Musicology and Its Future in Times of Crises, Zagreb, 27-28 November 2020

CALL FOR PAPERS

Musicology and Its Future in Times of Crises

International Conference on the Occasion of the 50th Anniversary of the Department of Musicology, Academy of Music, University of Zagreb

Zagreb, 27-28 November 2020

Narratives of crisis seem to be a persistent condition of every generation’s history. Aside from their presence in everyday life and the fact that they are ingrained in the social and political sphere, discourses on crisis have become an inextricable feature of contemporary scholarship itself, perceivable in debates on the crisis of knowledge, reflections on the devaluation of the humanities, and discussions on the changing conditions of academic labour. Coupled with growing anxieties about the precarious position of musicological disciplines within the neoliberal university and larger systems of scholarship, these discourses condition the environment in which musicological research is conducted in an important way, bear upon the ways knowledge is (re)produced, and inevitably (although not always perceptibly) shape disciplinary futures.

Scholars across the field of music studies are invited to reflect on and address the issues proposed in the three thematic streams outlined below, as well as to contribute to the broader topic of the conference by sharing insights and reflections gained through their experience and research. We invite proposals for individual or co-authored paper presentations and/or themed panels.

STREAMS:

1. Reflecting on the Crisis of Musicological Knowledge

2. Responding to the Crisis of (Ir)Relevance

3. Resisting the Crisis of Academic Labour

 

1. Reflecting on the Crisis of Musicological Knowledge

At the level of musicological knowledge, the crisis manifests itself in the permanent doubts regarding the foundations of musicology and consequently in the vivid proliferation of disciplinary “turns”. In the moment of crisis, existing musicological knowledge is considered to be untenable and the limitations of its premises become evident. In such cases epistemology speaks of “paradigm changes”, which reveals as much as it hides about what is actually at stake. But what is going on in such

moments of crisis of musicological knowledge? Do paradigm changes in musicology imply a certain automatism? Do they occur consensually? Do they proceed without any resistance?

The first thematic stream could therefore focus on the following questions: Who has the right to announce the untenability of certain musicological knowledge? Is one obliged to follow such announcements? Does that right depend on the centrality or marginality of the position from which one speaks? How does such positioning define the relations between different national traditions of the discipline and between different subdisciplines within music studies? Are paradigm changes something that could be put into a programme or a manifesto (announcing a certain “musicology of the future” as the future of musicology)? Could the crisis of musicological knowledge be solved by importing perspectives from another discipline? Why do research paradigms change from time to time in certain settings, whereas in others they seem to be resilient to change? How do musicological paradigms age? Could the once outdated paradigms have any future?

2. Responding to the Crisis of (Ir)Relevance

The idea behind this thematic stream is to bring forward issues and modes of responding to crises within and outside of academia, with the tools of musicological scholarly knowledge. How could we today – more than twenty-five years after Philip Bohlman’s (1993) call – conceive of musicology as a political act? Although this question resonated across different musicological subfields, there is still room to consider whether subdisciplinary divisions helped or aggravated musicology’s relevance and visibility as well as its social responsibility.

Some of the questions that could be considered within this stream are: In the light of humanitarian emergencies, how can musicological epistemology help humanity and is there still room for academic activism? What is the role of musicology in the age of postmodern crisis of knowledge and post-truth – how can the discipline cope with the challenges and what is its responsibility within this context? In the current cultural and educational policies, where humanities are increasingly being pushed aside by market-oriented sciences, what are the arguments in favour of the discipline’s relevance, and how can musicology help in restoring the social awareness of the importance of humanities? No less important, who are musicology’s audiences today and what is the future of the discipline and its subfields within these contexts?

3. Resisting the Crisis of Academic Labour

It seemingly goes without saying that the labour of practicing, developing, and (re)imagining musicology rests almost exclusively on the shoulders of the scholars themselves. The issues of the complex intricacies of academic labour in musicology, nevertheless, still belong to one of the least-researched and only occasionally discussed topics in the discipline itself. Through this thematic stream, we encourage scholars to reflect on the changing conditions of academic labour in a historical perspective as well as contemporary institutional practices and offer their perception on the myriad ways organisational governance, the extensification/intensification of work and individual(ized) responses to structural transformations of workplace affect the sustainability and future of musicological disciplines.

Some of the following questions are aimed at opening the space for further discussion within this stream: How do the structural features of contemporary universities and other academic institutions affect our everyday experiences of research and teaching? How and why do the individual (gendered, classed, racialized etc.) experiences of academics seem to escape our critical attention? How does the increasing scarcity (luxury?) of time dedicated solely to (funded?) research affect the development of the discipline of musicology? How do contemporary pressures of competitiveness and dictate of “measurable” excellence stand in relation to mutual support and solidarity among scholars? What does the exclusive reliance on short- term project-based market-oriented funding bring to the survival of smaller disciplines and the precariousness of academic labour in them? What is the (emotional, mental, corporeal, existential) cost of work (not) being done (Gill 2010)?

4. Related Research

Beside the above outlined thematic streams, we welcome research-based contributions to other aspects of the broader symposium topic of musicology and its future.

 

Keynote Speaker

Nicholas Cook, University of Cambridge

Conference language: English

Conference website:

http://www.muza.unizg.hr/zgmusicology50/en/category/conference/

Guidelines for proposal submission:

• individual or co-authored papers (20 minutes + 10 minutes discussion):

  • title and abstracts of up to 300 words, up to 6 keywords

themed panel sessions of three or four individual papers (60 minutes + 15 minutes discussion)

  • title and abstracts of up to 300 words per paper
  • panel title, and up to 300 words outlining the general theme of the panel, up to 6 keywords

Due Date and Submission

Costs

The costs of travel and accommodation will be covered by participants. The registration fee is €50 (€30 for PhD students). It covers the costs of conference materials, coffee breaks and refreshments as well as the conference reception.

Venue

The symposium will be held at the Academy of Music in Zagreb, Trg Republike Hrvatske 12, 10000 Zagreb

Program Committee

  • Ivan Ćurković (chair), Academy of Music, University of Zagreb
  • Samuel Araujo, School of Music, Federal University of Rio de Janeiro (UFRJ)
  • Zdravko Blažeković, Graduate Center of the City University, New York
  • Hana Breko Kustura, Croatian Academy of Sciences and Arts, Zagreb
  • Ana Čizmić Grbić, Academy of Music, University of Zagreb
  • Naila Ceribašić, Institute of Ethnology and Folklore Research, Zagreb
  • Dalibor Davidović, Academy of Music, University of Zagreb
  • Monika Jurić Janjik, Academy of Music, University of Zagreb
  • Vjera Katalinić, Croatian Academy of Sciences and Arts, Zagreb
  • Sanja Kiš Žuvela, Academy of Music, University of Zagreb
  • Mojca Piškor, Academy of Music, University of Zagreb
  • Ingrid Pustijanac, Department of Musicology and Cultural Heritage, University of Pavia
  • Cornelia Szabó-Knotik, Institute for Musicology and Performance Studies, University of Music and Performing Arts, Vienna
  • Jelka Vukobratović, Academy of Music, University of Zagreb

Local Arrangements Committee

  • Ivan Ćurković (chair), Academy of Music, University of Zagreb
  • Ana Čizmić Grbić, Academy of Music, University of Zagreb
  • Dalibor Davidović, Academy of Music, University of Zagreb
  • Sanja Kiš Žuvela, Academy of Music, University of Zagreb
  • Monika Jurić Janjik, Academy of Music, University of Zagreb
  • Mojca Piškor, Academy of Music, University of Zagreb
  • Jelka Vukobratović, Academy of Music, University of Zagreb

 

Responses in Music to Climate Change

The Barry S. Brook Center for Music Research and Documentation at The Graduate Center of The City University of New York announces the multidisciplinary international conference

Responses in Music to Climate Change

to be held at The Graduate Center of The City University of New York, 21–23 April 2020

The deleterious effects of anthropogenic climate change continue to shape music making in a post-industrial, global society. Indigenous communities—those typically least responsible for the carbon emissions that have contributed to global warming—face the elimination or depletion of natural resources necessary for their musical practices and traditions. Composers of art music, many compelled to bear witness to our current times and bring awareness to threatened ecosystems, draw sound material from endangered environmental sources. Popular music, too, continues to respond through concerts, songs that thematize the environment, and celebrity endorsements for protection measures. Across all forms of music making, discourses of preservation, sustainability, visibility, and action are pervasive.

With the aim of collecting and sharing research on music’s place within the context of anthropogenic climate change, this conference welcomes contributions from a broad range of disciplines. A multidisciplinary approach not only seeks to capitalize on the wide range of ontological frameworks that each field brings, but also foregrounds the necessity for clear communication and criticism within and between disciplines. Increasingly, studies that address climate change and notions of environment point to the limitations of common categories for sound and music. As the problem is a human one, we hope to tackle the perennial question of how to develop vocabularies that transcend the boundaries of specialized jargon. Simply put, to confront a shared problem, we must develop strategies and techniques that address its complexities in a language accessible to all. A precondition for inciting and facilitating action is the widespread comprehension of the stakes, difficulties, and necessities as a global community.

We are excited to have Dr. Ana María Ochoa Gautier, Department of Music/Center for the Study of Ethnicity and Race, Columbia University, as our keynote speaker.

We seek to inspire papers and panels on the following themes:

  • Music and acoustic ecology
  • Environmental sound sources in composition
  • The sounds of endangered lands
  • Sustainability
  • Perspectives on sonic environments
  • Music and globalization/industrialization
  • Sonic ecologies
  • Politics
  • Sound studies

Please submit a proposal, with title and an abstract of no more than 300 words, and include contact information (address, phone, and email). Proposals for papers, whole panels, posters, and lecture-recitals are welcome.

Proposals may be submitted before January 13, 2020 to:

Michael Lupo

The Barry S. Brook Center for Music Research and Documentation

The City University of New York, The Graduate Center

365 Fifth Avenue

New York, NY 10016-4309

mlupo@gradcenter.cuny.edu

Further information will be posted at https://brookcenter.gc.cuny.edu

SONG STUDIES 2020 – Exploring Interdisciplinary Approaches to Songs and Practices of Singing (1200-today)

Ghent University, 1-3 July 2020

Deadline call for papers: 20 December 2019

Keynote speaker: Monique Scheer (Tübingen University)

The singing voice is a medium of expression that is found in all times and cultures. People have always been singing, not only to perform entertainingly, but also to express emotions or to embody identities. This has for example made collective singing (and listening) practices a primary way for people to articulate and embody the identities that are fundamental to the existence of social groups. The bodily and sensory experience of moving and sounding together in synchrony, enables individuals to experience feelings of togetherness with others.

Song is the versatile medium facilitating such processes. Songs can evoke and channel emotions, employing them for specific (or less specific) means. As a multimodal genre, song enables not only the articulation and embodiment of ideas; as an inherently oral and intangible medium, songs can move through space and time, transgressing any material form. Therefore, songs have proven an ideal tool for the distribution of news, contentious ideas, or mobilising messages.

This conference aims to bring together researchers from various disciplines investigating song (for example musicology, literary studies, history, sociology, performance studies, cognition studies, anthropology, etc.). The focus will be on the definition of possible approaches to the study of this medium (both in its material and performed existence), its performances (in any form) and reception (in any context). Research examples may cover songs written and sung in any culture and language, and any (historical) period. Common ground will be found through concepts, approaches and methodologies, encouraging an interdisciplinary and transhistorical dialogue, breaking ground for a new research field: song studies.

Possible research areas and questions to be explored are:

  • how to study the multimodality of the genre, acknowledging both textual and musical characteristics, and its performative nature;
  • the sensory/bodily and emotional/affective experience of listening and singing;
  • cognitive and/or affective processes of singing (and collective singing practices);
  • how to study the performative aspects of songs in historical contexts;
  • the ‘power’/agency of song;
  • the role of song and singing in social processes and historical developments; etc. We invite proposals for 20-minute individual papers (max. 300 words) or alternative formats (pre- submission inquiry is encouraged). As the aim of this conference is to facilitate dialogue, there will be ample time for discussion and exchange. Please send your proposal, including your name, academic affiliation and a short biographical note, no later than 20 December 2019 to renee.vulto@ugent.be. For more information and registration, see www.songstudies.ugent.be.

Music and Resistance

CALL FOR PAPERS

The Centro Studi Opera Omnia Luigi Boccheriniof Lucca, in collaboration with the Universitat Autònoma de Barcelona (I+D+i RTI2018-093436-B-I00 “Music and Dance in Sociocultural, Identity and Political Processes during the Second Francoism and the Democratic Transition (1959-1978)”), is pleased to invite submissions of proposals for the symposium «Music and Resistance», to be held in Lucca, Complesso Monumentale di San Micheletto, from 11 to 13 December 2020.

Keynote Speakers:

  • Mark Andrew Le Vine (University of California Irvine)
  • Germán Gan Quesada (Universitat Autònoma de Barcelona)

The word “resistance” is often associated with the wars that marked the history of the twentieth century. The music of “resistance” found a huge space in popular music, but also in celebratory and protest works with which many composers reacted to the violence of dictatorship.
But in a broader sense, the word resistance is also used in modern forms of musical art in association with anti-fascist themes, or linked to social rights movements (women, LGBT movements) and ethnic groups, or as a means of generational identity (such as punk, hip-hop or rap).

This symposium aims to engage with all forms of resistance that have been put into practice through various musical forms, styles and genres, both historical and contemporary. The programme committee encourages submissions within the following areas, although other topics are also welcome:

  • Music under Wars and Dictatorships
  • Music and Holocaust
  • Popular Music and Rebellion
  • Music and Racism
  • Music and Human Rights
  • Music and Social Critique
  • Music and the Ideologies (including Music and Feminism)
  • Music and Socio-Political Associations
  • Music at the Margins of Official Cultures, Subcultures and Countercultures
  • Young Music and Resistance
  • Concerts, Recitals and Festivals as Spaces of Resistance
  • Music and Critical Theory
  • Music and Old and New Fascisms
  • Music and Resistance in the Market and in the Cultural Industry

Programme Committee:

  • Germán Gan Quesada (Universitat Autònoma de Barcelona)
  • Roberto Illiano (Centro Studi Opera Omnia Luigi Boccherini)
  • Fulvia Morabito (Centro Studi Opera Omnia Luigi Boccherini)
  • Mark Andrew Le Vine (University of California Irvine)
  • Gemma Perez Zalduondo (Universidad de Granada)
  • Massimiliano Sala (Centro Studi Opera Omnia Luigi Boccherini)

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 26 April 2020*** to <conferences@luigiboccherini.org>. With your proposal please include your name, contact details (postal address, e-mail and telephone number) and (if applicable) your affiliation.

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

conferences@luigiboccherini.org

www.luigiboccherini.org

3rd AEMC Conference on Music, Communication and Performance

Montecassiano, Italy, 27-28 June 2020

The Associazione Europea di Musica e Comunicazione (AEMC) organizes the 3rd Academic Conference on “Music, Communication and Performance”. The conference promotes interdisciplinary research and original approaches in any field of musicology, communication studies, philosophy, literature, and in any field of artistic performance that involves music. You are invited to apply with papers or performance proposals on any topic, but a special focus of this third edition will center on the question: Is Classical Music Dead? Kramer’s Inquiry Revisited.

Keynote speaker: Professor Lawrence Kramer

Conference organizer: Dr. Alberto Nones

The abstract submission deadline is 30 April 2020. A maximum of 25 participants will be admitted.

Abstracts of max 150 words, specifying the contribution of the paper/performance, must be sent to aemc.montecassiano@gmail.com.

All info: nonesal.wixsite.com/conference

Meeting for Sound and Musical Instruments CO2019OC

8th International Scientific Meeting for the Study of Sound and Musical Instruments

CONGRESSO DE ORGANOLOGIA 2019 ORGANOLOGICAL CONGRESS

Belmonte, east-central Portugal

20-22 September 2019

Instruments of culture and peace

Many complain about the backstage, or invasive, pollution of sound in daily lives, and solutions? Social anxiety is mirroring short and long term influences, notably from birth, or even pre-natal effects through a stressed mother (scientific trends differ, precisely for this reason, we give here an opportunity for discussion, acknowledging it as a vast and often neglected issue). Many refer to “how life in Nature” is so beautiful, where we can play music in a perfect ambiance, but can’t or aren’t moving a finger to do something about it. We are doing it. We are developing a project that not only deals with the essential creativity in the human being but also the setting up of biodiversity in a balanced environment, where one can be thyself. All who visit us feel well here – why? This subject matter is far more important than it seems at a first glance. There is too much ‘noise’ in most people’s lives, too many front page headlines, too many characters on stage, too many spotlights, and everybody talks about all at the same time… we can’t listen to each, we can’t think about each… we need ‘silence’, reflection, to listen to life and art. Why are so many people frustrated and often depressed? Why so much illness with such highly developed medical support? Among many factors, the “sound quantity and quality” in our lives is fundamental. And that of music in our psychological and social balance too.

And – how music and creativity in sound can help a society in crisis? Fight fights, promote peace? How to help a society to be more united and less fragile? Can we, with our work, do better – and be part of the “positive productive” and not, as many do say, be the “useless” for the society? We are inviting you to discuss these and other prominent topics, which are intrinsically related to sound and musical instruments. Please come forward. In a society which is getting used to lightly give an opinion for anything and nothing in the social media, we invite those who “think” and – concretely “do something” – to visit, show, and think and do further.

From the morning of a bright Friday to an exquisite lunch on Sunday at the fabulous old Monastery, now a luxury hotel called Pousada de Belmonte, with concerts, recitals, activities, and full immersion Sessions, our program is quite promising. However, our special invitation to sociologists and musicologists had a good response in quality but not as wide, thematically, as we wanted it to be. There is still time, to make proposals and be part of this interesting gathering of people, who positively and openly discuss about the various issues that concern us all. We look forward to have more work presented that deals with the social impact of music and their musical tools, and studies about sound – for instance, how sound (acoustic and electronic) is affecting daily lives, our world.

You can have more information at the congress website, which is periodically updated: link [https://congressorganimusic.wixsite.com/co2019oc]

Or you can contact us directly: congressorg2019.animusic@gmail.com

Registration: besides the program (as listed above), it includes an active visit to an Exhibition of Musical Instruments (historical, traditional and technological), an unique bag with the program and materials, equipment and technical support, Wireless internet, coffee-breaks (nice and diversified), lunches (2), a banquet-lunch (gourmet), selected visits, reviewed publication (in the book series ‘Liranimus’, which contains essays on Organology, or online), certificate of participation, perhaps a memoir-gift, publishers, makers, restorers, and participants stalls, networking opportunities and, essentially, time reserved “on purpose” for constructive discussions and exchange of ideas. Note: group meals are optional.

All activities are open, namely recitals, concerts, demonstrations, workshops (within a registration limit), and visits. 

Registration fee

Early bird registration » 80€ for ANIMUSIC members (which has a symbolic registration fee of 20€, and no annual fees, no profit) / 110€ others (early bird registration until the 31st of August)

Regular » 120€ (ANIMUSIC) / 150€ (from 1st September)

Dayly fee » 40€ (does not include the banquet-lunch)

Banquet-lunch gourmet (for those friends accompanying, still a special price: 35€)

Other costs: Portugal is one of the less expensive countries in Europe. To give an idea, an expresso coffee costs about 0,70€ in a normal coffee-shop (it’s everywhere, this is the normal coffee, similar to Italia), or even less in automatic machines. Meals may be around 10€ (complete with wine, etc), including nice fresh grilled fish or vegetarian food. There are various options for lodging in Belmonte, you can check with the different available search engines or at Airbnb, averaging 70€ per night in a good hotel.

Transportation: You may use Porto’s or Lisboa’s international airports. From Porto, it is probably easier to rent a car, the rates, when booking from abroad, are quite low (you can have a car for 10€ a day or similar) and it’s basically all highway till Belmonte (if avoiding crossing Porto, you have: A4-A24-A25-A23; or crossing Porto: A29 or A1-A25-A23) which is very comfortable. The transportation from Lisboa is quite easy, also renting a car, or by public transportation: From the airport you take a taxi (5 to 8€)  or the metropolitan, to the Oriente station, which is near the River Tejo (beautiful place to visit if you have time, where the Oceanario is, plus other interesting sites). There, going up the stairs or lift, you check the line for Covilhã, usually trains are in time. If you pay online with anticipation (5, 8 or more days), you can even have a discount of up to 65%, if you are senior, it’s always 50%. The ticket to Covilhã, in the speed direct train, costs (as per today): 17,70€. Arriving in Covilhã, you can take a taxi (not expensive), a bus or meet with a group organised by us and the Municipality, on the 19th of September. If you have special needs, please contact us so that we arrange a special way for transportation. We work the best we can to help your experience be perfect and unique.

Portugal has been rated as the third safest country in the world, after Iceland and New Zealand. So, by visiting us, you shall discover more of this amazing country and meet fellows who are interested in your work, in discussing ideas and in moving forward. This is project Erdissol-ANIMUSIC.

For more information, visit us at this link. You are most welcome to contact us directly if you have questions (email).

Working in Music

Call for Papers: Third Working in Music Conference:
Working in Music – Now and Then
University of Turku, Finland, 15-17 April 2020


The Working in Music Network (WIM) is pleased to announce its third Working in Music Conference, to be hosted by the University of Turku, Finland, in April 2020. The Conference follows the staging of previous WIM conferences in Glasgow (2016) and Lausanne (2018) and the establishment of the Network (https://wim.hypotheses.org/). WIM was launched in Lausanne in 2018 and has been established by scholars interested in the historical and contemporary nature of working in music. It has adopted the following Statement of Purpose: ‘Working in Music is an international research network. Our purpose is to conduct and disseminate innovative research about all aspects of what it means to work in music. We aim to understand music as work through economic, sociocultural, political, legal and historical lenses, and to explore working conditions and experiences across genres and divisions of labour. Our approach is multidisciplinary and endeavours to forge connections between academic disciplines through shared interests in music and work. Our network developed from and is centred on a biennial conference in which scholars meet to exchange and debate issues and ideas. We are also committed to working with musicians, practitioners and music industries personnel’.

Following Ruth Finnegan, it is possible to say that one of the noticeable aspects of musical work, is that the work is often hidden. The hours that are taken to master an instrument are hidden from the public, the musicians who make recordings and perform live are often hidden behind the “stars”, the ways musicians find work and work with other musicians and music intermediaries are often hidden, and the vast majority of working musicians remain anonymous. Meanwhile those working behind the scenes in areas such as publishing, live music, artists’ management and recording largely remain similarly unknown as well as the ways they make music and musical careers happen. But music only happens because work is put in and it is this context that we issue this Call for Papers. We invite proposals for papers which address – either historically or in the contemporary context – one or more of the following themes:
Musicians’ working lives and practices
Employment practices and working conditions within the music industries
Musicians and other musical workers’ representative organisations
The effect of intermediaries – such as agents, managers, promoters, journalists etc – on musicians’ working conditions and careers
Collaborations between musicians and non-musicians in getting music made, played or publicised
Intellectual property, labour law and other axes of musical labour
Discrimination and inequality in musical labour and employment
Musical labour and employment in specific genres of music
Musical labour and changing technology (including musical labour in the digital age)
Online “platforms” as new intermediaries or systems of surveillance
Musicians’ working lives in orchestras, bands and other ensembles
Musicians’ collaborative networking practices which allow work it be done and increase its visibility
Musical labour and creativity
Music and the labour movement
Touring and working in music
Non-musicians working in music
Musicians as employers


Proposals
Paper proposals are invited on these topics – and on any other issue relevant to Working in Music. WIM is a deliberately broad-based network and so proposals will be welcomed from any perspective, using any methodology and addressing any kind of music at any historical juncture. Please note that papers should last for 20 minutes and the conference organisers will require chairs to ensure that presenters keep to this limit. Proposals should be in English, which will be the working language for the conference. Please note that non-native English speakers whose proposals are accepted will be invited to post full versions of their papers on the conference website.

Submitting Proposals
Proposals should include the name and contact details (email) of the proposer, the title of the proposal and an abstract of no more than 150 words. We also invite proposals for panels. Please send proposals to wim2020@lists.utu.fi. The deadline for proposals is 30 September 2019. We hope to inform applicants of decisions by 1 November 2019.

Keynote Speakers
We are delighted to announce the following keynote speakers:
Pete Jenner, Sincere Management.
Pete has managed a number of major artists including: Pink Floyd, The Clash, The Pretenders and Ian Dury. He was also one of the organisers of the Stones in the Park free concert in London’s Hyde Park in 1969.
Izabela Wagner, University of Warsaw and Institute Convergence Migration (Paris).
Izabela is author of Producing Excellence: The Making of Virtuosos (Rutgers University Press, 2015). She is also the author of several articles on the working conditions and careers of creative professionals.

Venue
The conference will be held on the main campus of the University of Turku. This location is within walking distance of a range of restaurants, bars, coffee shops and supermarkets. It is a 10 minute walk to the city centre and a 5 minute walk from Kupittaa railway station for connections to Helsinki and elsewhere.

Other Information
Turku is the oldest town in Finland and is located on the Aurajoki river. It has its own airport and is approximately 2 hours from Helsinki by train or bus. It is 11 hours by boat from Stockholm, a journey which takes you through the splendours of the Stockholm and Turku archipelagos.

Amongst other attractions, Turku boosts one of the most distinctive cathedrals in Europe and an impressive medieval castle. It also hosts a range of award winning restaurants and has a vibrant bar culture. Live music takes place in a range of venues and nightclubs, including on the river.

For more see: https://www.visitturku.fi/ and https://www.theguardian.com/travel/2019/jun/01/turku-finland-city-break-restaurants-bars

Website
The conference website will be updated regularly. It can be found at: www.utu.fi/WIM2020.

Conference Fee
The conference fee has yet to be set but is expected to be in the region of €150 for waged delegates and €80 for unwaged, inclusive of registration, tea and coffee, and a reception on the first night of the conference.

Welcome
We look forward to welcoming you to Turku.
Martin Cloonan and Marc Perrenoud, chairs, Working in Music Network.

Special Event: Sample Finnish sauna
On Saturday 18 April conference organiser Martin Cloonan invites you to join at his local sauna on the nearby island of Ruissalo (15 minutes from the main railway station by bus). For a nominal fee (circa 5 €) you can sample a traditional Finnish sauna and get the opportunity to bathe in the Baltic. All you need is a swimming costume, a towel and an adventurous mind. Further details will be provided at the conference.

Scientific Committee: Funmi Arewa, Pierre Bataille, Marie Buscatto, Martin Cloonan, Simon Frith, Nuné Nikogosyan, Marc Perrenoud, Hyacinthe Ravet, Jérémy Sinigaglia, Matt Stahl, Charles Umney, John Williamson.
Local Organising Committee: Marika Ahonen, Johannes Brusila, Martin Cloonan, Kari Kallioniei, Eileen Karmy-Bolton, Gabrielle Kielich, Sanna Qvick, Kim Ramstedt, John Richardson.

IMS2022: 21st Quinquennial IMS Congress

Location: Athens, Greece
Dates: August 22–26, 2022

The 21st Quinquennial IMS Congress (IMS2022) will be held in Athens, Greece, from August 22 to 26, 2022. It is sponsored by the Hellenic Musicological Society under the aegis of the Department of Music Studies of the National and Kapodistrian University of Athens and the Department of Music Studies of the Aristotle University of Thessaloniki.

Conference website: https://www.musicology.org/ims2022

The Mediterranean: Migrant Sounds

Location: Valencia, Spain
Dates: July 23–26, 2019

3rd Meeting of the IMS Study Group “Mediterranean Music Studies”
The 3rd meeting of the IMS Study Group “Mediterranean Music Studies” will be held in Valencia, Spain, during the 2nd International Conference of the Associació Valenciana de Musicologia, entitled The Mediterranean: Migrant Sounds, which is taking place from July 23 to 26, 2019.

Conference website: http://avamus.org/en/2019-conference

Atlantic Crossings: Music from 1492 through the Long 18th Century

Location: Boston, USA
Dates: June 7–8, 2019

The IMS Study Group “Early Music and the New World” will hold an open meeting during the session “From Colonies to Republics: Latin American Music in Transition, 1770–1825,” at the international conference Atlantic Crossings: Music from 1492 through the Long 18th Century at Boston University, USA, June 7 to 8, 2019.

Conference website: http://www.bu.edu/earlymusic/2018/09/26/program