Beethoven in the periodical press: reception, perceptions and discursive uses of his figure and his music (XIX-XXI centuries) (7th MUSPRES)

We are pleased to announce that the 7th MUSPRES conference will be held at the University of La Rioja, Spain, on May 23–24, 2019.

The study group “Music and Periodical Press” (MUSPRES) of the Spanish Musicological Society (SEdeM) organises since 2013 an annual conference with the objective of promoting and sharing musicological research exclusively or significantly based on periodical sources. Our next meeting will be focused on the reception of  Beethoven in the periodical press published in Spanish, Portuguese or Catalan.

The official languages of our conferences are Spanish and Portuguese.

Topics to be addressed in the 7th MUSPRES include the following, among others:

  • Perceptions of Beethoven’s music in the periodical press published in Castilian, Portuguese or Catalan.
  • The periodical press published in the languages mentioned above as a source for the study of the audience or the performance of Beethoven’s compositions.
  • The figure of Beethoven, his biography, concrete works of his authorship (in particular, his quartets and symphonies) or his catalogue as models.
  • Reception of topics related to Beethoven (for instance, among others, his representations as an unadapted genius or as a hero). Uses and influence of these topics in the evaluation of other composers.
  • Discursive uses of the figure of Beethoven. Analysis of his cultural meaning in musical and non-musical contexts, such as the political one.
  • Beethoven or his music as an incarnation of “German music”, admired or censured in “Latin” countries.

The length of presentations shall be 20 minutes maximum. Deadline for the submission of abstracts will be 15 January 2019. Successful candidates will be notified by 31 January 2019.

Please send an abstract of under 300 words to <>

You may visit our website for more information:

CfP: Music in the body – body in music: The body at the intersection of musical practice and discourse. Conference, 5th/6th of September 2019, Department of Musicology, Georg-August-University of Göttingen

    • Our body forms the basis of all musical acts, utterances and experiences. As sonic waves, music impacts the body immediately. Musical instruments vibrate through human bodily action. Notated scores become music through the bodies of their performers. The effects of a Rock’n’Roll classic manifest bodily through physical movement in dance. Despite the undeniable presence and importance of the body in music production and reception, the body has been marginalised in historical musicology. This neglect persists despite the attention to the body as medium and location of knowledge in other disciplines throughout the humanities and social sciences. The body enjoys critical scholarly discussion and analysis since the performative turn in fields such as affect-, gender- and performance-studies, and these fields are explored in popular music studies, Ethno-, and cultural musicology. But these approximations have yet to amount to a rethinking of music in terms of its corporeality. Musicology often operates within a conception of music that is anchored to autonomy aesthetics, which is characterised by a “marginalisation of the body through the autonomy of the mind” (Traudes 2012). Not only is the performing body conceived as a transparent medium, transporting the mind-driven intentions of the composer, but the listening ideal is moreover not one of bodily reaction, but intellectual reflection. Consequently, the ‘music itself’ remains within the notated work requiring a certain ideological reading. As musicologists, the current tasks facing us are to examine the effects this ignorance of the body has had on our understanding of music (history) and detailing strategies to overcome this inattention. Furthermore, the consequences of including the body in our thinking about music must be analysed and critically discussed.
    • This conference aims to open ways into a foundational critical discussion of the above, questioning how the body and (musical) knowledge can be conceptually connected. To what extent are musicological questions impacted by the topic’s prevalence in other disciplines? How can we think of the body as a central musicological category?
    • This conference will examine the bodily dimensions of historical, social, symbolical and cultural practice in music along two related sections: music production and reception. With this, the aim is to discuss how the conceptualisation of the body beyond the dualism of body and mind also helps thinking beyond musical dualisms. Understanding the body as a tool for analysis possibly allows the body to become an intersection of knowledge, agency, discourse and practice. In this respect, the body is a shared locus of musical reception, interpretation and production, and can overturn the dualism of production and reception. The conference will accommodate this idea of intersection by bringing the contributions of the two conference sections into dialogue.

1. Composing the Performance? – staging the body in and to music

    • Questions: Corporeality is perceivable in performance, in visible staging, and in performers’ behaviour while musicking. Can corporeality also be detected as a principle of expression inherent to music, as a body inscribed into (musical) text? How can the resulting blurring of composing, performing and listening body be grasped analytically? How can we understand the body as a tool for music analysis?
    • Possible topics:
      • Musical text as staging strategy for the performing body: musical notation as prescriptive medium for bodily action and movement
      • From transparent medium to en-composed body: blurring of inner-musical and performing body
      • Body as fabric and interface of performative action (sensorially, sensually or sensationally)
      • The role of the interpreter/performer in the body-mind-dualism
      • Perception and presentation of the body on stage
      • Body as analytical key concept: How are discursive norms for the body produced, how do those norms structure our perception and practice?
      • Influence of the body and its potential for movement on the development of sign systems for music notation

2. Historical configurations of listening bodies as intersecting spaces of outside and inside
Questions: How is the bodily listening apparatus related to body norms and body experiences? What relationship does the listening body have to multi-sensory outward space and to concepts of inwardness or the self?

Possible topics:

      • History of the ears and the auditive body
      • Historical construction of listening bodies: disciplining, forming, fashioning listening skills, listening knowledge and listening abilities in the context of repertoires and canons, socio-historical practice, ethical norms, political dynamics, aesthetic norms, the history of knowledge, medicine and psychology
      • bodily listening attitudes, listening roles, listening habits and listening practice
      • The bodily sensory apparatus, historically, culturally, socially located between outside and inside spaces. Sensory apparatus used as receiver, medium, communicator, black box, interface, performer, arranger, multiplier…
      • History of embodiment in sonic space
      • Production of the subject through bodily perception, history of the body-mind-dualism
      • Naturalisation and deconstruction of listening bodies

This call for papers is directed towards advanced postgraduate and doctoral students, post-docs and senior scholars. Contributions from different fields of musicology as well as transdisciplinary contributions are welcome.
Individual papers will last 20 minutes with 10 minutes of discussion. It is possible to apply with a panel proposal comprised of max. three individual 20-minute-papers. Conference languages are German and English. A conference publication is intended. Please submit a paper abstract in German or English (max. 300 words) along with a short biography (max. 100 words) until the 1st of November 2018 to one of the organisers. Contributors will be informed about paper acceptance by the end of December 2018.
Expenses for travel and accommodation may be covered depending on successful funding applications and cannot be guaranteed at this point.
We look forward to your submissions!


Patterns – Models – Dеsigns




Institute of Art Studies,

Bulgarian Academy of Sciences,


Patterns – Models – Dеsigns

April 8–9, 2019

Creative practices that precede the coming into life of the work of art and the ways in which the initial spark is visualized in the process, are the focus of the New Art Module of the Art Readings’2019 conference. To outline the contours of the essence of creation is a challenging goal that has stimulated a number of scientific disciplines to develop their own perspective to its interpretation. Research interests motivated by the postmodern view of the art world have so far neglected or even ignored the analytical approaches that gravitate around the tactile matter of the working practice of artists. Conceptual sketches, preparatory drawings and sounds, volumetric models, rhythmic patterns are the objectivated – hence empirically approachable – projection of the otherwise shrouded in a mystical halo art creation. The New Art Module aims at bringing forward and discussing the spectrum of preparatory approaches and techniques of arts.

The thematic scope of the New Art Module assumes but is not limited to the following aspects of the topic:

–     from idea to matter: creative assignment or brief and its interpretation, transforming texts into images, transfiguration of ideas into forms, dynamics of client–artist interrelations, dialectics of order and realized art work;

–     from variant to invariant: approaches and algorithms in creating preliminary variants of the work of art, paradigms in unfolding the entry idea, variations in the process of image re-creation, cross-pollination of working methods and tools between arts;

–     from amorphous to concrete: technologies and techniques for visualizing creative concepts at the work stages, typology of the models of the future work of art, contemporary application and modification of traditional means and tools, computer-based methods for pre-creating art works.

International editorial board:

Prof. Adrian-Silvan Ionescu, PhD, Director of the Institute of Art History “G. Opresku” – Romanian Academy of Sciences, Romania

Assoc. Prof. Elvira Popova, PhD, Autonomous University of Nuevo Leon, Monterrey, Mexico

Prof. Fani Vavili-Tsinika, PhD, Aristotle University of Thessaloniki, Director, Dept. of Architectural Design & Technology, School of Architecture, Faculty of Engineering, Greece

Prof. Marina Frolova-Walker, PhD, Music History, University of Cambridge, Director of Studies in Music, Clare College, UK

Prof. Yana Hashamova, PhD, College of Arts and Scienses at the Ohio State University, USA

Prof. Kamelia Nikolova, D.Sc., National Academy of Theatre and Film Arts, Institute of Art Studies, BAS Sofia, Bulgaria

Prof. Milena Bozhikova, D.Sc., Institute of Art Studies, BAS, Sofia, Bulgaria

Prof. Milena Georgieva, PhD, Institute of Art Studies, BAS, Sofia, Bulgaria

Prof. Nadezhda Marinchevska, PhD, Institute of Art Studies, BAS, Sofia, Bulgaria

Prof. Vesselina Penevska, PhD, Institute of Art Studies, BAS, Sofia, Bulgaria

Deadlines: 01.10.2018 – deadline for paper abstracts and applicants’ short bio; 15.11.2018 – informing potential participants for the result of their application; 01.03.2019 – deadline for announcing Conference programme.

Send your abstract and a short CV to:

for fine arts:

for music:

for theatre:

for cinema:

for architecture:

Please, send a copy to:

Art Bands, DiY Music and Cultural Identity in an Age of Transnational Mobility


21.09.2018, 9:30-18:00
£12 / £8 concessions (students/unwaged/OAP)
Book here:

This conference is the first iteration of EuroNoize, a collaborative project held between the University of Reading, Kunsthall Oslo and A.R.E. Prague and funded by the European Commission. The project aims to explore the history and existing practices of the DiY music scene in Europe and beyond, to evaluate this particular form of artistic production alongside other contemporary aesthetic modes, to consider its historical and current relationship to art education (the art band emerging from art school) and to consider the social, economic and cultural structures that shape it in the present. In this context, we will be exploring the relationship between a global (predominantly Anglo-Saxon) culture industry and localised and independent nodes of production. This one-day conference is serve as a starting point in generating a theoretical discussion around an artistic and musical genre that is rarely given enough attention in art criticism.


Philip Auslander
Bryan Biggs
Chris Bohn
Paula Guerra
Sarah Lowndes
Pil and Galia Kollectiv
Stephanie Phillips
Simon Reynolds
Matt Worley


University of Reading
Madjieski Lecture Theatre
Room RGL04
Agriculture Building

Travel Information
Download Map

About EuroNoize

EuroNoize is a project researching the relationship between art and DiY music scenes in Europe across several platforms. At the heart of the EuroNoize project is an alternative music showcase modeled on the Eurovision Song Context, in which musicians will be invited to consider the interplay of local and global identities in representing their country with a specially commissioned song and video. The live event in London will be streamed online and broadcast at partner venues. Viewers will be able to vote digitally for the winning entry. This is accompanied by a conference at the University of Reading, exploring the histories connecting DiY music and the visual arts and investigating the challenges inherent in formalising the informal networks upon which this cultural activity is built. Conference proceedings will lead to a publication in which these themes will be expanded. Finally, the music produced for this live event will be released as a record and disseminated internationally together with the book and an exhibition at Kunsthall Oslo. The project’s explicit aim is to think of and implement strategies and modes of cooperation between art institutions, DiY musicians and internally between various bands across the continent to facilitate the continuation of these often short-lived practices. In doing so, the project investigates the way European co-operation transcends borders and raises questions about the meaning (and sound) of cultural identity in an age of transnational mobility.

More information


World of Bob Dylan


In 2016, the George Kaiser Family Foundation and the University of Tulsa jointly announced the acquisition of the Bob Dylan Archive–an extraordinary collection of material that includes over 6,000 items, including recordings, manuscripts, film, notebooks and much more.  These materials have already begun to open up new ways of understanding not just Dylan and his work, but the broader history of popular music both in America and around the world.  Tulsa is already home to the Woody Guthrie Center and will soon welcome OKPOP, which will house collections related to Leon Russell, Wanda Jackson, Roy Clark, Bob Wills, and more.  The Bob Dylan Archive will thus rest at the center of a rich array of resources focused on twentieth-century popular music of all kinds.

To help advance this work, the University of Tulsa’s Institute for Bob Dylan Studies, in cooperation with the Bob Dylan Archive, Gilcrease Museum, and the departments of English, Art, Music, and History, will host an international symposium on the Nobel Laureate from May 30 to June 2, 2019.  We aim to bring together scholars, critics, performers, collectors, and fans in order to help mark the arrival of the Bob Dylan Archive in Tulsa and continue the already lively inquiry into one of the world’s most innovative and influential artists.  The organizing committee now seeks proposals for papers, panels, and roundtable discussions on all aspects of Dylan’s work, context, influences, and legacy.

Rather than trying to work around a single theme, this symposium welcomes proposals on any topic related to Dylan’s music, art, life, and context.  We particularly encourage interdisciplinary proposals that work across fields such as literature, music, history, sociology, art, media studies, and biography.  We also welcome and encourage work in a variety of different formats including digital and artistic projects.  Keynote events will include a deep dive into the Archive’s treasures, discussions with musicians who toured with Dylan, and lectures by leading music writers and scholars.

Individual Proposals

The organizing committee welcomes proposals for 15 to 20-minutes papers and presentations.  To submit, please send a title, a 250-word abstract that summarizes the topic and complete contact information (name, email, and any institutional affiliation). The organizers will group these papers into panels.

Panel Proposals

Panels consist of three or four speakers focused on a common topic or idea.  To submit a panel proposal, the chair should send a 500-word abstract that includes a name for the session as well as presentation titles for each participant.  The chair and each proposed panelist should provide an email address and any institutional affiliation.

Roundtable Proposals

These special sessions are meant to encourage conversation, debate, and the exchange of ideas around broadly compelling topics (e.g. Cover Songs or Teaching Dylan).  Roundtables should be proposed by a single moderator and and may include up to five participants.  The focus should be on conversation among the panelists and the audience rather than on the delivery of prepared remarks.  Roundtable proposals should include 250-word summaries of the topic to be explored along with the names and email addresses of the chair and each participant.


Sept 1               Submission Portal Opens

Jan 15              Paper, Panel, and Roundtable Submission Deadline

Feb 1                Registration Opens

Feb 15              Notification

For updates, please visit our website at:

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Notated Music in the Digital Sphere: Possibilities and Limitations

Welcome to this one-day seminar to be held at the National Library of Norway, Oslo, on the 25th October 2018.

In the last couple of decades, digital humanities has evolved, giving different research fields new angles and new tools. Integrating technology and using digital resources in the humanities makes it possible to conduct research in new ways and give us new understanding of the humanities as a field.

For notated music, however, the development seems somewhat slower regarding digital research. Compared to text or sound, being more a kind of «vessel» for the composer’s intentions, notated music seems to fall between categories in the digital humanities.

This one-day seminar aims to investigate the digital possibilities and limitations for notated music in the sphere of digital humanities, and look further into areas and digital opportunities relevant for libraries, archives and music collections. The speakers are researchers each specialized within different fields of notated music in a digital setting.



Andrew Hankinson (Bodleian Libraries, University of Oxford)

Julia Craig-McFeely (Faculty of Music, University of Oxford)

Axel Teich Geertinger (Danish Centre for Music Editing, Royal Danish Library)

Olivier Lartillot (Departement of Musicology, University of Oslo)

Jøran Rudi (Norwegian Center for Technology in Music and the Arts – NOTAM)

Jennifer Ward (Répertoire International des Sources Musicales)

Bjarke Moe (Society for Danish Language and Literature)


Moderator: Darla Crispin (Norwegian Academy of Music)




Full programme:

RMA Study Day: “Il aimait un automate!” Exploring the complex relationship of opera and technology in history and current practice

Thursday 4 October 2018, 10:00am

Queen’s University Belfast

Northern Ireland

Room TBC

We are warmly inviting proposals of 20-minute presentations and 30-minute lecture-recitals and performances on the topic of opera and technology in history and current practice. We encourage scholars from an interdisciplinary field (musicology, drama, film studies etc.), as well as industry professionals (directors, film makers, singers, etc.) to submit proposals. Presentations may address but are by no means limited to:

  • The history and development of stage machinery in opera
  • Interaction between singers/singing and technology on stage
  • Machines and automatons as operatic characters
  • Historical and contemporary uses of technology and media in opera production
  • Issues and opportunities of live cinema broadcasts
  • Opera on film, film in the opera

Contributions from PhD students are especially welcome

Proposals of 300 words are to be sent via email by 31st of August 2018 to Judith Wiemers: Please include a working title of your paper, as well as a short biography. Notification of acceptance will be send in early September 2018.

We look forward to hearing from you.


Quote from Jacques Offenbach/Jules Barbier, Les Contes d’Hoffmann, Act II Finale.


Music and the Arts in England, c. 1670–1750

International and interdisciplinary conference, 27th−29th June 2019

Universität Hamburg, Institut für Historische Musikwissenschaft


Call for papers (deadline: 15th September 2018)


There were various discussions on, and re-evaluations of, the interrelations of the arts in the 17th and 18th centuries. The origins of these disputes were multi-layered and deeply rooted in fundamental social changes which led to new conditions for the creation and reception of art, permitting new configurations for the professionalization of artists and the legitimation of the arts. England and especially its metropolis London was one of the centres for strengthening professionalism in the artsranting stages for all kinds of novelties as well as providing for a print media with unparalleled dissemination to influence the reception and perception of art. The international and interdisciplinary conference aims to define, on the one hand, unique features of the reception and perception of the arts in England. On the other hand, it strives to evaluate English influences on, and exchange processes with, the European continent. Its specific focus lies on the re-evaluation of the arts’ significance and meaning in interrelation with music.

Music was often part of mixed media venture. Opera is the most obvious example, but there are numerous other instances: theatre was unthinkable without symphonies, interludes and songs; printed music often had title pages depicting music making; music was a theme in painting; musical instruments were designed in significant artful ways etc. While the interrelations between text and music have gained scholarly attention within the field of vocal music, their foundation within a broader hierarchy of the arts within English culture in the second half of the 17th and first half of the 18th centuries is still little researched. Indeed many music histories ignore the discipline’s relations to painting altogether.

One of the reasons why there is little scholarly work on art interrelations within this time span might be the fact that the rise of print media as a main protagonist of public opinion offered divergent possibilities of expression to the different arts. At the same time, print was the main medium in which new ideas about sensual perception relevant to art perception were disseminated. National and international reception of ‘enlightened’ bodies of thought, from John Locke’s Essay Concerning Human Understanding (London 1690) to Joseph Addison’s and Richard Steele’s moral weeklies, seems to be well known. However, their influence (along with that of other media) on art reception is worth a closer look: even more so, as their effect might be crucial to uncover unique English features in the discussion of the hierarchy of the arts.

Our conference aims to fill some of the gaps by focussing on the interrelations between music and the arts within the social and cultural context of England, c. 1670–1750. The goal is to define unique features as well as international exchange processes. Accordingly, we welcome papers on such topics as:


  • Supporters and media of public art display
  • Hierarchies of the arts
  • (changes in) the meanings of sensual perception with respect to the arts
  • Boundaries between amateurs, virtuosos and professionals
  • Rhetorical strategies of professional competition
  • Consequences of social mobility and gender differences on art representation


The conference will be held in both English and German. We strive to reimburse travelling and accommodation costs but cannot guarantee this at this point. Selected conference proceeding will be published (peer-reviewed).


We encourage scholars from musicology, English studies, art history, history, cultural history, theatre history, social history and philosophy to send paper proposals (30 minutes; abstract max. 300 words) and short vitas (max. 100 words) to ina.knoth@uni-hamburg by 15th September 2018.


For any questions please contact Dr. Ina Knoth:

Moving Horns: Worldwide Migrations in Horn Playing

International conference on historical horn playing,

School of Arts Ghent, Belgium

2-6 July 2019*

From 1 to 6 July 2019, the Royal Conservatory of the Ghent school of arts (HoGent) hosts the International Horn Symposium IHS51 Moving Horns in collaboration with the International Horn Society. Within this symposium, we embed an international specialist conference on historical horn playing as a celebration of the long living tradition of horn playing in Ghent, Belgium and its neighboring countries. An exhibition featuring unique historical horns from several private collections will be held alongside the event.

This call is focused on historical horn playing. Therefor we welcome proposals for:

– Lectures (20 minutes, followed by 10 minutes of discussion time)

– Lecture recitals (40 minutes)

– Shorter presentations (up to 15 minutes)

All subjects relative to the history of horn playing and historical horn performance, including repertoire, history, performance practice as well as instrument manufacturing and conservation are considered.

Participants are especially encouraged to submit papers with topics related to horn playing in the long 19th century, and more specifically on the conference’s main subject Moving Horns: Worldwide Migrations in Horn Playing.

Submission guidelines:

Lectures take a typical format of maximum 20 minutes followed by 10 minutes discussion.

Lecture-recitals have a typical timeframe of 40 minutes.

Please email an abstract in English (max 300 words) to as well as Include a short CV (max 150 words) and state any special requirements.

It is advisable to send visual presentations one week before the symposium so they can be tested on our equipment.

Submission deadline: 30 November 2018

Notification deadline: 15 January 2019

All applications will be considered by the organizing committee (Royal Conservatory Ghent, UGent and external specialist readers).

Practical information:

Presenters as well as other participants need to be registered for the symposium for (minimum their days of presence. All sessions will be open for attendance of IHS51-participants. Information will be posted on the website regularly in the next months.

The conference will be held at HoGent Campus de Wijnaert, Gerard De Duivelstraat 1, 9000 Gent, Belgium.

Standard equipment of the auditorium: projector, sound system, computer, grand piano (A=440hz). A pianist and historical pianoforte (A=430Hz) will be at the disposal of the lecturers who want to present in the format of a lecture-performance in the central exposition hall.


The host does not pay for any lodging or travel. Coffee/tea will be at the disposal of all participants.


* duration of the conference is to be determined in relation to the number of applications


Syntagma Musicum, 1619–2019


Syntagma Musicum, 1619 ~ 2019

8–9 April 2019
Research Centre of the Slovenian Academy of Sciences and Arts, Institute of Musicology, Ljubljana, Slovenia

Keynote speaker: Peter Holman (University of Leeds, UK)

Four hundred years on from the first publication of the last of the three volumes of the Syntagma Musicum by Michael Praetorius (1571–1621) it is still of prime interest and inspiration to any musicologist dealing with earlier periods of music. The year 2019 is therefore more than simply convenient for a conference devoted to Michael Praetorius, his monumental Syntagma Musicum and numerous subjects directly connected with his writings: music theory, organology, iconography, music terminology and performing practice, as well as, more generally, the music (especially the dance music) of the Renaissance and early Baroque periods.

The programme committee invites proposals for papers of 20 minutes on the subjects connected with Praetorius’s Syntagma Musicum. Proposals need to comprise a title, a short abstract of 150 to 300 words and the contact details of the speaker.

Submissions should be sent to muz_inst -at- or metoda.kokole -at-
The deadline for the receipt of proposals is 31 August 2018.

For further information see: