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Music and Power in the Long Nineteenth Century

Siena, Accademia Musicale Chigiana

2-4 December 2021

Call for papers

The use of the arts, including music, as an instrument of representation and exercise of power, is widely debated within the context of the society of the ancien régime and the twentieth century, with frequent emphasis on absolutism and dictatorships. This conference aims to investigate this issue in the “long nineteenth century” (c. 1789-1914): the age of the Industrial Revolution, liberalism and social conflicts, nationalism and colonialism.

The geographical scope considered is the Western world (Europe and the Americas), including those extra-European territories subject to or influenced by colonial rule. The entire field of musical experience will be considered, without limitations on genre, from sacred to instrumental music, from musical theater to song and beyond.

“Power” is understood not only in a strictly political sense, such as state power, or as the domination of one nation or ethnic group over others; instead, in light of contemporary and emerging historiographical and philosophical debates, the scope of the concept extends broadly to all aspects of social life in which relations of dominion/submission are significant. By way of example, the following types of relationships might be considered: those between social classes, between economic powers, between religious affiliations, between genders, within the family, and others, in all possible combinations and permutations.

Proposals to further broaden the field of investigation are welcome; preference will be given to those that combine a breadth of conceptual horizons with a rigorous presentation of unpublished sources.

Possible topics for consideration include, but are not limited to, the following:

  • Musicians and power
  • Musical practices as instruments of power and organizations of consent
  • The language of power in musical material
  • The use of music and entertainment in celebration
  • Symbolic representations of power relationships in opera
  • Sacred music as an expression of power
  • Song and choral music as a means of exercising and negotiating power
  • Folk, popular, and dance music within an increasingly powerful music industry
  • Negotiations of power in discourses about music
  • Domain relationships in musical education

The official languages of the conference are English and Italian. A selection of the conference papers will be published in the 2021 volume of Chigiana. Journal of Musicological Studies (https://journal.chigiana.org/).

Please send proposals to chigiana.journal@chigiana.org by 30 November 2020.

Proposals should include:

  • Title of paper
  •  Name of speaker(s)
  •  A proposal of c. 300 words

Papers should not exceed 30 minutes in duration.

Scientific Committee: Esteban Buch, Fabrizio Della Seta, Markus Engelhardt, Axel Körner, Massimiliano Locanto, Fiamma Nicolodi, Antonio Rostagno, Carlotta Sorba.

Organizing Committee: Susanna Pasticci, Stefano Jacoviello, Anna Passerini, Nicola Sani.

We are aware that the current scenario presents many uncertainties; we are constantly monitoring the situation and the measures that the Italian and other governments have put in place and we hope that by December 2021 it will be possible to travel, so that the conference may go ahead as planned and we can meet in Siena. However, if necessary, we will be running the conference online.

CALL PDF English: https://journal.chigiana.org/wpcontent/uploads/2020/09/Chigiana_Call_PDF_Eng_2021.pdf Italian: https://journal.chigiana.org/wpcontent/uploads/2020/09/Chigiana_Call_PDF_Ita_2021.pdf

Thanatos in Contemporary Music: from the Tragic to the Grotesque

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

in collaboration with

Gheorghe Dima National Music Academy Cluj-Napoca

is pleased to announce the International Conference

Thanatos in Contemporary Music:

from the Tragic to the Grotesque

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

The event is organised within the Festival

A Tribute to György Ligeti in his Native Transylvania

3nd edition

supported by:

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

Festival director: Dr. Bianca Ţiplea Temeş

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

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

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

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

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

https://forms.gle/WnNxnELhrooWW5Ex7

The festival will be streamed online,

between October 28th to November 1st, 2020, at www.ligetifestival.ro

Conference program:

Hermann Danuser (keynote speaker) (Humboldt University Berlin)

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

Wolfgang Marx (University College Dublin)

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

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

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

Zoltán Farkas (Béla Bartók Memorial House, Budapest)

Zoltán Jeney’s Funeral Rite

Amy Bauer (University of California, Irvine)

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

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

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

Benjamin Levy (University of California, Santa Barbara)

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

Olguța Lupu  (National University of Music Bucharest)

From Thanatos to Elysian Fields in Dan Dediu’s Music

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

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

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

Bruno Maderna’s Requiem

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

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

CFP: ‘Shakespeare and Music: New interdisciplinary perspectives’, 10-11 December, 2020

Call for Papers

Shakespeare and Music: New Interdisciplinary Perspectives

10–11 December 2020, Online Conference hosted by Universities of Manchester and Huddersfield and Shakespeare and Music Study Group

Extended deadline for proposals: 30 September 2020.

‘When were you wont to be so full of songs, sirrah?’ (King Lear, I/4)

We are delighted to announce the inaugural conference of the ‘Shakespeare and Music’ Study Group. The Conference will be conducted online and hosted on Thursday 10 December 2020 by the University of Manchester and on Friday 11 December by the University of Huddersfield. In view of the change of format to online only, we have extended the deadline particularly in order to encourage proposals from outside the UK.

The ‘Shakespeare and Music’ group was founded in affiliation with the Royal Musical Association to provide a distinct forum for researchers and practitioners across disciplines and cultures. In line with the mission of the group, the conference aims to promote and foster research, collaboration and exchange of ideas in two complementary aspects: music in Shakespeare’s time, including various aspects of music in Shakespeare’s works; and music inspired by Shakespeare’s works, whether composed to Shakespearean themes or directly for Shakespeare plays.

In lieu of a keynote address, the conference will feature a world premiere performance of John Casken’s The Shackled King, a dramatic cantata to the composer’s own libretto derived from Shakespeare’s King Lear, with Sir John Tomlinson CBE in the title role and Rozanna Madylus (mezzo-soprano) as Cordelia, Goneril, Regan and The Fool. The concert will be filmed and (live-)streamed to delegates.

Apart from at least one confirmed session on ‘Shakespeare, Music and Gender’, other possible threads for papers (20 minutes), lecture-recitals (30 minutes) and composition/ sound installation presentations (30 minutes) include but are not limited to:

  • Music imagery and imagination in Shakespeare
  • Original melodies for Shakespeare songs and their afterlives
  • Shakespeare and opera
  • Incidental music for Shakespeare productions past and present
  • Analysis and contextualising of individual Shakespeare-inspired works
  • Setting Shakespeare’s words to music
  • Shakespeare in instrumental music
  • Shakespeare and film music
  • The role of Shakespeare in the musical imagination and creative output of composers
  • Shakespeare and musical nationalism
  • Shakespeare in non-classical music (jazz, musicals, pop)
  • Performing Shakespeare’s music
  • The afterlife of Shakespeare-inspired music

Please send an abstract of no more than 300 words accompanied by a short (150-word) biographical note to Michelle Assay m.assay@hud.ac.uk and David Fanning David.fanning@manchester.ac.uk by 30 September 2020.

Generously supported by the RMA and Society for Renaissance Studies

4th Tbilisi International Musicological Conference (TIMC) – National and International in Music

Dedicated to the 150th anniversary from the birth of Zakharia Paliashvili

22-24 April, 2021

V.Sarajishvili Tbilisi State Conservatoire, Tbilisi, Georgia

Call for papers

The Tbilisi International Musicological Conference is a biennial conference on recent developments and future trends in Musicology. The 4th conference is dedicated to the 150th anniversary from the birth of one of the founders of Georgian national composer school– Georgian composer, conductor, teacher and public figure Zakharia Paliashvili.

We welcome submissions that focus on any one or combination of the following: 

  1. National composition schools
  2. Cultural memory and contemporary music
  3. Multiculturalism in music.

The theme of the round table: Music education in the post COVID-19 era

Academic committee:

Beata Bolesławska-Lewandowska (Institute of Art of the Polish Academy of Sciences), Tamar Chkheidze (V. Sarajishvili Tbilisi State Conservatoire), Christopher Dingle (Royal Birmingham Conservatoire), Marina Kavtaradze (V. Sarajishvili Tbilisi State Conservatoire), Marika Nadareishvili (V. Sarajishvili Tbilisi state Conservatoire), Manolis Vlitakis (Berlin University of the Arts).

The official languages of the conference are English and Georgian. The selected papers will be invited for publication in the online journal Musicology and Cultural Science (http://gesj.internet-academy.org.ge/en/title_en.php?b_sec=&section_l=muz).

Proposals

Proposals from all areas of musicology and related music studies are invited for the following:

  • Individual papers – will be twenty minutes in duration, to be followed by ten minutes for questions and discussion.
  • Round table sessions – will be 90-120 minutes in duration, including time for discussion. Roundtable sessions will comprise a panel of up to four people, each presenting a position paper (no more than 10 minutes), followed by a discussion.

All proposals (as attachment in MS Word  format) should include:

  • Title
  • Indication of format
  • Proposer’s name, affiliation,  short bio – maximum 100 words
  • Abstract  – maximum 300  words,
  • Contact  e -mail
  • AV requirements

Timeline

Closing date for online registration  , sending abstract and short bio:  10 January, 2021.

Notification of acceptance: 20 January, 2021.

The deadline for submission of full text of papers   (maximum 7 pages – font Times New Roman, size 12, with 1.5 spacing, margins 2 cm) – 1 March, 2021.

Conference: 22-24 April, 2021

All materials should be sent to e-mail: science@tsc.edu.ge

Conference Fees:

50 EUR – for scholars

25 EUR – for PhD students

The fee includes attendance to the conference sessions, conference material, coffee breaks, concert and cultural program.

Contacts and other information

For any additional information, please contact:

e-mail: science@tsc.edu.ge

Phone: +995 322 98 71 88

website: www.tsc.edu.ge

facebook : TSC Research Department


Music, Cinema, and Modernism. The Works and Heritage of Kurt Weill between Europe and America

The Centro Studi Opera Omnia Luigi Boccherini of Lucca and the DAMS/Università di Torino are pleased to invite submissions of proposals for the symposium «Music, Cinema, and Modernism. The Works and Heritage of Kurt Weill between Europe and America», to be held at the  Università degli studi di Torino, Palazzo Nuovo, Via Sant’Ottavio, 20 – Torino, from 21 to 22 May 2021.

Keynote Speakers

  • Nils Grosch (Universität Salzburg)
  • Stephen Hinton (Stanford University)

The conference aims to address aspects of Kurt Weill’s works in relation to his contemporaries and his heritage to succeeding generations, both in the United States and in Europe. The creative activities of the German-American composer have been characterized by his keen interest in new media: principally, in radio in Germany and in the cinema in the United States, and in new forms of experimentation in musical theater on both sides of the Atlantic.

The fact that his compositions as well as his sensibilities tended to situate themselves somewhere between the poles of highbrow and the lowbrow culture allows for multiple interpretations, while prompting various possible themes for research. The themes suggested here are not intended to be restrictive but, rather, to invite a wide range of reflections, and other topics are also welcome:

  • The modernity of Kurt Weill: borrowings and assimilations among his contemporaries
  • After 1950: the theoretical and aesthetic legacy of Kurt Weill after his death
  • Kurt Weill’s german-american contemporaries: aesthetic, artistic, and compositional choices
  • Marc Blitzstein as a translator and interpreter of the German Weill in the United States
  • Love Life on Broadway: a new musical theater genre is born?
  • Musicals, American opera, Radio Opera and so on: the ideas about musical theater by Kurt Weill
  • The debates for and against modernism among German émigré composers to the United States  before and after World War II
  • Aesthetic and theoretical debates concerning film music between the 1920s and 1940s
  • Film music as “modern music”: identity and perspectives
  • Kurt Weill and Hollywood: New Music for the Cinema?
  • Composer and arranger: new roles and new relationships
  • Berlin, Broadway, and Hollywood: a comparison of their modes of organization and cultural production

Programme Committee

  • Giaime Alonge (Università degli studi di Torino)
  • Giulia Carluccio (Università degli studi di Torino)
  • Tim Carter (University of North Carolina)
  • Pietro Cavallotti (Università degli studi di Torino)
  • Roberto Illiano (Centro Studi Opera Omnia Luigi Boccherini, Lucca)
  • Kim Kowalke (Eastman School of Music/ University of Rochester – The Kurt Weill Foundation for Music)
  • Andrea Malvano (Università degli studi di Torino)
  • Ilario Meandri (università degli studi di Torino)
  • Marida Rizzuti (Università IULM, Milano)
  • Massimiliano Sala (Centro Studi Opera Omnia Luigi Boccherini, Lucca)

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 29 November 2020*** to <conferences@luigiboccherini.org>. 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 ***Sunday 13 December 2020***, 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
conferences@luigiboccherini.org
www.luigiboccherini.org

Symposium Tanz als Musik – Zwischen Klang und Bewegung, a Symposium of the Schola Cantorum Basiliensis

Basel, Musik-Akademie, 19. – 21. November 2020

https://www.fhnw.ch/de/forschung-und-dienstleistungen/musik/schola-cantorum-basiliensis/symposien-und-studientage/symposium-tanz-als-musik

https://www.forschung.schola-cantorum-basiliensis.ch/de/veranstaltungen.html?detail=17eddf7d-8c33-42cb-8e77-79df6f54e86f

Vibrant Practices: Material Agency and Performative Ontologies

University of Leeds, 16–17 April 2021.

The call for papers is here (PDF), please share widely across disciplines.

Deadline for submissions is Dec. 1st 2020, see call below for details.

Keywords: contingency, materiality, agency, performative ontology, sound, music, responsiveness, intra-action

The Garden of Forking Paths (GFP) project approaches musical composition through a framework of contingent materiality, material agency, listening, and responsiveness. Going further than appending these elements to existing compositional approaches, it situates both (1) players’ responsiveness to contingency, and (2) the material agency of instruments, as the conditions for sound-making and composition; music is emergent from the ‘intra-action’ (Barad) between player and instrument.

In this symposium we would like to facilitate discussion and reflection between a diverse array of practitioners and researchers (not only Music) who work with responsiveness to material contingency and agency. In the language of Andrew Pickering, practices that negotiate a ‘dance of agency’ between humans and the more-than-human. We are keen not to emphasise particular practices or disciplines, but rather discuss how dances of agency are diversely engaged and negotiated, and the nature of what they give rise to.

The GFP project, for example, adopts compositional strategies for the clarinet where performances unfold as a ‘dance of agency’ across a performer-instrument apparatus, through recursive open-form works where decisions in-the-moment can be the responsibility of the human OR the instrument. Following Pickering, the project is based on a performative ontology of ‘revealing rather than enframing’. For example, in GFP there are no fixed musical pitches in advance of performance, pitches are an emergent phenomena from the exploratory intra-action of the material configuration of the clarinet (what holes are open and closed, what reed strength etc.) and the performer’s techniques (breath pressures, mouth shapes etc.), as afforded through listening and responsiveness.

This symposium is interested in hearing from researchers and practitioners who similarly engage with contingency and agency as a way of ‘revealing […,] being open to what the world has to offer us instead of always trying to bend it to our will’ (Pickering). We are interested in projects that propose performative models of engagement to foreground the formative struggles between people and things, and that engage conditions of decenteredness; where ‘the non-human world enters constitutively into the becoming of the human world and vice versa’. We see these dances as processes of collaboration (Tsing) through which agency emerges, as well as alternate ways of knowing and being. The symposium will explore how these insights may provide means of ‘going on in the world at the ground level’ (Pickering), ‘staying with the trouble’ (Haraway), or ‘becoming earthly’ (Latour).

‘The symposium will maximise opportunities for conversation and discussion: papers will be short, grouped in themed discussion sessions, and circulated in advance. Performances and workshops will be scheduled as precursors for discussion sessions. We invite proposals for any of the following categories:

  • Workshop with participants
  • Demonstration/performance
  • Short paper (10 mins) submitted in advance. This can be a written paper, annotated documentation, video presentation, or any format in which you can evidence and support a point/argument/perspective.
  • Topic or provocation for discussion.

Please send an up-to 1-page abstract/submission (please specify category as above, and include indicative references) to Dr Alex De Little <A.P.DeLittle@leeds.ac.uk>

Sinn und Präsenz in Improvisation

6th symposium at the exploratorium berlin
An event by the DENKRAUM IMPROVISATION
29.–31. January 2021
Organizer: Mathias Maschat, mm@exploratorium-berlin.de

Symposium: Sinn und Präsenz in Improvisation

Deadline for submissions: 2020, October 25
Call for Papers (German only)

The DENKRAUM IMPROVISATION will host, mostly in German language, from 29.–31. January 2021 the symposium Sinn und Präsenz in Improvisation (“Meaning and Presence in Improvisation”). The focus here is on the terms meaning and presence as independent entities, as opposing moments as well as overlapping and complementary aesthetic categories.

Whether and to what extent sound can be a bearer of meaning, or whether sound can represent meaning, has historically been the subject of numerous aesthetic considerations and debates around music. The question about it culminated, for example, in the dispute between program music and absolute music or in the demand for an abstract hearing of concrete sounds in the musique concrète. Before any ascription of meaning, however, sound is first of all there, present, immediate and phenomenal. If one leaves aside the grounding of any music in cultural contexts for a moment, the category of presence is without a doubt a strong moment of musical experience in general. Following this, the question arises to what extent meaning and presence in connection with improvisation or improvised music can be treated as independent categories, to what extent they must be negotiated as mutually exclusive opposites or, on the contrary, as aspects of improvisation or improvised music that are necessarily related.

Both meaning and presence are ambiguous terms that are used differently in different contexts. On the one hand, meaning stands for the referential meaning of language and signs in a semantic, semiotic or symbolic reading. On the other hand, meaning encompasses the reason, aim, intention, fulfillment, or higher purpose of an action. Presence can spatially refer to a being-there and at the same time temporally to a being-in-the-moment. The term functions as a description of a characteristic of a purely phenomenal world, quasi as a reference to the assumption of something non-representational. In addition, presence can refer to an auratic or to charisma.

The focus of the symposium on the pair of terms in their combination stems from the philosophically introduced, sometimes criticized juxtaposition of meaning and presence as separate or at least tense spheres of experience and interpretation of the world. In precisely these discussions, presence opens the gates into a world of direct experience, into a world behind or next to that which can be explored through interpretation and hermeneutics – beyond any concrete content. With regard to improvisation, all of the horizons of meaning mentioned can certainly shed light on relevant perspectives. Overall, however, the moment of presence experience in a predominantly abstract art form such as contemporary improvisation appears to have priority over conveying and deciphering meaning. But what happens in other forms of improvisation that combine concrete content with specific musical structures and conventions? What happens in contemporary improvisation when elements of the linguistic are integrated? Or when freely improvised pieces are given titles afterwards? What happens when improvised music is combined in an interdisciplinary manner with other art forms and abstract sounds come into relation with more concrete forms of artistic expression? What about the referential character of art or levels of intertextuality?

While presence should be questioned in its full range, with regard to meaning, the question of elements of clear referential meaning is in the foreground. In addition, however, the constitution of meaning can also be questioned and described as a fulfilling meaningfulness of improvisational activity.

In addition to the accepted contributions, three keynotes will be held at the symposium:
Christian Grüny: Diagrammatische Improvisation und der Sinn des Heterogenen
Nicola L. Hein: Das Paradigma der Präsenz und Modi der Temporalität in den Critical Improvisation Studies
Mathias Maschat: Präsenz als improvisationsästhetische Kategorie

The symposium starts on Friday evening (January 29) at 8 p.m. with the performance Aspect Seeing – An Artistic Re-Reading by Nicola L. Hein (guitar, electronics), Christian Grüny (text, philosophy), Simon Rose (baritone saxophone) , Claudia Schmitz (moving image on sculpture) and Maria Colusi (dance). It takes place as part of the exploratorium berlin’s Sound & Lecture series, which combines performances with artist talks moderated by Mathias Maschat.

The Call for Papers/Abstracts can be found here; proposals for the symposium will be accepted until October 25th. Please note that the conference will predominantly be held in German.

12th INTERNATIONAL SYMPOSIUM „MUSIC IN SOCIETY“

12th  INTERNATIONAL SYMPOSIUM „MUSIC IN SOCIETY“

Sarajevo [online], 10-12 December 2020 

Organisers

Musicological Society of the Federation of Bosnia and Herzegovina

Academy of Music, University of Sarajevo

Location

ONLINE 

Academy of Music, University of Sarajevo

Josipa Stadlera 1/2, Sarajevo

Bosnia and Herzegovina

Dear colleagues,

Last April, the Musicological Society of the Federation of Bosnia and Herzegovina and the Academy of Music of the University of Sarajevo announced the Call for Papers for the 12th International Symposium “Music in Society”. Due to the changes caused by the Covid-19 pandemic regarding the organisation of the Symposium, the Board of the Musicological Society has decided to hold the conference online only with the new date of 10-12 December 2020. The Call for Papers is extended until September 20, 2020. 

We kindly ask you to circulate this announcement among colleagues. Please find more information in the attachment. 

We look forward to your contributions! 

Dr. Amila Ramović 

President 

Musicological Society of the Federation of Bosnia and Herzegovina

Call for papers

The Musicological Society of the Federation of Bosnia and Herzegovina and the Academy of Music of the University of Sarajevo announce a call for papers for the 12th International Symposium “Music in Society.” The Symposium traditionally brings together musicologists, ethnomusicologists, theorists, music educators and experts in related fields exploring topical issues of music and musicology. The general theme of “Music in Society” indicates interest in the multidimensional, diversified and transdisciplinary discourse of contemporary musical science and offers a platform for sharing the results of recent research.

The languages of the symposium are Bosnian/ Croatian/ Serbian and English.

The registration fee is € 30 and includes the program booklet.

Reviewed papers will be published in the Proceedings of the 12th International Symposium “Music in Society” in 2022 (English or B / C / S version), which is indexed in the RILM and EBSCO databases.

Applications should be submitted on the attached form by 20 September 2020 at the e-mail address symposium@muzikolosko-drustvo.ba. The form can be downloaded in .doc and .pdf formats.

The Program Committee will publish the final decision on the selected papers by 1 October 2020 on the website of the Musicological Society FBiH (www.muzikolosko-drustvo.ba). Information on the final program will be announced after this date.

For more information please contact symposium@muzikolosko-drustvo.ba or phone number +387 62 971 174. 

Kindly share this invitation with other colleagues, and looking forward to your participation in December!

PROGRAMME COMMITTEE

Dr. Valida Akšamija-Tvrtković, Academy of Music, University of Sarajevo

Dr. Zdravko Blažeković, The Graduate Center, City University of New York

Dr. Amra Bosnić, Academy of Music, University of Sarajevo

Dr. Naila Ceribašić, Institute of Ethnology and Folklore Research, Zagreb

Dr. David Clampitt, School of Music, Ohio State University

Dr. Merima Čaušević-Purić, Faculty of Pedagogy, University of Sarajevo

Dr. Ivan Čavlović, Professor Emeritus, Academy of Music, University of Sarajevo

Dr. Snježana Dobrota, Faculty of Philosophy, University of Split

Academician Nikša Gligo, Croatian Academy of Sciences and Arts 

Dr. Fatima Hadžić, Academy of Music, University of Sarajevo

Dr. Nerma Hodžić-Mulabegović, Academy of Music, University of Sarajevo

Dr. Naida Hukić, Academy of Music, University of Sarajevo

Dr. Tamara Karača Beljak, Academy of Music, University of Sarajevo

Dr. Lana Paćuka, Academy of Music, University of Sarajevo

Dr. Amila Ramović, Academy of Music, University of Sarajevo

Dr. Branka Rotar Pance, Academy of Music, University of Ljubljana

Dr. Leon Stefanija, Faculty of Philosophy, Univerzitet u Ljubljani

ORGANISING COMMITTEE

Dr. Valida Akšamija-Tvrtković, Academy of Music, University of Sarajevo

Maja Baralić Materne, MSc, Public Brodcasting Service of Bosnia and Herzegovina

Ena Brdar Plakalo, MSc, Academy of Music, University of Sarajevo

Dr. Ivan Čavlović, Professor Emeritus, Academy of Music, University of Sarajevo

Dr. Fatima Hadžić, Academy of Music, University of Sarajevo

Lamija Hasković, MSc, Mladen Pozajić School of Music, Sarajevo

Dr. Refik Hodžić, Academy of Music, University of Sarajevo 

Dr. Nerma Hodžić-Mulabegović, Academy of Music, University of Sarajevo

Mirza Kovač, MSc, Academy of Music, University of Sarajevo                 

Dr. Naida Kuljuh, Academy of Music, University of Sarajevo 

Dr. Lana Paćuka, Academy of Music, University of Sarajevo

Nermin Ploskić, MSc, Academy of Music, University of Sarajevo 

Dr. Amila Ramović, Academy of Music, University of Sarajevo, Chairwoman

Information on the Symposium will be available via our official channels:

Facebook – Twitter – Instagram – Web