SMI and ICTM Ireland Plenary Conference 2021

SMI and ICTM Ireland Plenary Conference 2021

Hosted by the Department of Music, School of Creative Arts, Trinity College Dublin.

27–30 May 2021

Call for Papers

The Annual Plenary Conference of the Society for Musicology in Ireland (SMI) and the Irish Chapter of the International Council for Traditional Music (ICTM Ireland) of 2021 will be hosted by the Department of Music, Trinity College Dublin. We warmly invite papers from scholars in all areas of music, including composition, ethnomusicology, musicology, performance, and sonic arts. We encourage proposals not only from members of the SMI and ICTM but from scholars around the world.

Proposals for contributions are invited in four formats: (a) twenty-minute papers on any aspect of musicological research; (b) themed panels of three to four twenty-minute papers; (c) poster sessions comprising up to six ten-minute presentations followed by a general debate; (d) thirty-minute lecture-recitals. Themed panel sessions may include titles such as ‘music in public life’; ‘musicology/ethno­musicology and contemporary society’; ‘musical life during a pandemic’; ‘historical pedagogies’. Prospective organisers of panel and poster sessions are encouraged to suggest topics independent of these themes, which are listed here as suggestions.

With a view to reaching an international audience, this year’s plenary conference may include a digital component.

The IRC-SMI Harrison Medal will be awarded to Professor Michael Beckerman (Carroll and Milton Petrie Professor of Music, Collegiate Professor of Music New York University) for his outstanding research in Czech and eastern European music, film music, the music of the Roma, and music in the concentration camps. The award ceremony and Prof. Beckerman’s IRC Harrison Lecture will take place at this conference. 

ICTM-Ireland’s inaugural Oirdhearchas Award will be presented to Professor Thérèse Smith (University College Dublin) who will give a plenary lecture.

A joint SMI-ICTM Plenary Lecture will be given by Professor Harry White (University College Dublin), founder of the Society for Musicology in Ireland

Please send proposals to by 8 February 2021.

Please include an abstract of no more than 250 words in a Microsoft Word-compatible format or an outline of no more than 250 words of the topic(s) to be addressed and a list of potential speakers for panel or poster-session proposals. Where relevant, please indicate an institutional affiliation. 

The programme committee for SMI 2021 comprises Simon Trezise (Conference chair, TCD), Evangelia Rigaki (TCD), Michael Lee (TCD), Anja Bunzel (Institute of Art History, Czech Academy of Sciences), Lorraine Byrne Bodley (Maynooth University, SMI President), Helen Lawlor (Dundalk Institute of Technology, Chair of ICTM Ireland).

The conference is being held in association with the Irish Research Council and the Irish Traditional Music Archive.

An online version of this CFP can be found at

Music as Heritage: from Tradition to Product. An interdisciplinary course about music as heritage, with a focus on Béla Bartók – theory and practice

Central European University‘s Summer Program hosts this course from June 28 to July 7, 2021 in Budapest, Hungary. The course aims to provide insight into the methodology and approaches of modern musicology as an integral part of heritage studies. We use music as a tool for analyzing and describing social changes, the interaction of state policies, culture, cultural heritage, and audience. The course builds on a highly interdisciplinary academic approach to modern musicology.

The complex theoretical and practical aspects will be taught in the format of lectures, seminar discussions, library research during a 9-day intensive summer course in Budapest. The course also includes a field trip and an individual project development program.

The course relies greatly on both CEU lecturers, Bard College and SOAS faculty members, and leading scholars in the field such as Jonathan Stock from University College Cork as well as Martin Stokes from King’s College London.

We invite applications from both practicing professionals and graduate students and junior researchers active in the field of research and teaching of related subjects (musicology, ethnography, heritage studies in its broadest sense, management, marketing and tourism studies, minority studies, etc.). Advanced undergraduate students will also be considered.

Application deadline: February 14, 2021

Towards 2040: Creating Classical Music Futures

Maastricht Centre for the Innovation of Classical Music

Dates: 21–22 April 2021

Digital Symposium

What will classical concerts look like in 20- or 30-years’ time? Will digital concerts become an integral part of the practice? What will the concert hall look like? What aesthetic issues will be important? How will music education contribute to the changing future of musicians? This symposium seeks to engage with the different ways that practitioners are constructing this future, while considering critically the process of ‘futuring’ itself. The aim is not to simply imagine a distant future over which we have no control but to show how imagining the future of classical music informs our work today.

We would again like to invite music practitioners; music educators and students; orchestral musicians, directors and administrators; as well as academic and artistic researchers to present their thoughts and work on futuring in classical music. There will also be consideration of how different established narratives of the future will affect classical music. For example, how will societal developments such as growing social and economic inequality, the call for more diversity and less Eurocentrism, the ubiquity of digital technologies in the cultural domain, and global crises such as the climate emergency change how we work?

The future is of course a work in progress, so the presentation of speculative or as yet unfinished projects is encouraged. The symposium aims to stimulate a supportive and fruitful dialogue in order to better understand what ingredients lead to successful innovation in classical music. It will also be the start of a process that will result in a bookon Classical Music Futures, to which symposium presenters and attendees are invited to contribute.

This symposium will be held online with some live events planned for the host city of Maastricht if restrictions allow. Therefore, we would like to invite proposals for single presentations, panels, roundtables and online workshops.

Abstracts (max. 250 words) should be submitted to by 1 February 2021 5pm CET. Please include the name of presenter(s)/author(s), a short biography and organizational or institutional affiliation. Also add what kind of online presentation you envisage for your contribution and if you would like to be considered for the edited collection on Classical Music Futures. The committee will review and select projects based on their relevance to the symposium theme, clarity of the project’s main learning opportunity, and originality. Moreover, the committee seeks to construct a program bringing together perspectives from all levels of experience and expertise.

For queries, please contact

Programme Committee:

Prof Peter Peters, Director Maastricht Centre for the Innovation of Classical Music, Maastricht University.

Dr Stefan Rosu, Intendant philharmonie zuidnederland.

Dr Ruth Benschop, Professor at Zuyd University of Applied Sciences, Research centre for Arts, Autonomy and the Public Sphere.

Dr Joachim Junghanss, Artistic Director Conservatorium Maastricht.

Dr Neil T. Smith, Postdoctoral researcher, Maastricht University.

Karoly Molina, MA, Research assistant, Maastricht University.

The Maastricht Centre for the Innovation of Classical Music (MCICM) aims to study the dynamics of changing classical music practices and their societal contexts, and to actively shape classical music futures. The centre is a collaboration between philharmonie zuidnederland, Conservatorium Maastricht and the Research centre for Arts, Autonomy and the Public Sphere (part of Zuyd University of Applied Sciences), and Maastricht University. We combine academic research on innovation of performance practices with artistic research to renew classical music practices and music education in artistically relevant ways.

V International Conference Opera in Musical Theater: History and Present Time

Moscow, 22-26 November, 2021

Department of Music Analysis ( and electronic peer-reviewed   «Contemporary musicology ” ( (Gnesins Russian Academy of Music) in cooperation with Department of West Europe classical art (State Institute of Art Studies ( ) invite to an international conference « Opera in Musical Theater: History and Present Time» in Moscow, Russia, November 22-26, 2021.

The conference will be held in online and offline formats

Call for Papers 

Future event is going to be the 5th 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 as the synthetic genre
  • 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
  • the latest trends in the musical theater: the new word-gesture-sound syncretism, 
  • music in the drama theater.
  • opera composers, singers, artists: anniversaries

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 no late then June 1, 2021

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 ca. 300 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

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


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:

NoiseFloor 2021

NoiseFloor 2021 Call for Works

We are delighted to announce that NoiseFloor will be returning to the Music and Sound department at Staffordshire University in May 2021.

Key Dates

NoiseFloor – Tues 11th and Weds 12th May 2021
Deadline for abstract submissions: Friday 29th January 2021
Notification of acceptance: Friday 26th February 2021
Deadline for registration: Friday 9th April 2021

Submission Portal

Our theme for 2021 will be Collaboration

As we seek ways to emerge from the global pandemic, the arts have rarely been so threatened or so important in people’s lives. Throughout 2020, and into 2021, we have all had to learn new ways of working together and of reaching our audiences. How important have collaborations been to this process and to what extent does collaboration play a role in your work more generally? Contemporary music frequently brings together practitioners from very diverse backgrounds: composers, performers, programmers, and multimedia artists can all find themselves working towards common goals. What are the challenges and rewards of such collaborations? Collaborations can also involve working with local communities, or with academics and industry professionals from other disciplines. What insights and experiences can we bring to these situations to ensure their success?

Compositions, performances and other works addressing our theme are particularly welcome; as are proposals for presentations, lecture recitals, panel discussions, workshops and other ideas. As always, proposals for other relevant topics will also be considered. We welcome submissions from composers, researchers, academics, postgraduates and any other interested parties.

Submissions should fall into one of the following categories:

20-minute paper presentations (with 5 minutes for questions)
35-minute lecture recitals (with 5-minutes for questions)
Fixed acousmatic works (up to 8 channel)
Acoustic instruments (with or without electronics)
Music and interactive systems (2 channel audio with video)
Audiovisual music (2 channel audio with video)

Please note that we are unable to provide performers or instruments. Contributors will be expected to make their own arrangements.

With the continuing uncertainty surrounding the global pandemic, the organisers have taken the decision to move the event online for 2021. However, this decision will be reviewed periodically and, if it is safe, legal and responsible to do so, we may move to a blended approach nearer the date. An online event will impact on the format of the intended concerts, but we shall review all submissions and decide how best to proceed closer to the event date. Any changes will be announced on this website.

Registration: The fees are £45 for presenters and for attendees, £20 for students. Concessions will be available for students of Staffordshire University. There is no submission fee. Contributors are expected to attend the event.

Chigiana Conference 2020 is online!

Re-envisaging Music:

Listening in the Visual Age

1-12 December 2020 (pre-recorded papers online)
10-12 December 2020 (live sessions, UTC+1)

Music and images, seeing and hearing have always been inextricably linked. Even when more autonomous concepts of music developed at various times through the centuries, they arguably served to keep at bay the ever-present visual dimensions of the act of listening. When we listen to music, do we just listen? When we see a painting, or anything else, do we just watch?

The last few decades, however, have witnessed the advent of an ever more pervasive visuality. From the development of technology to social media to special effects, seeing is foregrounded like never before. What does this mean for music? How do music’s materialities answer to the materialities of visual objects and arts? Do these new developments affect our listening and performance experiences? What categories are particularly useful to explain the connections between musical and visual domains? How are different musical traditions, from “classical” music and opera to jazz, popular and folk music being re- envisaged?

The aim of the conference Re-envisaging Music: Listening in the Visual Age is to explore the new scenarios created by these questions and how they inevitably change the dimension of spectatorship, the way we associate music with sites of performance, how the bodies of the performers act, the act of listening, and how we understand traditions and moving images.

The program is available at the following link:

Pre-recorded videos of the individual papers are available on CHIGIANA DIGITAL, the digital platform of the Accademia Musicale Chigiana.

Access to CHIGIANA DIGITAL is free but it is necessary to register at the following link:

The live sessions will take place on Zoom and will include discussions with the authors of the papers and the presentation of the keynote speaker. It will be possible to post questions in advance. The live discussions will also be accessible from the CHIGIANA DIGITAL.

Women and Music in the Early Modern Age




Queluz National Palace

July 2nd – 4th, 2021

Organization: Divino Sospiro – Centro de Estudos Musicais Setecentistas de Portugal 

Scientific Committee:

Cristina Fernandes, Giuseppina Raggi, Iskrena Yordanova,

Ricardo Bernardes, José Camões, Francesco Cotticelli, Paologiovanni Maione

The 9th international conference at the Queluz National Palace organized by DS-CEMSP aims to investigate the role of women in the musical and theatrical worlds of the early modern age, with special reference to the 17th and 18th centuries.

Theatrical practices favoured opportunities and emancipation processes which played significant roles in the imagery of and the stage production themselves. It is equally important to mention the patronage and the encouragement given to the performing arts by female sovereigns and nobles, who intended to promote the dialogue and the reflection between different contexts. Differences can be found in the educational methods, distinctions amid theory and practice or between the amateur and the professional milieu, yet they often merged to produce events destined to leave their mark on history.

The conference promotes research into the careers of women as impresarios, singers, actresses, composers, no matter how resounding their activity was in their heydays. Emphasis is also placed on their travels, contacts, and repertoires, and on the strategies adopted by female patronage in order to support the organization (and the memory) of theatrical and musical events throughout the continent.


  • Female performers: singers, instrumentalists, dancers and impresarios. Their roles and repertoires.
  • Female composers, librettists and choreographers.
  • The feminine in music: women as subjects in the musical literature.
  • Women as music and theatre patrons. Political uses of female musical patronage.
  • The importance of music in the education of aristocratic and royal women.
  • The female public.  
  • Women as music collectors.
  • Women and music sociabilities.

Scholars are invited to submit individual proposals. Each paper shall not exceed 20 minutes. Session proposals will be accepted as well: a maximum of three or four papers will be taken into consideration, and the session should not exceed 1h30. 

A selection of the presented papers will be published in our book series Cadernos de Queluz by Hollitzer Verlag (Vienna). (

Official languages of the conference are Portuguese, English, Italian, Spanish, and French.

Abstracts in Word format (.doc), should not exceed 300 words.

Please enclose in the same file a brief curriculum vitae of 150 words max., providing your name and surname, postal address, e-mail and telephone number, as well as your institutional affiliation. Please indicate to which topic your proposal belongs. 

Deadline for sending abstracts is March 1st, 2021

E-mail: The scientific board will examine all the abstracts by March 15th, 2021 and contributors will be informed immediately thereafter.

The Figured Bass Accompaniment in Europe


BresciaScuola Diocesana di Musica ‘Santa Cecilia’

10-12 September 2021

Because of the continuing uncertainties arising from the COVID-19 pandemic, the organisers of this conference will make contingency plans for an online event, in case an in-person gathering is not possible

The Centro Studi Opera Omnia Luigi Boccherini of Lucca, the Research Group Palma Choralis® and the Dipartimento di Musica Antica ‘Città di Brescia’ – are pleased to invite submissions of proposals for the symposium «The Figured Bass Accompaniment in Europe», to be held from 10 to 12 September 2021.

The basso continuo phenomenon, as a practice for accompanying one or more vocal and/or instrumental lines, spread throughout Europe and colonies from the end of the sixteenth century to the threshold of the nineteenth century, including several stylistic and notational peculiarities, according to different contexts and repertoires.

As a halfway between composition and performance, which can integrate and/or substitute other notational systems, continuo was born as a shorthand of a contrapuntal texture that was extemporaneously reconstructed by performers. Nevertheless, continuo practice and partimento from the late eighteenth century became also pedagogical tools essential to the composition training.

The conference, open to musicologists, performers, and music teachers intends to explore developments, stylistic features, similarities and idiosyncrasies of the figured bass across different geographical areas and periods of time. We investigate any kind of sources, documentation, music instruments (e.g. organological features, line-ups, doublings) as well as performative contexts, both professional (e.g. theatre, church, court) and amateur (e.g. domestic enjoyment of certain social classes).

Special attention is paid to improvisation issues and the complexity of cognitive resources and mental representations related to perception/imagination of the musical discourse. Furthermore, as continuo notation turns out to be particularly versatile, it leaves it open to a broad spectrum of possibilities (e.g. from tasto solo to big chords, or instrumental gestures) to be used by performers as a means for musical expression and creativity.

The programme committee encourages submissions within the following areas, although other topics are also welcome:

  • Insights on a wide range of themes are welcomed, including, but not restricted to:
  • New discoveries and evidence from treatises, musical and non-musical sources
  • Stylistic features and performance practice issues of accompaniment – solo, ensemble and integrated performance (self-accompaniment)
  • Basso continuo and opera
  • Music instruments: influence of organological peculiarities on continuo style
  • Accompaniment notation and its use in continuo instruments (figures, alphabet letters, intabulation)
  • Written-out accompaniments and intavolature, and their relationship with actual performance practice
  • Liturgical chant accompaniment: cantus planus and cantus fractus as unfigured and figured bass
  • The music and social contexts: differences between practices amongst amateurs/beginners and professionals
  • Pinnacle and decline: partimenti and the compositional training
  • Training: performance skills, improvisation and aural teachings
  • Composer, performer and improvisation: the relationship between basso continuo practice and res facta

Programme Committee:

  • Roberto Illiano (Centro Studi Opera Omnia Luigi Boccherini)
  • Marcello Mazzetti (Palma Choralis, Early Music Department “Città di Brescia”)
  • Fulvia Morabito (Centro Studi Opera Omnia Luigi Boccherini)
  • Massimiliano Sala (Centro Studi Opera Omnia Luigi Boccherini)
  • Livio Ticli (Palma Choralis, Early Music Department “Città di Brescia”)

Keynote Speakers:

  • Thérèse de Goede (Conservatorium van Amsterdam, NL)
  • Thomas Christensen (University of Chicago, USA)

The official languages of the conference are English, French, German, Italian and Spanish. 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 biographical information.

All proposals should be submitted by email no later than ***28 March 2021*** 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 April 2021, 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

tosc@bayreuth.2021: CfP Junior Scholar Opera Conference

Due to the Corona pandemic the tosc@bayreuth conference will be postponed to June 2022. The Call for Papers will be reopened in July 2021. In order to allow junior scholars to be able to present their work in 2021 we introduce the Junior Scholar Opera Conference, taking place on June 24 and June 25, 2021 as a video conference (synchronous presentations and discussion via Zoom). This conference will be also hosted by the University of Bayreuth.

The Programme Committee welcomes proposals for individual papers (20 minutes long, with 10 minutes for discussion) from junior scholars who started their doctoral research in 2011 or later. We invite submission on any subject related to opera and other forms of musical and music theatre. Presentations which integrate performative aspects, or other atypical formats, are welcome. Methodologies may be varied, traversing disciplines and perspectives: verbal text, music, drama, performance, interpretation, declamation, painting, scenography, dance, staging, stage technology, cinema, photography, video, television, radio, digital arts, as well as reception, historiography, economics, ecology, opera and society, opera and the media, opera and the other arts, etc.

Proposals (maximum 350 words) may be submitted in English, French, German or Italian. They must include the following:
– author’s full name, – country and institution, – CV (including information about the start of doctoral research), – e-mail address, – paper title, – abstract.

Papers may be given in English.

Typically, an academic abstract should include a clear statement of the topic and research question(s), contextualised within existing knowledge; a summary of the argument, evidence and conclusions; and an explanation of why the topic and findings are important. Abstracts should thus include all necessary information that will allow the Programme Committee to evaluate the paper’s quality and originality and its potential as an oral presentation.

Proposals must be submitted as attachments by email as a Word file (“.doc” or “.docx” – not “.pdf”) to: by 15 January 2021

Everyone submitting a proposal will be sent a confirmation email; if you do not receive a notification within six days, please resend the proposal. All abstracts will be anonymised before being evaluated by the Programme Committee. Do not include any information in your abstract that could reveal your identity (such as “As I have shown in my earlier article…”).

All those who have submitted a proposal will be notified of the outcome by the beginning of May 2021. Following acceptance by the Programme Committee, there will be an opportunity to revise abstracts before their publication in the conference programme.


  • –  15 January 2021: Deadline for the candidates’ submissions
  • –  Early April 2021: Announcement of the results
  • –  24–25 June 2021: Junior Scholar Opera ConferenceProgramme CommitteeLuisa Cymbron (Universidade NOVA de Lisboa), Nils Grosch (Universität Salzburg), Kordula Knaus (Universität Bayreuth), Gundula Kreutzer (Yale University), Raphaëlle Legrand (Université Paris- Sorbonne), Isabelle Moindrot (Université Paris 8), Anno Mungen (Universität Bayreuth) and Benjamin Walton (University of Cambridge)Kordula Knaus and Anno Mungen are also the conference organizers.

VII International Congress: Music and Audio-Visual Culture MUCA

From 22-26 March 2021, the University of Murcia will host the Seventh International Congress: Music and Audio-Visual Culture MUCA, to provide a forum to scientific exchange with participation of composers, visual artists and researchers from several national and international universities.

It will take place online from March 22nd to 26th, 2021.

We welcome proposals for individual papers (in English or Spanish) in order to promote new perspectives and dialogue about the main topics. Proposals should include:

– Abstract (250-300 words)

– Institutional affiliation (if applicable), brief biography and email address.

Topics for the paper presentation (not exclusive):

  • Music and film.
  • Music and television.
  • Music in advertising.
  • Music and videogames.
  • Music and the Internet.
  • Prosumers and media.
  • Musical analysis in audiovisual culture.
  • Music and technology.
  • Digitization, globalization and new ways of marketing.
  • Teaching music in audiovisual culture.

All authors of accepted and registered papers will be required to upload a pre-recorded video of their paper presentation.

The presentation can be recorded by any of the co-authors and will be available during the original dates of the conference.

Deadline for accepting proposals: December 15, 2020.

Further information: // mail to: