CFP: London Stage and the 19th-Century World II

Call for Papers 

London Stage and the Nineteenth-Century World II

5-7 April 2018, New College, Oxford

Following the success of the 2016 London Stage conference, we welcome contributions on all aspects and forms of drama and theatrical practice in 19th-century London, from plays and operas to pantomime and puppetry.

More details can be found here: http://www.new.ox.ac.uk/london-stage-and-nineteenth-century-world-ii-2018

Michael Burden (New College, Oxford)

Jonathan Hicks (Newcastle University)

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CFP: Mapping the Musical City

Mapping the Musical City – a historically savvy symposium

Friday 2 February 2018, Institute of Musical Research, Senate House, London

Proposals due: Wednesday 13 December 2017, 1200 GMT

Keynote speaker: Samuel Llano (University of Manchester)

 

CALL FOR PAPERS

This symposium, in association with the School of Advanced Studies, addresses mapping as both an object and method of musicological enquiry. Inspired in part by the “spatial turn” in the humanities at large and fuelled by the increasing accessibility of Geographic Information Systems software, musicologists can now visualize and analyse complicated trends across time and place with greater ease than ever before. Yet, the ideological and epistemological implications of different mapping tools and techniques remain underexplored. The aim of this symposium is to situate recent projects within a longer history of cartographic practice in music studies.

 

By taking a historical perspective on the mapping of musical cities this symposium will raise questions on two fronts. Firstly, it will acknowledge cartography as a factor in past musical practice, asking, for instance: how the active “zoning” of civic space regulated performers’ livelihoods; how tour guides and travel writing predetermined listening experiences; and how the policing of bodily display and alcoholic consumption have made entertainment venues a focus for surveillance and control. The second set of questions relates to the mapping techniques available to music studies today: we will ask what is at stake in converting affective, interpersonal musical experiences into machine-readable spatial coordinates; how the problems of mapping the performing arts differ from those of mapping literary or visual culture; and how the current fascination with urban centres emerged from earlier work at the scale of the region or nation.

 

Please send proposals (300 words) for individual papers or panels to Jonathan Hicks (Newcastle University) at jonathan.hicks@newcastle.ac.uk. If you have an alternative format suggestion (including, say, demonstrations of current projects or discussions of cartographic texts) feel free to get in touch to discuss your ideas.

 

Proposals from early career scholars are particularly encouraged. Thanks to sponsorship from Nick Baker there is a modest fund to support travel to the event, particularly for anyone attending from overseas; if you are interested in this support, please say so in your application.

 

Finally, please note the quick turnaround for this call: the deadline for proposals is Wednesday 13 December 2017, 1200 GMT and decisions will be made later that week.

Ralph Vaughan Williams and the Church: an RMA Study Day

4th June 2018, Durham University

Conference Website

The organising committee for Ralph Vaughan Williams and the Church and the Centre for Nineteenth-Century Studies invite proposals for this RMA Study Day to be held at Durham University on the 4 June 2018.

We invite researchers to submit proposals engaging with perspectives on the relationship between Ralph Vaughan Williams and the church. PhD students are especially welcome to submit presentations. Proposals may address, but need not be limited to, the following topics:

  • Vaughan Williams and hymnody
  • Vaughan Williams and science, especially evolutionary thought
  • Vaughan Williams, revealed and natural theologies
  • Vaughan Williams and the liturgy
  • Analytical approaches to Vaughan William’s church music
  • Vaughan William’s church music and the long nineteenth century
  • Vaughan Williams, sacralisation of the secular
  • Vaughan Williams, 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, situate the work in relation to previous scholarship, and articulate how the research contributes to research into Victorian interdisciplinarity

Panel Proposal: Abstracts for 3 speakers (1 ½ hours) 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 26 January 2018. 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)

The Soundscape of the Venetian Terraferma in the Early Modern Era. International Conference celebrating 475 Years of the Accademia Filarmonica of Verona

immagine della Santissima Vergine Maria di Loreto della Giara in Verona, Stamperia del Seminario, Padova 1714 Domenico Zanatta Venezia 1665 Verona 5 agosto 1748

Verona, 1-3 June 2018

Call for Papers 
Deadline for proposals: 31 December 2017

The Soundscape of the Venetian Terraferma in the Early Modern Era is an international conference organized by the Accademia Filarmonica of Verona on the occasion of the 475th anniversary of its foundation (23 May 1543), in collaboration with University of Verona, Ca’ Foscari University of Venice, University of St Andrews and Conservatorio “E. F. Dall’Abaco” of Verona.
Natural sequel to The Soundscape of Early Modern Venice (Ca’ Foscari University of Venice, 24-27 May 2017 – vmo.unive.it/soundscape2017), this further initiative has the aim of increasing debate on the varied soundscape of the Venetian Terraferma in the early modern period. This territory, which stretched from Bergamo in the west to the Friulian Alps in the north-east and the river Po at the Republic’s southern extremity, formed one of the three subdivisions of the Serenissima; the others were the Dogado (Venice and surrounding area) and the Stato da mar (Venetian possessions in the eastern Adriatic and Mediterranean areas). The articulate system that regulates musical and non-musical sound in the Venetian territories prior to the fall of the Serenissima in 1797 is highly conducive to an interdisciplinary approach which draws on the new perspectives offered by urban history, humanistic geography and historical anthropology. Emblematic, in this sense, are the activities of the Accademia Filarmonica, which have dominated almost five centuries of local musical history.

The official languages of the conference are English and Italian.

The conference will take place in Verona from 1-3 June 2018.

Suggested topics: 
– Sound and urban identity
– The sound of local civic ceremonial and devotional activities
– Reciprocal influence of Venetian and Terraferma soundscapes
– Musical relationships between the Terraferma cities and the courts of northern Italy and elsewhere
– Music and society (patronage; academies and other musical institutions, private and public; private uses of music)
– Educational, philosophical and social dynamics in musical practice
– The sounds of public and private festivities
– Musical theatre in the Terraferma and its social impact
– Music, urban architecture and the visual arts
– Music and economics (music printing, production and commerce of musical instruments, the economics of performance)
– Sound as material and non-material cultural heritage

One session of the conference will be entirely dedicated to research on the Accademia Filarmonica of Verona.

Peer-reviewed contributions will be published in a dedicated volume, scheduled to appear in 2019.

*** 

The programme committee invites proposals for 20-minute papers, with 10 minutes for questions and discussion. Please email abstracts (max. 250 words), together with a short biography, to: biblioteca@academiafilarmonica.191.it

Further information will be available from September 2017 on the conference website, which will continue to be updated with details of costs, events and accommodation near the conference venue.

Accepted proposals will be announced before 16 February 2018.

*** 

Organizing Committee: 
Alessandro Arcangeli (University of Verona)
Vincenzo Borghetti (University of Verona)
David Douglas Bryant (Ca’ Foscari University of Venice)
Luigi Collarile (University of Geneva)
Michele Magnabosco (Accademia Filarmonica, Verona)
Laura Moretti (University of St Andrews)
Laura Och (Conservatorio “E. F. Dall’Abaco” of Verona)

For further information please contact
Michele Magnabosco: biblioteca@accademiafilarmonica.191.it The Soundscape of Early Modern Venice

 

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

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

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

Call for Papers

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

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

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

Programme Committee:

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

Keynote Speaker:

• Arnold Jacobshagen (Hochschule für Musik und Tanz Köln)

The official languages of the conference are English, French and Italian. Papers selected at the conference will be published in a miscellaneous volume.
Papers are limited to twenty minutes in length, allowing time for questions and discussion. Please submit an abstract of no more than 500 words and one page of biography.
All proposals should be submitted by email no later than ***Sunday 29 April 2018*** to <conferences@luigiboccherini.org>. With your proposal please include your name, contact details (postal address, e-mail and telephone number) and (if applicable) your affiliation.
The committee will make its final decision on the abstracts by the midst of May 2018, and contributors will be informed immediately thereafter. Further information about the programme, registration, travel and accommodation will be announced after that date.
For any additional information, please contact:

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

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

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

Palazzetto Bru Zane – Centre de musique romantique française, Venice

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

Call for Papers

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

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

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

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

Keynote Speakers:

• Gérard Condé (President Association nationale Hector Berlioz)
• Clair Rowden (Cardiff University)

The official languages of the conference are English, French and Italian. Papers selected at the conference will be published in a miscellaneous volume.
Papers are limited to twenty minutes in length, allowing time for questions and discussion. Please submit an abstract of no more than 500 words and one page of biography.
All proposals should be submitted by email no later than ***Sunday 15 April 2018*** to <conferences@luigiboccherini.org>. With your proposal please include your name, contact details (postal address, e-mail and telephone number) and (if applicable) your affiliation.
The committee will make its final decision on the abstracts by the end of April 2018, and contributors will be informed immediately thereafter. Further information about the programme, registration, travel and accommodation will be announced after that date.
For any additional information, please contact:

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

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

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

We welcome proposals for contributions in the following formats:

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

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

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

Particular themes covered might include:

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

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

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

 

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

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

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

Symphonism in Nineteenth-Century Europe

organized by
Centro Studi Opera Omnia Luigi Boccherini (Lucca)

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

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

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

Call for Papers

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

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

Programme Committee:
• Roberto Illiano (Centro Studi Opera Omnia Luigi Boccherini)
• Luca Lévi Sala (New York University / Université de Montreal)
• Fulvia Morabito (Centro Studi Opera Omnia Luigi Boccherini)
• Massimiliano Sala (Centro Studi Opera Omnia Luigi Boccherini)
• Ramón Sobrino (Universidad de Oviedo)
• José Ignacio Suárez (Universidad de Oviedo)

Keynote Speakers:

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

The official languages of the conference are English, Spanish and Italian. Papers selected at the conference will be published in a miscellaneous volume.
Papers are limited to twenty minutes in length, allowing time for questions and discussion. Please submit an abstract of no more than 500 words and one page of biography.
All proposals should be submitted by email no later than ***Sunday 4 February 2018*** to <conferences@luigiboccherini.org>. With your proposal please include your name, contact details (postal address, e-mail and telephone number) and (if applicable) your affiliation.
The committee will make its final decision on the abstracts by the end of February 2018, and contributors will be informed immediately thereafter. Further information about the programme, registration, travel and accommodation will be announced after that date.
For any additional information, please contact:

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

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

organized by
Centro Studi Opera Omnia Luigi Boccherini (Lucca)

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

Call for Papers

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

Scholarly Committee:

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

Programme Committee:

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

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

Papers are limited to twenty minutes in length, allowing time for questions and discussion. Please submit an abstract of no more than 500 words and no more than 200 words of biography.
All proposals should be submitted by email no later than ***Sunday 30 April 2018*** to <conferences@luigiboccherini.org>. With your proposal please include your name, contact details (postal address, e-mail and telephone number) and (if applicable) your affiliation.
The committee will make its final decision on the abstracts by the end of May 2018, and contributors will be informed immediately thereafter. Further information about the programme, registration, travel and accommodation will be announced after that date.
For any additional information, please contact:

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

A ‘Musical League of Nations’?: Music Institutions and the Politics of Internationalism – a Symposium

29-30 June 2018, Institute of Musical Research, Senate House, London

CFP: Proposals due by 1 Nov. 2017

Keynote Speaker: Prof. Anne Shreffler (Harvard University)

 

CALL FOR PAPERS:

‘What art is better adapted to form an international connecting-link, than music?—especially instrumental music, which is in a manner an international language, an expression of the most intimate, the profoundest emotions of man.’ – Guido Adler, 1925

The notion that instrumental music is either ‘universal’ or ‘international’ in any real sense has been discredited. Even as Adler’s comment draws upon an older notion of music as a ‘universal language’ and adapts it to the language of interwar political internationalism, he acknowledges the limitations of music to foster communication between nations, and writes that it should be the aim of research to discern the interaction between artistic phenomena that are ‘common property’ or the result of ‘nature’ on the one hand, and those that are the result of ‘culture’, and therefore localized, on the other.

The role of music and musicians in forging international links either between or beyond national boundaries can sometimes seem unproblematic or even emancipatory, under the assumption that music can be socially transformative. Yet just as the project of political internationalism between and after the World Wars was not without its challenges, so too did musical initiatives sometimes find themselves in positions of compromise, ethical conflict or co-option into unintended agendas.

This two-day symposium will focus on music institutions and initiatives that were explicitly shaped by the project of internationalism during the twentieth century. Organisations such as the International Society for Contemporary Music (ISCM), the International Musicological Society (IMS), as well as a range of smaller musical meetings throughout Europe and America during the interwar and post-war periods, subscribed to a similar set of ideological precepts. These organisations and meetings did not only involve musical composition and performance, or academic discussion, but they also often included public congresses that prompted debate around issues that went far beyond the simple celebration of international cooperation, or of music as an expression of a common humanity. They grappled with the contradiction between the idea of a non-national music or music scholarship and the decidedly national inflections of musical autonomy itself, and they struggled to reconcile the fact that music’s putative detachment from the social realm was what gave it its ‘universal’ potential, yet the project of internationalism was a political one, struck through with ideas about social justice and ethical responsibility.

The symposium will explore the musical, political and aesthetic dimensions of the discourse that surrounded the establishment of these organisations and their activities throughout the politically-charged twentieth century.

We welcome proposals (250 words) for individual papers or panels. Please send proposals to Sarah Collins at musical.league.of.nations@gmail.com by 1 Nov. 2017. Acceptances to be advised by early December.

 

Conference Organisers (and programme committee):

Sarah Collins (Durham University)

Laura Tunbridge (Oxford University)

Barbara Kelly (Royal Northern College of Music)

 

Conference Supporters:

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

Additional funding from the British Academy/Leverhulme Small Grants Scheme