CfP: Music in the body – body in music: The body at the intersection of musical practice and discourse. Conference, 5th/6th of September 2019, Department of Musicology, Georg-August-University of Göttingen

    • Our body forms the basis of all musical acts, utterances and experiences. As sonic waves, music impacts the body immediately. Musical instruments vibrate through human bodily action. Notated scores become music through the bodies of their performers. The effects of a Rock’n’Roll classic manifest bodily through physical movement in dance. Despite the undeniable presence and importance of the body in music production and reception, the body has been marginalised in historical musicology. This neglect persists despite the attention to the body as medium and location of knowledge in other disciplines throughout the humanities and social sciences. The body enjoys critical scholarly discussion and analysis since the performative turn in fields such as affect-, gender- and performance-studies, and these fields are explored in popular music studies, Ethno-, and cultural musicology. But these approximations have yet to amount to a rethinking of music in terms of its corporeality. Musicology often operates within a conception of music that is anchored to autonomy aesthetics, which is characterised by a “marginalisation of the body through the autonomy of the mind” (Traudes 2012). Not only is the performing body conceived as a transparent medium, transporting the mind-driven intentions of the composer, but the listening ideal is moreover not one of bodily reaction, but intellectual reflection. Consequently, the ‘music itself’ remains within the notated work requiring a certain ideological reading. As musicologists, the current tasks facing us are to examine the effects this ignorance of the body has had on our understanding of music (history) and detailing strategies to overcome this inattention. Furthermore, the consequences of including the body in our thinking about music must be analysed and critically discussed.
    • This conference aims to open ways into a foundational critical discussion of the above, questioning how the body and (musical) knowledge can be conceptually connected. To what extent are musicological questions impacted by the topic’s prevalence in other disciplines? How can we think of the body as a central musicological category?
    • This conference will examine the bodily dimensions of historical, social, symbolical and cultural practice in music along two related sections: music production and reception. With this, the aim is to discuss how the conceptualisation of the body beyond the dualism of body and mind also helps thinking beyond musical dualisms. Understanding the body as a tool for analysis possibly allows the body to become an intersection of knowledge, agency, discourse and practice. In this respect, the body is a shared locus of musical reception, interpretation and production, and can overturn the dualism of production and reception. The conference will accommodate this idea of intersection by bringing the contributions of the two conference sections into dialogue.

1. Composing the Performance? – staging the body in and to music

    • Questions: Corporeality is perceivable in performance, in visible staging, and in performers’ behaviour while musicking. Can corporeality also be detected as a principle of expression inherent to music, as a body inscribed into (musical) text? How can the resulting blurring of composing, performing and listening body be grasped analytically? How can we understand the body as a tool for music analysis?
    • Possible topics:
      • Musical text as staging strategy for the performing body: musical notation as prescriptive medium for bodily action and movement
      • From transparent medium to en-composed body: blurring of inner-musical and performing body
      • Body as fabric and interface of performative action (sensorially, sensually or sensationally)
      • The role of the interpreter/performer in the body-mind-dualism
      • Perception and presentation of the body on stage
      • Body as analytical key concept: How are discursive norms for the body produced, how do those norms structure our perception and practice?
      • Influence of the body and its potential for movement on the development of sign systems for music notation

2. Historical configurations of listening bodies as intersecting spaces of outside and inside
Questions: How is the bodily listening apparatus related to body norms and body experiences? What relationship does the listening body have to multi-sensory outward space and to concepts of inwardness or the self?

Possible topics:

      • History of the ears and the auditive body
      • Historical construction of listening bodies: disciplining, forming, fashioning listening skills, listening knowledge and listening abilities in the context of repertoires and canons, socio-historical practice, ethical norms, political dynamics, aesthetic norms, the history of knowledge, medicine and psychology
      • bodily listening attitudes, listening roles, listening habits and listening practice
      • The bodily sensory apparatus, historically, culturally, socially located between outside and inside spaces. Sensory apparatus used as receiver, medium, communicator, black box, interface, performer, arranger, multiplier…
      • History of embodiment in sonic space
      • Production of the subject through bodily perception, history of the body-mind-dualism
      • Naturalisation and deconstruction of listening bodies

This call for papers is directed towards advanced postgraduate and doctoral students, post-docs and senior scholars. Contributions from different fields of musicology as well as transdisciplinary contributions are welcome.
Individual papers will last 20 minutes with 10 minutes of discussion. It is possible to apply with a panel proposal comprised of max. three individual 20-minute-papers. Conference languages are German and English. A conference publication is intended. Please submit a paper abstract in German or English (max. 300 words) along with a short biography (max. 100 words) until the 1st of November 2018 to one of the organisers. Contributors will be informed about paper acceptance by the end of December 2018.
Expenses for travel and accommodation may be covered depending on successful funding applications and cannot be guaranteed at this point.
We look forward to your submissions!

 

World of Bob Dylan

Overview

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

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

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

Individual Proposals

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

Panel Proposals

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

Roundtable Proposals

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

Deadlines:

Sept 1               Submission Portal Opens

Jan 15              Paper, Panel, and Roundtable Submission Deadline

Feb 1                Registration Opens

Feb 15              Notification

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

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

 

Notated Music in the Digital Sphere: Possibilities and Limitations

Welcome to this one-day seminar to be held at the National Library of Norway, Oslo, on the 25th October 2018.

In the last couple of decades, digital humanities has evolved, giving different research fields new angles and new tools. Integrating technology and using digital resources in the humanities makes it possible to conduct research in new ways and give us new understanding of the humanities as a field.

For notated music, however, the development seems somewhat slower regarding digital research. Compared to text or sound, being more a kind of «vessel» for the composer’s intentions, notated music seems to fall between categories in the digital humanities.

This one-day seminar aims to investigate the digital possibilities and limitations for notated music in the sphere of digital humanities, and look further into areas and digital opportunities relevant for libraries, archives and music collections. The speakers are researchers each specialized within different fields of notated music in a digital setting.

 

Speakers:

Andrew Hankinson (Bodleian Libraries, University of Oxford)

Julia Craig-McFeely (Faculty of Music, University of Oxford)

Axel Teich Geertinger (Danish Centre for Music Editing, Royal Danish Library)

Olivier Lartillot (Departement of Musicology, University of Oslo)

Jøran Rudi (Norwegian Center for Technology in Music and the Arts – NOTAM)

Jennifer Ward (Répertoire International des Sources Musicales)

Bjarke Moe (Society for Danish Language and Literature)

 

Moderator: Darla Crispin (Norwegian Academy of Music)

 

Registration: https://response.questback.com/nasjonalbiblioteket/musicinthedigitalsphere

 

Full programme: https://www.nb.no/hva-skjer/notated-music-in-the-digital-sphere/

Symposium and Workshop: South African Opera Productions after the Apartheid

Venue: Universität Bayreuth

Date:   18th– 19th October 2018

Call for Papers:

Deadline: 15th August 2018

With the end of the Apartheid era, opera – stigmatized as ‘eurocentric opera’ – became a symbol of Western dominance/colonial imposition and seemed to be dead in South Africa.

But in fact, especially the so called ‘indigenous opera’ ‘flourishes’ as something of an anachronism and can be assessed as ‘black empowerment’ (Naomi André 2018).

The writing of a historiography of opera productions in South Africa although has academically just shortly started (Donato Somma 2016; Hilde Roos 2013, 2010; Martina Viljoen 2006) and is confronted with problems of different natures: political structures, post-colonization, globalization, unstable artistic standards and institutional relations.

The ‘bloom’ of opera presents itself neither through regular performances nor through crowded theatre halls. This is a consequence of the difficult political relations of artistic production in South Africa, which are among others characterized by a lack of funding and the re-organization of the Performing Arts Councils/ National Arts Councils. The existing significant multiple theatricalities of South Africa are thereby not having a platform to present themselves. The market pressure results often in overseas productions financing the few performances in the country itself. Thereby putting itself on risk to confirm with their opera productions transferred expectations of a South African identity rather than expressing an ‘authentic’ one.

This symposium will focus on South African Opera productions. Thereby the aim of the symposium is to represent the plurality of artistic concepts that deal in different ways with the multiple challenges of political and social transformation. How can opera in South Africa be involved in the process of societal transformation in a post-apartheid society? Which new artistic concepts are needed? How does themes for the libretti change? How did language, the style of composition and orchestration transform? Which new locations for performances are found to involve new audiences? How did the aesthetics change? And how are new media used either for a new aesthetic of performances, as with e.g. ‘Lamento’ (Umculo) or ‘U-Carmen eKhayelitsha’ (Isango Ensemble), or for marketing purposes?

For the first day of the symposium presentations shall focus on one opera productions. To ‘map’ the plurality of the field presentations are invited that cover one of the following topics.

  1. South African opera productions
  • Operas of different opera companies and composers
  • Different locations of opera performances (opera house, township, film)
  • Aesthetics of the opera opus itself
  • Analysis of compositions, libretti & performances

With Prof. Dr. Naomi André (University Michigan, USA), Dr. Donato Somma (University of Witwatersrand, SA) and Dr. Lena van der Hoven (among others) some experts in the field are invited. They will present on ‘Winnie – The Opera’ (Bongani Ndodana-Breen), ‘Princess Magogo’ (Opera Africa, Mzilikazi Khumalo), ‘Heart of Redness’ (Cape Town Opera, Neo Muyanga) and ‘Romeo’s Passion’ (Umculo, Cathy Milliken).

The workshop on the second day will cover transformation processes of Opera production in South Africa focusing on the following topics:

  • Opera institutions & opera companies
  • Finances/ Funding
  • Audiences
  • Marketing
  • Political impact

Abstracts (max. 2000 characters) for 20 minutes papers along with the technical requirements for the talk and a short CV with contact details should be sent by 15th August 2018 to Lena van der Hoven (Lena.van-der-Hoven@uni-bayreuth.de). Contributions from both the humanities and social sciences are welcome (Musicology, Theatre Studies, History, Cultural Studies, Sociology). Early career researchers in particular are encouraged to contribute. The chosen speakers will be informed by 31th August 2018 and the conference programme published online at http://www.prof-musikwissenschaft.uni-bayreuth.de/de/index.html .

 

 

Clara Schumann (née Wieck) and her World

International Bicentenary Conference
Clara Schumann (née Wieck) and her World

Call for Papers

Submission Deadline: 1 December 2018

15–16 June 2019
University of Oxford

Keynote Speakers:
Natasha Loges (Royal College of Music)
Susan Youens (University of Notre Dame)

This two-day international conference provides a setting in which to reassess ClaraSchumann’s life, work, and cultural milieu within the gender-aware andinterdisciplinary climate of contemporary musicology. It is hoped that the conference will attract an international contingent of scholars working within the fields of musicology, aesthetics, gender studies, cultural history, and performance studies.

The programme committee invites papers on any aspect of Clara Schumann’s life or music, and especially welcomes contributions on the following topics:

•       Reflections on Clara Schumann’s position in musicological scholarship
•       Analytical and hermeneutic approaches to Clara Schumann’s music
•       Clara Schumann as editor
•       Clara Schumann on tour
•       Clara Schumann’s influence on the development of nineteenth-century pianism and  concert life
•       Clara Schumann’s creative relationships with members of her circle
•       Source material

Proposals are invited in the following formats:

•       Individual papers (20 minutes, followed by 10 minutes of discussion)
•       Themed sessions (with four 15-minute papers, each followed by 5 minutes of discussion)
•       Lecture-recitals (40 minutes in total)

Proposals for individual papers should be no longer than 250 words, offering an overview of the topic and critical approach; those for themed sessions should take the form of a 250-word summary of the general aims of the session, together with a brief overview of each paper.

Proposals for lecture-recitals should consist of a 250-word outline of the issues and repertoire under consideration. A list of recent performances and/or recordings would form welcome supporting material.

Please send proposals as a Word document to c.s.conference@torch.ox.ac.uk, with your name and institutional affiliation included in the body of the email rather than the proposal itself.

Programme Committee:
Joe Davies (University of Oxford)
Laura Tunbridge (University of Oxford)
Susan Wollenberg (University of Oxford)

Conference website: www.claraschumannbicentenary.com

The organizers express gratitude to the following organizations for their support of the conference: The Oxford Research Centre in the Humanities (TORCH) andMusic & Letters.

Musica Scotica Annual Conference 2019

Musica Scotica logo

The Annual Conference of The Musica Scotica Trust will take place at the Tolbooth, Stirling on Friday May 3rd to Sunday May 5th 2019. The conference organisers welcome papers on all aspects of the music of Scotland and the Scottish diaspora. In 2019, as a particular theme, we will celebrate the 60th birthday of the composer James MacMillan, who will be present at the conference. The conference will also feature a performance of MacMillan’s music.

 

We invite submissions for:

individual papers (20 min. including any music examples)

lecture recitals (30 min.) (piano available)

themed sessions (1.5 hours in total)

panel or round-table discussions (1 hour)

poster presentations

 

We would particularly welcome papers on the music of James MacMillan any aspect of his compositional processes, or on Scottish influences on his music, such as pre-Reformation choral music, Robert Carver, Gaelic psalm-singing, pibroch, folk song, music in the Catholic Liturgy etc. As in previous years, we also welcome papers on any other aspect of music in or from Scotland, and of any genre. In line with the Trust’s aim of supporting and nurturing those engaged in early career research, we particularly encourage submissions from younger researchers.

 

Please send abstracts (max. 300 words), including a title, along with a short biography (max. 100 words) as an RTF, Pages or Word file to:

musicascotica@n-ism.org

Please also use this address for any queries.

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The closing date for receipt of proposal abstracts is Wednesday 31st October and acceptances will be notified by early December. We anticipate that the cost for the full conference will be in the region of £99 (£50 – concessions) with rates for half or single day participation available. Information on local accommodation will be available for participants.

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

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

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

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

Delegate fee £50 (including lunch and refreshments).

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

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

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

CALL FOR POSTERS

Deadline: extended to noon on 17th August 2018

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

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

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

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

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

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

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

Call for Proposals

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

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

The deadline is October 15, 2018. Presentations of all formats are limited to 25 minutes. Paper and lecture-recital proposals require an abstract of no more than 2,500 characters. For mini-recitals, submit complete program information and provide links to up to two representative recordings pertaining to the proposal. Performers not intending to bring their own instruments or to make arrangements to use exhibitors’ instruments may perform on the instruments listed below. All proposals must include a short biographical statement (no more than 1,500 characters) for all presenters.

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

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

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

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

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

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

Opera as Institution: Networks and Professions (1700–1914)

An international conference jointly organized by the Universities of Graz and Salzburg 

November 23–24 2018
Department of Musicology, University of Graz, Meerscheinschlössl, Mozartgasse 3, A-8010 Graz

Conference BoardDaniel Brandenburg (University of Salzburg), Cristina Scuderi (University of Graz), Michael Walter (University of Graz), Ingeborg Zechner (University of Graz)

The performance of opera as musical genre demands specific institutional surroundings in order to provide the means for scenic and musical representation. Indeed operatic history, ranging from its beginnings in seventeenth-century Venice to today’s globalized opera industry, is intimately bound to the history of institutions. This conference aims to gather internationally renowned musicologists whose research focuses on the institutional histories of European opera from the eighteenth to the end of the “long nineteenth century”. The intention of the conference is not to understand operatic institutions as locally distinct and isolated organizations, but rather perceive them as part of a transnational operatic network. The specific design of the conference enables to bring historical developments and shifts into account, and will lead to a deeper understanding of transnational operatic practices throughout the centuries. In addition, it will facilitate an international scholarly exchange on a complex and multifaceted topic in music history.

Conference papers will cover French, Italian, English and German operatic institutions in Europe from the eighteenth to the “long nineteenth century” and address topics such as:

  • Production systems of French, Italian, English and German opera
  • Political, legal, economic and sociocultural surroundings influencing the institution of the opera and its international exchange
  • Professions in the business of opera (composers, singers, agents, impresari, orchestra musicians, dancers, stage designers, librettists, …)
  • Networks of exchange between operatic institutions and their protagonists

 

Participation in the conference is free of charge. For passive conference participants no advance registration is required.

For further information on the program see the conference website: http://www.institutionopera.sbg.ac.at

EMR and the Church 

 

 

EMR and the Church 

The organising committee for The English Musical Renaissance and the Church and the Centre for Nineteenth-Century Studies invite proposals for this one-day conference to be held at Durham University on the 5th November 2018.

We invite researchers to submit proposals engaging with perspectives on the relationship between composers associated with the English Musical Renaissance (EMR) and the church. PhD students are especially welcome to submit presentations. Proposals may address, but need not be limited to, the following topics:

  • EMR composers and hymnody
  • EMR composers and science, especially evolutionary thought
  • EMR composers, revealed and natural theologies
  • EMR composers and the liturgy
  • Analytical approaches to the church music of EMR composers
  • The church music of EMR composers and the long nineteenth century
  • EMR composers, and sacralisation of the secular
  • EMR composers, legacies today

Individual Proposal

Abstracts for a single speaker (20 minutes + 10 discussion) should be 350 words and clearly describe the argument, evidence, and research findings, and situate the work in relation to previous scholarship.

Panel Proposal

Abstracts for 3 speakers (1 hour) or 4 speakers (2 hours) should be 350 words and provide an outline of the main argument, evidence, and research findings of the panel, as well as situating the panel’s work in relation to previous scholarship and articulating how the research contributes to research into Victorian interdisciplinary. The panel organiser should also include an individual proposal abstract for each paper following the guidelines for Individual Proposals, along with each panelist’s contact information. Panel Proposals will be considered only as a whole, the session’s coherence being an essential part of the evaluation process.

Submission information

Please send your proposals as Word documents to cncs@durham.ac.uk no later than the 5th October 2018 (extended deadline). The following format should be used:

  • Name, affiliation (if applicable) and contact details (postal address, email and phone)
  • Type of presentation (individual or panel)
  • Abstract title
  • 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)
  • Brief biography (150 words)

Conference Website