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>

 

Church Music and Worship Conference

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Following on the from the success of the York Conference on Church Music held in February 2017, the organising committee for Church Music & Worship invite proposals for this two-day international conference to be held in the Pemberton Rooms at Durham University and Prior’s Hall at Durham Cathedral on the 27 and 28 April 2018.

Our Keynote addresses will be delivered by Professor Jeremy Dibble (Professor in the Department of Music, Durham University) & The Rev’d Dr Maggi Dawn (Dean of Marquand Chapel, and Associate Professor of Theology and Literature, Yale University, USA).

Conference website

 

Call for Papers

We invite researchers and practitioners to submit proposals which engage with a range of methodologies and perspectives on church music and worship, from academic and practice-based viewpoints. Proposals are encouraged on the broad theme of church music and worship which may address, but need not be limited to, the following topics:

  • Church music and liturgy
  • Church music and the media
  • Church music compositional practice
  • Church music, gender, and sexualities
  • Historical perspectives on Church music
  • International perspectives on Church music
  • Theologies of musical worship

Please find information on the next two pages about how to submit a proposal and our supporters. Any questions at all may be directed to the chair of the conference committee, Enya Doyle, at churchmusicandworship@gmail.com

Submission Information

We particularly welcome submissions from postgraduate students.

We also welcome scholars who may want to or have to bring children with them.

Individual Papers

Proposals for papers should be sent as abstracts of not more than 350 words. Individual papers should be 20 minutes in length and will be followed by 10 minutes of discussion.

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Panels

Proposals for organised panels of 3 speakers (1 ½ hours) and 4 speakers (2 hours) should submit a panel abstract (200 words) and individual abstracts (350 words each) in a single document together with the full names and email addresses of the participants. Questions about the organisation of panels should be directed to churchmusicandworship@gmail.com

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The following format should be used for proposals (send in a word doc or pdf):

  1. Name, affiliation (if applicable), and e-mail address;
  2. Type of presentation (paper, lecture recital, panel, or poster);
  3. Title of presentation;
  4. Abstract (350 words max);
  5. Audio-visual and other requirements (the following are available: Data projector or large plasma screen; Desktop PC; VGA, HDMI and 3.5mm audio inputs; CD player; DVD player; Visualiser; Piano)
  6. Brief Biography (150 words)

Questions, queries, and proposals should be sent to the chair of the conference committee, Enya Doyle, at churchmusicandworship@gmail.com

The deadline for proposals is 23:59 on January 15 2018

Rethinking Sound 2018

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

Keynote Speakers:

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

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

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

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

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

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

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

Rossini after Rossini: Musical and Social Legacy (1868-1918)

6a00d8341c684553ef019affbaa57b970c-piorganized by
Centro Studi Opera Omnia Luigi Boccherini (Lucca)

Lucca, Complesso Monumentale di San Micheletto
19 – 21 October 2018

Call for Papers

The Centro Studi Opera Omnia Luigi Boccherini of Lucca is organizing the symposium «Rossini after Rossini: Musical and Social Legacy (1868-1918)», to be held in Lucca, Complesso Monumentale di San Micheletto, from Friday 19 until Sunday 21 October 2018.

The influence of Rossini on his contemporaries has been and remains the subject of innumerable essays, conventions and publications. The story of the composer’s long life (1792-1868), initially focused on purely musical connections (Paganini, Giuliani,  Mercadante, Schubert, Donizetti, Bellini, Auber, Meyerbeer, Verdi, Offenbach, Bizet, just to name a few), has been expanded to include literary, philosophical and political dimensions (Stendhal, Balzac, Schopenhauer, Mazzini).
Less frequently investigated, however, is Rossini’s legacy as it unfolded during the second half of the nineteenth and early twentieth centuries. On the occasion of the 150th anniversary of the composer’s death the present conference focuses on the span of time corresponding more-or-less to the fifty years following 1868, almost to the threshold of the so-called Rossini Renaissance that, beginning in the early 1920s, generated renewed interest into the composer’s output, from the points of view of both performance and philology, and also helped to clarify the ambiguity of Rossini as a man.
Topics of investigation include, but are not limited to, the  following:

• Rossinian influences on operetta in Paris, Vienna, London and Italy;
• Rossinian influence on subsequent opera composers;
• the theory and practice of Operatic Singing;
• aspects of orchestration and instrumentation;
• stylistic and compositional legacy;
• treatises and biographical memoires;
• literature and poetry;
• reception;
• Rossini and the cinema;
• Rossini, the vocal chamber music and the popular song;
• Rossini’s iconography and portraiture;
• Rossini in politics, society and public opinion.

Programme Committee:

• Lorenzo Frassà (Centro Studi Opera Omnia Luigi Boccherini)
• Federico Gon (Universität Wien)
• Roberto Illiano (Centro Studi Opera Omnia Luigi Boccherini)
• Arnold Jacobshagen (Hochschule für Musik und Tanz Köln)
• Fulvia Morabito (Centro Studi Opera Omnia Luigi Boccherini)
• Massimiliano Sala (Centro Studi Opera Omnia Luigi Boccherini)

Keynote Speaker:

• Arnold Jacobshagen (Hochschule für Musik und Tanz Köln)

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 29 April 2018*** 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 midst 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:

Dr. Massimiliano Sala
conferences@luigiboccherini.org
www.luigiboccherini.org

“L’abbé Gounod”: French Sacred Music during the romantic era

Charles_Gounod_(1890)_by_Nadarorganized by
Centro Studi Opera Omnia Luigi Boccherini (Lucca)

Palazzetto Bru Zane – Centre de musique romantique française, Venice

Lucca, Complesso Monumentale di San Micheletto
05 – 07 October 2018

Call for Papers

The Centro Studi Opera Omnia Luigi Boccherini of Lucca and Palazzetto Bru Zane – Centre de musique romantique française, Venice are organizing the symposium «“L’abbé Gounod”: French Sacred Music during the romantic era», to be held in Lucca, Complesso Monumentale di San Micheletto, from Friday 05 until Sunday 07 October 2018.
Even if Charles Gounod (1818-1893) signed his scores as “abbé Gounod” for a very short period of time, his involvement in the production of Sacred Music never diminished from the 1840’s –when he was pensionnaire at the French Academy in Rome  (Villa Médicis)– to the end of his carrier. By focusing on Gounod’s sacred production, this conference aims to explore his works but also the context in which he produced his masses, motets and hymns. We encouraged Music analyses (with a special focus on Gounod’s oratorios: Tobie, La Rédemption, Mors e Vita & Saint François d’Assise) as much as Reception studies, Biographical studies and papers that will focuses on Gounod relations with music publishers, Sacred Music institutions or other Sacred Music composers.
This conference also aims to revaluate French Sacred Romantic Music in its entirety. Even if this production from the Napoleonic era to the 1903 Motu proprio (and the 1905 Separation of State and Church) has been oversized, searchers during the last decades have mostly neglected it and often treated it with contempt because of its specular tendencies. By studying the places where this music was performed, the purpose of its executions and the long history of French Sacred Operas we might be able to examine this production not only as Church Music but in a larger perspective.

Topics of investigation include, but are not limited to, the following:

• Studies on Gounod’s oratorios: Tobie, La Rédemption, Mors e Vita, Saint François d’Assise
• Studies on Gounod’s masses, motets and hymns (in French or English).
• Sacred Music in Rome during the time Gounod was at the Académie de France, Villa Médicis (1840’s)
• Gounod’s religiosity revealed by his correspondence or his other writings
• Christianity in Gounod’s stage work
• The place of Gounod within French Sacred Music landscape
• Gounod’s relation with editors and market value of Sacred Music during the romantic period in France
• The influence of England on Gounod’s production of Sacred Music

Programme Committee:
• Gérard Condé (President Association nationale Hector Berlioz)
• Étienne Jardin (Palazzetto Bru Zane – Centre de musique romantique française)
• Roberto Illiano (Centro Studi Opera Omnia Luigi Boccherini)
• Fulvia Morabito (Centro Studi Opera Omnia Luigi Boccherini)
• Clair Rowden (Cardiff University)
• Massimiliano Sala (Centro Studi Opera Omnia Luigi Boccherini)

Keynote Speakers:

• Gérard Condé (President Association nationale Hector Berlioz)
• Clair Rowden (Cardiff 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 15 April 2018*** 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 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:

Dr. Massimiliano Sala
conferences@luigiboccherini.org
www.luigiboccherini.org

RMA Music and/as Process Study Group 6th Annual Conference

Call for Papers/Lecture Performances
Conference: Music and Language Friday 29th June – Sunday 1st July, 2018
Edinburgh Napier University, School of Arts and Creative Industries, Merchiston Campus

We welcome proposals for contributions in the following formats:

  • Paper (20 minutes + 10 minutes questions)
  • Lecture Recital (30 minutes)
  • Participatory lecture/workshop (30 minutes)

The theme of the conference is Music and Language, both spoken and written.

Whilst the Music and/as Process Study Group has previously been aimed towards the field of music, the call remains open to practitioners and researchers within the spoken arts, and sound poetry and beyond who are drawn towards an association with the theme.

Particular themes covered might include:

  • Sound Poetry Linguistic processes in composition and new music performance
  • Oulipo
  • Radio art (or Hörspiel)
  • Concrete Poetry / Phonetic art / Lautpoesie
  • Spoken/Written Language in the construction of new music/performance/creative work
  • Interactive spoken word performance
  • Translation

Proposals should include all of the details of the proposed contribution:

  • the name(s) of presenter(s)
  • email address of presenter(s)
  • affiliated academic institution
  • title of paper/lecture-recital/workshop
  • 200-word abstract
  • [for participatory workshops only] description of the format of the workshop
  • A full list of any technical requirements and other resources

 

Please send your proposals by email to Alistair Zaldua: alistair.zaldua@canterbury.ac.uk
Deadline for proposals: Friday, 09 March 2018 Notification of successful presentations can be expected in late March 2018.

In your proposal please clearly indicate all of the presenters, including any performers if you do not intend to perform your own work. Unfortunately, the study group is not able to provide any financial assistance to attend the conference, or to support the creation or performance of works at the conference.

All presenters and performers will be required to register and pay the conference fee. At present we are working to keep this as low as possible, and we do not anticipate it being higher than £50, with a discount for students, unaffiliated ECRs, and RMA members.

Symphonism in Nineteenth-Century Europe

organized by
Centro Studi Opera Omnia Luigi Boccherini (Lucca)

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

In collaboration with
Ad Parnassum. A Journal of Eighteenth- and
Nineteenth-Century Instrumental Music

Oviedo, Edificio Histórico de la Universidad
10 – 12 May 2018

Call for Papers

The Centro Studi Opera Omnia Luigi Boccherini of Lucca and Research Group ERASMUSH of the University of Oviedo (Spain), in collaboration with Ad Parnassum Journal, is pleased to invite submissions of proposals for the symposium «Symphonism in Nineteenth-Century Europe», to be held in Oviedo, Edificio Histórico de la Universidad de Oviedo (Historic Building of the University of Oviedo), from Thursday 10 until Saturday 12 May 2018.
This conference aims to deal with the complex world of symphonism during the nineteenth century, a period in which symphonism encompassed not only the creation of musical products and performances, but also significantly affected many compositional approaches, as well as aesthetic factors, such as the opposition between programme and absolute music. The emergence of the great symphony orchestras led to unprecedented types of professional interaction, and new forms of patronage. It also fostered the creation of a specific repertoire, and the construction of the first purpose-built concert halls. These developments originated in Europe at the beginning of the 19th century, in conjunction with the development of music destined for increasing orchestral formations, and the concert as a social phenomenon, available to the public, rather than reserved for exclusive social circles sponsored by royalty, the aristocracy or the bourgeoisie. Finally, symphonic repertoire favoured the creation of a particular approach to performance among orchestral conductors, which continued into post-Romanticism and that have persisted to the present day.

The programme committee encourages submissions within the following areas, although other topics are also welcome:
• Repertoire, composition, analysis and musical creation
• Musical aesthetics and criticism: programme and absolute music
• Orchestras and symphonic ensembles
• Performing practice, orchestra conductors and performative models
• Musical performing venues, production system, consumption, entertainment system in the European countries
• The editing of orchestral music in Europe in the 19th century
• The public and its social component
• Dissemination and reception of symphonic models in Europe

Programme Committee:
• Roberto Illiano (Centro Studi Opera Omnia Luigi Boccherini)
• Luca Lévi Sala (New York University / Université de Montreal)
• 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:

• Ramón Sobrino (Universidad de Oviedo)
• Christian Speck (Universität Koblenz-Landau)

The official languages of the conference are English, 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 biography.
All proposals should be submitted by email no later than ***Sunday 4 February 2018*** 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 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:

Dr. Massimiliano Sala
conferences@luigiboccherini.org
www.luigiboccherini.org

Ars Antiqua III: Music and Culture in Europe, c1150-c1330

organized by
Centro Studi Opera Omnia Luigi Boccherini (Lucca)

Lucca, Complesso Monumentale di San Micheletto
30 November – 02 December 2018

Call for Papers

The Centro Studi Opera Omnia Luigi Boccherini of Lucca will host the symposium «Ars Antiqua III: Music and Culture in Europe, c1150-c1330», to be held in Lucca, Complesso Monumentale di San Micheletto, from Friday 30 November 2018 until Sunday 2 December 2018.
The two previous Ars Antiqua conferences (Princeton, 2011 and Southampton 2013) demonstrated both the range of work being undertaken in the field of music from the last third of the twelfth to the first third of the fourteenth centuries, and also the amount of work that still remains to be undertaken.  ARS ANTIQUA III aims to bring into alignment work considering not only such recognised genres as organum, conductus, motet, and vernacular song, but also continuing plainsong and liturgical traditions during the period, sequence and rhymed office as well as vernacular romance and related genres.
We welcome proposals of single papers, as well as groups of two, three and four contributions.  Panels may be on single genres or may attempt to cross generic, national and theoretical boundaries.

Scholarly Committee:

  • James Cook (University of Edinburgh)
  • Mary Channen Caldwell (University of Pennsylvania)
  • Gregorio Bevilacqua (University of Southampton)
  • Elizabeth Eva Leach (University of Oxford)
  • Mark Everist (University of Southampton)
  • Daniele Sabaino (Università degli Studi di Pavia)
  • David Catalunya (Universität Wurzburg)

Programme Committee:

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

The official languages of the conference are English, French, German, Italian and Spanish.  Papers may also be considered in other European languages. Papers selected at the conference will be published in a miscellaneous volume in the series ‘Speculum musicae’, published by Brepols in Turnhout.

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 30 April 2018*** to <conferences@luigiboccherini.org>. With your proposal please include your name, contact details (postal address, e-mail and telephone number) and (if applicable) your affiliation.
The committee will make its final decision on the abstracts by the end of May 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:

Dr. Massimiliano Sala
conferences@luigiboccherini.org
www.luigiboccherini.org

Terminology research in musicology and the humanities

CALL FOR PAPERS

CONMUSTERM: Terminology research in musicology and the humanities

Conference dates: May 25 – 26, 2018

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

 

Topics

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

 

Official languages of the conference

Croatian and English

 

Plenary speakers

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

Gerhard Budin, University of Vienna, Centre for Translation Studies

 

Submission information

 

Types of contributions

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

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

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

 

Conference fee

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

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

 

Proceedings

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

 

Organizers

University of Zagreb, Music Academy, Department of Musicology

Institute of Croatian Language and Linguistics, Zagreb

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

Organizing Committee

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

Contact: conmusterm@muza.hr

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

conmusterm_application_form_ENG

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