musichildren’20 | 2nd International Symposium: “Music for and by Children: Perspectives from Composers, Performers and Educators

The University of Aveiro and INET-MD (Institute of Ethnomusicology – Centre for Music and Dance Studies) will host the 2nd International Symposium: “Music for and by Children: Perspectives from Composers, Performers and Educators”, from December 8th to 10th, 2020 in Aveiro, Portugal.

The main goal of the musichildren’20 conference is to explore aspects of music for children, and music that is created by children. It aims to stimulate discussion, develop ideas, and disseminate research in the fields of Music Composition, Performance and Music Education. This 3 day event will host paper presentations, performances, workshops and discussions from around the world.

Main conference themes

– Children as performers and audience: A forum that explores and presents research of processes that lead to music performed by children and the processes involved in performing to children.
– Composing for children: A forum that aims to explore and present research and reflections on factors that contribute to widening repertoire for children and young audiences.
– Children’s music: A forum that aims to develop new understandings of children’s creativity, and of the particular ways they create their own music, alone or in groups, in formal, non-formal and informal contexts.

Proposals for presentations compatible with the conference theme(s) are invited in any one of the following formats:

-Paper presentations (up to 20 minutes);
– Pre-formed Panel presentations. Please submit abstracts with each named speaker and their institutional affiliation (up to 90 minutes);
– Posters;
– Lecture-recitals (up to 35 minutes). Proposals submissions should specify exact length and be accompanied by a short curriculum of the presenter and links;
– Workshops (up to 60 minutes); Proposals submissions should specify exact length and be accompanied by a short curriculum of the presenter and links;
– Concerts involving children (up to 45 minutes). Proposals submissions should specify exact length and be accompanied by a short curriculum of the presenter and links.

Authors should submit abstracts of up to 500 words using the online submission system Easy Chair ( We recommend that submissions include information on context, theoretical background, methodology and results/findings.

Presentations for the Pre-formed Panel consist of a set of integrated spoken papers relating to a theme. Abstracts submitted in this format should be up to 300 words each. The Chair must also submit an overview, a proposal of 200 words including a general description of the session that includes the purpose, motivation, and justification for the session.

General enquiries

General enquiries about registration, travel, lodging should be sent to


Abstracts must be received by 31th May 2020.

Presenters will be notified by 1st July 2020.

Deadline for the full papers submission is 31st January 2021.

Principles of Music Composing: Phenomenon of Teleology

Lithuanian Composers’ Union
Lithuanian Academy of Music and Theatre
The 20th International Music Theory Conference
Principles of Music Composing: Phenomenon of Teleology
18–20 November 2020
Vilnius, Lithuania

Teleology embraces the phenomena that each sort of processual art deals with: the way a work evolves over time. In other words, it focuses on the final goal or purpose (Greek telos meaning “end, purpose”) as well as the course towards that goal (Heinrich Schenker). The Western music tradition has established musical forms implementing paradigmatic models of particular teleological strategies (sonata form as a pinnacle of this trend of thought), often approaching the final cadence as a complete fulfillment of a persistently pursued goal. However, evolving trajectories may seem not so obvious when we step out this conventional mental framework and face the cases of non-Western tradition or compositional inventions of the 20th –21st centuries. Static, meditative, monolithic, drone, minimalistic, instant, aleatoric musical iterations seem to, at least partly, evade a clearly defined, commonly identifiable telos.

So, what can actually serve as impetus to propel the processual flow of music? What types of developmental strategies are feasible in the light of plural cultural and ideological co-existence of the 21st century? What basis substantiates the widely established or alternative developmental models? These and more teleological issues will be thoroughly addressed in the conference “Principles of Music Composing: Phenomenon of Teleology”.

            The following sub-topics are suggested to disclose the subject:

            I. Theoretical and historical perspectives.

            1. Inter-scholarly (philosophical, psychoanalytic, psychophysiological, metaphysical, etc.) and musicological (Schenkerian, Post-Schenkerian, etc.) approach to teleology.

            2. Historical perspective of teleological phenomena.

            3. Links between teleology and the related concepts (dramaturgy, development, narrativity, directionality, orientation, expectation, temporality). Types of teleological strategies (culmination, reprise, balancing, elision, etc.).

            4. Teleology as an inherent phenomenon of a musical work itself or as a mode of listening (objective vs. subjective perspective).

            II. Teleological issues in contemporary contexts.

            5. Teleological strategies and alternatives in contexts of contemporary composition.

            6. Different teleological prerogatives in regard of distinct musical parameters (pitch, rhythm, timbre, the vertical, the horizontal, the diagonal, etc.) and various types of form.

            7. Teleological applications in regard of particular compositional techniques (modes, series, minimalism, aleatoric principles, sonorism, sound-based morphologies, electronics, etc.).

            8. Communication issues and challenges regarding the (non-)teleological approaches of the innovative compositional practices (instant, static, monolithic, meditative, electronic music, etc.).

            III. Interdisciplinary and intercultural aspects.

            9. Teleological potentialities in contexts of collaboration and interrelation between different artistic fields (literature, visual arts, performing arts, etc.).

            10. Cultural plurality as a source for possible teleological alternatives.

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

In case of social restrictions regarding Covid-19, online execution of a conference will be considered.

The main language of the conference is English.

The deadline for proposal submissions is the 1st of September 2020. 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 2020.

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’.

More information:

Marginalised Voices and Figures in French Festival Culture, 1500–1800

Music Department, King’s College London

2425 October 2020

Please note: depending on how the current Covid-19 situation unfolds, this conference may ultimately be scheduled online (e.g. via Microsoft Teams)

Keynote speakers:

Prof. Kate van Orden (Harvard University) Prof. Julia Prest (University of St Andrews)

The ‘France Antarctique’ or ‘Brazilian’ ball given for Henri II’s ceremonial entry into Rouen, 1 October 1550 (Relation de l’entrée de Henri II, roi de France, à Rouen, le 1er October 1550, Bibliothèque municipale de Rouen, MS Y 28, CGM 1268);

The last few decades have seen a marked increase in early modern festival research. From royal coronations and ceremonial entries to court ballets and investitures of popes and cardinals, such events were important expressions of courtly, civic, and ecclesiastical hierarchy, community, and tradition. Between 1500 and 1800, France was one of the most prolific and influential centers of festival art in Europe. Indeed, French ‘inventions’ such as the court ballet (ballet de cour), the equestrian carrousel, and the comédie-ballet were imitated and emulated across the continent.

However, research on French festival culture has typically focused on traditional centers of power like the royal court, and has either highlighted the contributions of well-known poets, painters, and dance masters or concentrated on the responses of elite spectators like foreign diplomats, princes, and nobles. Our conference instead seeks to shift the focus towards marginalised voices and figures, among them:

  • Lesser-known musicians, choreographers, poets, and artists who have been overlooked in conventional histories of music, literature, and the arts, namely because they do not conform to narratives of great composers/musicians, poets, and artists, despite being critical to the production and performance of French festivals.
  • Non-elite people, such as artisans and merchants, who were crucial to the production of festivals, or members from the urban population, who were regularly part of audiences for civic festivities in France, such as ceremonial entries and equestrian carrousels.
  • ‘Subaltern’ people, among them women, ethnic and confessional minorities, queer audiences, and colonial populations, who were often involved in the production and performance of French festivals or attended them in person. 

Our conference is interested in both what French festival culture during the period 1500–1800 reveals about these figures, and what this investigation tells us about early modern society on a more global level. What insights does the non-elite or subaltern status of festival contributors offer into early modern perceptions of the arts? What do French festivals tell us about other groups who were generally excluded or oppressed in society? How should we understand the frequent tension between emphasising and erasing the foreign ‘other’ (like the participation of colonial subjects, the use of blackface for racial stereotyping, or the cultural appropriation of valuable colonial objects, etc.)?

Paper proposals

The organisers are keen to encourage an interdisciplinary approach to this subject matter, assembling a balance of musicologists, historians, and scholars in other fields to create a forum for productive exchange. We particularly welcome applications from under-represented groups in academia, such as women, BAME, and LGBTQ+ communities.

We would be interested in any papers that address the following topics:

  • Investigations of musicians, artists, choreographers, poets, and other festival contributors who have been marginalised in conventional histories of early modern arts.
  • Analysis of individual festivals, theatrical performances, or ceremonies that involved and/or represented marginalised voices and figures.
  • Diachronic studies on the involvement and/or representation of marginalised voices and figures.
  • Research on cultural and diplomatic exchanges between traditional centres of power and commonly marginalised communities, such as colonial populations and confessional minorities. This may include transnational and global approaches to French festival culture.

If you would like to propose a 20-minute paper, please send a brief abstract of about 250 words to When sending your abstract, please also provide a one-page CV with details of your academic experience, affiliation, and publications. The deadline for submitting proposals is Monday 31 August 2020. The committee will make their final decision on submitted abstracts by mid-September 2020. Further information about the programme, registration, travel and accommodation will be announced after that date. The organisers are thinking of inviting conference delegates to prepare a chapter for an edited volume of papers presented at this event.

Our twitter handle is @marginalisedvo1.


Marc W. S. Jaffré (University of Oxford), Bram van Leuveren (University of St Andrews), and Alexander Robinson (King’s College London).

This event is generously supported by the Royal Musical Association, Music & Letters, The Society for the Study of French History, and The Society for Renaissance Studies.

Music in the Home: A Virtual Symposium

2-5 June 2020

A virtual symposium held over four days (one panel per day, 12 noon-2pm BST), Music in the Home explores the different ways we engage or explore music in a domestic setting. Our first panel on Tuesday looks at historical evidence of music-making through manuscripts in the UK and Italy in the sixteenth to the nineteenth centuries. Wednesday’s panel focuses on the piano in the nineteenth century, and its crucial role in domestic music performance. On Thursday, the worlds of the professional and amateur musician are brought together in the neutral territory of the home. Finally, our last panel on Friday thinks about music in the home today, particularly in light of the current global crisis.

The symposium will be hosted on the Zoom platform, and there will be a Q&A session at the end of each panel.

The full schedule, abstracts and registration can be found at:

 Registration deadline is Friday 29th May. You must register for each day you wish to attend so that you receive the appropriate links. Registration is FREE.

Hosted by Northumbria Music Research Group:

Music and Science from Leonardo to Galileo

The Centro Studi Opera Omnia Luigi Boccheriniin Lucca is pleased to invite submissions for the symposium «Music and Science from Leonardo to Galileo», to be held in Lucca, Complesso Monumentale di San Micheletto, from 13 to 15 November 2020. The conference is dedicated to bringing together new scholarship dealing with the relationships between music and science from the late fifteenth to the early seventeenth century.

The relationship between music and science is particularly close during the sixteenth and seventeenth centuries, and both fields develop and thrive through their often confrontational relationship with patronage, the church, and between theory and practice. During Antiquity and the Middle Ages, music was one of the artes liberales,the inverse proportionality between string length and pitch understood as a model for relationships between art and science. In the modern era, musical sound (and acoustics) has had implications for both music and physics.

Between these two epochs is the period spanning the work of Leonardo da Vinci (1452-1519) and Galileo Galilei (1564-1642), in which a scholastic deference to authority, tradition, and theory was being replaced by knowledge derived from observation, experiment, and practice. During this century, new paradigms were developed not only in mathematics, mechanics and astronomy — creating what is commonly known as the as the Scientific Revolution — but also in religion, politics, and other fields of human endeavor.

It was during this time period that the relationship between music and science was newly defined. In addition to Leonardo and Galileo’s vivid interest in music, many of their fellow scientists also shared this interest. On the other hand, many musicians, music theorists and composers were interested in science and explored the possibility of relating music to science.

Proposals for papers are invited that address the relationship between musical and scientific topics during this period ranging from philosophy of music, tuning and temperament systems, instrument construction, patronage, biography, the impact of science on musical composition, and new work on such figures as Leonardo, Galileo, Huygens, Mersenne, and others. We welcome proposals for single papers, as well as panels of two, three or four contributions.

Programme Committee:

  • Victor Coelho (Boston University)
  • Roberto Illiano (Centro Studi Opera Omnia Luigi Boccherini)
  • Massimiliano Locanto (Università degli Studi di Salerno)
  • Fulvia Morabito (Centro Studi Opera Omnia Luigi Boccherini)
  • Rudolf Rasch (Utrecht University)
  • Massimiliano Sala (Centro Studi Opera Omnia Luigi Boccherini)

Keynote Speakers:

  • Victor Coelho (Boston University)
  • Rudolf Rasch (Utrecht University)

The official languages of the conference are English and Italian. Papers selected at the conference will be published in a miscellaneous volume in the series “Music, Science and Technology” (Brepols Publishers, Turnhout).

Papers are limited to twenty minutes in length, allowing time for questions and discussion. Please submit an abstract of no more than 500 words along with  a 150-word biography.

All proposals should be submitted by email no later than Sunday, 03 May 2020 to <>. With your proposal please include your name, contact details (postal address, e-mail and telephone number) and (if applicable) your affiliation.

The committee will make its final decision on the abstracts by the end of May, 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

Società Italiana di Musicologia 27th Annual Conference

Siena, Università degli Studi di Siena – Accademia Musicale Chigiana (16-18 October 2020)

The 27th Annual Conference of the Società Italiana di Musicologia will be held in Siena in collaboration with the University of Siena, the Accademia Musicale Chigiana, and the Istituto Superiore di Studi Musicali “Rinaldo Franci”, from 16 to 18 October 2020.

Scholars from all over the world are invited to submit their paper and poster proposals.

Deadline for proposals: 15 June 2020

Detailed CFP:

All proposals should be submitted by email no later than *** Monday 15 June 2020 *** to

Workshop: Women in Nineteenth-Century Czech Musical Culture

Women in Nineteenth-Century Czech Musical Culture, Musicology Department, Institute of Art History, Czech Academy of Sciences, Prague, 23 October 2020

Deadline for abstracts: 31 May 2020


More often than not, the historiography of music is not entirely in sync with the history which it aims to portray. Nineteenth-century Czech music, for instance, is known internationally primarily on account of the works by Antonín Dvořák, Bedřich Smetana, Václav Jan Tomášek, to name but a few. However, nineteenth-century Czech musical culture also embraces such names as Elise Barth, Marie Karolina Benda, Katerina Cibbini-Koseluh, Marie Červinková-Riegrová, Wilhelmine Ebert, Juliane Glaser, Marie Proksch, and Mathilde Ringelsberg, for example. These and other women, who had a remarkable impact on the private and public discourse of nineteenth-century Czech musical culture, deserve further scholarly attention, especially with a view to such fields as composition; performance; the writing of libretti and poetry subsequently set to music; such other creative spheres as the conceptualisation and creation of costumes and paintings for music-dramatic performances; music management and the hosting of musical events; music criticism; and music pedagogy. It is the aim of this international workshop to bring together scholars who are interested in re-evaluating the role of women within these contexts.

The official languages of the workshop will be English and German. Papers will be twenty minutes in length, followed by ten minutes for questions and constructive feedback. As this is a one-day event and parallel sessions will be avoided, only a limited number of papers can be accepted. However, interested colleagues are encouraged to submit abstracts also with a view to contributing a chapter to an edited volume on the same topic, which is planned for 2021.

Proposals including an abstract of no more than 250 words and a brief biographical note should be sent in a format compatible with MS Word to Dr Anja Bunzel ( no later than 31 May 2020.

This event is funded by the Czech Academy of Sciences funding scheme Strategie 21 and is organised by Dr Anja Bunzel (Institute of Art History, Czech Academy of Sciences) in collaboration with Dr Markéta Kratochvílová (Institute of Art History, Czech Academy of Sciences) and the Sophie Drinker Institut (Bremen, Germany).

Keeping Silent, Listening, Speaking Up: Voice and Silence in Audience-Response to Arts and Literature

Call for papers

International conference, November 4-6, 2020

Université de Lorraine, Nancy, France

Keeping silent, listening, speaking up: voice and silence in audience-response to arts and literature

In most Western cultures the convention has been that those who receive a work of art do so quietly: whether we look at readers, cinema goers or audiences attending live performances (in the theatre, the opera, …), silence appears as a common denominator and a primary condition of reception. However, contemporary artistic practices often work to challenge this prerequisite, as does a significant portion of academic research into matters of reception. What such work suggests is that audiences can never be considered as perfectly silent agencies. Their voices have a part to play within aesthetic processes – before and after the moment of encounter with a piece, but also in many cases during that very encounter, at the heart of the aesthetic experience itself. The aim of the conference Keeping silent, listening, speaking up: voice and silence in audience-response to arts and literature is to explore the issue of reception through the specific phenomenon of the spectator’s voice, which only exists and can only be understood in its dialectic tension with silence. We therefore invite our colleagues to listen to those silent and loud intervals that are among the primary components of any audience’s embodied response to a work of art.

This international conference organised by the members of the research pole « Voices and Silence in the Arts » from IDEA (Interdisciplinarity in Anglophone Studies), as well as members from the CERCLE, CRULH, and LIS labs at the University of Lorraine, and from the ERIBIA research team at University of Caen-Normandy, is part of a transdisciplinary project which has been investigating the dialectics of voice and silence in the arts since its inception in 2016. Besides its biannual seminar, the project convened a first international conference at the University of Lorraine in 2017 (14-17 June in Nancy), which focused on the processes of emission and utterance. The tension between voice and silence was approached through an understanding of vocal emission and breath, and an exploration of transitions between and intertwining of voices and silence, in literature as well as film, theatre, music, and in visual and performance arts. This led to the publication of a collection of essays entitled Voix et silence dans les arts : passages, poïèsis et performativité (2019). The aim of this second conference is to examine the issue from the complementary perspective of reception.

Despite conventional perceptions of silent readers and spectators, the notion that reception cannot be passive is well documented. Merleau-Ponty’s phenomenology (1945) already proposed a theory of perception as activity. Within the field of semiotics, Umberto Eco theorised the ‘interpretive cooperation’ of the reader (1959). Theoreticians of reception from the Constance School, such as Jauss and Iser, paved the way for further investigation into how reception contributes to and shapes literary history. Before them, happenings by Dada forcefully and iconoclastically demonstrated the part that audiences have to play in the act of creation. More recently, Jacques Rancière has also contributed to deconstructing the ancestral image of audiences as passive receptacles by highlighting the work of a spectator who always observes, compares, interprets, and ‘makes his poem with the poem that is performed in front of him’ (‘The Emancipated Spectator’, Artforum, March 2007). Already in 1960 Marcel Duchamp stated his conviction that a painting was a product of the onlooker’s work as much as the artist’s. It is also clear that the reader or spectator is not an abstract entity, but is defined by an embodied condition which plays a crucial part in the act of reception. This was one of the most important conclusions that could be drawn from the practice of happenings and performance art. After a significant amount of research focused on the body of the artist, inspired in part by sociological approaches to creation, more recent work has turned to the bodies of those encountering the work of art. Among articles testifying to the emergence of this academic concern are Serge Proust’s investigations into the body of the spectator in the theatre (2005), and Anne-Marie Picard’s psychanalytical approach to the body of the reader (2010).

This conference on Keeping silent, listening, speaking up: voice and silence in audience-response to arts and literature means to apprehend the question of reception by bringing together an understanding of the act of reception and an analysis of our embodied condition as consumers of art. Its aim is to explore the physical manifestation of audiences’ active response as vocal outbursts alternate with moments of silently welcoming what is being presented. It will apprehend the act of reception from the perspective of those two indissociable, concrete phenomena that are voice and silence. The reader or spectator, envisaged as active and embodied subjects, will be seen to keep their peace and raise their voices, alternatively and inseparably.  

Topics might find some articulation with, but must by no means be restricted to, the following guidelines:

 Questions concerning readers/viewers and reception cultures. In opting for diachronic and intercultural approaches, it will be possible to examine the evolution of the spectator’s/auditor’s/reader’s status and how he/she may have been compelled by literature and the other arts to remain silent or to be vocal. Looking at the contexts in which spectators or readers have been required to remain silent, it will be seen to what extent reception studies have apprehended the historical and cultural conditions that have favoured certain attitudes towards the spectator’s/reader’s right to express himself. Attention will be paid to the conventions that established and modified the attitude of the spectator in front of the play or the text, by more or less restricting his/her freedom of speech. The way these collective histories interact with individual stories and how they affect the spectator’s/reader’s training and education will also be investigated.

From an historical perspective, Western drama has more often been intended for spectators free to express themselves vocally than for spectators reduced to silence (one need only think for instance of Greek drama, Elizabethan drama or the ‘théâtre de la foire’ in Paris). The norm of the silent spectator, which became the prevalent mode in Europe in the late nineteenth century, generated a clear-cut dialectical relationship between the rule of silence and the transgressive breaking of that rule. It is that very norm that needs to be questioned and put into perspective. Similarly, if the issue is addressed on a diachronic scale, it appears that the act of reading was long regarded as an oral and collective activity, more than as a silent and solitary one. In his Histoire de la Lecture, Alberto Manguel reminds us of Saint Augustin’s surprise on discovering Saint Ambrose’s silent reading. He mentions Les Confessions as one of the first texts presenting reading as an interior and intimate activity, as opposed to the monastic tradition of reading aloud. That tradition involved the body thoroughly and completely, so that the text was literally incorporated through the reader’s eyes, mouth, hands and breath. In the nineteenth century, Flaubert’s famous ‘gueuloir’ when writing Madame Bovary– a genuine vocal feat! –, revealed the writer’s desire to anticipate the reader’s voice: ‘Poorly-written sentences do not stand up to this test [reading aloud]; they oppress the chest, disturb the heartbeat, and find themselves thus outside of the condition of life’, he said. In the entirely different context of African American and Caribbean cultures, the participative relation modified the attitude towards reading by presenting the participative mode of reception as the normal one. It is a well-known fact that the reader also gives life to the text with his voice and his silences. As Barthes used to say, it is the role of the ‘reader-producer’ to construct another text through his reading. The conference will thus be the occasion to examine the role of voice and of silences in this process. 

 What the observer/listener/reader says – or does not say – about the work of art. Examining the audience’s silent or vocal response. How we respond to a work of art, vocally or silently, is a rather complex question to unravel. Responses can range from the clearly-defined, ‘a-posteriori’, critical discourse of the reviewer or other critic, to the more spontaneous, unmediated act of reception, experienced intimately and inwardly. Between these polar opposites, various degrees of critical or aesthetic reception can be envisaged from the perspective of the interplay between voice and silence.

In the performing arts, vocal responses can be unexpected or inappropriate, as in the case of the notorious mayhem provoked by Stravinsky’s The Rite of Spring. But they can also be deliberately provoked as in Dadaists events. Sometimes, they are simply part and parcel of the performance itself, like the recorded applause edited into the soundtrack of sit-coms. Be that as it may, performance venues can be seen as aesthetic spaces, where scenic and pro-scenic voices and silences jostle or attempt to neutralize each other. There are specific moments, peripheral to a performance, during which spectators can express their responses. The intermission is a case in point: it can be seen as a ‘political moment’ (Badiou) when the spectator feels free to break out of his or her silent bubble, to communicate with other spectators, before returning to the customary silence of performance-experiencer. Shows, spectacles, performances or public readings often allow time in their programs for audiences to take part in debates, discussions or other view-sharing forums, and yet the very same audiences are expected to keep their peace during the performance. These instances, in which spectators who had previously been expected to keep silent are encouraged to express themselves audibly and forcefully, deserve also to be investigated from the point of view of the relation voice/silence. 

Beyond the performing arts, other art forms are equally concerned by the dynamics of silent/vocal audience reception. Frederic Wiseman caught on film the silent scrutiny or murmurings of the visitors pacing along the corridors of the National Gallery, either alone or following the Museum guide’s explanations (National Gallery, 2014). In this respect, it would be of interest to consider how voice and silence interact against the background of ambient noise or musings of crowds in museums or other exhibition places, but also in casual talk, in press and radio reviews and in academic institutions or even in adaptations seen as a reaction or response to one of these works. From this point of view, it would be possible to go so far as to reflect on those moments when reception, formulated and communicated through different channels – the media, or academic and artistic channels – becomes itself an object of mass consumption, thus raising, in a new interaction between discourse and readers, listeners or spectators, the question of the dialectical relationship between the voices and silences involved in reception. 

 What the spectator’s/auditor’s voice and silences do in the work and to the work: for a poiesis of reception. Finally, we will look at the multiple ways in which the voices and silences of the receiver contribute to the creative process. In many cases, they are a structuring element of the work produced. The use of Call & Response in the gospel is only a particularly visible example, as are performance poetry, slam poetry and other practices of orality during which the spectator can react at any time. Particular attention will be paid to the ways in which contemporary artists and writers bring into play and stage the voices and silences of the spectators as integral parts of the work. John Cage’s 4 ’33’ ’is the most famous instance of this contemporary trend. In her performance The Artist Is Present, Marina Abramovic creates the conditions for a silent face to face interplay during which glances are exchanged between herself and each of the participants, a type of performance which creates a disturbing counterpoint to the civilization of commentary (Steiner) which piles up discourses and mediation between the work and those who might be confronted with it. In Bruce Nauman’s sound and immersive installations, the spectator’s body is tested physically and mentally by the space in which he/she moves, as in Corridor or in Get Out of My Mind, Get Out of this Room where he/she is assailed from all sides by an impersonal, injunctive and insistent voice. In Sleep No More (Punchdrunk Company, 2011), an emblematic example of promenade theatre, the spectator, who is masked and free to move but invited to remain silence, steps into the fiction as an anonymous but embodied gaze, as a wandering spectre and a silent presence which is disturbing for other spectators. Finally, the contemporary vogue of ‘participatory’ shows, which aim to revive the relationship between actors and spectators, deliberately creates moments when the spectators can speak or sing. This is illustrated, for example, by participatory operas (at Rouen opera, most particularly) and by contemporary immersive theatre (Closer by Patrick Marber, Compagnie du Libre Acteur, DAU). Other illustrations are the recording of people’s experience of listening to music, a project carried out by the members of the LED project (The Listening Experience Database, 2014, a collaborative project between the Open University, the Royal College of Music and the University of Glasgow), and the presence and exchange mechanisms in corporal cinema (Maria Klonaris, Katerina Thomadaki).

The spectator’s voices and silences are also a first-rate material for fiction-making operations which make possible a reflection on the dialogue between the work and its receivers embedded in the work itself. The cinema often depicts spectators at the very moment when they are face to face with the screen. Nana’s entranced look when watching Carl Theodor Dreyer’s Passion of Joan of Arc in Jean-Luc Godard’s Vivre sa vie (1962) is that of a talking character who remains temporarily silent in front of a silent film. Theatre also knows how to stage the words of spectators within the fiction itself: the irascible spectator of Eleutheria by Beckett (written in 1947, published in 1995), the anonymous viewers whose reactions after a show were collected by Jean-Claude Grumberg and made the subject of Sortie de théâtre (2000), the whimsical ‘Old lady in the first row’ who daydreams aloud and appears as the eponymous buffoon of Marion Aubert (Les Histrions, 2006). It is necessary to explore the forms and stakes of these creative gestures which, by staging the act of reception and its audible manifestations, bring the spectator out of the silent obscurity to which he seems to have been destined by a certain tradition of Western thought.

This conference invites researchers, theorists and practitioners (directors, filmmakers, performers, storytellers, etc.) and anyone interested in this issue to propose theoretical and practical studies on the voices and silences of receivers in literature and cinema, in the visual and performing arts.

For paper proposals, please send an abstract (500 words) and a short bio-bibliography (150 words) under Word to Claudine Armand and Diane Leblond :

Languages of the conference: English or French.

Submission dealine : May 3rd, 2020

Scientific Committee’s decision: June 4th, 2020

Keynote speakers

Mathieu Duplay (literature, Université Diderot-Paris 7)

Stéphane Ghislain Roussel (visual art, musicologist, curator, Luxembourg)

Invited artist

Tameka Norris (New Orleans, USA)

10th Anniversary International Symposium on Traditional Polyphony

27–31 October, 2020

Update: 14.05.2020

International Research Center for Traditional Polyphony of Vano Sarajishvili Tbilisi State Conservatoire and the International Centre for Georgian Folk Song are pleased to announce that the scholars working on the problems of polyphony are invited to participate in the 10th Anniversary International Symposium on Traditional Polyphony, on 27–31 October, 2020, in Tbilisi, Georgia.

Official languages of the Symposium are English and Georgian. All the papers will be published after the symposium in both English and Georgian.

Due to the changes caused by the pandemic, especially due to various rules of international transportation, participation in the symposium is also allowed in the format of online presentation (by sending video presentations in prior).

Topics of the Symposium:

The participants are encouraged to submit abstracts on all aspects of traditional polyphony. The submitted papers will be grouped according to the problems discussed in them and will be presented at the corresponding session. This will allow to better cover the wide range of issues of polyphony.

Alongside the traditional themes, we would like to introduce two special new themes for the 10th symposium: Polyphony and Rhythm as Manifestation of Human SocialityandPolyphony in the Context of the COVID-19 Global Pandemic, as well as a new topic forRound table: “Traditional Music and Contemporary Society”.


The Program Committee encourages submission of individual, panel, poster and round-table proposals:

  • Individual paper will be allotted up to 20 minutes followed by 10 minutes for questions and discussion;
  • Panel presentation includes two or three papers, 20 minutes each, followed by 10 minute discussion;
  • Poster presenters will be allotted 10 minutes for presentation in Power Point format and 5 minutes for discussion. Poster presenters are kindly requested to bring a prepared 80 cm wide x 100 cm tall poster to the symposium;
  • About 2-hour-long Round table session includes not more than four presenters (10 minutes each). The audience is encouraged to participate in the discussion.

Abstracts, CVs and full papers

Abstracts and short CVs – both texts no more than 1800 characters (both should be inserted in the on-line registration form).

The full texts – maximum 7 pages, font New Times Roman, size 12, spacing 1.5.


The deadline for on-line registration: 15 June, 2020

Notification of the Acceptance:  01 July, 2020

The deadline for submission of full text of papers with the consideration of the time for translation – 10 August, 2020.

Registration fee

For scholars – 80 USD (In case of online presentation – 25 USD)

For student – 30 USD (In case of online presentation – 15 USD)

Accommodation, transportation, cultural program

All the cost of accommodation, as well as cultural program will be borne by the Organizing Committee of the Symposium.

The Organizing Committee plans a day of cultural program for the Symposium participants. Cultural program includes sightseeing in one of Georgia’s regions.

The Tbilisi International Symposium is not only a scholarly discussion of the problems of folk multi-part singing, but is accompanied by a wide spectrum of polyphonic music from Georgia and elsewhere. We expect that, as always, a number of ensembles from around the world will present polyphonic singing at the symposium.

Complete information including the full Call for Papers as well as the history of previous symposia, information on the participants, contents of the bilingual books of proceedings with full texts of all symposium papers and can be found on the symposium website.

SIBE+20 Music and Dance Research – Practices of Social and Political Responsibility

International Conference | October 2020 | Aveiro, Portugal

The Institute of Ethnomusicology – Center for the Study of Music and Dance is pleased to host and organize the congress SIBE+20, which will take place at the University of Aveiro, Portugal, from the 14th to the 17th October 2020.

Under the theme Music and Dance Research – Practices of Social and Political Responsibility, SIBE+20 includes the bottom listed international conferences:
16th SIBE Conference
11th IASPM Spain Conference
4th Conference of Popular Musics of the Hispanic and Portuguese Worlds
3th Conference of the Spain ICTM National Committee
2nd Conference of the Portuguese ICTM National Committee

In line with the 2030 Agenda for Sustainable Development and with the Millennium Goals signed by the United Nations, SIBE+20 proposes to approach research in music and dance as practices of social and political responsibility grounded on the following themes:

  • Sounds, territories and ecological consciousness
  • New demographies, coexistence and social vulnerability
  • Music, archives and the digitalization of memory
  • Artivism, public space, and social networks
  • Queer-activism, feminism and new masculinities
  • Music and dance for an education based on social responsibility
  • Heritage practices and sustainability

The official languages of the conference are Portuguese | Spanish | English.


Proposals are invited in the following categories: 

Individual paper
Individual paper presentations are 20 minutes long to be followed by 10 minutes of discussion. The proposal must include a 300 word maximum abstract.

Organized panels are 90 minutes (three papers, 20 minutes each, followed by 10 minutes discussion) or two hours long (four papers and a discussant). A proposal by the panel organizer (300 words) as well as by each individual presenter is necessary (300 words each). Where an independently submitted abstract appears to fit a panel, the program committee may suggest the addition of a panelist.

Audiovisual session
Recently completed documentaries introduced by their author and discussed by conference participants may be proposed. Submit a 300 word abstract including titles, subjects, and formats, and indicate the duration of the proposed documentaries and introduction/discussion.

Poster Session
A space where presenters can exhibit posters and remain on hand for a scheduled period for discussion will be provided. A 300 word abstract by the poster’s author must be submitted.

Roundtable sessions provide opportunities for participants to discuss a subject with each other and with members of the audience. Sessions of up to two hours long should include at least four but no more than five presenters. The organizer will solicit position papers of up to 15 minutes from each presenter and will facilitate questions and discussion for the remaining time. Proposals for roundtables should be submitted by the session organizer (300 words).

Instructions for abstracts
Abstracts should include a clear focus of the problem, a coherent argument, knowledge of previous research, and a statement of the implications for ethnomusicology. Proposals can be submitted here

Any doubts related to the program or organization can be send to Ana Flávia Miguel ( Please, don’t send proposals to this address.

Deadline for submission of proposals by 30th April 2020
Notifications of acceptances by 30th June 2020

More information: