Technology in Musical Performance Symposium (TiMP)

3rd of December 2019 – Royal Birmingham Conservatoire, Birmingham City University

Technology in Musical Performance (TiMP) is a forum for all who engage with electronics in live music performance. The symposium aims to stimulate discussion and collaboration between performers, composers, sound artists, practitioners, programmers, software developers and sound designers on musical performance with/mediated by technology.

Performative electronics is an area of music that is constantly evolving and developing. Among composers and practitioners, the desire to realise specific musical ideas leads to creative technological solutions. For new developments in music and live electronics to be thoroughly tested and evaluated, dialogue between creators and practitioners is vital.

The theme of the first edition of this one-day conference is Technology in Musical Performance. The focus of the theme is on the performance aspect of the relationship between the performer and the technology involved.

Original contributions are encouraged in, but not limited to, the following topics:

  • Performance strategies
  • (Mis)Appropriation of technology in music
  • Relationships with technology
  • Relationships mediated by technology
  • Musical dialogue in/through technology
  • Technology, technique & meaning
  • Visibility of performance with technology
  • Interactivity: static, dynamic…
  • Motion: micro/macro gesture from performers perspective
  • Performance: problems related / solutions involving technology
  • Technology as a source of inspiration/creativity

We will accept submissions of new works in the following categories:

  • Papers (15 mins)
  • Performances (15 mins) + Papers (15 mins)
  • Works in Progress

Requirements for abstracts, technical information, and downloadable templates can be found on the TiMP website:



  • 4 October 2019 – Abstract Submission Deadline
  • 18 October 2019 – Notification of Acceptance
  • 3 December 2019 – TiMP Conference

The conference is free to attend and will provide refreshments and a light lunch. Presenters and attendees are responsible for their own travel costs.

More info and application instructions at

The TiMP Symposium is organised by the TiMP study group: Edmund HuntHollie HardingJoe WrightLaura Farré Rozada and Niccolò Granieri, music practitioners of different disciplines brought together by their interest in exploring electronics as a part of musical performance.

Ludo2020: Conference on Video Game Music and Sound

The organizers of Ludo2020 are accepting proposals for research presentations.

University of Malta, Valletta, 24th – 25th April 2020.

We welcome proposals on all aspects of sound and music in games.

This year, we are particularly interested in papers that support the conference theme of ‘Participation, Performance and the Body’. Papers on this topic may include:

  • Representations of the body through sound and music in games
  • Performance of gender/sexuality and game sound
  • Physical interactivity with music and games
  • Dance and drama as lenses for conceptualizing game audio
  • Voice and game sound
  • Game music and accessibility

Presentations should last twenty minutes and will be followed by questions. Please submit your paper proposal (c.250 words) with a short provisional bibliography by email to

Deadline: January 6th 2020

We aim to communicate the programme decisions by January 20th 2020. If you require more information, please email the organizers.

We encourage practitioners and composers to submit proposals for showcasing practice as research.

Keynote Speaker

Prof. Hillegonda Rietveld, Professor of Sonic Culture at London South Bank University, musician and electronic music specialist, editor of Hear the Music, Play the Game.

And more to be announced… | #ludo2020

Hosted by Costantino Oliva, Institute of Digital Games, University of Malta.

Organized by Melanie Fritsch, Michiel Kamp, Tim Summers & Mark Sweeney. 

Joseph Joachim: Identities / Identitäten

Date: 3 – 5 April 2020

CFP Deadline: 20 Sep 2019

Location: Musikhochschule Karlsruhe
Am Schloss Gottesaue 7, 76131 Karlsruhe, Germany

Organisation: Katharina Uhde, Michael Uhde, Mirjam Boggasch


Presentation Format: individual papers of 30 minutes, followed by 15 minutes Q & A

Conference Themes

1) History, Nationalism, Race, and Identity Politics (Jewish identity, two “fatherlands” (Hungary/Germany), legacy in Hungary and Germany, etc.)

2) Joachim as a Composer (genres, performance histories of his own works, aesthetics, politics, intersections between performing and composing, etc.)

3) Performance and Interpretation
(Joachim as a violinist, violist, conductor, quartet member, virtuoso, celebrity, improviser; the intersections between performing and composing, Joachim’s musical identity through interaction with, and in relation to spaces, etc.)

4) Joachim, Institutions, and Institutional Politics
(Joachim as a pedagogue and as an institutional and public figure, etc.)

5) Joachim in his Relationships, Family, and Circle (Amalie Joachim geb. Schneeweiss; Gisela von Arnim; Joachim in the context of his families in Austria, England, Germany, Hungary; his relationships, correspondence and network, including Mendelssohn, Clara and Robert Schumann, Liszt, Brahms, Wagner, the von Arnims, von Bülow, Max Bruch, the Herzogenbergs, Philipp Spitta, etc.)

Abstracts should not exceed 300 words. Proposals should be submitted in the form of a Microsoft Word attachment which includes the name, contact details, and institutional affiliation (if any), and a short biographical note of no more than 150 words. The conference languages are German and English.

Please submit abstracts to katharina[dot]uhde[at]valpo[dot]edu by 5pm CT by Friday, 20 September 2019.

Applicants will be informed of the outcome of their submission by Friday, 25 October 2019.

Sponsored by the Fritz Thyssen Foundation, this is a small conference. 


Joseph Joachim: Identities / Identitäten Internationale bilinguale Tagung

Datum: 3. – 5. April 2020

CFP Deadline: 20. Sep 2019

Ort: Musikhochschule Karlsruhe
Am Schloss Gottesaue 7, 76131 Karlsruhe

Katharina Uhde, Michael Uhde, Mirjam Boggasch


Format: Vortrag von 30 Minuten, gefolgt von 15 Minuten Diskussion

Konferenzsprachen: Deutsch und Englisch

Konferenz Themen 

1) Joachim in Bezug auf Geschichte, Nationalismus und Identitätspolitik

2) Joachim als Komponist (Genre, Rezeptionsgeschichte, Ästhetik, Schnittstellen zwischen Joachims musikalischer Praxis und seiner Komposition etc.)

3) Musikalische Praxis und Interpretation (Joachim als Geiger, Bratschist, Dirigent, Mitglied des Joachim Quartetts, Virtuosität, Improvisation, Joachims musikalische Identität usw.)

4) Joachim, Institutionen, und Institutionspolitik (Joachim als Pädagoge und als öffentliche Persönlichkeit etc.)

5) Joachim in seinen Beziehungen, seiner Familie und seinem Netzwerk (Amalie Joachim geb. Schneeweiss; Gisela von Arnim; Joachim im Kontext seiner Familien in Österreich, England, Deutschland, Ungarn; seine Beziehungen, sein Briefwechsel und sein Netzwerk, u.a. mit Mendelssohn, Clara und Robert Schumann, Liszt, Brahms, Wagner, die von Arnims, von Bülow, Max Bruch, Elisabeth und Heinrich von Herzogenberg, Philipp Spitta usw.)

Abstracts sollten nicht länger als 300 Wörter sein. 

Bitte reichen Sie Ihr Abstract und eine kurze Biografie (ca. 150 Wörter) bis Freitag, 20. September 2019 unter katharina [dot] uhde [at] valpo [dot] edu ein.

Wir werden Sie bis Freitag, den 25. Oktober 2019, über das Ergebnis ihrer Einreichung informieren.

Da diese Tagung von der Fritz Thyssen Stiftung gefördert wird, ist es eine kleine Tagung.

3rd AEMC Conference on Music, Communication and Performance

Montecassiano, Italy, 27-28 June 2020

The Associazione Europea di Musica e Comunicazione (AEMC) organizes the 3rd Academic Conference on “Music, Communication and Performance”. The conference promotes interdisciplinary research and original approaches in any field of musicology, communication studies, philosophy, literature, and in any field of artistic performance that involves music. You are invited to apply with papers or performance proposals on any topic, but a special focus of this third edition will center on the question: Is Classical Music Dead? Kramer’s Inquiry Revisited.

Keynote speaker: Professor Lawrence Kramer

Conference organizer: Dr. Alberto Nones

The abstract submission deadline is 30 April 2020. A maximum of 25 participants will be admitted.

Abstracts of max 150 words, specifying the contribution of the paper/performance, must be sent to

All info:

Music and Politics in the 1930s

WHEN: Saturday 7 – Sunday 8 December 2019
WHERE: Melba Hall, Melbourne Conservatorium of Music, The University of Melbourne (Royal Pde, Parkville), Australia

This symposium explores the impact of politics on music during the long 1930s (c.1925-1945). The expanding economic and cultural reach of the state in democratic and totalitarian regimes, in tandem with the rise of mass media in the form of radio and cinema, contributed to the politicisation of music during this tumultuous period. Papers are welcome on any genre or style of music and the ways in which politics intersected with issues relating to:

  • musical creation
  • institutions and music making
  • the reception of and critical writings on music
  • emerging media and the presentation of music
  • music and other art forms

Specific sessions will be devoted to the complex relations between music, political ideology, censorship and public morale during the Spanish Civil War and World War II.


Please email Michael Christoforidis (Symposium convenor) at by Friday 27 September 2019

  1. an abstract of not more than 200 words, together with
  2. a brief biographical note (not more than 100 words)

Presenters will be notified of participation in the conference by 1 October 2019. Please advise us if earlier notification is required.

Registration for the symposium is free.

FTSG Study Day on Phrase: Rhythm, Function and Closure

The Formal Theory Study Group (FTSG) invites postgraduates and early career researchers to attend our study day on ‘Phrase: rhythm, function and closure’ hosted at the University of Leeds on Saturday 26th October 2019. The workshop will run from 10:30am to 6pm.

The study day will provide participants with the opportunity to discuss readings and case studies relating to the following topics:

  1. Caplin and Schoenberg: Criteria for Closure
  2. Schemata and Formal Function
  3. Harmony and Rhythm

PDFs of the reading and case studies will be sent in advance. This workshop will offer both a forum for challenging discussion and a welcoming environment to meet other scholars. Previous knowledge of the topic is by no means required, although we do expect participants to have engaged with the reading and case studies in advance as this leads to far livelier discussion!

Several travel bursaries available for SMA members (student membership itself is only £10!) and the workshop itself is completely free. Please register your interest and indicate whether you would like to apply for a travel bursary by emailing The deadline for both registration and bursary application is 31st August. Please note that you will have to send in a separate bursary application to the SMA, visit for more details.

Feel free to email us at should you have any enquiries. We look forward to meeting you in October!

Music of Great Britain and Russia: Parallels and Intersections

Moscow Conservatory’s Divisions of Foreign Music and Russian Music History, together with Royal College of Music (London), invite scholars and teachers, as well as graduate and postgraduate students of higher educational music and other art programs to participate in the International Scholarly Conference “Music of Great Britain and Russia: Parallels and Intersections”.

The conference will be held at Tchaikovsky Moscow State Conservatory 09 December 2019 – 11 December 2019 as part of the Cross-cultural Year of Russia and Great Britain.

The work of the conference will be organised as follows:

  • British literature in the music culture of Russia;
  • Russian culture and history in the oeuvre of twentieth-and-twenty-first-century British composers;
  • British composers in the eyes of Russian critics — Russian composers viewed by British critics;
  • William Shakespeare and the art of music;
  • Historically informed performance in Great Britain and in Russia: pedagogical and historical issues.

Both cultural program and master classes are scheduled throughout the conference. The working languages of the conference will be Russian and English. The time limits are as follows: 20 minutes for a presentation, 10 minutes for a further discussion. Poster presentations are admitted.

To participate in the conference, please complete an application (download *.doc) at not later than 10 October 2019. No other application forms will be accepted.

Organising Committee of the Conference:

  • Prof. Alexander Sokolov, D.A., Rector of Tchaikovsky Moscow State Conservatory, — Chairman of the Committee;
  • Prof. Konstantin Zenkin, D.A., Deputy Rector for Scholarly Affairs of Tchaikovsky Moscow State Conservatory;
  • Prof. Irina Skvortsova, D.A., Head of the Russian Music History Division of Tchaikovsky Moscow State Conservatory;
  • Christina Guillaumier, D.A., Head of Undergraduate Programmes at the Royal College of Music (London);
  • Prof. Irina Kozhenova, Ph.D., Dean of the Department for Music History and Theory of Tchaikovsky Moscow State Conservatory;
  • Prof. Michail Saponov, D.A., Head of the Foreign Music History Division of Tchaikovsky Moscow State Conservatory;
  • Assc. Prof. Roman Nasonov, Ph.D., Foreign Music History Division of Tchaikovsky Moscow State Conservatory;
  • Yaroslava Kabalevskaya, Ph.D., Russian Music History Division of Tchaikovsky Moscow State Conservatory;
  • Yulia Kupriyanova, Rector’s Assistant, a graduate of the Royal College of Music (London), a laureate of international competitions, a pianist;
  • Vladislav Tarnopolsky, a teacher at the Contemporary Music Division of Tchaikovsky Moscow State Conservatory.

The Conference Coordinator: Elizaveta Chernova Translator of the texts: Dmitry Gorbatov

The applications will be selected by the Organising Committee in advance. All travel expenses should be covered by the speaker’s organisation.


A collection of articles, for publication in 2020, is envisaged. The articles will be published in both Russian and English.

Agents and Actors: Networks in Music History

Agents and Actors: Networks in Music History

Sixth Sibelius Academy Symposium on Music History

Wednesday 3 June—Friday 5 June, 2020

Sibelius Academy, University of the Arts Helsinki, Finland

Deadline for submissions: September 30, 2019

The Fifth Symposium took institutionalisation as its theme in order to contribute to and clarify the ways in which they exert power, the relationships between then, and the hierarchies they establish. In the final plenary session, delegates debated a range of topics that might be given further consideration in the next symposium. The discussion largely focussed on two areas of interest – heritage andnetworks – and both were considered important current areas of work with which the next symposium could engage. It has been decided that the sixth symposium should concentrate on networks and music, while the seventh would focus on questions of heritage.

The Sixth Symposium on Music History will therefore focus on issues relating to agents, actors and networks and the ways in which they relate to music in order to discuss changes in focus towards more collective and complex objects of study.

Proposals for papers and group sessions are invited on any of the following topics:

• The construction and formation of networks in music history

• The history of networks in music from antiquity to the present

• The power exerted by networks in music history

• The institutionalization of networks in music

• The theoretical underpinnings of working with networks (actor-network theory; art worlds, cultural fields, assemblages, mediation theory)

• Close reading of musical scores against understandings of networks

• The place of networks in diachronic and synchronic histories of music

• The inner workings and dynamics of networks of music

The keynote speakers of the symposium are

Annegret Fauser (University of North Carolina, Chapel Hill, US)

Antoine Hennion (Mines ParisTech, FR)

Benjamin Piekut (Cornell University, US)

Proposal submission: please use the link and submit your proposal for an individual presentation or a panel by September 30, 2019.

The organizing committee will be in touch no later than November 4, 2019 with the information about acceptances.

Proposal length:

• individual presentation proposals: max 2200 characters, incl. spaces;

• panel session proposals: max 2500 characters, incl. spaces + each panelist’s proposal 2000 characters, incl. spaces.

Contact for inquiries (no proposal submissions):

Symposium web page:

“Performing Clara Schumann” Conference at Cornell University, November 16-17, 2019

Performing Clara Schumann: Keyboard Legacies and Feminine Identities in the Long Romantic Tradition

To celebrate the bicentennial of Clara Schumann (neé Wieck)’s birth, the conference “Performing Clara Schumann,” held November 16-17 at Cornell University, will explore a myriad of interpretive opportunities for understanding the historical and cultural milieu surrounding the virtuosa’s life and work. We are particularly interested in feminist contemplations of keyboard legacies from Clara Schumann’s time to our own, and we will accept proposals for the following topics:

  • Clara Schumann’s pianism and her engagements with piano techniques, methods, and schools of thought
  • Clara Schumann’s transcriptions and allusive works
  • Clara Schumann and musical friendship
  • Historically informed and/or carnal musicological approaches to analyzing Clara Schumann’s works
  • Clara Schumann’s improvisational networks and dialogic musicking
  • Clara Schumann as concert virtuoso/ her impact on the history of female virtuoso performance
  • Clara Schumann within the canon: the “priestess” legacy and issues of historiographical normativity
  • Clara Schumann and musical institutions: contemplating the long Romantic conservatory tradition (19th-21st centuries)
  • Clara Schumann and the legacy of memory: historic portraits

The conference committee accepts the following formats:

  • Individual papers (20 min long, 10 min discussion)
  • Lecture-recitals (45 min long, 15 min discussion)

Abstracts, either for individual papers or lecture-recitals, should be no longer than 300 words and should include a broad overview of your topic and methodology, including repertoire considered, if and when appropriate. Graduate students and early-career scholars are encouraged to apply.

Most lectures and concerts will take place in Barnes Hall and Lincoln B20 at Cornell University, and standard presentation equipment will be available. Participants are also encouraged to make use of the broad range of instruments provided by the Cornell Center for Historical Keyboards.

Please format proposals as Word or Pages documents. Also include your name, institutional affiliation, and short 200-word biography only in the body of the email, submitting all materials to Theodora Serbanescu-Martin at by September 15, 2019.