Blog

1st Biennial Carl Nielsen Studies Conference

Newcastle University, 17–18 September 2020

The 1st Biennial Carl Nielsen Studies Conference will be held at Newcastle University on the 17th and 18th for September 2020. As Denmark’s most important musical figure, the conference celebrates his life and his output. The event is organised by the editorial board of the Anglo-Danish journal Carl Nielsen Studies

A call for papers will be circulated in December 2019. Submissions for 20-minute presentations with 10 minutes of discussion are welcomed from postgraduate students, early career scholars and established academics. Topics for research papers may include, but are not limited to:

  • Theory and analysis
  • Historical and contextual research
  • Philosophical and/or political approaches
  • Biography
  • Nielsen’s literary output
  • Influences inside and outside of Denmark
  • Reception
  • Iconography
  • Archival research
  • Performance practice

The language of the conference will be English.

Capitalist Realism: 10 Years On

Website: https://capitalistrealism10yearson.wordpress.com/
Symposium: February 15-16, 2020
Submission deadline: December 16, 2019
Venue: University of Huddersfield

“Capitalist Realism as I understand it cannot be confined to art or to the quasi-propagandistic way in which advertising functions. It’s more like a pervasive atmosphere, conditioning not only the production of culture but also the regulation of work and education, and acting as a kind of invisible barrier constraining thought and action.”

Mark Fisher, Capitalist Realism

In 2009, Mark Fisher published Capitalist Realism, an exploration of cultural product born from the seeming impossibility of any alternative to the established political and economic system of capitalism. In it, he establishes the key tensions manifested by a culture, artistic and otherwise, that has no alternative but to function within capitalist structures, with music, film, and the visual arts becoming a mirror through which to understand and interpret these more nebulous political and economic forces.

Ten years on and circumstances under late-capitalism continue to transform in ways Fisher could never have anticipated. From the rise of socialist figures Jeremy Corbyn, Bernie Sanders and Alexandria Ocasio Cortez, the emergence of the gig economy, to the complex and multifaceted reactions to the socioeconomic structures of our world that are Brexit and Trump. Meanwhile some of Fisher’s most enduring observations remain just as problematic today: the reduced power and the increased bureaucratisation of our public institutions, the ambiguous function of learning and further education, the increased productisation of creative thought and culture, the economic dominance of nostalgia, and rising mental health issues, simultaneously born from capitalism and ineffectively treated under it.

The University of Huddersfield, supported by the Centre for Research in New Music (CeReNeM), will host a two-day symposium in February to reflect upon cultural products of the last ten years to gain some insight into the contemporary state of capitalist realism. What observations can be made from culture from the 2010’s as it relates to Fisher’s original text? How has capitalist realism been challenged over the last decade? What avenues have emerged to challenge the dominant narrative of culture under capitalism? And where do our current cultural products indicate where we are heading and what are the possibilities for creating change?

Call for papers

The programme committee invites abstracts for paper presentations of a 20 minute duration, with 10 minutes for questions and discussions. Additional panel sessions may be formed from presenters exploring related themes.

We invite abstracts from academics, cultural critics, research students, and practitioners working in any discipline for papers exploring these ideas and more. In particular, we want to encourage scholars and thinkers without institutional support to attend and contribute.

The program committee will also invite a selection of those giving papers to write them up in the months following the conference for publication either in Divergence Press, the CeReNeM contemporary music journal, or as book chapters for publication in late 2020.

Yuri Falik: Metamorphoses of Life And Work

ST. PETERSBURG COMPOSERS UNION

SAINT-PETERSBURG RIMSKY-KORSAKOV STATE CONSERVATORY

RUSSIAN MUSIC RESEARCH INSTITUTE AT LINYI UNIVERSITY (CHINA)

International Musicological Conference and Roundtable

dedicated to the memory of Y. A. Falik (1936–2009)

December 13th -15th 2019, St. Petersburg, Russia

Yuri Alexandrovich Falik (1936-2019) – People’s Artist of Russia, internationally renowned composer, orchestral conductor, and a public figure, Professor of Composition and Instrumentation at the St. Petersburg State Conservatory. The composer’s artistic legacy includes choral, orchestral and chamber instrumental music, several works for musical theater, and a number of sacred works. Many of Falik’s compositions became the staple of the repertoire of many performing ensembles in Russia and abroad, earning him a well-deserved fame.

Y.A. Falik’s colleagues, students, and friends remember him as an artist and intellectual who embraced everything new. At the same time, Falik’s artistic professionalism is deeply rooted in tradition, austerity, and self-discipline. All of these characterize the personality of a great artist, for whom technical considerations were secondary to the embodiment of an artistic concept.

The conference’s title resonates with the title of Falik’s autobiographical book in a form of the dialogues. Organizers of the conference conceived of this forum as a continuation of the dialogue and, simultaneously, as an attempt to comprehend the phenomena of the personality and oœvre of Y. A. Falik within the categories specified by the composer himself.

The Program Committee invites participation of musicologists, composers, performers, music educators, and graduate students, as well as independent scholars and archivists. The presentation topics may include the following:

  • Falik’s work in the context of musical culture of the 20th-21st centuries
  • Falik and the St. Petersburg compositional school
  • The composer`s personality and biography in memoirs of contemporaries, friends, colleagues, and students
  • The work of Y. A. Falik at the intersection of tradition and innovation
  • Main stages of the composer’s creative evolution: the problems of periodization of Falik’s oœvre
  • Falik as composer and performer: The interaction between the two sides of his artistic persona
  • Musical-aesthetic and pedagogical views and principles of Y. A. Falik
  • Falik’s creative methodology and compositional technique  
  • Major themes in the works of Y. A. Falik
  • Falik’s interpretation of a “concert style” concept in works in different genres
  • Orchestral and instrumental chamber music
  • Vocal chamber and choral music
  • Genre paradoxes in Y. A. Falik`s works
  • The role of Russian Silver Age poetry in the composer’s oœvre
  • Falik’s musical theater
  • Performance as interpretation of Y. A. Falik`s music

The duration of presentations is limited to 20 minutes.

The main language of the conference is Russian; however, submissions in English are also invited. Interested scholars who will not be able to attend are invited to send their paper to be read at the conference. All presenters will receive a certificate of participation.

Participation proposals should be sent by email to kle-zemer@bk.ru.

The abstract must not exceed 500-1000 characters.

The deadline for submissions is December 1st, 2019.

When submitting your abstract, please include the following information:

  1. First and last name
  2. Title of the paper
  3. Academic degree
  4. Academic position
  5. Country, city
  6. Home institution
  7. Phone number including country and city code
  8. Email address
  9. Abstract (500-1000characters)

Other information:

  • The conference will take place at the Composers’ House, Bolshaya Morskaya Street, 45, St. Petersburg, 190068, Russia.
  • There is no registration fee. All conference events are free of charge for the presenters. While the organizers cannot offer any travel grants or accommodation discounts, we will be happy to offer practical advice when you make your travel arrangements. A personal invitation to the conference will be sent upon request.
  • There are plans to publish conference proceedings. Participants should send their papers  (15000 characters or less) to kle-zemer@bk.ru. The deadline is  June 1st, 2020. The program committee reserves the right to edit all submissions.
  • The style guide will be available after the conference.

Program Committee:

Iosif Raiskin – musicologist, music critic, Chair of Musicology and Music Criticism section at the St. Petersburg Composers Union

Tamara Tverdovskaya –PhD in musicology, Vice-Rector of Research at the St. Petersburg Conservatory

Evgeny Khazdan – composer, Head of the Music Fund of the Jewish Community Center of St. Petersburg

Eugeni Petrov – composer, Associate Professor of Instrumentation and Non-Major Composition Department of the St. Petersburg Conservatory.

Sergei Ekimov – composer, choral conductor, Professor of Russian State (Herzen) Pedagogical University; Head of the Academic Choral Department, Faculty of Arts, St. Petersburg State Institute of Culture.

Olga Usacheva – PhD in musicology, Deputy Director of Russian Music Research Institute at Linyi University (China)

II International Conference Wind Bands in focus: Band Research Paradigms in Spain

University of Jaén, Jaén (Spain), 30-31 January 2020

CFP Deadline: 15 November 2019

https://www.cbm-sedem.com/jcbm-2019

This scientific meeting is conceived as an encounter for researchers who, coming from different disciplines and interests, seek to have of space for collaborative discussion to share advances, methodological problems and any concern on their everyday investigation on Wind Bands. Therefore, the event is defined as a thinking tank for research procedures discussion and analysis (source treatment, methodology, technics, and skills) and not as a venue for final results presentation, as it is expected to bring individual efforts to fruition, to create networks and to transfer knowledge to society.

In the Digital Era, Musicological Studies need to be rethought in the light of the new social exigencies, the digital Humanities, inter and transdisciplinary studies or the socio-critical approach. So Wind Bands, as an object and as a pretext, need to be revisited from new perspectives, coming out their current marginal place in local chronicles. Among these new approaches, Microhistory and Everyday Life, Urban Studies, Musical Landscape, Gender Studies, Reception, Edition, Heritage Recovery, Record History, Musical Education, Social Demography, Organology, Parabandistic Industry or Relationships and Hybridisation with oral tradition should be underlined. 

All proposals should be sent using the online form available hereand they should include:

  • Title and abstract (200 words, maximum)
  • Personal data, institutional affiliation, curriculum vitae (150 words, maximum), e-mail address
  • Technical media necessary for oral presentation 

Official languages of the Congress: Spanish, Portuguese and English.

Deadline for receipt of proposals: November 15, 2019.

Acceptance or rejection notice: December 10, 2019.

Program publication: January 10, 2020.

Contact address: jcgaliano@ugr.es.

Music and Political Democratisation in Late Twentieth Century

Call for Papers

Music and Political Democratisation in Late Twentieth Century

18-19 June 2020

University of Huddersfield

https://musicdemocracystudydays.wordpress.com/cfp-study-days-2020/

Convened by Igor Contreras Zubillaga (British Academy Postdoctoral Fellow, University of Huddersfield) and Robert Adlington (University of Huddersfield)

Keynote speaker: Marina Frolova-Walker (University of Cambridge)

This event aims to innovatively question how musical practices formed ways of imagining democracy in the democratic transitions that took place after Portugal’s ‘Carnation Revolution’ in 1974 – what Huntington (1991) called the ‘third wave’ of democratisation, which involves more than 60 countries throughout Europe, Latin America, Asia, and Africa. Rather than studying music’s diverse deployments within these political contexts (music ‘in’ transitions to democracy), these study days place the emphasis upon ways in which music embodies democratisation processes and participates in the wider social struggle to define freedom and equality for the post-authoritarian era (hence the ‘and’ in the title of the event).
As political science has shown, democracy is a highly contested category, one that has been imagined in many different ways, and any particular realisation of which carries costs as well as benefits. According to the historian of democracy Pierre Rosanvallon, the rise of democracy has historically represented both a promise and a problem for a society: ‘a promise insofar as democracy reflected the needs of societies founded on the dual imperative of equality and autonomy; and a problem, insofar as these noble ideals were a long way from being realized’ (2008:2). These complex facets of democracy became especially apparent in the political context of transition to democracy after an authoritarian regime, leading to a struggle between different ‘ideas’ of democracy (Albertus and Menaldo, 2018).
Thus, these study days also seek to engage in a comparative discussion of how music framed different ideas of democracy in post-authoritarian transitions during the 1970s, 80s, and 90s. How did musical practices instantiate ideas of democracy in these political contexts? Inversely, how did such democratic values inform musical practice? How did musicians negotiate between creative autonomy and social responsibility? And more broadly, what is the role of culture in a transition to democracy?
We invite proposals from scholars working in any discipline for papers exploring these and related questions in relation to any musical practice. Papers will be 30-minutes in length followed by 15 minutes of discussion time, to enable the fullest exchange. Please submit proposals (250-300 words) to I.ContrerasZubillaga@hud.ac.uk by the deadline Friday 31 January 2020. The programme will be announced in early March.

CFP – Parole del Metastasio – opera and emotions in eighteenth-century Europe

Teatro Real, Madrid

25–27 March, 2020

In eighteenth-century Europe, Metastasio’s work marked poetic, musical, and cultural boundaries within which the production of sung music developed for more than a hundred years. His vision of the world, and of human relationships and passions, influenced not only the hundreds of composers who ventured the musical setting of his lyrics, but also all other poets inspired by his words for music.

Given the unparalleled impact of Metastasio’s texts in operatic composition throughout the eighteenth century, complete exploration of the librettist’s figure requires attending to the myriads of musical versions prompted by the emotions expressed in his lyrics. Therefore, we warmly invite presentations investigating the relationship between text and music around Metastasian passions, with especial attention to the dramaturgical and musical treatment thereof within his recitatives and closed pieces. We particularly encourage papers using novel methodologies for the study of the librettist’s world, including digital, computer-assisted techniques for data extraction from both music and poetry.

This symposium is an expression of the European Research Council project DIDONE. The Sources of Absolute Music: Mapping Emotions in Eighteenth-Century Italian Opera (https://www.didone.eu), directed by Álvaro Torrente at the Instituto Complutense de Ciencias Musicales (Universidad Complutense de Madrid). It will coincide with the representation of Francesco Corselli’s setting of Metastasio’s Achille in Sciro in the Teatro Real in Madrid.

Proposals for individual papers (20-minute long, followed by 10-minute discussion) must be submitted as Word files (.pdf is not accepted). Each proposal must include the following information:

– presenter’s name

– paper title

– abstract (max. 350 words)

– short bio (max. 150 words)

– institutional affiliation

– e-mail address

The official languages of the conference are Italian, English, and Spanish.

Proposals must be sent to the email address didone-conference@iccmu.es by 17 November, 2019, and will be evaluated by 1 January 2020.

Scientific committee:

Álvaro Torrente

Andrea Sommer-Mathis

José María Domínguez

 Ana Llorens

Nicola Usula

‘Women Are not Born to Compose’: Female Musical Works from 1750 to 1950

The Centro Studi Opera Omnia Luigi Boccherini of Lucca, in collaboration with Palazzetto Bru Zane – Centre de musique romantique française, Venice, is pleased to invite submissions of proposals for the symposium «‘Women Are not Born to Compose’: Female Musical Works from 1750 to 1950», to be held in Lucca, Complesso Monumentale di San Micheletto, from 27 to 29 November 2020.

Keynote Speakers:

  • Mariateresa Storino (Conservatorio di Musica ‘G. Rossini’, Pesaro)
  • Susan Wollenberg (Oxford University)

The conference aims to investigate the music and the role of women composers from 1750 to 1950. From the second half of the 18th century women composers began to participate more actively in musical life. They were also often virtuosos of instruments and/or excellent singers, and teachers as well as founders of music schools.

Although the value of their works may already have been recognised during their own time (though with critical reception that might be unhelpfully gender-inflected), women composers and their works were routinely forgotten after their death.

The growing corpus of musicological literature, together with scholarly editions of music, produced in the late 19th and first half of the 20th century largely ignored these women and their works. In recent  decades the new perspectives in musicology have restored the presence of women composers to the history of music, and their works have begun to receive the analytical attention they deserve.

This conference focuses on the various aspects of women’s work as composers,with particular reference to somefundamental questions: when, where, what, why, how and for whom did they compose?

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

  • Gender and genre: women composersand musical genres
  • Women composers’ impacton the development of musical forms and genres
  • Analytical andhermeneutic approaches to women’s music
  • Virtuosity
  • Women composersand their self-beliefin the context of contemporary views on female creativity
  • Reflections on women composers’ position in the history of music
  • The critical reception of women’sworks
  • ‘Heroines of the Risorgimento’: music as a means of conveyingpatriotic and liberal ideals in women’sworks
  • Social expectations and possibilities of professional training for women composers
  • Women composers’ writings about their music (and that of others)
  • How has the social status of women composers been changing along with the transformation of the socio-cultural context?

Programme Committee:

  • Roberto Illiano (Centro Studi Opera Omnia Luigi Boccherini)
  • Étienne Jardin (Palazzetto Bru Zane – Centre de musique romantique française)
  • Fulvia Morabito (Centro Studi Opera Omnia Luigi Boccherini)
  • Massimiliano Sala (Centro Studi Opera Omnia Luigi Boccherini)
  • Mariateresa Storino (Conservatorio di Musica ‘G. Rossini’, Pesaro)
  • Susan Wollenberg (Oxford University)

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

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

All proposals should be submitted by email no later than ***Sunday 5 April 2020*** to <conferences@luigiboccherini.org>. With your proposal please include your name, contact details (postal address, e-mail and telephone number) and (if applicable) your affiliation.

The committee will make its final decision on the abstracts by the end of April 2020, 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
conferences@luigiboccherini.org
www.luigiboccherini.org

North American British Music Studies Association Ninth Biennial Conference

Conference Dates: July 23–26, 2020

Venue: Illinois State University, Normal, Illinois, USA

URL: https://nabmsa.org/conferences/2020-biennial-conference/

CFP Deadline: January 20, 2020, 11:59 p.m. (Mountain Time)

The North American British Music Studies Association (NABMSA) will hold its Ninth Biennial Conference from Thursday, July 23 to Sunday, August 26, 2020, in Normal, IL, hosted by Illinois State University.

The program committee invites proposals for presentations on topics related to all aspects of historical and modern British music and musical life throughout Britain, the Empire/Commonwealth, and beyond are welcome. Those that draw upon interdisciplinary or broader cultural contexts are particularly welcome. Presentations may take a variety of formats, including twenty-minute individual papers, workshops involving group participation, roundtable discussions, lecture-recitals, and themed panel sessions. The program committee actively seeks submissions from senior, mid-career, and early-career scholars, those serving within and outside of academia, as well as graduate students. The Nicholas Temperley Prize will be awarded for the best scholarly presentation given by a graduate student and all students with accepted papers are eligible to apply for the Byron Adams travel grant. Information on the conference, proposal format and content, proposal transmission procedures, and other details are available on the conference website listed above.

The Reformed Theology and Spirituality of Music: From the Reformation to the Present

Enschede, Netherlands, 13-15 May 2020

The First International Conference on Reformation Musical History and Theology (RMHT)

Call for Papers (2nd Round)​

We cordially invite researchers to submit proposals which engage with a range of methodologies and perspectives on the Reformed traditions of music in public worship and private devotion. Proposals may address, but need not be limited to, the following topics:

  • The early modern Reformed theology and spirituality of music: 1520s – 1700s
  • The Reformed practices of church music in the eighteenth and nineteenth centuries
  • Music, devotion and identity in Reformed worship
  • Music, ethics and spirituality in Reformed churches
  • The Reformed tradition of music as prayer
  • Music, dance and education in Reformed churches
  • Singing, exile and piety in Reformed churches
  • Organ music in Reformed churches
  • Relationship between the Reformed practices of church music and its Lutheran counterpart
  • The Musical Impact of the Reformed churches on Catholic, Anglican and other Protestant church music
  • Church music in non-Western Reformed churches (Asia, Africa and Latin America)
  • the Reformed tradition of music: challenge, change and continuity

This conference reviews the Reformed theology and spirituality of music from the Reformation era to the present time. Whilst the Lutheran theology of music and musical culture have received significant attention from theologians and musicologists, its Reformed counterpart has often been misunderstood or neglected. The conventional negative portrait of the Reformed approach to music is deeply indebted to early seventeenth-century orthodox Lutherans’ polemical writings against contemporary Calvinism rather than in the Reformed writings on music per se. Yet the popular perception of Reformed theologians’ musical views (Buszin 1946; Söhngen 1967) remains almost intact despite the continuing reappraisals of their musical views (Scholes 1934; Garside 1951/1979/1982; Clive 1957; Reimann 1959; Macmillan 1966; Bisgrove 1969; Old 1975; De Jong 1979; Bruin & Heijting 1991; Aeschbacher 1992-93; Witvliet 1997; Hobbs 2004; Föllmi 2009; Grosse 2010; Lambert 2012; Kim 2015; Trocmé-Latter 2015; McDonald 2018). More recent scholarship has shed new light on the early Reformed theology of music, through examination of the aesthetics, ethics and metaphysics of music that underlie the Reformed theology of music. Yet such a review is mainly concerned with a single theologian’s writing on music or relevant musical work. Little attempt has thus been made to investigate the origin, formation and effects of the Reformed traditions of music as a whole, which played an integral part of public worship and private devotion that enhanced Christian spirituality and edification from the Reformation onward.     

The principal aim of this conference is to reassess the significance of the Reformed theology and spirituality of music in relation to education, ethics, liturgy and culture, by scrutinising Reformed musical discourses and practices that lie at the core of musical polemics and apologetics across Reformation Europe and thereafter. First, the conference reconsiders musical ideas of major Reformed theologians of the early modern period, including Bucer, Calvin, Martyr and Zwingli, in the light of contemporary religious climate and musical culture; second, how their ideas of music were implemented as ecclesiastical and social practices; and third, in what way they have evolved or adapted to various cultural and historical contexts of the Reformed churches worldwide over the last few centuries. Furthermore, the conference reassesses the impact of early-modern Reformed theology and spirituality of music upon modern Christian education, worship, and mission at large. The conference seeks not only to study the foundation of the Reformed theology and spirituality of music, but also to diagnose the musical state of modern Reformed churches accordingly.

Submission

We welcome both panels and individual papers.  Proposals for 20-minute papers with 10 minutes discussion as well as for round-table panel sessions of 60 mins or 90 mins are invited.  Proposals (panel: max. 500 words; individual paper: max. 250 words) and brief CVs (max. 100 words) should be submitted to the committee (RMHTconference@gmail.com) no later than 15 November 2019.

Dissemination

Selected papers will be published in a series of volumes edited by RMHT project team.

The official language of the conference is English.

For further information on the conference, please visit the conference website:

https://www.rmht2020conference.com

RMA 56th Annual Conference, Goldsmiths, 8-10 September 2020

The 56th Annual Conference of the Royal Musical Association will be hosted by Goldsmiths, University of London, between Tuesday 8th and Thursday 10th September 2020. The conference seeks to explore and celebrate the quality and diversity of current scholarship in music, understood in its broadest sense and represented by its many branches and global aspects. As such, the committee invites a broad range of types of proposals and seeks to represent work in musicology including popular musicology and ethnomusicology, composition and performance including sonic arts, and practice research across all disciplines. Presentations representing the full range of current international scholarly and creative research in music are invited in the following formats:

  • Individual Papers (20 minutes)
  • Themed sessions of 3–4 papers (90 minutes)
  • Lecture-recitals (30 minutes)
  • Ethnographic, Documentary and Research-related Film (30 minutes)
  • Poster presentations
  • Practice research workshops (90 minutes)
  • Compositions suitable for workshop at the conference
  • Sonic Art works

The Programme Committee welcomes proposals from both established scholars and practitioners and from early-career researchers. Any individual may submit one proposal; RMA membership is not a prerequisite for submission.

The programme committee expects individual papers to address new findings. Please state if you expect to have presented essentially the same paper on a previous occasion. The committee is happy to consider proposals for papers delivered beyond the UK and Ireland within the 12 months preceding the Annual Conference and those that have been rehearsed to local audiences (e.g. at research seminars and similar events). Papers delivered at national meetings in the UK and Ireland (e.g. at meetings of other musical societies and RMA affiliated conferences) and those delivered anywhere more than 12 months ago, however, are not eligible for consideration. In particular the committee does not accept proposals that have or will have been presented already at the BFE-RMA Research Students Conference. In addition, where very many proposals are received, preference may be shown for submissions from those who did not present papers at the last annual conference. Please enquire if in doubt.

Submission Procedures

All proposals must be submitted via the online proposal submission form by 5 p.m. (GMT) on Friday 15th November 2019.

For more information about what and how to submit, please visit the conference website.