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Doctors in Performance

Estonian Academy of Music and Theatre is pleased to announce that 

the 4th festival conference “Doctors in Performance” 
will take place
on September 2-4, 2020 in Tallinn, Estonia.

Venue: Estonian Academy of Music and Theatre, Tallinn, Estonia.

 
The purpose of the festival conference is to give doctoral students (music) 
and young researchers with PhD/Doc.Mus. degrees the possibility to present
their creative research projects. This includes performing musical works, 
improvisations, and/or discussing research topics. The following session formats
will be offered: recital, lecture-recital, paper.

Keynote speakers: Prof. Neil Heyde, Royal Academy of Music, London;
Research Professor Allan Vurma, Estonian Academy of Music and Theatre, Tallinn.

The preliminary call for papers will be published in November 2019, the final call in January 2020.

Conference website: http://dip.ema.edu.ee/

Local organising commitee: Prof. Kristel Pappel, Prof. Allan Vurma, Prof. Marje Lohuaru, research secretary Aleksandra Dolgopolova (aleksandra@ema.edu.ee)

10th European Music Analysis Congress

10th European Music Analysis Congress (EUROMAC10) at Moscow P.I. Tchaikovsky Conservatory,

September 21-26, 2020.

Analysis, Theory, and History of Music: and/or/vs Relationship

The relation between the domains of music scholarship remains a complex one. The formulation of abstract theoretical principles often contrasts with the practical aspects of analytical procedures. And just as often, both are synthesized in a single approach. Preference is often given to either theory or analysis; and this relationship often varies from one national society to another. Moreover, in some countries the historical component remains an inseparable component of theory or analysis pedagogy and scholarship, while in other countries there is a tendency to separate historical musicology from music theory. This intricate map of the world of music scholarship will be a central theme for discussion at the European and global forum of EuroMAC 10.

We invite papers on on the following topics:

1) The epistemology of music theory in relation to that of music analysis and history

2) Music theory as a kind of universal knowledge vs. historically-informed theory

3) Theoretical and historical aspects of ethnomusicology from its origins to today

4) Aspects of theory and analysis that deal with the expressive content of music: music as a language, musical semiotics, and musical signification

5) The theories of new music, the object and the methods of its analysis

6) Technical approaches to theory and analysis vs. new musicology and critical theory

7) Theories and methods of analysis

8) Free topics.

Keynote communications:

  • Belgian society (SBAM), Dr. Nicolas Meeùs (Sorbonne University); subject: “Modality”;
  • British society (SMA): Dr. Julian Horton (Durham University); subject TBA;
  • Croatian society (HTGM): Prof. emer., Dr. Nikša Gligo (Croatian Academy of Sciences and Arts); subject TBA;
  • Dutch-Flemish society (VvM): round table, moderator Dr. John Koslovsky (Conservatorium van Amsterdam); subject: “Beethoven 2020: Analytical and Performative Perspectives”;
  • French society (SFAM): round table, moderator Prof. Jean-Marc Chouvel (Sorbonne University); subject: “What analysis does to musical works”;
  • German and Austrian society: Prof. Dr. phil. Gesine Schröder (Hochschule für Musik und Theater “Felix Mendelssohn Bartholdy, Leipzig);  subject TBA;
  • Italian society (GATM): Dr. Mario Baroni (Università di Bologna); subject: “Analysis of post-dodecaphonic languages. In memoriam Bruno Maderna”;
  • (PTAM): Dr. Marcin Trzęsiok (Katowice Academy of Music); subject TBA;
  •  Russian society (OTM): Dr. Alexander Sokolov (Moscow Conservatory); subject: Post-scriptum as a mode of expression of a composer”;
  • Plenary session “North-American Schenkeriana, Schoenbergiana, Stravinskiana, Riemanniana and Cageana”: speakers Dr. Poundie Burstein (Hunter College and CUNY), Dr. Severine Neff (University of North Carolina, Chapel Hill), Dr. Pieter van den Toorn (University of California, Santa Barbara), Dr. Alexander Rehding (Harvard University) and Dr. David W. Bernstein (Mills College); moderators Dr. Michael Beckerman (New York University) and Dr. Ildar Khannanov (Peabody Institute, Johns Hopkins University).

The deadline for submissions of abstracts: October 15, 2019

For submissions, please refer to the official web site of the EUROMAC10: euromac.mosconsv.ru

Open the page Call for Papers; follow the link to EasyChair; on the submission page you will find the three windows to fill out for 1) your 500-word abstract with 5-item bibliography and 5 keywords; 2) your 150-word biography; 3) request for the equipment. At the bottom of the submission page, you can upload an abstract for the session, if you wish to propose one.

For questions, email to: drkhannanov@gmail.com (Dr. Ildar Khannanov, liaison for EUROMAC and OTM) and/or otmroo@mail.ru   (Dr. Yelena Tokun, Secretary of the Russian Society for Theory of Music)

Dr. Ildar Khannanov,

Member of the Organizing Committee, OTM/EUROMAC

Member of the Permanent Scientific Committee, EUROMAC

1. International Artistic Jazz Research Symposium

In partnership with

Institute for Jazz Research, University of Music and Performing Arts Graz

Jam Music Lab Private University for Jazz and Popular Music Vienna

Date: 6 October, 2019
Venue: Jam Music Lab Private University Vienna, Guglgasse 8, Gasometer B, 1110 Vienna
Submission Deadline: 19 August 2019

Artistic research is an emerging branch of research in the arts, which operates in and through artistic practices. Jazz researchers have emphasized the need for an independent, international network to develop the field. This symposium will formally inaugurate the network, provide opportunities for discussions and invites presentations on a variety of relevant themes and topics including (but not restricted to) the following:

# specifics of artistic jazz research
# methodical considerations
# presentation/publication formats 
# best practice models
# quality assurance and assessment criteria 
# relationship of artistic jazz research to the ‘scientific’ research communities
# further development of the network

The symposium aims for a broad discussion organized in several themed panels and a small selection of individual papers and artistic research presentations. The panels involve one or more opening statements (5-10 minutes), followed by longer discussions including questions and comments from the audience. Individual paper presentations should be no longer than 20 minutes followed by 10 minutes of discussion. However, we also welcome proposals for alternative presentation formats in artistic research as well as suggestions of additional themes and topics. Experienced academics as well as emerging artist-researchers are encouraged to contribute.

Proposals for contributions should include: title, name, institutional affiliation, country, type of contribution (panel, paper, alternative format), abstract (up to 150 words) and a short CV (up to 100 words). Please submit your proposal via e-mail to the convenor (michael.kahr@kug.ac.at) until 19 August, 2019. Acceptance of abstracts will be sent to authors soon thereafter. The full program will be made available via www.jammusiclab.com.

There is no participation fee. We kindly ask for registration by contacting the convenor.

Confirmed speakers/panelists:

# Andrew Bain (Royal Birmingham Conservatoire)
# Mike Fletcher (Royal Birmingham Conservatoire)
# Petter Frost Fadnes (University of Stavanger)
# Monika Herzig (Indiana University)
# Jasna Joviċeviċ (Singidunum University Belgrade)
# Michael Kahr (University of Music and Performing Arts in Graz)
# Emiliano Sampaio (University of Music and Performing Arts in Graz) # Chris Stover (Arizona State University)
# Wolf-Georg Zaddach (University of Music Franz Liszt, Weimar)
# Per Zanussi (University of Stavanger)

Mag.Art. Michael Kahr, M.Mus., Ph.D. 

Universität für Musik und darstellende Kunst Graz
Institut für Jazz
Institut für Jazzforschung
Leonhardstraße 15, A-8010 Graz
M +43 699 1151 7605
michael.kahr@kug.ac.at
www.kug.ac.at
https://kug.academia.edu/MichaelKahr
www.michaelkahr.com
www.jazzandthecity.org

“Fragility of Sounds”

Venue: University for Music and the Performing Arts, Graz, Austria
Dates: 8 and 9 May, 2020
Submission Deadline: 4 November 2019
Languages: English and German

The project team is delighted to announce the Call for Proposals for the international artistic research festival-conference “Fragility of Sounds”, being held on 8 – 9 May 2020. The event will consist of panels with individual papers, panel discussions, performances and experimental formats. Participants include international guest artists and artistic researchers Chaya Czernowin, Elaine Mitchener, Elisabeth Schimana and Darla Crispin. “On the fragility of sounds” is an artistic research project funded by the FWF Austrian Science Fund (PEEK Project AR537). It is designed to explore terrains of composition and contemporary music theatre as they are interwoven with feminist practice. The project research expands from the intersection of listening, composing, and feminism. We ask: Can music theatre be conceived with “Another Ear” rather than from the perspective of the “Male Gaze”? We aim to understand how the process of composing is affected by (feminist) listening. We do not aim at “feminist” or “fragile” works as such. Rather, we study how the practice of composing, listening or spatializing sound relates to these topics:
# fragility, vulnerability, precariousness
# membranes, skin, surfaces
# filtering, transition
# physicality, body, identity, gender, feminism

We look into the process and the practice of composing from the artist’s perspective. In doing so, we explore the potential of an autoethnographic approach as foundation for artistic research. In order to further explore aspects of the interaction of composing, listening, and feminism as related to music theatre, we invite researchers and artists to contribute to the discussion. “Fragility of Sounds” is a multi-/interdisciplinary festival-conference and invites proposals from researchers and artistic researchers from any discipline whose work relates to this topic. We welcome individual papers, joint papers, lecture-performances and experimental formats. We strongly encourage researchers and artists at pre-doc level to submit a proposal.

The proposal for a 20-minute contribution in English or German should include: title of the proposal, language, name, institutional affiliation, country, abstract (up to 300 words) and a short curriculum vitae (up to 200 words).

Please submit your proposal via e-mail to christina.lessiak@kug.ac.at and pia.palme@kug.ac.at.

Deadline: Monday, 4 November 2019. Applicants will be notified of the decisions by 20 December 2019. For any further information, please contact Christina Lessiak christina.lessiak@kug.ac.at.

Project TeamPia Palme, PhD, Head of Project
Christina Lessiak, BA MA, Assistant
Centre for Gender Studies University of Music and Performing Arts Graz / Austria
PEEK Project AR537 “On the Fragility of Sounds”
www.fragilityofsounds.org

Heitor Villa-Lobos and Europe, On the 60th Anniversary of His Death

6-7 December 2019 – Universidade NOVA de Lisboa, Lisbon

The Caravelas Study Group, dedicated to the history of music in Portugal and Brazil, in partnership with the Group “Music in the Modern Period” of the Centro de Estudos de História da Música (CESEM), invite all those interested to the International Conference “Heitor Villa-Lobos and Europe, on the 60th anniversary of his death”, to take place on 6th and 7th December 2019 at the Universidade NOVA de Lisboa, Lisbon, Portugal.

Paper proposals to be submitted by Friday 16th August

Objectives

On the 60th anniversary of his death, this event aims to reflect on the life and work of Heitor Villa-Lobos, with regard to their relationship with Europe.

Theme areas

The themes to be developed include:

The visits that Villa-Lobos made to Europe

Europe and European music as a source of inspiration in his music

The Europeans with whom Villa-Lobos made contact

The reception of his music in Europe

European performers of his music

Others (provided there is a connection between Villa-Lobos and Europe)

Structure of the event

This conference is an event on a modest scale, with the aim of focusing on a specific area in an atmosphere of sharing research findings among colleagues. The principal invited speaker is Paulo de Tarso Salles (University of São Paulo). Other sessions are all plenaries and not in parallel, in order to encourage exchange among the participants.

General Coordinator

David Cranmer

Scientific Committee

Alberto José Vieira Pacheco

David Cranmer

Loque Arcanjo Júnior

Manoel Aranha Corrêa do Lago

Paulo de Tarso Salles

Rodrigo Teodoro de Paula

Organising Committee

Alberto José Vieira Pacheco

Rodrigo Teodoro de Paula

Alejandro Reyes Lucero

Submission of proposals

Paper proposals should include:

  1. name, institution and e-mail for contact;
  2. summary of not more than 300 words, with additional bibliography whenever relevant;
  3. theme area that your proposal relates to;
  4. short biographical note of maximum 150 words.

Proposals may be in Portuguese, French or English.

They should be sent directly to the conference e-mail (villalobos.caravelas@gmail.com) by Friday 16 August.

Publication of the proposals accepted will be made by 3rd September. The enrolment fee for participants is €60 Euros (€30 Euros for students up to 25 years of age).

Further information available, in due course, on the Caravelas Group site – www.caravelas.com.pt – or by e-mail: villalobos.caravelas@gmail.com.

Iconography as a Source for Music History – RMA Study Day

9th Nov 2019, SOAS University of London

Poster version of Call for Paper is also available at RMA website: https://www.rma.ac.uk/rmawp/wp-content/uploads/2019/06/FINAL-CfP-Music-Iconography.pdf

The RMA Committee is pleased to announce a call for contributions to the 5th Study Day of 2019. We are seeking proposals in line with the theme of ‘Iconography as a Source for Music History’.

According to Ann Buckley (1998), the research objectives, methodology and significance of music iconography as a sub-discipline is as follows:

Music iconography is concerned with the study of the visual representation of musical topics. Its primary materials include portraits of performers and composers, illustrations of instruments, occasions of music-making, the use of musical imagery for purposes of metaphorical or allegorical allusion. It is thus an important resource the study of both music and the visual arts, including questions of patronage, reception history, social and intellectual history, philosophy and aesthetics, as well as more strictly technical matters such as organology, music theory, performance practice and contexts, and the study of artistic styles and symbolic meanings. Depictions of musical scenes may also include representations of associated performance arts such as dance and drama, as well as of kinds of space in which such activities take place. Bringing musicological knowledge to bear on the analysis images can also contribute valuable insights to the fields of art history, and drama and theatre studies. [1]

With the intention of encouraging academic communication and potential collaboration, we are particularly interested in proposals representing various aspects of the current research in music iconography. Possible topics include[2]:

  • Structure and playing techniques of musical instruments in iconography
  • Relationship between musical instruments and social class, gender, ethnicity etc.
  • Symbolism of music in philosophical, social, and theological contexts
  • Social function of music from an iconographical perspective
  • Performance settings and acoustics of performance halls
  • History and development of music iconography as a discipline

As the theme requires interdisciplinary collaboration, proposals from researchers with backgrounds in Art History, Visual Arts, the Classics, Assyriology, Islamic Studies, Oriental Studies or any other regional studies are especially encouraged to submit a proposal.

Keynote lecture: ‘Music for Swinging: listening to Rajput courtly painting’ by Dr. Richard Williams (SOAS University of London)

Please submit all proposals to Patrick Huang (rma.iconography@gmail.com) with the following information:

  • Abstract (max. 300 words)
  • Submission type: paper or poster
  • Author information: name, email, affiliation and position
  • Author’s biography (optional, max. 150 words)
  • Any special technical requirements (optional)

The deadline for submission is 1st Sep 2019

All submissions will be considered through peer-review by the conference committee members:

  • Dr. Susan Bagust (RMA)
  • Prof. Stefan Hagel (Vienna)
  • Prof. Bo Lawergren (CUNY)
  • Dr. Claudina Romero Mayorga (Reading)

This study day is kindly supported by the Royal Musical Association (RMA) and SOAS University of London.


[1] Buckley, A. (1998). Music Iconography and the Semiotics of Visual Representation. Music in Art, 23(1/2), 5-10.

[2] Partially referred from Research Center for Music Iconography: https://www.gc.cuny.edu/Page-Elements/Academics-Research-Centers-Initiatives/Centers-and-Institutes/Barry-S-Brook-Center-for-Music-Research-and-Documentation/Research-Center-for-Music-Iconography-(RCMI)

SEMPRE Autumn Conference 2019

Expression, communication and learning

About the conference

Music performance provides an opportunity for performers to communicate and express musical ideas, emotions and even their identity. Performers communicate to their audience and other performers in the group through gestures and through breathing as well as in the performance itself.

This two-day conference is designed to bring together recent knowledge on music performance studies with a focus on expression, communication, and learning in music performance. It asks:

  • What is expressive performance, and how do we know when a performance is expressive?
  • Is expressiveness a prerequisite for any performance that moves the listener?
  • How do performers learn to master the skills of communication and expression, and how can it be taught?

SPARC Symposium 2019: Land Music: Sound Practices in the Age of Ecological Crisis

Ecological thinking, beyond the conventional understanding of environment, asks us to consider new ways of imagining how we conceive of and consider the world. As Donna Haraway writes, “[…] another world is not only urgently needed, it is possible, but not if we are ensorcelled in despair, cynicism, or optimism, and the belief/disbelief discourse of progress.” The third SPARC Symposium will consider this shift in thinking and consider how to respond to this moment of crisis through the lens of sound practice from a variety of perspectives including talks, discussions, concerts and a foraging and jam making event. 

Sign up to this free symposium here

Visit the SPARC website here

DAY 1 // Thursday 12th September
Music Department at City, University of London
280 St John St, London EC1V 4PB, College Building: Performance Space

19:00// Opening concert with sets by Cathy Lane and Mariam Rezaei

***

DAY 2 // Friday 13th September
Music Department at City, University of London
280 St John St, London EC1V 4PB, College Building: Performance Space

10:30 // Symposium with speakers including Amina Abbas-Nazari, Tanya Auclair, Joe Browning, Gabriel Dattatreyan, Lily Green, Tonia Ko, Clare Qualman, Cathy Lane, Sam Lee, Sylvia Lim, Heloise Tunstall-Behrens

17:30// multi.modal record launch

19:00// Concert with Aaron Einbond, Matilde Meierless, Cath Roberts, Benedict Taylor, David Toop

***

DAY 3 // Saturday 14th September
IKLECTIK, Old Paradise Yard, Waterloo (SE1 7LG)

11:00// Foraging and making jam with Clare Qualman

15:30//Concert with Nell Catchpole, Leo Chadburn, Jan Hendrickse, Amber Priestley

Who is the ‘I’ that Performs?: Enacting Musical Identities.

Ghent, 28-29 November 2019, Orpheus Institute / Tinnenpot Theatre (Ghent, BE)

Music reflects identity: that idea is now deeply engrained in both musicology and popular media commentary. The study of music across cultures and practices often addresses the enactment of identity “in” music—how music expresses or represents “an” individual or “a” group. However, there is more to it than this. It is now over twenty years since Simon Frith, developing comments made by Kofi Agawu, took studies of popular music to task for their one-sidedness: for their failure to consider identity as a process formed (and continually reformed) through performance, rather than solely reflected in it. Frith’s words resonated with ideas prevalent in contemporaneous (and subsequent) research in performance studies, particularly in theatre, live art and dance, predicated on understanding identity as performative. Following Judith Butler and others, identity is understood as an emergent process, constituted (not merely expressed) by what we say and do.

These concerns are still very much with us. As Kwame Anthony Appiah (2018) notes in The Lies That Bind: Rethinking Identity, an explosion of “identity talk” provides evidence of an ongoing preoccupation with such matters. In today’s political climate these issues have become ever more pressing.

What has this meant for music in recent years? It is now commonplace to consider identity not as foundational but rather as produced in and through our interactions with others, with “things,” and within structures of discourse and power—in the context of music, with other performers, composers, and audiences, with instruments, other technologies, and contexts of performance, and with arts funders, producers, theorists, and so on. But how does this affect musical practices? What can artistic research bring to this debate? How does—or how might—the work of practitioners reveal aspects of this dynamic? In what sense is identity performed in and through musical practices—which embrace all the makings of music by composers, improvisers and performers, not just the acts labelled “performance.” How do changing musical practices map changes in identity—or changes inunderstandings of identity? And how do changing identities transform musical practices? Does creative agency interpenetrate with the instantiation of identity—and if so, how?

CALL FOR PROPOSALS

We invite proposals, maximum 300 words, for presentations of any kind (20 minutes + discussion) from artist researchers whose work relates to this topic. 

Enquiries should be sent to Catherine Laws

catherine.laws@orpheusinstituut.be or catherine.laws@york.ac.uk

Please upload proposals here: www.airtable.com/shrRS0bhykyYO3ScH
Deadline: Friday September 6th 2019. Applicants will be notified of the decisions by September 19th 2019.

The event also marks the culmination of the Orpheus Institute’s research cluster ‘Performance, Subjectivityand Experimentation’ and will include free performances and other events linked to that project.www.orpheusinstituut.be

The seminar will open at 13.00 on November 28th 2019 and close at 17.00 the next day. Seminar committee: Catherine Laws, William Brooks, David Gorton, Stefan Östersjö.

Music, Cinema, and Modernism. The Works and Heritage of Kurt Weill between Europe and America

The Centro Studi Opera Omnia Luigi Boccherini of Lucca and the DAMS/Università di Torino are pleased to invite submissions of proposals for the symposium «Music, Cinema, and Modernism. The Works and Heritage of Kurt Weill between Europe and America», to be held at the  Università degli studi di Torino, Palazzo Nuovo, Via Sant’Ottavio, 20 – Torino, from 22 to 24 May 2020.

Keynote Speakers

  • Nils Grosch (Universität Salzburg)
  • Stephen Hinton (Stanford University)

The conference aims to address aspects of Kurt Weill’s works in relation to his contemporaries and his heritage to succeeding generations, both in the United States and in Europe. The creative activities of the German-American composer have been characterized by his keen interest in new media: principally, in radio in Germany and in the cinema in the United States, and in new forms of experimentation in musical theater on both sides of the Atlantic.

The fact that his compositions as well as his sensibilities tended to situate themselves somewhere between the poles of highbrow and the lowbrow culture allows for multiple interpretations, while prompting various possible themes for research. The themes suggested here are not intended to be restrictive but, rather, to invite a wide range of reflections, and other topics are also welcome:

  • The modernity of Kurt Weill: borrowings and assimilations among his contemporaries
  • After 1950: the theoretical and aesthetic legacy of Kurt Weill after his death
  • Kurt Weill’s german-american contemporaries: aesthetic, artistic, and compositional choices
  • Marc Blitzstein as a translator and interpreter of the German Weill in the United States
  • Love Life on Broadway: a new musical theater genre is born?
  • Musicals, American opera, Radio Opera and so on: the ideas about musical theater by Kurt Weill
  • The debates for and against modernism among German émigré composers to the United States  before and after World War II
  • Aesthetic and theoretical debates concerning film music between the 1920s and 1940s
  • Film music as “modern music”: identity and perspectives
  • Kurt Weill and Hollywood: New Music for the Cinema?
  • Composer and arranger: new roles and new relationships
  • Berlin, Broadway, and Hollywood: a comparison of their modes of organization and cultural production

Programme Committee

  • Giaime Alonge (Università degli studi di Torino)
  • Giulia Carluccio (Università degli studi di Torino)
  • Tim Carter (University of North Carolina)
  • Pietro Cavallotti (Università degli studi di Torino)
  • Roberto Illiano (Centro Studi Opera Omnia Luigi Boccherini, Lucca)
  • Kim Kowalke (Eastman School of Music/ University of Rochester – The Kurt Weill Foundation for Music)
  • Andrea Malvano (Università degli studi di Torino)
  • Ilario Meandri (università degli studi di Torino)
  • Marida Rizzuti (Università IULM, Milano)
  • Massimiliano Sala (Centro Studi Opera Omnia Luigi Boccherini, Lucca)

The official languages of the conference are English 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 16 February 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 February 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