North American British Music Studies Association Ninth Biennial Conference

Conference Dates: July 23–26, 2020

Venue: Illinois State University, Normal, Illinois, USA

URL: https://nabmsa.org/conferences/2020-biennial-conference/

CFP Deadline: January 20, 2020, 11:59 p.m. (Mountain Time)

The North American British Music Studies Association (NABMSA) will hold its Ninth Biennial Conference from Thursday, July 23 to Sunday, August 26, 2020, in Normal, IL, hosted by Illinois State University.

The program committee invites proposals for presentations on topics related to all aspects of historical and modern British music and musical life throughout Britain, the Empire/Commonwealth, and beyond are welcome. Those that draw upon interdisciplinary or broader cultural contexts are particularly welcome. Presentations may take a variety of formats, including twenty-minute individual papers, workshops involving group participation, roundtable discussions, lecture-recitals, and themed panel sessions. The program committee actively seeks submissions from senior, mid-career, and early-career scholars, those serving within and outside of academia, as well as graduate students. The Nicholas Temperley Prize will be awarded for the best scholarly presentation given by a graduate student and all students with accepted papers are eligible to apply for the Byron Adams travel grant. Information on the conference, proposal format and content, proposal transmission procedures, and other details are available on the conference website listed above.

The Reformed Theology and Spirituality of Music: From the Reformation to the Present

Enschede, Netherlands, 13-15 May 2020

The First International Conference on Reformation Musical History and Theology (RMHT)

Call for Papers (2nd Round)​

We cordially invite researchers to submit proposals which engage with a range of methodologies and perspectives on the Reformed traditions of music in public worship and private devotion. Proposals may address, but need not be limited to, the following topics:

  • The early modern Reformed theology and spirituality of music: 1520s – 1700s
  • The Reformed practices of church music in the eighteenth and nineteenth centuries
  • Music, devotion and identity in Reformed worship
  • Music, ethics and spirituality in Reformed churches
  • The Reformed tradition of music as prayer
  • Music, dance and education in Reformed churches
  • Singing, exile and piety in Reformed churches
  • Organ music in Reformed churches
  • Relationship between the Reformed practices of church music and its Lutheran counterpart
  • The Musical Impact of the Reformed churches on Catholic, Anglican and other Protestant church music
  • Church music in non-Western Reformed churches (Asia, Africa and Latin America)
  • the Reformed tradition of music: challenge, change and continuity

This conference reviews the Reformed theology and spirituality of music from the Reformation era to the present time. Whilst the Lutheran theology of music and musical culture have received significant attention from theologians and musicologists, its Reformed counterpart has often been misunderstood or neglected. The conventional negative portrait of the Reformed approach to music is deeply indebted to early seventeenth-century orthodox Lutherans’ polemical writings against contemporary Calvinism rather than in the Reformed writings on music per se. Yet the popular perception of Reformed theologians’ musical views (Buszin 1946; Söhngen 1967) remains almost intact despite the continuing reappraisals of their musical views (Scholes 1934; Garside 1951/1979/1982; Clive 1957; Reimann 1959; Macmillan 1966; Bisgrove 1969; Old 1975; De Jong 1979; Bruin & Heijting 1991; Aeschbacher 1992-93; Witvliet 1997; Hobbs 2004; Föllmi 2009; Grosse 2010; Lambert 2012; Kim 2015; Trocmé-Latter 2015; McDonald 2018). More recent scholarship has shed new light on the early Reformed theology of music, through examination of the aesthetics, ethics and metaphysics of music that underlie the Reformed theology of music. Yet such a review is mainly concerned with a single theologian’s writing on music or relevant musical work. Little attempt has thus been made to investigate the origin, formation and effects of the Reformed traditions of music as a whole, which played an integral part of public worship and private devotion that enhanced Christian spirituality and edification from the Reformation onward.     

The principal aim of this conference is to reassess the significance of the Reformed theology and spirituality of music in relation to education, ethics, liturgy and culture, by scrutinising Reformed musical discourses and practices that lie at the core of musical polemics and apologetics across Reformation Europe and thereafter. First, the conference reconsiders musical ideas of major Reformed theologians of the early modern period, including Bucer, Calvin, Martyr and Zwingli, in the light of contemporary religious climate and musical culture; second, how their ideas of music were implemented as ecclesiastical and social practices; and third, in what way they have evolved or adapted to various cultural and historical contexts of the Reformed churches worldwide over the last few centuries. Furthermore, the conference reassesses the impact of early-modern Reformed theology and spirituality of music upon modern Christian education, worship, and mission at large. The conference seeks not only to study the foundation of the Reformed theology and spirituality of music, but also to diagnose the musical state of modern Reformed churches accordingly.

Submission

We welcome both panels and individual papers.  Proposals for 20-minute papers with 10 minutes discussion as well as for round-table panel sessions of 60 mins or 90 mins are invited.  Proposals (panel: max. 500 words; individual paper: max. 250 words) and brief CVs (max. 100 words) should be submitted to the committee (RMHTconference@gmail.com) no later than 15 November 2019.

Dissemination

Selected papers will be published in a series of volumes edited by RMHT project team.

The official language of the conference is English.

For further information on the conference, please visit the conference website:

https://www.rmht2020conference.com

RMA 56th Annual Conference, Goldsmiths, 8-10 September 2020

The 56th Annual Conference of the Royal Musical Association will be hosted by Goldsmiths, University of London, between Tuesday 8th and Thursday 10th September 2020. The conference seeks to explore and celebrate the quality and diversity of current scholarship in music, understood in its broadest sense and represented by its many branches and global aspects. As such, the committee invites a broad range of types of proposals and seeks to represent work in musicology including popular musicology and ethnomusicology, composition and performance including sonic arts, and practice research across all disciplines. Presentations representing the full range of current international scholarly and creative research in music are invited in the following formats:

  • Individual Papers (20 minutes)
  • Themed sessions of 3–4 papers (90 minutes)
  • Lecture-recitals (30 minutes)
  • Ethnographic, Documentary and Research-related Film (30 minutes)
  • Poster presentations
  • Practice research workshops (90 minutes)
  • Compositions suitable for workshop at the conference
  • Sonic Art works

The Programme Committee welcomes proposals from both established scholars and practitioners and from early-career researchers. Any individual may submit one proposal; RMA membership is not a prerequisite for submission.

The programme committee expects individual papers to address new findings. Please state if you expect to have presented essentially the same paper on a previous occasion. The committee is happy to consider proposals for papers delivered beyond the UK and Ireland within the 12 months preceding the Annual Conference and those that have been rehearsed to local audiences (e.g. at research seminars and similar events). Papers delivered at national meetings in the UK and Ireland (e.g. at meetings of other musical societies and RMA affiliated conferences) and those delivered anywhere more than 12 months ago, however, are not eligible for consideration. In particular the committee does not accept proposals that have or will have been presented already at the BFE-RMA Research Students Conference. In addition, where very many proposals are received, preference may be shown for submissions from those who did not present papers at the last annual conference. Please enquire if in doubt.

Submission Procedures

All proposals must be submitted via the online proposal submission form by 5 p.m. (GMT) on Friday 15th November 2019.

For more information about what and how to submit, please visit the conference website.

Technology in Musical Performance Symposium (TiMP)

3rd of December 2019 – Royal Birmingham Conservatoire, Birmingham City University

Technology in Musical Performance (TiMP) is a forum for all who engage with electronics in live music performance. The symposium aims to stimulate discussion and collaboration between performers, composers, sound artists, practitioners, programmers, software developers and sound designers on musical performance with/mediated by technology.

Performative electronics is an area of music that is constantly evolving and developing. Among composers and practitioners, the desire to realise specific musical ideas leads to creative technological solutions. For new developments in music and live electronics to be thoroughly tested and evaluated, dialogue between creators and practitioners is vital.

The theme of the first edition of this one-day conference is Technology in Musical Performance. The focus of the theme is on the performance aspect of the relationship between the performer and the technology involved.

Original contributions are encouraged in, but not limited to, the following topics:

  • Performance strategies
  • (Mis)Appropriation of technology in music
  • Relationships with technology
  • Relationships mediated by technology
  • Musical dialogue in/through technology
  • Technology, technique & meaning
  • Visibility of performance with technology
  • Interactivity: static, dynamic…
  • Motion: micro/macro gesture from performers perspective
  • Performance: problems related / solutions involving technology
  • Technology as a source of inspiration/creativity

We will accept submissions of new works in the following categories:

  • Papers (15 mins)
  • Performances (15 mins) + Papers (15 mins)
  • Works in Progress

Requirements for abstracts, technical information, and downloadable templates can be found on the TiMP website: http://timp.integra.io

APPLICATION DEADLINE: 4 OCTOBER 2019

IMPORTANT DATES

  • 4 October 2019 – Abstract Submission Deadline
  • 18 October 2019 – Notification of Acceptance
  • 3 December 2019 – TiMP Conference

The conference is free to attend and will provide refreshments and a light lunch. Presenters and attendees are responsible for their own travel costs.

More info and application instructions at http://timp.integra.io

The TiMP Symposium is organised by the TiMP study group: Edmund HuntHollie HardingJoe WrightLaura Farré Rozada and Niccolò Granieri, music practitioners of different disciplines brought together by their interest in exploring electronics as a part of musical performance.

Ludo2020: Conference on Video Game Music and Sound

The organizers of Ludo2020 are accepting proposals for research presentations.

University of Malta, Valletta, 24th – 25th April 2020.

We welcome proposals on all aspects of sound and music in games.

This year, we are particularly interested in papers that support the conference theme of ‘Participation, Performance and the Body’. Papers on this topic may include:

  • Representations of the body through sound and music in games
  • Performance of gender/sexuality and game sound
  • Physical interactivity with music and games
  • Dance and drama as lenses for conceptualizing game audio
  • Voice and game sound
  • Game music and accessibility

Presentations should last twenty minutes and will be followed by questions. Please submit your paper proposal (c.250 words) with a short provisional bibliography by email to ludomusicology@gmail.com.

Deadline: January 6th 2020

We aim to communicate the programme decisions by January 20th 2020. If you require more information, please email the organizers.

We encourage practitioners and composers to submit proposals for showcasing practice as research.

Keynote Speaker

Prof. Hillegonda Rietveld, Professor of Sonic Culture at London South Bank University, musician and electronic music specialist, editor of Hear the Music, Play the Game.

And more to be announced…

www.ludomusicology.org | #ludo2020

Hosted by Costantino Oliva, Institute of Digital Games, University of Malta.

Organized by Melanie Fritsch, Michiel Kamp, Tim Summers & Mark Sweeney. 

Joseph Joachim: Identities / Identitäten

Date: 3 – 5 April 2020

CFP Deadline: 20 Sep 2019

Location: Musikhochschule Karlsruhe
Am Schloss Gottesaue 7, 76131 Karlsruhe, Germany

Organisation: Katharina Uhde, Michael Uhde, Mirjam Boggasch

Website: www.josephjoachim2020.com

Presentation Format: individual papers of 30 minutes, followed by 15 minutes Q & A

Conference Themes

1) History, Nationalism, Race, and Identity Politics (Jewish identity, two “fatherlands” (Hungary/Germany), legacy in Hungary and Germany, etc.)

2) Joachim as a Composer (genres, performance histories of his own works, aesthetics, politics, intersections between performing and composing, etc.)

3) Performance and Interpretation
(Joachim as a violinist, violist, conductor, quartet member, virtuoso, celebrity, improviser; the intersections between performing and composing, Joachim’s musical identity through interaction with, and in relation to spaces, etc.)

4) Joachim, Institutions, and Institutional Politics
(Joachim as a pedagogue and as an institutional and public figure, etc.)

5) Joachim in his Relationships, Family, and Circle (Amalie Joachim geb. Schneeweiss; Gisela von Arnim; Joachim in the context of his families in Austria, England, Germany, Hungary; his relationships, correspondence and network, including Mendelssohn, Clara and Robert Schumann, Liszt, Brahms, Wagner, the von Arnims, von Bülow, Max Bruch, the Herzogenbergs, Philipp Spitta, etc.)

Abstracts should not exceed 300 words. Proposals should be submitted in the form of a Microsoft Word attachment which includes the name, contact details, and institutional affiliation (if any), and a short biographical note of no more than 150 words. The conference languages are German and English.

Please submit abstracts to katharina[dot]uhde[at]valpo[dot]edu by 5pm CT by Friday, 20 September 2019.

Applicants will be informed of the outcome of their submission by Friday, 25 October 2019.

Sponsored by the Fritz Thyssen Foundation, this is a small conference. 

GERMAN VERSION

Joseph Joachim: Identities / Identitäten Internationale bilinguale Tagung
Details:

Datum: 3. – 5. April 2020

CFP Deadline: 20. Sep 2019

Ort: Musikhochschule Karlsruhe
Am Schloss Gottesaue 7, 76131 Karlsruhe

Organisation:
Katharina Uhde, Michael Uhde, Mirjam Boggasch

Website: www.josephjoachim2020.com

Format: Vortrag von 30 Minuten, gefolgt von 15 Minuten Diskussion

Konferenzsprachen: Deutsch und Englisch


Konferenz Themen 

1) Joachim in Bezug auf Geschichte, Nationalismus und Identitätspolitik

2) Joachim als Komponist (Genre, Rezeptionsgeschichte, Ästhetik, Schnittstellen zwischen Joachims musikalischer Praxis und seiner Komposition etc.)

3) Musikalische Praxis und Interpretation (Joachim als Geiger, Bratschist, Dirigent, Mitglied des Joachim Quartetts, Virtuosität, Improvisation, Joachims musikalische Identität usw.)

4) Joachim, Institutionen, und Institutionspolitik (Joachim als Pädagoge und als öffentliche Persönlichkeit etc.)

5) Joachim in seinen Beziehungen, seiner Familie und seinem Netzwerk (Amalie Joachim geb. Schneeweiss; Gisela von Arnim; Joachim im Kontext seiner Familien in Österreich, England, Deutschland, Ungarn; seine Beziehungen, sein Briefwechsel und sein Netzwerk, u.a. mit Mendelssohn, Clara und Robert Schumann, Liszt, Brahms, Wagner, die von Arnims, von Bülow, Max Bruch, Elisabeth und Heinrich von Herzogenberg, Philipp Spitta usw.)

Abstracts sollten nicht länger als 300 Wörter sein. 

Bitte reichen Sie Ihr Abstract und eine kurze Biografie (ca. 150 Wörter) bis Freitag, 20. September 2019 unter katharina [dot] uhde [at] valpo [dot] edu ein.

Wir werden Sie bis Freitag, den 25. Oktober 2019, über das Ergebnis ihrer Einreichung informieren.

Da diese Tagung von der Fritz Thyssen Stiftung gefördert wird, ist es eine kleine Tagung.

3rd AEMC Conference on Music, Communication and Performance

Montecassiano, Italy, 27-28 June 2020

The Associazione Europea di Musica e Comunicazione (AEMC) organizes the 3rd Academic Conference on “Music, Communication and Performance”. The conference promotes interdisciplinary research and original approaches in any field of musicology, communication studies, philosophy, literature, and in any field of artistic performance that involves music. You are invited to apply with papers or performance proposals on any topic, but a special focus of this third edition will center on the question: Is Classical Music Dead? Kramer’s Inquiry Revisited.

Keynote speaker: Professor Lawrence Kramer

Conference organizer: Dr. Alberto Nones

The abstract submission deadline is 30 April 2020. A maximum of 25 participants will be admitted.

Abstracts of max 150 words, specifying the contribution of the paper/performance, must be sent to aemc.montecassiano@gmail.com.

All info: nonesal.wixsite.com/conference

Music and Politics in the 1930s

WHEN: Saturday 7 – Sunday 8 December 2019
WHERE: Melba Hall, Melbourne Conservatorium of Music, The University of Melbourne (Royal Pde, Parkville), Australia
URL: https://blogs.unimelb.edu.au/music-and-politics-1930s/

This symposium explores the impact of politics on music during the long 1930s (c.1925-1945). The expanding economic and cultural reach of the state in democratic and totalitarian regimes, in tandem with the rise of mass media in the form of radio and cinema, contributed to the politicisation of music during this tumultuous period. Papers are welcome on any genre or style of music and the ways in which politics intersected with issues relating to:

  • musical creation
  • institutions and music making
  • the reception of and critical writings on music
  • emerging media and the presentation of music
  • music and other art forms

Specific sessions will be devoted to the complex relations between music, political ideology, censorship and public morale during the Spanish Civil War and World War II.

PROPOSALS FOR PAPERS:

Please email Michael Christoforidis (Symposium convenor) at mchri@unimelb.edu.au by Friday 27 September 2019

  1. an abstract of not more than 200 words, together with
  2. a brief biographical note (not more than 100 words)

Presenters will be notified of participation in the conference by 1 October 2019. Please advise us if earlier notification is required.

Registration for the symposium is free.

FTSG Study Day on Phrase: Rhythm, Function and Closure

The Formal Theory Study Group (FTSG) invites postgraduates and early career researchers to attend our study day on ‘Phrase: rhythm, function and closure’ hosted at the University of Leeds on Saturday 26th October 2019. The workshop will run from 10:30am to 6pm.

The study day will provide participants with the opportunity to discuss readings and case studies relating to the following topics:

  1. Caplin and Schoenberg: Criteria for Closure
  2. Schemata and Formal Function
  3. Harmony and Rhythm

PDFs of the reading and case studies will be sent in advance. This workshop will offer both a forum for challenging discussion and a welcoming environment to meet other scholars. Previous knowledge of the topic is by no means required, although we do expect participants to have engaged with the reading and case studies in advance as this leads to far livelier discussion!

Several travel bursaries available for SMA members (student membership itself is only £10!) and the workshop itself is completely free. Please register your interest and indicate whether you would like to apply for a travel bursary by emailing smaftsg@gmail.com. The deadline for both registration and bursary application is 31st August. Please note that you will have to send in a separate bursary application to the SMA, visit http://www.sma.ac.uk/grants/travel/ for more details.

Feel free to email us at smtftsg@gmail.com should you have any enquiries. We look forward to meeting you in October!

Music of Great Britain and Russia: Parallels and Intersections

Moscow Conservatory’s Divisions of Foreign Music and Russian Music History, together with Royal College of Music (London), invite scholars and teachers, as well as graduate and postgraduate students of higher educational music and other art programs to participate in the International Scholarly Conference “Music of Great Britain and Russia: Parallels and Intersections”.

The conference will be held at Tchaikovsky Moscow State Conservatory 09 December 2019 – 11 December 2019 as part of the Cross-cultural Year of Russia and Great Britain.

The work of the conference will be organised as follows:

  • British literature in the music culture of Russia;
  • Russian culture and history in the oeuvre of twentieth-and-twenty-first-century British composers;
  • British composers in the eyes of Russian critics — Russian composers viewed by British critics;
  • William Shakespeare and the art of music;
  • Historically informed performance in Great Britain and in Russia: pedagogical and historical issues.

Both cultural program and master classes are scheduled throughout the conference. The working languages of the conference will be Russian and English. The time limits are as follows: 20 minutes for a presentation, 10 minutes for a further discussion. Poster presentations are admitted.

To participate in the conference, please complete an application (download *.doc) at mgconference19@gmail.com not later than 10 October 2019. No other application forms will be accepted.

Organising Committee of the Conference:

  • Prof. Alexander Sokolov, D.A., Rector of Tchaikovsky Moscow State Conservatory, — Chairman of the Committee;
  • Prof. Konstantin Zenkin, D.A., Deputy Rector for Scholarly Affairs of Tchaikovsky Moscow State Conservatory;
  • Prof. Irina Skvortsova, D.A., Head of the Russian Music History Division of Tchaikovsky Moscow State Conservatory;
  • Christina Guillaumier, D.A., Head of Undergraduate Programmes at the Royal College of Music (London);
  • Prof. Irina Kozhenova, Ph.D., Dean of the Department for Music History and Theory of Tchaikovsky Moscow State Conservatory;
  • Prof. Michail Saponov, D.A., Head of the Foreign Music History Division of Tchaikovsky Moscow State Conservatory;
  • Assc. Prof. Roman Nasonov, Ph.D., Foreign Music History Division of Tchaikovsky Moscow State Conservatory;
  • Yaroslava Kabalevskaya, Ph.D., Russian Music History Division of Tchaikovsky Moscow State Conservatory;
  • Yulia Kupriyanova, Rector’s Assistant, a graduate of the Royal College of Music (London), a laureate of international competitions, a pianist;
  • Vladislav Tarnopolsky, a teacher at the Contemporary Music Division of Tchaikovsky Moscow State Conservatory.

The Conference Coordinator: Elizaveta Chernova Translator of the texts: Dmitry Gorbatov

The applications will be selected by the Organising Committee in advance. All travel expenses should be covered by the speaker’s organisation.

Publications: 

A collection of articles, for publication in 2020, is envisaged. The articles will be published in both Russian and English.