Música Analítica 2019: Porto International Symposium on the Analysis and Theory of Music

CFP. Submission deadline: December 15, 2018

Música Analítica 2019:
Porto International Symposium on the Analysis and Theory of Music
Universidade Católica Portuguesa
Porto, Portugal: March 21–23, 2019

http://artes.porto.ucp.pt/pt/central-eventos/musica-analitica-2019-porto-international-symposium-analysis-and-theory-music

The Research Center for Science and Technology in the Arts (CITAR) at the School of Arts, Universidade Católica Portuguesa, invites the submission of paper proposals to Música Analítica 2019: Porto International Symposium on the Analysis and Theory of Music, taking place in Porto, Portugal, March 21-23, 2019.

The symposium promotes the notion of music as analysis and analysis as music – a gloss on “música analítica”- arguing that our discursive modes of analysis are not outside of music or simply an enriching addition we bring to it but rather integral to the way we may experience, conceive, and music. In short, implicit or explicit analysis is implicated in the way we reframe, process, and construct time and sound, including aspects such as gesture or communal experience into/as music.

The symposium’s thematic range is inclusive, welcoming submissions from a variety of perspectives on music analysis and theory (speculative, practical, historical) or attendant to the multifarious intersections with disciplines such as music history, composition, critical theory, ethnomusicology, performance, sound art, mathematics, cognitive sciences, and technology. In addition, pedagogical approaches that address methodological and social implications of music analysis are particularly encouraged.

Reflecting the scope of the meeting, the symposium will feature the following speakers:

Keynote Speakers:
Richard Cohn (Yale University)
Judit Frigyesi (Bar-Ilan University)
Sílvio Ferraz (Universidade de São Paulo)

Plenary Speakers:
Bianca Temes (Music Academy, Cluj)
Christopher Bochmann (Universidade de Évora)
Isabel Pires (CESEM, FCSH/Univ. Nova de Lisboa)
José Oliveira Martins (CITAR-EA/Univ. Católica Portuguesa)
Michiel Schuijer (Conservatorium van Amsterdam)
Miguel Ribeiro-Pereira (CITAR, ESMAE/Inst. Politécnico do Porto)
Moreno Andreatta (IRCAM, CNRS, UPMC-Paris)
Miguel Borges Coelho (ESMAE/Inst. Politécnico do Porto)
Naomi Waltham-Smith (University of Warwick)
Paulo Ferreira de Castro (CESEM, FCSH/Univ. Nova de Lisboa)
Steve Rings (University of Chicago)

SUBMISSION GUIDELINES
We invite scholars from various disciplines to contribute to this international symposium (the language of the symposium is English). Please send a proposal for an oral communication (20′ presentation +10′ discussion) no later than December 15, 2018, to the email: musicaanalitica2019@porto.ucp.pt. We project a response by Jan 5, 2019.

The proposal should consist of two separate pdf. files:
(1) Title of the communication and an abstract detailing your topic, approach, argument, and main findings, with a max. 350 words. Also include 5 keywords, and up to 8 bibliographic references. The file should have the designation [LAST NAME, proposal, MA2019].
(2) Information about the author(s): Name, Institutional affiliation, e-mail, title of the talk, and a short biographical note (max. 150 words). The file should have the designation [LAST NAME, info, MA2019]

__________

Organizing Committee
José Oliveira Martins (CITAR-EA/Universidade Católica Portuguesa)
Sofia Serra (CITAR-EA/Universidade Católica Portuguesa)
Daniel Moreira (CITAR, ESMAE/Instituto Politécnico do Porto)
Paulo Perfeito (CITAR, ESMAE/Instituto Politécnico do Porto)
Telmo Marques (CITAR, ESMAE/Instituto Politécnico do Porto)

Scientific Committee
[Plenary Speakers listed above are also SC members]
Adriana Lopes Moreira (Universidade de São Paulo)
Áine Heneghan (University of Michigan)
André Perrotta (CITAR-EA/Univ. Católica Portuguesa)
António Augusto Aguiar (ESMAE/Inst. Politécnico do Porto)
Antonio Grande (Conservatorio di Musica “G. Verdi” di Como)
Benoît Gibson (Universidade de Évora)
Carlos Caires (ESML/Instituto Politécnico de Lisboa)
Carlos Guedes (New York University, Abu Dhabi)
Catello Gallotti (Conserv. di Musica “Giuseppe Martucci” di Salerno)
Gilberto Bernardes (INESC TEC/Univ. do Porto and Univ. de Aveiro)
Ildar Khannanov (Peabody Institute, Johns Hopkins University)
Jean-Pierre Bartoli (Sorbonne Université)
João Pedro d’Alvarenga (CESEM, Univ. Nova Lisboa)
John Koslovsky (Conservatorium van Amsterdam; Utrecht Univ.)
Manuel Pedro Ferreira, (CESEM, FCSH/Univ. Nova Lisboa)
Mário Baroni (Università di Bologna)
Mattia Bergomi (Fund. Champalimaud, Center for the Unknown)
Mine Dogantan-Dack (University of Cambridge)
Nicolas Meeùs (SBAM, and IReMus)
Paulo de Tarso Salles (Universidade São Paulo)
Pedro Pestana (CITAR-EA/Univ. Católica Portuguesa)
Robert Hasegawa (McGill University)
Rodolfo Coelho de Souza (Universidade de São Paulo)
Rui Penha (INESC TEC/Universidade do Porto)
Sanja Kiš Žuvela (University of Zagreb)
Sérgio Azevedo (ESML/Instituto Politécnico de Lisboa)
Sigrun Heinzelmann (University Mozarteum Salzburg)
Sławomira Zeranska-Kominek (University of Warsaw)
Vasilis Kallis (University of Nicosia)

 

 

 

World of Bob Dylan

Overview

In 2016, the George Kaiser Family Foundation and the University of Tulsa jointly announced the acquisition of the Bob Dylan Archive–an extraordinary collection of material that includes over 6,000 items, including recordings, manuscripts, film, notebooks and much more.  These materials have already begun to open up new ways of understanding not just Dylan and his work, but the broader history of popular music both in America and around the world.  Tulsa is already home to the Woody Guthrie Center and will soon welcome OKPOP, which will house collections related to Leon Russell, Wanda Jackson, Roy Clark, Bob Wills, and more.  The Bob Dylan Archive will thus rest at the center of a rich array of resources focused on twentieth-century popular music of all kinds.

To help advance this work, the University of Tulsa’s Institute for Bob Dylan Studies, in cooperation with the Bob Dylan Archive, Gilcrease Museum, and the departments of English, Art, Music, and History, will host an international symposium on the Nobel Laureate from May 30 to June 2, 2019.  We aim to bring together scholars, critics, performers, collectors, and fans in order to help mark the arrival of the Bob Dylan Archive in Tulsa and continue the already lively inquiry into one of the world’s most innovative and influential artists.  The organizing committee now seeks proposals for papers, panels, and roundtable discussions on all aspects of Dylan’s work, context, influences, and legacy.

Rather than trying to work around a single theme, this symposium welcomes proposals on any topic related to Dylan’s music, art, life, and context.  We particularly encourage interdisciplinary proposals that work across fields such as literature, music, history, sociology, art, media studies, and biography.  We also welcome and encourage work in a variety of different formats including digital and artistic projects.  Keynote events will include a deep dive into the Archive’s treasures, discussions with musicians who toured with Dylan, and lectures by leading music writers and scholars.

Individual Proposals

The organizing committee welcomes proposals for 15 to 20-minutes papers and presentations.  To submit, please send a title, a 250-word abstract that summarizes the topic and complete contact information (name, email, and any institutional affiliation). The organizers will group these papers into panels.

Panel Proposals

Panels consist of three or four speakers focused on a common topic or idea.  To submit a panel proposal, the chair should send a 500-word abstract that includes a name for the session as well as presentation titles for each participant.  The chair and each proposed panelist should provide an email address and any institutional affiliation.

Roundtable Proposals

These special sessions are meant to encourage conversation, debate, and the exchange of ideas around broadly compelling topics (e.g. Cover Songs or Teaching Dylan).  Roundtables should be proposed by a single moderator and and may include up to five participants.  The focus should be on conversation among the panelists and the audience rather than on the delivery of prepared remarks.  Roundtable proposals should include 250-word summaries of the topic to be explored along with the names and email addresses of the chair and each participant.

Deadlines:

Sept 1               Submission Portal Opens

Jan 15              Paper, Panel, and Roundtable Submission Deadline

Feb 1                Registration Opens

Feb 15              Notification

For updates, please visit our website at: https://dylan.utulsa.edu/world-bob-dylan-symposium/

Follow us on Facebook: https://www.facebook.com/events/142550896607959/

 

Towards Best Practice: Teaching Singing in Higher Education – Core competencies

Saturday 22nd September 2018 The London College of Music hosts a one day conference with top researchers and voice practitioners Dr Gillyanne Kayes, Janice Chapman, Prof. Johan Sundberg, Tori Burnay, Dr Susan Yarnall, Dr Denise Borland and Ali Bell.

The day will be relevant to teachers of all genres especially those working in higher education or preparing students to enter HE including Musical Directors. Researchers and students of singing teaching will also benefit by way of poster submissions with a prize awarded by Compton Publishing (see below for details).

Topics covered include being a singing teacher, examining the current model, myths and misconceptions, acoustics, rehabilitation, the psychology of one-to-one teaching, new developments in France, and a round table discussion. Light refreshments and a buffet lunch provided. The BAPAM voice care initiative

Delegate fee £50 (including lunch and refreshments).

To book a place go to http://www.lcme.uwl.ac.uk/events

Posters up to A2 to be submitted along with conference booking fee by Monday September 10th

For more information http://www.lcme.uwl.ac.uk/events

CALL FOR POSTERS

Deadline: extended to noon on 17th August 2018

The Programme Committee welcomes proposals for individual posters, in any areas of scholarship related to teaching singing and pedagogic practice in Higher Education.

The following non-exhaustive list indicates some of the intended themes of the conference:

  • Teaching models
  • Psychology of Teaching
  • Voice Care
  • Vocal acoustics
  • Pedagogic Practice

Proposals of no more than 300 words should be sent as a Word attachment (including details of author(s), affiliations (University, Conservatoire/College, Orchestra, Chamber Ensemble etc.), contact details etc.), to ivor.flint@uwl.ac.uk to arrive before the deadline of noon on 16th July 2018. Proposals will be reviewed anonymously, so please submit a second version of your proposal with all names and institutional affiliations removed.

The Conference Committee, will respond to authors by Wednesday 22nd August.

Eighth Annual Meeting | Il Gusto Italiano: Italian Style and Transalpine Exchanges in Early Keyboard Music

May 13–15, 2019
Sam Houston State University School of Music, Huntsville, Texas, U.S.A.

Call for Proposals

Admired, imitated, and heatedly debated, the concept of Italian style and taste plays an essential role in the history of keyboard music. The Historical Keyboard Society of North America (HKSNA) dedicates its eighth annual meeting to all aspects of Italian style and its international reception throughout the centuries, including—but not limited to—composition and improvisation, music theory and basso continuo, instrument making, pedagogy, and temperaments. Hosted by the Center for Early Music Research and Performance (CEMRAP) at the Sam Houston State University School of Music (Huntsville, Texas), three days of events (Monday through Wednesday, May 13– 15, 2019) will include paper presentations, lecture-recitals, and mini-recitals, evening concerts, and an exhibition of publications, recordings, and instrument makers’ work. A limited number of presentations and sessions on historical keyboard topics that are not directly related to the theme of the conference, will be considered. Please submit all proposals through the following electronic submission forms:

Paper Presentation: https://goo.gl/forms/iD9QXXJ3L47e3P9W2
Lecture Recital: https://goo.gl/forms/Fr4Dn5ZUnkit4L9j1
Mini Recital: https://goo.gl/forms/ApvdZBseV8OplEEg2
Themed Session: https://goo.gl/forms/D0s7bErhvM26zp8V2

The submission deadline is EXTENDED TO NOVEMBER 5, 2018. Presentations of all formats are limited to 25 minutes. Paper and lecture-recital proposals require an abstract of no more than 2,500 characters. For mini-recitals, submit complete program information and provide links to up to two representative recordings pertaining to the proposal. Performers not intending to bring their own instruments or to make arrangements to use exhibitors’ instruments may perform on the instruments listed below. All proposals must include a short biographical statement (no more than 1,500 characters) for all presenters.

Notification of accepted proposals will be made by November 15, 2018. Presenters must be members of HKSNA and must register for the conference. Presenters must also cover their own travel and other expenses. Further information, as it becomes available, will be posted on the society’s website http://www.historicalkeyboardsociety.org.

HKSNA 2019 also welcomes exhibitors to showcase their instruments, products, and services in the conference. Furthermore, instrument makers are invited to submit proposals for maintenance workshops, etc. Please direct inquiries and proposals to hksna2019@gmail.com.

Available Instruments
Harpsichords
Flemish Single by Gerald Self, GGAA to d3, 8’8’, lute stop, 415/440 Hz, delrin plectra.
Flemish Double after Couchet by Joel Katzman, GGAA to e3, 8’8’4’, 415/440 Hz, quill plectra.
Italian Single after Celestini by Joel Katzman, GGBB to d3, 8’8’, 392/415/440 Hz, strung in brass, quill plectra.

Fortepiano
Paul McNulty after Walter & Son c. 1804, FF to c4, 430 Hz, knee levers for moderator (left) and dampers (right).

Organ
Italian “organo di legno” (all pipes cypress wood), Giovanni Pradella after 17th-century models, C–d3 chromatic, 440 Hz, 1/4 comma meantone. Disposition: Principale 8’, Ottava 4’, Decimaquinta 2’, Flauto stoppo 8’, Flauto in ottava 4’, Fiffaro (voce umana) 8’ (treble).

Program Committee
Mario Aschauer, chair, Sam Houston State University
David Kelzenberg, HKSNA president
Carol lei Breckenridge, HKSNA vice-president
Sonia Lee, HKSNA immediate past president
Maria Luisa Baldassari, Conservatorio Rossini Pesaro
Massimiliano Guido, Università degli studi di Pavia

Connections and Communication in Instrumental and Vocal Teaching

The University of York Music Department is delighted to host its second Music Education conference: 

‘Connections and Communication in Instrumental and Vocal Teaching’.

This event will bring together teachers, researchers, and performers to explore connections and communication in instrumental and vocal music teaching. This topic can be approached in numerous ways and we welcome submissions from students and professionals who have related views and experience. There will be a balance of practical and theoretical submissions across the two days and we are keen to support early career professionals as well as students, independent scholars and music teachers.

The conference will take place on Tuesday 26th June and Wednesday 27th June 2018 in The Rymer Auditorium at the University of York (see travel information page for further details on the venue and access).

The event is organised by staff and students on the MA in Music Education: Instrumental and Vocal Teaching, at the University of York.


Call for Papers

Please send your proposal to mecy-18@york.ac.uk  by 18.00 on 16th May 2018.

The conference topic is intentionally broad to encourage submissions from a range of perspectives. To facilitate this, four session types will be considered: 20-minute spoken presentations, poster presentations, 40-minute practical sessions, and 60-minute ‘diverse format’ sessions.

For information on submission guidelines go to our website.


For further information please contact:

FAO: Dr. E Haddon

Music Department,
University of York,
Heslington,
York YO10 5DD,

email: mecy-18@york.ac.uk
Tel: +44 (0)1904 324564,

“Music Theory” – 9th International Hisarlı Ahmet Symposium

IX. International Hisarlı Ahmet Symposium

“Music Theory”

10-12 May 2018

Kütahya – TURKEY

http://hisas.org.tr/english

Deadline for Abstract Submission: 25 March 2018

The Symposium opens its doors in May 2018 with the theme “Music Theory”. Below are the specific subjects for paper proposals concerning the 9th International Hisarlı Ahmet Symposium:

A. Analysis
a1. Analysis of works
a2. Approaches to Composition
a3. Analysis of Terms/Concepts
a4. Analysis of Music Editions
a5. Methods of Analysis
B. History of Music Theory
C. Tuning Systems
D. Theory Education
d1.Case Studies in Theory, Solfeggio, Form, Harmony,  Makam and Usûl Teaching
d2. New Approaches and Methods in Theory, Solfeggio, Form, Harmony, Makam and Usûl Teaching
E. Interdisciplinary Studies on Music Theory

Hoping to experience the 9th International Hisarlı Ahmet Symposium as the stage for a qualitative festival of knowledge where the structure of muhisas2018@gmail.comsic will be liberally discussed…

Please see http://hisas.org.tr/english for detailed information.

Please see http://hisas.org.tr/abstract-submission-guidelines for “Submission Guideline”.

Please send any queries to hisas2018@gmail.com

isaScience 2018 “Participatory Approaches to Music & Democracy”

The conference isaScience 2018 is part of isa, the International Summer Academy of the mdw – University of Music and Performing Arts Vienna, Austria.

https://www.mdw.ac.at/isa/isascience
Conference date: 10–14 August 2018

Conference venue: Hotel Marienhof, Reichenau an der Rax, Austria

Keynote: David Hesmondhalgh, Professor for Media, Music and Culture, University of Leeds, UK

Organisers: Dagmar Abfalter, Marko Kölbl, Rosa Reitsamer, Fritz Trümpi

Over the last few decades, a rich body of literature has explored how individuals and groups use music as a resource to achieve social, cultural and political participation and to bring about social change in society. 
Studies have also investigated music’s use by political groups and parties in the past and present that impose 
authoritarian, neoliberal or even fascist political ideas. Finally, research is concerned with the promise and 
myth of democratization through technology in regard to music production, distribution and reception/appropriation.

The organisers of isaScience welcome papers on music and democracy from a wide range of disciplines 
(e.g. musicology, ethnomusicology, music sociology, cultural studies, queer studies, postcolonial studies, arts and cultural management) addressing (but not limited to) the following themes and topics:

  • Music’s role for historical revolts and revolutions, for propagating national and nationalistic identities in the long 19th century or music’s use in the name of “the people” during fascist and post-fascist periods;
  • Research on performance practices of minorities and marginalised groups that challenge and subvert 
dominant norms and classifications;
  • Democratizing dimensions of orally transmitted music traditions;
  • Grassroots, “bottom-up” and Do-it-Yourself approaches to music and performance propagated by social movements;
  • Research on music and activism: e.g. activist choirs, feminist and queer performance groups, anti-racist rock groups, singer-songwriters etc.
  • Participatory forms of “musicking” (Small) in local, translocal and virtual music “scenes”;
  • Documenting and preserving the “sounds of democracy” and “hidden” popular music’s past: studies on archives, museums and halls of fame;
  • Music, migration, border regimes and exile;
  • Representations of democracy in artistic practices (e.g. composing);
  • Research on “mediamorphosis” (e.g. electrification, digitalisation) and its effects for democratization: “new” possibilities of self-representation, modes of participation for consumers, and business models in the music and media industries;
  • Notions of “epistemic violence” (Spivak) in music research.

Please submit your abstracts (max. 300 words) for papers, panels and innovative formats and 
a short biography and institutional affiliation,

in English language until 15 March 2018 to isascience@mdw.ac.at.
Decisions on the acceptance of your proposal will be announced by 5 April 2018.

Complimentary funding for travel and accommodation
will be available to students and scholars in academic precarity.
Please submit your application after acceptance of your proposal to isascience@mdw.ac.at.

mdw – University of Music and Performing Arts Vienna will cover lunch and coffee breaks for the conference – no registration fee.
www.mdw.ac.at/isa/isascience

XIV. International Conference –  CONTEXTUALITY OF MUSICOLOGY – What, How, Why and Because

XIV International Conference of the Department of Musicology,

Faculty of Music, University of Arts in Belgrade

Faculty of Music, Belgrade, 24 to 27 October 2018

Deadline for submission of abstracts extended until May 31, 2018

Celebrating 70th anniversary the Department of Musicology of the Faculty of Music, University of Arts in Belgrade, is pleased to announce its Fourteenth International Conference on the topic of Contextuality of Musicology – What, How, Why and Because. The interest for the contextuality of musicology (e.g. M. Veselinović-Hofman, Contextuality of Musicology, New Sound, 1998) and/or practise of the interdisciplinary musicology, showed itself a long time ago at our Department of Musicology, and reflects the awareness of multiple approaches to the interdisciplinary musicology, as well as an importance of integrating knowledge of other disciplines concerning music into the musicological discourse.

It can be said that musicology, in itself, is a multi– and interdisciplinary science regardless of its specifics or, more precisely, a synthetic science that combines the widest possible spectrum of special studies, whereby not one science can remain in its pure state due to constant and inevitable permeations, transmissions and fusions, thus abolishing the conventional division into humanities, social and natural sciences. In fact, during the past decades, the music itself was increasingly turning into the medial (median), intermediary (acting as an intermediate agent between two or more things) and mediatory (pertaining to mediation) field of widely varied interests – social, economic, cultural-political, etc., and aspects of consideration and research –sociological, cultural, philosophical, aesthetic, psychological, physical, physiological, neurological, etc.

However, what is essential is that musicology, whether as historical musicology, or as systematic musicology, has its status of an intermedium (pertaining to the matter that helps transforming one matter into the other, or the fusion of other two or more matters into one), that is, one of its basic characteristics in the context of moving almost complete scientific apparatus at the moment when music is at the heart of the problem. In other words, its natural position of an intermedium enables musicology, thanks to its basic scientific tools – from establishing a fact, which is a historical and/or analytical point of departure, to its contextualization as a scholarly goal – to be the only one in all crucial moments in any music research that could make a vertical cut through all strata of dealing with music. Namely, musicology, therefore, from the very moment of its establishment, turned to the problem of the context.

The everlasting question of the role of outside-music disciplines in musicology shows that thinking about music in context, is not really a new occurrence, but, the question of relations between musical and outside-musical disciplines (regarding the way of setting the thesis, process and type of argumentation, and way of making conclusions) definitely is new, as well as the degree of intensity of their participation in critical, documented and creative contextual musicological questioning and exposure.

Both as a music historian who strives to explain the gist of the sense and the meaning of the events forming history, and as a musicologist pursuing the hermeneutical work which, admittedly, can never reach the ‘true’ meaning of a musical work but only approximate this meaning asymptotically, we think that it is necessary always to keep in mind the ‘call’ of historicity. For the historicity of the place of ‘narrative’, to which ‘narrative is indebted’, is an important context of the credibility of the what and the how, of the validity of establishing and comprehension of the why, and the meaningfulness of the hermeneutical because(from Interview with M. Veselinović-Hofman, Living One’s Own Thought Experience with Music and Musicology, New Sound, 41, 2013).

Open to the contributions not only from musicological and music field but from different fields of humanities and arts, the conference aims at contemporary re/interpretations and re/discoveries of the crucial points of contextuality of musicology.

The above and the following few suggestions are offered as starting-points for consideration:

  • context in music/musicology

  • music/musicology in context

  • contextuality of musicology and (post-)historical, as well as analytical fact

  • contextuality of musicology and musicological aesthetics and poetics of music (from what is autonomously musical in a work to what is latently semantic in it, in a way that implies or stimulates personal insights, and/or personal existence in a musical work, as a sort of hermeneutical completion – cf. Interview with M. Veselinović-Hofman)

  • contextuality of musicology and contemporary creation – current phenomena in and outside music: technological and compositional-technical innovations, various efforts in media, style and theory, the possibility of contextual insight, necessarily related to the problem area of this here and now (cf. Interview with M. Veselinović-Hofman)

  • contextuality of musicology and performing

  • contextuality of musicology and media – mixed media, polymedia, intermedia

  • contextuality of musicology and technology – human, non-human

  • contextuality of musicology and language, as well as writing

  • contextuality of musicology and subject(ivity)

  • contextuality of musicology and utopia, (post)delusion, nostalgia, melancholy, and/or activism, technological progress

  • contextuality of musicology and interdisciplinary challenges, humanities

Academics of all fields of musicology are invited, including those dealing with music from the position of other disciplines.

Please submit your paper topic (including the thematic area as listed above) to Ivana Petković or Radoš Mitrović or Stefan Cvetković at e-mail address: muzikologija#fmu.bg.ac.rs(please change ‘#’ with ‘@’)

The submission deadline is May 31, 2018.

Please include your short biography and an abstract of 250 words. You will be notified by June 15, 2018. if your topic has been accepted.

The official language of the conference is English. It is possible to deliver papers also in German, French, Russian, and Serbian, but the authors are kindly requested to provide translation in English.

The time limit for the presentation and discussion of your paper is set at 30 minutes in total. Selected papers presented at the conference will be published in the proceedings.

Conference fee: Both participation at the Conference and the publication of a text whose topic has been accepted by the Program Committee are conditional upon the payment of the participation fee. The travel expenses, per diem expenses and hotel accommodation, are to be covered by the participants.

Payment instructions: The fee can be paid on the spot (90) or with PayPal (early bird, 70 ).

Students fee is 50 .

Participants will be notified about PayPal payments instructions.

Keynote Speakers:

Richard Taruskin, PhD

Professor Emeritus, University of California, Berkley, Department of Music

Mirjana Veselinović-Hofman, PhD

Full Time Professor – Retired, University of Arts in Belgrade, Faculty of Music

Program Committee:

Marcel Cobussen, PhD, Leiden University, Faculty of Humanities, Academy of Creative and Performing Arts

Marija Masnikosa, PhD, Faculty of Music of the University of Arts in Belgrade

Vesna Mikić, PhD, Faculty of Music of the University of Arts in Belgrade

Ivana Perković, PhD, Faculty of Music of the University of Arts in Belgrade

Tijana Popović Mlađenović, PhD, Faculty of Music of the University of Arts in Belgrade

Nico Schüler, PhD, Texas State University, San Marcos

Leon Stefanija, PhD, Faculty of Arts, University of Ljubljana

Ana Stefanović, PhD, Faculty of Music of the University of Arts in Belgrade

Dragana Stojanović-Novičić, PhD, Faculty of Music of the University of Arts in Belgrade

Chris Walton, PhD, University of Stellenbosch

Organizing Committee:

Stefan Cvetković, PhD candidate, Faculty of Music of the University of Arts in Belgrade

Marina Marković, PhD candidate, Faculty of Music of the University of Arts in Belgrade
Marija Masnikosa, PhD, Faculty of Music of the University of Arts in Belgrade

Vesna Mikić, PhD, Faculty of Music of the University of Arts in Belgrade

Ivana Miladinović-Prica, PhD candidate, Faculty of Music of the University of Arts in Belgrade

Radoš Mitrović, PhD, Faculty of Music of the University of Arts in Belgrade

Ivana Perković, PhD, Faculty of Music of the University of Arts in Belgrade

Ivana Petković, PhD candidate, Faculty of Music of the University of Arts in Belgrade

Tijana Popović Mlađenović, PhD, Faculty of Music of the University of Arts in Belgrade

Ana Stefanović, PhD, Faculty of Music of the University of Arts in Belgrade

CityMAC 2018

CityMAC 2018

5-7 July 2018, City, University of London

The City Music Analysis Conference (CityMAC 2018), sponsored by the Society for Music Analysis (SMA), will take place on Thursday 5th to Saturday 7th July 2018 at City, University of London. This international conference will feature analysis of world music, but welcomes paper proposals on any aspect of theory or analysis relating to music of any genre and historical period.

Keynote speakers

Professor Janet Schmalfeldt (Tufts University) and Professor Richard Widdess (SOAS).
Submission deadline: 5th February, 2018. Applicants will be notified by 16th March, 2018.

Proposal categories

  • Papers (20 minutes maximum, with 10 minutes for discussion)
  • Paper sessions (three or four papers, each of 20 minutes maximum, with 10 minutes per paper for discussion)
  • Roundtable discussions (up to 6 participants, each giving a short position paper, followed by a general discussion, total running time of 90 or 120 minutes)
  • Recitals, lecture-recitals and lectures illustrated by sound diffusions or audio-visual screenings (maximum duration 90 minutes)

Proposal guidelines

  • For individual papers: up to 250 words
  • For paper sessions: 250-word (maximum) summary and up to 200 words for each session participant
  • For roundtable discussions: 250-word (maximum) and up to 150 words for each panel participant
  • For recitals, lecture-recitals and lectures illustrated by sound diffusions or audio-visual screenings: 250 word (maximum) summary, plus participant CVs and recordings / scores / other details of works to be included in the event (contact the organiser to discuss)

Further information for applicants

  • Only one proposal of each type is permitted per applicant
  • Proposals must be sent by email as a MS Word or pdf attachment to CityMAC2018@sma.ac.uk
  • Proposals need not be anonymised.
  • Student members and individuals without access to institutional funds are eligible to apply for an SMA Travel Bursary to help cover the costs of travel and accommodation. Further details can be found here: http://www.sma.ac.uk/grants/travel/. Please note that the deadline for application for bursaries is 7 June 2018.
  • Delegates are also welcome to apply to our Development Fund scheme to cover the cost of attending. For further details, see: http://www.sma.ac.uk/grants/development/. There is no deadline for this fund, but retrospective applications will not be considered.
  • All enquiries should be sent to Dr Shay Loya via CityMAC2018@sma.ac.uk.

Programme committee

Dr Chloë Alaghband-Zadeh (Loughborough), Professor L. Poundie Burstein (Hunter College, CUNY), Dr Esther Cavett (King’s College London), Professor Julian Horton (Durham), Dr Shay Loya (City, Organiser), Professor Danuta Mirka (Southampton), Dr Laudan Nooshin (City), Ian Pace (City), Dr Kenneth Smith (Liverpool).

North-South Interchanges: Collaborations, Tensions, Hybridizations

Organized by

UNESP (State University of São Paulo) – Instituto de Artes, São Paulo (Brazil)

Centro Studi Opera Omnia Luigi Boccherini, Lucca (Italy)

Universidad de la República, Montevideo/Salto (Uruguay)

Universidade Federal do Espírito Santo (UFES) – Centro de Artes, Vitória (Brazil)

UNESP, Instituto de Artes, São Paulo – Brazil

19-21 September 2018

 

The relations between the music made in South America, and that made in Europe, and in North America has been characterized at times by efforts to approach, some others times by rejection, many times resulting in peculiar hybrids. These same relations reflect in music criticism and in aesthetics, sometimes reinforcing the similarities, sometimes invoking the differences, or even having to deal with musical phenomena for which no specific vocabulary has been invented yet. We part from the argument proposed by Joseph Kerman, «repertories are determined by performers, and canons by critics» (‘A Few Canonic Variations’, in: Critical Inquiry, x/1, Canons [Sep. 1983], pp. 107-125), evoking the strength of the discursive network that develops around musical creation, performance, and its aesthetics. This conference intends to explore the rich and multifarious relations between music-making — understood in a very broad sense — and music criticism and aesthetics that, in some way, deal with or reflect the North-South relations.

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

  • The reception of European and North-American music in South America;
  • The reception of South-American music in Europe and in North America;
  • Nationalisms and the adaptation / rejection of foreign models in Music Criticism;
  • The North-South relations in Popular Music Criticism;
  • The North-South relations in Art Music Criticism;
  • Aesthetics, Philosophy of Music and Music Criticism;
  • Nationalisms and aesthetics: discourse between borders;
  • Aesthetics and Philosophy of Music in South America;
  • History of Music Criticism.

Scholarly Committee:

  • Marita Fornaro Bordolli (Universidad de la Respública, Uruguay)
  • Roberto Illiano (Centro Studi Opera Omnia Luigi Boccherini, Italy)
  • Fulvia Morabito (Centro Studi Opera Omnia Luigi Boccherini, Italy)
  • Massimiliano Sala (Centro Studi Opera Omnia Luigi Boccherini, Italy)
  • Lia Tomás (UNESP – Instituto de Artes, Brazil)
  • Mónica Vermes (Universidade Federal do Espírito Santo – Centro de Artes, Brazil)

The official languages of the conference are English, Spanish and Portuguese. 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 no more than 200 words of biography.

All proposals should be submitted by email no later than ***Sunday 5 May 2018*** to <conferencecriticism2018@ia.unesp.br>. 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 2018, 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:

<conferencecriticism2018@ia.unesp.br>