Transnationalism and Transculturalism in Canadian Music, 1969-2019

Call for Papers

Study Day: Transnationalism and Transculturalism in Canadian Music, 1969-2019

University of Ottawa

School of Music

Friday, 27 September 2019

In the context of celebrations to mark its 50th anniversary, the School of Music at the University of Ottawa will host a study day on Friday, September 27th, 2019. Entitled “Transnationalism and Transculturalism in Canadian Music, 1969-2019,” it will provide a forum for exchange and debate around Canadian contemporary classical music and the ways in which it has been impacted by globalization, immigration, displacement, exile, multiculturalism, exoticism and any other phenomena that point to creative dialogues and encounters that transcend Canada’s historically-constituted geographical and cultural borders. Concentrating on music composed in the classical tradition, this study day aims to promote scholarly work on both established and lesser-known Canadian composers and musicians.

The organizers invite proposals that prioritize links between the three broad themes outlined below:

1)         Canadian Composition and Immigration, Emigration, Exile, and Displacement

-In what ways has international mobility affected specific Canadian composers and their musical works?

– How have Canadian composers negotiated transcultural attachments to other countries in their works?

-How have exile and displacement been treated by Canadian composers, whether in their narratives about themselves or in their music?

-What roles do specific regionalist and/or local cultures play in Canadian transcultural music creation?

-In what ways have international diasporic communities played a role in the creation of contemporary Canadian works?

2)         Canadian Composition and the Imagined Other

-In what ways have Canadian composers imagined and incorporated international musical and artistic influences in their works?

-How have globalization and the development of technologies that promote international exchange and communication influenced Canadian composers?

-How have Canadian composers negotiated the musical and aesthetic influences of both Western Europe and the United States in their creative endeavours?

-How has exoticism functioned within Canadian compositional practices?

 3)        Canadian Composition and International Training and Mobility

-How has the foreign training of Canadian composers impacted their musical language, style, and creative choices?

-How has participation in international festivals and musical events impacted Canadian musicians?

-How have international commissions played a role in the activities of Canadian musicians?

-How has the international exposure and mobility of Canadian musicians been received both in Canada and abroad?

We welcome proposals for 20-minute presentations that investigate contemporary Canadian music in a transnational context. The official languages of the study day are French and English. Please send a 250-word summary of your proposed presentation to christopher.moore@uottawa.ca In your covering email, please provide your full name and institutional affiliation (if applicable). The deadline for receipt of proposals is March 4, 2019. Selected participants will be informed by late March 2019.

Organizer

Christopher Moore (University of Ottawa)

Program committee

Geneviève Bazinet (University of Ottawa)

Jean Boivin (Université de Sherbrooke)

Jonathan Goldman (Université de Montréal)

Roxane Prevost (University of Ottawa)

The Work Level in RISM

CFP: Conference/Workshop on the Work Level in RISM
Akademie der Wissenschaften und der Literatur
Mainz, Germany
Deadline: 31 January 2019
Conference dates: May 9 to 11, 2019
www.rism.info

Libraries worldwide have been discussing work titles with increasing intensity. Transferring this idea to musical works seems particularly plausible at first glance, as the production of catalogs of works has a tradition of more than 100 years in musicology.

However, especially in recent decades, the concept of the work itself has been uncovered as a construct of the 19th century. Nevertheless, work titles in libraries are an important tool with which musical sources, modern printed music, books about specific musical works, and audiovisual media can be given detailed cataloging and made available. RISM (Répertoire International des Sources Musicales) would therefore like to adopt this tool by introducing a work level.

The conference/workshop is intended to enable a dialogue for the different points of view and expectations of musicologists and librarians and to develop solutions for RISM as a project between the two sides.

RISM will make every effort to provide a subsidy for speakers to participate in the conference.

Send abstracts of ca. 10 lines in English or German to the RISM Central Office by 31 January 2019: contact -at – rism.info

See the conference website for more information in English and German: http://www.rism.info/en/publications/work-level-2019.html

Tenor 2019 Conference [Deadline Extended to Jan. 30, 2019]

The submission deadline for Tenor 2019, which is being held at Monash University in Melbourne, Australia, has been extended until January 30, 2019.

This five-day conference is dedicated to issues in theoretical and applied research and development in music notation and representation, with a particular focus on computer tools and applications, as well as a connection to music creation. ‘Technology’ in the conference title refers to any means that may contribute to the notation, representation and/or visualisation of music and sound, for purposes that may include (but not limited to) music composition, performance, representation, transcription, analysis and pedagogy.

Please follow the link for more information: https://www.monash.edu/tenor2019

IMS2019 Lucerne: Agency and Identity in Music

The IMS in collaboration with the Lucerne University of Applied Sciences and Arts, School of Music is organizing an IMS Intercongressional Symposium on the topic “Agency and Identity in Music” in Lucerne, Switzerland, from July 7 to 10, 2019.

Important notice: During the conference the IMS will be holding an Extraordinary General Assembly to which all IMS members will be invited in due time.

Visit for more details: https://www.musicology.org/ims2019

Location: Lucerne, Switzerland

Date(s): Sunday, July 07, 2019 – Wednesday, July 10, 2019

Music Patronage in Italy from the 15th- to the 18th- Century

Call for Papers

The Centro Studi Opera Omnia Luigi Boccherini of Lucca is pleased to invite submissions of proposals for the symposium «Music Patronage in Italy from the 15th- to the 18th- Century», to be held in Lucca, Complesso Monumentale di San Micheletto, from 16 to 18 November 2019.

During the Renaissance and throughout the Baroque and Classical periods, musical production is linked to patronage. Predominantly in the courts – ecclesiastical or secular – the ‘patron’ is a rich person, usually noble, who offers protection and money in exchange for a service. The musician s work on commission, in keeping with the requests of their patrons. Although the artists of the referred period managed to express themselves in works of excellent craftsmanship , it is undeniable that the system repressed or at least channelled their creativity. There is in fact a master-servant relationship between patrons and salaried workers and, although the exposure to each other was close and often collaborative, it is inappropriate to think of an equal relationship.

There are essentially two types of patronage. The first relates to political institutions, to public life, and aims to promote musical events that highlight the wealth and power of the patron in the eyes of rival courts and subjects – hence the birth of the court chapels. The second type belongs to the private sphere, in which the patron, of noble birth and as such in possession of high moral and intellectual virtues, possesses a discriminating artistic sensibility — hence the promotion of chamber music activities, the collecting of rare and valuable musical instruments, and the compilation and collection of musical manuscripts, possibly in deluxe or personalized copies .

This musical production system, as described, lasted until the middle of the nineteenth century, when the advent of capitalism and the rise of the bourgeois class caused the decline of patronage. Musical activity then began to obey the laws of the marketplace, with substantial repercussions on the social status of the musician and his work.

This conference focuses on the various aspects of music patronage in Italy from the fifteenth to the eighteenth century. The programme committee encourages submissions within the following areas, although other topics are also welcome:

– Patronage and institutions

– The private sphere of patronage

– Music Patronage and the Church

– Patronage and musical genres

– Patronage and censorship

– The patronage system and the social status of the musician

– Patronage and musical print

– Patronage and manuscript production

– Patronage and musical collecting

Programme Committee: 

• Roberto Illiano (Centro Studi Opera Omnia Luigi Boccherini)

• Fulvia Morabito (Centro Studi Opera Omnia Luigi Boccherini)

• Massimiliano Sala (Centro Studi Opera Omnia Luigi Boccherini)

Keynotes Speakers:

Iain Fenlon (University of Cambridge)

Reinhard Strohm (University of Oxford)

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

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

All proposals should be submitted by email no later than ***Sunday 14 April 2019*** 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 2019, 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

http://www.luigiboccherini.org

The Art Song Platform: Traditions and Current Practices

Institute of Musical Research Grants Series

In affiliation with the Royal Musical Association

Goldsmiths, University of London, May 10th, 2019

DEADLINE FOR APPLICATIONS: January 20th, 2019

Proposals are invited for The Art Song Platform – Traditions and Current Practices, a study day at Goldsmiths, University of London on May 10th, 2019.While not excluding any strands of research in the genre of art song, the emphasis will be placed on performance, especially seeking insights that might emerge from a dialogue between academia and performance institutions. The event aims to bring together scholars and performing artists, particularly encouraging applications from PhD students and early career scholars/performers.

The event, free to attendees and open to the public, will consist of panels with individual papers, research/performance reports and lecture recitals. The study day will end with an hour-long round table closing session covering the main topics of the event.

Presentations will be welcomed on a range of topics including, but not limited to:

  • Art song – history, analysis, cultural contexts, performance and performers, reception, embodiment and identity
  • Performance of the repertoire today (industry, programming,different contexts, settings, formats and media, collaboration with non-musicians)
  • Composition and performance of new repertoire, including collaboration between composers and performers

Duration of presentations:

– Individual papers: 20 minutes, followed by 10 minutes of discussion.

-Research/performance reports: 10 minutes, followed by 10 minutes of discussion/workshop on programming. This format will provide a platform for showcasing “works-in-progress”and allow for more participants with greater scope for discussion.

-Lecture recitals: 20 minutes, followed by 10 minutes for questions from the audience. 

DEADLINE FOR APPLICATIONS:

Abstracts of c.300 words and a short biography of c.150 words should be submitted for all proposals by January 20th, 2019 to the following email address: Verica.Grmusa@rhul.ac.uk.

Please indicate the type of presentation you are proposing, technical requirements and whether your presentation includes a performance aspect, and, if so, who will take part. There is a possibility of arranging for an official accompanist for the event so please indicate whether you would need one.

Applicants will be notified of the outcome by February 22nd, 2019.

BURSARIES:

A number of up to £50 bursaries provided by IMR grant is available for students and unwaged early career scholars to assist with their travel expenses. The Royal Musical Association will provide two bursaries to the successful applicants who are RMA members. Preference will be given to applicants whose presentation includes a performance aspect.

Please indicate in your email whether you are applying for a bursary and whether you are a RMA member.

ABSTRACT PANEL

Professor Simon McVeigh, Goldsmiths, University of London

Professor Laura Tunbridge, Oxford University

Dr Chris Dromey, Middlesex University

Dr Verica Grmusa, Royal Holloway, University of London

Is there a medieval ‘music and philosophy’?

CFP for themed session:

Royal Musical Association Music and Philosophy Study Group Biennial Conference

CFP deadline: 21 December 2018

Conference information: 11–12 July 2019, Strand Campus, King’s College London

http://musicandphilosophy.ac.uk/events/mpsg-2019/

CFP

Premodern and early-modern uses of the term ‘musica’ encompass a broad range of meanings, which include some things that we might today be happy to call music and others that we might rather call philosophy. We can turn for instance to Boethius’ famous division of musica into cosmic music, human music, and music which rests in certain instruments (Bower 1989). Indeed the influence of musica extends far into medieval natural philosophy, in which it was fundamental to the development of cosmological models (Hicks 2017). But musica was only one interface between the musical and the philosophical; in the course of a long middle ages many other disciplinary perspectives were brought to bear to differently negotiate the relationship between music and ethics, metaphysics, and the philosophy of language (for example Leach 2007).

Scholars working on music and philosophy in later centuries have made use of a capacious definition of philosophy to draw out a complex and changing set of interactions, overlaps, and relations between the musical and the philosophical. The many medieval negotiations of music and philosophy offer an opportunity to reflect upon the ‘prehistories’ of ideas more usually discussed under that subdisciplinary heading, and to occasion a productive dialogue between medievalists and scholars of later centuries about the commonalities and shared concerns as well as areas of productive difference in their work.

Papers are welcome on any aspect of music and philosophy in a long middle ages with reference to Latin, Arabic, or any other musical or philosophical tradition.

*Please send abstracts of no more than 300 words to Nicholas David Yardley Ball, ndyb2@cam.ac.uk, before 21 December 2018.*

Hidden Archives, Hidden Practices: Debates about music-making

University of Aveiro, Aveiro, Portugal, 28th to 30th June 2019

In recent decades, research in the humanities has called for the displacement and multiplication of the addressed themes, and has defended approaches that integrate the study of archives,repertoires and musical practices which have been excluded from modern narratives. Similarly, inter- and transdisciplinary dialogue has fostered the emergence of new epistemologies that shift the focus from writings to performative scenarios, or from musical styles to musical practices.

The development of this focus in musical research is particularly evident in fields such as community music studies,local music studies, gender and music studies and artistic research in music. This conference intends to address this new outlook, and invites proposals that focus on these research developments.

The University of Aveiro, and its Department of Communication and Arts will host this event from June 28th to30th, 2019 (http://hahp2019.web.ua.pt/).

The keynote speakers will be Catherine Laws (University of York; Orpheus Institute), Salwa Castelo Branco (Universidade NOVA de Lisboa; INET-MD), and Suzel Reilly (UNICAMP).

We welcome abstracts (in English), of no more than 350 words. Please include title, state of the art, research questions and aims, content outline, and the specific contribution to current knowledge. Abstracts should be submitted via easychair: https://easychair.org/conferences/?conf=hahp2019

The submission deadline is February 16th, 2019.

Preferred themes include (but are not limited to):

·        Archives and repertoires of music making

·        Music and social sustainability

·        Life stories of ‘hidden’ musicians

·        Women in music

·        Experimental performance practices

Types of proposals:

Paper presentations (max. length 20 minutes): submissions should include 3 to 5 keywords.

Pre-formed panels: please submit a general abstract and individual abstracts for each speaker, and include 3 to 5 keywords. Panels should last 1 hour and 30 minutes, including discussion.

Lecture-Recitals (max. length 45 minutes): submissions should include 3 to 5 keywords.

Abstracts will be reviewed by a panel,and presenters will be advised as to their acceptance or otherwise by March 2019. The deadline for the submission of proceedings articles (accepted authors only) is July 15th, 2019.

+ info: http://hahp2019.web.ua.pt