Performance Studies Network International Conference 2020


University of Huddersfield, 2-5 July, 2020

The University of Huddersfield is proud to host the 2020 Performance Studies Network Conference. We look forward to welcoming delegates from across the globe to share research about performance, including practice-based research, research-dynamic performances, and much more. We can promise a range of presentations and formats, covering diverse genres, methodologies, practices and periods of study, across our numerous lecture and seminar rooms, concert venues, archive and exhibition centre, and other spaces.

The Call for Papers is now open. Deadline 1 October, 2019.

For full details, visit

Historical Fictions Research Conference 2020

The 2020 Historical Fictions Research Conference will be held at the University of Salzburg, 21st and 22nd February 2020.
Host: Dorothea Flothow

Theme: The Forms of History

Historical fictions can be understood as an expanded mode of historiography. Scholars in literary, visual, historical and museum/re-creation studies have long been interested in the construction of the fictive past, understanding it as a locus for ideological expression. However, this is a key moment for the study of historical fictions as critical recognition of these texts and their convergence with lines of theory is expanding into new areas such as the philosophy of history, narratology, popular literature, historical narratives of national and cultural identity, and cross-disciplinary approaches to narrative constructions of the past.

Historical fictions measure the gap between the pasts we are permitted to know and those we wish to know: the interaction of the meaning-making narrative drive with the narrative-resistant nature of the past. They constitute a powerful discursive system for the production of cognitive and ideological representations of identity, agency, and social function, and for the negotiation of conceptual relationships and charged tensions between the complexity of societies in time and the teleology of lived experience. The licences of fiction, especially in mass culture, define a space of thought in which the pursuit of narrative forms of meaning is permitted to slip the chains of sanctioned historical truths to explore the deep desires and dreams that lie beneath all constructions of the past.

We welcome paper proposals from Archaeology, Architecture, Literature, Media, Art History, Musicology, Reception Studies, Museum Studies, Recreation, Gaming, Transformative Works and others. We welcome paper proposals across historical periods, with ambitious, high-quality, inter-disciplinary approaches and new methodologies that will support research into larger trends and which will lead to more theoretically informed understandings of the mode across historical periods, cultures and languages.

We aim to create a disciplinary core, where researchers can engage in issues of philosophy and methodology and generate a collective discourse around historical fictions in a range of media and across period specialities.


Key note speakers:

Dr Michael Brauer, University of Salzburg, “Cooking up Salzburg”

Prof Dr Gerhard Kubik and Dr Moya Aliya Malamusi, University of Vienna, “Works and Biographies of East and Central African Musicians”.


Send abstracts of no more than 250 words to:
(1st September 2019; no pdfs, please).

HFRN Conference 2020

Twitter: @HistoricalFic               Facebook Group: Historical Fictions Research Network

50+ Years of Creative Music: Anthony Braxton – Composer, Multi-Instrumentalist, Music Theorist

Call for Papers for an International Conference, June 18th‒20th 2020
Institute for Historical Musicology of the University Hamburg
Neue Rabenstr. 13 | 20354 Hamburg | Germany

We encourage German as well as English abstracts no longer than two pages. Please send them to one of the organizers. The deadline is September 1st 2019.
Prof. Dr. Friedrich Geiger (Universität Hamburg;
Prof. Dr. Timo Hoyer (Pädagogische Hochschule Karlsruhe;

In June, 2020, Anthony Braxton will be celebrating his 75th birthday. For more than half a century he has played a key role in contemporary and avant-garde-music as a composer, multi-instrumentalist, music theorist, teacher, mentor and visionary. Inspired by Jazz, European art music, and music of other cultures, Braxton labels his output ‘Creative Music’. This international conference is the first one dealing with his multifaceted work. It aims to discuss different research projects concerned with Braxton’s compositional techniques as well as his instrumental- and music-philosophical thinking. The conference will take place from June 18th to 20th 2020 at the Hamburg University, Germany.

During the first half of his working period, dating from 1967 to the early 1990s, Braxton became a ‘superstar of the jazz avant-garde’ (Bob Ostertag), even though he acted as a non-conformist and was thus perceived as highly controversial. In this period he also became a member of the AACM, the band Circle, and recorded music for a variety of mostly European minors as well as for the international major Arista. Furthermore, he developed his concepts of ‘Language Music’ for solo-artist and ‘Co-ordinate Music’ for small ensembles, composed his first pieces for the piano and orchestra and published his philosophical Tri-Axium Writings (3 volumes) and Composition Notes (5 volumes). These documents remain to be thoroughly analyzed by the musicological community.

Even less attention has been paid to the development of his work since the mid-1990s. During this period Braxton enhanced some of his compositional principles from the earlier period, and he partly redefined and reshaped some of his thoughts about music. Additionally, he worked on his twelve components of a holistic system called ‘Tri-centric Music’, ‘Tri-centric Thought Unit’ or ‘Tri-centric Modeling’. As a basic premise for this period he built up his Tri-Centric Foundation and founded a record label (Braxton House / New Braxton House). In the compositional array he developed the so-called Ghost Trance Music in order to creatively fuse elements of composition and improvisation. As of today he works on his not yet finished twelve-part opera, Trillium, and on other projects such as, Pine Top Aerial Music (a choreography of sound and physical motion), and Diamond Curtain Wall Music (a study of interactive electronical sound). In Falling River Music the musicians are asked to intuitively interpret different shapes, graphics and symbols, whereas in Echo Echo Mirror House they are requested to play iPods containing Braxton’s complete works. ZIM Music, one of his latest prototypes, operates with different sound dynamics.

It is the second of Braxton’s working periods that the conference will focus on, albeit the presentations (45 minutes each) may need to refer to his older concepts as well. We encourage paper proposal dealing with the following three key topics:

1. The composer: Braxton’s complete works comprise more than 500 compositions of incredible variety. Furthermore, his œuvre contains performance directions for solo-instrumentalists (language music), piano pieces, works for 100 tubas, for flute- or vocal ensembles, for orchestra and a puppet theater as well as for four orchestras, duos for one instrumentalist and a stand-up comedian and many more. Every composition or compositional fragment may be combined with others. Right from the start, Braxton has been looking for possibilities to combine forms of composition and improvisation. During the last 20 years in particular, he has developed fascinating solutions and a smart notation system which contains both, conventional and unconventional signs, graphics and narrative-poetic elements. We especially welcome presentations that deal with his scores analytically, for instance by concentrating on individual works, smaller groups of works or certain musical parameters like harmonics, melody and rhythm. Also, projects that investigate similarities and differences to other composers or musical styles are kindly appreciated.

2. The multi-instrumentalist: Like many other members of the Afro-American AACM Braxton made a mark as a multi-instrumentalist. He not only masters the Alto Saxophone as well as the whole families of saxophone and clarinet instruments, but he also enjoys playing instruments of the very high and low registers, different kinds of flutes, the piano, percussion instruments and more. His style is unique, even though it changed over time. Concerning these topics, almost no scientific research exists. There is a general lack of analyzing his style, especially when it comes to differentiating between a) his roles as a soloist and as a part of an ensemble, b) his life- and studio-performances, c) interpretations of works of his own and those of others, and d) realizations of notated pieces and free improvisations.

3. The music theorist: “His rhetoric and writing alone make him a hugely influential figure in free music”, musician and music theorist Joe Morris says. There is no doubt that Braxton’s theoretical and philosophical writings about his own works ‒ covering much more than 1000 pages ‒ is outstanding in Jazz history. However, neither his unique diction, his neologisms ‒ both can be studied as well in his interviews and liner notes ‒ nor his attitude towards creativity, Black Exotica, music journalism, Jazz Rock, western art music, World music, white music improvisators, nor his very unconventional (from an academic point of view) work analyses have been given much attention by the scientific community. The conference aims at filling this void.

Music Research in Slovenia in the Past and Present

International musicological conference
Faculty of Arts, Ljubljana, Slovenia, 14th and 15th October 2019

The University of Ljubljana is the oldest Slovenian university and it celebrates the centenary of its founding this year. In 1962, the Department of Musicology was founded at the Faculty of Arts under University’s auspices. It established university-level musicology courses and within the scope of faculty of arts also ensured the essential conditions for scientific studies of music. The celebration of this honourable anniversary certainly presents itself as an opportunity for a self-reflection of Slovenian musicological profession, to review the past and current work of Slovenian musicologists and to explore the challenges the researchers of musical past and present will face in the future.

Even though the documented observations on music that are central for any musicological work, could be traced far back in the Slovenian history, the first serious attempts of scientific examinations in the field of music date back to the decades before the First World War. Since then, but especially after the foundation of the Department of Musicology at the Faculty of Arts and the Institute of Musicology at the Research Centre of the Slovenian Academy of Sciences and Arts (1972), the Slovenian musicology began to follow the lead of contemporary humanistic science. The first interests of Slovenian musicologists were focused on the historical subject matter, related to musical past in Slovenia. Alongside the institutionalisation of the discipline, the systematic musicological fields were developing. With the growth of research interests and alongside the development of the discipline itself, its methodology was also constantly changing and evolving.

In this context the following themes are proposed:
– research of music (in Slovenia) in the past and today;
– the establishment of musicology as a scientific discipline in Slovenia: musicologists, methods, topics;
– methodological starting points of musicological work in Slovenia in the past and today;
– current research of Slovenian musicologists and ethnomusicologists;
– future challenges of (Slovenian) musicology;
– Slovenian musicology in the international context;
– other research topics, related to the study of music in Slovenia.

Proposals for papers (20 minutes + 10 minutes discussion), which should include the title and a short summary of the proposed topic (200-400 words), a short biography and contact details of the author are to be sent until Friday, 21st June, 2019, on the address

Authors will be informed about the selection of papers no later than 5th July, 2019. Final programme of the conference will be formed until the middle of September 2019. After the conference, the selected papers will be published either in a thematic monograph or in a thematic number of Musicological Annual.

The official languages of the conference will be Slovenian and English.

The registration fee for active participation at the conference is € 50.00; Members of the Slovene Musicological Society are free of registration fees.

Organizational committee:
Prof. Dr Matjaž Barbo
Assist. Prof. Dr Katarina Bogunović Hočevar
Assist. Dr Nejc Sukljan

“From Field to Fiddle” – historical gut strings in production and performance

International Conference: Bern University of the Arts, 19./20. November 2019

Gut strings are at the center of musical sound production and play a vital role in historical performance on all bowed instruments as well as on plucked instruments. However, materiality and craftsmanship have a great impact on the performance of gut strings. Few people realize that strings made of cow gut, such as are widespread today, differ fundamentally in their physical and performance properties from those made of sheep gut, which were the standard up until the middle of the 20th century.

The Bern research project on historical sheep gut strings ( explores string making processes as well as performance qualities from the perspective of German sources of the period 1750–1950. The conference aims to place the new findings in an international context by bringing together researchers, string makers, musicians and their audiences.

Further conference contributions focusing on gut string making both from historical and modern-day perspectives are very welcome and can be submitted until 1 July 2019 to and who are available for further information as well.

Keynote: Patrizio Barbieri (Rome): “Gut-string making and its connections with music performance, organology, and international trading: some basic considerations”

For updates on the conference please check the website

Spectralisms 2019

International Conference – 2nd edition, 12–14 June 2019, Paris

This second international “Spectralisms” conference will take place on 12-14 June 2019 in Paris during Ircam ManiFeste festival. It will offer once again the opportunity to explore the many facets of Spectralism. By ‘Spectralism’ is meant any music that considers the acoustic structure of sounds and the mechanisms of auditory perception to produce forms, timbres, temporalities and new modes of expression. Many aesthetic ideas are incorporated within ‘spectral thinking’ without necessarily having direct links with the creative and performance tradition that developed in France during the 1970s. Conference languages are French and English.

For details of the conference programme, concerts and registration see:

All sessions in Salle Stravinsky will be live streamed at

Registration deadline (normal): 7 June 2019

Cette deuxième édition du colloque « Spectralismes » se déroulera du 12 au 14 Juin 2019 à Paris dans le cadre du festival ManiFeste de l’Ircam. Elle sera l’occasion de célébrer à nouveau les multiples facettes du spectralisme, entendu au sens de toute musique qui tient compte de la structure acoustique des sons et des mécanismes de la perception auditive pour produire des formes, des timbres, des temporalités et des modes d’expression inédits. Nombre d’esthétiques participent ainsi de la « pensée spectrale » sans forcément avoir de relation avec la tradition créatrice et performative établie en France dans les années 1970. Les langues du colloque sont le français et l’anglais.

Pour les détails sur la programme, les concerts et l’inscription voir :

Live streaming de toutes les séances en Salle Stravinsky sera disponible sur

Date de limite pour l’enscription normale : le 7 juin 2019

Organising Committee / Comité d’organisation

Sylvie Benoit (Ircam), Nicolas Donin (Ircam – STMS), François-Xavier Féron (CNRS – STMS), Eric de Gélis (Ircam), Grégoire Lorieux (Ircam, L’Itinéraire)

International Evaluation Committee / Comité scientifique

Jonathan Cross (University of Oxford), Nicolas Donin (Ircam – STMS), François-Xavier Féron (CNRS – STMS), Joshua Fineberg (Boston University), Robert Hasegawa (McGill University), Gascia Ouzounian (University of Oxford), Ingrid Pustijanac (University of Pavia), Caroline Rae (Cardiff University)


a special seminar

Friday 31 May 2019


University of Oxford Faculty of Music

Committee Room

Jonathan CROSS (Oxford), Nicolas DONIN (Ircam, Paris),Gascia OUZOUNIAN (Oxford), Eric de VISSCHER (V&A, London)

In his essay ‘Sonic imprints’, Nicolas Donin observes the phenomenon in recent music of resynthesis, by which he means ‘operations of translation such as transcription, transcoding or transformation’. The creative process in music, he claims, can now also involve the ‘inner trans-mutations of musical material from sound to note to structure in any order’. He explores a range of practices, from instrumental synthesis of spectra in Grisey and of speech in Mâche, to the digital reproducibility of virtually any sound in the most recent music. Taking Donin’s essay as its starting point, this special seminar will examine the broad theme of ‘sonic imprints’ as it relates to aspects of the panel’s own research (resynthesis, nature, sonic spaces, notations, etc.). A full and wide-ranging discussion between panel and public will be encouraged!

* ‘Sonic imprints: instrumental resynthesis in contemporary composition’, in Gianmario Borio, Musical Listening in the Age of Mechanical Reproduction (London: Routledge, 2015), 323–41.

Admission is free and there is no need to register to attend

Jonathan Cross is Professor of Musicology at Oxford: his recent work is concerned with issues in musical spectralism. Nicolas Doninis Director of the ‘Analyse des pratiques musicales’ team at Ircam: his work embraces the analysis of creative processes, collaborative creativity, cognition and musical gesture. Gascia Ouzounianis Associate Professor of Music at Oxford: her work focuses on experimental music, sound art traditions and concepts of acoustic space. Eric de Visscheris Andrew W. Mellon Visiting Professor at the V&A London, and formerly artistic director of Ircam and director of the Musée de la musique, Paris: his current project isconcerned with providing access to and engagement with museum objects and spaces from an aural perspective.

TTU Arts Practice Research

CFP: TTU Arts Practice Research: Scholarship, Pedagogy, and the Creative Process (Lubbock, Oct 2019)

SUMMARY: On October 11-13th, 2019, Texas Tech University’s Talkington College of Visual and Performing Arts, the Roots Music Institute, and the TTU Vernacular Music Center present the Third Biennial Conference Arts Practice Research: Scholarship, Pedagogy, and the Creative Process. The conference will partner with the annual Vernacular Music Center Guitarslingers festival concert (Friday Oct 11 2019 Hemmle Recital Hall) and will feature distinguished guest speakers.

TRACK RECORD: Past iterations of TTUAPR, in 2015 and 2017, have included collaborations with: radio stations KTTZ and KTXT, the TTU School of Art, the Louise Hopkins Underwood Center for the Arts, the American Musicological Society – Southwest Chapter, the TTU Metals Symposium, the TTU Women’s Studies program, the First Friday Art Trail. Keynote speakers have included fabric/performance artist Nick Cave, visual artist Joyce Scott, and NPR senior theatre and film critic Bob Mondello. Premieres have included Plunder! and To Wipe All Tears from Our Tears, a collaboration with Texas State Dance. Additional and enrichment offerings have included dance workshops, scholarly papers, exhibits, talkback sessions between students and distinguished guests, cross-campus visits and guest lectures to classes and student organizations, and much more.

PRIORITY INITIATIVES: In the 2019 iteration, our particular interest is to centralize the experience of Fine Arts university students and involve students, faculty, and the wider community together in our conversations.

The conference, held on the campus of Texas Tech University, will bring together students and teachers, creators and scholars, campus and community, vernacular and cultivated genres, “traditional” and “modern” perspectives—and will investigate and fruitfully complicate the dynamics between all. We invite proposals for individual papers, themed paper sessions; individual presentations of works in process; round-table discussions; workshops in devised theater, free sound improvisation, contact partnering, dance, improvisational visual art. Students will participate at every stage and level, including planning, logistics, presentation, and assessment. Featured performances will include works “devised” through the process of arts practice via transdisciplinary collaboration.


In teaching the fine and performing arts, real-time and immersive learning engages students in “arts practice”—that is, in the processes, techniques, skills, data-sets, and critical perspectives whose combination in real time yields the art object or experience. Makers and learners can be engaged in both creating this object or experience, and then reporting, in a critical and analytical fashion, upon the considerations that went into its creation, thereby opening out the collaborative process for investigation and dialogue. Transdisciplinary and multi-modal in both philosophy and practice, this synthesis of creative activity and critical analysis, as “Arts Practice Research,” is a fast-growing topic within university curricula, both here in North America and abroad (a brief sampling of programs inaugurating the PhD in Arts Practice includes Tier-One universities in Ireland, England, Canada, Australia, and the USA).[1] Programs may differ in their language and definitions, but uniformly share a fundamental conviction that both the creation and the analysis of an arts object (physical or processual) can be constituent elements of the scholarly mission, uniting the creator and the critic as “practitioner.”[2]

Because the arts reach out to students, the community, the academy, the gallery, technology, other disciplines, the environment, history, social justice, entertainment, and transnational communities, in furthering art’s reach, we further the impact of its research practice. Arts practice is thus precisely the place in which Fine & Performing Arts faculty can unite research, teaching, and creative activity. Participants in the 2015 and 2017 iterations came from the disciplines of theater, dance, visual arts, music, and an array of humanities, from Arts Practice centers in Leeds, London, and Limerick, and from across the USA and Canada.

ABOUT THE TCVPA AND THE VERNACULAR MUSIC CENTER: Texas Tech University’s J.T. and Margaret Talkington College of Visual and Performing Arts has been a leader in arts practice research for four decades, since the foundation of the TCVPA’s interdisciplinary PhD in Fine Arts. In recent years, collaboration across TTU arts disciplines, particularly as sponsored by the Vernacular Music Center, has led to a series of flagship creative productions, including Dancing at the Crossroads: A Celebration of Anglo-Celtic and African-American Dance in the New World (2013, School of Theatre and Dance & School of Music); Twelfth Night or, What You Will (2013, School of Theatre and Dance & School of Music); The Elegant Savages Orchestra (2013, School of Theatre and Dance & Vernacular Music Center); Mother Courage (2013, School of Theatre and Dance & School of Music), original live/improvised orchestral score for the 1922 horror classic Nosferatu, (2017-18, School of Music, Flatland Film Festival, Louise Hopkins Underwood Center for the Arts, Texas Tech Museum, New Mexico Tech, San Juan College); the “folk oratorio” Plunder! Battling for Democracy in the New World (2018); and the site-sensitive immersive theater show YONDER (2020). The Steering Committee comprises leading artist/scholars from across the College, already actively involved in creative collaborations and Arts Practice Research.

The deadline is June 15 2019, with final selections and notifications to be made by July 15 2019.

Additional information, local arrangements, schedule, transportation options, and the final program will be posted at  ; inquiries may be directed to steering Committee chair


Proposals and inquiries should be emailed (.pdf or .docx format only) to 

Please read the guidelines carefully: proposals that do not conform will not be considered.

Proposals will be accepted according to the following categories:

(1) Individual proposals. Proposals should represent the presentation as fully as possible. A successful proposal typically articulates the main aspects of the argument or research findings clearly, positions the author’s contribution with respect to previous scholarship, and suggests the paper’s significance for the arts practice research community, in language that is accessible to scholars with a variety of specializations. Maximum length: 350 words.

(2) Proposals for poster sessions should follow the guidelines for submission of individual proposals, and include an explanation of the content and goals of the graphic presentation. Technical guidelines for posters will be distributed with acceptance information. Proposals will be evaluated anonymously and should contain no direct or indirect signal of authorship. Maximum length: 350 words.

(3) Proposals for themed formal sessions. An organizer representing several individuals may propose a Formal Session of three papers. For this proposal, organizers should prepare a rationale, explaining the importance of the topic and the proposed constituent papers, together with the names of the organizer, participants, respondent (if applicable), and a suggested chairperson. The organizer should also include a proposal for each paper, which conforms to the guidelines for individual proposals above. Formal Session proposals will be considered as a unit and accepted or rejected as a whole. The proposed session’s consistency and coherence is an important part of the evaluation process. Paper abstracts included in a formal session proposal will not be considered for separate individual presentation. Maximum length: 350 words for the rationale, and 350 words for each constituent proposal.

Length of presentations: 

Thirty minutes are allotted for each individual proposal and constituent Formal Session proposal. The length of presentations is limited to twenty minutes in order to allow ample time for discussion.

Program Committee procedures: 

The Program Committee will evaluate and discuss individual paper and poster proposals); each proposal will be reviewed by at least three members of the Program Committee. Their individual scores are collated and averaged, and the proposals ordered accordingly. Proposals ranked in the top half are then evaluated by the entire committee. Authors for all submissions that are chosen will be invited to revise their proposals for the Program and Abstracts, distributed at the meeting; the version read by the Program Committee may remain confidential.

Application restrictions:

No one may appear on the program more than twice. An individual may deliver a paper and appear one other time on the program, whether participating in an evening panel discussion or alternative-format session, functioning as a chair-organizer of a formal session, or serving as a respondent, but may not deliver a lecture-recital or workshop. Organizers of evening panel discussions or alternative-format sessions may not also present a formal paper, but participants may do so. Authors may not submit the same proposal to the APR and program committee. If an author submits different proposals to the APR and more than one is accepted, only one of the papers may be presented.

Submission procedure:

Proposals must be received by 5 p.m. EST, 1 June 2019. Electronic proposal submission is encouraged. Please note that electronic proposal submission ceases precisely at the deadline. In order to avoid technical problems with submission of a proposal, it is strongly suggested that proposals be submitted at least twenty-four hours before the deadline. Due to the volume of proposals received, proposals received after the deadline cannot be considered. A FAQ on the proposal submission process is available at the web site, and those planning to submit proposals are encouraged to review the information posted there. 

[1] Examples include the Universities of Limerick; Cork; Wollongong (Australia); London; Quebec; Southern California; the Orpheus Institute (Ghent), and other similar first-rank institutions.

[2] See Barbara Hawkins, “Transdisciplinary Approaches to Doctoral Arts Practice Research: Benefits and Challenges of Transdisciplinary Research,” The International Journal of the Arts in Society: Annual Review 7, 1-11. Available at (Accessed 5/9/2014) ; also Graeme Sullivan, Art Practice as Research: Inquiry in Visual Arts (New York: Sage, 2009).

IV International Contemporary Piano Meeting

Porto (Portugal) December 2019.

Conference dates: December 12-14, 2019
Deadline for abstracts: 1 August, 2019
Call for papers:

Location: Porto, Portugal

The fourth International Contemporary Piano Meetingwill take place on December 12-14 2019 at the School of Music and Performing Arts (ESMAE/IPPorto, Portugal) in affiliation with the the Graduate Program in Music of the Federal University of Minas Gerais (UFMG, Brazil). Established in 2016, the event will provide a forum for the discussion of the contemporary piano repertoire in both musicological research and creative practice. Now in its fourth year, this gathering aims to connect researchers, composers and performers through reflected debate; bring together experienced scholars/musicians and early-career researchers/performers; promote a discussion of recent developments in contemporary piano creation and performance of new repertoires.

In addition to a broad range of performance practice and research topics on piano music from the last 50 years until the present, particular emphasis this year will be placed on the Portuguese composer João Pedro Oliveira (1959), on the occasion of his sixtieth birthday. Concerts, workshops and round tables will highlight the various facets of his artistic production, and its impact on Portuguese and Brazilian music.

The event will consist of panels with individual papers (25 minutes presentations, +10 minutes of discussion), research/performance reports (15 minutes+ 5 of discussion), lecture recitals and artistic performances (30 minutes presentation).

We would like to invite scholars, performers and composers interested in any aspect of contemporary piano performance and creation to submit abstracts of c.300 words in Portuguese, English or Spanish, by August 1st, 2019, to the following email address:

Submission of works in recital/lecture or artistic performance mode must be accompanied by an audio or video file and a summary with c. 200 words indicating the type of presentation and the technical requirements for the performance. Abstracts should include the title of the article, the name of the author, their institutional affiliation and a brief biography of c.150 words.

The audio and video files should be uploaded to YouTube, with the respective links submitted by email:

Each author can submit only one work in each modality.

Contributors will be informed about acceptance of papers the 15st of August 2019. Selected papers will be considered for publication in the new bi-annual review  “Contemporary piano music”, to be launched in 2020.


Meeting of João Pedro Oliveira with young composers.

Professor at the University of Aveiro and at the Federal University of Minas Gerais, João Pedro Oliveira shares his experience with young composers and students from Universities and Schools of Music. Submission of compositional works should be sent by email to

including the title of the composition, the name of the author and the institutional affiliation.

Masterclasses and other workshops (to be announced).


General Participation

80 Euros. Students: 40 Euros.


60 Euros. Students: 45 Euros.

General Participation+ Workshop

 Students:45 Euros

Organizing Committee

Madalena Soveral (ESMAE/CESEM)

Ana Cláudia Assis (Universidade Federal de Minas Gerais/CESEM)

Francisco Monteiro (ESE/INET-md)

Scientific Committee

Alexandre Zamith (UNICAMP- Universidade de Campinas)

António Aguiar ( ESMAE)

Ana Cláudia Assis (UFMG – Universidade de Minas Gerais/CESEM)

Ana Telles (Universidade de Évora/CESEM)

Carla Reis (UFSJ- Universidade Federal de São João Del Rey)

Cliff Korman (UNI-RIO – Universidade do Rio de Janeiro)

Francisco Monteiro (Escola Superior de Educação/INET-md)

Isabel Pires (Universidade Nova Lisboa/CESEM)

Madalena Soveral (ESMAE/CESEM)

Sónia Rubinsky (Pianist)

Ignacio Jerusalem 250: Galant Musics in Italy, the Iberian Peninsula, and the New World

Location: Baeza, Spain
Dates: December 3–5, 2019

The Universidad Internacional de Andalucía, Baeza, the Centro Nacional de Difusión Musical (Ministerio de Educación, Cultura y Deporte, Gobierno de España), and the Festival de Música Antigua de Úbeda y Baeza are organizing an international conference in collaboration with the IMS Study Group “Early Music and the New World.” The conference is entitled Ignacio Jerusalem 250: Galant Musics in Italy, the Iberian Peninsula, and the New World and will take place at the Universidad Internacional de Andalucía, Baeza, Spain, from December 3 to 5, 2019.

Call for papers