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International conference Opera in Musical Theater: History and Present Time

Moscow 11 -13 November 2019

Department of Music Analysis (https://gnesin-academy.ru) and electronic peer-reviewed   «Contemporary musicology ” (http://gnesinsjournal.ru) (Gnesins Russian Academy of Music) in cooperation with Department of West Europe classical art (State Institute of Art Studies (http://sias.ru/en/ ) invite to an international conference « Opera in Musical Theater: History and Present Time» in Moscow, Russia, November 11–13, 2019.

Call for Papers

Future event is going to be the 4th conference within the framework of the continuing scientific project. The aim of this project: evaluation of present-day musical theater and its research, сonsideration of opera as a theatrical phenomenon.The theme of the conference relates to the following areas:

  • Opera genres in historical and cultural context
  • opera librettos and literary sources: the word and music – from dramma per musica to  Literaturoper
  • Issues of the opera performance: decorative art and staging
  • baroque opera : history of production, new interpretations
  • operatic works of contemporary composers: from the score to the performance
  • opera perception
  • opera score: textual criticism, editing and edition
  • round table discussion for young researchers: the latest trends in the musical theater: the new word-gesture-sound syncretism, music in the drama theater.

We encourage applications from within the academy at all levels but also independent researchers, writers and artists.

We have the intention to select papers for a conference. Please send each abstract both in anonymized and unanonymized forms

Submission process

Please send proposals to lspriv@mail.ru no late then May 15, 2019

Emails should include:

  • photo close-up in TIFF or JPG format (from 300 to 600 dpi);
  • brief CV of each participant, including academic degree, academic title, place of work (position) or study, contact information (phone, e-mail).
  • title of presentation.
  • Abstracts should be 300- 400 words long (without any subheadings) and  clearly present a research question/aim, critical review of the literature, methodology, results and conclusions. Abstracts should be submitted in pdf or docх.

Presentations should be 20 minutes in length, and will be followed by an additional 5 minutes for questions and discussion.

Official languages: English, Russian, German  

Full audiovisual support will be offered. For all enquiries please contact the organising team at lspriv@mail.ru

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

Proceedings:

Selected revised papers will be published in a special issue of online scientific journal “Contemporary musicology” (included into Russian Science Citation Index)

For more information about manuscript preparation visit the magazine’s website:http://gnesinsjournal.ru

Important dates :

Submission deadline: May 15, 2019

Notification of acceptance: Juny 1, 2019

Conference: November 11-13, 2019

Fourth Annual Conference, “Historical Performance: Theory, Practice, and Interdisciplinarity”

17-19 May 2019, Bloomington, IN.

Deadline for abstracts: March 3, 2019
Conference dates: May 17-19, 2019
Call for papers—web pagehttps://blogs.music.indiana.edu/blog/historical-performance-conference-2019/
Location: Indiana University Jacobs School of Music (Bloomington, IN.)

The fourth-annual international conference, “Historical Performance: Theory, Practice, and Interdisciplinarity,” will convene May 17-19, 2019 at the Indiana University Jacobs School of Music. This event has attracted scholars from over a dozen countries since its inception. 

Theme: In addition to a broad array of performance practice topics ranging chronologically from the Middle Ages to the early-twentieth century, particular emphasis this year will be placed on diversity and inclusivity in the field of historical performance.

Keynote speakers will include Thomas Forrest Kelly (Harvard University) and Chi-Chi Nwanoku, OBE (Royal Academy of Music), with further plenary addresses offered by Ayana Smith (Indiana University), Jeffrey Kurtzman (Washington University, St Louis), Ross Duffin (Case Western Reserve), and Adam Gilbert (University of Southern California). The conference is convened by Dana Marsh, Director, Historical Performance Institute (Indiana University).

For further details, please follow this link:
https://blogs.music.indiana.edu/blog/historical-performance-conference-2019/

Links to past conference programs:
2018 —http://music.indiana.edu/departments/academic/early-music/PDFs/FINAL-PROGRAM.pdf
2017 – http://music.indiana.edu/departments/academic/early-music/2017_HPI_Conf_Prog.pdf
2016 – http://music.indiana.edu/departments/academic/early-music/PDFs/FINAL-PROGRAM.pdf

Just P(l)ay! Music as Labour


Call for Papers


isaScience 2019 Interdisciplinary Conference of mdw – University of Music and Performing Arts Vienna

Call open until 17 March 2019

Conference date: 7-11 August 2019

Conference venue: Hotel Marienhof, Reichenau an der Rax, Austria

Keynote speakers: to be announced

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

https://www.mdw.ac.at/isa/isascience

The history of music as labour and music labour markets in particular is characterised by manifold processes of institutionalisation, globalisation, digitalisation and collaborations. From the mid-nineteenth century onwards, these processes have steadily increased, involving a range of different actors and institutions such as the music and media industries, music conservatories or community music initiatives that are guided by distinct conventions and shared beliefs (“art worlds”) as well as by frequently conflicting (economic) interests that have also resulted in resistance and power struggles as well as divergent practices. The “production of culture” perspective has been helpful to study these processes with respect to the changing roles of professions and educational institutions, to gatekeepers and to mechanisms of inclusion and exclusion.

However, the history of music as labour is also shaped by stark social inequalities based on gender, sexuality, race, class or dis/ability. Subsequently, numerous initiatives such as “Help Musicians UK”, #MeToo or “We Have Voice” have been initiated, fighting discrimination and misconduct and aiming to bring about social change in music labour markets and in broader society. Nonetheless, music remains key for human interactions, often carrying traits of emotional and affective labour. The “affective turn” has drawn attention to the significance of emotions, affect and the body vital for our understanding of music as social and cultural phenomena. In this respect, music can act as e.g. “labour of love”, a technology of identity or enactment of emotion and care, always relying on the human body and its gendered, sexualised and racialized concepts of corporeality.

The conference seeks to address the following three thematic streams and welcomes proposals from any perspective, 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:

Music Labour Markets

  • Institutionalisation of musical labour (e.g. laws and regulations; funding; professions; gatekeepers; musicians’ unions; entrepreneurship; etc.)
  • Labour migration/mobility of musicians
  • Music competitions and casting shows in the context of neoliberal changes in society
  • Music education and class in institutionalised settings
  • Labouring in the do-it-yourself music industry
  • Tourism-induced commercialisation of music (e.g. traditional music and dance as paid labour)
  • Non-commercial musical labour and community music

Power Struggles & Political Activism

  • Gendered, racialized and age-related concepts of musical labour
  • Political struggles against precarious working conditions of musicians (e.g. strikes)
  • Queer practices of musical labour
  • Feminist*queer activism fighting gender inequalities, sexual harassment and racism in the music industry (e.g. #MeToo, “We Have Voice”)
  • Musical labour in post-colonial contexts
  • Refugees, migration, diaspora and musical labour

Emotional & Affective Musical Labour

  • Music as “labour of love”
  • Musicians as mood managers
  • Musical labour, sexual availability and sex work
  • Enactments of anger and rebellion in musical performance
  • Corporeality and the embodiment of gender, sexuality and race in musical labour
  • Music as care work (e.g. mourning rituals)
  • Occupational hazards in dancers and for musicians

Abstracts should include (theoretical) background, conceptualisations, methodology and show reference to the conference topic. Please also include a “key word” line.

Please submit your abstracts (max. 300 words) for papers and panels as well as workshops and innovative formats, and a short biography (max. 100 words) and institutional affiliation, in English language until 17 March 2019 to isascience@mdw.ac.at.

Decisions on the acceptance of your proposal will be announced by mid-April 2019.

Complimentary funding will be available to students and scholars in academic precarity after acceptance of the proposal. Please refer to our website for further information regarding the application for the funding!

Bach Network Dialogue Meeting 2019

The ninth Bach Network Dialogue Meeting will be held at the historic house of Madingley Hall, Cambridge, from Monday 8 to Saturday morning 13 July 2019, with the formal programme running from the afternoon of Tuesday 9 to Thursday evening 11 July. By popular request we have again included a day before and after the formal programme, to facilitate networking, research discussions and the practicalities of travel.

The full programme can be accessed here.

The programme will feature sessions on a range of current topics, including the Bach 333 project, Bach and materiality, the Art of Fugue, Bach’s chorale pedagogy, musical authorship, and Bach’s contemporaries, as well as our ever-popular Early Career Forum and Flash Announcement session. Presenters and panellists will include Christine Blanken, Vasili Byros, Isabella van Elferen, Nicholas Kenyon, Kevin Korsyn, Robin A. Leaver, Michael Marissen, Paul Moseley, Derek K. Remeš, Barbara M. Reul, Stephen Roe, Stephen Rose, Joel Speerstra, Ruth Tatlow, Bettina Varwig, Christoph Wolff, Peter Wollny and Steven Zohn. In addition, we are delighted to welcome renowned harpsichordist Mahan Esfahani for an evening lecture recital, and director Paul Spicer to lead a choral singing session.

The schedule is designed with generous open discussion time, to give every delegate an opportunity to engage with the subjects. Every registered delegate is invited to speak for five minutes about their current research at the Flash Announcement Session. We encourage doctoral and post-doctoral students to present a short summary of their research topic at the Early Career Forum. There will also be time over meals and in the wonderful gardens to continue discussions informally.

Please register at www.bach2019.eventbrite.com

Contact: Mark Seow, Administrator of Bach Network Dialogue Meeting 2019
seow.bachnetwork@gmail.com

Royal Music Association Study Day

Microsoft Word – RMA-Cambridge-2019-CfP-revised.docx

The Classical Musician in the 21st Century

Thursday, 23 May 2019
Faculty of Music, University of Cambridge

Keynote Speaker:
Prof. Daniel Leech-Wilkinson (King’s College, London)

Proposal submission deadline: Friday, 22 February 2019

Call for Papers

The profession of the classical music performer has been evolving in different ways over the last few decades. In particular, the idea of a genre-specific performer is being gradually replaced by the notion of a “portfolio musician”. Not only are more and more classical performers engaging with other genres of music and collaborating with artists from other arts (such as dance and theatre), they are also undertaking scholarly research and becoming increasingly involved in the composition of music. The lines, then, that have traditionally existed between the genres that musicians engage with (such as classical, jazz, or popular) and the identities that they assume when doing so (scholar, performer, or composer) are now considerably blurred.

Including a keynote presentation by Professor Daniel Leech-Wilkinson, musical performances and a round-table discussion, this study day aims to bring together practitioners, scholars and artist-researchers to explore the following questions (to which proposals need not be strictly limited):

What new career paths have been emerging for contemporary classical musicians?

  •   How does the portfolio musician’s role function in practice in specific musical projects, and in what ways have musicians had to adapt in these circumstances?
  •   What are the new musical and cultural demands classical musicians face today, and what are the implications of these demands for their artistic practices?
  •   What are some of the new collaborative and/or unconventional classical music/artistic contexts within which practitioners currently work?
  •   To what extent is the notion of “portfolio musician” really new? Are there historical precedents and/or examples?
  •   In what ways do twenty-first century classical performers engage with past musical practices?
  •   What kind of new artistic identities and musical roles are available to classical musicians?
  •   What are some of the novel approaches to, and/or current norms of, expressivity in current classical performance practices?
  •   What are the pedagogical implications, for classical musicians, of the evolving roles and identities they can adopt in musical culture?
  • Proposals for individual papers and lecture-recitals (20 minutes + 10 minutes for discussion), and poster presentations are invited. Contributions from postgraduate students are particularly encouraged. Please submit an abstract of no more than 250 words and a short biography (c. 150 words) to Adam Behan as an email attachment (aojb2@cam.ac.uk).
  • Please indicate if your abstract is for a paper presentation, lecture-recital or a poster, as well as your AV requirements.
  • Notification of acceptance will be sent by Monday, 4 March 2019.
  • The study day will be free for members of the RMA and the Faculty of Music, University of Cambridge. There will be a fee of £10 for non-members.
  • Organising committee:
  • Adam Behan (PhD candidate, University of Cambridge)
  • David Cotter (PhD candidate, University of Cambridge)
  • Pierre Riley (PhD candidate, University of Cambridge)
  • Dr Mine Doğantan-Dack (University of Cambridge)

Music and Sonic Art: Theories and Practices

Tenth International Conference
Music /Sonic Art: Practices and Theories

Collaborative creativity / Creative Collaboration

MuSA 2019 – Karlsruhe
31 May – 2 June 2019

Hochschule für Musik, Karlsruhe –
Institut für Musikinformatik und Musikwissenschaft
Am Schloss Gottesaue 7, 76131 Karlsruhe

CALL FOR PAPERS:

We are pleased to announce the Tenth International Conference on Music and Sonic Art: Practices and Theories (MuSA 2019), an interdisciplinary event to be held in Karlsruhe, Germany at the Institute for Music Informatics and Musicology, University of Music Karlsruhe (http://hfm.eu/imwi/)

Conference dates: 31 May – 2 June 2019

Keynote speaker:
Professor Jane Ginsborg (Royal Northern College of Music, UK)

Deadline for abstract submission: Friday, 29 March 2019

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

THEME AND TOPICS:

The theme of MuSA 2019 is Collaborative Creativity / Creative Collaboration. The twenty-first century has witnessed some profound transformations in the institutional ethos of arts and humanities research, one of these being the sharp decline of the romantic image of the lone researcher and artist, breaking through the frontiers of knowledge or creating works of genius independently, and the simultaneous rise of a culture of collaboration. While much has already been written about the value of collaborative artistic and scholarly work, particularly in relation to the creative synergies it generates, much remains to be explored with regard to the notion of collaborative creativity or creative collaboration. MuSA2019 aims to explore the psychological, social, institutional-political, artistic and philosophical issues surrounding this notion. We invite submissions on the following, and other relevant topics, in relation to collaborative creativity and creative collaboration in Music and Sonic Art:

  • Creative collaboration and authorship
  • Creative collaboration in historical context
  • Psychological mechanisms of collaborative creativity
  • Creative collaboration and copyright
  • Collaborative creativity and technology
  • Pedagogies of creative collaboration
  • Expertise and creative collaboration
  • Creative collaboration and material cultures
  • Social contexts of collaboration
  • Artistic identities and creative collaboration
  • Embodied, embedded, enacted and extended approaches to creative collaboration

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

As in previous MuSA conferences MuSA 2019 will continue to include the popular, one-day event devoted to ‘Re-thinking the Musical Instrument’, focusing on the origination, making and playing of musical instruments.

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

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

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

ABSTRACT SUBMISSION:
Please submit an abstract of approximately 250-300 words as an e-mail attachment to j.dack@mdx.ac.uk

As contributions will be ‘blind’ peer-reviewed, please do not include information that might facilitate identification from the abstract. In addition, please include separately the name(s) of the author(s), institutional affiliation (if any) and short biography (approximately 100 words). Deadline for the receipt of abstracts is Friday, 29 March 2019. Notification of acceptance will be sent by 8 April 2019.

CONFERENCE FEE – includes registration, lunch, coffee/tea and conference concerts
€150 for delegates (day rate: €50), and €75 for students (day rate: €25)

If additional information is required please contact Prof. Dr. Mine Doğantan-Dack

CONFERENCE COMMITTEE:
Prof. Dr. Mine Doğantan-Dack (University of Cambridge) ¬¬– md787@cam.ac.uk

Prof. Dr. Christoph Seibert (HfM Karlsruhe) – seibert@hfm.eu

Dr. John Dack (Middlesex University, UK) – j.dack@mdx.ac.uk

Prof. Miroslav Spasov (Keele University, UK)

Prof. Dr. Marc Bangert (HfM Karlsruhe)

Prof. DMA Damon T. Lee (HfM Karlsruhe)

Prof. Dr. Paulo Ferreira Lopes (HS Mainz/HfM Karlsruhe)

Dr. Stefanie Steiner-Grage (HfM Karlsruhe)

Nanna Schmidt (HfM Karlsruhe)

Timothy P. Schmele (HfM Karlsruhe)

Administrative support: Gundi Rössler (HfM Karlsruhe) – roessler@hfm.eu

Stanisław Moniuszko in Polish and World Culture: New Perspectives and Interpretations. International Moniuszko Congress

Call for papers

Title:

Stanisław Moniuszko in Polish and World Culture: New Perspectives and Interpretations

Venue and date:

Stanisław Moniuszko Academy of Music, ul. Łąkowa 1–2, 80-743 Gdańsk, Poland;
27–28 September 2019

Organisers:

Stanisław Moniuszko Academy of Music in Gdańsk

Institute of Musicology, Adam Mickiewicz University, Poznań

Teatr Wielki – Polish National Opera in Warsaw

Subject:

The congress is being held in connection with this year’s bicentenary of the birth of Stanisław Moniuszko (1891–1872), the father of Polish national opera and one of the most important Polish composers. The congress will deal mainly with his life and work, but his achievements may be considered both within the national cultural context and also from the perspective of the socio-aesthetic situation in the Europe of his times.

Proposed thematic areas:

  1. Stanisław Moniuszko, the composer and his work, from the perspective of various humanistic disciplines (musicology, history, theatre studies, film studies, philology, sociology, cultural studies, etc.)
  2. Trends, interpretations and perspectives in Moniuszko studies
  3. Nineteenth-century Polish music as the context and backdrop to Moniuszko’s creative output
  4. The concept of Moniuszko’s Polish national opera compared to European currents of national stage output
  5. The role of music in shaping nineteenth-century political and cultural awareness
  6. The dialectic of the socio-political and artistic domains in musical output of the nineteenth century

Submissions:

Proposals should contain the following: 1. the scholar’s full name (with affiliation or confirmation of independent status), 2. the title of the proposed paper, 3. a summary (300 words max.), 4. a biographical note (200 words max). Each paper will be allocated a maximum of 20 minutes, with an additional 10 minutes for discussion.

Submissions should be sent by email, no later than 1 March 2019, to the academic coordinator of the congress, Prof. Marcin Gmys of Adam Mickiewicz University, Poznań: marcin.gmys@gmail.com. Acceptance of proposals will be communicated by 31 March 2019.

Congress languages:

Proceedings will be conducted in English and Polish, with simultaneous interpretation planned.

Financial and organisational matters:

The organisers will provide food and accommodation during the congress, and will also refund travel costs. Queries relating to participants’ arrival and stay in Gdańsk will be dealt with by Prof. Violetta Kostka v.kostka@amuz.gda.pl and Prof. Danuta Popinigis d.popinigis@amuz.gda.pl of the Stanisław Moniuszko Academy of Music in Gdańsk.

Publication:

Papers selected by the academic committee will be published in the form of a collective monograph or a monographic issue of an academic journal.

Academic committee:

Prof. Marcin Gmys (AMU Poznań) – coordinator

Prof. Ryszard Daniel Golianek (AMU Poznań)

Prof. Justyna Humięcka-Jakubowska (AMU Poznań)

Prof. Stefan Keym (Université Toulouse)

Prof. Violetta Kostka (Gdańsk Music Academy)

Prof. Ryszard Minkiewicz (Gdańsk Music Academy)

Prof. Danuta Popinigis (Gdańsk Music Academy)

Making Musical Works in Early Modern Europe 1500-1700: Composition, Improvisation, Notation and Performance

Call for papers

Institute of Musical Research, Senate House, London

Thursday 27 June 2019

Keynote Speaker

Kate van Orden, Harvard University

Convenors

Manuel del Sol, University of Valladolid
David Lee, University of Glasgow
Stephen Rose, Royal Holloway, University of London


Lydia Goehr’s The Imaginary Museum of Musical Works (1992) prompted heated discussions about how far the term and concept of the ‘musical work’ is appropriate for musical cultures of the 16th and 17th centuries. Whereas earlier discussions had focused on ontological issues and on theoretical treatises of the period, Goehr sought to provide what she termed a ‘historical’ approach, yet she was much criticised for her relatively unnuanced account of music history prior to 1750. Now, some twenty-six years on, the notion of ‘work’ is ripe for exploration from a much broader range of disciplinary perspectives including book history, performance studies, the study of historical improvisation, and economic ethnomusicology. Attributes usually associated with a musical work (such as notational fixity or durability in the repertory) need to be revised, in light of the increasing awareness of the importance of oral and memory-based cultures in the 16th and 17th centuries, as well as an increasingly nuanced understanding of the symbolic and practical functions of notated sources.

Rather than traditional 20-minute papers, the convenors invite contributions to plenary sessions and round-table discussions relating to several key themes, including the various meanings of the terms ‘composition’, ‘improvisation’ and ‘work’ in the 16th and 17th centuries.

We invite participation from perspectives that may include:

● Perspectives from book history on the musical work as notated opus
● Perspectives from economic ethnomusicology on the ‘work’ as a form of labour
● Perspectives from performance studies on ‘work’ within an oral culture of memorisation and improvisation
● Musical works and early modern notions of the musical author
● The relationship between the ephemeral and the durable, and its implications for the
work as a form of social capital
● The implications for modern editorial practices

Please indicate your interest in participation by sending a summary (maximum 300 words) of how your research or performing interests relate to the theme of ‘making musical works’ in the 16th and 17th centuries, to Manuel del Sol (mdelsol@musicologia.com) by Thursday 28 February 2019.

Travel bursaries for postgraduate students will be available. The study day is supported by the Institute of Musical Research (Royal Holloway, University of London).

International Forum for Young Art Researchers Science Spring – 2019

Tuesday 16 April – Friday 19 April 2019

State Institute for Art Studies. Moscow, Russia

Call for Papers

‘Science Spring’ Forum is the unique annual scientific event for young researchers of art and culture. The initiative, concept and program development of the Forum belongs to SIAS Ph.D. students.

Our goal is to invite colleagues to a scientific dialogue as well as share our own experience, talk about themes and methodology of our research and discuss the controversial issues of our works.

Forum statement:

Where’s the revolution? Search for new approaches in the Metamodernism era

Potential topics for discussion:

  • Art perception and interpretation – modern experience
  • Nature as a source and space of artistic ideas
  • Teatralization as an artistic method
  • Communications mechanisms of influence in art
  • Communications mechanisms of understanding in art studies

We accept participation requests from:

  • Art researchers of all specialties
  • Philologists
  • Philosophers of art and culture
  • Theorists and historians of culture
  • Experts in music and theater, artists
  • Museologists, curators

Forum audience is welcome to take part in discussions. Anyone can join discussions and feel him/herself a part of the young scientific community. This is especially important for students who are just starting their journey in science.

If you wish to participate in the Forum, please send your application till February 15, 2019 to: sciencespring@yandex.ru

We accept applications filled out according to the approved form (see below). Applications filled out not in accordance with the form and with violations of the requirements will not be accepted.

Participation in absentia is not permitted.

Participants will bear the costs of travel and accommodation.

Forum venue: Moscow, Kozitsky Lane, 5.

Organizing committee

SIAS PhD students:

N. Ruchkina, E. Sakovskaya, E. Miroshnikova, A. Orlova, E. Fomina, V. Aleksandrova, N. Kiryanova, V. Voytekunas.

sciencespring@yandex.ru

https://www.facebook.com/groups/sciencespring

https://vk.com/sciencespring

https://www.instagram.com/sciencespring

APPLICATION FORM

Applications are accepted till February 15, 2019 at sciencespring@yandex.ru

Applications filled out not in accordance with the form and with violations of the requirements will not be considered.

  1. INFORMATION ABOUT THE PARTICIPANT:
Full name 
 Contact details
e-mail 
Phone number+
Place of study (please indicate fully, but without faculty and department) 
Status (please underline)• undergraduate student • graduate student • postgraduate student • independent researcher
Research topic (e.g. master or doctoral thesis) 
Main scientific interests 

Supervisor of studies

Full name 
Academic degree / Academic title 
e-mail 
  • PARTICIPATION INFORMATION:
Participation form (please underline)conference (report)panel discussion
Special technical requirements: besides a laptop and a projector (indicate if required) 
Subject of the paper: 

Abstract:

(Not less than 1000 and not more than 3000–3500 characters, including spaces)

Transnationalism and Transculturalism in Canadian Music, 1969-2019

Call for Papers

Study Day: Transnationalism and Transculturalism in Canadian Music, 1969-2019

University of Ottawa

School of Music

Friday, 27 September 2019

In the context of celebrations to mark its 50th anniversary, the School of Music at the University of Ottawa will host a study day on Friday, September 27th, 2019. Entitled “Transnationalism and Transculturalism in Canadian Music, 1969-2019,” it will provide a forum for exchange and debate around Canadian contemporary classical music and the ways in which it has been impacted by globalization, immigration, displacement, exile, multiculturalism, exoticism and any other phenomena that point to creative dialogues and encounters that transcend Canada’s historically-constituted geographical and cultural borders. Concentrating on music composed in the classical tradition, this study day aims to promote scholarly work on both established and lesser-known Canadian composers and musicians.

The organizers invite proposals that prioritize links between the three broad themes outlined below:

1)         Canadian Composition and Immigration, Emigration, Exile, and Displacement

-In what ways has international mobility affected specific Canadian composers and their musical works?

– How have Canadian composers negotiated transcultural attachments to other countries in their works?

-How have exile and displacement been treated by Canadian composers, whether in their narratives about themselves or in their music?

-What roles do specific regionalist and/or local cultures play in Canadian transcultural music creation?

-In what ways have international diasporic communities played a role in the creation of contemporary Canadian works?

2)         Canadian Composition and the Imagined Other

-In what ways have Canadian composers imagined and incorporated international musical and artistic influences in their works?

-How have globalization and the development of technologies that promote international exchange and communication influenced Canadian composers?

-How have Canadian composers negotiated the musical and aesthetic influences of both Western Europe and the United States in their creative endeavours?

-How has exoticism functioned within Canadian compositional practices?

 3)        Canadian Composition and International Training and Mobility

-How has the foreign training of Canadian composers impacted their musical language, style, and creative choices?

-How has participation in international festivals and musical events impacted Canadian musicians?

-How have international commissions played a role in the activities of Canadian musicians?

-How has the international exposure and mobility of Canadian musicians been received both in Canada and abroad?

We welcome proposals for 20-minute presentations that investigate contemporary Canadian music in a transnational context. The official languages of the study day are French and English. Please send a 250-word summary of your proposed presentation to christopher.moore@uottawa.ca In your covering email, please provide your full name and institutional affiliation (if applicable). The deadline for receipt of proposals is March 4, 2019. Selected participants will be informed by late March 2019.

Organizer

Christopher Moore (University of Ottawa)

Program committee

Geneviève Bazinet (University of Ottawa)

Jean Boivin (Université de Sherbrooke)

Jonathan Goldman (Université de Montréal)

Roxane Prevost (University of Ottawa)