Global Piano Roll Meeting – Prelude 2

Online conference, 27 March 2021

The Global Piano Roll Meeting is excited to announce a second virtual conference on 27 March 2021 at 21:00 CET (20:00 GMT, 13:00 PST, 07:00 AEDT). This three-hour meeting will include lectures on Hupfeld DEA and Aeolian, discussion groups and a listening session. It aims to continue the communication and collaboration sparked by the 2018 gathering, and to be a second prelude to a planned 2021 conference in Switzerland. 
The conference will occur online via Zoom and will offer interactive opportunities for questions and group discussion. It is hosted by the Bern University of the Arts HKB in collaboration with Stanford University, Faszination Pianola and the Museum für Musikautomaten Seewen.

For more information and registration, please see https://www.hkb-interpretation.ch/2nd-global-piano-roll-meeting

Music and Art in Pandemic

Organiser: University of Arts, Târgu Mureș
Abstract/proposal deadline: March, 8, 2021
Registration form: https://docs.google.com/forms/d/e/1FAIpQLSePnvldXjIoFUc5xWhgKsw0qVKGrm7xevWAGnQRGfX_YZWKsA/viewform?usp=sf_link
contact:symbolonjournal@gmail.com

Unexpectedly emerging in everyday life, the pandemic has dramatically changed our social lives. The condition of survival has become the renunciation of such natural forms of human interaction that we sometimes fear that in order to preserve our existence, we risk losing our humanity. The arts that existed and manifested in the context of the meeting – performance, concert, recital, one-man show, but also exhibitions or installations –­ became septic, and artists were deprived of their audience. Art education has was exiled online. But artistic creation could not be hindered. Seeking to survive and express themselves, the artists followed their spectators to the online media adapting existing forms and looking for new formulas that would bring them closer to the audience. Also, pandemic and isolation became inspiration itself.

Music and Art in Pandemic, a conference targeting the art of music, and the arts that connected with music, wants to record the artistic, social, managerial and educational experience of this pandemic year, as well of the similar situations in the history of epidemics. We invite you to participate, answering current questions about the condition of the visual artist, choreographer, director, critic, musician, composer, performer, teacher – How is the spirit of these times reflected in contemporary art? Online versus “real” art, live performance versus recording, online courses versus classroom teaching? Quo vadis music? Quo vadis art? Are the artistic options, choices, attitudes limited? What are the artistic solutions for coping or full expression? Are they only temporary or can be perennial?

The conference is organised by the University of Arts, Târgu Mureș. We accept for presentation scientific studies but also reports, case studies, reviews, analyses, journals or essays in the following languages: English (preferably), Romanian, French and Hungarian. Selected papers will be published in a special issue of Symbolon, a journal indexed by CEEOL, Index Copernicus, Crossref and evaluated in category B by the Romanian National Council for Scientific Research (CNCS).

The conference will take place online, between March 18-19, 2021. Registration deadline is March 8, 2021. For more information, please contact us at symbolonjournal@gmail.com.

Music Encoding Conference 2021

We are pleased to announce the call for papers, posters, panels, and workshops for the Music Encoding Conference 2021.

As an important cross-disciplinary venue for all who are interested in the digital representation of music, the Music Encoding Conference is open to and brings together members from various encoding, analysis, and music research communities, including musicologists, theorists, librarians, technologists, music scholars, teachers, and students, and provides an opportunity for learning and engaging with and from each other.

The MEC 2021 will take place 19–22 July 2021 at Universidad de Alicante, Spain. It is co-sponsored with the Instituto Superior de Enseñanzas Artísticas de la Comunidad Valenciana.

For more information, please consult the Call for Proposals.

https://music-encoding.org/conference/2021/

Women and Music in the Early Modern Age

CALL FOR PAPERS

INTERNATIONAL CONFERENCE

WOMEN AND MUSIC IN THE EARLY MODERN AGE  

Queluz National Palace

July 2nd – 4th, 2021

Organization: Divino Sospiro – Centro de Estudos Musicais Setecentistas de Portugal 

Scientific Committee:

Cristina Fernandes, Giuseppina Raggi, Iskrena Yordanova,

Ricardo Bernardes, José Camões, Francesco Cotticelli, Paologiovanni Maione

The 9th international conference at the Queluz National Palace organized by DS-CEMSP aims to investigate the role of women in the musical and theatrical worlds of the early modern age, with special reference to the 17th and 18th centuries.

Theatrical practices favoured opportunities and emancipation processes which played significant roles in the imagery of and the stage production themselves. It is equally important to mention the patronage and the encouragement given to the performing arts by female sovereigns and nobles, who intended to promote the dialogue and the reflection between different contexts. Differences can be found in the educational methods, distinctions amid theory and practice or between the amateur and the professional milieu, yet they often merged to produce events destined to leave their mark on history.

The conference promotes research into the careers of women as impresarios, singers, actresses, composers, no matter how resounding their activity was in their heydays. Emphasis is also placed on their travels, contacts, and repertoires, and on the strategies adopted by female patronage in order to support the organization (and the memory) of theatrical and musical events throughout the continent.

TOPICS:

  • Female performers: singers, instrumentalists, dancers and impresarios. Their roles and repertoires.
  • Female composers, librettists and choreographers.
  • The feminine in music: women as subjects in the musical literature.
  • Women as music and theatre patrons. Political uses of female musical patronage.
  • The importance of music in the education of aristocratic and royal women.
  • The female public.  
  • Women as music collectors.
  • Women and music sociabilities.

Scholars are invited to submit individual proposals. Each paper shall not exceed 20 minutes. Session proposals will be accepted as well: a maximum of three or four papers will be taken into consideration, and the session should not exceed 1h30. 

A selection of the presented papers will be published in our book series Cadernos de Queluz by Hollitzer Verlag (Vienna). (http://www.hollitzer.at/de/programm/uebersicht/programm/specula-spectacula.html?no_cache=1&cHash=a9c950cc42d1315a1187701f3685723c)

Official languages of the conference are Portuguese, English, Italian, Spanish, and French.

Abstracts in Word format (.doc), should not exceed 300 words.

Please enclose in the same file a brief curriculum vitae of 150 words max., providing your name and surname, postal address, e-mail and telephone number, as well as your institutional affiliation. Please indicate to which topic your proposal belongs. 

Deadline for sending abstracts is March 1st, 2021

E-mail: cemsp@sapo.pt The scientific board will examine all the abstracts by March 15th, 2021 and contributors will be informed immediately thereafter.

Between Centres and Peripheries

Music in Europe from the French Revolution until WWI (1789-1914)

———

International Virtual Conference

06-08 May 2021

The Centro Studi Opera Omnia Luigi Boccherini of Lucca, the Research Group ERASMUSH of the University of Oviedo (Spain) and the Palazzetto Bru Zane – Centre de musique romantique française of Veniceare pleased to invite submissions of proposals for the symposium «Between Centres and Peripheries: Music in Europe from the French Revolution until WWI (1789-1914)», to be held from Thursday 06 until Saturday 08 May 2021.

In the nineteenth century, music occupied a prominent position in bourgeois European society, and cities such as Paris, Vienna, Leipzig, Milan, and London became social and cultural references for the rest of the continent, inhabitants of which worked to imitate the cities’ concerts, theatrical life, their soirées and parties, its music promenades, etc.

This conference examines, from a micro-historical perspective, the tensions and dialogues developed in European musical life throughout this time period. Here we apply the concepts of centres and peripheries not to geography but also to methodology. We will analyze the reproduction of cultural models but also the tensions that these models produced in the peripheries, most of which have been ignored in the historiography of Western European music.

Periphery also refers to the emergence of musical genres that have remained relatively non-canonic, including popular repertoires from the music hall to the variétés, street bands or the music of cabarets. Furthermore, we will also examine the birth of musico-national languages situated on the European geographical margins.

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

  • Music from the peripheries: alternative genres and repertoires
  • The diffusion and circulation of music in new and different contexts
  • The reception and adaptations of the canon on the margins of Europe
  • Redefining centres and peripheries in European music
  • Cultural transfer of music, both geographically and socially
  • The commercialization of music
  • Models of music production in the peripheries: concert cycles, musical societies, festivals, etc.
  • Music national languages inside or outside the canon?
  • Universality vs. Nationality
  • Amateurism in the time of the virtuoso performers
  • Music for new spaces: promenades, cafés, cabarets, gardens, etc.

Programme Committee:

  • Maria Encina Cortizo Rodriguez (Universidad de Oviedo)
  • Roberto Illiano (Centro Studi Opera Omnia Luigi Boccherini)
  • Étienne Jardin (Palazzetto Bru Zane – Centre de musique romantique française, Venice)
  • Fulvia Morabito (Centro Studi Opera Omnia Luigi Boccherini)
  • Massimiliano Sala (Centro Studi Opera Omnia Luigi Boccherini)
  • Ramón Sobrino (Universidad de Oviedo)
  • José Ignacio Suárez (Universidad de Oviedo)

Keynote Speakers:

  • Étienne Jardin (Palazzetto Bru Zane)
  • Yvan Nommick (Université de Montpellier)

The official languages of the conference are English, French, Spanish 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 biographical information.

All proposals should be submitted by email no later than Sunday ***28 February 2021*** 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 ***March 2021***, and contributors will be informed immediately thereafter. Further information about the programme and registration will be announced after that date.

For any additional information, please contact:

Dr. Massimiliano Sala

conferences@luigiboccherini.org

www.luigiboccherini.org

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 21 to 22 May 2021.

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 29 November 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 ***Sunday 13 December 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

Symposium Tanz als Musik – Zwischen Klang und Bewegung, a Symposium of the Schola Cantorum Basiliensis

Basel, Musik-Akademie, 19.– 21.11.2020   (postponed to 23.–25. September 2021)

https://www.fhnw.ch/de/forschung-und-dienstleistungen/musik/schola-cantorum-basiliensis/symposien-und-studientage/symposium-tanz-als-musik

https://www.forschung.schola-cantorum-basiliensis.ch/de/veranstaltungen.html?detail=17eddf7d-8c33-42cb-8e77-79df6f54e86f

Congress on Sound, Music and Musical Instruments

DATE: 2-3-4 of October 2020
INFORMATION: https://congressorganimusic.wixsite.com/co2020oc

THEME: The general theme chosen for this year is: “SOUND GENERATION: environment and music in generations of sound creation”, with all papers related to organological and sound matters being highly welcome. 
WHERE: Castelo Branco – central Portugal
LIMIT DATE FOR PROPOSALS: 15 September

Dear all,
we are pleased to be able to organise the ANIMUSIC Congress in 2020, in spite of the known issues we all have been facing during this year.
In the region chosen to hold our congress, there has hardly been any case of covid-19. Besides many good reasons, of which having a low population density is one of them, the air is not polluted, there is no traffic nor confusion on the streets, life quality is known to be very high. There are mountains, forests, ecological farms, self-sustainable agricultural systems (like ours in the headquarters of ANIMUSIC: Quinta da Lira), pure crystalline water fountains and rivers, with beautiful river-pools or beaches and lakes where we all go swim (water we can drink !). Besides these natural healthy conditions, in Portugal people respect the general governmental health policies, wearing masks in public closed places, keeping distance, different “in” and “out” paths, and limiting the number of people in social gatherings. Here, in Castelo Branco, the hospital created a detached alley for treating contaminated patients, fearing a full epidemic everywhere, which did not happen – in fact, the very few isolated cases  from visitors to the region were immediately taken care of, and either submitted to home-isolation or transported to specialised institutions. Cases of death “with” virus (not “from” the virus) were minimal: the serious problematic cases were from other diseases.
We are sorry to have heard of worrying publicity regarding Portugal – which led to the creation of travel limitations or quarantine obligations which were not realistic. These last bans, and the earlier general European cancellation of public events, provoked serious limitations to the organization of concerts, conferences or other initiatives, and we all know the damage it caused to the artistic world (and many other worlds), and consequently to musical instruments technicians and all related professionals. We try to go forward with positivism.
We are preparing our event with all precautions: part of the presentations or concerts will be in a large hall, with people respecting the imposed law regulations (sitting distance, masks, provision of disinfectant liquids, special hygienisation of the spaces, etc.), and part of the presentations, weather allowing, will be in open gardens.
We have sent to private contacts a first Call for Papers, to have an idea of the response of potential participants. We are happy to have had a number of proposals which allow us to set up the conference with a good core of participants.
We have thus decided to make a full public Call for Papers, waiting for a while before doing it, having been observing the evolution of the ‘epidemic’ and the various governmental decisions, and so proposing the deadline to the 15th of September. If you are interested in physically participating, please send your proposal asap, so we have a full notion of the program possibilities (we try to have various recitals, in different spaces, to allow visitors to enjoy the different marvels of each place – palaces, parks, castles, etc.). We are also planning a complimentary tour in the region, with a visit to a special historical organ in a village with difficult access. And, as usual, a wonderful delicious banquet.
Please read more about the Call for Papers, transportation, and other information, at the website created for this Congress: link.


Welcome to ANIMUSIC-Portugal.
With warm good wishes,

Patricia Bastos

ANIMUSIC team


Historical Fictions Research Network 2021

Online conference (Zoom)

18th-21st February 2021

Theme:  Remembering Catastrophe

Historical fictions can be understood as an expanded mode of historiography. Scholars in literary, visual, historical and museum/re-creation studies have long been interested in the construction of the fictive past, understanding it as a locus for ideological expression. However, this is a key moment for the study of historical fictions as critical recognition of these texts and their convergence with lines of theory is expanding into new areas such as the philosophy of history, narratology, popular literature, historical narratives of national and cultural identity, and cross-disciplinary approaches to narrative constructions of the past.

Historical fictions measure the gap between the pasts we are permitted to know and those we wish to know: the interaction of the meaning-making narrative drive with the narrative-resistant nature of the past. They constitute a powerful discursive system for the production of cognitive and ideological representations of identity, agency, and social function, and for the negotiation of conceptual relationships and charged tensions between the complexity of societies in time and the teleology of lived experience. The licences of fiction, especially in mass culture, define a space of thought in which the pursuit of narrative forms of meaning is permitted to slip the chains of sanctioned historical truths to explore the deep desires and dreams that lie beneath all constructions of the past.

We welcome paper proposals from Archaeology, Architecture, Literature, Media, Art History, Cartography, Geography, History, Musicology, Reception Studies, Linguistics, Museum Studies, Media Studies, Politics, Re-enactment, Larping, Gaming, Transformative Works, Gender, Race, Queer studies and others.

We welcome paper proposals across historical periods, with ambitious, high-quality, inter-disciplinary approaches and new methodologies that will support research into larger trends and which will lead to more theoretically informed understandings of the mode across historical periods, cultures and languages.

Theme: Remembering Catastrophe

2020 is a year we are likely to remember. This conference will consider how we have remembered / memorialised / narrated / represented catastrophes including war, famine, epidemic, genocide, tsunami and avalanches, natural and human made disaster; how ‘ownership’ of disasters has been claimed, how disasters have been written out or elided and how disasters have structured ethnic, national, religious, cultural, community, personal identities.

Please submit papers to the Paper Proposal Form.  https://historicalfictionsresearch.org/hfrn-conference-2021-online/

Deadline 30th September

Contact: historicalfictionsresearch@gmail.com

Twitter: @HistoricalFic

Facebook Group: Historical Fictions Research Network

Interrogating sources: Prokofiev, words and music

https://crulh.univ-lorraine.fr/content/crulh-appel-communication

Call for papers
  • CFP deadline: August 31, 2020
  • Conference dates: December 11–12, 2020
  • Location: Metz, France

Prokofiev scholarship underwent a significant transformation in 2013 primarily through the consolidation of archival materials hosted at the Serge Prokofiev Archive at Columbia University. A first symposium to recognise this important moment was organized at Columbia University in April 2017. A partnership between Columbia and the University of Lorraine was instigated with a view to further developing and exploring these research materials and scholarship trends. Following on from a recent series of landmark publications on Prokofiev and his music (notably Morrison, Seinen, Asaro, Guillaumier, McAllister), this colloquium aims to continue its interrogation of primary sources and personal documents.

Prokofiev travelled extensively, lived in several countries, explored several continents, and interacted with an incredible number of his contemporaries – musicians, writers, chess players, publishers, poets, painters, journalists – the list is a long one. Prokofiev, himself very inspired by literature, left several autobiographical works but also little studied stories and short stories. Due to the unique nature of his geographical and artistic background, the question of the multiplicity of cultural, political and artistic contexts over which he may have had an influence or been influenced by, is particularly relevant since it has left a trace on the sources that have come to us today. The multiplicity of genres that Prokofiev worked with throughout his career, from chamber music to film music, from concert pieces to children’s stories, from operas to incidental music, from ballet to Romances, has generated an incredible number of diverse sources, preserved in multiple places. This symposium is intended to provide an interdisciplinary opportunity to deepen current research into these sources and to stimulate new perspectives.

Scientific Committee
Natalia Ermolaev, Columbia University
Christina Guillaumier, Royal College of Music
Laetitia Le Guay, Université de Cergy-Pontoise
Nicolas Moron, Université de Lorraine
Natalia Savkina, Conservatoire Tchaïkovsky de Moscou

Keynote speakers
Rita McAllister, Royal Conservatoire of Scotland
Simon Morrison, Princeton University