CfP: The “Other” Voice: High Male Voices between Gluck and Rock

A Symposium of the International Gluck Opera Festival in Nuremberg, 5-7 July 2019

The international symposium, “The ‘Other’ Voice: High Male Voices between Gluck and Rock”, which will take place during the International Gluck Opera Festival in Nuremberg from 5-7 July 2019, seeks to address current research questions about the meaning, appropriation, aesthetic, and reception of high male voices in musical theater of the 18th century through to Pop and Rock.

Musical theater at the time of Christoph Willibald Gluck was shaped in large part by performing vocalists, which, particularly with the castrati in Italian opera seria, can be traced back to culturally conditioned aesthetic preferences for both high (male) voices and an ideal sonority (typical for the period), just as much to institutional factors, casting conventions, public expectations, and mechanisms of reception relating to voice, body, gender, and image.

That the object of fascination, the high male voice, is not limited to opera at the time of Gluck reveals corresponding trends in music of the 20th and 21st centuries, where high-range vocal parts for male performers are omnipresent—in theatrical and non-theatrical vocal genres alike. The casting of parts for countertenors, from Benjamin Britten’s A Midsummer Night’s Dream to György Ligeti’s Le Grand Macabreand Olga Neuwirth’s Bählamms Fest, continues to enjoy great popularity. It also represents important facets of musical theater up to the present day. Indeed, high male and falsetto voices are also of great musical and aesthetic importance in the realms of Pop (e.g., James Blunt, Justin Timberlake, A-ha, etc.) and Rock music (e.g., ACDC, Placebo, etc.). In certain instances, furthermore, the timbre generated by the falsetto voice goes beyond the aesthetics of pure sound to form part of a transgendered staging of the artistic persona (e.g., David Bowie, Freddie Mercury or Pharrell Williams).

In conjunction with a new production of Gluck’s Antigono for the International Gluck Opera Festival 2019, this interdisciplinary symposium approaches this complex subject from a variety of historical contexts, theoretical perspectives, and methodological vistas.

Possible themes include:

  • High male voices as part of the staging of artistic personalities in historical and contemporary contexts
  • Casting conventions in 18th-century musical theater
  • Aesthetics of counter song in Neue Musik as well as popular musical forms of the 20th and 21st centuries
  • Countertenors in contemporary historical performance practice
  • High male voices and the aesthetics of reception
  • Gender stereotypes in 18th-century musical theater and 20th/21st-century vocal music

Individual presentations are allocated 20 minutes, followed by 10-minutes of discussion. The conference languages are German and English. Please send an abstract of no more than 250 words in German or English, as well as a short biography (CV, research interests), to gluck– no later than 15 August 2018. Acceptance notifications will be sent out by the end of September 2018.

Concept and Organization

  • Dr. Irene Brandenburg (University of Salzburg, Gluck Research Center)
  • Prof. Dr. Nils Grosch (University of Salzburg, Gluck Research Center)
  • Prof. Dr. Thomas Seedorf (University of Music, Karlsruhe)
  • Dr. Ingeborg Zechner (University of Salzburg, Gluck Research Center)



Archival Study Event on 10 September 2018 in Oxford

On Monday 10th September 2018 the Transforming C19th HIP project, in partnership with the RMA, will be holding a (free-to-attend) Archival Research Study Morning at the Music Faculty of the University of Oxford.Guest speakers include Rupert Ridgewell (British Library), Tim Jones (Royal Academy of Music, London), Rachel Cowgill (University of Huddersfield), Richard Sutcliffe (Royal Conservatoire of Belgium) and Martin Holmes (Bodleian Library, Oxford). The event is aimed at anyone interested in archival research related to music and it will be especially relevant to early career researchers, performers / performance researchers, and graduate students.

Sessions will cover: honing archive skills; performance research in legal deposit libraries; library holdings and archival research in conservatoires; and accessing and using private archives.

The Study Morning is free and all are welcome, however registration is essential. The closing date for registration is August 17th. Early registrations will be greatly appreciated to give an idea of numbers. For more information on the event, including registration, please visit

Registration now open for CityMAC 2018

Dear all,

Registration for the City Music Analysis Conference (CityMAC 2018) is open. This conference, sponsored by the Society for Music Analysis (SMA) and Wiley, will take place on Thursday 5th to Saturday 7th July 2018 at City, University of London. As always, diverse aspects of theory and analysis relating to music of any genre and historical period will be well represented, but this year we are also putting world music in the spotlight. The two keynote speakers are Professor Richard Widdess (SOAS) and Professor Janet Schmalfeldt (Tufts University). For more details about the conference, a copy of the programme, and access to the registration form, please follow the URL below.

Register soon to be eligible for the early bird discount, ending this month.

With best wishes,

Dr Shay Loya, Organiser

CityMAC 2018
City, University of London

Ninth International Conference Music /Sonic Art: Practices and Theories

Ninth International Conference

Music /Sonic Art: Practices and Theories


At the Interface of Practice and Theory: Revisiting the Artistic Research Debate


MuSA 2018 – Karlsruhe (IMWI)

28 June – 1 July 2018


Hochschule für Musik, Karlsruhe –

Institut für Musikwissenschaft und Musikinformatik (IMWI)

Am Schloss Gottesaue 7, 76131 Karlsruhe




We are pleased to announce the Ninth International Conference on Music and Sonic Art: Practices and Theories (MuSA 2018), an interdisciplinary event to be held in Karlsruhe, Germany at the Institut für Musikwissenschaft und Musikinformatik (IMWI) (


Conference dates:28 June – 1 July 2018


Keynote speaker: Markus Noisternig, IRCAM



Deadline for abstract submission: Friday, 27 April 2018.


Proposals for sessions and individual papers for the Ninth International Conference on Music and Sonic Art: Practices and Theories are invited from academics, independent researchers, practitioners and post-graduate students. Presentation formats include academic research papers (20 minutes + 10 minutes for discussion); reports on practice-based/artistic research or educational programmes (20 minutes + 10 minutes for discussion); and workshops, panel sessions, lecture-demonstrations (30 minutes + 15 minutes for discussion). The Conference committee encourages presentations in which practice forms an integral part of the research. All proposals will be ‘blind’ peer-reviewed. The conference language will be English.





The theme of MuSA 2018 is At the Interface Between Practice and Theory: Revisiting the Artistic Research Debate. The last decade has witnessed the establishment of artistic research in Music and Sonic Art as an original approach that brings together theory and practice. While much has been written about the integral role of artistic practice in this kind of research, much remains to be learned from exploring the multiple ways in which theory and practice can be brought to bear on each other.MuSA2018aims to explore the interface between theory and practice in the context of artistic research. We invite submissions on the following, and other relevant topics, in relation to the theory-practice interface in the context of artistic research:


  • Conceptual and non-conceptual processes
  • Multimodality
  • Know-that and know-how
  • The role of the subjective dimension
  • Role of technology
  • Embodied processes
  • Value judgments
  • New knowledge and insights



Other topics that are in line with the Conference’s broad aim of promoting interdisciplinary research within and across Music and Sonic Art will also be considered.


As in previous MuSA conferences MuSA 2018 will continue to include the popular, one-day event devoted to ‘Re-thinking the Musical Instrument’, focusing on the origination, making and playing of musical instruments.


Some of the topics that will be explored during this one-day event include:


  • The acoustical, musical, cultural, symbolic, and ritualistic qualities of musical instruments and the relationships between these (theoretically) distinct kinds of qualities;
  • The discourses that exist in relation to musical instruments in different genres, styles and traditions;
  • The gestural affordances and ergonomic principles of musical instruments and the musical meanings that emerge as a result of these affordances and principles;
  • Performers, improvisers and their instruments: phenomenologies of music making in the context of particular kinds of musical instruments;
  • Composer and instruments: the material, acoustical and expressive qualities of instruments and their relationship to musical languages composers create;
  • Relationships between creativity in performance, nature of musical interpretation and musical instruments;
  • The role of the musical instrument in the creation of musical identities;


We also invite proposals on any research area related to the nature and use of western acoustical instruments, traditional ethnic instruments and digital/virtual instruments.




Please submit an abstract of approximately 250-300 words as an e-mail attachment to


As contributions will be ‘blind’ peer-reviewed, please do not include information that might facilitate identification from the abstract. In addition, please include separately the name(s) of the author(s), institutional affiliation (if any) and short biography (approximately 100 words). Deadline for the receipt of abstracts is Friday, 27 April 2018. Notification of acceptancewill be sent by 11 May2018.



The conference fees are: €120 for delegates (day rate: €40), €100 for presenters (day rate: €35), and €60 for students and others who qualify for concessions (day rate: €20).


If additional information is required please do not hesitate to contact Prof. Dr. Mine Doğantan-Dack or any member of the conference committee:


Prof. Dr. Mine Doğantan-Dack – (University of Cambridge)


Prof. Dr. Thomas A. Troge (IMWI, Karlsruhe) –


Dr. John Dack (Middlesex University, UK) –


Prof. Miroslav Spasov (Keele University, UK) –


Prof. Dr. Marlon Schumacher (IMWI, Karlsruhe) –


Prof. Dr. Marc Bangert (IMWI, Karlsruhe) –


Prof. Damon T. Lee DMA (IMWI, Karlsruhe) –


Prof. Dr. Paulo Ferreira-Lopes (Universita Cattolica Porto/HfM-Karlsruhe) –


Patrick Borgeat (IMWI, Karlsruhe) –


Timothy P. Schmele (IMWI, Karlsruhe)  –


Administrative support: Gundi Rössler (IMWI, Karlsruhe) –




Elvis lives in Amsterdam: Manifestations of the imaginary musician


Elvis lives in Amsterdam
Manifestations of the imaginary musician

University of Amsterdam, 29 November – 1 December 2018

Conference convenors:
Rutger Helmers and Oliver Seibt

From Marvel’s Kiss comics of the late 1970s to Cate Blanchett and Heath Ledger acting out different facets of Bob Dylan’s public persona in Todd Hayne’s experimental film I’m not there; from continuous assertions that the guy on stage isn’t the real Paul McCartney to YouTube videos showing Nigerian Michael Jackson impersonators; from Hans Sachs, the sixteenth-century Meistersinger, still performing regularly in Wagner’s opera, to a virtual band like Gorillaz; from Adrian Leverkühn’s pact with the devil in Thomas Mann’s Doktor Faustus to the unsolved mystery of Chet Baker’s defenestration from Amsterdam’s Prins Hendrik Hotel.

During this conference, hosted by the University of Amsterdam’s School of Cultural Analysis (ASCA), we aim to have an interdisciplinary discussion about the various ways in which our understanding of musicians taps into the imaginary, and what case studies about musicians can teach us about the imaginary constitution of our everyday experiences.

The broader phenomenon of the imaginary musician, as we see it, covers four related areas, which can be encountered in many different cultures and ages, and in a variety of media such as literature, theatre, film, and live performance:

  • “Paul is dead”: Musical conspiracy theories
  • “The King is dead, long live the King!”: Impersonators and tribute bands
  • “The Real Slim Shady”: “Fictive” and “virtual” musicians
  • “Rock me, Amadeus”: “Real” musicians as fictional characters

Our interest will not be to debunk myths, but to understand what role imaginary representations of musicians play in our personal lives, in society and the arts in general. In discussing collective as well as individual imaginations of musicians, we are especially interested in the concurrence of the dimensions of “the real”, “the fictive”, and “the imaginary” in music cultures. Theories of the imaginary as, for example, those by Jean-Paul Sartre, Jacques Lacan, Wolfgang Iser, or Cornelius Castoriadis could thereby serve as theoretical background that allows for an interdisciplinary communication about the topic.

The conference will include three confirmed keynotes by Nicholas Cook (Musicology, University of Cambridge), Lydia Goehr (Philosophy, Columbia University), and Nick Prior (Sociology, University of Edinburgh), and is planned to feature an ongoing exhibition about musicians as characters in comic books and graphic novels, a musical event, and an affiliated masterclass for postgraduate students.

We welcome contributions from a variety of disciplines (music studies, media and communication studies, literature studies, and the social sciences) on whatever kind of music. Please submit a proposal for a 20 to 25-minute presentation in any format no later than 31 May 2018 to Proposals should include: your name and academic affiliation, the title of your contribution, an abstract of 200 to 300 words, and five keywords. Please also specify which of the four categories of imaginary musicians your presentation will relate to, and the format of presentation (lecture, performance). The conference language will be English. A publication of selected papers will be considered.

 Please refer to our conference website for the latest information: or

Gaiety, Glitz and Glamour, or Dispirited Historical Dregs? A Re-evaluation of Operetta

Thursday 10 January –  Saturday 12 January 2019
School of Music, University of Leeds
Deadline for Submissions: 15 September 2018

 An international conference in affiliation with the project German Operetta in London, New York and Warsaw, 1906–1939 (GOLNY), funded by the European Research Council.

In 1903, in an early attempt to write a critical history of operetta, Erich Urban perceived a common thread linking international manifestations of operetta. He was optimistic about its future, insisting that operetta had its own justification, meaning and history. Barely thirty years later, Theodor Adorno condemned operetta as a musical genre containing only dispirited historical dregs. In recent years, operetta has enjoyed renewed interest among musicologists in various countries. This conference aims to reassess operetta and engage with present scholarship.

We warmly invite proposals relating to nineteenth- and twentieth-century operetta, on topics such as:

  • Operettas and social and moral values
  • Audience reception of operetta
  • The transfer and adaptation of operetta across borders
  • Operetta and politics
  • The business of operetta
  • Screen operettas
  • New possibilities for operetta as more of its music enters the public domain

The keynote speaker will be Kevin Clarke, author, broadcaster, and director of the Operetta Research Center Amsterdam.

Abstracts of 300 words should be sent by 15 September 2018 to Derek B. Scott or Anastasia Belina

Please include your name and affiliation (or independent status). Notification of acceptance will be sent by 31 October 2018.

For further information see:

Reading Committee

Micaela Baranello (University of Arkansas)
Anastasia Belina (Royal College of Music, London)
Lisa Feurzeig (Grand Valley State University, Michigan)
Valeria De Lucca (University of Southampton)
Anne Kauppala (Sibelius Academy, Helsinki)
Matthias Kauffmann (Justus-Liebig-Universität Giessen)
Clair Rowden (University of Cardiff)
Derek B. Scott (University of Leeds)

Historical Fictions Research Network. Radical Fictions


The 2019  Historical Fictions Research Conference will be held at  Manchester Central Library,  Friday 22nd and Saturday 23rd February 2019.

The Call for Papers is now open.  

We are very keen to attract papers which discuss the challenges of recreating historical music/musical settings/sounds.

This year, in honour of the 200th anniversary of the “Peterloo Massacre” we welcome in particular papers on the loose topic “Radical Fictions”.

The CfP closes on July 1st 2018.

Twitter: @HistoricalFic

Facebook Group: Historical Fictions Research Network

Historical fictions can be understood as an expanded mode of historiography. Scholars in literary, visual, historical and museum/re-creation studies have long been interested in the construction of the fictive past, understanding it as a locus for ideological expression. However, this is a key moment for the study of historical fictions as critical recognition of these texts and their convergence with lines of theory is expanding into new areas such as the philosophy of history, narratology, popular literature, historical narratives of national and cultural identity, and cross-disciplinary approaches to narrative constructions of the past.

Historical fictions measure the gap between the pasts we are permitted to know and those we wish to know: the interaction of the meaning-making narrative drive with the narrative-resistant nature of the past. They constitute a powerful discursive system for the production of cognitive and ideological representations of identity, agency, and social function, and for the negotiation of conceptual relationships and charged tensions between the complexity of societies in time and the teleology of lived experience. The licences of fiction, especially in mass culture, define a space of thought in which the pursuit of narrative forms of meaning is permitted to slip the chains of sanctioned historical truths to explore the deep desires and dreams that lie beneath all constructions of the past.

 We welcome paper proposals from Archaeology, Architecture, Literature, Media, Art History, Musicology, Reception Studies, Museum Studies, Recreation, Gaming, Transformative Works and others. We welcome paper proposals across historical periods, with ambitious, high-quality, inter-disciplinary approaches and new methodologies that will support research into larger trends and which will lead to more theoretically informed understandings of the mode across historical periods, cultures and languages.

We aim to create a disciplinary core, where researchers can engage in issues of philosophy and methodology and generate a collective discourse around historical fictions in a range of media and across period specialities.

Paper proposals consisting of a title and abstract of no more than 250 words should be submitted to:

Registration: tickets can be purchased here.

Waged, £65/Concessions, £35 (no booking fee).


Hotel: there is no official conference hotel, but the nearest Premier Inn is Manchester Central, 4 minutes from the venue.

Keynote Speakers.

Josie Gill (University of Bristol),

Diana Wallace (University of South Wales),

Robert Poole (University of Central Lancashire)

Principles of Music Composing: Links Between Audiation and Composing

18th International Music Theory Conference

Principles of Music Composing:


Retrospective of the Century

November 13th 15th 2018

Vilnius, Lithuania

Considering audiation and composition together is not prevalent in existing research, and thus provides a thought provoking intention in the field of music theory. Audiation is designed and usually referred to in educational contexts as an aptitude to hear and comprehend music even when the real sound is not present. It is a cognitive process by which the brain gives a meaning to musical sounds. Giving a sense to a sound is an essential condition for the emergence of particular composing techniques, styles or even the general features of entire historical periods. With the rapid development of technologies and their apparent influence on composing as well as the increasing manifestations of serial methods in contemporary music, the role of audiation in the creative process becomes a problematic issue. For this reason integrating audiation and composition into a common discourse is expected to foster an intellectual field embracing both composing dilemmas as well as educational issues.

The topic of the conference is divided into suggested subtopics:

1) Audiation, aural perception/reception, inner hearing, ear training in the context of composing practices. Theoretical, typological, historical outlook.

2) Different audiative approaches (tonal, sonorous, intensity, rhythmic, etc.) as a premise for emergence of new composing techniques or trends in the retrospective of the century.

3) Composing as a result of audiation activity or conscious rejection (or restriction) of aural conducting in the composing process. (Auto)analysis of composer’s creative process.

4) Audiation aspects in accordance with creative evolution and style of a composer in oeuvre of Debussy (commemorating the 100th anniversary of composer’s death), his contemporaries and later composers.

5) Audiation tendencies and their manifestation in Lithuanian composers’ music following Čiurlionis (celebrating the centenary of independence of Lithuania).

6) Audiation strategies as creative stimuli in relation with other areas (literature, painting, motion, spirituality, etc.) and interrelationship between different senses (aural, visual, touch, etc.). Interdisciplinary approach to Debussy, Čiurlionis’ and later composers’ creative work.

7) Aural training possibilities and perspectives in regard with new composing demands emerged in the previous century.

Paper proposals (abstract and a short biography) should be sent by email: The abstract must not exceed 500 words. The duration of full presentation is limited to 2025 minutes.

The main language of the conference is English.

The deadline for proposal submissions is August 26th 2018. Proposals will be reviewed by the members of the scholarly committee and all applicants will be notified of the outcome in the middle of September 2018.

The participation fee is 20 Euros.

Selected papers of the conference will be published in the annual peer reviewed scientific journal Principles of Music Composing’.

Coordinators of the conference: Dr. Andrius Maslekovas, Aistė Vaitkevičiūtė

Connections and Communication in Instrumental and Vocal Teaching

The University of York Music Department is delighted to host its second Music Education conference: 

‘Connections and Communication in Instrumental and Vocal Teaching’.

This event will bring together teachers, researchers, and performers to explore connections and communication in instrumental and vocal music teaching. This topic can be approached in numerous ways and we welcome submissions from students and professionals who have related views and experience. There will be a balance of practical and theoretical submissions across the two days and we are keen to support early career professionals as well as students, independent scholars and music teachers.

The conference will take place on Tuesday 26th June and Wednesday 27th June 2018 in The Rymer Auditorium at the University of York (see travel information page for further details on the venue and access).

The event is organised by staff and students on the MA in Music Education: Instrumental and Vocal Teaching, at the University of York.

Call for Papers

Please send your proposal to  by 18.00 on 16th May 2018.

The conference topic is intentionally broad to encourage submissions from a range of perspectives. To facilitate this, four session types will be considered: 20-minute spoken presentations, poster presentations, 40-minute practical sessions, and 60-minute ‘diverse format’ sessions.

For information on submission guidelines go to our website.

For further information please contact:

FAO: Dr. E Haddon

Music Department,
University of York,
York YO10 5DD,

Tel: +44 (0)1904 324564,