Serge G.: An International Conference on Serge Gainsbourg

Paris, 9–11 April 2018

In 1989, a survey of French cultural taste revealed that Serge Gainsbourg was both one of the most popular singers and yet a near outcast in his native country. When he died, two years later, President Mitterrand called him “our Baudelaire, our Apollinaire,” claiming he had “elevated chanson to the level of art.” But he might just as well have acknowledged Gainsbourg as the first artist to top the British charts with a single in a foreign language. With the hindsight of almost thirty years, one thing is, in any case, certain: sampled by Beck, De La Soul, Massive Attack and Fatboy Slim, remixed by Howie B. and David Holmes, translated by Mick Harvey and covered by Iggy Pop, Donna Summer, Portishead, Madeleine Peyroux, the Pet Shop Boys and Franz Ferdinand, “the man with the cabbage head” remains the Francophone songwriter whose contribution to the international appeal of French popular music has been the most significant in the postwar era. To celebrate the 90th anniversary of his birth, the IReMus’s CRMP [Centre de Recherche sur les Musiques Populaires] is organizing the first international conference on this protean creator standing at the crossroads of pop music and chanson. We welcome papers on topics including (but not restricted to):
– Gainsbourg’s artistic output;
– his musical influences and inspirations;
– his relationship to the world of high culture;
– his connections with other art forms (cinema, literature, etc.);
– his career strategy and handling of his public image;
– his position in the social field;
– issues of gender.

The languages of the conference are French and English. Proposals (of no more than 300 words) and short biographical notes (maximum 75 words) should be sent to by 17 December 2017. They will be peer-reviewed and decisions communicated on 5 February 2018.

For further information, please contact

Keynote Speakers
Darran Anderson (author of Histoire de Melody Nelson for Bloomsbury’s widely acclaimed 331/3 series)
Olivier Bourderionnet (author of Swing Troubadours. Brassens, Vian, Gainsbourg: Les Trente Glorieuses en 33 tours for Summa Publications)
Peter Hawkins (author of Chanson for Ashgate/Routledge)

Organising Committee
Philippe Cathé (Paris-Sorbonne University, IReMus)
Florian Guilloux (Paris-Sorbonne University, IReMus)
Olivier Julien (Paris-Sorbonne University, IReMus)
Benoît Navarret (Paris-Sorbonne University, IReMus)
Catherine Rudent (Sorbonne Nouvelle University)

Scientific Committee
Kirk Anderson (Wheaton College)
Moreno Andreatta (IRCAM-CNRS-UPMC)
Olivier Bourderionnet (The University of New Orleans)
Philippe Cathé (Paris-Sorbonne University, IReMus)
Gérôme Guibert (Sorbonne Nouvelle University)
Peter Hawkins (Bristol University)
Olivier Julien (Paris-Sorbonne University, IReMus)
Keir Keightley (The University of Western Ontario)
Barbara Lebrun (The University of Manchester)
David Looseley (University of Leeds)
Isabelle Marc (Universidad Complutense de Madrid)
Sue Miller (Leeds Beckett University)
Bodo Mrozek (Zentrum für Zeithistorische Forschung Postdam)
Benoît Navarret (Paris-Sorbonne University, IReMus)
Christophe Pirenne (University of Liège)
Cécile Prévost-Thomas (Sorbonne Nouvelle University)
Hyacinthe Ravet (Paris-Sorbonne University, IReMus)
Catherine Rudent (Sorbonne Nouvelle University)
Geoff Stahl (Victoria University of Wellington)
Chris Tinker (Heriot-Watt University)
Danick Trottier (Université du Québec à Montréal)


Music and Gender in Balance

CfP: Music and Gender in Balance

University of Tromsø – The Arctic University of Norway

5th & 6th April 2018

Abstract submission deadline: 30th September 2017


Music is performance. Gender is performance. The arts have a social responsibility when it comes to the representation and negotiation of gender as one of the foremost structuring forces in society. The last two decades have seen a growing interest in music and gender research in Scandinavia. Music education, in particular, is a melting pot of gendered performances. Moreover, today’s musical cultures are (still) highly gender segregated, both horizontally in terms of instrument preferences, genre, and artistic expressions, and vertically in terms of the reputation of different professional fields and positions. Recent initiatives in gender equality show that the field of research on music and gender in the Northern countries is ripe for change. The question is how to conduct these changes. How can we empower present and future generations to be both sensible and critical with regard to gendered performances? How can we as researchers and educators encounter gender bias in both research design and daily life in academia? And how can we collaborate with other academic disciplines in order to solve research questions related to power, justice, and freedom?

In cooperation with the BALANSE project and the Centre for Women’s and Gender Research at UiT, the Swedish-based Gender and Music Research Network (GeMus), and UiT’s new research group Multimodality, Art, and Gender in Interdisciplinary Communication (MAGIC), researchers from all academic disciplines researching music and musical culture are invited to discuss these questions theoretically, methodologically, pedagogically, and artistically.


Keynote Speakers

 Victoria Armstrong (St Mary’s University, Twickenham, London)

 Cecilia Björck (University of Gothenburg)

 Astrid Kvalbein (University of Oslo)


The conference languages will be English and the Scandinavian languages.

Presentation formats: 20-minute presentations, poster presentations, artistic performances/installations, round-tables, panels, flash papers, PechaKucha, and other innovative forms.

Abstract submission deadline 30th September 2017: Abstracts of up to 150 words should specify the contribution of the paper to both the discipline and society. We encourage explicitly intersectional, inclusive, multimodal, and artistic approaches. Abstracts should be sent to Responses will be sent out by the end of October.

Network meeting: We invite you to attend a network meeting on Friday 6th April 2018 to outline future approaches and research questions, as well as current trends and frames, in order to put forward the idea of more institutionalised music and gender research in the Nordic countries.

The conference is organised by the music conservatoire at UiT – The Arctic University of Norway.

For enquiries please contact: Hilde Blix ( and Lilli Mittner (

The Study of Musical Experiences: Perception and Diversity


We are delighted to announce our Autumn Course, which will run from November 28th-December 1st 2017 at the University of Bergen. The event is organized by the Grieg Research School in Interdisciplinary Music Studies (Western Norway).

The theme for this course is “The Study of Musical Experiences: Perception and Diversity”. More info available here. Continue reading “The Study of Musical Experiences: Perception and Diversity”

RMA Symposium Exploring Xenakis: Performance, Practice, Philosophy

Final Program

Exploring Xenakis: Performance, Practice, Philosophy

School of Music, University of Leeds

Tuesday, 12 September, 2017

Online Registration:

9am         Registration

9.30am     Opening and Welcome Address


‘Performance in Xenakis’s electroacoustic music’.

Reinhold Friedl (Goldsmiths, University of London)


Further development of 1950s modernist avant garde composition in Xenakis’ Metastaseis (1954).

Marlēné Radice (Sir Zelman Cowan School of Music, Monash University)


‘‘Xenakis, not Gounod’: Xenakis, the Avant Garde, and May ’68’.

Dr Alannah Halay and Michael D. Atkinson (University of Leeds)

11.15am         Coffee break


‘Morphological Aspects in Xenakis’s Music’

Said Athié Bonduki (University of São Paulo, Brazil)


Nomos alpha by Iannis Xenakis: ‘Temporality and Interpretative Space’.

Alfia Nakipbekova (University of Leeds)


‘The Berlin sketches and Xenakis’s middle period style’.

Dr. Dimitris Exarchos (Goldsmiths, University of London)

1.15pm         Lunch


‘Rhythmic practice through Psappha’ – Research statement

Yuko Ohara (Senzoku Gakuen College of Music, Japan)


‘Iannis Xenakis and his Music’.

Anna Terzaroli (Conservatorio Santa Cecilia, Rome)


‘Synthesising the Sonority: Stratification of Clusters in Xenakis’s Gmeeoorh (1974)’

Marina Sudo (University of Leuven)


‘The use of unison in the orchestral music of Xenakis’.

Nikos Ioakeim (Independent Scholar)


‘Iannis Xenakis’ Metastasis. Aesthetic Experience and the Importance of Knowledge’.

Stefanie Bräuml (University of Music and Arts, Vienna)

4.15pm             Coffee break

4.45pm               Performance

Xenakis Nomos alpha for solo cello

Alfia Nakipbekova

Keynote Lectures


Makis Solomos

Nomos alpha: compositional theory and practice, remarks on performance’.

5.45pm Benoit Gibson

‘Interpreting the musical ideas of Iannis Xenakis: from representation to performance’.

6.30pm               Closing Remarks and Wine Reception

Terminology research in musicology and the humanities


CONMUSTERM: Terminology research in musicology and the humanities

Conference dates: May 25 – 26, 2018

Venue: University of Zagreb, Music Academy; Trg maršala Tita 12, Zagreb, Croatia



  • Synchronic and diachronic approaches to music terminology
  • Music terminology in reference literature and teaching materials (with special reference to recently developed terminology of music theory, composition, music technology and ethnomusicology)
  • Terminology standardization in the humanities (e.g. in musicology, ethnomusicology, linguistics, art, philosophy, history, anthropology, ethnology, archaeology, etc.)
  • Humanities within traditional and contemporary terminological theoretical approaches
  • Terminology and the humanities in a multilingual context: linguistic and cultural specificities
  • Terminology of the humanities in multilingual terminological databases
  • Specific terminological issues in minor languages
  • Other related topics


Official languages of the conference

Croatian and English


Plenary speakers

Markus Bandur, Academy of Sciences and Literature in Mainz / National Library in Berlin

Gerhard Budin, University of Vienna, Centre for Translation Studies


Submission information


Types of contributions

  • full papers (20-minute talk followed by 10 minutes for discussion and change of rooms)
  • panel discussions (group related papers for up to 5 participants, duration 45 – 60 minutes)
  • posters

Submissions of abstracts for full papers should present either complete research, or research in progress where at least some substantial results have been achieved. Work in progress which has yet to produce results can instead be submitted as a poster abstract. Both categories of abstracts should not exceed 500 words.

Submission of abstracts of 500 – 800 words for panels are to be submitted by the panel convenor(s) on behalf of all speakers, with an introduction specifying the relationship between the topics before details on individual presentations (including names and affiliations of all speakers) are given.


Conference fee

Fees include conference materials, lunch and refreshments for both conference days, but not accommodation:

  • active participants 70 EUR
  • participants without presentation 30 EUR
  • conference dinner 20 EUR (not included in the conference fee)



Selected peer reviewed papers will be published following the conference within a special issue of the journal Rasprave of the Institute of Croatian Language and Linguistics.



University of Zagreb, Music Academy, Department of Musicology

Institute of Croatian Language and Linguistics, Zagreb

The conference is financed by the Croatian Science Foundation (HRZZ) within the research project Conmusterm.

Organizing Committee

Nikša Gligo (President), Tomislava Bošnjak Botica, Sanja Kiš Žuvela, Krešimir Sučević Međeral, Ana Ostroški Anić


Conference website:



Seeing and Hearing the “Beyond”: Art, Music, and Mysticism in the Long- Nineteenth Century

Association for Art History/ Courtauld Institute of Art and King’s College London

This interdisciplinary session will explore the dialogue between art and music in
addressing the subject of mysticism in the long nineteenth century (1789 – 1918). To counteract the positivist current that gained momentum during the period, artistic circles gravitated towards mystical means that initiated the beholder and listener into truths that transcended the world of external appearances. The session seeks to gauge the scope of different interpretations of mysticism and to illuminate how an exchange between art and music may unveil an underlying stream of metaphysical, supernatural, and spiritual ideas over the course of the century.

The multiple facets of mysticism manifested across a diverse range of styles, aesthetics, and movements. As esotericism saturated America, Europe and Britain, the Romantics and Symbolists responded to mystical beliefs expressed in Swedenborgianism, Spiritualism, Theosophy and Occultism while drawing on exposures to Eastern religions. Reinterpretations of pagan mysticism prompted the rediscovery of Folkloric primitivism. Meanwhile, Catholic and evangelical revivals alongside renewed interest in Medievalism revitalised Christian themes. In practice, the proliferation of occult revivals at the fin-de-siècle permeated the thematic programmes of artists and composers. Wagner’s operas underscored the link between music, myth, and mysticism through the synthesis of the arts: the Gesamtkunstwerk. Subsequently, Syncretism in mystical philosophies was paralleled by formal correspondences in the visual arts, especially in their ‘rhythmical’ qualities. Synesthesia would instigate the development of abstraction.

This session invites submissions that extend on these ideas by investigating how the
interconnectedness between art and music was able to evoke and be inspired by
mysticism. Papers drawn from other periods that examine the origins and newer forms of mystical appropriations will be considered, and those which incorporate perspectives across the spectrum of visual culture and musicology are particularly welcome.


Association for Art History 2018 Annual Conference
5-7 April 2018
Courtauld Institute of Art, London, UK
PLEASE SEND YOUR 250 WORD ABSTRACTS to both convenors by NOVEMBER 6 2017
Dr. Corrinne Chong,
Dr. Michelle Foot,

Musicking: Cultural Considerations

The University of Oregon Collegium Musicum ensemble is delighted to present the third annual Musicking Conference: “Musicking: Cultural Considerations” to be held in the UO, School of Music and Dance in Eugene, OR (location: Collier House, at University and 13th Streets), from April 10 through April 14, 2018. The purpose of this conference is to bring together research, education, and performance of historical music in the broadest sense by considering a variety of topics.

Panels & Submissions

In its third year, the conference will host five panel sessions that will deal with Cultural Considerations in a broad sense. All proposals should have direct relevance to performance practice, not necessarily only from a purely historical point of view (from the Middle Ages to the present), but also from a broader cultural perspective. Since this year’s final concert will be Mozart’s Requiem, at least one panel focusing on performance issues relative to the composition will be organized. Applicants are encouraged to blur the academic distinctions of musicology, ethnomusicology, music theory, education, modern performance practices, historical performance practice, and other academic fields, and consider the conference topic through a lens of musicking, in all its possible facets.

The Conference Committee welcomes individual paper proposals: abstracts of no more than 250 words should be submitted. Proposals should include two files: an anonymous submission including a title and the abstract; and a second file including the title, author’s name and a short (5-line) biography of the presenter. The abstract should specify the thesis/main topic of research, the state of research and sources used, and the relevance of the author’s thesis to the conference purpose and topic. Please send abstracts and proposals by Wednesday, November 1, 2017. Notices of acceptance will be sent by Friday, December 1, 2017. All submission materials should be submitted via the Musicking website.

Lecture Concerts

This year, the Musicking conference again invites proposals for lecture performances. Proposals should be for programs 30-45 minutes in length, and should be designed to engage audiences in an informal and fairly intimate setting. Proposals should include a short concert/lecture description and music selection, and should include an mp3 audio file or link displaying the performer’s musical ability. Please send proposals by Wednesday, November 1, 2017. Notices of acceptance will be sent by Friday, December 1, 2017. All submission materials should be submitted via the Musicking website.


Wagner 1900

Jesus College and the Faculty of Music at the University of Oxford will be pleased to host the interdisciplinary conference ‘Wagner 1900’ on 9-11 April 2018. Featuring two performances, the conference will investigate the impact of Richard Wagner on fin-de-siècle Vienna, not only in music but also in the visual arts, theatre, literature and philosophy. The two performances will address key issues raised by the topic of ‘Wagner 1900’, providing a concrete basis for scholarly discussion.

Confirmed speakers include Barry Millington and Patrick Carnegy (keynotes);

Roger Allen (Oxford), Evan Baker (North Carolina), Christopher Fifield (London); Peter Franklin (Oxford), Hermann Grampp (Berlin), Anne Leonard (Chicago), Karin Martensen (Detmold), Hilda Meldrum Brown (Oxford), Eva Rieger (Bremen), Diane Silverthorne (London), Morten Solvik (Vienna), and Laura Tunbridge (Oxford).

Proposals of no more than 350 words are invited for 20-minutes papers in English. As there will be no parallel sessions, the Committee will be able to select only a restricted number of papers. Doctoral students and early career scholars are warmly encouraged to submit a proposal.

Topics to be covered include:

Richard Wagner and the Gesamtkunstwerk

The collaboration between Mahler and Alfred Roller

Roller’s set designs

Adolphe Appia

Wagner and the arts around 1900

Conducting Wagner; Wagner as conductor

19th C. historical performance practice

Wagnerian singers and the Bayreuth style

Cosima Wagner in Bayreuth

Wagner and theatre, Wagnerian staging

Wagner and Modernism in literature and philosophy

Wagnerism in Vienna


Proposals should be sent to our conference administrator, Lukas Beck (, no later than 1st October 2017.


Conference Program Committee:

Dr. Anna Stoll Knecht (Oxford), convenor

Dr. Roger Allen (Oxford)

Dr. Anastasia Belina (London)

Prof. Peter Franklin (Oxford)

Dr. Tosca Lynch (Oxford)

Dr. Merel van Tilburg (London)

The Nordic Ingredient – European Nationalisms in Norwegian Music after 1905 – Joint Conference

20–21 March 2018, Grieg Research Centre (UiB), Bergen

The Grieg Research Centre and the University of Münster would like to invite musicologists and historians to a joint conference at the Grieg Research Centre in Bergen, 20-21 March 2018. The conference will be co-organised by the Grieg Research Centre, the DFG-research project The German Dominance of Music in Norway 1930–45 at University of Münster, and the Goethe Institut Norwegen.

Confirmed speakers (i.a.): Prof. Friedrich Geiger (Musicologist, Hamburg), Prof. Erling Gulbrandsen (Musicologist, Oslo), Ass. Prof. Ingrid Loe Dalaker (Musicologist, Oslo), Prof. Rolf Hobson (Historian, Oslo), Prof. Christhard Hoffmann (Historian, Bergen), Prof. Tom Kristiansen (Historian, Tromsø), Prof. Dr. Arvid Vollsnes (Oslo)

The conference attempts an interdisciplinary exploration of the impact of nationalism on music, and vice versa, music’s importance for national tendencies along the following aspects:

  1. Reconstructing the reasons, conditions, and consequences of different historical phases in Norway’s nation state building during the 19th and 20th century, in relation to the influence of European nationalistic ideologies on the domestic cultural and political sphere (aesthetic vs. political independence).
  2. The cultural export of Norwegian national topics and icons, and their significance for European musical trends (Black Metal, Neo-Nazi aesthetics etc.).
  3. The function and design of national elements in lyrics and melodies (including avant-garde, folk, jazz, rock and pop music).

Music mirrors the cultural and political characteristics of the nationalisms that clashed in WW I for the first time on a global scale and triggered new conflicts with every next generation until nowadays: On the one hand, due to music’s alleged unpolitical nature, its emotional qualities have historically been proved ideal for cultural nation state building. On the other hand, music could be (mis-)used as a propagandistic means by both totalitarian regimes and resistance movements. In general, these interactions between music and politics are not limited to certain genres, but instead can be found in all musical stylistics with different aesthetic characteristics.

The development of nationalist sentiments in Norwegian culture and their relationship to various ideas of the ‘Nordic’ neither have been considered so far, nor their consequences for Norwegian musical life. Therefore the term with its unbroken semantic attraction is a key to understand the dialectics of music and politics: In Norway, with its long tradition of German-Norwegian cultural exchange, the ‘Nordic’ underwent several transitions from an aesthetic quality into an ideological category in early 20th century, with long-term consequences for Norway’s place in Europe’s music life. But far from being questioned, the fascination for the ‘Nordic’ is unbroken, diverse and conflicting (ranging from touristic marketing, artistic branding and politi- cal institutions of Scandinavian nations up to nationalist sub-cultures).

Call for abstracts: Please email an abstract of no more than 300 words and a short biography (100 words maximum) to Young scholars are specially invited to apply for a limited amount of research grants. The grants include full coverage of travel costs and accommodation in Bergen and the possibility to publish in the conference proceedings. The deadline for submissions of papers is 15 November 2017, and we aim to inform you about the result of the peer reviewed selection process by mid-December 2018. For further information please visit

Publication: After the conference, the organisers are planning for a publication of edited papers in a special issue of Studia Musicologica Norvegica – Norwegian Journal of Musicology.

Further information: Full programme and information about the conference will be available on the website of the Grieg Research Center:

Venue: The conference will take place at the University of Bergen.
For further questions on accomodation, please contact:

On behalf of the organising committee,

Ass. Prof. Arnulf Mattes (Grieg Research Center, UiB) and Prof. Michael Custodis (Universität Münster)

Large Objects Moving Air

Large Objects Moving Air 2018

8 January 2018

CRiSAP – Creative Research into Sound Arts Practice

London College of Communication

University of the Arts London

Tickets: £10 standard ticket, £5 unwaged / Low waged / Students, Free for TECHNE members. Registration opens 1 October 2017

For full details, visit:


Keynote & Performances

J.R. Carpenter – Artist, writer and researcher

Laura Cannell – Musician, Specially Commissioned Bass Recorder Performance for LOMA



Large Objects Moving Air 2018 is a one day conference exploring the presence, agency and materiality of air from the microscale to macroscale, through both literal and figurative interpretations. We are looking for papers exploring the materialities of air, vibration, politics and power from researchers, writers and artists within the sciences, humanities, arts and other creative disciplines.

What comes to mind when one thinks about air? Air is everywhere and nowhere. It is a carrier of frequencies, energies, vibrations, toxins, pollutants and blast waves. It supports life and is a site of communication. It is clouds and The Cloud. Who owns it? Can it be owned? Who or what are the agents in the transmission and circulation of air? How does it circulate and what circulates within it?

With the futures of people, animals, plants and microbial ecologies constantly up in the air, LOMA 2018 offers an opportunity for reflection about that which is all around us, its vitality but also its precarity and potential as carrier of threat and harm.

For LOMA 2018 we are seeking presentations and artworks in different formats and deploying various strategies to animate the air in and around the conference setting of the London College of Communication in Elephant and Castle, South London. Through these multiple representations we hope to foster the recalibration of our position within the local and planetary scale ecologies, of vectors of mass transit, and flux in the sky, on the surface and beyond.

The theme of the conference relates to works that reflect (but are not limited to) the following areas around the literal / metaphorical / abstracted examples of the movement of large bodies on a range of scales:

  • Meteorology
  • Acoustic ecology
  • Nuclear culture and the military industrial complex
  • Protest movements, propaganda and the voice
  • Media Infrastructures
  • Technocapitalism
  • Bass and soundsystem culture
  • Unsound / Infrasonics / Ultrasonics / EEG
  • Atmospherics

Call for Works

We would like to invite proposals for the commission of an artwork installation and/or performance for LOMA 2018 in response to one or more of the conference themes. We are particularly interested in proposals for works influenced by sonic encounters.

We have two potential spaces for the installation/performance, the Upper Gallery (suited for performance or low intensity work) or the Black Box (sound proofed theatre/performance space). Technical support and resources will be made available and a fee of £150 will be awarded to the selected work.

The successful proposal will need to be presented at LOMA on Monday, 8th January 2018. For installations, it will be possible to install on Friday, 5 January 2018. The installation/documentation of work will only be able to remain in the space for the day of the conference.

For proposals of artworks and/or performances for LOMA, we request that you submit a project description (500 words maximum) along with any audio, video, or images that may help illustrate the proposal. Submissions should be made as a .pdf document (no longer than 2 sides of A4 including images and links to media). Contact us with any questions regarding technical possibilities in advance of the deadline.

Submissions should be sent to by 15 September 2017.

Call for Papers

We would like to invite proposals for presentations in the form of a 400 words (max) abstract along with a short biography of 150 words (max) and full contact details including any institutional affiliations.

We encourage the submission of traditional paper presentations but are also keen to explore innovative methods of delivery within the conference setting (full audiovisual support will be offered). We encourage applications from within the academy at all levels but also independent researchers, writers and artists.

Submissions should be sent to by 15 September 2017.


For full details, visit: