International Forum for Young Art Researchers Science Spring – 2019

Tuesday 16 April – Friday 19 April 2019

State Institute for Art Studies. Moscow, Russia

Call for Papers

‘Science Spring’ Forum is the unique annual scientific event for young researchers of art and culture. The initiative, concept and program development of the Forum belongs to SIAS Ph.D. students.

Our goal is to invite colleagues to a scientific dialogue as well as share our own experience, talk about themes and methodology of our research and discuss the controversial issues of our works.

Forum statement:

Where’s the revolution? Search for new approaches in the Metamodernism era

Potential topics for discussion:

  • Art perception and interpretation – modern experience
  • Nature as a source and space of artistic ideas
  • Teatralization as an artistic method
  • Communications mechanisms of influence in art
  • Communications mechanisms of understanding in art studies

We accept participation requests from:

  • Art researchers of all specialties
  • Philologists
  • Philosophers of art and culture
  • Theorists and historians of culture
  • Experts in music and theater, artists
  • Museologists, curators

Forum audience is welcome to take part in discussions. Anyone can join discussions and feel him/herself a part of the young scientific community. This is especially important for students who are just starting their journey in science.

If you wish to participate in the Forum, please send your application till February 15, 2019 to:

We accept applications filled out according to the approved form (see below). Applications filled out not in accordance with the form and with violations of the requirements will not be accepted.

Participation in absentia is not permitted.

Participants will bear the costs of travel and accommodation.

Forum venue: Moscow, Kozitsky Lane, 5.

Organizing committee

SIAS PhD students:

N. Ruchkina, E. Sakovskaya, E. Miroshnikova, A. Orlova, E. Fomina, V. Aleksandrova, N. Kiryanova, V. Voytekunas.


Applications are accepted till February 15, 2019 at

Applications filled out not in accordance with the form and with violations of the requirements will not be considered.

Full name 
 Contact details
Phone number+
Place of study (please indicate fully, but without faculty and department) 
Status (please underline)• undergraduate student • graduate student • postgraduate student • independent researcher
Research topic (e.g. master or doctoral thesis) 
Main scientific interests 

Supervisor of studies

Full name 
Academic degree / Academic title 
Participation form (please underline)conference (report)panel discussion
Special technical requirements: besides a laptop and a projector (indicate if required) 
Subject of the paper: 


(Not less than 1000 and not more than 3000–3500 characters, including spaces)

Transnationalism and Transculturalism in Canadian Music, 1969-2019

Call for Papers

Study Day: Transnationalism and Transculturalism in Canadian Music, 1969-2019

University of Ottawa

School of Music

Friday, 27 September 2019

In the context of celebrations to mark its 50th anniversary, the School of Music at the University of Ottawa will host a study day on Friday, September 27th, 2019. Entitled “Transnationalism and Transculturalism in Canadian Music, 1969-2019,” it will provide a forum for exchange and debate around Canadian contemporary classical music and the ways in which it has been impacted by globalization, immigration, displacement, exile, multiculturalism, exoticism and any other phenomena that point to creative dialogues and encounters that transcend Canada’s historically-constituted geographical and cultural borders. Concentrating on music composed in the classical tradition, this study day aims to promote scholarly work on both established and lesser-known Canadian composers and musicians.

The organizers invite proposals that prioritize links between the three broad themes outlined below:

1)         Canadian Composition and Immigration, Emigration, Exile, and Displacement

-In what ways has international mobility affected specific Canadian composers and their musical works?

– How have Canadian composers negotiated transcultural attachments to other countries in their works?

-How have exile and displacement been treated by Canadian composers, whether in their narratives about themselves or in their music?

-What roles do specific regionalist and/or local cultures play in Canadian transcultural music creation?

-In what ways have international diasporic communities played a role in the creation of contemporary Canadian works?

2)         Canadian Composition and the Imagined Other

-In what ways have Canadian composers imagined and incorporated international musical and artistic influences in their works?

-How have globalization and the development of technologies that promote international exchange and communication influenced Canadian composers?

-How have Canadian composers negotiated the musical and aesthetic influences of both Western Europe and the United States in their creative endeavours?

-How has exoticism functioned within Canadian compositional practices?

 3)        Canadian Composition and International Training and Mobility

-How has the foreign training of Canadian composers impacted their musical language, style, and creative choices?

-How has participation in international festivals and musical events impacted Canadian musicians?

-How have international commissions played a role in the activities of Canadian musicians?

-How has the international exposure and mobility of Canadian musicians been received both in Canada and abroad?

We welcome proposals for 20-minute presentations that investigate contemporary Canadian music in a transnational context. The official languages of the study day are French and English. Please send a 250-word summary of your proposed presentation to In your covering email, please provide your full name and institutional affiliation (if applicable). The deadline for receipt of proposals is March 4, 2019. Selected participants will be informed by late March 2019.


Christopher Moore (University of Ottawa)

Program committee

Geneviève Bazinet (University of Ottawa)

Jean Boivin (Université de Sherbrooke)

Jonathan Goldman (Université de Montréal)

Roxane Prevost (University of Ottawa)

The Work Level in RISM

CFP: Conference/Workshop on the Work Level in RISM
Akademie der Wissenschaften und der Literatur
Mainz, Germany
Deadline: 31 January 2019
Conference dates: May 9 to 11, 2019

Libraries worldwide have been discussing work titles with increasing intensity. Transferring this idea to musical works seems particularly plausible at first glance, as the production of catalogs of works has a tradition of more than 100 years in musicology.

However, especially in recent decades, the concept of the work itself has been uncovered as a construct of the 19th century. Nevertheless, work titles in libraries are an important tool with which musical sources, modern printed music, books about specific musical works, and audiovisual media can be given detailed cataloging and made available. RISM (Répertoire International des Sources Musicales) would therefore like to adopt this tool by introducing a work level.

The conference/workshop is intended to enable a dialogue for the different points of view and expectations of musicologists and librarians and to develop solutions for RISM as a project between the two sides.

RISM will make every effort to provide a subsidy for speakers to participate in the conference.

Send abstracts of ca. 10 lines in English or German to the RISM Central Office by 31 January 2019: contact -at –

See the conference website for more information in English and German:

Tenor 2019 Conference [Deadline Extended to Jan. 30, 2019]

The submission deadline for Tenor 2019, which is being held at Monash University in Melbourne, Australia, has been extended until January 30, 2019.

This five-day conference is dedicated to issues in theoretical and applied research and development in music notation and representation, with a particular focus on computer tools and applications, as well as a connection to music creation. ‘Technology’ in the conference title refers to any means that may contribute to the notation, representation and/or visualisation of music and sound, for purposes that may include (but not limited to) music composition, performance, representation, transcription, analysis and pedagogy.

Please follow the link for more information:

IMS2019 Lucerne: Agency and Identity in Music

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

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

Visit for more details:

Location: Lucerne, Switzerland

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

The Culture-Making Role of Musical Patronage. Contexts – Meanings – Perspectives

Wrocław Musicological Conference

22-24 May 2019, Poland

Institute of Musicology, University of Wrocław

Call for papers

The Institute of Musicology at the University of Wrocław invites you to participate in the Wrocław Musicological Conference, the topic of which will be musical patronage in its broad sense: The Culture-Making Role of Musical Patronage. Contexts – Meanings – Perspectives. The conference will be held on May 22–24, 2019 in Wrocław. We invite both young and experienced researchers (not only musicologists) from various academic centres in Poland and abroad. We would also like to emphasize that the organizers do not request any registration fee from participants.

The proposed subject area has its own research tradition, which is reflected in the extensive musical historiography. Nevertheless, the need for the research continuation, reflection, discussion and setting new perspectives in historical research as well as in contemporary forms of functioning and organizing musical life is still emphasized. Art has always been supported by founders and sponsors, which was not without influence on stylistic aspects of composing and performing and as a result it contributed to changes in musical culture. During this conference, we also would like to take into account various approaches presented in the discussions about the so-called „new musicology” and its results.

The aim of the conference is to draw attention to the reasons and ways of supporting the artists in different historical periods, to the context of social relations between artists and their patrons together with mutual expectations resulting from the established cooperation and to discuss contemporary problems of musical life, e.g. the functioning of artists, cultural institutions and musical education, using music resources or participation of new media in supporting artists. The outlined subject area implies the following questions and research problems:

  • how has the status of a musician been changing along with the transformation of the form of patronage in the historical perspective?
  • how has music become a political tool used by the rulers – art patrons?
  • how was traditional music supported in the history and how is it nowadays?
  • issues connected with the activity of publishing houses, ordering musical compositions, printing rights, radio or TV broadcasting.
  • issues of the methodology of musicological research referring to the terminology functioning in music historiography terminology, such as: ‘musical patronage’, ‘musical auspices’, ‘founder’, ‘sponsor’, ‘political patronage’, ‘cultural patronage’, ‘patron–client’, ‘prestigious consumption’, etc.
  • what form of support for artists do we need nowadays?
  • what is the role of cultural institutions, media, music festivals and schools in the development of contemporary patronage?

These and many other questions arise in the context of the proposed subject matter of the conference. The organizers do not exclude the possibility of accepting submissions on topics that have not been mentioned here explicitly. The basic issue of presented papers shall be the music culture of the areas located within the past (historical, changing throughout different ages) and present boundaries of Poland or those remaining in direct political relations with Poland (such as real or personal union). Since the subject area is wide and many aspects of musical patronage refer to various historical periods, we propose to present them in three problem panels.

  1. Music foundations and patrons of music (patronage from the institutional perspective: music courts, churches, monasteries, convents, synagogues, Orthodox churches, schools and other places where the art of making music was supported as well as animators of musical life).
  2. Musical education and the role of new media (the use of collections from the tradition of oral culture, the role of music festivals and concerts, reception of collected music material, ways and perspectives for the further use of the resources).
  3. Contemporary forms of musical patronage (people managing cultural, science and educational institutions).

Our special guest will be Professor Reinhard Strohm (Oxford University), who will give an inaugural lecture during the conference: Frederick II of Prussia and Italian opera

There will be also an opportunity to take part in accompanying events such as music concerts and sightseeing in Wrocław, taking into account the musical context.

The deadline for submitting papers proposals is February 15, 2019. The official conference languages will be Polish, English and German. The time limit for a presentation is 20 minutes. Please submit your paper proposal (including a topic, an abstract – up to 300 words, affiliation and a short biography of the author – English version is obligatory) at the following e-mail address: There will be a possibility to publish the articles in a post-conference book as it was from the other events.

Please visit the conference website, where all detailed information on the event will be posted.

Scientific Board of the Conference:

  • Prof. Dr. Maciej Gołąb
  • Prof. Dr. Bożena Muszkalska
  • Prof. Dr. Remigiusz Pośpiech
  • Prof. Dr. Zbigniew J. Przerembski
  • Dr. Agnieszka Drożdżewska
  • Dr. Grzegorz Joachimiak
  • Dr. Ziemowit Socha
  • Dr. Sławomir Wieczorek

Organizing Committee:

  • Prof. Dr. Remigiusz Pośpiech
  • Dr. Grzegorz Joachimiak
  • Agnieszka Grudzień, MA – doctoral candidate in the Institute of Musicology at the University of Wrocław
  • Aleksandra Wróblewska, MA – doctoral candidate in the Institute of Musicology at the University of Wrocław

New Takes on Recorded Music: Performance, Creativity, Technology

A Performance Studies Network Research Forum

5 – 6 September 2019, University of Surrey

This PSN research forum is the first of its kind complementing the biennial PSN International Conferences. This event seeks to renew and nurture dialogue among a range of different disciplines and artistic fields within which practitioners and scholars continue to explore the identity, role, and function of recorded music through varied approaches in the digital age. This event aims to stimulate critical discussion on existing and new trends in research, especially the intersection between creative practice and technology, as well as artistic and scientific inquiry.

We welcome proposals which seek to explore, challenge, or rehabilitate traditionally assumed binaries in the face of technological mediation, such as ‘text vs. performance’, ‘product vs. process’, ‘creation vs. reproduction’, ‘recorded vs. live’, ‘material vs. virtual’, or ‘embodied vs. disembodied performance’. Contributions with an applied or practice-based focus, and those that explore the cross-fertilisation of research methods are also particularly encouraged. All types of musical style, genre, and artistic practice are invited for consideration. This PSN forum embraces a broad definition of ‘recording’ and ’recorded music’ in order to encompass the many different formats and technological media through which music is experienced as performance, and the wide range of approaches for scholarly and artistic engagement. Contributions from postgraduate researchers, and early career researchers/practitioners are particularly welcome.

Proposals can be submitted by email to Dr Georgia Volioti (g.volioti -at- by 30 March 2019.

Programme Committee: Professor Amanda Bayley (Bath Spa University, UK), Dr Daniel Barolsky (Associate Professor, Beloit College, US), Dr Amy Blier-Carruthers (King’s College and Royal Academy of Music, UK), Dr Georgia Volioti (main organiser, University of Surrey, UK).

Proposals are invited that address (but are not limited to) any of the following themes:

  • Ethnographies of recordings (e.g., documenting the recording process, capturing performances in cross-cultural contexts)
  • Performance style and interpretation (e.g., re-evaluating artists, repertories, and performance practices in light of new evidence from recordings and/or new research methods)
  • Analytical approaches (especially those that challenge traditional ideologies and assumptions)
  • Recordings and artistic practice (e.g., the recording process as artistic practice, recording techniques as compositional materials, mixing live and recorded performance, intermediality and performativity)
  • Applied psychological perspectives (e.g., evaluating performance from recordings / recording reviews, performers’ reflective practice using recordings, aural modelling and stylistic assimilation, recordings and self-regulated learning)
  • Pedagogical contexts (e.g., teaching recording/studio techniques, learning to be a musician through making recordings, recordings and creative teaching practice, using technology to foster connectivities in pedagogical contexts) 
  • Recorded music in other cross-cultural contexts (e.g., in therapeutic settings, in community music making, re-imagining the past through the lens of technology)

Submissions are invited for:

  • Individual spoken papers (20 minutes) – 250-word abstract.
  • Practice-based workshops or recitals (45 minutes maximum) – 300-word abstract including details of excerpts / scores / recordings of works to be presented in the event, plus participant CV (no longer than 1 side of A4).

All submissions should include a short author/contributor biography: 150-word (maximum).

All submissions should be structured according to the following sub-headings: Title, background, research questions, outcomes/content, significance/impact.

For any further information, please contact: Georgia Volioti (g.volioti -at-

Music Patronage in Italy from the 15th- to the 18th- Century

Call for Papers

The Centro Studi Opera Omnia Luigi Boccherini of Lucca is pleased to invite submissions of proposals for the symposium «Music Patronage in Italy from the 15th- to the 18th- Century», to be held in Lucca, Complesso Monumentale di San Micheletto, from 16 to 18 November 2019.

During the Renaissance and throughout the Baroque and Classical periods, musical production is linked to patronage. Predominantly in the courts – ecclesiastical or secular – the ‘patron’ is a rich person, usually noble, who offers protection and money in exchange for a service. The musician s work on commission, in keeping with the requests of their patrons. Although the artists of the referred period managed to express themselves in works of excellent craftsmanship , it is undeniable that the system repressed or at least channelled their creativity. There is in fact a master-servant relationship between patrons and salaried workers and, although the exposure to each other was close and often collaborative, it is inappropriate to think of an equal relationship.

There are essentially two types of patronage. The first relates to political institutions, to public life, and aims to promote musical events that highlight the wealth and power of the patron in the eyes of rival courts and subjects – hence the birth of the court chapels. The second type belongs to the private sphere, in which the patron, of noble birth and as such in possession of high moral and intellectual virtues, possesses a discriminating artistic sensibility — hence the promotion of chamber music activities, the collecting of rare and valuable musical instruments, and the compilation and collection of musical manuscripts, possibly in deluxe or personalized copies .

This musical production system, as described, lasted until the middle of the nineteenth century, when the advent of capitalism and the rise of the bourgeois class caused the decline of patronage. Musical activity then began to obey the laws of the marketplace, with substantial repercussions on the social status of the musician and his work.

This conference focuses on the various aspects of music patronage in Italy from the fifteenth to the eighteenth century. The programme committee encourages submissions within the following areas, although other topics are also welcome:

– Patronage and institutions

– The private sphere of patronage

– Music Patronage and the Church

– Patronage and musical genres

– Patronage and censorship

– The patronage system and the social status of the musician

– Patronage and musical print

– Patronage and manuscript production

– Patronage and musical collecting

Programme Committee: 

• Roberto Illiano (Centro Studi Opera Omnia Luigi Boccherini)

• Fulvia Morabito (Centro Studi Opera Omnia Luigi Boccherini)

• Massimiliano Sala (Centro Studi Opera Omnia Luigi Boccherini)

Keynotes Speakers:

Iain Fenlon (University of Cambridge)

Reinhard Strohm (University of Oxford)

The official languages of the conference are English and Italian. Papers selected at the conference will be published in a miscellaneous volume.

Papers are limited to twenty minutes in length, allowing time for questions and discussion. Please submit an abstract of no more than 500 words and one page of biography.

All proposals should be submitted by email no later than ***Sunday 14 April 2019*** to <>. With your proposal please include your name, contact details (postal address, e-mail and telephone number) and (if applicable) your affiliation.

The committee will make its final decision on the abstracts by the end of April 2019, and contributors will be informed immediately thereafter. Further information about the programme, registration, travel and accommodation will be announced after that date.

For any additional information, please contact:

Dr. Massimiliano Sala

The Art Song Platform: Traditions and Current Practices

Institute of Musical Research Grants Series

In affiliation with the Royal Musical Association

Goldsmiths, University of London, May 10th, 2019


Proposals are invited for The Art Song Platform – Traditions and Current Practices, a study day at Goldsmiths, University of London on May 10th, 2019.While not excluding any strands of research in the genre of art song, the emphasis will be placed on performance, especially seeking insights that might emerge from a dialogue between academia and performance institutions. The event aims to bring together scholars and performing artists, particularly encouraging applications from PhD students and early career scholars/performers.

The event, free to attendees and open to the public, will consist of panels with individual papers, research/performance reports and lecture recitals. The study day will end with an hour-long round table closing session covering the main topics of the event.

Presentations will be welcomed on a range of topics including, but not limited to:

  • Art song – history, analysis, cultural contexts, performance and performers, reception, embodiment and identity
  • Performance of the repertoire today (industry, programming,different contexts, settings, formats and media, collaboration with non-musicians)
  • Composition and performance of new repertoire, including collaboration between composers and performers

Duration of presentations:

– Individual papers: 20 minutes, followed by 10 minutes of discussion.

-Research/performance reports: 10 minutes, followed by 10 minutes of discussion/workshop on programming. This format will provide a platform for showcasing “works-in-progress”and allow for more participants with greater scope for discussion.

-Lecture recitals: 20 minutes, followed by 10 minutes for questions from the audience. 


Abstracts of c.300 words and a short biography of c.150 words should be submitted for all proposals by January 20th, 2019 to the following email address:

Please indicate the type of presentation you are proposing, technical requirements and whether your presentation includes a performance aspect, and, if so, who will take part. There is a possibility of arranging for an official accompanist for the event so please indicate whether you would need one.

Applicants will be notified of the outcome by February 22nd, 2019.


A number of up to £50 bursaries provided by IMR grant is available for students and unwaged early career scholars to assist with their travel expenses. The Royal Musical Association will provide two bursaries to the successful applicants who are RMA members. Preference will be given to applicants whose presentation includes a performance aspect.

Please indicate in your email whether you are applying for a bursary and whether you are a RMA member.


Professor Simon McVeigh, Goldsmiths, University of London

Professor Laura Tunbridge, Oxford University

Dr Chris Dromey, Middlesex University

Dr Verica Grmusa, Royal Holloway, University of London

International Conference ‘Explicitly Intertextual Music since 1890’

Gdańsk, 23rd-24th May 2019

organized by the Stanisław Moniuszko Academy of Music in Gdańsk, Institute of Music Theory

Call for papers

Intertextuality, as a concept of contemporary knowledge on literature and art, is – according to Ryszard Nycz – ‘a category used to define this dimension of construction and meaning of a text (a work of art), which points to irremovable, intrinsic dependence of its creation, object status and reception on the existence of other texts and archi-texts (stylistic-specific rules, discursive-generic conventions, semiotic-cultural codes), as well as on the ability of persons participating in cultural cognition and communication process to recognise these inter- and archi-textual references’. What are the possibilities and limitations connected with transposing this category into the situation of music understood as a message?

In the 20th and 21st century there have been many composers who, in different ways, referred to traditional forms, genres, styles, conventional measures or techniques; they cited, paraphrased or transformed, in a specific manner, other musical ‘texts’. Those strategies became norms of their own compositional ‘languages’. Among these composers were, for example, Gustav Mahler, Charles Ives, Igor Stravinsky, Benjamin Britten, George Rochberg, Alfred Schnittke, David Del Tredici, Vladimir Martynov, Salvatore Sciarrino, Wolfgang Rihm, Michael Daugherty, Paweł Szymański, Osvaldo Golijov, Thomas Adès, Jörg Widmann, Maxim Kolomiiets, Andrzej Kwieciński. Are we able to recognise all the references to other texts, made by the above-mentioned composers? Which inter- and archi-texts evoke our quicker reactions? What are the benefits of recognising inter- or archi-texts?

The conference will address two groups of issues: (1) theoretical, methodological and aesthetic aspects of intertextuality in music in critical approaches, (2) interpretation of explicitly intertextual works from the area of classical, film, theatre and jazz music. We suggest that the following issues could be considered:

  • Michael Riffaterre’s concept of interpretant and Ryszard Nycz’s concept of intertextual exponent as research tools in musicology
  • strategies for citing texts from the past and for composing them anew
  • references to stylistic norms and to generic and formal rules
  • intertextual poetics
  • memory of recipients and texts from the past
  • complex process of listening to and interpreting works which are explicitly intertextual
  • intertextuality and meanings of a text
  • intertextuality and the issue of authenticity
  • intermediality

Keynote speakers

Paulo F. de Castro, The New University of LisbonWilliam A. Everett, University of Missouri-Kansas CityVioletta Kostka, Academy of Music in Gdańsk

Programme Committee

Violetta Kostka, Danuta Popinigis, Renata Skupin

The official language of the conference is English. Presentations should be 20 minutes in length, and will be followed by an additional 10 minutes for discussion. Titles and abstracts of maximum 300 words should be sent to The proposals should also include name, affiliation, e-mail, telephone number, postal address and short biography. The deadline for submitting proposals is February 17th, 2019. The final decision of the committee on the selection of the papers will be announced no later than February 23rd, 2019. Selected papers are supposed to be published in English in a yearbook ‘Aspekty Muzyki’.

Conference fee: 90 EUR (academic researchers), 45 EUR (PhD candidates). The fee includes two lunches, reception, coffee breaks with refreshments and publicity. The organizers do not cover travel expenses or accomodation. All speakers whose papers are accepted for presentation will receive necessary information (including bank transfer details and list of suggested hotels and hostels) via e-mail.