Rethinking Sound 2018

CFP deadline: 31 December 2017
Notification of results: 15 January 2018
Conference dates: 30–31 March 2018
Conference website: http://mrc.hanyang.ac.kr/rethinking-sound
Venue: Hanyang University, Seoul, Korea

Keynote Speakers:

Music Research Center at Hanyang University is pleased to announce an international conference “Rethinking Sound 2018,” to be held on 30–31 March 2018 in Seoul, Korea.

Sound has long been the subject of interest to scholars and practitioners alike, but it has gained more popularity in recent decades; the sheer number of scholarly publications in what one may call “sound studies” testifies to this statement. As the ways in which sound is produced and consumed are continuing to change, we suspect that sound will be of central concern to many of us. What soundscapes are around us, and how do we react to soundscape? Is there any evidence suggesting that the way of thinking about the world is shifting away from “ocularcentric” to “aural-centric”? What are the implications of such a shift? How does (re)thinking about sound help us (re)define human subjectivity?

In attempting to answer these questions, we invite proposals for individual papers (20 minutes) on any topics related to the conference theme “Rethinking Sound,” broadly defined. Possible topics include, but are not limited to:

  • Historical/cultural/geographical soundscapes
  • History of listening
  • Human-computer interaction (HCI) with sound
  • Mediated sound/listening
  • Sound and disability studies
  • Sound and ethics
  • Sound and film
  • Sound and gender
  • Sound and noise within/outside musical works
  • Sound and subjectivity/identity
  • Sound and the body
  • Sound in video games
  • Sound, space, and mobility

We welcome proposals from scholars and practitioners as well as early-career researchers and graduate students working in all musicological disciplines.

Submissions, in English, should comprise a paper title, an abstract of up to 250 words, and a short biography of about 150 words. Please email submissions in PDF or Word format to rethinking.sound@gmail.com by 31 December 2017.

Rethinking Sound 2018 is supported by the Ministry of Education of the Republic of Korea and the National Research Foundation of Korea.

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Pop – Power – Positions

Global Relations and Popular Music
3rd IASPM D-A-CH Symposium

Bern (Switzerland), 18–20 October 2018

In Nigeria, the high pressure to follow the copyright rules of the globalized pop music market restrains the use of samples in hip hop culture. In Egypt, young musicians have no credit cards, leaving them without access to the online music market. In Europe, second and third generation migrants discuss their non-European backgrounds and European identities in songs and tracks. And U.S.-produced Korean pop music (K-Pop) increasingly rivals Korean-produced K-Pop in its concern for authentic presentation.
Issues of power, position, access, and representation have shaped the production, distribution, and reception of popular music and continue to do so today. The three-day interdisciplinary conference Pop – Power – Positions highlights popular music’s embeddedness in a global world. It seeks to uncover and scrutinize the risks, challenges, and potentials of power structures, positioning, and (re)presentations in popular music. The analysis of global, postcolonial structures plays a central role in this endeavour. To date, however, music– and popular music in particular – has only rarely been studied using postcolonial perspectives.
Postcolonialism refers not only to the historical fact of colonialism and its political, geographical, cultural, and economic impact on the countries and regions involved. Rather, postcolonial studies deal with all aspects of cultural diversity, ethnic and cultural difference, and their related power structures. Colonialism as well as postcolonialism refer to hierarchies that are enacted and produced through the construction of the Other and bring about and enforce debateable concepts of representation such as gender, race, ethnic group, nation, class, and culture. In this regard, the effects of (post)colonialism can be detected not only in former colonialized and colonising countries and regions, but also in those which at first sight do not have a colonial heritage, for example Switzerland.
From its beginnings, popular music has been produced and performed in and within (post)colonial (power) structures. Postcolonial traces are, according to Johannes Ismaiel-Wendt, inherent in any popular music (2011). Current productions of popular music in different countries show that (post)colonial conditions live on in popular music, especially in a globalised world, and that musicians as well as recipients react in various ways to this situation.
The conference focuses on (global) power relations and representations of race, cultural difference, ethnicity, gender, class, and nation, including the changes and subversive strategies these may involve. Ethnographic and analytical studies of popular music in and from (former) colonised countries and regions are also welcome.

We invite papers that address the following range of topics and questions:
Power
– Who speaks in popular music? What kinds of power structures shape the production, distribution, and reception of popular music? What is the impact of the Anglophone music business on other music markets? Who speaks about popular music in the areas of marketing, advertising, journalism, fan cultures, (global) politics, and educational institutions – and what vocabulary do they use?
– Have digitalisation and digital networks led to a democratisation of musical processes, or the contrary?
– What sounds and music(s) are processed in what contexts by whom and how, and to what aim? How does the use of certain sounds/music(s) point to existing power relations, dependencies, and availability?
Place
– What role do geographies and geopolitics play in popular music-making? How do geography, world order, and power structures relate?
– In what ways can popular music exist beyond cultural, ethnic, and national geographies? What role does the relation between the Global North and Global South have in popular music?
Positions
– How do structures of power and distribution limit the access to the production and reception of popular music?
– What relevance, usability, and impact do technologies (like Digital Audio Workstations) or legal regulations (like the copyright laws) that have been developed in Western contexts have for popular music? In what ways are (post)colonial structures and power relations (re)produced therein?
– What kinds of representations do musicians use for their marketing? What traits are ascribed to music?
Postcolonialism
– What potential does popular music hold for detecting and changing (or enforcing) colonial and postcolonial power structures?
– How can postcolonial theories be made fruitful for an up-to-date understanding of popular music?
– How do musicians of different forms of popular music process a „(post)colonial experience of the world” („(post)koloniales Welterleben“, Ismaiel-Wendt) in their music?
Popular Music Studies
– How marginalised are specific popular musics within the history of popular music?
– Should or can we write a Global History of Popular Music?
– In what way is the concept of popular music in itself (post)colonial?
– What hierarchies, asymmetries or restraints can be found in inter-/transdisciplinary Popular Music Studies?

Keynote: Dr Jenny Fatou Mbaye (City University London)

Contributions on popular music that lie outside the scope of these topic areas are
welcome and will be considered if possible.

Call in GermanCall in English

Please email your abstract to daniel.allenbach@hkb.bfh.ch by 28 February 2018

More information: http://www.hkb-interpretation.ch/veranstaltungen/pop-power-positions

Centennial Reflections on Women’s Suffrage and the Arts

CENTENNIAL REFLECTIONS ON WOMEN’S SUFFRAGE AND THE ARTS

Local : National : Transnational

An international, multi-disciplinary public conference

University of Surrey, UK, 29–30 June 2018

Keynote Speakers:

  • Irene Cockroft, author of Women in the Arts & Crafts and Suffrage Movements at the Dawn of the 20th Century
  • Elizabeth Crawford, author of The Women’s Suffrage Movement in Britain and Ireland

CFP: deadline for submissions 26 January 2018

Conference website: www.suffragecentennial.wordpress.com

The 2018 centenary of the Representation of the People Act (6 February 1918), which granted the vote to many women in the UK, yields an ideal opportunity for sustained critical reflection on women’s suffrage. This conference seeks to explore the artistic activities nurtured within the movement, their range and legacy, as well as the relationships between politics and art. In striving for an inclusive, transnational reach, it will at the same time seek to move beyond traditional emphases on white middle-class feminism and explore the intersections between the regional, national, and global contexts for women’s suffrage with specific respect to the arts.

While proposals addressing any aspects of women’s suffrage will be welcomed, this conference will focus upon three strands:

  1. Women’s suffrage in/and the arts
  2. Women’s suffrage in Surrey and the surrounds
  3. Transnational networks and flows of texts in relation to women’s suffrage

20-minute papers are invited on any aspect of these strands, including but not limited to:

  • Late nineteenth- and early twentieth-century women’s writing on suffrage;
  • Political reflections on the arts and the cultural sphere, e.g. in music;
  • Transnational networks and mobilities of political texts and ideas, incorporating suffrage movements in other countries;
  • Politically active individuals with strong links to Surrey (particularly in relation to the arts) e.g. Mary Watts, Dame Ethel Smyth, Gertrude Jekyll, Marion Wallace Dunlop;
  • Networks such as Ferguson’s Gang, Surrey Hills Group, Surrey Pilgrimage Group, and women who organised suffrage marches;
  • Sociological theories of women’s suffrage;
  • Contributions of women of colour to suffrage movements in Britain and globally;
  • Art (both historical and contemporary) inspired by women’s suffrage.

Proposals for panels of 3–4 papers (1.5–2 hours) are also warmly welcomed, as are proposals for one-hour roundtables of 3–5 participants. We encourage proposals from postgraduate students and independent scholars in addition to institutionally-affiliated established academics.

Planned activities include a panel discussion featuring artists who have been active in performing and creating works based on women’s suffrage and some of its key figures; a recital of the music of Dame Ethel Smyth; and a visit to the nearby Watts Gallery. We envisage that an edited publication will be developed from papers presented at the conference.

Abstracts of not more than 300 words should be e-mailed by 26 January 2018 to suffragecentennial@surrey.ac.uk. Decisions will be communicated to speakers by 23 February 2018. A limited number of student bursaries may be offered to offset costs of attendance.

Conference Committee: Christopher Wiley, Charlotte Mathieson, Lucy Ella Rose (co-chairs)

Enquiries: suffragecentennial@surrey.ac.uk

Autoethnography, Self-Reflexivity, and Personal Experience as Academic Research

‘BEYOND “MESEARCH”: AUTOETHNOGRAPHY, SELF-REFLEXIVITY, AND PERSONAL EXPERIENCE AS ACADEMIC RESEARCH IN MUSIC STUDIES’

Institute of Musical Research (IMR) Study Day

in association with the School of Advanced Study, University of London

16 April 2018, Senate House, London

CFP: deadline for submissions 12 January 2018

Website: https://www.surrey.ac.uk/department-music-media/research-department/autoethnography-and-self-reflexivity-music-studies

Keynote Speakers: Professor Neil Heyde (Royal Academy of Music, London); Professor Darla Crispin (Norwegian Academy of Music, Oslo); Ian Pace (City, University of London)

The advent of autoethnography, a form of qualitative social science research that combines an author’s narrative self-reflection with analytical interpretation of the broader contexts in which that individual operates (e.g. Etherington, 2004; Chang, 2008), has come at a critical time for the discipline of music. In the UK, the expectation of the Research Excellence Framework (REF) that creative practice outputs will be contextualised through an accompanying commentary signals the urgency for establishing scholarly structures suited to the discussion of one’s own work by performers, composers, and music technologists alike.

The recent inauguration of the Teaching Excellence Framework (TEF), meanwhile, places a renewed emphasis on pedagogic research, for which autoethnography will increasingly prove to be critical in facilitating discourse on individual teachers’ experiences, in anticipation of the upcoming subject pilot for TEF and discipline-level evaluation being implemented more widely thereafter. As a methodology, autoethnography also yields enormous breadth of potential elsewhere in music studies, with the capacity to support academic enquiry encompassing individual experiences as listener or concert-goer, habits and modes of music consumption, and conduct as fans or aficionados.

While autoethnographic approaches have received significant application to the discipline of music internationally, for instance in Australia (Bartleet & Ellis, 2009) and the US (Manovski, 2014), this study day aims to raise its visibility at such a timely juncture in the UK. It will thereby consolidate the seminal contributions made by isolated studies in areas such as music education (Wiley & Franklin, 2017; Kinchin & Wiley, 2017), sonic arts (Findlay-Walsh, 2018), and composition and performance (Armstrong & Desbruslais, 2014). It also offers significant opportunity to initiate dialogue with academic fields as disparate as the social sciences, education, and health studies, in which autoethnography is more substantively practised.

At the same time, this study day will bring together composers, performers, musicologists, and music teachers, seeking to explore different modes of autoethnography with a view to establishing an analytical vein in continuation of previous work undertaken within music studies (e.g. Bartleet & Ellis, 2009). With an emphasis on transcending the production of so-called ‘mesearch’ – work that merely draws upon the author’s autobiographical description in an academic context – the event will cultivate modes of engagement in music research that enable scholar-practitioners at all levels to locate their experiences within a robust intellectual framework as well as to articulate their relationship to wider sociocultural contexts.

CALL FOR PARTICIPATION

20-minute papers (plus 10 minutes for questions) are invited on any aspect relevant to the study day’s themes.

Proposals for panels of 3–4 papers (1.5–2 hours) on a closely related topic are also warmly welcomed, as are proposals for roundtables (3–5 participants, 1 hour duration). The latter should be thematically integrated and dialogue-based rather than simply a series of unconnected mini-papers.

Note that papers will be expected to offer some critical self-reflection on method, and not merely to set out ground covered in an individual’s own practice. Those that adopt non-traditional formats, or incorporate a practice as research component, will be warmly welcomed.

Abstracts of no more than 300 words should be e-mailed by 12 January 2018 to Christopher Wiley, c.wiley@surrey.ac.uk (enquiries to the same address). Decisions will be communicated to speakers by 5 February 2018.

The registration fee will be £20 per person (reduced rates of £10 available for students/the unwaged), including lunch and refreshments. A limited number of bursaries will be offered to students/the unwaged to offset travel costs, up to a maximum of £60 each.

Organising Committee: Christopher Wiley (University of Surrey, Chair), Iain Findlay-Walsh (University of Glasgow), Tom Armstrong (University of Surrey)

Study Day Supporters: Institute of Musical Research, in association with the School of Advanced Study, University of London, Senate House (funding supplied by Nick Baker)

Further information: Dr Christopher Wiley (University of Surrey): c.wiley@surrey.ac.uk

Mapping the Musical City

Mapping the Musical City – a historically savvy symposium

Friday 2 February 2018, Institute of Musical Research, Senate House, London

Proposals due: Wednesday 13 December 2017, 1200 GMT

Keynote speaker: Samuel Llano (University of Manchester)

 

CALL FOR PAPERS

This symposium, in association with the School of Advanced Studies, addresses mapping as both an object and method of musicological enquiry. Inspired in part by the “spatial turn” in the humanities at large and fuelled by the increasing accessibility of Geographic Information Systems software, musicologists can now visualize and analyse complicated trends across time and place with greater ease than ever before. Yet, the ideological and epistemological implications of different mapping tools and techniques remain underexplored. The aim of this symposium is to situate recent projects within a longer history of cartographic practice in music studies.

 

By taking a historical perspective on the mapping of musical cities this symposium will raise questions on two fronts. Firstly, it will acknowledge cartography as a factor in past musical practice, asking, for instance: how the active “zoning” of civic space regulated performers’ livelihoods; how tour guides and travel writing predetermined listening experiences; and how the policing of bodily display and alcoholic consumption have made entertainment venues a focus for surveillance and control. The second set of questions relates to the mapping techniques available to music studies today: we will ask what is at stake in converting affective, interpersonal musical experiences into machine-readable spatial coordinates; how the problems of mapping the performing arts differ from those of mapping literary or visual culture; and how the current fascination with urban centres emerged from earlier work at the scale of the region or nation.

 

Please send proposals (300 words) for individual papers or panels to Jonathan Hicks (Newcastle University) at jonathan.hicks@newcastle.ac.uk. If you have an alternative format suggestion (including, say, demonstrations of current projects or discussions of cartographic texts) feel free to get in touch to discuss your ideas.

 

Proposals from early career scholars are particularly encouraged. Thanks to sponsorship from Nick Baker there is a modest fund to support travel to the event, particularly for anyone attending from overseas; if you are interested in this support, please say so in your application.

 

Finally, please note the quick turnaround for this call: the deadline for proposals is Wednesday 13 December 2017, 1200 GMT and decisions will be made later that week.

The Study of Musical Experiences: Perception and Diversity

NOV 28 – DEC 1 — BERGEN, NORWAY

We are delighted to announce our Autumn Course, which will run from November 28th-December 1st 2017 at the University of Bergen. The event is organized by the Grieg Research School in Interdisciplinary Music Studies (Western Norway).

The theme for this course is “The Study of Musical Experiences: Perception and Diversity”. More info available here. Continue reading “The Study of Musical Experiences: Perception and Diversity”

Terminology research in musicology and the humanities

CALL FOR PAPERS

CONMUSTERM: Terminology research in musicology and the humanities

Conference dates: May 25 – 26, 2018

Venue: University of Zagreb, Music Academy; Trg maršala Tita 12, Zagreb, Croatia

 

Topics

  • Synchronic and diachronic approaches to music terminology
  • Music terminology in reference literature and teaching materials (with special reference to recently developed terminology of music theory, composition, music technology and ethnomusicology)
  • Terminology standardization in the humanities (e.g. in musicology, ethnomusicology, linguistics, art, philosophy, history, anthropology, ethnology, archaeology, etc.)
  • Humanities within traditional and contemporary terminological theoretical approaches
  • Terminology and the humanities in a multilingual context: linguistic and cultural specificities
  • Terminology of the humanities in multilingual terminological databases
  • Specific terminological issues in minor languages
  • Other related topics

 

Official languages of the conference

Croatian and English

 

Plenary speakers

Markus Bandur, Academy of Sciences and Literature in Mainz / National Library in Berlin

Gerhard Budin, University of Vienna, Centre for Translation Studies

 

Submission information

 

Types of contributions

  • full papers (20-minute talk followed by 10 minutes for discussion and change of rooms)
  • panel discussions (group related papers for up to 5 participants, duration 45 – 60 minutes)
  • posters

Submissions of abstracts for full papers should present either complete research, or research in progress where at least some substantial results have been achieved. Work in progress which has yet to produce results can instead be submitted as a poster abstract. Both categories of abstracts should not exceed 500 words.

Submission of abstracts of 500 – 800 words for panels are to be submitted by the panel convenor(s) on behalf of all speakers, with an introduction specifying the relationship between the topics before details on individual presentations (including names and affiliations of all speakers) are given.

 

Conference fee

Fees include conference materials, lunch and refreshments for both conference days, but not accommodation:

  • active participants 70 EUR
  • participants without presentation 30 EUR
  • conference dinner 20 EUR (not included in the conference fee)

 

Proceedings

Selected peer reviewed papers will be published following the conference within a special issue of the journal Rasprave of the Institute of Croatian Language and Linguistics.

 

Organizers

University of Zagreb, Music Academy, Department of Musicology

Institute of Croatian Language and Linguistics, Zagreb

The conference is financed by the Croatian Science Foundation (HRZZ) within the research project Conmusterm.

Organizing Committee

Nikša Gligo (President), Tomislava Bošnjak Botica, Sanja Kiš Žuvela, Krešimir Sučević Međeral, Ana Ostroški Anić

Contact: conmusterm@muza.hr

Conference website: http://bit.ly/2wHIade

conmusterm_application_form_ENG

conmuster_konferencija_prijavni

Researching Performance, Performing Research – Collaborations and Confrontations

October 27-29, 2017

Introduction

The purpose of this symposium is to explore the manifold contexts in which interactions between musical performers and scholars take place, and the different modalities in which such interactions may be conducted. In both the past and the present these have included productive collaborations and shared visions, but also genuine confrontations. The symposium will address not just the overlaps between the activities of performers and scholars and between the different types of knowledge that undergird both musical performance and the performative act of doing research, but also the disagreements, tensions, and failures that may arise when bringing these practices into dialogue.

The symposium will be structured around five basic themes:
Theme 1: Instruments of Performance Research
Theme 2: Sources of Performance Knowledge
Theme 3: Scholars and Performers Interacting
Theme 4: Institutional Cultures and Collaborations
Theme 5: Power, Prestige, and Embodied Knowledge

Speakers/performers
We have invited presentations from a wide range of musical scholars and performers, those with a pluralistic outlook on performance and research. Pre-formed sessions will contain both presentations and performances by the symposium delegates, with the aim of achieving a symbiosis of these two basic elements. The keynote address will be given by the composer and vocalist Jennifer Walshe, a world-renowned performer of contemporary art, in collaboration with the accordeonist Andreas Borregaard.

Location
The symposium will take place at the Muziekgebouw aan ‘t IJ (Piet Heinkade 1, 1019 BR Amsterdam), which is very close to Amsterdam Central Station

Programme
The final programme and abstracts can be found here

Registration
Please register for the symposium here

Accommodation
We have made arrangements with two hotels in Amsterdam, where you can book a room at a reduced rate. Click here for more information.

Questions can be addressed to the symposium conveners: john.koslovsky@ahk.nl; michiel.schuijer@ahk.nl

The organizing committee
Hans Fidom (VU University/Orgelpark)
John Koslovsky (Conservatorium van Amsterdam/Utrecht University)
Julia Kursell (University of Amsterdam)
Olga Panteleeva (Utrecht University)
Michiel Schuijer (Conservatorium van Amsterdam)
Floris Schuiling (Utrecht University)

14th International Music Theory and Analysis Conference

Gruppo Analisi e Teoria Musicale (GATM), Rimini (Italy) Istituto Superiore di Studi Musicali “G. Lettimi”, Via Cairoli 44 (28 September – 1 October, 2017)

The 14th International Music Theory and Analysis Conference, organized by the Italian research association Gruppo di Analisi e Teoria Musicale (GATM), in collaboration with the Istituto Superiore di Studi Musicali G. Lettimi, the Sagra Musicale Malatestiana, and the Municipality of Rimini, will be held in Rimini from Thursday, 28 September, to Sunday, 1 October 2017. The Conference Committee hereby invites those interested to submit proposals related to music theory and analysis of repertoires, practices and musical experiences of any genre, period or geographic area.

 

CALL FOR PAPERS

Submission guidelines

Proposals should be submitted in one of the following categories:

  •      Individual or co-authored papers;
  •      Panel sessions (containing from three to four papers);
  •      Lecture-recitals.

Each proposal, written in Italian or English, must include an abstract of no more than 500 words, clearly expressing research goals, applied methodology, and interest as regards the current state of knowledge. Session-panel proposals, submitted by a convenor, should provide a detailed multi-viewpoint discussion on a theoretical and/or analytical subject and must also include, in addition to a session summary of no more than 500 words, a separate abstract of no more than 350 words for each paper. Lecture-recital proposals should summarize the analysis of the work/s to be performed, with a particular emphasis on the relation between analysis and performance, also through possible analytical annotations on the attached score/s.

Each proposal must also include:

  •      full name, institutional affiliation (if any), email address and a short curriculum vitae/biographical essay (max 200 words) of the author(s); this information is also required for both the convenor and each participant in a panel session and in a lecture-recital;
  •      selected bibliography (no more than five titles); bibliography is also required for each paper of a panel session;
  •      supplementary materials, if any, such as musical examples, figures, and diagrams (maximum two pages);
  •      copy of score/s to be performed with possible analytical annotations (only for lecture-recital proposals);
  •      list of required equipment.

The official languages of the conference are Italian and English. Each paper will be given a time slot of 30 minutes, followed by 10 minutes of discussion. Lecture-recitals will be given a time slot of 35 minutes (including the performance), followed by 10 minutes of discussion.

 

Deadline for proposal submission and notification of the outcome

All proposals must be sent by email as an attachment (in PDF format) to presidente@gatm.it or segreteria@gatm.it. Submissions will be open until July 9, 2017.  Proposals sent after this deadline, or not complying with the submission guidelines above, will be rejected. Authors of proposals will be informed of the outcome of their submission by email by July 30, 2017.

 

Participation, final program, and publication of abstracts

Authors may submit more than one proposal, but only one will be chosen within the same category. Double participation is allowed, but only in sessions of different categories. The conference programme will be sent to all participants by August 28, 2017, and will be available on the GATM and Analitica online websites. All the accepted abstracts will be published on the Analitica online website and included in the conference Abstract Book. The Conference Committee reserves the right to ask the proponents to make changes to the abstract prior to its publication. After the conference, the Scientific Committees of the Rivista di Analisi e Teoria Musicale and Analitica online will be notified by the Conference Committee as to the most interesting papers.

 

Conference fees

Participation in the conference requires a subscription to the semi-annual journal Rivista di Analisi e Teoria Musicale. The subscription fee amounts to € 30 (students: € 25). Subscription page: http://www.gatm.it/index.php?option=com_content&view=article&id=54&Itemid=125&lang=en

 

Contacts

For any further inquiries, please send an email to presidente@gatm.it or segreteria@gatm.it.

Web sites: http://www.gatm.it ;  http://www.gatm.it/pdf/Rimini2017/italiano.pdf  ; http://www.gatm.it/pdf/Rimini2017/english.pdf

http://www.gatm.it/analiticaojs/index.php/analitica/announcement/view/35

 

Conference Scientific Committee

Mario Baroni, Alessandro Bratus, Domenico Colaci, Rossana Dalmonte, Catello Gallotti, Ignazio Macchiarella, Alessandro Maffei, Enrico Meyer, Susanna Pasticci, Egidio Pozzi.

 

 

 

Principles of Music Composing: ratio versus intuitio

17th International Music Theory Conference

November 8th – 10th 2017

Vilnius, Lithuania

The aim of the annual conference ‘Principles of Music Composing’ is to foster theoretical thought that is essential for compositional practice and education of composers. Sixteen conferences of this series have already been held in Vilnius. The 17th conference draws attention to the phenomena of rationality and intuition, which are considered to be contrasting yet complementary poles in the compositional process. Intuition often alters the realization of rational scheme, model or archetype chosen by the composer. Meanwhile rational revision may improve intuitive improvisation, sonorous vision, or the artistic idea.

The topic of the conference could be divided into suggested subtopics:

  1. Rational processes of composition and aural intuition (theoretical insights, definition, conceptions, typology)
  2. Musical work as the result of rational and intuitive creative activity (theoretical, historical and aesthetical aspects)
  3. Adaptation of interdisciplinary ideas in the compositional practice based on rational and intuitive origin
  4. Rational and intuitive qualities in new musical resources and techniques (sonorism, microchromatics, extended techniques, aleatory, electronics, etc.)
  5. ‘Rational’ and ‘Intuitive’ composers: features of their works and the creative process
  6. Phenomena of rationality and intuition in the contemporary compositional practice
  7. Lithuanian composers: between rationality and intuition

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

 The main language of the conference is English.

The deadline for proposal submissions is August 20th 2017. Proposals will be reviewed by the members of the scholarly committee and all applicants will be notified of the outcome in the beginning of September 2017.

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’.

pmc.lmta.lt