Music and freedom






April 20th and 21st, 2018

Madrid, Museo Nacional del Romanticismo


Coordinators: Fernando Delgado, Alberto Hernández Mateos


Scientific committee: Igor Contreras Zubillaga (EHESS, Paris), José Manuel Izquierdo (Pontificia Universidad Católica de Chile), José Máximo Leza (Universidad de Salamanca)


The SPEMI (Sociedad para el Estudio de la Música Isabelina), in collaboration with the Conservatorio Profesional de Música “Arturo Soria”, the MadMusic I+D Project and the Museo Nacional del Romanticismo invite you to send your proposal for its Study Days on the musical life under the reign of Isabella II of Spain, which will take place within the third Bienal de Música Isabelina (Biennial of Music of the Times of Isabella II). On this occasion, and coinciding with the 150 anniversary of the Glorious Revolution, the Study Days’ objective will be to explore the relations between the musical phenomenon-understood in its fullest meaning-and the multiple manifestations of freedom.

After the French Revolution, the concept of freedom becomes an international benchmark in terms of political, social, economic and artistic ideas. In the case of Spain, such a benchmark crystallized in the political regime established following the enthronement of Isabella II-the regime’s legitimacy was to be based on the defeat of Absolutism. In the midst of external conflicts and internal contradictions, the reign of Isabella II represented a deep transformation of the Spanish society under the ideological principles of liberalism. As the regime became unable to represent the liberal ambitions, it was overthrown by a revolutionary movement that ultimately was a consequence of the regime’s own modernizing dynamics.

These new conceptions of freedom were also intertwined with the nineteenth century musical life. One example of this is the mythic figure of the Romantic artist and his/her pursuit of creative and labour freedom. Another example are the new roles of women both in the public and the private spheres. The emergence of the musical journalism also invited critics and audiences alike to demonstrate their freedom in the public sphere by expressing their musical preferences. At the same time, concert societies reached a high level of autonomy, showing a well defined sociability and distinct traditions-among them a new approach to the musical repertoire and the musical canon, and, in particular, to the musical work understood now as object of aesthetic enjoyment. All this together with the emergence of paradigms such as the idea of the absolute music was crucial in the conceptualization of music as an autonomous realm.

Underlining the openness towards social sciences that has characterized musicology in recent years, these Study Days aspire to explore the relations between music and freedom -under the reign of Isabella II and during the Six democratic years- in their multiple and diverse political, social and aesthetical facets. Therefore, we welcome proposals that may be included within one or more of the following thematic areas:


The artist and the freedom: the myth of the Romantic genius; virtuosity and freedom; artists and travels; freedom and musical forms; freedom of movement and circulation.  


Freedom, sociability and musical institutions: music and musicians in the liberal regime; music and its market; consequences of the Spanish confiscation; public sphere and public concert; musical societies; salons; new choral movements; women and public/private sphere.


The musical representation of the political freedoms: patriotic anthems; revolutionary songs; the sounds of independence; the music in the 19th century Spanish revolutions; the role of music in the construction of the liberal Nation-State; music and political ideology, from Absolutism to the labour movement.


Repression and music: music and censorship; music and exile; music as an instrument of cultural domination; music and colonialism.


Musical discourses and freedom: the role of music in aesthetic and philosophic discourses; music and press; musical historiography and ideology.


Proposal submissions:

Proposals (including a title, 400 words abstract, and 4-6 bibliographical references) must be sent by October 31st, 2017. The abstracts will be evaluated anonymously by the members of the Scientific Committee. Please submit your proposals to:


Presentations will last a maximum of 20 minutes, followed by a 10-minute discussion. All papers will be video-recorded for public dissemination purposes. All papers must be delivered by their authors with the intention of promoting the debate. The Organizers will not be responsible for travel or accommodation expenses.


Key-note presentation:

Esteban Buch (École des Hautes Etudes en Sciences Sociales, Paris).


For more information:


XXIst Century Challenges to the History of XVIIIth Century Musical Aesthetics

Call for papers
Dates: 11-12 June 2018
Venue: University of Turin (Italy)
Organizers: Maria Semi – Alberto Rizzuti
Proposal deadline: 30 July 2017
Keynote speakers: Vanessa Agnew, Suzanne Aspden, Philip Bohlman, Tomas McAuley
The last forty years of scholarly research on the Eighteenth century and on the Enlightenment have deeply modified, enriched and maybe also confused our understanding of that century, softening the disciplinary boundaries and bringing social, gender and economic issues to the fore.
What impact, if any, have these studies had (or could these studies have) on the history and study of XVIIIth Century Musical Aesthetics? Is it still possible to pursue the study of XVIIIth Century Musical Aesthetics as if it were a separate, independent, autonomous realm?
This International conference wishes to tackle these issues, in order to build a more complex and varied picture of XVIIIth Century Musical Aesthetics and to further a fruitful dialogue between musicologists and eighteenth century scholars coming from other disciplinary perspectives.
We invite proposals for 20-minute papers. Please email abstracts of no more than 500 words to msemi -at- by the 30th of July 2017. Acceptance of proposals will be confirmed by the 30th of September.
Please read the complete call on the conference’s website.

Is there a musical avant-garde today?

A study day at City, University of London, on Friday 21st of July, 2017.

Location: Room AG08, College Building (entrance via St John Street)

Keynote: Jeremy Gilbert (University of East London). Study day panel: Alexi Vellianitis (University of Oxford), Adam Harper (City, University of London) and Rachel McCarthy (Royal Holloway). Confirmed speakers include the above and Max Erwin, George Haggett and Lauren Redhead.

What would it mean to talk of ‘progressive’ music today? Applied to the past or, especially, the present, the term ‘avant-garde’ has largely fallen out of favour within the academy, both as a description of and an imperative for new music. Yet much contemporary music – whichever combinations of limited terms such as ‘art’, ‘popular,’ ‘classical’ or ‘commercial’ might apply to it – defines itself, if often all too implicitly, in ways most often associated with avant-garde movements: a focus on stylistic complexity and innovation, and an antagonism towards aesthetic norms and the predominant modes of political thought and practice associated with them. But can such a concept still have currency for musicologists and composers?

The aim of this Study Day is to stimulate a broad, interdisciplinary conversation about how, if at all, to talk of an avant-garde in musical cultures today. For the purposes of this conference, the term ‘avant-garde’ is fluid, but is broadly defined as a particular idea and praxis of a music more progressive than certain others.

We invite scholars and practitioners from different fields to address the ways in which musical avant-gardes today are both practiced and discursively constructed. Topics for discussion could include, but are not limited to the following:

  • Might there be one, distinct avant-garde (as our title suggests) or many? Should there be one or many?
  • How is the avant-garde politically motivated, and how does it contribute to discussions about race, class, and gender? Is it necessary that the musical avant-garde be a mouthpiece for social and political issues, or can these remain indirect, implicit?
  • Is the musical avant-garde located within ‘classical’ or ‘art’ or ‘popular’ or ‘experimental’ music, or none of the above? Can we (still) locate avant-gardes within, variously, art-music, bohemian, bourgeois, academic, urban or minority cultures? Is a musical avant-garde synonymous with an ‘underground,’ a ‘counterculture’ or a ‘subculture’? Is the avant-garde merely a Western concept or can it be discerned elsewhere? To what extent are all such distinctions even useful?
  • What is the present relationship between avant-gardes, patronage, and institutions? Should avant-gardes avoid direct interaction with capital and other forms of social organisation, or should they embrace them? How do musical avant-gardes interact with and condition physical space? How do they relate to emerging technologies
  • Ultimately: is progression in musical aesthetics a possible or desirable goal? What might we demand of a musical avant-garde, and what might it demand of us?

We gratefully acknowledge funding from the Royal Musical Association.

For additional details please contact

To register please follow the link below:

14th International Music Theory and Analysis Conference

Gruppo Analisi e Teoria Musicale (GATM), Rimini (Italy) Istituto Superiore di Studi Musicali “G. Lettimi”, Via Cairoli 44 (28 September – 1 October, 2017)

The 14th International Music Theory and Analysis Conference, organized by the Italian research association Gruppo di Analisi e Teoria Musicale (GATM), in collaboration with the Istituto Superiore di Studi Musicali G. Lettimi, the Sagra Musicale Malatestiana, and the Municipality of Rimini, will be held in Rimini from Thursday, 28 September, to Sunday, 1 October 2017. The Conference Committee hereby invites those interested to submit proposals related to music theory and analysis of repertoires, practices and musical experiences of any genre, period or geographic area.



Submission guidelines

Proposals should be submitted in one of the following categories:

  •      Individual or co-authored papers;
  •      Panel sessions (containing from three to four papers);
  •      Lecture-recitals.

Each proposal, written in Italian or English, must include an abstract of no more than 500 words, clearly expressing research goals, applied methodology, and interest as regards the current state of knowledge. Session-panel proposals, submitted by a convenor, should provide a detailed multi-viewpoint discussion on a theoretical and/or analytical subject and must also include, in addition to a session summary of no more than 500 words, a separate abstract of no more than 350 words for each paper. Lecture-recital proposals should summarize the analysis of the work/s to be performed, with a particular emphasis on the relation between analysis and performance, also through possible analytical annotations on the attached score/s.

Each proposal must also include:

  •      full name, institutional affiliation (if any), email address and a short curriculum vitae/biographical essay (max 200 words) of the author(s); this information is also required for both the convenor and each participant in a panel session and in a lecture-recital;
  •      selected bibliography (no more than five titles); bibliography is also required for each paper of a panel session;
  •      supplementary materials, if any, such as musical examples, figures, and diagrams (maximum two pages);
  •      copy of score/s to be performed with possible analytical annotations (only for lecture-recital proposals);
  •      list of required equipment.

The official languages of the conference are Italian and English. Each paper will be given a time slot of 30 minutes, followed by 10 minutes of discussion. Lecture-recitals will be given a time slot of 35 minutes (including the performance), followed by 10 minutes of discussion.


Deadline for proposal submission and notification of the outcome

All proposals must be sent by email as an attachment (in PDF format) to or Submissions will be open until July 9, 2017.  Proposals sent after this deadline, or not complying with the submission guidelines above, will be rejected. Authors of proposals will be informed of the outcome of their submission by email by July 30, 2017.


Participation, final program, and publication of abstracts

Authors may submit more than one proposal, but only one will be chosen within the same category. Double participation is allowed, but only in sessions of different categories. The conference programme will be sent to all participants by August 28, 2017, and will be available on the GATM and Analitica online websites. All the accepted abstracts will be published on the Analitica online website and included in the conference Abstract Book. The Conference Committee reserves the right to ask the proponents to make changes to the abstract prior to its publication. After the conference, the Scientific Committees of the Rivista di Analisi e Teoria Musicale and Analitica online will be notified by the Conference Committee as to the most interesting papers.


Conference fees

Participation in the conference requires a subscription to the semi-annual journal Rivista di Analisi e Teoria Musicale. The subscription fee amounts to € 30 (students: € 25). Subscription page:



For any further inquiries, please send an email to or

Web sites: ;  ;


Conference Scientific Committee

Mario Baroni, Alessandro Bratus, Domenico Colaci, Rossana Dalmonte, Catello Gallotti, Ignazio Macchiarella, Alessandro Maffei, Enrico Meyer, Susanna Pasticci, Egidio Pozzi.




Bach on Screen

Call for papers/articles: Bach on Screen
Date: Sunday, February 18, 2018
Venue: Baldwin Wallace University
Submission deadline: October 1, 2017

Baldwin Wallace University is pleased to announce a conference entitled “Bach on Screen,” the proceedings of which will be published in the January 2019 issue of BACH: Journal of the Riemenschneider Bach Institute. This issue will be co-edited by the journal editor, Dr. Christina Fuhrmann, and Dr. Rebecca Fülöp.

We welcome papers on any topic relating to Bach and music for film, television, video games, commercials, or any other screen media. From Fantasia to Hannibal Lecter to American Express, the use of Bach’s music in narrative and non-narrative media challenges longstanding assumptions of the dominance of “Romantic” musical language in film. “Bach on Screen” aims to build on both Bach studies and music and media studies by demonstrating a diversity of methodological and disciplinary perspectives.

Topics of interest include, but are not limited to:

  • Use of Bach in cinematic depictions of madness or evil
  • Irony and humor in uses of Bach on screen
  • Bach and the classical topic in depictions of “high art”
  • Bach biopics
  • Bach in musician biopics
  • Bach, Baroque form, and cinematic narrative
  • Bach and historical performance on screen
  • Bach in video game music
  • Bach in advertising
  • Bach in educational programming

Submission guidelines:
To be considered, please submit a 300-word abstract and 100-word biography to Dr. Christina Fuhrmann at by October 1, 2017. Please do not include your name or any other identifying information in the abstract document. Presenters will be notified by October 31, 2017. Those accepted will be asked to present their work at the February 18, 2018 conference and then submit their completed articles for the special journal issue by July 1, 2018.Questions regarding the CFP, conference, or journal issue may be sent to Christina Fuhrmann at or Rebecca Fülöp at

Graduate Conference “Masculinities and Their Cliches in Musik and Theatre”

27. and 28. October 2017 | University of Music and Performing Arts Graz (Austria) |Center for Gender Studies
CfP Deadline: 23 July 2017
Keynote Speakers: Dr. Ian Biddle (Newcastle University) and Sylka Scholz (Friedrich- Schiller-Universität Jena)

Organization: Prof. Christa Bruestle and Dr. Rosemarie Brucher

Within the history of Gender Studies, it is only since the 1970s that “Men’s Studies” have developed, in which the social roles of men, conventional male views of roles and self, and cliches of masculinity are explored. In the German-speaking world, these themes have been scientifically addressed only since the 1990s. In Musicology and Theater Studies, research in masculinity was just taken up around the turn of the millennium. Interest for further investigation has been aroused by the development of discrete studies and overview-giving anthologies addressing themes such as the hegemonic roles of male art producers; various cliched images of masculinity (and femininity) in opera and classical music; in various music cultures; in pop music or jazz; and in the realm of theater and performance.

At the conference planned for October 27th and 28th, which was conceived and organized by the Center for Gender Studies at the University of Music and Performing Arts Graz, the pragmatic, activity-oriented, performative, and discursive development of cliches and stereotypical concepts in music and theater will be thematized.

We invite all advanced students, doctoral candidates, and postdocs in musicology, theater studies, and performance studies to discuss and present their current perspectives on the theme of the conference.

The key questions of the conference are, among others:

  •   Which historical cliches or stereotypes are associated with male art producersin music and theater, which still exert their influence today?
  •   How can cliches and stereotypes of masculinity in various music genres andmusic cultures, theater, and performance art be analyzed in order to subject

    them to lasting and effective criticism and reflection?

  •   Which images of masculinity in the production and practice of music andtheater subvert the conventional attributes of masculinity (e.g. female

    masculinities or queer masculinities)?

  •   To what extent do stagings of masculinity in opera, theater, or performance art imply new, forward-looking concepts of masculinity/femininity?

 Which interactions link concepts of masculinity with other identity categories, for example age or race?

Additional related themes could be: manifestations of (masculine) concepts of genius past and present; the image and the effects of “hegemonic masculinity” in various work contexts of music and theater; the role of languages and discourse in existing and future conceptions of masculinity as well as the deconstruction of gender cliches in music and theater; subject, identity images and masculinities in various spheres of activity of music and theater; gender cliches and homosexuality and, respectively, new concepts of masculinity, etc.

Suggestions for 20-minute presentations can be sent to until 23 July 2017 and must contain the following information:

  • title of submission (anonymous)
  • abstract (max. 300 words)
  • four key subject areas enumerating the themes of the talkA confirmation of the talk’s acceptance will be sent no later than 07 August 2017.

    If no other financial support can be obtained, claims for partial reimbursement of travel and accommodation costs will be accepted. Please submit an exact itemized list of the expected costs along with a short request to the above email address.

    We will attempt to arrange childcare as needed. Please submit a timely request (no later than 1 September 2017).

    For any questions please contact

18th Biennial International Conference on Baroque Music – Call for Papers


The 18th Biennial International Conference on Baroque Music will be hosted by the Musicology and Cultural Heritage Department of Pavia University in Cremona, from Tuesday 10 July to Sunday 15 July, 2018.


The programme committee invites proposals for:

  • Individual papers of 20 minutes in duration (followed by questions and discussion). Speakers will be grouped into sessions of three or four papers in related areas.
    • Lecture-recitals of 40 minutes in duration (with 10 minutes for discussion).
    • Themed and round-table sessions of one and a half hours, including discussion.


Proposals in any area of Baroque music are welcome. Given the location of the venue, the overarching theme for this conference will be

Crossing Borders: Music, Musicians, and Instruments, 1550-1750

The deadline for receipt of abstracts is Friday 12 January 2018.

Proposals for papers may be submitted in English, French, German, Italian, and Spanish. However, all presentations at the conference will be delivered in English.

Individuals may submit one proposal in the form of an abstract of not more than 250 words (individual papers, lecture-recitals), or not more than 350 words (round-table sessions). For lecture-recital attach also the repertoire and a sample recording.

The organisers anticipate that individual papers and some round-table sessions will be presented in parallel sessions, grouped by subject areas. Those areas will be determined by the nature of the proposals received. Acceptance of proposals will be at the discretion of the organisers.

The abstract should be preceded by information under the following headings:

  • Name
    • Institution
    • Postal address
    • Phone
    • Email Address

Abstracts should be emailed to:
Massimiliano Guido ( by attachment (MS word file or .rtf format are required). Please back up the attachment with a plain-text version in the main email.

Visit the Conference’s website at


Massimiliano Guido, chair

Programme Committee: Naomi Barker, Sylvie Bouissou, Tim Carter, Luca Della Libera, Panja Mücke, Barbara Nestola, Angela Romagnoli, Gabriele Rossi Rognoni, Andrea Sommer-Mathis, Robert Rawson, Ruth Tatlow, David Vickers.

BFE/RMA Research Students’ Conference: Music Inside and Out

University of Huddersfield, 4-6 January 2018.

Call for contributions
The Department of Music and Music Technology at the University of Huddersfield is delighted to host the 2018 British Forum for Ethnomusicology and Royal Musical Association Research Students’ Conference. We welcome UK and international postgraduates to present their research in an inclusive, friendly, and supportive atmosphere. The conference will also include training and careers workshops, informal performance opportunities, and a variety of social and networking events. We are especially pleased to introduce Professor Kevin Dawe (University of Kent) and Dr Katherine Hambridge (University of Durham) as our keynote speakers.

In addition to proposals relating to any aspect of musical research, we particularly welcome submissions that engage with the conference theme of ‘music inside and out’. Today’s global politics of inclusion and exclusion raises fundamental questions around power, cultural expression, and the status of knowledge, challenging music researchers to think about these ideas in relation to their own work. Topics of relevance to the conference theme might include:

  • Identities in/and music and musical research
  • ‘Taking back control’: music and/as resistance
  • Real and imagined borders: genres, methodologies, disciplines
  • Truths and fictions: whose knowledge counts?
  • Musical hegemonies and counter-hegemonies
  • The position of the academy in wider society

We welcome both traditional and innovative formats for presentations relating to any areas of musical research, including composition, audiovisual media, performance, and/or other creative practices. Presentations should be 20 minutes in length, and will be followed by an additional 10 minutes for questions and discussion.

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

Huddersfield Immersive Sound System (HISS)
As well as submitting proposals relating to their own practice under the general call, composers and sonic artists are welcome to submit in one of three categories for performance on the Huddersfield Immersive Sound System (

  1. Stereo or multichannel fixed-media works (up to 16 channels) – not normally exceeding 20 minutes in length
  2. Single-screen audiovisual works (stereo or multichannel) – not normally exceeding 20 minutes in length
  3. Piece and paper – a 30-minute slot for composers and sound artists to present a paper on a work and perform all or part of that work on the HISS.

All audio files should be submitted at 48kHz/24bit. Any specific speaker configuration and other documentation required to perform the work should be submitted in pdf format, clearly labelled with the author’s name and title of the piece.


Concentrate and Constraint: A Presenter/Composer Remix session
This two-part session offers a facilitated collaboration between presenters and composers, aiming to interrogate ways of communicating in relation to knowledge presentation. We encourage presentations on any topic as part of this call, and support presenters wishing to engage in new directions in their research or new delivery formats. Part One will consist of two presenters delivering 15-minute papers, followed by around 5 minutes each of discussion. Part Two of the session would be a constraint-driven compositional re-presentation of the debates, documentation apparatuses, and media (written, gestured, and spoken language; audio and visual examples and demonstrations) involved in the presentations from Part One. This will be a collaborative process between the composers and presenters. Further details about this call, including the support available for participants, are available from the committee via

Submission guidelines
Please send proposals of no more than 250 words to by Friday 27 October 2017. Emails should include your name, email address, affiliation, and the title of your presentation. Please make any particular space, format, or equipment requirements clear in addition to your abstract: all presentation rooms are equipped with a visualiser, whiteboard, piano, and standard audiovisual projection facilities.

The Anatomy of Polyphonic Music around 1500

International Conference | Cascais, Portugal | 27-30 June, 2018

The Anatomy of Late 15th- and Early 16th-Century Iberian Polyphonic Music is a three-year project launched in 2016 and based in CESEM-Centre for the Study of Sociology and Aesthetics of Music at the Lisbon Nova University. It aims at providing a comprehensive account of Iberian repertories of the period between around the 1470s and 1520s, with special emphasis on the following areas:

– Analysis of the music in search for stylistically defining markers and patterns;
– Examination of the possible differences/similarities between Portuguese and Spanish repertories;
– Establishment of a philology of the works through the study of the sources, their texts, and their distribution;
– Research of new avenues for analysis, including computer-aided methodologies.

Please see <> for complete information.

With the project reaching its midpoint as of now, we are ready to share the findings, ideas and difficulties we have encountered so far. To that end, we are organising an international conference to be held in Cascais – a charming coastal town 30 Km west of Lisbon – on 27-30 June 2018. We would like to invite colleagues working in the music from the aforementioned period to join us in the discussion.

This conference will examine the identity of music repertories from around 1500. We understand repertories here as a group of musical works coherently linked together via cultural, geographical or institutional associations.

Although the conference stems from a project dissecting Iberian music, we are also interested in researching the methodologies and contexts regarding analysis and source studies on repertoires. For this reason we would be delighted to hear from current research with similar scope and methodological concerns, irrespective of the geographical or cultural area.

Moreover, as the project aims at providing elements that allow re-evaluating the position of Iberian polyphony within the wider European canvas, we would be especially interested in proposals dealing with exchanges and cross-fertilisation between specific repertories of various geographical and cultural areas.

With this in mind, we welcome papers developing any of the following topics in relation to repertories from the 1470s to the 1520s:

  1. Repertories and Styles:

– Structural and syntactic patterns that characterize a repertory
– Stylistic differences in regional repertories
– Stylistic markers as aids for ascertaining authorship and origin
– Analytical tools for the identification of stylistic markers

  1. Repertories and Contexts:

– Genre boundaries
– Cross-influences and exchanges within a pan-European context
– Formation of repertories

  1. Repertories and Sources:

– Sources as creators and repositories of repertories
– Interrelations between sources
– Processes of transmission and dissemination
– Philology of works and repertories

Abstracts for 20-minute papers (max. 250 words) and short biographies (max. 150 words) should be sent to <> by 15 January 2018. Participants will be informed of whether their abstracts have been accepted by 15 February 2018.

Since, in principle, we do not wish to have parallel sessions, so that participants are able to attend the whole event, there will be room for thirty papers, including presentations by the project team members. However, the format of the conference may be adjusted depending on the number and relevance of the proposals received.

Keynote speakers will include Agnese Pavanello (Schola Cantorum Basiliensis) and David Burn (KU Leuven). There will also be a concert by the Portuguese ensemble Polyphonos, and a concluding discussion panel on the conference main topics.

We intend to publish a volume containing a number of papers presented at the conference, which will go through a process of selection, peer review, and editing, as per academic standard.

This conference is co-hosted by the FCT-Portuguese Foundation for Science and Technology through the project PTDC/CPC-MMU/0314/2014, CESEM at the Lisbon Nova University, and the Fundação Dom Luís I, Cascais.

Organizing committee: João Pedro d’Alvarenga, Esperanza Rodríguez-García, Nuno Raimundo (CESEM), and Isabel de Alvarenga (Fundação Dom Luís I).

More information soon at <>