. The deadline for submission of manuscripts will be December 31, 2018. Details will be made available in due time.


Further information will be continuously updated on the project webpage:



Conference chairs:

Prof. Dr. Rebecca Grotjahn, Musicology seminar of Paderborn University and Detmold University of Music (grotjahn@mail.uni-paderborn.de)

Prof. Dr.-Ing. Malte Kob, Erich Thienhaus Institute, Detmold University of Music (kob@hfm-detmold.de)

Dr. Karin Martensen, Musicology seminar of Paderborn University and Detmold University of Music (karin.martensen@uni-paderborn.de)



Julia Daihs, Detmold University of Music (julia.daihs@hfm-detmold.de)



Music and image in cultural, social and political discourse

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

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

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

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

Proposals should be submitted electronically, from https://ridim.org/application-form-ridim-conference-2018-canterbury, no later than Monday 8 January 2018. There will be a registration fee of €uro 140.00.

The Programme Committee will make its final decision on the abstracts by 1 February 2018, and contributors will be informed immediately thereafter. Further information about the programme, registration, travel and accommodation will be available on the Conference Website (https://ridim.org/conferences-2).

Association Répertoire International d’Iconographie Musicale (RIdIM)

Badergasse 9, CH-8001 Zurich



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 <lauren.redhead@canterbury.ac.uk> 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: 

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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: https://goo.gl/forms/WkCbqMRS48FaAc533




If you have any queries in relation to the event, please contact the symposium coordinator, Barbara Strahan: Barbara.M.Strahan@nuim.ie

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 pmc@lmta.lt . 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’.