Blog

BFE/RMA Research Students’ Conference

9-11 January 2020, The Open University, Walton Hall, Milton Keynes

The Open University’s Music Departmenthttp://fass.open.ac.uk/music is delighted to host the 2020 British Forum for Ethnomusicologyhttps://bfe.org.uk/ and Royal Musical Associationhttps://www.rma.ac.uk/ Research Students’ Conference. We look forward to welcoming UK and international postgraduates to present their research and creative practice in an inclusive, friendly, and supportive atmosphere. The conference will also include training and careers workshops, informal performance opportunities, and a variety of social and networking events.

We are pleased to announce that keynote lectures will be given by Katherine Butler Schofieldhttps://www.kcl.ac.uk/people/person?id=e12ab4cb-d3e7-4e51-aa28-561110121eb1 (King’s College, London) and Sean Curranhttps://www.mus.cam.ac.uk/directory/sean-curran (University of Cambridge).

A Call for Papers will be circulated by the BFE and RMA and on other relevant mailing lists in summer 2019, with proposals due in October 2019.

Conference website: http://fass.open.ac.uk/music/events/bfe-rma-research-students-conference-2020.

Dr Martin V. Clarke | Lecturer in Music and Director of Teaching (Arts & Humanities) Faculty of Arts and Social Sciences The Open University, Perry C Building, Walton Hall, Milton Keynes, MK7 6AA http://www.open.ac.uk/people/mvc54 | @mvclarkehttps://twitter.com/mvclarke

Interdisciplinary conference “Orgelpredigten in Europa (1600-1800). Musiktheoretische, theologische und historische Perspektiven”

Regensburg, Hochschule für katholische Kirchenmusik

16-18 May 2019

Orgeln, seit 2017 mit dem Prädikat des immateriellen Kulturerbes ausgestattet, werden heute als fester Bestandteil europäischer Kirchenmusik eingestuft. Doch nach der Reformation bedurfte es einer längeren Phase konfessioneller Grenzziehung und Selbstvergewisserung, um nicht nur der Orgel, sondern jeglicher Instrumentalmusik im Gottesdienst den theologisch abgesicherten Platz zuzuweisen, der inzwischen so selbstverständlich erscheint. Dieser Prozess spiegelt sich in den zur Einweihung neuer Orgeln gehaltenen Orgelpredigten, die sich seit etwa 1600 zu einer eigenständigen homiletischen Untergattung entwickelten. Der musiktheologische Diskurs, der sich hier mit der Zeit ausbildete, erreichte nicht nur die Kirchgänger. In gedruckter Form verbreiteten sich die Predigten auch über größere räumliche und zeitliche Distanzen hinweg und trugen zur Formierung einer barocken Musikanschauung bei.

Das Korpus heute noch ermittelbarer Orgelpredigtdrucke des 17. und 18. Jahrhunderts steht im Zentrum eines DFG-Projekts am Institut für Musikwissenschaft der Universität Regensburg. Unter der Leitung von Prof. Dr. Katelijne Schiltz werden die fast ausnahmslos von protestantischen Pfarrern verfassten Texte erschlossen und in einer wissenschaftlich fundierten Volltextedition zugänglich gemacht. Das hierzu entwickelte Online-Portal bietet vielfältige Möglichkeiten der Kommentierung und inhaltlichen Vernetzung.

Die geplante Tagung fällt in die Schlussphase des Projekts und verfolgt das Ziel, die inzwischen vorliegenden Arbeitsergebnisse in einem interdisziplinären Kreis aus Musikwissenschaftlern, Theologen und Historikern zu präsentieren und die sich daraus ergebenden Probleme und Perspektiven zu diskutieren. Neben theologisch, musiktheoretisch oder kulturhistorisch ausgerichteten Textanalysen werden Beiträge stehen, die anhand verschiedener, regional und chronologisch breit gestreuter Fallstudien repräsentative Etappen der Orgelpredigt in ihrem spezifischen Kontext beleuchten. Ein besonderes Anliegen ist es schließlich, die Orgelpredigt auch als ein gesamteuropäisches Phänomen zu sehen.

Im Rahmen der Tagung werden zwei Konzerte stattfinden. In der Minoritenkirche wird deutsche Orgelmusik des 17. Jahrhunderts erklingen; in St. Andreas gelangen zwei Orgelweihkantaten des 18. Jahrhunderts zur Wiederaufführung.

For more information, please visit https://www.uni-regensburg.de/philosophie-kunst-geschichte-gesellschaft/musikwissenschaft/orgelpredigttagung-2019/index.html

Conference organizers: Katelijne Schiltz, Lucinde Braun, Fabian Weber

1st International Research Meeting for Music and Musicology Students

Call for Papers

EINEM 1st International Research Meeting for Music and Musicology Students

College Mateus d’Aranda, University of Évora (Portugal), November 28th-30th, 2019

Deadline for submissions: June 20th, 2019

The first edition of this international meeting for young researchers in the fields of Music and Musicology is being organised by the CESEM – Delegation of the University of Évora and its target audience are Master and PhD students in the field of Music: musicologists, musicians and composers.

By setting the goal of encouraging the exchange of experience and the promotion of the results of the projects carried out, this meeting pretends to show, promote, support and disseminate research activities in the fields of Music and Musicology, allowing participants to share their methodological approaches, reflections related to their fields of study and the results of their research works.

It aims at students of Music and Musicology who are studying at research institutions or higher education institutions in Portugal or anywhere on the planet.

Being focused on areas of interest for research in Music and Musicology, all topics related to these areas are welcome. Listed below are some topic suggestions, but other topics which are not mentioned will still be considered:

  • Studies of Early Music
  • Modern Music
  • Contemporary Music
  • Studies of Ethnomusicology
  • Education and Human Development
  • Critical Theory and Communication
  • Music and Technology: interdisciplinarity at the service of music production
  • Music and Literature
  • Music in relation to the other Performing Arts
  • Music and Social Intervention
  • The interpreter as educational force
  • Sonic or musical geography
  • Music as (im)material heritage
  • Music and Spirituality
  • Music Interpretation
  • Jazz studies

Organising & scientific committees, relevant info & deadlines and further inquires, visit the meeting website HERE

II Historical Soundscapes Meeting – Évora 2019

Call for Papers

II Historical Soundscapes Meeting – Évora 2019

College Mateus d’Aranda, University of Évora (Portugal), October 16th-18th, 2019

Deadline for submissions: May 10th, 2019

The notion of soundscapes, which is being increasingly referred to in international musicological circles, makes it possible to understand musical activity that takes place in a particular area from a wide-ranging contextual perspective, unlike a view centred on a composer or restricted group of composers. It enables us to reconstruct contexts, circuits and movement, and to map out the presence of music and musician, taking music as a social, political and cultural activity and not merely artistic.

The urban level is particularly suitable for observing the social networks that form musical activity. The role that the arts perform in the building of a social identity has been studied in recent years, both in the case of music and that of the visual arts. The historiography of the urban phenomenon has reformulated the concept of city in such a manner that social and cultural practice is as important as the notion of use of space and even socioeconomic structures. An interdisciplinary character marks the urban musicology branch, and contributions from various research areas are welcome. As well as musical activities in themselves (and other sonic manifestations), what they represent and their sources are also of interest; as are performers and directors, professionals and amateurs, times and spaces or even ceremonies and spontaneous practices, because all of these elements contribute to making up a soundscape, an identity in terms of sound.

The urban aspect with respect to the musical activity of the churches, convents and other religious institutions, and in the squares and theatres, creates a particularly rich ‘soundscape’ in the case of Évora, Lisbon, Coimbra and other European musical centres such as Madrid, Seville, Paris, and even other cities such as Salvador da Bahia or Rio de Janeiro. Following on from projects of this kind undertaken in Andalusia (Seville and Granada), the project proposed in relation to Évora is centred on charting as many historical sound events as possible in the city of Évora from 1540 to 1910.

Besides works about Évora, this Meeting aims to promote and articulate works about other landscapes, spaces and cities. It intends also to promote the interdisciplinary work in articulation with important areas for the definition and thought about historical soundscapes like Architecture, Sociology, Acoustic, Visual Arts or Philosophy, among others.

Themes to be developed:

  • Survey and charting of musical soundscapes
  • Spaces
  • Events
  • Festivals
  • Instrument makers
  • Musicians
  • Patrons
  • Iconography
  • Circuits
  • Processions
  • Repertoires
  • Musical reception
  • Amateurs – music schools and philharmonic bands
  • Theatre and music
  • Artisan and trade activities related to music
  • Music and popular dance in a historical context
  • Music militarization: the “music-soldiers”, military bands and clarion call in the military barracks.
  • Choral music

Organisation & scientific committees, Relevant dates & deadlines or further inquiries, visit the meeting website HERE

Music, Writing, Difference – An Interdisciplinary Conference on Adorno’s Theory of Musical Reproduction

3 – 5 April 2019, Vienna, Arnold Schönberg Center

Theodor W. Adorno’s notes, draft texts and excerpts for his unfinished project of a Theory of Musical Reproduction not only give a musico-philosophical account of the interpretational act of music-making, but include a theory of notation which proves to be adaptable to contemporary discourses.

Building on new insights from research on writing, this symposium aims to re-examine Adorno’s thoughts and concepts, and to expand on them within a productive interdisciplinary dialogue. The lectures at this symposium will reflect Adorno’s considerations from the perspectives of musicology, notation and image theory, art history, performance practice, cognitive psychology and philosophy.

The conference languages are German and English.

The attendance of the conference is free of charge. All interested persons are very welcome!

For further information and the full conference programme see
https://www.writingmusic.net/adorno-symposium/about

Organisation: Julia Freund (Gießen), Matteo Nanni (Gießen), Nikolaus Urbanek (Wien)

The conference is organised by Wissenschaftszentrum Arnold Schönberg und die Wiener Schule at the Institut für Musikwissenschaft und Interpretationsforschung, Universität für Musik und darstellende Kunst, Vienna, Institut für Musikwissenschaft und Musikpädagogik, Justus-Liebig-Universität Gießen, and DACH research project “Writing Music”, in cooperation with Arnold Schönberg Center Vienna.

OBERTO Postgraduate Research Conference

Oxford Brookes University

Friday 7th June 2019

OBERTO, the opera research unit at Oxford Brookes University, is delighted to announce its second dedicated postgraduate conference, aimed at providing students with a platform for presenting their research.

We invite proposals from both UK-based and international speakers with an interest in opera. 20-minute presentations on all facets of opera studies are welcome, including but not limited to the following areas:

  • opera production, performance and reception
  • opera and politics
  • opera and gender
  • opera and identity
  • iconography and visual representation of opera
  • singers
  • musical analysis
  • historiography

The day is designed to be supportive and inclusive, with opportunities for students to meet fellow researchers. Proposals from both Master’s and Doctoral students are encouraged.

There will also be a roundtable discussion concerning academia and public engagement, with advice for postgraduate students on building a public profile, and a summary of the research opportunities and events offered by OBERTO.

Abstracts of no more than 250 words should be sent by email to tde-oberto@brookes.ac.uk in Word document format. Please include your name, email address, institutional affiliation, and details of any audio-visual requirements.

The deadline for receipt of proposals is 9am on Friday 26th April.

CFP: https://obertobrookes.com/2019/03/25/cfp-postgraduate-research-conference-2019

The Guitar Century (c. 1880-1980): Global Trends and Local Contexts

CALL FOR PAPERS

WHEN:     Friday 2 – Sunday 4 August 2019

WHERE:  Melbourne Conservatorium of Music (Ian Potter Southbank Centre),
The University of Melbourne, Australia

https://www.guitarperspectives.com

CALL FOR PAPERS
The twentieth century witnessed the prodigious rise in popularity of the guitar in its diverse forms, with the instrument becoming a global icon by the 1970s. Over the previous century the guitar had evolved rapidly, both as an instrument and in relation to roles it fulfilled in different cultures. During this period it not only embodied a variety of forms, but became associated with a range of playing styles and music genres, many of which continue to be popular with today’s performers and audiences. This conference will explore both global trajectories and local manifestations of the guitar during this dynamic century in the instrument’s history.

Keynote presenters to include Elijah Wald and Walter Clark.

We invite papers that investigate the guitar and its worlds from a number of perspectives in the period dating from around 1880 to 1980. Proposals may address issues including:

  • The evolution of classical, folk, popular, jazz or rock guitar traditions
  • Studies of specific local contexts and their guitar cultures
  • The engagement of composers/arrangers with the guitar, and studies of repertories or particular works
  • Studies of guitar performers and/or promoters of the instrument
  • Instrumental design, guitar manufacture and dissemination
  • Writing about the guitar and critical reception of the instrument
  • Recordings and performance practice across a range of styles

Michael Christoforidis and Ken Murray (Conference Convenors)

PROPOSALS FOR CONFERENCE PAPERS:

Please email Michael at mchri@unimelb.edu.au by Friday 26 April 2019

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

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

Registration for the conference is free. Speakers will also be given entry to all other events that form part of the associated event“GUITAR PERSPECTIVES – Melbourne 2019: A weekend celebrating the instrument and its players” (2-4 August 2019), including concerts by Yamandu Costa, Meng Su and Adam del Monte.


Principles of Music Composing: Orchestra in Contemporary Contexts

November 20th – 22nd 2019 (Vilnius, Lithuania)

Orchestra is not only one of the key categories of musical practice, but also a broad sociocultural phenomenon. Intellectual shifts in post-modern (aesthetic) medium, technological opportunities, and cultural migration are opening up more and more unexpected conceptual and technical perspectives for orchestra, while also challenging established theoretical tools. The conference “Principles of Music Composing” (XIX) invites researchers and composers to rethink and explore the multifarious factors of orchestra, its role and transformation in contemporary (musical) contexts. Such an object is of particular importance at national level, commemorating the anniversary of one of the most prominent Lithuanian symphonists – Eduardas Balsys.

The problematics of the subject embraces the encounter of innovative solutions and the orchestral tradition, the search for new technological means as well as the maintenance of orchestral cultural values. The aim of the conference is to stimulate intellectual and aesthetic efforts towards an authentic up-to-date relationship with the orchestral tradition.

The spectrum of the topics is detailed by the following sub-topics:

1. Theoretical and methodological aspects:
a) The concept of orchestra (elements, limits, criteria, etc).
b) Correlations of theoretical concepts (orchestral and timbral perception, interrelation between concepts of orchestral and chamber music, orchestral thinking and audiation, etc.).
c) Methodological principles of orchestration teaching.

2. Technological aspect:
a) Technical, technological, acoustic, aesthetic, socio-cultural, etc. factors of orchestra and their practical realization;
b) Influence of technological innovations (extended techniques, electronics, etc.) on conceptual and technical dimensions of orchestra, their relation to conventional orchestral approach;
c) The craftsmanship and orchestration principles of contemporary composers.

3. Orchestral genres and styles:
a) Different genres of orchestra and their specifics (concert music, opera, music for theater and cinema, soundtracks, etc.);
b) The integrity of style and orchestral techniques;
c) Timbral approaches and orchestral conceptions in contemporary music;
d) Peculiarities of the style and genres of orchestral works by Eduardas Balsys.

4. Cultural factors:
a) The distinctions and interactions between Western and non-Western orchestras (gamelan, gagaku, archaic orchestras, etc.);
b) Integration of unconventional means and sounds into Western orchestral tradition;
c) Sociocultural role of an orchestra (aspects of cultural policy, commission for a piece, etc.);
d) The interaction between modern techniques and national music in the orchestral works by Eduardas Balsys.

Paper proposals (abstract and a short biography) should be sent by email: pmc.lmta@gmail.com. The abstract must not exceed 500 words. The duration of full presentation is limited to 20–25 minutes.

The main language of the conference is English.

The deadline for proposal submissions is the 1st of September, 2019. Proposals will be reviewed by the members of the scholarly committee and all applicants will be notified of the outcome in the second half of September 2019.

The participation fee is 20 Euros.

Selected papers of the conference will be published in the annual peer reviewed scientific journal ‘Principles of Music Composing’.

Narrativity and Popular Music

Popular Music and Narrativity 1-day conference, Senate
House, London, 7 June 2019
CfP Deadline:  March 31, 2019

*Confirmed keynote speaker: Prof Nicholas Reyland, Royal Northern College
of Music*

Narrativity — the property of conveying or otherwise evoking a story — is
one of the most compelling components of popular music. Storytelling in
music can operate in complex and, at times, ambiguous ways that are
distinct and sometimes divergent, from other narrative media such as film,
television and literature, offering the exciting opportunity
of media-conscious analytical approaches. As entertainment music media have
evolved, so has how and where this type of narrativity operates, from the
pub and music hall to screen media, the sphere of private listening and the
internet. Moreover, the organisation of sound through technology (e.g.
studio-based production and mixing) has created new parameters for
expression that raise new opportunities to interrogate narrativity beyond
lyrics or notated detail.  Finally, encouraged by the increasing presence
of music on the internet, there are now more forms within which narrativity
can emerge than ever before, such as multimedia concept albums, long-form
music video and transmedia projects rooted in popular music.

We invite proposals for a one-day conference that explores popular music
and narrativity through a wide range of (inter)related topics and
issues.  We seek to situate narratatological approaches within popular
music studies more broadly, as well as opening narratological fields to the
unique textuality, processes and effects of popular music.  Papers are
particularly welcomed from scholars working in interdisciplinary areas that
intersect with popular music studies through the lens of narrativity, such
as the study of fandom, adaptation, cinema and transmedia
(multimodality).  Additionally, we welcome papers that examine narrativity
in popular music through approaches that are Afrocentric, non-Western and
so on. We also welcome contributions from presentations in which practice
forms an integral part of the research.

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

·   Popular song or video as narrative “text”

·   Narrativity relating to longer form works such as concept albums/video
albums

·   Adaptation into and from popular music

·   Intermediality and popular music transmedia

·   Narrativity and popular music fandom (particularly the construction of
narrative around performers’ star personae)

·   ‘Sonic narratives’ and narrativity in relation to music production and
mixing

·   Popular music within digital cultures

·   Worlding/world building and popular music

·   Intersections with practices such as soundtracks and musical theatre
that illuminate narrative issues within popular music

·   Phenomenology/experiencing narrative through popular music

·   Language and language barriers complicating (or enhancing) access to
narrativity

Abstracts of no more than 200 words should be sent to
popnarrativityconf@gmail.com by 31 March, 2019. Please include title, name,
institutional affiliation (if applicable), and a short biography (max. 80
words). Applicants will be notified of the outcome by mid-April, 2019.

This conference is being partially funded by the IMR. Although we are
hoping to make this a free event, a small registration fee may apply, to
covering refreshments and lunch.

Programme Committee:
Dr. Alex Harden
Dr. Alex Jeffery

For other queries, please contact the conference email address at
popnarrativityconf@gmail.com or check the conference website
https://pmnarrativity.weebly.com/

Futures of the Real

Goldsmiths Postgraduate Research Conference 2019

When: June 14th, 2019. 09:00-17:00.

This conference will explore the implications of changes in our conception of a non- human external reality through the contrasting disciplines pursued by postgraduate researchers at Goldsmiths, University of London. The call is open to all who are currently working in these fields.

Where: Goldsmiths, University of London. Professor Stuart Hall Building LG02.

Featuring a keynote address by Dr. Ali Hossaini, ’Information and Organisation.’

Ali Hossaini works at the cutting edge of art, technology and business. Having collaborated with a wide range of talent, his productions have been exhibited in museums, performing arts centres, galleries and festivals around the world, winning acclaim from Vanity Fair, Cool Hunting and others, including the New York Times, which calls him “a biochemist turned philosopher turned television producer turned visual poet.” For more information please see: http://www.pantar.com

Call for Papers

Following Timothy Morton’s claim that we have entered ‘an age of hyperobjects,’ it is timely to consider the emergence of a non-human reality as a defining feature of contemporary issues. The annual Goldsmiths PGR conference asks for responses to such abstract concerns which have become socially pertinent through their relationship to global events.

Recent developments in cosmological and psychological descriptions, philosophical realisms, technological industry, and the changes in material conditions which these imply have wide-ranging interdisciplinary consequences for established notions of the subject/object relationship. One unifying factor between these diverse trends is the insistence of an external world: many contemporary problems either lie out with the realms of direct human perception and influence, or emphasise the importance of this divide. From inter-object-based automation to quantum physics and environmental collapse, the 21st century already seems marked by an end to the priorities of the human subject.

We are thus accepting papers on a diverse range of issues which relate in some way to the importance of the object, the non-human, and the extra-perceptual in contemporary debates. In doing so, the conference aims to foster relationships between cross-departmental procedures by reciprocally contextualising them with one another through the radical nature of their shared historical moment.

Topics of Interest

Debates within contemporary materialist and realist philosophical thought, such as Speculative Materialism and Object-Orientated-Ontology.

Scientific advances, and their assimilation (or lack of) into popular culture, social issues and political arguments including, but not limited to: the discrepancy between current cosmological models and naïve realism, and its social implications; the loss of subjective agency in psychological determinism and mechanistic materialism, and its relationship to debates on freedom and free speech; reflections on the importance of non-human observers; the divergence between environmental science and its political assimilation.

The relationship of these factors to historical and material conditions, including but not limited to: the climate crisis, the causal independence of capital from human interests, the speculative developments of automation, the Internet of Things and the A.I. singularity.

The effects of these upon sociology and political thought: from debates surrounding the politics of accelerationism in terms of the independence of non-human systems, to object-based approaches in sociological research.

Similarly, their effects upon theoretical interpretations: from ecocriticism to re-appraisals of deconstructionism and the trans-subjective properties of language.

Artistic responses to these issues, and reflections on object-based practices.

Other topics, strategies and projects broadly relevant to these themes.

We particularly welcome perspectives on these issues through thinkers, traditions and methods often overlooked by the mainstream academic consensus. Similarly encouraged are re-evaluations of pre-modern individuals and ideas through the context of these developments; the new perspectives such developments afford on neglected histories and practices; and readings of contemporary events through a diverse range of historical, cultural, and scientific perspectives. 

Guide for Authors

Please submit abstract of up to 500 words to Alastair White at alastairwhitecomposer@gmail.comwith ‘Futures of the Real’ in the subject line by April 3rd 2019. The presentation should not exceed 15 minutes. 

Any enquiries please email: alastairwhitecomposer@gmail.com