1st Biennial Carl Nielsen Studies Conference

Newcastle University, 17–18 September 2020

The 1st Biennial Carl Nielsen Studies Conference will be held at Newcastle University on the 17th and 18th for September 2020. As Denmark’s most important musical figure, the conference celebrates his life and his output. The event is organised by the editorial board of the Anglo-Danish journal Carl Nielsen Studies

A call for papers will be circulated in December 2019. Submissions for 20-minute presentations with 10 minutes of discussion are welcomed from postgraduate students, early career scholars and established academics. Topics for research papers may include, but are not limited to:

  • Theory and analysis
  • Historical and contextual research
  • Philosophical and/or political approaches
  • Biography
  • Nielsen’s literary output
  • Influences inside and outside of Denmark
  • Reception
  • Iconography
  • Archival research
  • Performance practice

The language of the conference will be English.

Capitalist Realism: 10 Years On

Website: https://capitalistrealism10yearson.wordpress.com/
Symposium: February 15-16, 2020
Submission deadline: December 16, 2019
Venue: University of Huddersfield

“Capitalist Realism as I understand it cannot be confined to art or to the quasi-propagandistic way in which advertising functions. It’s more like a pervasive atmosphere, conditioning not only the production of culture but also the regulation of work and education, and acting as a kind of invisible barrier constraining thought and action.”

Mark Fisher, Capitalist Realism

In 2009, Mark Fisher published Capitalist Realism, an exploration of cultural product born from the seeming impossibility of any alternative to the established political and economic system of capitalism. In it, he establishes the key tensions manifested by a culture, artistic and otherwise, that has no alternative but to function within capitalist structures, with music, film, and the visual arts becoming a mirror through which to understand and interpret these more nebulous political and economic forces.

Ten years on and circumstances under late-capitalism continue to transform in ways Fisher could never have anticipated. From the rise of socialist figures Jeremy Corbyn, Bernie Sanders and Alexandria Ocasio Cortez, the emergence of the gig economy, to the complex and multifaceted reactions to the socioeconomic structures of our world that are Brexit and Trump. Meanwhile some of Fisher’s most enduring observations remain just as problematic today: the reduced power and the increased bureaucratisation of our public institutions, the ambiguous function of learning and further education, the increased productisation of creative thought and culture, the economic dominance of nostalgia, and rising mental health issues, simultaneously born from capitalism and ineffectively treated under it.

The University of Huddersfield, supported by the Centre for Research in New Music (CeReNeM), will host a two-day symposium in February to reflect upon cultural products of the last ten years to gain some insight into the contemporary state of capitalist realism. What observations can be made from culture from the 2010’s as it relates to Fisher’s original text? How has capitalist realism been challenged over the last decade? What avenues have emerged to challenge the dominant narrative of culture under capitalism? And where do our current cultural products indicate where we are heading and what are the possibilities for creating change?

Call for papers

The programme committee invites abstracts for paper presentations of a 20 minute duration, with 10 minutes for questions and discussions. Additional panel sessions may be formed from presenters exploring related themes.

We invite abstracts from academics, cultural critics, research students, and practitioners working in any discipline for papers exploring these ideas and more. In particular, we want to encourage scholars and thinkers without institutional support to attend and contribute.

The program committee will also invite a selection of those giving papers to write them up in the months following the conference for publication either in Divergence Press, the CeReNeM contemporary music journal, or as book chapters for publication in late 2020.

‘Women Are not Born to Compose’: Female Musical Works from 1750 to 1950

The Centro Studi Opera Omnia Luigi Boccherini of Lucca, in collaboration with Palazzetto Bru Zane – Centre de musique romantique française, Venice, is pleased to invite submissions of proposals for the symposium «‘Women Are not Born to Compose’: Female Musical Works from 1750 to 1950», to be held in Lucca, Complesso Monumentale di San Micheletto, from 27 to 29 November 2020.

Keynote Speakers:

  • Mariateresa Storino (Conservatorio di Musica ‘G. Rossini’, Pesaro)
  • Susan Wollenberg (Oxford University)

The conference aims to investigate the music and the role of women composers from 1750 to 1950. From the second half of the 18th century women composers began to participate more actively in musical life. They were also often virtuosos of instruments and/or excellent singers, and teachers as well as founders of music schools.

Although the value of their works may already have been recognised during their own time (though with critical reception that might be unhelpfully gender-inflected), women composers and their works were routinely forgotten after their death.

The growing corpus of musicological literature, together with scholarly editions of music, produced in the late 19th and first half of the 20th century largely ignored these women and their works. In recent  decades the new perspectives in musicology have restored the presence of women composers to the history of music, and their works have begun to receive the analytical attention they deserve.

This conference focuses on the various aspects of women’s work as composers,with particular reference to somefundamental questions: when, where, what, why, how and for whom did they compose?

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

  • Gender and genre: women composersand musical genres
  • Women composers’ impacton the development of musical forms and genres
  • Analytical andhermeneutic approaches to women’s music
  • Virtuosity
  • Women composersand their self-beliefin the context of contemporary views on female creativity
  • Reflections on women composers’ position in the history of music
  • The critical reception of women’sworks
  • ‘Heroines of the Risorgimento’: music as a means of conveyingpatriotic and liberal ideals in women’sworks
  • Social expectations and possibilities of professional training for women composers
  • Women composers’ writings about their music (and that of others)
  • How has the social status of women composers been changing along with the transformation of the socio-cultural context?

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 Sala (Centro Studi Opera Omnia Luigi Boccherini)
  • Mariateresa Storino (Conservatorio di Musica ‘G. Rossini’, Pesaro)
  • Susan Wollenberg (Oxford University)

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 5 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 April 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).

Music, Cinema, and Modernism. The Works and Heritage of Kurt Weill between Europe and America

The Centro Studi Opera Omnia Luigi Boccherini of Lucca and the DAMS/Università di Torino are pleased to invite submissions of proposals for the symposium «Music, Cinema, and Modernism. The Works and Heritage of Kurt Weill between Europe and America», to be held at the  Università degli studi di Torino, Palazzo Nuovo, Via Sant’Ottavio, 20 – Torino, from 22 to 24 May 2020.

Keynote Speakers

  • Nils Grosch (Universität Salzburg)
  • Stephen Hinton (Stanford University)

The conference aims to address aspects of Kurt Weill’s works in relation to his contemporaries and his heritage to succeeding generations, both in the United States and in Europe. The creative activities of the German-American composer have been characterized by his keen interest in new media: principally, in radio in Germany and in the cinema in the United States, and in new forms of experimentation in musical theater on both sides of the Atlantic.

The fact that his compositions as well as his sensibilities tended to situate themselves somewhere between the poles of highbrow and the lowbrow culture allows for multiple interpretations, while prompting various possible themes for research. The themes suggested here are not intended to be restrictive but, rather, to invite a wide range of reflections, and other topics are also welcome:

  • The modernity of Kurt Weill: borrowings and assimilations among his contemporaries
  • After 1950: the theoretical and aesthetic legacy of Kurt Weill after his death
  • Kurt Weill’s german-american contemporaries: aesthetic, artistic, and compositional choices
  • Marc Blitzstein as a translator and interpreter of the German Weill in the United States
  • Love Life on Broadway: a new musical theater genre is born?
  • Musicals, American opera, Radio Opera and so on: the ideas about musical theater by Kurt Weill
  • The debates for and against modernism among German émigré composers to the United States  before and after World War II
  • Aesthetic and theoretical debates concerning film music between the 1920s and 1940s
  • Film music as “modern music”: identity and perspectives
  • Kurt Weill and Hollywood: New Music for the Cinema?
  • Composer and arranger: new roles and new relationships
  • Berlin, Broadway, and Hollywood: a comparison of their modes of organization and cultural production

Programme Committee

  • Giaime Alonge (Università degli studi di Torino)
  • Giulia Carluccio (Università degli studi di Torino)
  • Tim Carter (University of North Carolina)
  • Pietro Cavallotti (Università degli studi di Torino)
  • Roberto Illiano (Centro Studi Opera Omnia Luigi Boccherini, Lucca)
  • Kim Kowalke (Eastman School of Music/ University of Rochester – The Kurt Weill Foundation for Music)
  • Andrea Malvano (Università degli studi di Torino)
  • Ilario Meandri (università degli studi di Torino)
  • Marida Rizzuti (Università IULM, Milano)
  • Massimiliano Sala (Centro Studi Opera Omnia Luigi Boccherini, Lucca)

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 16 February 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 February 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

Beethoven the European

The Centro Studi Opera Omnia Luigi Boccherini of Lucca, in collaboration with Ad Parnassum. A Journal of Eighteenth- and Nineteenth-Century Instrumental Music, is pleased to invite submissions of proposals for the symposium «Beethoven the European», to be held in Lucca, Complesso Monumentale di San Micheletto, from 27 to 29 March 2020.

Keynote Speakers:
Barry Cooper (University of Manchester)
William Kinderman (University of California, Los Angeles)

Beethoven’s impact is widely recognised as of seemingly universal, timeless significance; 250 years since his birth his music still communicates with and inspires people across the globe. Nevertheless his iconic, enduring oeuvre stems from a specific European cultural milieu and historical context. To what extent does the tension between the universality and particularity of Beethoven’s music give rise to a richer understanding of his music and its reception history?
Beethoven’s creative inspiration was nurtured in the European context of revolution and political reshaping, at the aesthetic turning-point from Enlightenment to Romanticism, and at the social turning-point from largely private patronage to a more market-orientated environment for composers.

Born in the German Rhineland and resident in Bonn and Vienna, he travelled little compared with contemporaries such as Mozart and Clementi, but his reputation quickly spread much further, to far-off countries such as Britain and Russia. His works attest to strong musical and ideological ties with France and England, and his stage works engage with scenarios in Spain, Hungary, the Netherlands and Greece, while his vocal works include settings in Latin, Italian, French, English and other languages as well as German. Beethoven’s intellectual outlook even extended beyond Europe, especially to Indian sources, reflecting European intellectual currents of his time. Clearly there is still much to discover about the way in which Beethoven’s music was both influenced by and in turn influenced European culture, as well as about the way Beethoven as a European has been perceived and interpreted in a wider context.

Our conference aims to explore the multivalent connections between Beethoven and Europe through multifaceted study of the music both in a European and, where relevant, a wider global multi-cultural context. We would encourage consideration of the theme through the intermingling of and interface between topics and sub-disciplines, text and music, analysis and interpretation, genesis and reception. The programme committee encourages submissions within the following areas, although other topics related to the concept of ‘Beethoven and Europe’ are also welcome:

  • The European as complement or contrast to the Universal nature of Beethoven’s musical and/or personal identity
  • Connections with the forms, styles and influences of particular European countries or cultures
  • Setting of, and interest in texts in different languages
  • Dramatic works and their relation to historical contexts
  • Political attitudes reflected in works or words
  • Beyond Europe’s boundaries: Beethoven and Asia
  • Reception across Europe and in countries related to Europe
  • Historic performance as a means of understanding context, and as a basis for modern performance
  • Innovative analyses, sketch studies and reinterpretation of sources as a way to explore issues of the universal and particular
  • Dispersal of source material across European libraries and collections

Programme Committee:

  • Barry Cooper (University of Manchester)
  • Roberto Illiano (Centro Studi Opera Omnia Luigi Boccherini)
  • William Kinderman (University of California, Los Angeles)
  • Malcolm Miller (The Open University, UK)
  • Fulvia Morabito (Centro Studi Opera Omnia Luigi Boccherini)
  • 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 13 October 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 October 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

 

50+ Years of Creative Music: Anthony Braxton – Composer, Multi-Instrumentalist, Music Theorist

Call for Papers for an International Conference, June 18th‒20th 2020
Institute for Historical Musicology of the University Hamburg
Neue Rabenstr. 13 | 20354 Hamburg | Germany

We encourage German as well as English abstracts no longer than two pages. Please send them to one of the organizers. The deadline is September 1st 2019.
Prof. Dr. Friedrich Geiger (Universität Hamburg; friedrich.geiger@uni-hamburg.de)
Prof. Dr. Timo Hoyer (Pädagogische Hochschule Karlsruhe; hoyer@ph-karlsruhe.de)
https://www.kultur.uni-hamburg.de/hm/uber-das-institut/aktuelles/tagung-braxton.html

In June, 2020, Anthony Braxton will be celebrating his 75th birthday. For more than half a century he has played a key role in contemporary and avant-garde-music as a composer, multi-instrumentalist, music theorist, teacher, mentor and visionary. Inspired by Jazz, European art music, and music of other cultures, Braxton labels his output ‘Creative Music’. This international conference is the first one dealing with his multifaceted work. It aims to discuss different research projects concerned with Braxton’s compositional techniques as well as his instrumental- and music-philosophical thinking. The conference will take place from June 18th to 20th 2020 at the Hamburg University, Germany.

During the first half of his working period, dating from 1967 to the early 1990s, Braxton became a ‘superstar of the jazz avant-garde’ (Bob Ostertag), even though he acted as a non-conformist and was thus perceived as highly controversial. In this period he also became a member of the AACM, the band Circle, and recorded music for a variety of mostly European minors as well as for the international major Arista. Furthermore, he developed his concepts of ‘Language Music’ for solo-artist and ‘Co-ordinate Music’ for small ensembles, composed his first pieces for the piano and orchestra and published his philosophical Tri-Axium Writings (3 volumes) and Composition Notes (5 volumes). These documents remain to be thoroughly analyzed by the musicological community.

Even less attention has been paid to the development of his work since the mid-1990s. During this period Braxton enhanced some of his compositional principles from the earlier period, and he partly redefined and reshaped some of his thoughts about music. Additionally, he worked on his twelve components of a holistic system called ‘Tri-centric Music’, ‘Tri-centric Thought Unit’ or ‘Tri-centric Modeling’. As a basic premise for this period he built up his Tri-Centric Foundation and founded a record label (Braxton House / New Braxton House). In the compositional array he developed the so-called Ghost Trance Music in order to creatively fuse elements of composition and improvisation. As of today he works on his not yet finished twelve-part opera, Trillium, and on other projects such as, Pine Top Aerial Music (a choreography of sound and physical motion), and Diamond Curtain Wall Music (a study of interactive electronical sound). In Falling River Music the musicians are asked to intuitively interpret different shapes, graphics and symbols, whereas in Echo Echo Mirror House they are requested to play iPods containing Braxton’s complete works. ZIM Music, one of his latest prototypes, operates with different sound dynamics.

It is the second of Braxton’s working periods that the conference will focus on, albeit the presentations (45 minutes each) may need to refer to his older concepts as well. We encourage paper proposal dealing with the following three key topics:

1. The composer: Braxton’s complete works comprise more than 500 compositions of incredible variety. Furthermore, his œuvre contains performance directions for solo-instrumentalists (language music), piano pieces, works for 100 tubas, for flute- or vocal ensembles, for orchestra and a puppet theater as well as for four orchestras, duos for one instrumentalist and a stand-up comedian and many more. Every composition or compositional fragment may be combined with others. Right from the start, Braxton has been looking for possibilities to combine forms of composition and improvisation. During the last 20 years in particular, he has developed fascinating solutions and a smart notation system which contains both, conventional and unconventional signs, graphics and narrative-poetic elements. We especially welcome presentations that deal with his scores analytically, for instance by concentrating on individual works, smaller groups of works or certain musical parameters like harmonics, melody and rhythm. Also, projects that investigate similarities and differences to other composers or musical styles are kindly appreciated.

2. The multi-instrumentalist: Like many other members of the Afro-American AACM Braxton made a mark as a multi-instrumentalist. He not only masters the Alto Saxophone as well as the whole families of saxophone and clarinet instruments, but he also enjoys playing instruments of the very high and low registers, different kinds of flutes, the piano, percussion instruments and more. His style is unique, even though it changed over time. Concerning these topics, almost no scientific research exists. There is a general lack of analyzing his style, especially when it comes to differentiating between a) his roles as a soloist and as a part of an ensemble, b) his life- and studio-performances, c) interpretations of works of his own and those of others, and d) realizations of notated pieces and free improvisations.

3. The music theorist: “His rhetoric and writing alone make him a hugely influential figure in free music”, musician and music theorist Joe Morris says. There is no doubt that Braxton’s theoretical and philosophical writings about his own works ‒ covering much more than 1000 pages ‒ is outstanding in Jazz history. However, neither his unique diction, his neologisms ‒ both can be studied as well in his interviews and liner notes ‒ nor his attitude towards creativity, Black Exotica, music journalism, Jazz Rock, western art music, World music, white music improvisators, nor his very unconventional (from an academic point of view) work analyses have been given much attention by the scientific community. The conference aims at filling this void.

Ignacio Jerusalem 250: Galant Musics in Italy, the Iberian Peninsula, and the New World

Location: Baeza, Spain
Dates: December 3–5, 2019

The Universidad Internacional de Andalucía, Baeza, the Centro Nacional de Difusión Musical (Ministerio de Educación, Cultura y Deporte, Gobierno de España), and the Festival de Música Antigua de Úbeda y Baeza are organizing an international conference in collaboration with the IMS Study Group “Early Music and the New World.” The conference is entitled Ignacio Jerusalem 250: Galant Musics in Italy, the Iberian Peninsula, and the New World and will take place at the Universidad Internacional de Andalucía, Baeza, Spain, from December 3 to 5, 2019.

Call for papers

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