International Conference ‘Explicitly Intertextual Music since 1890’

Gdańsk, 23rd-24th May 2019

organized by the Stanisław Moniuszko Academy of Music in Gdańsk, Institute of Music Theory

Call for papers

Intertextuality, as a concept of contemporary knowledge on literature and art, is – according to Ryszard Nycz – ‘a category used to define this dimension of construction and meaning of a text (a work of art), which points to irremovable, intrinsic dependence of its creation, object status and reception on the existence of other texts and archi-texts (stylistic-specific rules, discursive-generic conventions, semiotic-cultural codes), as well as on the ability of persons participating in cultural cognition and communication process to recognise these inter- and archi-textual references’. What are the possibilities and limitations connected with transposing this category into the situation of music understood as a message?

In the 20th and 21st century there have been many composers who, in different ways, referred to traditional forms, genres, styles, conventional measures or techniques; they cited, paraphrased or transformed, in a specific manner, other musical ‘texts’. Those strategies became norms of their own compositional ‘languages’. Among these composers were, for example, Gustav Mahler, Charles Ives, Igor Stravinsky, Benjamin Britten, George Rochberg, Alfred Schnittke, David Del Tredici, Vladimir Martynov, Salvatore Sciarrino, Wolfgang Rihm, Michael Daugherty, Paweł Szymański, Osvaldo Golijov, Thomas Adès, Jörg Widmann, Maxim Kolomiiets, Andrzej Kwieciński. Are we able to recognise all the references to other texts, made by the above-mentioned composers? Which inter- and archi-texts evoke our quicker reactions? What are the benefits of recognising inter- or archi-texts?

The conference will address two groups of issues: (1) theoretical, methodological and aesthetic aspects of intertextuality in music in critical approaches, (2) interpretation of explicitly intertextual works from the area of classical, film, theatre and jazz music. We suggest that the following issues could be considered:

  • Michael Riffaterre’s concept of interpretant and Ryszard Nycz’s concept of intertextual exponent as research tools in musicology
  • strategies for citing texts from the past and for composing them anew
  • references to stylistic norms and to generic and formal rules
  • intertextual poetics
  • memory of recipients and texts from the past
  • complex process of listening to and interpreting works which are explicitly intertextual
  • intertextuality and meanings of a text
  • intertextuality and the issue of authenticity
  • intermediality

Programme Committee: Violetta Kostka, Danuta Popinigis, Renata Skupin

The official language of the conference is English. Presentations should be 20 minutes in length, and will be followed by an additional 10 minutes for discussion. Titles and abstracts of maximum 300 words should be sent to v.kostka@amuz.gda.pl The proposals should also include name, affiliation, e-mail, telephone number, postal address and short biography. The deadline for submitting proposals is February 17th, 2019. The final decision of the committee on the selection of the papers will be announced no later than February 23rd, 2019. Selected papers are supposed to be published in English in a yearbook ‘Aspekty Muzyki’.

Conference fee: 90 EUR (academic researchers), 45 EUR (PhD candidates). The fee includes two lunches, reception, coffee breaks with refreshments and publicity. The organizers do not cover travel expenses or accomodation. All speakers whose papers are accepted for presentation will receive necessary information (including bank transfer details and list of suggested hotels and hostels) via e-mail.

Sensing Colonial Ports and Global History: Agency, Affect, Temporality

cpagh-logo

CALL FOR PAPERS [Deadline: 4 February 2019]

 

Sensing Colonial Ports and Global History: Agency, Affect, Temporality

2 May (full day) and 3 May (half day) 2019

TORCH, The Oxford Research Centre in the Humanities

University of Oxford

 

Keynote Speakers:

Leila Fawaz (History, Tufts University)

Benjamin Walton (Music, University of Cambridge)

 

Sensing Colonial Ports and Global History is an interdisciplinary two-day conference organised by the Colonial Ports and Global History (CPAGH) Network in TORCH Oxford (https://torch.ox.ac.uk/cpagh). Its aim is to cross-examine three key concepts – agency, affect and temporality – that are increasingly central to anthropological, historical, musicological and sociological thought about colonial port cities. In doing so, it also explores anew the implications of the ‘colonial port city’ for global history, both in and beyond the academy.

Within this framework, the conference will centre around three main concerns. The first relates to issues of agency and power, notably the ways in which actors and institutions interacted with different connections and connectors, as well as with disruptions and disruptors. On the one hand, we seek to further the critical study of colonial power and power relations between port cities. Taking into consideration the five ‘scapes’ Arjun Appadurai (1990) has identified for narrating patterns of globalisation, we also seek explorations of the ways in which colonial power demonstrated itself in different port cities. On the other hand, we seek, too, to move beyond the study of colonial ports as a tool to explain connections, and to examine port cities in their own right, thereby highlighting hitherto understudied voices, and uncovering new perspectives on connections and disruptions. In other words, we seek to explore how people in port cities variously experienced, navigated, negotiated as well as expressed in local vocabularies what ‘global’ connections and the ‘colonial port city’ were and meant in their everyday lives.

Second, the conference will highlight the role of senses in researching colonial histories. Taking our cue from Hearing History (Smith 2004), what does it mean to not only tune but also sense into an extended, yet uneven geography of colonial ports? The interconnectedness of these global hubs can detract from their significance as nodes shaped locally, and translocally, by an extensive range of affective registers. Their distinct performativities, listening practices and multi-sensory environments, for example – coupled with the various ways in which such registers are (not) documented, experienced and/or contested – raise intriguing questions about the role of the senses both within and across the colonial ports, and their implications for rethinking the so-called globality of the colonial ports. Furthermore, how might these ports – when ‘sensed’ as nodal cultures – more broadly inform the re/writing of global history with their particular affective registers?                                                         

Last but not least, we hope to bridge between new research on time, temporality and global history. The weight of historical inquiry on time has fallen heavily on Western Europe, where imperial expansion and advanced production and communication technologies revolutionised time-keeping practices and temporal habits. As the movement to regulate time across nations, empires end hemispheres grew stronger, it came into conflict with maritime as well as local regional temporalities that had been associated with the community, religion, environment, seasonal cycles and the sea regimes. Situated at the crossroads between local cultures and the increasingly regulated temporal regimes applied to trade and governance, port cities represent spaces that can facilitate and reveal tensions in the global transformation of time. How did the emerging rhythms of work and civic life in port cities come into contact with the existing ideas and practices of time? How was time negotiated between the increasing pressure of standardisation, and the environmentally and socially-embedded temporal traditions? To what extent did multiple understandings of time create a virtual spatio-temporal dissociation between port cities and their hinterland? Participants are encouraged to explore these questions, as well as connections and exchanges between temporal cultures that emerged in various port cities in the era of European imperialism.

We are delighted to have two distinguished keynote speakers: Leila Fawaz, Issam M. Fares Chair of Lebanese & Eastern Mediterranean Studies at Tufts University, whose broad expertise encompasses migration, trade and war in the modern Middle East;and Benjamin Walton, Senior Lecturer in Music at the University of Cambridge, whose rich expertise extends from touring opera troupes beyond Europe to the globalisation of opera in and beyond the nineteenth century.  

Scholars working in Anthropology, History, Musicology, Sociology and other related disciplines in the Humanities and Social Sciences, who are interested in presenting at the conference, are asked to send an abstract of 250–400 words and a brief (1–2 page) CV to cpagh@torch.ox.ac.uk by Monday, 4 February 2019. We strongly encourage submissions from researchers from underrepresented backgrounds. Co-authored papers (with no more than two speakers) are also welcome.  

Sonic Circulations 1900-1950, Senate House, London, June 2019


Sonic Circulations 1900-1950: Musical Thought, Scientific Fantasies, Global Contexts

CfP Deadline: 15 January 2019

Senate House, University of London, 24-25 June 2019, in association with the Institute of Musical Research.

Confirmed keynote speakers: James Q. Davies (University of California, Berkeley), Gascia Ouzounian (University of Oxford)

Conference respondents: Gundula Kreuzer (Yale University), John Tresch (The Warburg Institute, London)

From the first human flight in 1903, to the aftermath of the 1945 atomic bombings of Hiroshima and Nagasaki, science and technology in the first half of the twentieth century veered between the utopian and the malevolent. Conceived as idea, as material, and as praxis, science and technology prompt questions about mediation, ethics, marginalisation, space, and power. The time is ripe to interrogate the place of sound and music within the social worlds, political structures, and discourses of the early twentieth century, a period shaped by global uncertainty, military conflict, human displacement, and the legacies of scientised colonialism.

This conference, the second meeting of the ‘Sonic Circulations’ research network, will explore the intersections of scientific, technological, and musical discourses in the global contexts of the first half of the twentieth century. We invite a wide range of papers positioned at the nexus of (ethno)musicology, cultural studies, STS, history of science, and sound studies. Responding to intensifying scholarly preoccupation with science, technology, and music in the Enlightenment and nineteenth century, this conference seeks to cast our attentions forward in time, bringing together scholars from diverse fields and academic contexts. In particular, submissions are encouraged to foreground social dynamics, to bring questions of power or historical erasure to bear where science, technology, and music meet, to interrogate hegemonies, or to expand the range of critical/theoretical perspectives and voices that might be mobilised in this field, particularly beyond those from overrepresented geographical centres.

Proposals for individual papers (20 minutes + questions) or panels (90 minutes) are warmly invited. Abstracts may address, but need not be limited to:

– Modernity and temporality: futures and pasts

– Performing, staging, screening, and writing science, technology, music, and modernity

– Materials (including technologies of music: acoustics, recording, radio, scores etc)

– Abstractions, ideologies, metaphors (e.g. reciprocity between ideas in techno-scientific and musical thought and practice)

– People/agents, for instance relationships between scientists, technologists, musical thinkers, performers and others

– Power, coloniality (including labour, race, class, gender)

– Transnational perspectives, conflict and war

– Ethics and philosophy

– (Inter)-discipline and methodology

Abstracts of no more than 350 words should be sent to soniccirculations@gmail.com by 15 January 2018. Please include title, name, institutional affiliation (if applicable), and a short biography (50-80 words). Applicants will be notified of the outcome by mid-February.

There will be a registration fee for the conference, covering refreshments and lunches.

Programme Committee: Emily I. Dolan (Harvard University), Arman Schwartz (King’s College, London), Emily MacGregor (Harvard University/Royal Holloway, University of London).

For further queries please contact Dr Emily MacGregor: Emily.MacGregor@rhul.ac.uk

http://www.soniccirculations.com/londonconference

@SonCircNetwork

Music in the Disruptive Era: The Digital, the Internet and Beyond

organized by

Centro Studi Opera Omnia Luigi Boccherini, Lucca

14-16 December 2019

The Centro Studi Opera Omnia Luigi Boccheriniof Lucca is pleased to invite submissions of proposals for the symposium «Music in the Disruptive Era: The Digital, the Internet and Beyond», to be held in Lucca, Complesso Monumentale di San Micheletto, from 14 to 16 December 2019.

The conference aims to investigate the role of the Web and how all the tools related to it have changed the way we learn, approach ourselves and experience music. What are the new forms of music production and consumption through the web? And how has the way we learn music changed? Are new genres and creative processes born? How has the Web influenced the music market? And what are the new types of jobs in music making? Can Music professionalism survive the digital wilderness? Finally, the conference intends to investigate the development of increasingly effective tools useful for musicological research, such as, for instance, the dissemination of historical sources and updated archives, as well as online scientific literature and databases.The programme committee encourages submissions within the following areas,although other topics are also welcome: 

  • New Forms of Music Production, Consumption and Reception through the Web
  • New Genres and Creative Processes
  • Musical Discoveries and Knowledge through the Web
  • The Web and Music Education
  •  Music and Liquid Modernity 
  • Music and the Digital Divide
  • The Web and the Music Market
  • New Kinds of Jobs in Music
  • The Web and Research in Music
  • Music Criticism and the Web
  • Sources, Libraries and the Web
  • The Web and Music Publishing
  • Impacts of Digital Media on Musical Performance and Programming
  • The Web, Music Copyright and other Legal Issues
  • Visualizing Music: Defining the Online Experience

Programme Committee

  • David Hurwitz (ClassicsToday.com)
  • Roberto Illiano (Centro Studi Opera Omnia Luigi Boccherini)
  • Massimiliano Locanto (Università degli Studi di Salerno)
  • Fulvia Morabito (Centro Studi Opera Omnia Luigi Boccherini)
  • Pedro Ordoñez Eslava (University of Granada)
  • Massimiliano Sala (Centro Studi Opera Omnia Luigi Boccherini)

Keynotes Speakers:

  • Georgina Born (University of Oxford)
  • Christine Hine (University of Surrey)

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 5 May 2019*** 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 2019, 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

Popular songs in the 19th Century

organized by

Centro Studi Opera Omnia Luigi Boccherini, Lucca

Palazzetto Bru Zane – Centre de musique romantique française, Venice

 

LUCCA, Complesso Monumentale di San Micheletto

30 November – 2 December 2019

CALL FOR PAPERS

The Centro Studi Opera Omnia Luigi Boccherini of Lucca and Palazzetto Bru Zane – Centre de musique romantique française, Venice are pleased to invite submissions of proposals for the symposium «Popular songs in the 19th Century», to be held in Lucca, Complesso Monumentale di San Micheletto, from 30 November to 2 December 2019.

Even if its manifestation differs within the cultural areas in which it appears, the vogue of “popular song” seems to become a transnational phenomenon around the years 1820-1830. Following a period of political affirmation and education via the use of songs (during the French Revolution), this repertoire draws on traditional songs that, although often older (sometimes as old as the fifteenth century), are revived. The political and esthetic purposes of these productions remain to be investigated on a european scale.

The aim of this conference is multifaceted: from the investigation of the history of the nineteenth-century song from the beginning of the century up to the First World War, through evaluation and assessment of the repertoire, of the public and of the performance venues, to the isolation and identification of points of contact between different cultures from a global geographical perspective (Francophone, English-speaking, German, Italian, Spanish).

The possible answers to the essential question ‘What is popular song?’ acquire a central role in this context, since they concern not only its physical manifestations–the circumstances and places of performance of this repertoire–but also its meaning and significance: how the repertoire itself reflects the society of its origins.

The programme committee encourages submissions within the following areas, although other topics are also welcome:

  • The Definition of “Popular Song” in the Nineteenth Century
  • The Literary Sources of the Repertoire
  • Musical Influences on the Repertoire
  • The Different Genres of Popular Song
  • Authors, Performers and Public
  • The Types of Entertainment Venues
  • The Production System of the Song in the Nineteenth Century
  • The Geography of the Song in Urban Spaces
  • Dissemination Through Editions, Press, etc.
  • The Cultural and Social Role of Popular Song

Programme Committee:

  • Roberto Illiano (Centro Studi Opera Omnia Luigi Boccherini)
  • Étienne Jardin (Palazzetto Bru Zane – Centre de musique romantique française)
  • Fulvia Morabito (Centro Studi Opera Omnia Luigi Boccherini)
  • Michela Niccolai (LaM, Université libre de Bruxelles et IHRIM, Lyon2, Lyon)
  • Massimiliano Sala (Centro Studi Opera Omnia Luigi Boccherini)

Keynote Speakers:

  • Derek Scott (University of Leeds)
  • Michela Niccolai (LaM, Université libre de Bruxelles et IHRIM, Lyon2, Lyon)

The official languages of the conference are English, French 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 28 April 2019*** 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 half of May 2019, 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

Music Patronage in Italy from the 15th- to the 18th- Century

Call for Papers

The Centro Studi Opera Omnia Luigi Boccherini of Lucca is pleased to invite submissions of proposals for the symposium «Music Patronage in Italy from the 15th- to the 18th- Century», to be held in Lucca, Complesso Monumentale di San Micheletto, from 16 to 18 November 2019.
During the Renaissance and throughout the Baroque and Classical periods, musical production is linked to patronage. Predominantly in the courts – ecclesiastical or secular – the ‘patron’ is a rich person, usually noble, who offers protection and money in exchange for a service. The musician s work on commission, in keeping with the requests of their patrons. Although the artists of the referred period managed to express themselves in works of excellent craftsmanship , it is undeniable that the system repressed or at least channelled their creativity. There is in fact a master-servant relationship between patrons and salaried workers and, although the exposure to each other was close and often collaborative, it is inappropriate to think of an equal relationship.
There are essentially two types of patronage. The first relates to political institutions, to public life, and aims to promote musical events that highlight the wealth and power of the patron in the eyes of rival courts and subjects – hence the birth of the court chapels. The second type belongs to the private sphere, in which the patron, of noble birth and as such in possession of high moral and intellectual virtues, possesses a discriminating artistic sensibility — hence the promotion of chamber music activities, the collecting of rare and valuable musical instruments, and the compilation and collection of musical manuscripts, possibly in deluxe or personalized copies .
This musical production system, as described, lasted until the middle of the nineteenth century, when the advent of capitalism and the rise of the bourgeois class caused the decline of patronage. Musical activity then began to obey the laws of the marketplace, with substantial repercussions on the social status of the musician and his work.
This conference focuses on the various aspects of music patronage in Italy from the fifteenth to the eighteenth century. The programme committee encourages submissions within the following areas, although other topics are also welcome:

– Patronage and institutions
– The private sphere of patronage
– Music Patronage and the Church
– Patronage and musical genres
– Patronage and censorship
– The patronage system and the social status of the musician
– Patronage and musical print
– Patronage and manuscript production
– Patronage and musical collecting

Programme Committee: 
• Roberto Illiano (Centro Studi Opera Omnia Luigi Boccherini)
• Fulvia Morabito (Centro Studi Opera Omnia Luigi Boccherini)
• Massimiliano Sala (Centro Studi Opera Omnia Luigi Boccherini)

Keynotes Speakers:
Iain Fenlon (University of Cambridge)
Reinhard Strohm (University of Oxford)

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 14 April 2019*** 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 April 2019, 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
http://www.luigiboccherini.org

RASMB-IMS 2019 Conference: MUSICAL AND CULTURAL OSMOSES IN THE BALKANS

Bucharest, 2–6 September, 2019

Call for Papers

The National University of Music in Bucharest in collaboration with the IMS Regional Association for the Study of Music of the Balkans announce an International Musicological Conference on the subject Musical and Cultural Osmoses in the Balkans. The conference will take place at the National University of Music Bucharest, on 2–6 September, 2019.

The purpose of the International Musicological Conference is to promote interaction, research, discussion and intercultural dialogue among musicologists, ethnomusicologists, researchers and students from Romania, the Balkans and other countries with an interest on the different local musical traditions in South-East Europe and their interactions to the Mediterranean and broader region.

The conference strongly encourages debating subjects such as art music in the Balkans and its interactions with Western Europe traditions, Byzantine and Post-Byzantine chant, methodologies and new trends in Musicology and Ethnomusicology/Music Anthropology of the Balkans, current issues and approaches in Music Education in the Balkans, music and political regimes.

Proposal may address (but are not limited to) the following categories that fall under the topic of the conference:

  1. Art Music in the Balkans
  2. Byzantine and post-Byzantine chant
  3. Musical encounters: Silk roads across Mediterranean area to Asia
  4. Ethnomusicology – Anthropology
  5. Methodologies and new trends in Musicology and Music Theory
  6. Music and politics

The official conference language is English. However, participants can present in Romanian, having submitted prior to the conference and at a set deadline a translation of the final paper in English.

Proposals are invited for:

  • 20-minute papers
  • Panels of up to four presentations (90 minutes).

Abstracts of 20-minute papers should not exceed 300 words and panels’ proposals should contain the description of the panel’s subject (no more than 100 words) and an abstract (no more than 300 words) for each paper included in the panel.

All proposals should be sent electronically as an attachment to the following email address: IMS2019bucharest@unmb.ro with the subject line: Musical and Cultural Osmoses in the Balkans.

The attachment should include the following information as well:

  • Name(s) of the author(s) and institution affiliation (if applicable)
  • Type of proposal
  • Title of the paper/panel proposal
  • Short biographical note of the author(s) (100 words)

Full audiovisual equipment and adequate technical support is available for all presentations.

Important dates:

  • Abstracts of proposals/panels: no later than 31 December 2018
  • Notification of approval: no later than 28 February 2019
  • Submission of finalised papers (only in cases of translated papers from Romanian to English): no later than 1 August 2019

Registration fees:

Participants: 30 Euros (10 Euros for students, including PhD candidates)

Date and venue:

Bucharest, 2–6 September, 2019, National University of Music Bucharest, 33 Știrbei Vodă Str., Sector 1, 010102 Bucharest, Romania (http://www.unmb.ro).

Contact information:

Further instructions and details will soon be posted on the conference webpage: ims2019bucharest.ro.
See also: http://www.musicology.org/networks/ra/rasmb
Announcements will also appear on the webpage of the National University of Music Bucharest (http://www.unmb.ro) and the New Europe College (http://www.nec.ro).

Performing Arts and Technical Issues in the 19th Century

organized by

Centro Studi Opera Omnia Luigi Boccherini, Lucca

Palazzetto Bru Zane – Centre de musique romantique française, Venice

 

Lucca, Complesso Monumentale di San Micheletto

18-20 October 2019

The Centro Studi Opera Omnia Luigi Boccheriniof Lucca and Palazzetto Bru Zane – Centre de musique romantique française, Veniceare pleased to invite submissions of proposals for the symposium «Performing Arts and Technical Issues in the 19thCentury», to be held in Lucca, Complesso Monumentale di San Micheletto, from 18 to 20 October 2019.

It is only in recent years that musicology has seriously begun to focus on opera staging, representing as it does a crucial element in our understanding of theatrical production. The visual component is integral to the compositional process of opera; it is already present in the stage directions contained in scene booklets and scores, before finding its ultimate form in the most comprehensive examples of stage-booklets. Cross-comparison of these books with the score, sets, costumes and press reports, often accompanied by illustrations and photographs of the scenery, can now generate an understanding of the ‘three-dimensionality’ of a particular opera.

The present conference aims to address several facets of the artistic expression of a live performance, in particular focusing on the technical issues, people and institutions related to it. Thus dance, musical theatre, mime, puppetry, and other performing arts will be investigated through the lens of their various components— staging, lighting, sound, costumes, theatrical machines — as well as their protagonists — impresarios, tournée, companies, designers, conductors and directors.

The programme committee encourages submissions within the following areas, although other topics are also welcome:

  • Stage Machinery: Scene Changes, Lighting, Sound Effects, Set, Illusions, etc.
  • Economical and Administrative Issues
  • Companies and Tournées
  • Stage Direction, Movements and Gestures
  • Impresarios, Actors, Dancers, Designers, Conductors, etc.
  • Mime, Puppetry, Dance and Choreography
  • The Venues of Entertainment
  • Press, Staging Manuals, Literature and Handbooks

Programme Committee:

  • Roberto Illiano (Centro Studi Opera Omnia Luigi Boccherini)
  • Étienne Jardin (Palazzetto Bru Zane – Centre de musique romantique française)
  • Fulvia Morabito (Centro Studi Opera Omnia Luigi Boccherini)
  • Massimiliano Locanto (Università degli Studi di Salerno)
  • Michela Niccolai (LaM, Université libre de Bruxelles et IHRIM, Lyon2, Lyon)
  • Massimiliano Sala (Centro Studi Opera Omnia Luigi Boccherini)

Keynote Speakers:

  • Scott Palmer (School of Performance and Cultural Industries, University of Leeds)
  • Catrina Flint (Vanier College, Montréal).

The official languages of the conference are English, French 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 7 April 2019*** 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 April 2019, 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

Singing Speech and Speaking Melodies: Musical Theatre (1650-1918)

organized by
Centro Studi Opera Omnia Luigi Boccherini (Lucca)

Research Group ERASMUSH, University of Oviedo (Oviedo, Spain)

Oviedo, Edificio Histórico de la Universidad
09 – 11 May 2019

Call for Papers

The Centro Studi Opera Omnia Luigi Boccherini of Lucca and the Research Group ERASMUSH of the University of Oviedo (Spain) are pleased to invite submissions of proposals for the symposium «Singing Speech and Speaking Melodies: Musical Theatre (1650-1918)», to be held in Oviedo, Edificio Histórico de la Universidad de Oviedo (Historic Building of the University of Oviedo), from Thursday 9 to Saturday 11 May 2019.

This conference aims to deal with the complex world of the variety of stage works such as vaudeville, singspiel, zarzuela, operetta, opéra-comique, intermezzo, tonadilla or ballad opera, that were born around the establishment of Opera as a musical genre in different European Countries. Most of them with a long life, flourished during the 19th and the beginning of 20th century , becoming then a mass phenomenon that gathered a large audience. Despite the many differences, all of these forms of musical theatre share an alternation of sung parts and spoken dialogue , and some of them dance too. During their evolution and dissemination around the world, many of these genres of musical theater have maintained their denomination but changed their forms and literary-musical references, sometimes enriched with foreign contributions and inbreading between closely related genres. This development has created some epistemological problems about what zarzuela, operetta or opéra-comique means in the different periods of its life.

The programme committee encourages submissions within the following areas, although other topics are also welcome:

• Repertoire and analysis of models
• Dramaturgical roles of the singing & of the spoken word
• Literary sources and influences
• Sources, relationships and divergences
• Production system, consumption, entertainment system
• In & out of Europe: dissemination and adaptation of theatrical genres
• Performing practice: Do the singers speak or the actors sing?
• The public and its social component
• Musical aesthetics and criticism
• Scene, choreography and dance
• Costumes, Decorations and Scenic Design
• Editing theatrical music: from the piano to the orchestral accompaniment

Programme Committee:
• María Encina Cortizo (Universidad de Oviedo)
• Roberto Illiano (Centro Studi Opera Omnia Luigi Boccherini)
• Fulvia Morabito (Centro Studi Opera Omnia Luigi Boccherini)
• Michela Niccolai (LaM, Université libre de Bruxelles et IHRIM, Lyon2, Lyon)
• Massimiliano Sala (Centro Studi Opera Omnia Luigi Boccherini)
• Ramón Sobrino (Universidad de Oviedo)

Keynote Speakers:
• María Encina Cortizo (Universidad de Oviedo)
• Michela Niccolai (LaM, Université libre de Bruxelles et IHRIM, Lyon2, Lyon)

The official languages of the conference are English, Spanish, French 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 3 February 2019*** to <conferences@luigiboccherini.org>. With your proposal please include your name, contact details (postal address, e-mail and telephone number) and (if applicable) your affiliation.
The committee will make its final decision on the abstracts by the end of February 2019, 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

Music and the Internet: a Joint Study Day of the RMA & BFE

– CALL FOR PAPERS –
Music and the Internet
A Joint Study Day of the RMA & BFE
University of Oxford
Saturday 8th December 2018
Keynote Speaker: Prof. Georgina Born
Roundtable Speakers: TBC

Since the turn of the millennium, music and the Internet have become increasingly entangled with one another. For many Internet users, the musical web has become an integral part of everyday life, while worldwide digitization initiatives have transformed musical production practices and modes of consumption. In their recent Music & Letters article, Georgina Born and Christopher Haworth note that the Internet ‘multiplies music’s discursive and social mediation, engendering new online entities, practices, and relations, which may themselves augment, publicize, and globalize offline forms’. Alluding to new research directions, they reason that the study of Internet-mediated music ‘necessitates interdisciplinary approaches that integrate digital methods with both ethnography and history’ (Born & Haworth 2018: 603, 647).

Responding to these developments, this BFE & RMA study day seeks to foster dialogue between musicologists and ethnomusicologists who are interested in the online mediation of music and novel methodological approaches that support its study. How is the Internet involved in the formation of musical and political subjects? What can we learn from online interactions between artists and fans, performers and audiences? Why have musical memes become a contagious aspect of popular culture in the current decade? In what ways does the Internet afford renewed interest in music making among large corporations? Who are the users that make use of the musical web, and on whose terms do they play and listen?

We invite proposals for papers of 20-minutes, which will each be followed by 10 minutes of discussion. The keynote address will be given by Professor Georgina Born and the day will conclude with a roundtable on digital research methodologies. We particularly welcome papers by graduate students and early career researchers.

Prospective paper topics may include (but are not limited to):

 The online consumption of music: YouTube, Spotify, SoundCloud, etc.
 The transformation of music economies and the emergence of the digital music commodity
 Emancipation, control, and the politics of Internet use
 The materialities and social meanings of digital music technologies
 Online communities and the construction of celebrity personae
 Internet-mediated music genres
 Interdisciplinary approaches to musical memes and user-generated content
 The use of smartphones for music creation and dissemination
 Internet piracy and reconfigurations of Intellectual Property
 Digital methodologies: using the Internet for ethnographic and musicological inquiry

Paper titles and abstracts of 250 words should be sent to musicinternetoxford@gmail.com by 9th September 2018.

Notification of acceptance will be sent by 7th October 2018.

Programme Committee:

Pablo Infante-Amate (University of Oxford), Edward Spencer (University of Oxford), Georgina Born (University of Oxford), Eric Clarke (University of Oxford)

Study Day Website: https://musicinternetoxford.wordpress.com/