2nd International Conference on Timbre

Timbre 2020, the 2nd International Conference on Timbre, will be held 3–4 September 2020 as a virtual conference.

The study of timbre has recently gained a remarkable momentum. Following the Berlin Interdisciplinary Workshop on Timbre (2017) and the international conference Timbre is a Many-Splendored Thing (2018), the goal of Timbre 2020 is to continue a tradition of meetings around timbre.

Timbre poses multifaceted research questions at the intersection of psychology, musicology, acoustics, and cognitive neuroscience. Bringing together leading experts from these and related fields, Timbre 2020 aims to provide a truly interdisciplinary forum for exchanging novel perspectives and forging collaborations across different disciplines to help address challenges in our understanding of timbre from empirical, theoretical, and computational perspectives.

Four keynotes from distinguished experts will discuss timbre from a broad and complementary set of perspectives: Morwaread M. Farbood (New York University) on the role of timbre in music psychology, Jennifer Bizley (University College London) on the neural coding of timbre, Stefan Bilbao (University of Edinburgh) on acoustics of musical instruments and rooms, and David Howard (Royal Holloway University of London) on singing voice quality and synthesis.

Timbre 2020 is jointly organised by Asterios ZacharakisKai Siedenburg, and Charalampos Saitis, with support from the School of Music Studies of the Aristotle University of Thessaloniki, the School of Electronic Engineering and Computer Science of the Queen Mary University of London, and the Department of Medical Physics and Acoustics of the University of Oldenburg.

The submissions system is open at until Friday 22 May 2020. More information can be found on the conference website.

Re-envisaging Music: Listening in the Visual Age

Siena – Accademia Musicale Chigiana
10-12 December 2020

Keynote Speaker Prof. Leslie Korrick
(School of the Arts, Media, Performance & Design, York University, Toronto):
“Listening in the Age of Sound Art”

Music and images, seeing and hearing have always been inextricably linked. Even when more autonomous concepts of music developed at various times through the centuries, they arguably served to keep at bay the ever-present visual dimensions of the act of listening. When we listen to music, do we just listen? When we see a painting, or anything else, do we just watch?

The last few decades, however, have witnessed the advent of an ever more pervasive visuality. From the development of technology to social media to special effects, seeing is foregrounded like never before. What does this mean for music? How do music’s materialities answer to the materialities of visual objects and arts? How does music answer to the demands of pictures? Do these new developments affect our listening and performance experiences? What categories are particularly useful to explain the connections between musical and visual domains? How are different musical traditions, from “classical” music and opera to jazz, popular and folk music being re- envisaged?

Possible topics for consideration include, but are not limited to, the following:

  • live performance
  • site-specific performance
  • installations/sound art
  • video performance
  • live broadcasting
  • pre-existing music as soundtrack
  • historically informed listening
  • places/spaces for performance
  • urban musicology

The official languages of the conference are English and Italian.

A selection of the conference papers will be published in the 2021 volume of Chigiana. Journal of Musicological Studies (

Please send proposal to  by 25 June 2020.

Proposals should include:
– Title of paper
– Name of speaker(s)
– Institutional affiliation
– An abstract of c. 300 words

The papers should not exceed 30 minutes in duration.

Conference Committee: Antonio Cascelli, Tim Carter, Laura Leante, Allan Moore, Christopher Morris, Emanuele Senici

Organizing Committee: Nicola Sani, Stefano Jacoviello, Susanna Pasticci

The conference is organized within the 2020 Chigiana Project, Reshaping the Traditions. The project aims to explore the impact of the concepts of tradition in contemporary music culture, combining educational opportunities, music production and scientific research.

We are aware that there are still uncertainties in the current scenario; we will constantly monitor the situation and the measures that the Italian and other governments put in place and we hope that by December 2020 it will be possible to travel, so that the conference may go ahead as planned and we can meet in Siena. However, if necessary, we will be running the conference online.

Sound Instruments and Sonic Cultures: An Interdisciplinary Conference

Sound Instruments and Sonic Cultures: An Interdisciplinary Conference

National Science and Media Museum, Bradford.
15-16 December 2020.

Keynote speakers:
Mara Mills (NYU Steinhardt)
Trevor Pinch (Cornell University)

COVID-19 NOTICE: In view of the unpredictability of the current pandemic situation, while we intend to go ahead with an ‘in person’ conference in December, we have a contingency plan to run the conference online should this become necessary. Please indicate in your submission whether you would want to participate in either/both formats.

Modernity has witnessed an accelerating proliferation of soundinstruments—devices that allow humans to purposefully produce, capture, observe, manipulate, broadcast or otherwise interact with sound. Examples are numerous: sound instruments include all musical instruments, acoustic and electronic, as well as scientific, medical, and military instruments that operate sonically, from the tuning forks and resonators of 19th-century acousticians, to Geiger-Müller counters, Fessenden oscillators (sonar), and ultrasound scanners. Sound recording, playback, and listening devices are sound instruments—record, CD, and MP3 players, tape recorders, loudspeakers, headphones, etc.—as are studio and live sound technologies like mixing desks, compressors, reverb units, computers and software devices such as Autotune, and guitar effects pedals. Radio and television sets are sound instruments, as are terrestrial and mobile telephones, as are hearing aids. The list goes on.

The development of sound instruments has been paralleled by the development of sonic cultures—cultures of listening, cultures of creative production and consumption, cultures of scientific and medical practice, cultures of scholarship and heritage, cultures of designing, building, and testing sound instruments. Sonic cultures (to expand upon the perspective offered by musicologist Mark Katz in his book Capturing Sound) can develop in response to, or through the use and/or creation of, sound instruments. A sonic culture exists wherever a social group orients its activities around a particular set of practices that has to do with sound, listening/hearing (or non-hearing), and/or the use or creation of sound instruments. Examples are too numerous to list comprehensively, but Karin Bijsterveld has highlighted sonic cultures among scientists, engineers, and medical practitioners in her book Sonic Skills, and Trevor Pinch and Frank Trocco documented sonic cultures of instrument making and use in their book Analog Days: The Invention and Impact of the Moog Synthesizer.

As part of the National Science and Media Museum’s recent incorporation of sound technologies as a key area of collecting and research, the purpose of this interdisciplinary conference is to critically explore relationships between sound instruments and sonic cultures. Concurrently, a conference to present the results of the museum’s AHRC-funded ‘Sonic Futures’ collaboration with the University of Nottingham will be happening and participants are welcome to also attend sessions at that event.

Call for Papers

We invite proposals for:

  • academic papers (up to 20 minutes) and panel sessions (up to 1 hour, indicatively including 3 or 4 participants)
  • performance, demonstration, workshop or other form of provocation

All proposals should clearly address one or more of the following themes:

  • History and development of sound instruments (in general or specific instruments)
  • Sound instruments and sonic cultures in music, musicology and the arts
  • Sound instruments and sonic cultures in science, technology, engineering and medicine
  • Sound instruments and sonic cultures in literature, theatre, radio, television, and the media
  • Sound instruments and sonic cultures in museums and heritage
  • Sound instruments and sonic cultures in relation to deaf/Deaf cultures
  • Sonic skills, ways of listening, and/or ways of creating, manipulating, or interacting with sound

We welcome proposals from scholars and practitioners in any discipline and anticipate that the conference will be of particular interest to historians and sociologists of science/technology, arts and humanities scholars, musicologists/organologists, museologists, museum curators and interpreters with an interest in sound/sound technologies, and scholars working in the interdisciplinary fields of sound studies and science and technology studies. We imagine that most proposals will pertain to developments in the post-1800 period (and especially twentieth-century developments in electronic sound), though submissions that address earlier historic periods are also welcome so long as they clearly speak to the conference’s themes.

How to Submit a Proposal

Proposals for should be clearly marked ‘Proposal for a [20-minute paper/ Panel session/ Performance/ etc].

All proposals should include:

  • an abstract/description (300 words)
  • keywords (up to 5)
  • list of the main conference theme(s) that the proposal addresses (up to 3 selected from the bullet-point list above)
  • short bibliographic note for each contributor (75 words)
  • institutional affiliation (where applicable – we welcome proposals from independent scholars and practitioners)
  • contact email address for the main author
  • Details of any of any technical requirements (beyond a projector and stereo-sound playback facilities, which you can assume will be available)

For panel sessions, the abstract, keywords and themes should cover the panel as a whole. Please also include a short note on the proposed format of the panel session (e.g. chaired round-table discussion; three brief position papers followed by Q+A; etc.) and how each panellist will contribute. Additionally, for each contributor please provide a bibliographic note (75 words), institutional affiliation, and contact email address.

For any other form of presentation, please include a clear explanation of the activity proposed.

Please send your proposal as a MS Word document or PDF file to by no later than 23:59 BST on Sunday 28 June 2020.  

Proposals will be reviewed by the interdisciplinary conference committee. Please note that spaces in the conference schedule are limited and we may not be able to accept all of the proposals that we receive.

Further information and timeline

Conference fee: TBC – we aim to keep the fee to the minimum required to cover costs and hope to be able to waive the fee entirely for PhD students/unwaged.

Conference website:

For academic enquiries about the conference please contact

For enquiries about the sound technologies in the collections at the museum, and forthcoming exhibitions, please contact Dr Annie Jamieson, Curator of Sound Technologies at the National Science and Media Museum:

Indicative timeline:

  • Call for participation: May 2020
  • Deadline for submissions: 28 June 2020
  • Notification of acceptance; registration open: 24 July 2020
  • Deadline for registration: 8 November 2020
  • Conference: 15-16 December 2020

Organising committee: Dr Tim Boon (Head of Research, Science Museum), Dr David Clayton (History, University of York), Marta Donati (University of Sheffield), Rachel Garratt (History of Technology, University of Leeds), Prof Graeme Gooday (History of Technology, University of Leeds), Dr Annie Jamieson (National Science and Media Museum), Jean-Baptiste Masson (University of York), Dr James Mooney (Music, University of Leeds), Prof Emilie Morin (English, University of York), Prof Trevor Pinch (Science and Technology Studies, Cornell University), Dr Beryl Pong (English, University of Sheffield), Edward Wilson-Stephens (Music, University of Leeds).

Enrique Morente: Memory and Heterodoxy in Flamenco

December, 10,11 & 12, 2020
University of Granada

Enrique Morente (Granada 1942-Madrid 2010) had a progressive attitude
towards the artistic possibilities of flamenco and a solid commitment to the times in
which he lived. This has made of him one of the most significant voices of the
musical culture of contemporary Spain. His recordings on disc — which cover a
broad aesthetic range, from the Homenajes flamencos to Miguel Hernández
(Hispavox, 1971) and Antonio Chacón (Hispavox, 1977) to the paradigmatic Omega
(Discos Probéticos, 2008), together with El Pequeño Reloj (EMI Odeon, 2003) or
Pablo de Málaga (Discos Probéticos, 2008) — always took place alongside an
intense artistic activity, something which also drove him to collaborate with artists
in many other disciplines.
Ten years after his death, and in view of the fact that Morente’s legacy goes
beyond the conventional boundaries of flamenco, it is deemed necessary, firstly, to
analyze the intellectual, conceptual, poetic, artistic, and ideological corpus of the
singer from a transversal, critical, manifold and interdisciplinary perspective, and
secondly, to consolidate his figure and his creative work historiographically.
Accordingly, the Department of the History and Sciences of Music of the University
of Granada, in association with the Flamenco Studies Group (GEF) of La Madraza.
Centre for Contemporary Culture of the University of Granada, is convening an
International Conference on ‘Enrique Morente: Memory and Heterodoxy in
As a guide to the research themes of the conference, we are proposing the
sections detailed below.

  1. Poetics and the new lyricism in the work of Enrique Morente. The nonmusical
    arts. Morente and Miguel Hernández, Federico García Lorca, or Pablo Ruiz
    Picasso. Morente and the theatre.
  2. Experimental heterodoxy and ideology. New boundaries of flamenco.
    Political commitment and performative attitudes in flamenco.
  3. Morente’s image. His appearance on screen, his interviews, his activities.
    Morente in the press and the media.
  4. The creative environment: context, impact and stimulus of Morente’s work.
    Musical analysis and recordings.
  5. Morente’s recordings as teaching materials in the classroom.
  6. Biographical studies. Memory and living history. Current history.
    With these objectives in mind, we invite all those with an interest to submit a
    proposal for either a panel discussion, or a conference paper, or a short
    communication on any aspect of the proposed topics, within, though not limited to,
    the proposed themes.
    Invited papers, together with a selection of the shorter communications
    offered, will be published as a monograph on Enrique Morente by the Flamenco
    Studies Group of the University of Granada.

The period of registration is now open for conference presentations in the form of
communications, posters, panels, or audiovisual formats. Proposals should be sent
by e-mail to and must include:
● Name and institutional affiliation of the author(s) of the proposal.
● Contact details.
● Title of the proposal.
● Type of presentation.
● Indication of thematic section.
● Abstract of approximately 300 words.
● 3-5 keywords.
● Technical apparatus required.
Last date for submission of proposals: 30.06.2020
Last date for notification of acceptances: 15.10.2020
Registration period with reduced conference fee: until 10.11.2020
Registration period with standard fee: from 10.11.2020 until 10.12.2020

More information:

BFE-RMA Research Students’ Conference

12th – 14th January 2021 Faculty of Music, University of Cambridge

Deadline for proposals: 1st October 2020

The Faculty of Music at the University of Cambridge is delighted to host the 2021 British Forum for Ethnomusicology and Royal Musical Association Research Students’ Conference. We look forward to welcoming UK and international postgraduates to present their research and creative practice in an inclusive, friendly and supportive atmosphere. The conference will also include training and careers workshops, informal performance opportunities, concerts and a variety of social and networking events.

We are pleased to announce that the keynote lectures will be delivered by:

  • Emily McGregor (King’s College London) winner of the Jerome Roche Prize, on behalf of the RMA
  • [TBC] winner of the BFE Early Career Prize

For further information on the conference, travel information and accommodation options, as well as registration, please see the conference website:

For general conference enquires please contact:


The Conference Call for Proposals invites submissions of work in the following categories:

Academic Papers and Lecture Recitals

Postgraduate research students are invited to submit proposals relating to any aspect of musical research, including musicology, ethnomusicology, music psychology, composition, audiovisual media, performance, and/or other creative practices, and research that cuts across disciplinary boundaries. We also welcome poster presentations: please indicate if your presentation is in poster format and/or if you are happy to present a poster in case your submitted presentation is not selected.

Papers must be a maximum of 20 minutes’ duration and will be followed by 10 minutes of questions and discussion. Lecture recitals must be a maximum of 45 minutes with 35 minutes for the presentation, followed by 10 minutes for discussion.

Abstract submissions

Submissions should be in doc. or docx. format, and consist of a title and an abstract of no more than 250 words. Please email abstracts to by 1st October 2020.  With the abstract please supply the following information: name, email address, institutional affiliation, presentation title, audiovisual requirements, and any other special requests.

Themed Panel Session Proposals

For this conference, there are two options for themed panel sessions.

  • 90-minute sessions with three 20-minute papers and 30 minutes of discussion
  • 60-minute sessions with four 5-minute lightning papers and 40 minutes of discussion

Abstract submissions

Submissions should consist of a title and an abstract of no more than 250 words to be sent for each of the contributions to the session. In addition, please provide a 400-word rationale that makes clear the purpose of the session, its theme and the ways in which the individual contributions relate to each other. Please include full contact details of the convenor and indicate whether an independent chair will be required and what equipment is needed. We especially welcome proposals that encourage interdisciplinary dialogue and/or mixed methodological approaches.

Please email abstracts to by 1st October. With the abstract please supply the following information: name, email address, institutional affiliation, presentation titles, audiovisual requirements, and any other special requests.

Call for Compositions

As part of the conference, the Faculty of Music will be offering composition workshops, which are likely to be directed by a piano trio. However, given the current pandemic crisis, it has proven difficult to confirm who will be leading the workshops. Details will be confirmed when the final call for proposals is released in the summer.

Compositions should be no more than 6 minutes in duration (shorter pieces are welcome, as are movements or excerpts of longer pieces). Selected compositions will be performed in the workshop, followed by time for discussion.

Submission Guidelines

Scores should be submitted in PDF format accompanied by a separate abstract of no more than 250 words that briefly describes the aims and methods of the piece. These materials should be submitted to by the 1st October 2020. Please provide the following information when submitting your proposal: name, email address, institutional affiliation and composition title.

The Conference Committee’s decisions will be communicated to proposers by 1st November 2020.

Conference Committee

Michelle Assay

Richard Causton

Matt Dicken

Katharine Ellis

Ellen Falconer

Lois Fitch

Dunya Habash

Patrick Huang

Matthew Machin-Autenrieth (chair)

Francesca Vella

Musical Works and Cultural Traditions

The Feliks Nowowiejski Academy of Music in Bydgoszcz

Słowackiego Street No. 7, Bydgoszcz, Poland

The International Conference ‘Musical Works and Cultural Traditions’

24th – 25th November 2020

On behalf of the authorities of the Faculty of Composition, Theory of Music and Sound Engineering as well as the Department of Theory of Music and Composition we are pleased to invite you to participate in the International Conference ‘Musical Works and Cultural Traditions’. The conference will be held in the main building of the Feliks Nowowiejski Academy of Music in Bydgoszcz (Słowackiego 7) on 24-25th November 2020.

‘It is rather absurd to assume that a musical work is born in a historical, biographical or cultural void…’  Inspired by Prof. Mieczysław Tomaszewski’s thought, the leitmotif of this year’s conference takes theoretical pondering towards historical-cultural contexts in which musical compositions are created, the intellectual, philosophical, religious movements, among other cultural phenomena, that shape them. Traces of the past may not only be found in the form of neo-styles, the observable ‘returns to…’, but also in ‘a unique dialogue […] with tradition whose elements become the subject matter of a peculiar sort of game’ [Z. Skowron]. Likewise ‘extrinsically’, musical works oftentimes fall under the influence of distinguished artistic individuals. In the year marking the 250th anniversary of the birth of Ludwig van Beethoven we suggest that special attention be directed towards the composer’s oeuvre, viewed as a continuation of the artistic accomplishments of his predecessors as well as inspiration for the generations of composers that followed.

Considering the many ways in which the leitmotif could be discussed, we propose the following discussion points:

  • cultural traditions embedded in a given musical work/ the artistic output of a composer or composers;
  • Ludwig van Beethoven as an heir to the music of his predecessors and an inspirer;
  • forms of cultural heritage present in musical compositions;
  • methods (strategies) in the research and interpretation of past heritage observed in music.

If you are willing to accept our invitation and take part in the conference, thus contributing to the valuable academic discussion on the theory and interpretation of music, you are kindly requested to send the title of your paper with an abstract of up to 300 words via e-mail to by 31st August 2020. Please, note that the maximum time allowed for your paper presentation will be 15 min.

To each registered conference participant we provide accommodation, board, an honorarium, and an opportunity of attendance at accompanying concerts that have traditionally been held to present the works of Bydgoszcz composers among others. The conference fee is €70. We also plan to publish our contributors’ papers in the form of post-conference proceedings.

Yours sincerely,

Professor Anna Nowak – Dean od the Faculty of Composition, Theory of Music and Sound Engineering                                                                        

Professor Zbigniew Bargielski – Head of the Department of Theory of Music and Composition

Naturalising Sounds: How Instrumental Music is (Made) National

International Conference, Regensburg, 22–23 January 2021
University of Regensburg, Department of Musicology

CfP deadline extended: 7 August 2020

In 1997 the symposium “French and German Music in the 20th Century” in Frankfurt am Main (“Französische und deutsche Musik im 20. Jahrhundert”) concluded that “today all national typology has lost its validity” (conference review in Die Musikforschung by Peter Jost). At the end of his article on “Nationalism” for the New Grove Dictionary of Music and Musicians, Richard Taruskin, citing Mark Slobin, expressed a hope for a pluralistic global culture consisting of a “fascinating counterpoint of near and far, large and small, neighborhood and national, home and away”. This now seems to be contradicted by the nationalistic tendencies that are gaining popularity worldwide. Music does not remain untouched by this and can become the subject of ideological appropriation. Against this background, nationalistic currents of bygone music history gain relevance once more, after having been considered for some time as over and done with. Here we find actual examples of the mechanisms of making music “national” in a nationalistically charged socio-political climate.

The conference’s main focus lies on instrumental music and those particular moments in modern music history when national or even nationalistic qualities have been attributed to it. These instances occur outside the sounding music itself; they are manifested verbally: in texts accompanying music performances, writings of music theory and music history and, last but not least, in the press – see for example such different cases as Robert Schumann’s articles on Nils Wilhelm Gade in the Neue Zeitschrift für Musik or Carl Mennicke playing off the “Mannheimer Schule” against the Italian opera introduction (Hasse und die Brüder Graun als Symphoniker, Leipzig 1906).

For the interpretation of such cases a distinction needs to be made between terms such as “national” and “nationalistic”, as well as “political”, “popular”/”folksy” and—as Peter Benary emphasized in 1979—“scenic” (“landschaftlich”). Raising questions about “moments” of nationalising music seems to be in contradiction to the long cultivated concept of folk music being the basis of all national musical characteristics. Despite this view, folk music is essentially a local or at least a regional phenomenon. Since a national element cannot constitute itself purely on the basis of sounds, there still have to be acts of reflection and interpretation to attribute such qualities to folk music.

It is the aim of this conference to discover these instances in the wide realm of instrumental music, to examine, analyse and compare them.

Keynote speaker will be Prof. Dr. Stefan Keym (University of Leipzig). As part of the conference there will be a concert with a thematically related programme (esp. Dmitri Shostakovitch’s Seventh Symphony) by the University Symphony Orchestra on 23 January.

We welcome papers of 20 minutes’ length settled in the area of modern music history, focussing on questions such as (but not excluding others):

Is it possible to distinguish different strategies of branding music with a nationality in historical or contemporary music criticism and analysis?

Who decides about the nationality of music? What are the criteria?

How are differences of opinion handled?

How does one become a national composer? Can this status be lost again?

Are there instrumental genres that at certain times tended to be treated and interpreted in a national context? What are the reasons for this?

How are obvious inter-national overlaps of musical material handled (Scotch snap, Lombard rhythm, Hungarian word emphasis)?

How is the “internationality” of particular music established?

Abstracts (2000 characters), along with a short autobiography (700 characters), should be sent to Dr. Michael Braun (, Department of Musicology at the University of Regensburg, no later than 7 August 2020 (Deadline extended). Conference languages are German and English. Notifications of acceptance will be sent by 28 August 2020.

Virtual introductory meetings for global research network for “Music in times of the COVID-19 pandemic” (MUSICOVID)

Initiators: Niels Chr. Hansen (Aarhus Institute of Advanced Studies & Center for Music in the Brain, Aarhus University, Denmark) & Melanie Wald-Fuhrmann (Max Planck Institute for Empirical Aesthetics, Frankfurt/M., Germany)

The current COVID-19 pandemic and the related measures taken by governments and authorities have a plethora of severe consequences for individuals, societies, the economy, and the entire public life. They also affect the sphere of music all over the world: Live performances cannot take place and independent musicians have to fear for their livelihood. At the same time, an outburst of musical creativity can be witnessed:

Plastered all over the social media landscape, touching videos of people making music from their balconies and homes have spread virally with higher contagion rates than the coronavirus itself, proliferating under popular hashtags such as #coronasongs, #quarantunes, #covidance, #pandemix, and #songsofcomfort. Leading opera houses, bands, and symphony orchestras have followed suit in realizing the social cohesion potential of music and made their performances digitally available to the public at no cost. While it may be unsurprising that professional musicians facing sudden unemployment from mass cancellations can devote vast creative resources to the production of musical online content, the enthusiasm with which the general public is taking part has been truly overwhelming. People have eagerly recovered old instruments from past oblivion, humorous and sincere corona songs have been composed, and innovative corona lyrics have been crafted for old, well-known hit songs. Governments in Southeast Asia have even released music videos and dance challenges promoting public health.

It seems that music is being widely and creatively used as a means to individually and socially cope with several of the challenges posed by the current crisis onto individuals, among them anxiety, boredom, loneliness, stress, and uncertainty about the future.

Therefore, we want to invite researchers from all backgrounds to join forces in order to document, investigate, and understand the multitude of ways in which music is used and experienced during the COVID-19 pandemic. If we can explain how and under which circumstances musicking practices can provide an opportunity for individuals to cope with a threatening situation such as the present one, this knowledge might help societies to be better prepared should a similar situation occur in the future. More broadly, research outcomes from this work may have long-term implications for developing clinical and therapeutic interventions and best practices tackling loneliness and social isolation in health, wellbeing, and aerospace psychology.

With this call, we want to:

  1. create a global network of researchers who plan to study or have already started to study some musical aspect of the COVID-19 pandemic
  2. discuss ways of creating and coordinating a shared archive of videos, hashtags, and media coverage, based on Niels Chr. Hansen’s crowd-sourced database ( and other similar efforts
  3. inspire interdisciplinary, collaborative, and global research on that topic and invite contributions to a workshop/conference and an edited volume or special issue

We are convinced that such a multi-faceted topic can only be studied if all branches of music research join forces. Therefore, this call invites contributions from ethnomusicologists, historical musicologists, music theorists, music sociologists, musical data scientists, as well as music psychologists, music neuroscientists, and researchers studying music-related aspects of health and wellbeing.

We will organize two virtual get-togethers on May 19 (9 am CEST and 4 pm CEST to allow researchers from around the globe to participate). Here, first research ideas and preliminary results will be exchanged and discussed. Depending on this, we will then plan the structure of a related conference and edited volume or special issue.

Relevant research topics/questions could include:

  • How did listening and music making behaviour change during the COVID-19 pandemic?
  • How do people use music as a means to cope with the situation?
  • How do organizers of live music events (concert halls, festival managers etc.) respond to the situation?
  • How do musicians respond creatively and practically to the situation?
  • How can we simulate liveness in a time with no live music performances?
  • Can participatory music making from a distance be used as a remedy for spatial distancing?
  • How could we establish a typology of corona songs (in terms of content, approach, mood, instrumentation, newly composed vs. cover songs)?
  • Which pieces do people pick as repertoire for virtual choirs or ensembles or for balcony singing?
  • How has music been used during previous crises, and what implications may this have for the ongoing COVID-19 pandemic?

We hope that this appeals to many from the music research communities and will grow into a powerful and visible network cross-nationally and cross-disciplinarily.

Therefore, if you are planning or already engaged in research related to music and COVID-19 and want to be part of our network, please get in touch with us via and

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 4th of October 2020. Proposals will be reviewed by the members of the scholarly committee and all applicants will be notified.

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’.

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