Young Musicology Belgrade 2020. Shaping the Present by the Future: Ethno/musicology and Contemporaneity

The Institute of Musicology of the Serbian Academy of Sciences and Arts is pleased to invite proposals from PhD students and researchers who have obtained their PhD degree no more than five years ago, for an international conference Young Musicology Belgrade 2020. Shaping the Present by the Future: Ethno/musicology and Contemporaneity. The conference is to be held at the Serbian Academy of Arts and Sciences in Belgrade, from 24 to 26 September 2020.

With the idea of the crisis of humanities as our starting point, we ask the following question: what is the place of ethno/musicological thought in the contemporary world? The notion of contemporaneity, while constantly provoking theorization, provides us the opportunity to self-reflect and analyze our own methodologies, strategies and scientific challenges in the present moment. 

What is happening in ethno/musicology after modernist historicism and its postmodern critical self-examination in movements such as the New Ethno/musicology? Are the familiar methodologies still relevant, have they improved or changed, and in what ways? How can we establish fruitful inter/transdisciplinary collaborations between ethno/musicology and other humanities, social or natural sciences? What is the impact of technology and media in today’s musicology and ethnomusicology? These are just a few questions faced by the humanities by the contemporary world, and the aim of our conference is to draft possible answers by giving voice to the young experts in our fields.

We invite PhD students and young scholars to reflect upon these topics, and share their methodologies, experiences and challenges in dealing with various subjects of contemporary ethno/musicology. The starting points of our conference include, but are not limited to:

  • contemporary challenges in ethno/musicology;
  • methodology of contemporary ethno/musicology;
  • the future of ethno/musicology;
  • inter/trans-disciplinary collaborations;
  • ethno/musicology and technology;
  • ethno/musicology and media.

Keynote speakers:

  • Dr. Selena Rakočević (Department of Ethnomusicology, Faculty of Music, University of Arts in Belgrade, Serbia)
  • TBA

Submission process

Please click on the following link to download the Application form:

The proposals should be sent to the Organizing Committee ( by April 1, 2020 (receipt of proposals will be acknowledged by email). We also encourage panel proposals; please provide a short description of the session in addition to individual abstracts and biographical notes.

Proposals will be reviewed by the conference committee and the results will be announced by May 1, 2020.

Conference fee: 30 Euros.

The official language of the conference is English.

For any further information please contact Organizing Committee.

*Young Musicology Belgrade is the third conference in the series that began with the Young Musicology Pragueconference, organized by Department of Music History, Institute of Ethnology, of the Academy of Sciences of the Czech Republic in 2016, and followed by the Young Musicology Munichconference in 2018 that was held at Ludwig-Maximilians-Universität München.

Myriad Materialities: Towards a New Global Writing of Colonial Ports and Port Cities

A two-day conference organised by the Colonial Ports and Global History (CPAGH) Network at The Oxford Research Centre in the Humanities, and the Staatliche Museen zu Berlin

10 and 11 July 2020

Ethnologisches Museum Berlin, Germany

Keynote Speakers: 

Emily Clark 

(History, Tulane University)

Jin-Ah Kim

(Musicology, Hankuk University of Foreign Studies & Humboldt-Universität zu Berlin)

This interdisciplinary conference draws attention to the materialities ‘beyond the marine’ of colonial ports and port cities, with a view to re/assessing colonial contact and its longer-term impact, and the concomitant circulation of goods and ideas across the centuries and continents. Situating these peopled encounters and penetrating their initial interface will shed new light on materiality and its mutability, notably the conditions by which the negotiation of identities and inscription of subjectivities are imbricated with different ecologies and infrastructures.  

Our conference thus moves toward a new global writing of colonial ports and port cities, exploring their myriad materialities through three intersecting perspectives. First is the perspective of gender. We invite participants to reflect on socially constructed underpinnings of masculinity and femininity, their constant state of flux and the creation of contested liminal spaces beyond binary frameworks. How can these nuances offer new readings of gender through the material cultures of food, entertainment and education, for example? 

Second is the perspective of race. Our conference will examine how colonial ports and port cities functioned as key sites not only of problematic racial hierarchies, but also of global interactions and the resistance and destabilisation of those hierarchies. We invite critical engagement with notions of whiteness and their perpetuated discourses, also highlighting the role, contributions and knowledge of non-white actors and agents. 

Third is the perspective of class. This sees a renewed attention to issues of social inequality and the wider systemic questions of institutionalization and Eurocentrism, whilst weaving a more intricate understanding of colonial presences and social structures. In what ways and to what extent can there be more equitable ways of engaging with unheard communities? We envisage socially-minded critiques and/or frameworks with which to explore related concerns, notably distributive justice, archives from below and their potentiality for articulating indigenous and other neglected voices. 

To this end, we invite researchers and practitioners to bring hitherto discrete methods and practices, including but not limited to global history, musicology, social anthropology, art history and literary studies into closer interdisciplinary dialogue. At a deeper level, we hope to foster a deeper understanding of colonial ports and port cities as spaces defined and redefined by their myriad materialities. 

We are delighted to have two distinguished keynote speakers. Emily Clark is the Clement Chambers Benenson Professor in American Colonial History at Tulane University. She specializes in early American and Atlantic world history. Her research interests include race, gender, religion and historical memory. Jin-Ah Kim is Professor at the College of Liberal Arts at Hankuk University of Foreign Studies, and Honorary Professor at the Institute of Musicology and Media Studies at Humboldt-Universität zu Berlin. Her research interests include transcultural processes and global history from East Asian and ethnological perspectives.    

Interested parties are asked to send an abstract of 250–400 words and a brief (1–2 page) CV to are due 27 March 2020 by 11:59 pm GMT. We strongly encourage submissions from researchers and practitioners from underrepresented backgrounds. Co-authored papers (with no more than two speakers) are also welcome.    

CPAGH Steering Committee:

Dr Julia Binter (Social Anthropology)

Olivia Durand (History)

Dr Yvonne Liao (Musicology)

Dr Helena F. S. Lopes (History)

Dr Katharina Oke (History)

Min-Erh Wang (Musicology)

Dr Hatice Yıldız (History)


1st Queer Forum of the LGBTQ+ Music Study Group

1st Queer Forum of the LGBTQ+ Music Study Group

Friday 3rd April 2020, University of York

Invitation to Participate


The LGBTQ+ Music Study Group hereby launches a new biennial initiative: “Queer Forum”. This day-long event aims to catalyse new ways of thinking, being and doing music scholarship in and beyond the academy. As José Esteban Muñoz writes, “[w]e may never touch queerness, but we can feel it as the warm illumination of a horizon imbued with potentiality” (2009, 1). Inspired by queer and feminist theorists – especially bell hooks and Sara Ahmed – who are dissatisfied with the present, who wrestle with existing institutional structures, and who propose new modes of scholarship and education, we entice you to join us in radical academic experimentation in search for new horizons and potentialities.

The 2020 forum urges participants to recover queer pasts and imagine new queer futures. How do we create opportunity, time and space in the academy beyond the logics of capitalism to allow us to muse about music? What are the possibilities for forging strong/vulnerable subjectivities and caring solidarities within and beyond existing academic hierarchies? What freedoms can we gift ourselves to allow for experimentation in our musical writing, teaching and performing? How do we nurture and share intersectional wisdoms in ways that centre the health, well-being and vitality of ourselves and others?

The day will include no formal presentations; rather, it will be structured around a range of different creative, intellectual and social activities – workshops, reading groups, group work, interventions – that tempt us to try out new conceptualisations and embodiments of queer music scholarship. The day will begin at 9am and end at 5pm. Participants are welcome to join us for a dinner the evening before (Thursday 2nd April, 7pm).

We welcome musicians and scholars within music studies (including ethnomusicology, historical musicology, performance studies, popular music studies, theory and analysis, etc.) and beyond. The event is free to attend and we will offer refreshments during the day. Dinner and accommodation will be at participants’ own expenses. Information about accommodation will be sent out following event registration. Please register your participation on Eventbrite by 1st March 2020

The event is organised by Marie Bennett, Rachel Cowgill, Thomas Hilder and Danielle Sofer. We are grateful to the University of York and the RMA for supporting this event. For any queries, please email:

From Friday 3rd – Sunday 5th April, our friends in Leeds are celebrating Trans Pride. There’s a whole weekend of events, from a launch party on Fri 3rd, to stalls, talks, and workshops on Sat 4th, to a march and social events on Sun 5th. If you’re in the area for our Queer Forum event, do stop by! More information at

Leisure Studies Association Annual Conference 2020 Leisure Pasts, Presents and Futures

Call For Abstracts

The Leisure Studies Association is delighted to open the first call for abstracts for its annual conference in 2020.

Manchester Metropolitan University, 7-9 July 2020

The conference offers the opportunity to explore leisure from a range of disciplinary perspectives, including musicology.

In 2020, its core theme is leisure pasts, presents and futures. Presenters and delegates are thus invited to consider:

  • How has leisure been constructed, understood and enacted over time?
  • What role does leisure play in addressing societal challenges today?
  • How can the past inform the present in terms of leisure practice, policy and research?
  • What are the future trends in policy, practice and research?
  • Where and when do we make space for leisure in 2020?

Of particular interest is the strand of Music and Sound in Leisure Spaces, which is organised in collaboration with Music and Sonic Studies Manchester (MASSmcr)

Preliminary call for abstracts

We welcome submissions that address the core themes of the conference: leisure pasts, presents and futures, and are open to those that address any other area of leisure research, teaching and practice.

Abstracts of up to 300 words may be submitted for individual presentations. For panels, please provide a 100 word abstract for the panel overview, an indication of the format and a list of panel members with 100 word summaries for each if applicable.

Individual submissions would ordinarily comprise a 20 minute presentation followed by 10 minutes for questions.

Panels would ordinarily be 90 minutes long, and should share thematic or methodological synergies. This may take the format of three individual presentations, each of 20 minutes followed by 10 minutes of questions, or a more dialogic format between presenters. We actively encourage you to work with other potential presenters in this way: it should facilitate greater collaboration and deeper debate. If you would like to float your ideas with us ahead of submitting, we would be delighted to hear from you.

Abstracts and panel submissions should be submitted to by 20th March 2020.

The LSA actively encourages participation from postgraduate students and ECRs. Student bursaries will be available from the LSA to eligible student members on application (details will follow).

Vienna Music Business Research Days 2020

September 21 – September 23, 2020

mdw – University of Music and Performing Arts, Vienna

Anton-von-Webern-Platz 1, 1030 Vienna, Austria

Conference call for papers


The 11th Vienna Music Business Research Days will be held at mdw – University of Music and Performing Arts Vienna, Austria, from September 21 to 23, 2020.

Music Business Research is an inter-discipline at the intersection of economic, artistic, cultural, social, legal, technological and further developments which contribute to the creation/production, dissemination/ distribution and reception/consumption of music. This interdisciplinary nature calls for methodological multiplicity and is open to scholars from all scientific areas.

The conference organizers invite scholars (from the postdoctoral level on) who have a research focus on music business/industry related topics to submit a paper proposal for the conference day on September 22, 2020.

Scholarly submissions on this year’s conference topic “Emerging Music Markets” are equally welcome as on other aspects of music business research.

Indicative themes include but are not limited to:

  • Past, current and future developments in the music industry (recorded / live / publishing / retailing / wholesaling, etc.)
  • Economic and historic analyses of music markets, charts or audiences
  • Issues in marketing and/or branding music, musicians or music institutions
  • Aspects of musical and musician diversity in music business
  • Critical discourses on the economic, social and cultural contributions of (live) music
  • New products, formats and business models in the music sectors
  • Strategies and strategizing of musicians and music institutions
  • Situatedness and power in musician labor markets
  • Agency and social practices in the music business
  • Legal issues in the music business (contracts, copyright, policies) from an international perspective
  • Fit for the market? Acquiring skills for the music business 
  • Doing things right! New solutions for fairness and transparency in the music business
  • Entrepreneurial musician und music entrepreneurs
  • An age of disruption? Technological developments in the music industry


Please send an abstract of your proposal to no later than April 30, 2020.

All submissions must include a title, authors (names, affiliations, e-mails of all authors and a notation (*) of the corresponding author), an abstract of 1,000-1,500 words and 3-5 keywords. Abstracts must be submitted in English, as a MS Word file (*.doc or *.docx) or *.pdf file, and include:

  • Objectives of the research
  • Brief description of the disciplinary/theoretical context/background
  • Research questions and/or hypotheses
  • Methodology
  • Main or expected conclusions / contribution
  • Main references

Abstracts will be subject to a double-blind peer-review process by an international jury, and authors will be notified of acceptance by June 1, 2020.

Final papers should be sent before July 31, 2020. They should not exceed 7,000 words (including abstracts, figures, tables, references and appendices) and follow the author guidelines of the International Journal of Music Business Research (IJMBR). You may also want to consider publication in IJMBR after the conference.

Important dates

April 30, 2020                Abstract submission deadline  

June 1, 2020                    Notification of acceptance

July 31, 2020                   Submission deadline for full papers

September 22, 2020    Conference day (paper sessions)

September 23, 2020    Conference day for invited speakers on “Emerging Music Markets”

For students at all levels of the MA & PhD a doctoral colloquium (Young Scholars’ Workshop) will be held as part of the 11th Vienna Music Business Research Days on September 21, 2020. Find a separate call for papers here.

Registration Fee

Registration will be open from May 4, 2020. The registration fee includes conference attendance, coffee breaks and lunch on conference days as well as the Heurigen-Dinner on September 23, 2020. Please note that there will be no refund after September 6th.

 Full registration fee
Until July 31, 2020 (early bird)Euro 175,-
After July 31, 2020Euro 225,-


Slavomira Martiskova (mailto:

Department of Cultural Management and Gender Studies (IKM)

Visualising the Unseen: Music in Visual Culture

Prague, 16-18 July 2020

20th International Conference of Association RIdIM

The 20th International Conference of Association Répertoire International d’Iconographie Musicale (RIdIM) will be held at the Národní Muzeum, České Muzeum Hudby, Prague (Czech Republic), from 16-18 July 2020 , inviting from researchers in the humanities and the social and cultural sciences. The Call for Papers is available at:

The deadline for submission of abstract of proposals for paper is: 6 March 2020.

Association Repertoire International d’Iconographie Musicale (RIdIM).

Badergasse 9, CH-8001 Zurich

isaScience 2020: Heroes, Canons, Cults. Critical Inquiries

CFP isaScience 2020: Heroes, Canons, Cults. Critical Inquiries
12-16 August 2020
isa – International summer academy of mdw – University of Music and Performing Arts Vienna, Austria

Organisers: Dagmar Abfalter, Marko Kölbl, Rosa Reitsamer, Fritz Trümpi

Conference venue: Hotel Marienhof, Hauptstraße 71-73, 2651  Reichenau an der Rax, Austria

Coordinators: Karoline Feyertag,  Slavomíra Martišková


Further information:

Download CfP

Submission deadline: 10 March 2020

isaScience 2020 focuses on critical perspectives on heroic imaginations, cultic actions and the formation and maintenance of canons. Across musical styles and cultural spheres, heroes, cults and canons contribute to the creation of normative and exclusionary and even violent settings/stipulations, dictating what ears and eyes should deem adequate and valuable. Likewise, heroisation, cultification and canonisation define what remains unheard, unseen and regarded as unworthy.

Historically, the making of “heroes” and the processes of canon formation have been closely associated with Western art music and the celebration of certain composers as “great artists” as well as the consecration of their works as “masterpieces”. These practices employed for the production of artistic values are informed by the ideology of the autonomous artist and the increasing formation of a museal culture that developed throughout the 19th century. Moreover, these practices supported the emergence of a more strictly defined boundary between “highbrow” and “lowbrow” cultural forms and became the dominant standard by which popular and traditional music forms were evaluated. These developments are closely linked to Eurocentric, imperialist and elitist institutions such as opera houses, concert halls and music conservatoires that allowed for classed, gendered and racialized modes of producing, performing, consuming and appropriating music.

Later on, despite discursive struggles over cultural authority, the music industry  ̶  including music publishers, record company personnel, journalists and other cultural intermediaries  ̶  as well as the development of recording technology, the internet and social media have played a significant role in the definition of stardom, the making of heroes and the processes of canon formation within diverse cultural worlds, including jazz, rock/pop, hip hop, traditional music, classical music and folk music, among others. The introduction of electrical recording, for example, allowed for the availability of vernacular musics in locally specific languages and dialects, giving rise to colonial ethnographies of indigenous music. Simultaneously, this technological innovation offered colonised populations the opportunity to hear themselves, to construct musical canons and to gain a sense of identity which was necessary for anti-colonial action. More recently, individuals and groups have made use of the technologies afforded by the internet in order to document, preserve and disseminate alternative music histories and to challenge the mainstream musical canon that has traditionally marginalised artists of colour, non-western performers, female musicians and queer figures.

However, mainstream musical canons provide the raw material for the commercial music industry to make a profit, while the tourism industry builds on nostalgia and the commemoration of musical heroes, traditions and canons to actively brand and market cities or even nation states like Austria. Commemoration can result in fandom culture, possibly culminating in religious and spiritual ascriptions and cults around music and musical heroes, with some fans strongly engaging in brand communities. Moreover, commemorative cultural policies manifest themselves in monuments, archives and festivals, maintaining and reinforcing canons at the expense of innovation and diversity. In that respect, canonical usages of traditional music as normative representations of regional and national culture—as evident for example in UNESCO’s intangible cultural heritage lists—obscure various strata of other forms of cultural expressions, particularly those of marginalized groups.

Academic and artistic research on musical heroes and canons have frequently further reinforced dominant structures and perceptions of music, for example the image of the white male composer or the representation of certain musics as part of the world’s cultural canon, often deeply rooted in colonial imaginations and corresponding ethnographies. Feminist critiques of “founding fathers”, their followers and successors as well as investigations of how and why women get lost in canonization processes have become important discourses in the current academic debate. The heroisation of (predominantly white, cis-gendered, male) academics corresponds to the canonization processes they have induced. In ethnographic disciplines, fieldwork’s mystic aura as a heroic quest, as brave endurance promising the ultimate accolade, has added to the deification of the ethnographer as a saviour of culture.

The conference seeks to address the following thematic streams from critical perspectives with a particular focus on post-colonial, feminist, queer or class-sensitive analysis. We welcome proposals from any discipline, using any methodology and addressing any kind of music and dance, including the spheres of film and theatre. Topic proposals include but are not limited to:


  • The historical making of heroes and the processes of canon construction in diverse musical and performing arts worlds and their actors (e.g. the media, critics, nationalists, audiences)
  • Cultural imperialism and Western art music
  • Political functions of musical canons past and present (e.g. nationalism, racism)
  • The significance of canons, heroes and cults in the construction of music histories and heritage formations
  • De/re/construction of disciplinary canons relating to music and performing arts
  • Critical reflections on academic and activist efforts to inscribe female composers in the canon of Western art music
  • Racial oppression and the hegemonies of canons
  • Economic aspects of canonisation
  • The role of audiences, music journalists and critics in creating, fostering and challenging heroes, canons and cults
  • The role of sexual abuse in the construction of musical canons and stardom
  • Digital archives as tools for the pluralisation of stardom constructions and the construction of alternative music histories
  • Places of remembrance, intangible cultural heritage and musical canons
  • Museums and exhibitions as tools for the making of local heroes and the construction of musical canons
  • Music and dance in religious cults


Abstracts should include theoretical framework, methodology and a “key word” line.

Please submit your abstract in English (max. 300 words, including literature) for papers and panels as well as workshops and innovative formats, a short biography (max. 100 words) and your institutional affiliation, until 10 March 2020 to

Decisions on the acceptance of the proposals will be announced by end of April 2020.

Registration fee: € 50

Spem in Alium: 450 years

Academic symposium​ – Oxford,19 & 20 June 2020

Spem in Alium ​is the most famous example of the extremely rare 40-part motet, and its origins and early performance history are enmeshed in a fascinating web of circumstance and intrigue. 2020 most likely marks the 450​th​ anniversary of the piece, and to celebrate this event, ORA Singers, in partnership with Oxford Festival of the Arts, is planning a two-day interdisciplinary symposium to take place on 19th and 20th June 2020, at which a group of British and international academics and scholar-performers will meet to share insights arising from their engagement with Tallis’ motet. Early career scholars (postdocs, or others who have received their PhDs within the last five years) and doctoral students are also encouraged to participate.

The symposium will also mark the launch of ORA Singers’ new recordings of ​Spem in Alium​ and James MacMillan’s ​Vidi Aquam​, a new 40-part motet commissioned by ORA as a modern reflection on Tallis’ work. The symposium will include a major concert featuring both Tallis and MacMillan motets sung by ORA Singers with Oxford Schola Cantorum. There will be a pre-concert talk with Sir James MacMillan talking to Suzi Digby, ORA Singers Artistic Director.


We are now seeking proposals for 30 minute papers from scholars on any aspect of ​Spem in Alium. Themes might include (but are not limited to) the following:

Spem in Alium​ in historical context: why was it written and where was it performed?

Spem in Alium ​over the centuries: why has the work been so greatly admired, and why are we still so fascinated by it today?

● Thomas Tallis: who was he, and how did he survive the vicissitudes of life under four Tudor monarchs, from Henry VIII to Elizabeth I?

● How did Tallis adapt his compositional style to the differing religious and musical demandsof his royal employers?

Spem in Alium​ in the context of religious and theological turmoil: what is signified by its Latin text?

Spem in Alium​ in the context of architectural and musical design

● What kind of spatial experience do the forty voices create?

The conference is also open to receiving proposals in alternative formats.

In addition to the forthcoming ORA Singers’ recording featuring both works, a selection of the papers presented at the symposium will be included in a new publication.

Please send proposals of no more than ​250 words​, along with a ​short biography​ to ​by midnight (UK time) on ​Sunday 1 March 2020.

Radio and the Sound of Modernism

12 June 2020

School of Music, University of Leeds

The early years of radio broadcasting coincide with a high point for aesthetic modernism in literature, film and music: this conference explores how the radio has served as both its medium and muse. Having once been considered a ‘forgotten medium’, as Edward Pease and Everette Dennis put it (Pease and Dennis, 1995), the intervening twenty-five years have witnessed a resurgence of interest in the radio, particularly in the emerging disciplines of radio studies and sound studies. In musicology, too, the radio has been examined as an institutional setting for the experimentation of, for example, the BBC Radiophonic Workshop (Niebur, 2010) and composers of elektronische Musik at the Westdeutscher Rundfunk (Iverson, 2019). Taking radio as a focus for the study of musical modernism allows several different contemporary methodologies to be brought into conversation, from science and technology studies and actor-network theory to recent theorizations of “vernacular” or “popular” modernisms (Lacey, 2018; Nemmers, 2017) and sound studies’ concern for the political valences of listening (Radano and Olaniyan, 2016).

This conference seeks to bring together scholars from such established and emerging disciplines and provide a platform for new research on radio, modernism, and technological cultures of listening more broadly, from the birth of radio to the post-war era.

We invite proposals for papers (20 minutes with 5–10 minutes for questions) and organised sessions (three thematically linked papers, totalling 90 minutes) on topics including but not limited to:

  *   Institutional relationships between radio and musical or literary modernism;
  *   Literary, filmic and musical representations of the radio and radio listening;
  *   Modernist aesthetics and the technological affordances of radio;
  *   Radio, modernism and empire, nation, region;
  *   Radio, modernism and the high/low culture divide;
  *   Radio, modernism and the aesthetics of sensation;
  *   Radio as musical instrument in aleatory music and beyond.

Titles and abstracts of 250 words should be sent as a PDF, Word Doc, or Google Doc to by 27 April 2020. Include your name and institutional affiliation, if applicable. Please specify in the proposal if you have technical requirements beyond audio-visual playback. Submissions will be anonymised when reviewed. Accepted participants will be notified by 11 May 2020.

Research of Young Musicologists



9-11 April 2020, Moscow

Venue: Gnessins Russian Academy of Music. Povarskaya str. 30-36, Moscow, Russia.

Gnessins Russian Academy of Music in a connection with the celebration of the 125th anniversary of Gnessins educational institutions within the framework of the project “Scientific community of Russian conservatories: continuity of generations” is holding the 13th Annual International Conference “Research of Young Musicologists” (

Gnessins Russian Academy of Music in Moscow, Russia, 9-11 April 2020.

Call for papers

The purpose of the conference is to provide an opportunity for young scientists at different stages of their scientific activities to publicly discuss scientific ideas and share experiences.

Students, undergraduates and postgraduates are invited to participate

The theme of the conference relates to (but is not limited to) the following areas:

Russian and foreign music: history and modernity

Problems of musical theater

Problems of musical folklore

Ancient Russian singing art

Music Computer technologies in science and education

Problems of musical performance

Music education and pedagogy in the 21st century

Music for films

Methodological approaches in musicological research

Philosophical foundations of music

To participate in the conference, you must send an application

Application form can be downloaded here

Your e-mail should include:

  • a short biography and full contact details including any institutional affiliations;
  • title of presentation.

Requirements for foreign authors:

  • Abstracts should be up to 400 words and clearly present a research question/aim, critical review of the literature, methodology, results and conclusions.

Russian authors must submit the full text of the report.

Proposals should be submitted in .pdf or .docх.

The organizing committee have the intention to select papers for a conference.

Please send your application to:

Deadline: 16 March 2020

Presentations should be 15 minutes in length. There will be also extra 5 minutes for questions and a discussion.

For foreign authors it is possible to make presentations via Skype.

Full audiovisual support will be offered. For all inquiries please contact the organizing team at

The conference languages are English and Russian

Registration: Free. Participants pay their own travel and accommodation expenses.

Key dates: Notification of acceptance: 21 March 2020

Conference: 9-11 April 2020

Final papers: 1 June 2020

Revision and publication: September, 2020