SEMPRE Autumn Conference 2019

Expression, communication and learning

About the conference

Music performance provides an opportunity for performers to communicate and express musical ideas, emotions and even their identity. Performers communicate to their audience and other performers in the group through gestures and through breathing as well as in the performance itself.

This two-day conference is designed to bring together recent knowledge on music performance studies with a focus on expression, communication, and learning in music performance. It asks:

  • What is expressive performance, and how do we know when a performance is expressive?
  • Is expressiveness a prerequisite for any performance that moves the listener?
  • How do performers learn to master the skills of communication and expression, and how can it be taught?

SPARC Symposium 2019: Land Music: Sound Practices in the Age of Ecological Crisis

Ecological thinking, beyond the conventional understanding of environment, asks us to consider new ways of imagining how we conceive of and consider the world. As Donna Haraway writes, “[…] another world is not only urgently needed, it is possible, but not if we are ensorcelled in despair, cynicism, or optimism, and the belief/disbelief discourse of progress.” The third SPARC Symposium will consider this shift in thinking and consider how to respond to this moment of crisis through the lens of sound practice from a variety of perspectives including talks, discussions, concerts and a foraging and jam making event. 

Sign up to this free symposium here

Visit the SPARC website here

DAY 1 // Thursday 12th September
Music Department at City, University of London
280 St John St, London EC1V 4PB, College Building: Performance Space

19:00// Opening concert with sets by Cathy Lane and Mariam Rezaei


DAY 2 // Friday 13th September
Music Department at City, University of London
280 St John St, London EC1V 4PB, College Building: Performance Space

10:30 // Symposium with speakers including Amina Abbas-Nazari, Tanya Auclair, Joe Browning, Gabriel Dattatreyan, Lily Green, Tonia Ko, Clare Qualman, Cathy Lane, Sam Lee, Sylvia Lim, Heloise Tunstall-Behrens

17:30// multi.modal record launch

19:00// Concert with Aaron Einbond, Matilde Meierless, Cath Roberts, Benedict Taylor, David Toop


DAY 3 // Saturday 14th September
IKLECTIK, Old Paradise Yard, Waterloo (SE1 7LG)

11:00// Foraging and making jam with Clare Qualman

15:30//Concert with Nell Catchpole, Leo Chadburn, Jan Hendrickse, Amber Priestley

Who is the ‘I’ that Performs?: Enacting Musical Identities.

Ghent, 28-29 November 2019, Orpheus Institute / Tinnenpot Theatre (Ghent, BE)

Music reflects identity: that idea is now deeply engrained in both musicology and popular media commentary. The study of music across cultures and practices often addresses the enactment of identity “in” music—how music expresses or represents “an” individual or “a” group. However, there is more to it than this. It is now over twenty years since Simon Frith, developing comments made by Kofi Agawu, took studies of popular music to task for their one-sidedness: for their failure to consider identity as a process formed (and continually reformed) through performance, rather than solely reflected in it. Frith’s words resonated with ideas prevalent in contemporaneous (and subsequent) research in performance studies, particularly in theatre, live art and dance, predicated on understanding identity as performative. Following Judith Butler and others, identity is understood as an emergent process, constituted (not merely expressed) by what we say and do.

These concerns are still very much with us. As Kwame Anthony Appiah (2018) notes in The Lies That Bind: Rethinking Identity, an explosion of “identity talk” provides evidence of an ongoing preoccupation with such matters. In today’s political climate these issues have become ever more pressing.

What has this meant for music in recent years? It is now commonplace to consider identity not as foundational but rather as produced in and through our interactions with others, with “things,” and within structures of discourse and power—in the context of music, with other performers, composers, and audiences, with instruments, other technologies, and contexts of performance, and with arts funders, producers, theorists, and so on. But how does this affect musical practices? What can artistic research bring to this debate? How does—or how might—the work of practitioners reveal aspects of this dynamic? In what sense is identity performed in and through musical practices—which embrace all the makings of music by composers, improvisers and performers, not just the acts labelled “performance.” How do changing musical practices map changes in identity—or changes inunderstandings of identity? And how do changing identities transform musical practices? Does creative agency interpenetrate with the instantiation of identity—and if so, how?


We invite proposals, maximum 300 words, for presentations of any kind (20 minutes + discussion) from artist researchers whose work relates to this topic. 

Enquiries should be sent to Catherine Laws or

Please upload proposals here:
Deadline: Friday September 6th 2019. Applicants will be notified of the decisions by September 19th 2019.

The event also marks the culmination of the Orpheus Institute’s research cluster ‘Performance, Subjectivityand Experimentation’ and will include free performances and other events linked to that

The seminar will open at 13.00 on November 28th 2019 and close at 17.00 the next day. Seminar committee: Catherine Laws, William Brooks, David Gorton, Stefan Östersjö.

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 22 to 24 May 2020.

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 16 February 2020*** 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 February 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

19th Biennial International Conference on Baroque Music

The 19th Biennial International Conference on Baroque Music will be hosted by Royal Birmingham Conservatoire (Birmingham City University, UK) from Wednesday 15 July to Sunday 19 July 2020.

The conference committee invites proposals for: 

  • Individual papers of 20 minutes in duration (followed by questions and discussion)
  • Lecture-recitals of 30 minutes in duration (followed by questions and discussion)
  • Themed and round-table sessions of 90 minutes in duration, including discussion
  • Poster presentations

Proposals in any area of Baroque music (c.1600–c.1750) are welcome. Given the setting in a conservatoire, those that relate to performance and performance practice would be particularly appreciated. All presentations must be given in English.

The committee actively wishes to encourage doctoral and early career researchers to participate. To this end a number of fee waivers will be made available to both PhD students and to post-docs (up to two years since graduation) without institutional affiliation. The awards will be given to those proposals considered by the Organising committee to be the strongest: applicants should indicate when submitting their proposal that they wish to be considered for the scheme. (For further details see the Guidance Notes available at: All doctoral students, regardless of whether or not they apply for a fee waiver, must also include a letter of recommendation from their supervisor; all post-doc researchers applying to the fee-waiver scheme must include a supporting statement from an established academic familiar with their work. 

The deadline for receipt of abstracts is midnight (UK time) on Friday 17 January 2020

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

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

  • Name
  • Institution (where applicable)
  • Postal address
  • Phone
  • E-mail Address
  • Presentation type (paper, lecture-recital, round table, poster)
  • For doctoral students only: a letter of recommendation from a supervisor must be included

Abstracts should be emailed to:
Dr Carrie Churnside ( by attachment. Please back up the attachment with a plain-text version in the main email.

Birmingham Baroque 2020 Conference Committee

Organising Committee

Carrie Churnside (Chair)

Martin Perkins

Helen Roberts

Graham Sadler

Jamie Savan

Jeffrey Skidmore

Shirley Thompson

Colin Timms

John Whenham

Programme Committee

Rebekah Ahrendt

Gergely Fazekas 

Giulia Giovani

Massimiliano Guido

Alan Howard

Rebecca Herissone

David Irving

Theodora Psychoyou

Robert Rawson

Michael Robertson

Stephen Rose

Yo Tomita

David Vickers


Facebook: Birmingham Baroque 2020

Twitter: @RBCMusicology

Soldiers’ Tales: Collecting and Sharing Military and Musical Heritage

Thursday 22 August 2019. Faculty of Music, University of Oxford, St Aldate’s, Oxford OX1 1DB

MIRN (the Musical Instruments Resource Network) and AMOT (the Army Museums Ogilby Trust) are working together to present a day of training and skills sharing, focusing onissues surrounding the role of music and instruments in military contexts. The sessions will include:

  • A presentation by a trainer from the Oral History Society followed by a sample oral history interview;
  • A ‘Collections in Flux’ panel to discuss and invite questions on the conservation, documentation and curatorial issues surrounding the storage, moving and redisplay of collections;
  • Talks about the practicalities of touring exhibitions featuring the Horniman’s touring ‘Object in Focus’ programme and an exploration of potential touring exhibitions by the Museum of Army Music (MAM);
  • A live lecture/demonstration of playable military instruments from the Bate Collection including the historic Simon Beale trumpet dating from 1667.

Places are limited; booking is essential and early registration is encouraged. AMOT and MIRN gratefully acknowledge the support of the Art Fund in enabling this joint event to be offered free to participants. Lunch and refreshments are included. To avoid waste, please inform the organisers ( of cancellations no later than 8th August.

MIRN’s AGM will immediately follow the symposium.

Register Now

Please address any enquiries to

Note: this event has been scheduled to run the day before the joint Bate Collection/Galpin Society conference on Musical Instrument Collectors and Collections (Friday 23rd-Sunday 25th August) at the same venue; the draft programme for that conference is now available for download and the conference is open for registration.

24th IGEB International Conference on Wind Music

The International Society for Research and Promotion of Wind Music (IGEB) is pleased to invite submissions of proposals, posters, or lecture-performances for the 24th International Conference on Wind Music, to be held in Valencia (Spain) July 23-27, 2020, at “Joaquín Rodrigo” Conservatoire of Valencia and, for the last day, the Societat Musical Santa Cecilia d’Alcàsser.

Main theme- Wind Music: Providing Education & Building Society, Culture and Identity

The relevance of the military and civilian bands in education and their role in building the society, the music culture and the identity, is the main theme of this 24th International Conference. The lecturers are especially invited to submit their proposals within the framework of the following categories:

  • Wind music artistic societies, education and identity.
  • Wind music repertoire, audiences and identity.
  • Wind music teachers, composers and performers.
  • Wind music, cultural environment and identity.
  • Wind music and social development.
  • Wind music and urban soundscapes.

In addition, we also welcome proposals exploring other approaches to wind music, including research in progress.


DEADLINE: January 31, 2020.

Abstract (250 words) and brief CV should be submitted by e-mail to the Chair of the Scientific Committee ( with copy to Doris Schweinzer (

Accepted papers will be notified by April 1, 2020.

IGEB also invites persons interested to chair a session, sending a brief CV to the emails indicated above.


The official languages of the conference will be English, German, Spanish and Valencià.

The organizers encourage PowerPoint presentations in English. Presentations should not exceed 20 minutes, leaving 10 minutes for discussion.

The organizers will consider papers for future publications in the Alta Musica series.

Presenters and chairs are expected to be members of IGEB.

Registration materials and further information may be found at  and in the IGEB Mitteilungsblatt.

Beethoven and the Piano – Philology, Context and Performance Practice

Lugano, Conservatorio della Svizzera Italiana, 4–6 November 2020

Organised by the Bern University of the Arts (HKB) and the Conservatorio della Svizzera Italiana, Lugano
With the scientific support of the Beethoven-Haus, Bonn, and of the Italian Musicological Society

The conference-festival on Beethoven’s keyboard music and its historically informed performing practice will take place as part of the celebrations for the 250th anniversary of the composer’s birth. The lectures will focus on three main topics:

  • philology (examination of printed editions, manuscripts, sketches)
  • context (organology, contemporary reception, publishing market)
  • and most importantly, contemporary performing practice (relationship between notation and performing practice, dynamics, pedalling, metronome marks, rhythmic flexibility, embellishments, improvisation, etc.).

Keynote speakers
Christine Siegert (Beethoven-Archiv, Bonn)
Barry Cooper (University of Manchester)
Tom Beghin (Orpheus Institute, Gent)
Clive Brown (professor emeritus, University of Leeds)
Michael Ladenburger (former head of the museum and custodian of the collections, Beethoven-Haus, Bonn)

Call for Papers
Paper proposals are accepted until 15 September. For details, see the Call for Papers.

Further Information
The conference will be accompanied by two concerts and will be covered by the Radio della Svizzera Italiana. The publication of the proceedings will follow soon after the conference. All information on travel, venue and accommodation, as well as the definitive programme of the conference, will be published in due course on this website. Depending on the financial situation, the organisers hope to contribute to travel and accommodation costs of those speakers who have no other sources of support.

The conference will be preceded by two masterclasses with Alfredo Bernardini and Tom Beghin. For details on the musical programme of the masterclasses, the evening concerts, and the student concerts, please visit the CSI website.

Baroque Festivals between the Sacred and the Profane: Europe and the Atlantic

Palácio do Correio Mor, Loures (near Lisbon), Portugal, 17-19 October 2019

Organization: IHA – Instituto de História da Arte, NOVA FCSH; Câmara Municial de Loures

Deadline for submissions: 15 July 2019

Conference Website:

The Feast, a cultural manifestation encompassing all civilizations and creeds, reached its pinnacle of magnificence and extravagance during the Baroque period (17th-18th centuries). Courts, along with religious institutions, were the main promoters and spreaders of the grandiose scenographic events witnessed in this period of history. With models and fashions from European courts such as those of France, the Austro-Hungarian Empire and the Iberian Peninsula fanning out to the rest of the Old World, the festive eccentricity of Baroque also reached the overseas territories of South America under the rule of the Iberian monarchies.

Ephemeral art, the visible expression of the festive spectacle, takes over and transforms spaces in dialogue with the perdurable arts and the soundscape. The hegemony of painting, sculpture and architecture blurs in the dialogue established with the so-called decorative arts and with the performative arts. The feast brings together arts, artists, commissioners, participants and the public. A brief jubilatory event, it is the expression of the imagination, of the amalgam of arts and peoples, the apotheosis of the concept of the total work of art that Baroque gave rise to and that Leibniz, in his Monadology, understood as the art of finding “the beautiful constructions”, that is, shaping imaginary worlds as possible as that in which we live.

The final composition of the festive display reflects the essence of Baroque: a play of multiple forms in dialogue with each other and in permanent unfolding: “la peinture sort de son cadre et se réalise dans la sculpture de marbre polychrome; et la sculpture se dépasse et se réalise dans l’architecture; et l’architecture à son tour trouve dans la façade un cadre, mais ce cadre décolle lui-même de l’intérieur, et se met en rapport avec les alentours de manière à réaliser l’architecture dans l’urbanisme” (Giles Deleuze, Le Pli, Minuit, 1988, pp. 167-168).

This conference seeks to open up an approach to this phenomenon with a focus on its artistic dimension. Given the diverse contributions that the arts bring to the Baroque Feast, such approach will be necessarily interdisciplinary and consider the phenomenon in the 17th and 18th centuries from renewed viewpoints based on the latest research.

Paper submissions are sought on, but may not be limited to the following topics:

  • Staging, codes and rituals: the arts of the table, christenings, weddings, acclamations, royal entries, embassies;
  • Theatres, staging’s, beatifications and canonisations, liturgical calendar processions, special devotions;
  • Literature, books and prints: model dissemination and consolidation;
  • Music and the sound element of the feast;
  • The feast and the city: ephemeral scenography, its agents and impact on the urban scape.

We welcome proposals for 20-minute presentations in English, which should include:

  • Title of the proposal;
  • Applicant’s identification (name, institutional affiliation, country and email);
  • Abstract (up to 300 words);
  • Short Curriculum Vitae (up to 200 words).

Proposals must be sent in Word (.doc format) by email to

A selection of papers from the conference will be published in Revista de História da Arte – Série W, an annual peer-reviewed digital journal.

Music in the Context of Culture

V. Sarajishvili Tbilisi State Conservatoire hosts the International scientific conference “Music in the Context of Culture” dedicated to the 90th anniversary of Givi Orjonikidze, eminent musicologist, scholar, writer and public figure.

The conference will be held 2-4 December, 2019.

Working languages of the Conference are Georgian and English.

Please registered at: before 1 October, 2019 and forward the short  Bio and  abstracts (in Georgian or English languages correspondingly) to the following address:  rusiko.tsurtsumia@gmail.

Time-limit of the Conference: presentation and discussion – 30 min.

The rules for theses:

Font: Times New Roman

Size: 12

Interval: 1,5

Margins from all sides: 2.0 cm

Bio and abstract should not exceed  260 words.

Due to the need to translate the text of the paper into Georgian, please send  it before October 25.

A concert of Georgian music is planned as part of the Conference program.

For additional information please contact:

e-mail: : rusiko.tsurtsumia@gmail.

Tel.: (+995 32) 299 89 53

(+995) 593 98 51 17

 Contact person: Rusudan Tsurtsumia