The 2nd International Conference on Performance and Creativity: Historical Keyboard Music 1700–1850, Hong Kong, 27-29 May 2019

We take pleasure in inviting you to The 2nd International Conference on Performance and Creativity: Historical Keyboard Music 1700–1850. The Conference will be hosted by Hong Kong Baptist University from Monday 27 May to Wednesday 29 May, 2019.

In November 2016, the Department of Music has successfully organised the first International Conference on Performance and Creativity, attracting leading scholars and musicians from Asia, Europe and the United States to exchange ideas through a series of paper presentations, concerts, masterclass and round-table discussions. The 2nd International Conference on Performance and Creativity aims to bring together scholars and performer/scholars researching keyboard performance on 1700—1850 repertory and will explore current research foci and possible future developments in historical performance research. In particular, this conference will take full advantage of the historical keyboard collection of the Department of Music:

(1) Flemish double-manual harpsichord by Marc Ducornet (Paris, 2015), after J. Ruckers (Colmar, 1624), 2 x 8’, 1 x 4’, GG to dd
(2) French double-manual harpsichord by Andrew Garlick (London, 1992), after Goujon (Paris, 1749), 2 x 8’, 1 x 4, FF to f”’
(3) Unfretted clavichord by Karin Richter, Lewes 2009, after Hubert, 1771, FF to g”’
(4) Fortepiano by Chris Maene, Ruiselede, 2010, after Anton Walter (Vienna, 1795), FF to g”’
(5) Italian Harpsichord by Carey Beebe, Sydney, 1995, after Grimaldi (Italy, ca. 1700), 2 x 8⁠´, GG-d”’, A415/A440
(6) Fortepiano by Paul McNulty, Czech Republic, 2019 (scheduled to arrive at HKBU in Feb 2019, after Graf (ca. 1819, Op. 318), CC-F4, A442

Keynote participants include Professor John Rink (Cambridge University), Professor David Schulenberg (Wagner College) and Professor Joyce Lindorff (Temple University).

We welcome proposals that explore latest development in historically-informed performance:

  1. To research how an awareness of the original sources and contexts of performance could contribute to a contextualized understanding of the creative processes in music
  2. To investigate how understanding historical keyboard performance as a creative activity could allow modern performers to cultivate new approaches to interpretation
  3. To identify interdisciplinary approaches to revitalizing research on historical keyboard research in repertory up till 1850
  4. To evaluate how collaborative research has reshaped historically-informed performance (HIP) for the 21st century

The organizing committee invites proposals for:
• Individual presentations of 20 minutes in duration (followed by 5 minutes of discussion).
• Lecture-recitals of 30 minutes in duration (including 5 minutes of discussion)
• Workshops of 30 minutes in duration (including discussion)

Individuals may submit one proposal (in English) in the form of an abstract of not more than 250 words. Acceptance of proposals will be at the discretion of the organizing committee. Presenters will typically be grouped into themed sessions of three to four presentations per theme.

The abstract should include information under the following headings:
• Name
• Institutional affiliation
• Postal address
• Email Address
• Presentation type (paper, lecture–recital, etc.)
• Title

Abstracts (in Microsoft Word format) shall be emailed to:
The deadline for submission of abstracts is 15 December 2018.
Presenters will be notified of the acceptance decision by 31 December 2018.

Please send all queries to
For more details of the conference, please visit

Conference on Interdisciplinary Musicology – CIM 19. “Embodiment in Music”

University of Graz, Austria – 26-28 September 2019 


What does it mean for musical cognition to be embodied? The aim of this conference is to foster collaborations between scholars working in the humanities and the sciences to critically engage with this question, and explore the main theoretical, empirical, and performative challenges that embodiment poses in the musical domain. CIM19 provides a meeting point for those who wish to reflect upon, and interpret, the social, historical, epistemological, artistic, and even political aspects that emerge when embodiment is adopted as explanatory tool in musical contexts. CIM19 promotes interdisciplinary scholarship at the crossroads of musicology and other disciplines, and invites submission for analysis, critical reflection, experimental reports, and discussion of different aspects of embodiment in relation to music, from diverse epistemological standpoints.

Keynote speakers

Fred Cummins (University College Dublin, Ireland)

Renee Timmers (The University of Sheffield, UK)

Invited speakers 

Anthony Chemero (University of Cincinnati, USA) 

Dylan van der Schyff (Oxford University, UK)

Conference topics

·      The role of action for musical meaning 

·      Music analysis, historical musicology, and musical subjectivity. Where is the body?

·      The links between creativity, emotion, culture, and embodiment

·      Religion, rituals, and joint music-making

·      Perception of musical sounds as embodied

·      Dance and the phenomenology of music-related movements

·      The body-mind problem in musical consciousness

·      Embodiment in music philosophy and ethnomusicology 

·      Evo-devo debates and the embodied mind 

·      Implications for music technology 

·      Embodied cognition and the foundations of musical learning

Call for Papers

Submissions of abstracts for oral presentations will be accepted from the 1st of December 2018. If accepted, participants could choose between presenting in Graz, or remotely (e.g. via Skype). We encourage the latter should travel include flights. By explicitly addressing the conference theme “embodiment in music”, each submission must bring together and combine (aspects of) the following two broad areas: 

1) Humanities, e.g., Philosophy, Linguistics, Ethnology and Anthropology, Semiotics, Theology, Performance studies, Music theory, Composition, Archaeology, Cultural studies, Literary studies, and Music history. 

2) Sciences, e.g., Acoustics, Neurolinguistics, Neuro-musicology, Biology, Computing, Mathematics, Perception, Psychoacoustics, Empirical psychology, Statistics and computer science, Music therapy, and Cognitive science. 


Abstracts should begin with a title and names and affiliations of the author(s). The main text should be structured with the following headings:

·       Background in X (first discipline, e.g., “Anthropology”)

·       Background in Y (second discipline, e.g., “Instrumental performance”)

·       Aims (this should be the shortest section)

·       Main contribution (this should be the longest section)

·       Implications for musicological interdisciplinarity 

·       References 

The total length of each submission, including title, authors, headings and references, must not exceed 1000 words. Please submit your proposals to andrea.schiavio(AT) (subject: abstract CIM19). 

Abstract submission deadline: 1st February 2019. Registration will be open from May 2019.

Organising Committee

Andrea Schiavio, chair

Richard Parncutt 

Cristina Scuderi 

Annemarie Seither Preisler

Elli Xypolitaki (student assistant)


Please feel free to contact Andrea Schiavio for any info – andrea.schiavio(AT) (subject: info CIM19).

CIM19 is on Twitter and Facebook 

Official Conference Website

Sonic Circulations 1900-1950, Senate House, London, June 2019

Sonic Circulations 1900-1950: Musical Thought, Scientific Fantasies, Global Contexts

CfP Deadline: 15 January 2019

Senate House, University of London, 24-25 June 2019, in association with the Institute of Musical Research.

Confirmed keynote speakers: James Q. Davies (University of California, Berkeley), Gascia Ouzounian (University of Oxford)

Conference respondents: Gundula Kreuzer (Yale University), John Tresch (The Warburg Institute, London)

From the first human flight in 1903, to the aftermath of the 1945 atomic bombings of Hiroshima and Nagasaki, science and technology in the first half of the twentieth century veered between the utopian and the malevolent. Conceived as idea, as material, and as praxis, science and technology prompt questions about mediation, ethics, marginalisation, space, and power. The time is ripe to interrogate the place of sound and music within the social worlds, political structures, and discourses of the early twentieth century, a period shaped by global uncertainty, military conflict, human displacement, and the legacies of scientised colonialism.

This conference, the second meeting of the ‘Sonic Circulations’ research network, will explore the intersections of scientific, technological, and musical discourses in the global contexts of the first half of the twentieth century. We invite a wide range of papers positioned at the nexus of (ethno)musicology, cultural studies, STS, history of science, and sound studies. Responding to intensifying scholarly preoccupation with science, technology, and music in the Enlightenment and nineteenth century, this conference seeks to cast our attentions forward in time, bringing together scholars from diverse fields and academic contexts. In particular, submissions are encouraged to foreground social dynamics, to bring questions of power or historical erasure to bear where science, technology, and music meet, to interrogate hegemonies, or to expand the range of critical/theoretical perspectives and voices that might be mobilised in this field, particularly beyond those from overrepresented geographical centres.

Proposals for individual papers (20 minutes + questions) or panels (90 minutes) are warmly invited. Abstracts may address, but need not be limited to:

– Modernity and temporality: futures and pasts

– Performing, staging, screening, and writing science, technology, music, and modernity

– Materials (including technologies of music: acoustics, recording, radio, scores etc)

– Abstractions, ideologies, metaphors (e.g. reciprocity between ideas in techno-scientific and musical thought and practice)

– People/agents, for instance relationships between scientists, technologists, musical thinkers, performers and others

– Power, coloniality (including labour, race, class, gender)

– Transnational perspectives, conflict and war

– Ethics and philosophy

– (Inter)-discipline and methodology

Abstracts of no more than 350 words should be sent to by 15 January 2018. Please include title, name, institutional affiliation (if applicable), and a short biography (50-80 words). Applicants will be notified of the outcome by mid-February.

There will be a registration fee for the conference, covering refreshments and lunches.

Programme Committee: Emily I. Dolan (Harvard University), Arman Schwartz (King’s College, London), Emily MacGregor (Harvard University/Royal Holloway, University of London).

For further queries please contact Dr Emily MacGregor:


Again and Again: Musical Repetition in Aesthetics, Analysis and Experience

International Conference
‘Again and Again: Musical Repetition in Aesthetics, Analysis, and Experience’
Thursday 25 – Friday 26 April 2019 
City, University of London – Music Department

Repetition is one of music’s most fundamental and definitive features. This multifaceted phenomenon unfolds across many different timescales, genres and techniques, and engenders a multitude of experiences and percepts. From the recapitulation in sonata form, to self-similar cells in the late music of Morton Feldman, to the layering of repetitive loops in Electronic Dance Music, to cyclical quasi-repetition in African drumming: the notion of repetition penetrates all areas and domains of music-making. Moreover, musical repetition does not only operate within particular works, but also amongst musical works. In fields such as music production, industry, education, and performance, the notions of repetition and repeatability have similarly proven to be vital. 

‘Again & Again’ aims to stimulate a broad, interdisciplinary conversation about musical repetition in its broadest and its most particular terms. We invite perspectives from across all domains of music studies, including music history, music theory and analysis, ethnomusicology, composition, performance, popular music studies, and sound studies.

Highlights will include a keynote presentation by Professor Elizabeth Hellmuth Margulis (Distinguished Professor and Director of the Music Cognition Lab at the University of Arkansas and author of ‘On Repeat: How Music Plays the Mind’) and a performance by London-based Explore Ensemble, who will perform Morton Feldman’s 1987 work ‘Piano, Violin, Viola, Cello’. 

Proposals of papers or presentations in lecture-recital formats (20-minute presentation with 10-minute question period for both formats) will be considered for inclusion in the conference schedule. Panel proposals are also welcome, as are concert or installation proposals that connect to the conference theme.

Presentations may address, but are by no means limited to:

  • the experience of musical repetition in cognition and psychology
  • the relationship between repetition as a musical phenomenon and as a philosophical notion 
  • analytical tools that might aid the assessment of musical repetition
  • the cultural or socio-political significance of musical repetition
  • repetition in music production and/or technology

Abstracts (300 words maximum) are to be sent via email by 21st of January 2019 to Christine Dysers via Please include the title of your paper, as well as a 100-word biography.  

For any further information, see

‘Again & Again’ is generously supported by the Royal Music Association (RMA), the Society for Education, Music and Psychology Research (SEMPRE) and the City, University of London Music Department.

Music in the Disruptive Era: The Digital, the Internet and Beyond

organized by

Centro Studi Opera Omnia Luigi Boccherini, Lucca

14-16 December 2019

The Centro Studi Opera Omnia Luigi Boccheriniof Lucca is pleased to invite submissions of proposals for the symposium «Music in the Disruptive Era: The Digital, the Internet and Beyond», to be held in Lucca, Complesso Monumentale di San Micheletto, from 14 to 16 December 2019.

The conference aims to investigate the role of the Web and how all the tools related to it have changed the way we learn, approach ourselves and experience music. What are the new forms of music production and consumption through the web? And how has the way we learn music changed? Are new genres and creative processes born? How has the Web influenced the music market? And what are the new types of jobs in music making? Can Music professionalism survive the digital wilderness? Finally, the conference intends to investigate the development of increasingly effective tools useful for musicological research, such as, for instance, the dissemination of historical sources and updated archives, as well as online scientific literature and databases.The programme committee encourages submissions within the following areas,although other topics are also welcome: 

  • New Forms of Music Production, Consumption and Reception through the Web
  • New Genres and Creative Processes
  • Musical Discoveries and Knowledge through the Web
  • The Web and Music Education
  •  Music and Liquid Modernity 
  • Music and the Digital Divide
  • The Web and the Music Market
  • New Kinds of Jobs in Music
  • The Web and Research in Music
  • Music Criticism and the Web
  • Sources, Libraries and the Web
  • The Web and Music Publishing
  • Impacts of Digital Media on Musical Performance and Programming
  • The Web, Music Copyright and other Legal Issues
  • Visualizing Music: Defining the Online Experience

Programme Committee

  • David Hurwitz (
  • Roberto Illiano (Centro Studi Opera Omnia Luigi Boccherini)
  • Massimiliano Locanto (Università degli Studi di Salerno)
  • Fulvia Morabito (Centro Studi Opera Omnia Luigi Boccherini)
  • Pedro Ordoñez Eslava (University of Granada)
  • Massimiliano Sala (Centro Studi Opera Omnia Luigi Boccherini)

Keynotes Speakers:

  • Georgina Born (University of Oxford)
  • Christine Hine (University of Surrey)

The official languages of the conference are English and Italian. Papers selected at the conference will be published in a miscellaneous volume. 

Papers are limited to twenty minutes in length, allowing time for questions and discussion. Please submit an abstract of no more than 500 words and one page of biography. 

All proposals should be submitted by email no later than ***Sunday 5 May 2019*** to <>. With your proposal please include your name, contact details (postal address, e-mail and telephone number) and (if applicable) your affiliation.

The committee will make its final decision on the abstracts by the end of May 2019, and contributors will be informed immediately thereafter. Further information about the programme, registration, travel and accommodation will be announced after that date. 

For any additional information, please contact:

Dr. Massimiliano Sala

Music and Sound Design for the Screen

6 and 7 September 2019, Maynooth University

Keynote speaker: Miguel Mera, City, University of London
Panel discussion with composer Stephen Rennicks

Submission deadline: 18 January 2019

Conference webpage

Call for Papers

We encourage submissions relating to all aspects of music and sound in and for audio-visual media (film, television, video games, interactive media, and live performance). We have particular interests in the following themes:

  • Sound design for audio-visual media: practices and history
  • Relationships between Hollywood film and European film
  • Creative practices in screen music
  • Directors and sound design/music
  • Music and sound design in the documentary
  • Intersections between sound design and music 

250-word abstracts (with a short provisional bibliography) for papers of 20 minutes’ duration, followed by 10 minutes’ discussion

Themed Panel Sessions (2 or 3 papers)
250-word introduction and 200-word abstract per paper (with a short provisional bibliography) for a 60- or 90-minute session including time for discussion

Compositions for Screen and Short Films
250-word abstract for a composition for screen or a short film with sound/music (complete or extract) lasting no more than 20 minutes, followed by discussion

All proposals should be emailed to by Friday 18th January 2019. The programme will be announced in March 2019.

Conference Committee
Laura Anderson, Maynooth University
Danijela Kulezic-Wilson, University College Cork
Christopher Morris, Maynooth University
John O’Flynn, Dublin City University
Tim Summers, Royal Holloway University of London

Music and Sound Design for the Screen conference is supported by the Irish Research Council and is in association with the Society for Musicology in Ireland

Rimsky-Korsakov at 175: A Survey of his Legacy Year on Year

18-20 March 2019, St Petersburg, Russia

In 2019, on 18 March, it will be 175 years since the birth of one of Russia’s most renowned composers – Nikolay Andreevich Rimsky-Korsakov (1844-1908). For his jubilee, the Museum will hold an international conference and series of major events (concerts, a city-wide holiday, exhibition and the publication of a collection of essays).

The conference will take place from 18–20 March 2019 at the Rimsky-Korsakov Memorial Museum-Apartment and at the St Petersburg Conservatory.

The main theme of the conference will be the fate of Rimsky-Korsakov’slegacy from 1908 (the year of his death) until the present day. Over thesethree days we will examine the following:

  • Rimsky-Korsakov’s creative work in the context of Soviet and contemporary music (dialogues, confrontations, interpretations)
  • The position of his works in different decades in thecontext of changing political regimes
  • The perception of his works worldwide
  • Rimsky-Korsakov’s legacy in contemporary concert andopera practice

The theme of ‘Year on Year’ indicatesour wish to build both a linear and non-linear survey of Rimsky-Korsakov’screative legacy. Conference papers will be grouped thematically, and somesessions will be held in the format of open discussions. The organisingcommittee invites participants, to offer, alongside traditional papers,specific dates (for instance, 1935, 1950, 1991) and reflect on their significance in the context of the composer’s long-term legacy, opening upbroader topics for discussion.

Therefore, in applications for the conference, we request that speakers send two proposals thus:

  1. An abstract of around 150 words
  2. A theme for discussion based on a specific year (around 60 words)

To assist us in compiling the conference programme in a timely fashion we also request that each proposal is accompanied by a high-resolution photograph (not least than 1mb) and a short biography of around 100 words.

A separate day of the conference will be devoted to special meetings of two Study Groups of the International Musicological Society: ‘Shostakovich and his Epoch’ (chairs Olga Digonskaya, Pauline Fairclough) and ‘Stravinsky Between East and West’ (chairs Natalia Braginskaya, Valérie Dufour). Applications for participation in these meetings should be sent to the relevant convenor, with the name of the group, the topic and abstracts of the report, a brief biography and photos of the participant in the format indicated above. Topics for presentation may reflect (or not reflect) a connection with the main theme of the conference.

The working languages of the conference will be Russian and English.

All applications for the conference should be sent to Lidia Ader:

Applications for participation in the study group ‘Shostakovich and his Epoch’ should be sent to Olga Digonskaya:

Applications for participation in the study group ‘Stravinsky Between East and West’ should be sent to Natalia Braginskaya:

DEADLINE is 5 December 2018 and participants will receive notification by 15 December 2018.

A selection of the papers presented will be published in an edited volume.

Conference Organising Committee:

Lidia Ader, conference convenor, senior research associate of the Rimsky-Korsakov Museum, St Petersburg

Nina Kostenko, Director of the Rimsky-Korsakov Museum, St Petersburg

Natalia Braginskaya, Vice-Rector for scientific work of the Rimsky-Korsakov St Petersburg State Conservatory

Zivar Guseynova, Head of the Russian Music History department of the Rimsky-Korsakov St Petersburg State Conservatory

Olga Digonskaya, senior researcher of the Russian National Museum of Music and the Chief Archivist of the D. D. Shostakovich Archive

Elena Khodorkovskaya, Director of the Faculty of International Research and Art of the St Petersburg State University

Pauline Fairclough, Professor of Music, University of Bristol, Vice-President of the Royal Musical Association

Valérie Dufour, Professor of Music at the Free University of Brussels.

Early Recordings: Past Performing Practices in Contemporary Research

Pushkin House, London, 22nd June 2019

The last few years have seen groundbreaking developments in the study of early recordings (acoustic, piano roll, and electric) as documents of performance practice; these include, among others, the introduction of quantitative research methods, the digitization of neglected sound collections and a broadening of the range of repertoires under consideration. This one-day conference will provide a forum for the discussion of these recent developments, addressing the use of early recordings in both musicological research and creative practice, while seeking to connect researchers and performers through critical and reflective debate.

Early Recordings: Past Performing Practices in Contemporary Research shall take place on 22nd June 2019 at the Pushkin House in London. We invite scholars and performers interested in any aspect of early recordings (pre-1945) as documents of performance practice to submit abstracts 250-word abstracts for 20-minute papers and 45-minute lecture-recitals by Friday 21st December 2018 to both Dr Inja Stanovic ( and Dr Eva Moreda Rodríguez ( Standard audio-visual equipment and a grand piano will be available; if you need any other equipment, please give details in your abstract.

The organizers are grateful to the Leverhulme Trust and the Arts and Humanities Research Council (AHRC) for the financial help provided, as well as to the University of Huddersfield and the University of Glasgow.

Un/masking. On a mimetic form

6th Conference of the IDP Mimesis

4th – 6th July 2019, Zentralinstitut für Kunstgeschichte Munich and LMU Munich

Masks are an integral part of human cultural practice. Their innate tension springs from the mimetic faculty to show and conceal, to imitate and create. In this sense, masks display a structural analogy to the workings of mimesis. Not only have masks been a vital part of theatrical practices since antiquity, but they have also always played a crucial role in ritual as well as artistic or literary activities throughout the world. They have the power to create an aesthetic oscillation between truth and illusion that involves a mimetic interplay between identity, difference and appropriation.

In recent years, various artists and performers have been attracted to the object of the mask and the per­formative poten­tial that the act of masking and unmasking offers. Masks acquire meaning as important sym­bolic, political, or democratic tools in the work of artists such as Zach Blas, who created physical masks or Face Cages (2013–16), using the virtual grids superimposed on faces by facial recognition software. Masks have also become part of a culture of public protest and collective political participation. These instances signal a growing interest in the artistic, metaphorical, and critical value of un/masking in contemporary culture.

In the light of colonial and postcolonial history, any engagement with masks cannot fail to take into account the fact that Western reception of masks and similar artifacts is often problematic, as the example of Primi­tivism shows. The work of contemporary artists such as Romuald Hazoumé, who creates sculptures resem­bling traditional African masks through the use of discarded gasoline canisters, confronts the legacy of co­lonialism.

This conference takes the material object of the mask as well as the act of un/masking as starting points for a theoretical reflection on ambiguity and on mimetic practices. Through an interdisciplinary approach, we intend to connect different disciplines, theories and methods to open new perspectives on the various manifestations of masks. Our interest goes beyond the literal understanding of masks and includes meta­phorical usages of the term. In literature, for instance, masks can serve not only as a motif but also as a metaphor for authorship or for narrative forms, as exemplified by the work and life of William Butler Yeats or Luigi Pirandello. In creating an altered persona for the public, Yeats for instance circles around attraction and the supposed authenticity behind the masks, thus mirroring practices already used by Voltaire (François-Marie Arouet) or William Shakespeare.

Clothing and other forms of decorating, shaping or covering one’s body can also be seen as a form of masking. In all these instances, masks radically alter our sense of the self and touch topics such as original­ity, authenticity, visibility and concealment.

Thinking about masks in a broader sense allows for the inclusion of non-visual fields, such as music, where the concept of masking has been used to describe the variation of voice (in singing or electronic manipula­tion) as a form of ‘vocal’ masking.

In line with Lone Riisgaard and Bjørn Thomassen, this conference draws attention to the mask as a thresh­old that “brings into contact two distinct realities, subject/object, inside/outside, frame/message” (Riis­gaard and Thomassen 2016).

Contributions can be made on – but are not limited to – the following topics

  • masks and un/masking in theater, ritual, and religious practice
  • masks and un/masking as motif and technique in the visual arts
  • masks and un/masking as topoi in literature; with regard to literary persona; and as a principle of nar­rative form
  • masks and performance in the social sphere: practices of clothing and makeup (e.g. cross-dressing, drag)
  • masks and political activism (e.g. Anonymous)
  • masks and digital technologies: digital masking and appropriation (e.g. facial recognition soft­ware, digi­tal editing of the self)
  • non-visual domains of the mask: masks and voice, music and ‘sound masking’
  • masks and the carnivalesque, grotesque and subversive potential
  • masks and (post)colonialism


This international and interdisciplinary conference welcomes contributions from the fields of theater stud­ies, the visual arts, cultural studies, philosophy, literature, art history, or musicology and neighboring disci­plines.

Panel sessions will consist of individual talks (20 minutes) and will be followed by a discus­sion.

Please submit your abstract (max. 300 words) along with a short biography (max. 150 words) no later than the 1st of January 2019 to Contributors will be informed about paper acceptance by early February 2019.

For further information, please visit

Conference Organization

Sebastian Althoff
Anna Baccanti
Johanna Spangenberg
Antonia Stichnoth

International Women and/in Musical Leadership Conference

7-8 March 2019 (International Women’s Day 2019)

Institute of Musical Research, London

Proposal Submission Deadline: 30 November 2018

Conference website:

Keynote Speaker: Jenni Roditi

Musical leadership remains ones of the most male-dominated musical areas. As late as 2013, female conductors achieved a significant first, when Marin Alsop became the first woman to direct the Last Night of the Proms. Although female composers, songwriters, and performers have attracted significant scholarly attention, the issue of women’s musical leadership remains intriguingly under researched. This conference – timed to coincide with International Women’s Day 2019 – seeks both to redress this by focusing upon the participation of women in musical leadership (understood in the broadest possible sense) and to promote academic-practitioner dialogue.

In addition to a keynote address by leading practitioner Jenni Roditi, the conference will also feature a roundtable debate, and two evening performances at London’s Club Inégales. Club Inégales have, since 2011, presented some 100 gigs with artists from around world music-traditions collaborating with resident band Notes Inégales, who draw players from across genre. The first evening will be hosted by club director and composer Peter Wiegold, who usually uses a mixture of score, conduction and improvisation. This evening, along with working with new scores by female composers, former Academy Inégales female graduates will be invited to lead the band. The second evening performance will be from Tic, Roditi’s professional improvisers’ choir, led by Roditi.

Proposal Submissions

We invite contributions on any aspect of women and/in musical leadership. Particular topics which papers might cover include, but are not restricted to:

• women conductors and/or impresarios (contemporary or historical);

• all-woman orchestras or choirs;

• all-woman entertainment orchestras/jazz bands/swing bands/dance bands;

• women leading music for worship (embracing all sacred or spiritual practices);

• women leading amateur musical ensembles;

• women leading ensembles and other practical music-making activities within music educational settings;

• women leading improvisation/soundpainting.

Contributions are invited from both scholars and practitioners.

Proposals are invited in the following formats:

individual/co-authored papers (20 minutes with 10 minutes for discussion);

themed sessions (of three or four papers, 20 minutes each with 10 minutes each for discussion)

practice-based sessions (40 minutes with 20 minutes for discussion);

poster presentations;

pecha kucha.

We particularly invite contributions from Early Career Researchers, who might particularly like to consider poster presentations or pecha kucha.

Proposals for individual/co-authored papers, practice-based sessions, poster presentations, and pecha kucha should be a maximum of 250 words long. Proposals for themed sessions should be accompanied by a 250-word overview of the session, along with 250-word proposals for each individual paper.

Please send proposals as an anonymous Word document to by 30 November 2019. Please ensure that you name and institutional affiliation (where appropriate) are included in the body of your email, rather than the proposal itself.


A limited number of bursaries are available for students and scholars lacking access to alternative sources of funding. If you would like to be considered for a bursary, please indicate this in the email accompanying your (anonymous) proposal. Please also include a brief CV (no more than two A4 pages).

Receiving a bursary is conditional upon presenting at the conference.

Programme Committee:

Rebecca Berkley (University of Reading);

Enya Doyle (Durham University);

Laura Hamer (Open University, Co-Chair);

Nuppu Koivisto (University of Helsinki);

Helen Julia Minors (Kingston University, Co-Chair).

The Programme Committee acknowledge generous support from the IMR and the Open University.

Please do get in touch if you have any queries,


Helen and Laura