Influence of the Arts in the Middle Ages: Reflexions on the Aquitanian Ms. Paris, BnF, latin 1139

Paris, 19-21 March 2019

Call for Papers


The manuscript Paris, BnF, lat. 1139 is a composite manuscript whose origins are not precisely known. It was preserved in the library of the abbey Saint-Martial de Limoges, one of the most prestigious book collections of the Middle Ages, since as early as the middle of the thirteenth century. The manuscript includes the first expressions of a new way of singing  divine praise. These compositions do not so much break with older traditions as add to what already existed.

The oldest and most important part of the manuscript (end 11th-beginning of the 12th century) contains many festive chants: tropes, versified songs (versus and Benedicamus domino, so called nova cantica) troped epistles and liturgical drama (ff. 32r-117r). Also added are votive offices for the BVM, notated in the thirteenth century (ff. 119r-148r), a full sequentiary dating from the end of the twelfth century (ff. 149r-228v), and parts of two other sequentiaries of the thirteenth century (f. 2r-20v). Throughout the manuscript, one can also find texts about liturgical practice and the daily life of the abbey (such as an inventory of altar ornaments, a list of the books in the library, and so on).

This heterogeneous anthology thus allows us to observe repertories sung during as much as two hundred years as well as evolution in the liturgical practices of specific types of celebration. As a diverse collection it reveals the creative dynamic and cultural exchanges enjoyed by Saint-Martial, whilst at the same time indicating a wide network extending across  Southern France and beyond.

This manuscript is an exceptional book, that attracted at an early stage the interest of scholars:

– It includes some of the oldest testimonies of Aquitanian polyphony.

– It has the oldest collection of nova cantica.

– It includes several liturgical drama, among them the Sponsus, which is unique to this source.

– It sits at the crossroads between Latin and vernacular repertories.

– The notator of the oldest part used a sign in the form of a rhombus to indicate semi-tones. This notational particularity was quickly abandoned in the South of France but was widely adopted in the West of the Iberian Peninsula, especially in Portugal.


An inventory of the oldest part was made by Hans Spanke (1931); Judith M. Marshall devoted her entire, mainly analytical PhD dissertation (1961) to lat. 1139. Jacques Chailley (1952), Sarah Fuller (1969) and Leo Treitler (1978) also included this manuscript in their studies of the Aquitanian repertory. It appears that many chants copied in latin 1139 have concordances in sources not only from Southern France but also in the festive offices of the Circumcision from Beauvais, Sens and Le Puy (Wulf Arlt, 1970, 2000) in addition to other manuscripts from further afield.

This conference is open to scholars from many disciplines (history, art history, history of literature, musicology, philology, palaeography…) in order to tackle all the aspects of this complex manuscript. The meeting will provide an opportunity to fill lacunae in the historiography, especially in dealing with the more recent sections of the manuscript. We will therefore consider the manuscript itself, and, at the same time, attempt to place it within a wider context, beginning with the abbey of Saint-Martial and then within networks of creation and dissemination beyond the Limousin territory. The specificity of this conference will lie in the assessment of the circulation of artistic and intellectual practices. From this perspective, latin 1139 will be the starting point for a renewed study of creativity at the heart of the Midi and of its spread in space and time, but the manuscript itself will not be the only focus.


Papers might deal with the following themes (but are not limited to these):

Influence: comparison of Paris, BnF, latin 1139 with other sources

– palaeographic questions, both musical and textual; the use of the neumatic characteristics of the manuscript’s notations in other traditions (above all in the Iberian Peninsula);

– musical and literary features of the repertory;

– codicological approaches, presentation, layout and decoration of the manuscript in  relation to a larger context of manuscripts.

Dissemination: Saint-Martial de Limoges as a musical and artistic centre

            – the position of Saint-Martial with regard to the dissemination of repertories and artistic practices from the Limousin into other regions;

– the abbey as a creative centre as well as its reception of external material;

– the circulation and transfer of manuscripts to and from the library of Saint-Martial;

– the liturgy and communal life of the abbey, as revealed by the musical repertories and the non musical additions in latin 1139.

Circulation: the reception and destiny of repertories notated in Paris, BnF, latin 1139

– consideration of the dissemination, networks of repertories notated in latin 1139: manuscripts from Norman Sicily, offices of the Circumcision, German manuscripts including the Carmina Burana, Cantatoria from Prague, etc.;

– relationships between the repertories of latin 1139 and Parisian sources of the twelfth and thirteenth centuries (nova cantica, sequences);

– consideration of the complex material aspects of the manuscript as testimony to ways of using books and repertories: transformations and re-compositions in response to new needs;

– exchanges and crossovers between Latin (versus, tropes, epistles, etc.) and vernacular repertories.


Papers will be published following a peer-review process.

Please see for more information.


Scientific Committee:

Maria Alessandra Bilotta (IEM-FCSH/NOVA, Lisbonne)

Océane Boudeau (CESEM-FCSH/NOVA, Lisbonne ; EPHE/SAPRAT, Paris)

François Bougard (CNRS, IRHT, Paris)

Pascale Bourgain (Centre Mabillon/École nationale des Chartes, Paris)

Christelle Cazaux-Kowalski (FHNW / Musik Akademie Basel, Schola Cantorum Basiliensis)

Christelle Chaillou (CNRS, CESCM, Poitiers)

Marie-Noël Colette (EPHE/SAPRAT, Paris)

Gilbert Dahan (EPHE/LEM, Paris)

Charlotte Denoël (Centre Mabillon/École nationale des Chartes, Paris)

Manuel Pedro Ferreira (CESEM-FCSH/NOVA, Lisbonne)

Andreas Haug (Universität Würzburg)

Katarina Livljanić (Université Paris-Sorbonne, IReMus)

Guy Lobrichon (CIHAM UMR 5648 – Université d’Avignon et des Pays de Vaucluse)

Christian Meyer (CNRS, CESR, Tours)

Susan Rankin (University of Cambridge)

Anne-Zoé Rillon-Marne (UCO, Angers ; CESCM, Poitiers)


Organisation Committee:

Océane Boudeau (CESEM-FCSH/NOVA, Lisbon ; EPHE/SAPRAT, Paris)

Anne-Zoé Rillon-Marne (UCO, Angers ; CESCM, Poitiers)

The conference will take place on 19-21 March 2019 in the Bibliothèque nationale de France (58, rue de Richelieu, 75002 Paris), the Institut de Recherche et d’Histoire des Textes (40, avenue d’Iéna, 75116 Paris), and the Fondation Calouste Gulbenkian – Délégation en France (39, bd de La Tour-Maubourg, 75007 Paris).



– Proposals for papers (title and abstract: c. 300 words) to info@colloque1139 : 31 May 2018

– Response fram the Scientific Committee: 30 June 2018

– Conference: 19-21 March 2019

– Finished texts of papers for peer-review and publication: 30 September 2019


Lunch will be offered to speakers. Bursaries for travel and accommodation will be considered case by case, depending on the funding sources for the conference.


Iberian musical crossroads through the ages: Images of music-making in their transcultural exchanges

Fifteenth symposium of the ICTM Study Group on Iconography of the Performing Arts
organized by the Societat Catalana de Musicologia, Institut d’Estudis Catalans

Barcelona, 17–19 October 2018

Iberian peninsula—the home of Spanish, Catalan, Portuguese, Basque, and Galician peoples—has been a significant economic and political region through the history, which had been both conquered by the powers coming from elsewhere and generating its own forces exploring and conquering other regions and cultures in the world. From the Bronze Age onwards, explorers and traders used the peninsula as the crossroad between the Mediterranean and much of the rest of the world. The Phoenicians came to Iberia in the ninth century BC, and the Greeks followed two centuries later. The Romans conquest of Hispania started during the second Punic War in 206 BC and by the time of Augustus near the entire peninsula was under the control of Rome. During the Middle Ages, Al-Andalus with its Islamic administration was open to an import of Arab knowledge, philosophy, culture, arts and music. Later on, Spain and Portugal were the strongest naval powers in the world and their overseas explorations have radically altered both the old and new worlds: Spain influenced South American and Caribbean cultures, and even the Philippines; the Portuguese travellers, traders and conquerors reached Brazil, sailed along the African coast, and arrived all the way to India, Malacca, and Macao. Through the crown of Aragon, Catalonia experienced cultural exchanges within the western Mediterranean Sea and southern Italy. In addition to the overseas networks, cultural and artistic exchanges were also occurring in Europe through commercial and political ties, and also through marriages between the royal houses. Throughout the history pilgrims walking the Camino de Santiago, or visiting the shrines of Montserrat or Fatima were bringing with them songs, dances and instruments from all over Europe.

All these and many other explorations and migrations created a fertile framework for a rich exchange of musical ideas, sounds, forms, rhythms, dances, and instruments. The Barcelona conference of the ICTM Study Group on the Iconography of Performing Arts will examine visual sources documenting transborder and transcultural transmission of musical ideas between the peoples of the Iberian Peninsula and the rest of the world. Papers are invited concerning the following topics:

  • Sounds of the ancient world: The Iberian cultures in an exchange with other Mediterranean traditions
  • Islamic sounds in Al-Andalus
  • Music and dances of Spanish Sephardim
  • Music along the road: Travelers and pilgrimages in Spain and Portugal
  • The Borgia family as a mediator of musical life between Iberia, Rome and the Vatican
  • Music and explorers (Columbus, Vasco da Gama, trade routes to Latin America, Asia, Africa)
  • Portuguese ethnohistoric accounts about music of Brazil, Macao, and Estado da Índia
  • Spanish encounters with music cultures of pre-Colombian America
  • Music in Catholic missions of New Spain and in the Christianization of Goa
  • Exchanges between Catalonia and kingdoms of Naples and Sicily
  • Reception of the Italian opera in Spain and Portugal
  • Zarzuela and other music theater in Latin America
  • Spain as a topos in music exoticism (opera, operetta, ballet, dance); Orientalism in Spanish art
  • Exchanges of musical instruments between Iberian Peninsula and the rest of the world
  • Internal musical exchanges between the peoples of the Iberian peninsula
  • Spanish/Portuguese iconographic models used in Latin American decorative programs
  • Transcultural musical topics in the 20th- and 21st-century art
  • Proposals related to other transcultural music exchanges in the world may be also considered

English is preferred language for the conference presentations.
Abstracts of 250–300 words may be submitted before 2 April 2018 to:

Zdravko Blažeković
Research Center for Music Iconography
City University of New York, The Graduate Center
365 Fifth Avenue
New York, NY 10016-4309


Jordi Ballester
Societat Catalana de Musicologia
Institut d’Estudis Catalans
Carrer del Carme 47
08001 Barcelona

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
  • 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: 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: There is no deadline for this fund, but retrospective applications will not be considered.
  • All enquiries should be sent to Dr Shay Loya via

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 <>. 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:




Church Music and Worship Conference



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

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.



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


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

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:
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 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.


Pop – Power – Positions

Global Relations and Popular Music
3rd IASPM D-A-CH Symposium

Bern (Switzerland), 18–20 October 2018

In Nigeria, the high pressure to follow the copyright rules of the globalized pop music market restrains the use of samples in hip hop culture. In Egypt, young musicians have no credit cards, leaving them without access to the online music market. In Europe, second and third generation migrants discuss their non-European backgrounds and European identities in songs and tracks. And U.S.-produced Korean pop music (K-Pop) increasingly rivals Korean-produced K-Pop in its concern for authentic presentation.
Issues of power, position, access, and representation have shaped the production, distribution, and reception of popular music and continue to do so today. The three-day interdisciplinary conference Pop – Power – Positions highlights popular music’s embeddedness in a global world. It seeks to uncover and scrutinize the risks, challenges, and potentials of power structures, positioning, and (re)presentations in popular music. The analysis of global, postcolonial structures plays a central role in this endeavour. To date, however, music– and popular music in particular – has only rarely been studied using postcolonial perspectives.
Postcolonialism refers not only to the historical fact of colonialism and its political, geographical, cultural, and economic impact on the countries and regions involved. Rather, postcolonial studies deal with all aspects of cultural diversity, ethnic and cultural difference, and their related power structures. Colonialism as well as postcolonialism refer to hierarchies that are enacted and produced through the construction of the Other and bring about and enforce debateable concepts of representation such as gender, race, ethnic group, nation, class, and culture. In this regard, the effects of (post)colonialism can be detected not only in former colonialized and colonising countries and regions, but also in those which at first sight do not have a colonial heritage, for example Switzerland.
From its beginnings, popular music has been produced and performed in and within (post)colonial (power) structures. Postcolonial traces are, according to Johannes Ismaiel-Wendt, inherent in any popular music (2011). Current productions of popular music in different countries show that (post)colonial conditions live on in popular music, especially in a globalised world, and that musicians as well as recipients react in various ways to this situation.
The conference focuses on (global) power relations and representations of race, cultural difference, ethnicity, gender, class, and nation, including the changes and subversive strategies these may involve. Ethnographic and analytical studies of popular music in and from (former) colonised countries and regions are also welcome.

We invite papers that address the following range of topics and questions:
– Who speaks in popular music? What kinds of power structures shape the production, distribution, and reception of popular music? What is the impact of the Anglophone music business on other music markets? Who speaks about popular music in the areas of marketing, advertising, journalism, fan cultures, (global) politics, and educational institutions – and what vocabulary do they use?
– Have digitalisation and digital networks led to a democratisation of musical processes, or the contrary?
– What sounds and music(s) are processed in what contexts by whom and how, and to what aim? How does the use of certain sounds/music(s) point to existing power relations, dependencies, and availability?
– What role do geographies and geopolitics play in popular music-making? How do geography, world order, and power structures relate?
– In what ways can popular music exist beyond cultural, ethnic, and national geographies? What role does the relation between the Global North and Global South have in popular music?
– How do structures of power and distribution limit the access to the production and reception of popular music?
– What relevance, usability, and impact do technologies (like Digital Audio Workstations) or legal regulations (like the copyright laws) that have been developed in Western contexts have for popular music? In what ways are (post)colonial structures and power relations (re)produced therein?
– What kinds of representations do musicians use for their marketing? What traits are ascribed to music?
– What potential does popular music hold for detecting and changing (or enforcing) colonial and postcolonial power structures?
– How can postcolonial theories be made fruitful for an up-to-date understanding of popular music?
– How do musicians of different forms of popular music process a „(post)colonial experience of the world” („(post)koloniales Welterleben“, Ismaiel-Wendt) in their music?
Popular Music Studies
– How marginalised are specific popular musics within the history of popular music?
– Should or can we write a Global History of Popular Music?
– In what way is the concept of popular music in itself (post)colonial?
– What hierarchies, asymmetries or restraints can be found in inter-/transdisciplinary Popular Music Studies?

Keynote: Dr Jenny Fatou Mbaye (City University London)

Contributions on popular music that lie outside the scope of these topic areas are
welcome and will be considered if possible.

Call in GermanCall in English

Please email your abstract to by 28 February 2018

More information:


Centennial Reflections on Women’s Suffrage and the Arts


Local : National : Transnational

An international, multi-disciplinary public conference

University of Surrey, UK, 29–30 June 2018

Keynote Speakers:

  • Irene Cockroft, author of Women in the Arts & Crafts and Suffrage Movements at the Dawn of the 20th Century
  • Elizabeth Crawford, author of The Women’s Suffrage Movement in Britain and Ireland

CFP: deadline for submissions 26 January 2018

Conference website:

The 2018 centenary of the Representation of the People Act (6 February 1918), which granted the vote to many women in the UK, yields an ideal opportunity for sustained critical reflection on women’s suffrage. This conference seeks to explore the artistic activities nurtured within the movement, their range and legacy, as well as the relationships between politics and art. In striving for an inclusive, transnational reach, it will at the same time seek to move beyond traditional emphases on white middle-class feminism and explore the intersections between the regional, national, and global contexts for women’s suffrage with specific respect to the arts.

While proposals addressing any aspects of women’s suffrage will be welcomed, this conference will focus upon three strands:

  1. Women’s suffrage in/and the arts
  2. Women’s suffrage in Surrey and the surrounds
  3. Transnational networks and flows of texts in relation to women’s suffrage

20-minute papers are invited on any aspect of these strands, including but not limited to:

  • Late nineteenth- and early twentieth-century women’s writing on suffrage;
  • Political reflections on the arts and the cultural sphere, e.g. in music;
  • Transnational networks and mobilities of political texts and ideas, incorporating suffrage movements in other countries;
  • Politically active individuals with strong links to Surrey (particularly in relation to the arts) e.g. Mary Watts, Dame Ethel Smyth, Gertrude Jekyll, Marion Wallace Dunlop;
  • Networks such as Ferguson’s Gang, Surrey Hills Group, Surrey Pilgrimage Group, and women who organised suffrage marches;
  • Sociological theories of women’s suffrage;
  • Contributions of women of colour to suffrage movements in Britain and globally;
  • Art (both historical and contemporary) inspired by women’s suffrage.

Proposals for panels of 3–4 papers (1.5–2 hours) are also warmly welcomed, as are proposals for one-hour roundtables of 3–5 participants. We encourage proposals from postgraduate students and independent scholars in addition to institutionally-affiliated established academics.

Planned activities include a panel discussion featuring artists who have been active in performing and creating works based on women’s suffrage and some of its key figures; a recital of the music of Dame Ethel Smyth; and a visit to the nearby Watts Gallery. We envisage that an edited publication will be developed from papers presented at the conference.

Abstracts of not more than 300 words should be e-mailed by 26 January 2018 to Decisions will be communicated to speakers by 23 February 2018. A limited number of student bursaries may be offered to offset costs of attendance.

Conference Committee: Christopher Wiley, Charlotte Mathieson, Lucy Ella Rose (co-chairs)



Autoethnography, Self-Reflexivity, and Personal Experience as Academic Research


Institute of Musical Research (IMR) Study Day

in association with the School of Advanced Study, University of London

16-17 April 2018, Senate House, London

*NB This event has now been expanded to a two-day conference*


Provisional Programme:


Keynote Speakers: Professor Neil Heyde (Royal Academy of Music, London); Professor Darla Crispin (Norwegian Academy of Music, Oslo); Ian Pace (City, University of London)

CFP: deadline for submissions 12 January 2018

The advent of autoethnography, a form of qualitative social science research that combines an author’s narrative self-reflection with analytical interpretation of the broader contexts in which that individual operates (e.g. Etherington, 2004; Chang, 2008), has come at a critical time for the discipline of music. In the UK, the expectation of the Research Excellence Framework (REF) that creative practice outputs will be contextualised through an accompanying commentary signals the urgency for establishing scholarly structures suited to the discussion of one’s own work by performers, composers, and music technologists alike.

The recent inauguration of the Teaching Excellence Framework (TEF), meanwhile, places a renewed emphasis on pedagogic research, for which autoethnography will increasingly prove to be critical in facilitating discourse on individual teachers’ experiences, in anticipation of the upcoming subject pilot for TEF and discipline-level evaluation being implemented more widely thereafter. As a methodology, autoethnography also yields enormous breadth of potential elsewhere in music studies, with the capacity to support academic enquiry encompassing individual experiences as listener or concert-goer, habits and modes of music consumption, and conduct as fans or aficionados.

While autoethnographic approaches have received significant application to the discipline of music internationally, for instance in Australia (Bartleet & Ellis, 2009) and the US (Manovski, 2014), this study day aims to raise its visibility at such a timely juncture in the UK. It will thereby consolidate the seminal contributions made by isolated studies in areas such as music education (Wiley & Franklin, 2017; Kinchin & Wiley, 2017), sonic arts (Findlay-Walsh, 2018), and composition and performance (Armstrong & Desbruslais, 2014). It also offers significant opportunity to initiate dialogue with academic fields as disparate as the social sciences, education, and health studies, in which autoethnography is more substantively practised.

At the same time, this study day will bring together composers, performers, musicologists, and music teachers, seeking to explore different modes of autoethnography with a view to establishing an analytical vein in continuation of previous work undertaken within music studies (e.g. Bartleet & Ellis, 2009). With an emphasis on transcending the production of so-called ‘mesearch’ – work that merely draws upon the author’s autobiographical description in an academic context – the event will cultivate modes of engagement in music research that enable scholar-practitioners at all levels to locate their experiences within a robust intellectual framework as well as to articulate their relationship to wider sociocultural contexts.


20-minute papers (plus 10 minutes for questions) are invited on any aspect relevant to the study day’s themes.

Proposals for panels of 3–4 papers (1.5–2 hours) on a closely related topic are also warmly welcomed, as are proposals for roundtables (3–5 participants, 1 hour duration). The latter should be thematically integrated and dialogue-based rather than simply a series of unconnected mini-papers.

Note that papers will be expected to offer some critical self-reflection on method, and not merely to set out ground covered in an individual’s own practice. Those that adopt non-traditional formats, or incorporate a practice as research component, will be warmly welcomed.

Abstracts of no more than 300 words should be e-mailed by 12 January 2018 to Christopher Wiley, (enquiries to the same address). Decisions will be communicated to speakers by 5 February 2018.

The registration fee will be £20 per person (reduced rates of £10 available for students/the unwaged), including lunch and refreshments. A limited number of bursaries will be offered to students/the unwaged to offset travel costs, up to a maximum of £60 each.

Organising Committee: Christopher Wiley (University of Surrey, Chair), Iain Findlay-Walsh (University of Glasgow), Tom Armstrong (University of Surrey)

Study Day Supporters: Institute of Musical Research, in association with the School of Advanced Study, University of London, Senate House (funding supplied by Nick Baker)

Further information: Dr Christopher Wiley (University of Surrey):


Surrealism and music in France

Surrealism and music in France, 1924-1952: interdisciplinary and international contexts

Senate House, University of London, Friday 8 June 2018

Paris was the principal centre of surrealist activity and the focus of connections between surrealist literature, ethnology, sociology, visual arts and music. The links between surrealism and the emerging disciplines of ethnology and ethnomusicology redefined the concept of exoticism in France and were the subject of a good deal of polemical debate. However, connections between surrealism and music have been little explored, although it is clear the movement had a decisive influence on major French composers such as Pierre Boulez, Olivier Messiaen and André Jolivet. This study day initiates a transdisciplinary and international dialogue and will situate music at the heart of these debates. The day will end with a linked piano recital by the outstanding young pianist Alexander Soares.

We welcome paper proposals – in English or French – from music, literary and other scholars on relevant topics including:

  • In what senses can music be ‘surrealist’?
  • The emergence of ethnology and ethnomusicology in Paris and its relevance to artists, specifically composers
  • The Paris Exposition Coloniale Internationale (1931), the foundation of the Musée de l’Homme and their impact on the artistic/musical scene
  • The Central/South American connection to Parisian surrealist arts and music
  • Text settings of surrealist poets
  • The international dimension of surrealism and its impact on French musicians

Confirmed speakers include Sébastien Arfouilloux (Université de Grenoble-Alpes).

Proposals (300 words), in English or French, for 30-minute papers and a short biography (100 words) should be emailed to Dr Caroline Potter: Caroline.Potter [at] by 31 January 2018.  Enquiries may also be sent to this address.