Tzlil Meudcan 2020

The Musicology Department at the Hebrew University and Tzlil Meudcan Festival invite graduate and postgraduate students in musicology to submit applications for the Tzlil Meudcan musicological roundtables, Tel Aviv, July 4-9, 2020. Roundtables will be held in parallel with festival program whose thematic focus this year is “Patterns”.

The musicological sessions will feature a public symposium (July 4) followed by daily roundtables on the festival’s program and assigned reading on various related topics (July 6-9). Discussions will be led by Prof. Martin Iddon (University of Leeds) and Dr. Assaf Shelleg (The Hebrew University of Jerusalem). Successful candidates will enjoy a free pass to the entire festival program in addition to reduced accommodation costs at the Gilgal hotel in Tel Aviv, where all festivals guests will be accommodated allowing a mutual vibrant environment right off the beautiful coast line of Tel Aviv.

Applicants should submit a statement outlining their research interests (250 words) in addition to a biographical sketch. Please submit your application at tzlilmeudcan@outlook.com

Submission deadline: January 30, 2020.

Music – Musicology – Interpretation

XV International Conference of the Department of Musicology,

University of Arts in Belgrade, Faculty of Music

Belgrade, 22 to 24 October 2020

 

The Department of Musicology of the Faculty of Music, University of Arts in Belgrade, is pleased to announce its Fifteenth International Conference on the topic Music–Musicology–Interpretation.

The subject of the conference Music-Musicology-Interpretation focuses on the complex and multifaceted relationships between the constituent concepts. It proposes to re-examine these multiple relations by thematizing, from the point of view of interpretation, music as language, discourse, work of art and text, the performance of music and the discourse on music – musicology itself.

Musical hermeneutics as a discipline is today the focus of musicological interest. During the last three decades of the 20th century, it developed in parallel with research into musical semiotics and, as the influence of “pure” structural analysis was waning, it became an important current of thought about music at the beginning of the 21st century. Its renewal in relation to the legacy of the 19th century was partly due to interpretive criticism in Anglo-Saxon literature but also to the works of Carl Dahlhaus in the 1970s and 1980s. Next come researchers into hermeneutics and interpretive criticism and analysis, each with a different orientation in their individual pathways and objects of study, most of whom are still active today: Joseph Kerman, Nicholas Cook, Leo Treitler, Lawrence Kramer, Robert Hatten, Eero Tarasti, Jean-Jacques Nattiez, Michel Imberty, Bernard Vecchione, Christian Hauer, Makis Solomos…

In his Peri Hermeneias, Aristotle established an equality between “sounds emitted by the voice” and symbolic language, that is, meaningful language: “The sounds emitted by the voice are the symbols of the states of the soul, and the written words the symbols of words emitted by the voice” (Peri Hermeneias, 1 / 16a /). Being symbolic, signifying language is thus equated with interpretive language, mediating the relation of the transmitter “of the voice” to the things of the world, with the written language then constituted as a double mediation: of the spoken language and the things themselves. This chain of consecutive “interpretations-appropriations” (Ricœur, From Text to Action, 1986) thus recalls a chain of musical interpretations: the things of the world (the world of life, being-in-the-world) the music (discourse, work of art, text)the performance of music the discourse on music, projecting, through the hermeneutical arc, into a new being-in-the-world, as an understanding of oneself in front of signs (Ricœur, ibid).

This chain allows us to problematize the relationship between music, discourse on music and interpretation on several levels.

At the methodological level, it enables us to re-examine the position of musicological interpretive criticism in relation to primary research, technical analysis and structural explanation, on the one hand, and the “new musicology”, on the other, and, at the disciplinary level, to re-examine the position of and relationship between musical hermeneutics and structuralism, as well as semiotics. In both cases, the question can be raised as to whether the structural explanation of the musical work or the explanation of the signs of culture, on the one hand, and interpretation, on the other, are mutually exclusive, or whether a methodological reconciliation is possible in the sense of the mediating role of explanation in the process of understanding, explanation and understanding being integrated into the interpretive chain.

At the poetic level, it allows us to reopen the question of the interpretive character of the musical work/discourse/text itself as the “voice emitted”, thus already the symbolic voice, and then to re-problematize the relationship between musical language and meaning, reference, representation, narrativity and time. In this sense, another question can be posed, namely how the specific abilities of music can help shed light on the interpretive process and the contemporary hermeneutical task in general. Also related to this is the problematics of the historicity of musical hermeneutics / musical interpretation, as well as the problematics of the interpretive discourse on music in history and as history. The issue of the subjectivity and objectivity of the discourse on music and music itself is part of the old debate but it lends itself to reconsideration in relation to music as a “thing” (L. Kramer) and the work of interpretation as event, action, dynamism, creation, production. The notion of metaphor, extracted as a key concept in different conceptualizations by many authors, musicologists and philosophers, is also proposed for examination: as a musical metaphor (at the poetic level) and as a metaphor in the discourse on music.

As a link in the interpretive process, the performance of a musical score as “appropriation” and actualization of a musical text, as a realization of its meaning in another “voice”, offers itself to examination, testifying to the opening of the musical work, discourse and text. In that sense, when it comes to interpreting music from the aspect of performing practice, it is understood as something much more than a mere reproduction of the score in sound. The variable roles of the music performer throughout history represent different social, cultural, stylistic, etc. conditions under which music is understood. In all these different approaches to a work of music, it is implicitly indicated that all of its incidences and meaningful transformations are only achieved by the performance.

The position of the listener in the interpretive process can be approached from several angles: semantic, psychological, narrative. Does the interpretive process not in fact end in the effectuation of the sense in the discourse (tacit or explicit, oral or written) of the listener who has passed through the musical interpretive chain?

Referring to the aforementioned findings, the following topics could be considered:

  • Interpretive criticism in musicology versus primary research and the “new musicology”
  • Musical hermeneutics versus semiotics and structural analysis of music
  • Musical hermeneutics / interpretation in history and as history
  • Musical work / discourse / text as interpretation
  • Musical language and meaning, reference, representation, narrativity and time
  • Musical metaphor and metaphor in the discourse on music
  • Subjectivity and objectivity in musical interpretation
  • Music and / as performance
  • Musical performance and / as analysis of music
  • Historically informed performance as a field of recreation of the past
  • The listener as interpreter

Please submit your paper topic (including the thematic area as listed above) to Ivana Petković Lozo at e-mail address: muzikologija@fmu.bg.ac.rs

The submission deadline is April 5th, 2020.

Please include your short biography and an abstract of 250 words. You will be notified by May 5th, 2020 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 a Power-Point presentation in English or the translation of their papers 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 Programme 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. The fee can be paid on the spot or with PayPal (120€; early bird, deadline June 15th, 2020: 100€; PhD candidates: 50€). Participants will be notified about PayPal payments instructions.

More about conference, themes and participation you may find at conference web site https://musicmusicologyinterpretation2020.wordpress.com/

Keynote Speakers:

Danielle Cohen-Levinas

Professor of Musicology and Philosophy

Université Paris 4 / ENS-CNRS, France

 

Robert S. Hatten

Marlene & Morton Meyerson Professor in Music

Professor of Music Theory

Sarah and Ernest Butler School of Music

The University of Texas at Austin, USA (TBC)

 

Lawrence Kramer

Distinguished Professor of English and Music

Fordham University, USA

 

Makis Solomos

Professor of Musicology

Université Paris 8, France

 

Eero Tarasti

Professor emeritus of Musicology

The University of Helsinki, Finland

 

Programme Committee:

Professor Antonio Baldassarre, Lucerne University of Applied Sciences and Arts, Suisse

Professor Danielle Cohen-Levinas, Université Paris 4 / ENS-CNRS, France

Associate Professor Paulo Ferreira de Castro, CESEM – Nova FCSH, Portugal

Professor Robert S. Hatten, University of Texas at Austin, USA

Distinguished Professor Lawrence Kramer, Fordham University, USA

Associate Professor Marija Masnikosa, University of Arts in Belgrade, Serbia

Professor Ivana Perković, University of Arts in Belgrade, Serbia

Professor Tijana Popović Mladjenović, University of Arts in Belgrade, Serbia

Professor Makis Solomos, Université Paris 8, France

Professor Irina Susidko, Gnesins Russian Academy of Music in Moscow, Russia

Professor Leon Stefanija, University of Ljubljana, Slovenia

Professor Ana Stefanović, University of Arts in Belgrade, Serbia

Professor Dragana Stojanović-Novičić, University of Arts in Belgrade, Serbia

Professor emeritus Eero Tarasti, University of Helsinki, Finland

Academician, Professor emeritus Stanislav Tuksar, HAZU/University of Zagreb, Croatia

Professor Mirjana Veselinović-Hofman, University of Arts in Belgrade, Serbia

 

Organizing Committee:

Stefan Cvetković, PhD candidate, Teaching Assistant, University of Arts in Belgrade

Marina Marković, PhD candidate, Teaching Assistant, University of Arts in Belgrade

Ivana Miladinović-Prica, PhD, Teaching Assistant, University of Arts in Belgrade

Radoš Mitrović, PhD, Teaching Assistant, University of Arts in Belgrade

Ivana Petković Lozo, PhD, Teaching Assistant, University of Arts in Belgrade

 

Low End Theories: Understanding Bass Music and Culture Study Day

It’s my great pleasure to formally open the Call for Participation for Low End Theories: Understanding Bass Music and Culture.

This will be a joint BFE/RMA Study Day at the University of Bristol next year, on Saturday 16 May 2020.

Keynote speaker: DJ Krust aka Kirk Thompson

Visit the website to read the CfP and join the mailing list for future updates: http://lowendtheories2020.wordpress.com/

The deadline for submissions is Friday 31 January 2020.

With a steadily increasing array of academic publications in the field reflecting bass music’s global popularity and value, we believe the organisation of an interdisciplinary conference on this topic in the lively city of Bristol is both timely and relevant to a broad audience.

Enquiries: lowendtheories2020@gmail.com

Facebook event: https://www.facebook.com/events/517207328794359/

Twitter: #LowEnd2020

Musicology and Its Future in Times of Crises

CALL FOR PAPERS

Musicology and Its Future in Times of Crises

International Conference on the Occasion of the 50th Anniversary of the Department of Musicology, Academy of Music, University of Zagreb

Zagreb, 27-28 November 2020

Narratives of crisis seem to be a persistent condition of every generation’s history. Aside from their presence in everyday life and the fact that they are ingrained in the social and political sphere, discourses on crisis have become an inextricable feature of contemporary scholarship itself, perceivable in debates on the crisis of knowledge, reflections on the devaluation of the humanities, and discussions on the changing conditions of academic labour. Coupled with growing anxieties about the precarious position of musicological disciplines within the neoliberal university and larger systems of scholarship, these discourses condition the environment in which musicological research is conducted in an important way, bear upon the ways knowledge is (re)produced, and inevitably (although not always perceptibly) shape disciplinary futures.

Scholars across the field of music studies are invited to reflect on and address the issues proposed in the three thematic streams outlined below, as well as to contribute to the broader topic of the conference by sharing insights and reflections gained through their experience and research. We invite proposals for individual or co-authored paper presentations and/or themed panels.

STREAMS:

1. Reflecting on the Crisis of Musicological Knowledge

2. Responding to the Crisis of (Ir)Relevance

3. Resisting the Crisis of Academic Labour

 

1. Reflecting on the Crisis of Musicological Knowledge

At the level of musicological knowledge, the crisis manifests itself in the permanent doubts regarding the foundations of musicology and consequently in the vivid proliferation of disciplinary “turns”. In the moment of crisis, existing musicological knowledge is considered to be untenable and the limitations of its premises become evident. In such cases epistemology speaks of “paradigm changes”, which reveals as much as it hides about what is actually at stake. But what is going on in such

moments of crisis of musicological knowledge? Do paradigm changes in musicology imply a certain automatism? Do they occur consensually? Do they proceed without any resistance?

The first thematic stream could therefore focus on the following questions: Who has the right to announce the untenability of certain musicological knowledge? Is one obliged to follow such announcements? Does that right depend on the centrality or marginality of the position from which one speaks? How does such positioning define the relations between different national traditions of the discipline and between different subdisciplines within music studies? Are paradigm changes something that could be put into a programme or a manifesto (announcing a certain “musicology of the future” as the future of musicology)? Could the crisis of musicological knowledge be solved by importing perspectives from another discipline? Why do research paradigms change from time to time in certain settings, whereas in others they seem to be resilient to change? How do musicological paradigms age? Could the once outdated paradigms have any future?

2. Responding to the Crisis of (Ir)Relevance

The idea behind this thematic stream is to bring forward issues and modes of responding to crises within and outside of academia, with the tools of musicological scholarly knowledge. How could we today – more than twenty-five years after Philip Bohlman’s (1993) call – conceive of musicology as a political act? Although this question resonated across different musicological subfields, there is still room to consider whether subdisciplinary divisions helped or aggravated musicology’s relevance and visibility as well as its social responsibility.

Some of the questions that could be considered within this stream are: In the light of humanitarian emergencies, how can musicological epistemology help humanity and is there still room for academic activism? What is the role of musicology in the age of postmodern crisis of knowledge and post-truth – how can the discipline cope with the challenges and what is its responsibility within this context? In the current cultural and educational policies, where humanities are increasingly being pushed aside by market-oriented sciences, what are the arguments in favour of the discipline’s relevance, and how can musicology help in restoring the social awareness of the importance of humanities? No less important, who are musicology’s audiences today and what is the future of the discipline and its subfields within these contexts?

3. Resisting the Crisis of Academic Labour

It seemingly goes without saying that the labour of practicing, developing, and (re)imagining musicology rests almost exclusively on the shoulders of the scholars themselves. The issues of the complex intricacies of academic labour in musicology, nevertheless, still belong to one of the least-researched and only occasionally discussed topics in the discipline itself. Through this thematic stream, we encourage scholars to reflect on the changing conditions of academic labour in a historical perspective as well as contemporary institutional practices and offer their perception on the myriad ways organisational governance, the extensification/intensification of work and individual(ized) responses to structural transformations of workplace affect the sustainability and future of musicological disciplines.

Some of the following questions are aimed at opening the space for further discussion within this stream: How do the structural features of contemporary universities and other academic institutions affect our everyday experiences of research and teaching? How and why do the individual (gendered, classed, racialized etc.) experiences of academics seem to escape our critical attention? How does the increasing scarcity (luxury?) of time dedicated solely to (funded?) research affect the development of the discipline of musicology? How do contemporary pressures of competitiveness and dictate of “measurable” excellence stand in relation to mutual support and solidarity among scholars? What does the exclusive reliance on short- term project-based market-oriented funding bring to the survival of smaller disciplines and the precariousness of academic labour in them? What is the (emotional, mental, corporeal, existential) cost of work (not) being done (Gill 2010)?

4. Related Research

Beside the above outlined thematic streams, we welcome research-based contributions to other aspects of the broader symposium topic of musicology and its future.

 

Keynote Speaker

Nicholas Cook, University of Cambridge

Conference language: English

Conference website:

http://www.muza.unizg.hr/zgmusicology50/en/category/conference/

Guidelines for proposal submission:

• individual or co-authored papers (20 minutes + 10 minutes discussion):

  • title and abstracts of up to 300 words, up to 6 keywords

themed panel sessions of three or four individual papers (60 minutes + 15 minutes discussion)

  • title and abstracts of up to 300 words per paper
  • panel title, and up to 300 words outlining the general theme of the panel, up to 6 keywords

Due Date and Submission

Costs

The costs of travel and accommodation will be covered by participants. The registration fee is €50 (€30 for PhD students). It covers the costs of conference materials, coffee breaks and refreshments as well as the conference reception.

Venue

The symposium will be held at the Academy of Music in Zagreb, Trg Republike Hrvatske 12, 10000 Zagreb

Program Committee

  • Ivan Ćurković (chair), Academy of Music, University of Zagreb
  • Samuel Araujo, School of Music, Federal University of Rio de Janeiro (UFRJ)
  • Zdravko Blažeković, Graduate Center of the City University, New York
  • Hana Breko Kustura, Croatian Academy of Sciences and Arts, Zagreb
  • Ana Čizmić Grbić, Academy of Music, University of Zagreb
  • Naila Ceribašić, Institute of Ethnology and Folklore Research, Zagreb
  • Dalibor Davidović, Academy of Music, University of Zagreb
  • Monika Jurić Janjik, Academy of Music, University of Zagreb
  • Vjera Katalinić, Croatian Academy of Sciences and Arts, Zagreb
  • Sanja Kiš Žuvela, Academy of Music, University of Zagreb
  • Mojca Piškor, Academy of Music, University of Zagreb
  • Ingrid Pustijanac, Department of Musicology and Cultural Heritage, University of Pavia
  • Cornelia Szabó-Knotik, Institute for Musicology and Performance Studies, University of Music and Performing Arts, Vienna
  • Jelka Vukobratović, Academy of Music, University of Zagreb

Local Arrangements Committee

  • Ivan Ćurković (chair), Academy of Music, University of Zagreb
  • Ana Čizmić Grbić, Academy of Music, University of Zagreb
  • Dalibor Davidović, Academy of Music, University of Zagreb
  • Sanja Kiš Žuvela, Academy of Music, University of Zagreb
  • Monika Jurić Janjik, Academy of Music, University of Zagreb
  • Mojca Piškor, Academy of Music, University of Zagreb
  • Jelka Vukobratović, Academy of Music, University of Zagreb

 

Responses in Music to Climate Change

The Barry S. Brook Center for Music Research and Documentation at The Graduate Center of The City University of New York announces the multidisciplinary international conference

Responses in Music to Climate Change

to be held at The Graduate Center of The City University of New York, 21–23 April 2020

The deleterious effects of anthropogenic climate change continue to shape music making in a post-industrial, global society. Indigenous communities—those typically least responsible for the carbon emissions that have contributed to global warming—face the elimination or depletion of natural resources necessary for their musical practices and traditions. Composers of art music, many compelled to bear witness to our current times and bring awareness to threatened ecosystems, draw sound material from endangered environmental sources. Popular music, too, continues to respond through concerts, songs that thematize the environment, and celebrity endorsements for protection measures. Across all forms of music making, discourses of preservation, sustainability, visibility, and action are pervasive.

With the aim of collecting and sharing research on music’s place within the context of anthropogenic climate change, this conference welcomes contributions from a broad range of disciplines. A multidisciplinary approach not only seeks to capitalize on the wide range of ontological frameworks that each field brings, but also foregrounds the necessity for clear communication and criticism within and between disciplines. Increasingly, studies that address climate change and notions of environment point to the limitations of common categories for sound and music. As the problem is a human one, we hope to tackle the perennial question of how to develop vocabularies that transcend the boundaries of specialized jargon. Simply put, to confront a shared problem, we must develop strategies and techniques that address its complexities in a language accessible to all. A precondition for inciting and facilitating action is the widespread comprehension of the stakes, difficulties, and necessities as a global community.

We are excited to have Dr. Ana María Ochoa Gautier, Department of Music/Center for the Study of Ethnicity and Race, Columbia University, as our keynote speaker.

We seek to inspire papers and panels on the following themes:

  • Music and acoustic ecology
  • Environmental sound sources in composition
  • The sounds of endangered lands
  • Sustainability
  • Perspectives on sonic environments
  • Music and globalization/industrialization
  • Sonic ecologies
  • Politics
  • Sound studies

Please submit a proposal, with title and an abstract of no more than 300 words, and include contact information (address, phone, and email). Proposals for papers, whole panels, posters, and lecture-recitals are welcome.

Proposals may be submitted before January 13, 2020 to:

Michael Lupo

The Barry S. Brook Center for Music Research and Documentation

The City University of New York, The Graduate Center

365 Fifth Avenue

New York, NY 10016-4309

mlupo@gradcenter.cuny.edu

Further information will be posted at https://brookcenter.gc.cuny.edu

SONG STUDIES 2020 – Exploring Interdisciplinary Approaches to Songs and Practices of Singing (1200-today)

Ghent University, 1-3 July 2020

Deadline call for papers: 20 December 2019

Keynote speaker: Monique Scheer (Tübingen University)

The singing voice is a medium of expression that is found in all times and cultures. People have always been singing, not only to perform entertainingly, but also to express emotions or to embody identities. This has for example made collective singing (and listening) practices a primary way for people to articulate and embody the identities that are fundamental to the existence of social groups. The bodily and sensory experience of moving and sounding together in synchrony, enables individuals to experience feelings of togetherness with others.

Song is the versatile medium facilitating such processes. Songs can evoke and channel emotions, employing them for specific (or less specific) means. As a multimodal genre, song enables not only the articulation and embodiment of ideas; as an inherently oral and intangible medium, songs can move through space and time, transgressing any material form. Therefore, songs have proven an ideal tool for the distribution of news, contentious ideas, or mobilising messages.

This conference aims to bring together researchers from various disciplines investigating song (for example musicology, literary studies, history, sociology, performance studies, cognition studies, anthropology, etc.). The focus will be on the definition of possible approaches to the study of this medium (both in its material and performed existence), its performances (in any form) and reception (in any context). Research examples may cover songs written and sung in any culture and language, and any (historical) period. Common ground will be found through concepts, approaches and methodologies, encouraging an interdisciplinary and transhistorical dialogue, breaking ground for a new research field: song studies.

Possible research areas and questions to be explored are:

  • how to study the multimodality of the genre, acknowledging both textual and musical characteristics, and its performative nature;
  • the sensory/bodily and emotional/affective experience of listening and singing;
  • cognitive and/or affective processes of singing (and collective singing practices);
  • how to study the performative aspects of songs in historical contexts;
  • the ‘power’/agency of song;
  • the role of song and singing in social processes and historical developments; etc. We invite proposals for 20-minute individual papers (max. 300 words) or alternative formats (pre- submission inquiry is encouraged). As the aim of this conference is to facilitate dialogue, there will be ample time for discussion and exchange. Please send your proposal, including your name, academic affiliation and a short biographical note, no later than 20 December 2019 to renee.vulto@ugent.be. For more information and registration, see www.songstudies.ugent.be.

Music and Resistance

CALL FOR PAPERS

The Centro Studi Opera Omnia Luigi Boccheriniof Lucca, in collaboration with the Universitat Autònoma de Barcelona (I+D+i RTI2018-093436-B-I00 “Music and Dance in Sociocultural, Identity and Political Processes during the Second Francoism and the Democratic Transition (1959-1978)”), is pleased to invite submissions of proposals for the symposium «Music and Resistance», to be held in Lucca, Complesso Monumentale di San Micheletto, from 11 to 13 December 2020.

Keynote Speakers:

  • Mark Andrew Le Vine (University of California Irvine)
  • Germán Gan Quesada (Universitat Autònoma de Barcelona)

The word “resistance” is often associated with the wars that marked the history of the twentieth century. The music of “resistance” found a huge space in popular music, but also in celebratory and protest works with which many composers reacted to the violence of dictatorship.
But in a broader sense, the word resistance is also used in modern forms of musical art in association with anti-fascist themes, or linked to social rights movements (women, LGBT movements) and ethnic groups, or as a means of generational identity (such as punk, hip-hop or rap).

This symposium aims to engage with all forms of resistance that have been put into practice through various musical forms, styles and genres, both historical and contemporary. The programme committee encourages submissions within the following areas, although other topics are also welcome:

  • Music under Wars and Dictatorships
  • Music and Holocaust
  • Popular Music and Rebellion
  • Music and Racism
  • Music and Human Rights
  • Music and Social Critique
  • Music and the Ideologies (including Music and Feminism)
  • Music and Socio-Political Associations
  • Music at the Margins of Official Cultures, Subcultures and Countercultures
  • Young Music and Resistance
  • Concerts, Recitals and Festivals as Spaces of Resistance
  • Music and Critical Theory
  • Music and Old and New Fascisms
  • Music and Resistance in the Market and in the Cultural Industry

Programme Committee:

  • Germán Gan Quesada (Universitat Autònoma de Barcelona)
  • Roberto Illiano (Centro Studi Opera Omnia Luigi Boccherini)
  • Fulvia Morabito (Centro Studi Opera Omnia Luigi Boccherini)
  • Mark Andrew Le Vine (University of California Irvine)
  • Gemma Perez Zalduondo (Universidad de Granada)
  • Massimiliano Sala (Centro Studi Opera Omnia Luigi Boccherini)

The official languages of the conference are English and Italian. Papers selected at the conference will be published in a miscellaneous volume.

Papers are limited to twenty minutes in length, allowing time for questions and discussion. Please submit an abstract of no more than 500 words and one page of biography.

All proposals should be submitted by email no later than ***Sunday 26 April 2020*** to <conferences@luigiboccherini.org>. With your proposal please include your name, contact details (postal address, e-mail and telephone number) and (if applicable) your affiliation.

The committee will make its final decision on the abstracts by the end of May 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

1st Biennial Carl Nielsen Studies Conference

Newcastle University, 17–18 September 2020

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

The organising committee is pleased to announce that Professor Michael Fjeldsøe (Copenhagen University) will be the Keynote Speaker.

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

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

The language of the conference will be English.

Proposals for individual papers should be sent by email to the Chair of the Organising Committee, Dr Christopher Tarrant, at christopher.tarrant@newcastle.ac.uk no later than 1700GMT on Friday, 27 March 2020. The results of the CfP will be announced in April. Proposals should include the following:

  • An abstract of no more than 250 words in length
  • A short CV (with contact information and institutional affiliation) no longer than one page in length
  • Any technical requirements

Please submit your proposal either in Word or PDF format.

Organising Committee:

  • Dr Christopher Tarrant (Chair, Newcastle University)
  • Professor Michael Fjeldsøe (University of Copenhagen)
  • Professor David Fanning (University of Manchester)
  • Professor Daniel M. Grimley (University of Oxford)
  • Dr Michelle Assay (University of Huddersfield)
  • Carmela Barbaro (Conference Assistant, Newcastle University)

The conference will take place in the Robert Boyle Lecture Theatre at Newcastle University. The University is situated in Newcastle upon Tyne in the North-East of England. It is easily accessible by road, rail, and air, and the local Metro network provides convenient connections between the University, the central railway station, and Newcastle Airport. There will be a conference dinner at a local restaurant on September 17 and this will also offer a chance to see some of the city’s impressive sights including its beautiful eighteenth-century architectural centre and the famous bridges over the River Tyne. At 55 degrees north, Newcastle is approximately equal in latitude to Copenhagen.

Capitalist Realism: 10 Years On

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

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

Mark Fisher, Capitalist Realism

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

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

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

Call for papers

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

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

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

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

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

Keynote Speakers:

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

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

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

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

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

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

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

Programme Committee:

  • Roberto Illiano (Centro Studi Opera Omnia Luigi Boccherini)
  • Étienne Jardin (Palazzetto Bru Zane – Centre de musique romantique française)
  • Fulvia Morabito (Centro Studi Opera Omnia Luigi Boccherini)
  • Massimiliano Sala (Centro Studi Opera Omnia Luigi Boccherini)
  • Mariateresa Storino (Conservatorio di Musica ‘G. Rossini’, Pesaro)
  • Susan Wollenberg (Oxford University)

The official languages of the conference are English, French and Italian. Papers selected at the conference will be published in a miscellaneous volume.

Papers are limited to twenty minutes in length, allowing time for questions and discussion. Please submit an abstract of no more than 500 words and one page of biography.

All proposals should be submitted by email no later than ***Sunday 5 April 2020*** to <conferences@luigiboccherini.org>. With your proposal please include your name, contact details (postal address, e-mail and telephone number) and (if applicable) your affiliation.

The committee will make its final decision on the abstracts by the end of April 2020, and contributors will be informed immediately thereafter. Further information about the programme, registration, travel and accommodation will be announced after that date.

For any additional information, please contact:

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