The Fourth Annual Representations of Early Music on Stage and Screen (REMOSS) Conference: Music and Medievalism

The REMOSS study group will hold its fourth annual conference at the University of Edinburgh on 15-16 June 2018.

REMOSS’s previous activities have been largely focussed on the use of early music in stage and screen contexts; this conference hopes to widen that perspective turning its focus towards ‘medievalism’ as a methodological and aesthetic lens through which to further interrogate those themes.

The conference committee would particularly welcome proposals on themes of ‘Global Medievalisms’ and Cross-media/intermedia Medievalism’; however, all proposals and contributions will be considered. As ever, our conception of ‘early music’ is a broad one, including the use, or re-use, of ‘real’ early music in contexts new and old, historically informed performance, and modern music drawing on medieval themes and structures. We are also interested in alternative and global traditions of ‘early’ music, as well as imagined or invented ones.

Proposal for papers, workshops, demonstrations, lecture-recitals, and panels are solicited by February 16 2018. Please send a proposal of c.200 words including the session/paper format, the names and affiliations of any speakers, and contact details for the proposer, to If you have any questions about the conference, feel free to contact any of the organisers. To register as an attendee, follow this link:  Sign-up for our jiscmail newsletter at: REMOSS@JISCMAIL.AC.UK

Conference attendance will be free. Digital presentations will be available for speakers who cannot attend in person and, as always, the event will be live-streamed for those who wish to attend digitally.

Dr James Cook, University of Edinburgh (

Dr Alex Kolassa, Royal Holloway, University of London (

Dr Alex Robinson, Paris-Sorbonne University (

Dr Adam Whittaker, Birmingham City University (


North-South Interchanges: Collaborations, Tensions, Hybridizations

Organized by

UNESP (State University of São Paulo) – Instituto de Artes, São Paulo (Brazil)

Centro Studi Opera Omnia Luigi Boccherini, Lucca (Italy)

Universidad de la República, Montevideo/Salto (Uruguay)

Universidade Federal do Espírito Santo (UFES) – Centro de Artes, Vitória (Brazil)

UNESP, Instituto de Artes, São Paulo – Brazil

19-21 September 2018


The relations between the music made in South America, and that made in Europe, and in North America has been characterized at times by efforts to approach, some others times by rejection, many times resulting in peculiar hybrids. These same relations reflect in music criticism and in aesthetics, sometimes reinforcing the similarities, sometimes invoking the differences, or even having to deal with musical phenomena for which no specific vocabulary has been invented yet. We part from the argument proposed by Joseph Kerman, «repertories are determined by performers, and canons by critics» (‘A Few Canonic Variations’, in: Critical Inquiry, x/1, Canons [Sep. 1983], pp. 107-125), evoking the strength of the discursive network that develops around musical creation, performance, and its aesthetics. This conference intends to explore the rich and multifarious relations between music-making — understood in a very broad sense — and music criticism and aesthetics that, in some way, deal with or reflect the North-South relations.

The programme committee encourages submissions within the following areas, although other topics are also welcome:

  • The reception of European and North-American music in South America;
  • The reception of South-American music in Europe and in North America;
  • Nationalisms and the adaptation / rejection of foreign models in Music Criticism;
  • The North-South relations in Popular Music Criticism;
  • The North-South relations in Art Music Criticism;
  • Aesthetics, Philosophy of Music and Music Criticism;
  • Nationalisms and aesthetics: discourse between borders;
  • Aesthetics and Philosophy of Music in South America;
  • History of Music Criticism.

Scholarly Committee:

  • Marita Fornaro Bordolli (Universidad de la Respública, Uruguay)
  • Roberto Illiano (Centro Studi Opera Omnia Luigi Boccherini, Italy)
  • Fulvia Morabito (Centro Studi Opera Omnia Luigi Boccherini, Italy)
  • Massimiliano Sala (Centro Studi Opera Omnia Luigi Boccherini, Italy)
  • Lia Tomás (UNESP – Instituto de Artes, Brazil)
  • Mónica Vermes (Universidade Federal do Espírito Santo – Centro de Artes, Brazil)

The official languages of the conference are English, Spanish and Portuguese. 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 no more than 200 words of biography.

All proposals should be submitted by email no later than ***Sunday 5 May 2018*** 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 May 2018, 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:



Registration open: Listening Experience Database Conference 2018

The experience of listening to music: methodologies, identities, histories

6-7 March 2018, The Open University, Milton Keynes, UK

The Listening Experience Database project team is pleased to announce that registration is open for our second project conference.

The Listening Experience Database (LED) Project is gathering evidence of personal experiences of listening to music with the aim of establishing an evidential base for the exploration of the way music has impacted on people in the past.

The impact of music on individuals has been studied in different ways by psychologists, anthropologists, ethnomusicologists, social scientists, social and cultural historians and musicologists, and this conference aims to bring together some of these perspectives and methodologies.

Our keynote speakers are Professor Dave Russell, who will speak on ‘Live music and popular listening cultures, c.1850-1960’, and Professor Stephanie Pitts (University of Sheffield), who will speak on ‘Understanding audiences: what are concert-goers doing when they listen?’.

The conference website, which contains a link to the Eventbrite booking site, the draft programme and information about accommodation in Milton Keynes, can be found at

Early bird conference rates are available until 31 January.

Please feel free to address any queries to the conference organisers, Helen Barlow and Simon Brown, at


Church Music and Worship Conference



Following on the from the success of the York Conference on Church Music held in February 2017, the organising committee for Church Music & Worship invite proposals for this two-day international conference to be held in the Pemberton Rooms at Durham University and Prior’s Hall at Durham Cathedral on the 27 and 28 April 2018.

Our Keynote addresses will be delivered by Professor Jeremy Dibble (Professor in the Department of Music, Durham University) & The Rev’d Dr Maggi Dawn (Dean of Marquand Chapel, and Associate Professor of Theology and Literature, Yale University, USA).

Conference website


Call for Papers

We invite researchers and practitioners to submit proposals which engage with a range of methodologies and perspectives on church music and worship, from academic and practice-based viewpoints. Proposals are encouraged on the broad theme of church music and worship which may address, but need not be limited to, the following topics:

  • Church music and liturgy
  • Church music and the media
  • Church music compositional practice
  • Church music, gender, and sexualities
  • Historical perspectives on Church music
  • International perspectives on Church music
  • Theologies of musical worship

Please find information on the next two pages about how to submit a proposal and our supporters. Any questions at all may be directed to the chair of the conference committee, Enya Doyle, at

Submission Information

We particularly welcome submissions from postgraduate students.

We also welcome scholars who may want to or have to bring children with them.

Individual Papers

Proposals for papers should be sent as abstracts of not more than 350 words. Individual papers should be 20 minutes in length and will be followed by 10 minutes of discussion.



Proposals for organised panels of 3 speakers (1 ½ hours) and 4 speakers (2 hours) should submit a panel abstract (200 words) and individual abstracts (350 words each) in a single document together with the full names and email addresses of the participants. Questions about the organisation of panels should be directed to


The following format should be used for proposals (send in a word doc or pdf):

  1. Name, affiliation (if applicable), and e-mail address;
  2. Type of presentation (paper, lecture recital, panel, or poster);
  3. Title of presentation;
  4. Abstract (350 words max);
  5. Audio-visual and other requirements (the following are available: Data projector or large plasma screen; Desktop PC; VGA, HDMI and 3.5mm audio inputs; CD player; DVD player; Visualiser; Piano)
  6. Brief Biography (150 words)

Questions, queries, and proposals should be sent to the chair of the conference committee, Enya Doyle, at

The deadline for proposals is 23:59 on January 15 2018

Orpheus Seminar 2018 “The Power of Musical Networks”

Orpheus Seminar 2018 “The Power of Musical Networks”
February 21-22, 2018, Orpheus Institute, Ghent (BE)

Deadline extended!


Networks are everywhere these days. In effect, the new information technologies are interconnecting all aspects of our world, enabling unseen levels of social, political and economic interdependencies that characterise our times. The notion of Networks has become an extremely powerful metaphor, serving as a cornerstone for understanding this new complex, interconnected world.

Networks have transformed the creation, production and dissemination of art such as to change its very nature as a cultural artefact or human activity. Such a powerful trope allows for a wider range of interpretations and development. Moreover, it can serve as the ideal bridge between conceptual considerations from the technological and scientific domains, and creative/compositional enquiries from the artistic field.

This seminar provides a forum for exploring these ideas and approaches, their commonalities and representations and for considering the wider creative and explanatory potential of networks.


Some questions we hope proposals will address are:

  • Has our understanding, experience and critical discourse of music evolved to keep pace with technological models?
  • Where do the boundaries between network as structure and metaphor lie? Are they porous?
  • How does the use of networks as technologies impact on our imagining, our conceiving of music? Which of the many new affordances find most resonance?
  • What is the explanatory or creative potential of network in non-technological or non-contemporary music?
  • How do particular examples of the use of Network models/principles/theories bridge the potential gap between the Scientific Disciplines dealing with Network Theory and the creative artistic world using them?

Presentations might relate to the following topics, among others:

  • the nature of Networks as technical objects and metaphors for artistic creation
  • the production of knowledge through the creative application of Network theory(s)
  • the communication of artistic creation as research
  • the embedding of artistic creation in relationship to scientific and technological discourses related to the notion of Networks.
  • particular issues relating to metaphorica or cultural understandings of Networks

Proposals are welcome from researchers in non-musical critical or scientific areas, especially from those dealing with models of Networks or abstractions based on Network theory.

Confirmed special guests

  • David Rosenboom (Composer, Dean School of Music, CalArts): Music of Many Nows — Musical Configuration Spaces and the Networked Possible
  • Chris Chafe (Composer, Director CCRMA, Stanford):TN_CC*JI&JP: Networked room acoustics-based performance
  • Fernando Rosas (Centre of Complexity Science, Imperial College, London) Understanding Complexity through Networks


  • We invite proposals (max 500 words) for presentations in the form of paper, demonstration or performance, or any hybrid thereof. We particularly welcome proposals for presentations that explore the demonstration of Network models and theories applied to music creation.
  • The convenors aim to produce a publication developed from selected presentations at this seminar.

Proposals should be submitted using the following form: (Please specify whether your proposal relates to a short (20) or long (30 minute) presentation.)

Enquiries to Juan Parra ( and Jonathan Impett (

  • Deadline for proposals: 15 January 2018 (Extended from December 20)
  • Notification of acceptance: 19 January 2018

Convenors: Juan Parra, Jonathan Impett (Orpheus Institute, Ghent), Fernando Rosas (Imperial College, London)


Rethinking Sound 2018

CFP deadline: 31 December 2017
Notification of results: 15 January 2018
Conference dates: 30–31 March 2018
Conference website:
Venue: Hanyang University, Seoul, Korea

Keynote Speakers:

Music Research Center at Hanyang University is pleased to announce an international conference “Rethinking Sound 2018,” to be held on 30–31 March 2018 in Seoul, Korea.

Sound has long been the subject of interest to scholars and practitioners alike, but it has gained more popularity in recent decades; the sheer number of scholarly publications in what one may call “sound studies” testifies to this statement. As the ways in which sound is produced and consumed are continuing to change, we suspect that sound will be of central concern to many of us. What soundscapes are around us, and how do we react to soundscape? Is there any evidence suggesting that the way of thinking about the world is shifting away from “ocularcentric” to “aural-centric”? What are the implications of such a shift? How does (re)thinking about sound help us (re)define human subjectivity?

In attempting to answer these questions, we invite proposals for individual papers (20 minutes) on any topics related to the conference theme “Rethinking Sound,” broadly defined. Possible topics include, but are not limited to:

  • Historical/cultural/geographical soundscapes
  • History of listening
  • Human-computer interaction (HCI) with sound
  • Mediated sound/listening
  • Sound and disability studies
  • Sound and ethics
  • Sound and film
  • Sound and gender
  • Sound and noise within/outside musical works
  • Sound and subjectivity/identity
  • Sound and the body
  • Sound in video games
  • Sound, space, and mobility

We welcome proposals from scholars and practitioners as well as early-career researchers and graduate students working in all musicological disciplines.

Submissions, in English, should comprise a paper title, an abstract of up to 250 words, and a short biography of about 150 words. Please email submissions in PDF or Word format to by 31 December 2017.

Rethinking Sound 2018 is supported by the Ministry of Education of the Republic of Korea and the National Research Foundation of Korea.

Diaspora Sounds: Innovation and Creativity in Music Learning and Performance

Symposium at Goldsmiths, University of London, 1 June 2018.

This one-day symposium will bring together academics and musicians to discuss innovation and creativity in diasporic music learning and performance. Cutting across disciplinary boundaries and across sectors, Diaspora Sounds will address current musical practices in diasporic communities in the UK, with a focus on Asian diasporas. What issues are being experienced and expressed through experimental musical projects? How is diasporic learning and performance impacted by austerity and the reinforcement of national borders? The symposium will provide an opportunity for engagement and dialogue between academics and musicians involved in teaching and performance to develop new perspectives.

This symposium aims to explore emerging musical styles by new generations of musicians from different backgrounds in the UK. Building on the important scholarly work that focused on the Asian Underground and Bhangra between the 1980s and 2000s, we will explore innovative learning methods and creative projects reflecting changes in migration and resettlement patterns, musical taste, technology, representation and expression. From the development of transnational online concert platforms to the expression of current diasporic experiences through the combination of Asian popular and classical music, Euro-American popular styles and UK Grime in new music productions, we will explore community-based, state-funded and music industry practices.

We invite academics, musicians, teachers, and arts organisations to discuss innovation and creativity in diasporic music-making in the context of austerity, Brexit and threats to arts funding. The event will incorporate academic papers, talks by practitioners, performances and films. Supported by the Institute of Musical Research (IMR), the event will be hosted by the Asian Music Unit (AsMU) at Goldsmiths, University of London. Although there will be a focus on music in Asian diasporas, papers and discussions will not be limited to this area. This is an interdisciplinary event and we particularly encourage PhD students and early career researchers from a variety of backgrounds to enter discussions with musicians and arts organisations.

Themes for academic papers, talks, performance-based presentations and films include:

  • the use of digital technology and digital media
  • religion, music and innovation
  • emerging styles and genres
  • funding for creative projects
  • innovation in education and pedagogic methods
  • class and/or gender
  • advocacy, activism and representation
  • transnational connections

Potential contributors are invited to submit abstracts of up to 300 words to Jasmine Hornabrook ( The deadline for submissions is 15th January 2018 and contributors will be notified of their participation by 5th February 2018.

The symposium is free to attend. There are a limited number of travel bursaries of up to £50 for PhD students and early career researchers travelling from outside London. If you would like to be considered for a travel bursary, please make this clear when submitting your abstract.


1st Academic Conference on “Music, Communication and Performance”

23-24 June 2018

The “Associazione Europea di Musica e Comunicazione” organizes the 1st Academic Conference on “Music, Communication and Performance”. The conference promotes interdisciplinary research and original approaches in any field of musicology, communication studies, philosophy, literature, etc., and in any field of artistic performance that involve music. Deadline for receiving the abstracts of papers and performances is March 31, 2018.

The venue for the performances is equipped with restored 1883 Bechstein grand The venue for the presentations is equipped with Kawai grand, computer, projector, and sound system

Formats: 15-minute presentations (+5 minutes of discussion) and artistic performances (30-45 minutes); poster presentations, round-tables, panels, and other forms may also be considered. The conference language is English.

The conference will be held on 23-24 June 2018, at the “Bruno Mezzena Academy of Music and Communication” in Montecassiano, Italy. Montecassiano features in the list of “Italy’s most beautiful villages”, and is just kilometers from some of the most pristine beaches of the Adriatic Sea, as well as from cultural sites such as poet Giacomo Leopardi’s birthplace.

The keynote speech will be given by Professor Monika Fink (University of Innsbruck); the keynote performance will be given by pianist and composer Martin Münch

Organized by Alberto Nones, PhD, and Ricciarda Belgiojoso, PhD

All information on submissions and conditions of participation at



Pop – Power – Positions

Global Relations and Popular Music
3rd IASPM D-A-CH Symposium

Bern (Switzerland), 18–20 October 2018

In Nigeria, the high pressure to follow the copyright rules of the globalized pop music market restrains the use of samples in hip hop culture. In Egypt, young musicians have no credit cards, leaving them without access to the online music market. In Europe, second and third generation migrants discuss their non-European backgrounds and European identities in songs and tracks. And U.S.-produced Korean pop music (K-Pop) increasingly rivals Korean-produced K-Pop in its concern for authentic presentation.
Issues of power, position, access, and representation have shaped the production, distribution, and reception of popular music and continue to do so today. The three-day interdisciplinary conference Pop – Power – Positions highlights popular music’s embeddedness in a global world. It seeks to uncover and scrutinize the risks, challenges, and potentials of power structures, positioning, and (re)presentations in popular music. The analysis of global, postcolonial structures plays a central role in this endeavour. To date, however, music– and popular music in particular – has only rarely been studied using postcolonial perspectives.
Postcolonialism refers not only to the historical fact of colonialism and its political, geographical, cultural, and economic impact on the countries and regions involved. Rather, postcolonial studies deal with all aspects of cultural diversity, ethnic and cultural difference, and their related power structures. Colonialism as well as postcolonialism refer to hierarchies that are enacted and produced through the construction of the Other and bring about and enforce debateable concepts of representation such as gender, race, ethnic group, nation, class, and culture. In this regard, the effects of (post)colonialism can be detected not only in former colonialized and colonising countries and regions, but also in those which at first sight do not have a colonial heritage, for example Switzerland.
From its beginnings, popular music has been produced and performed in and within (post)colonial (power) structures. Postcolonial traces are, according to Johannes Ismaiel-Wendt, inherent in any popular music (2011). Current productions of popular music in different countries show that (post)colonial conditions live on in popular music, especially in a globalised world, and that musicians as well as recipients react in various ways to this situation.
The conference focuses on (global) power relations and representations of race, cultural difference, ethnicity, gender, class, and nation, including the changes and subversive strategies these may involve. Ethnographic and analytical studies of popular music in and from (former) colonised countries and regions are also welcome.

We invite papers that address the following range of topics and questions:
– Who speaks in popular music? What kinds of power structures shape the production, distribution, and reception of popular music? What is the impact of the Anglophone music business on other music markets? Who speaks about popular music in the areas of marketing, advertising, journalism, fan cultures, (global) politics, and educational institutions – and what vocabulary do they use?
– Have digitalisation and digital networks led to a democratisation of musical processes, or the contrary?
– What sounds and music(s) are processed in what contexts by whom and how, and to what aim? How does the use of certain sounds/music(s) point to existing power relations, dependencies, and availability?
– What role do geographies and geopolitics play in popular music-making? How do geography, world order, and power structures relate?
– In what ways can popular music exist beyond cultural, ethnic, and national geographies? What role does the relation between the Global North and Global South have in popular music?
– How do structures of power and distribution limit the access to the production and reception of popular music?
– What relevance, usability, and impact do technologies (like Digital Audio Workstations) or legal regulations (like the copyright laws) that have been developed in Western contexts have for popular music? In what ways are (post)colonial structures and power relations (re)produced therein?
– What kinds of representations do musicians use for their marketing? What traits are ascribed to music?
– What potential does popular music hold for detecting and changing (or enforcing) colonial and postcolonial power structures?
– How can postcolonial theories be made fruitful for an up-to-date understanding of popular music?
– How do musicians of different forms of popular music process a „(post)colonial experience of the world” („(post)koloniales Welterleben“, Ismaiel-Wendt) in their music?
Popular Music Studies
– How marginalised are specific popular musics within the history of popular music?
– Should or can we write a Global History of Popular Music?
– In what way is the concept of popular music in itself (post)colonial?
– What hierarchies, asymmetries or restraints can be found in inter-/transdisciplinary Popular Music Studies?

Keynote: Dr Jenny Fatou Mbaye (City University London)

Contributions on popular music that lie outside the scope of these topic areas are
welcome and will be considered if possible.

Call in GermanCall in English

Please email your abstract to by 28 February 2018

More information:

SMA TAGS (Theory and Analysis Graduate Students) Conference 2018

Call for Papers: SMA Theory and Analysis Graduate Students (TAGS) Conference


Department of Music, Durham University

Saturday 7th and Sunday 8th April 2018


Deadline for proposals: 31st January 2018

Keynote Speaker: Professor Daniel Grimley

Student travel bursaries available



The SMA’s annual Theory and Analysis Graduate Students (TAGS) Conference will be hosted by the Department of Music at Durham University on Saturday 7th and Sunday 8th of April, 2018. The event provides a supportive and friendly environment in which postgraduates can gain experience in presenting their work, and meet fellow researchers. Participants who do not wish to give a paper are also very welcome to attend.


Our keynote speaker, Professor Daniel Grimley, is a Professor of Music at Oxford University, Fellow and tutor at Merton College, and lecturer at University College. Proposals are invited for 20-minute papers, themed sessions, and lecture recitals addressing any analytical, critical, or theoretical subject and in relation to any style of music. This includes, but is not limited to:


  • Formenlehre and Sonata Theory;
  • Analysing non-Western Musics;
  • Analysis, Philosophy, and Critical Theory;
  • Intersections between History, Theory, and Analysis;
  • Analysis and Cultural Geography;
  • Analysing Popular Music and Improvisation;
  • Music Perception and Cognition;
  • Empirical Approaches to Music;
  • Analysing Musical Modernism;
  • Analysing a-/microtonal Music;
  • Themed sessions focusing on the analysis of a particular work(s), or on specific arrangements or transcriptions are also welcomed.


For 20-minute paper proposals, abstracts of no more than 250 words should be sent by email to Maddie Kavanagh Clarke at Please include the following: name, institutional affiliation, email address, and any AV requirements on a separate cover sheet (Microsoft word or PDF only please). Organisers of themed sessions should submit a brief overview, together with individual abstracts; proposals for lecture recitals should include full details of the proposed performance, and any relevant requirements in their cover sheet.


The closing date for receipt of proposals is 31st January 2018.

All those submitting proposals will be notified of the outcome by mid-February 2018.


Delegates will be invited to register from the morning of Saturday, 7th April, and the conference will run all-day Saturday and until Sunday afternoon, 8th April. Conference accommodation will be available on the evening of Friday 6th April and Saturday 7th April 2018. Durham University is easily accessible by train, with the department located a 15-20 minute walk from the station.


If you are presenting a paper, you will be eligible to apply for an SMA Student Travel Bursary to help cover the costs of travel and accommodation (B&B accommodation will be provided in one of the Durham colleges). Further details on the bursaries can be found here. Please note that the deadline for application for bursaries is Tuesday 6th March 2018.