Worldwide Music Conference – Scientific World Explores Music

Acronym: WWMC
Dates: April 22-23, 2021
Venue: Prague, Czech Republic
Website: wwmc.io
Contact: hello.wwmc@gmail.com

Scientific World Explores Music is the motto of the Worldwide Music Conference.

Worldwide Music Conference (WWMC) brings together scientists from various fields (music theory, biology, psychology, ethnography, mathematics, acoustics, and others) to make their achievements in music studies available to the entire music research community, to help them find connections for further research and spread their discoveries.

WWMC aims to increase the effectiveness and intensity of connections between different disciplines in music research.

WWMC welcomes the intention to attract interest in your subject of study, to popularize your ideas and discoveries.

WWMC unites

  • Music theorists who explore music by means of musicology.
  • Musical theorists, who rely on natural science, use mathematical approaches.
  • Experts in various fields of knowledge, such as physiology, neurology, psychology, mathematics, acoustics, who turn to the problems of human musical activity, musical perception, animal sound activity and its analogies with music.
  • Anthropologists, ethnographers, and paleographers exploring the origins and evolution of musical thinking, the diversity of its forms and appearances in different cultures and at different times.

Speakers

  • Roman Ruditsa, composer, music theorist, inventor, the St. Petersburg Union of Composers, Scientific Chair at the Worldwide Music Conference, Co-founder and President of D Notation
  • Dr. Dario Martinelli, musicologist and semiotician, Professor of History and Theory of Arts at Kaunas University of Technology, Adjunct Professor in Semiotics and Musicology at University of Helsinki, Adjunct Professor in Methodologies of Semiotics and Communication Studies at University of Lapland
  • Dr. William Tecumseh Fitch, evolutionary biologist and cognitive scientist at the University of Vienna, co-founder of the Department of Cognitive Biology
  • Dr. Angela Stoeger, bioacoustician, lab leader, Priv.-Doz. of Department of Behavioural & Cognitive Biology at the University of Vienna
  • Dr. Agnieszka Roginska, Music Assoc. Prof. of Music Technology and Vice-Chair of the Music and Performing Arts Professions at New York University, President of the Audio Engineering Society (AES)
  • Dr. Ildar Khannanov, Assistant Prof. at the Peabody Institute of The Johns Hopkins University, the Organizing Committee member of EuroMAC-10, Founder & Vice-Chair of Scientific Committee of the Russian Society for Theory of Music
  • Dr. Julie Ballantyne, Associate Professor at University of Queensland, Editor-in-chief for the journal Research Studies in Music Education, SAGE
  • Dr. Lucas Wong, pianist, teacher, and online musical resource developer, Fazioli Artist

Registration

Registration link: wwmc.io/registration/

March 1, 2020 – June 30, 2020 – Early Bird Registration
July 1, 2020 – November 30, 2020 – Regular Registration
December 1, 2020 – February 15, 2021 – Last Call Registration

Call for Papers

To submit your abstract or full paper for consideration, please use the EasyChair system.

EasyChair submission link: easychair.org/conferences/?conf=wwmc2021

Submission Deadlines

March 1, 2020 – June 30, 2020 – Early Bird Submission
July 1, 2020 – November 30, 2020 – Regular Submission
December 1, 2020 – February 15, 2021 – Last Call Submission

Submission Guidelines

All works must be in English. To present your research, submit an abstract to the Easychair system for review. To present and publish your research, submit a full paper to the Easychair system for review. The exclusivity of papers applied for publication is mandatory.

  • Title
  • Abstract (up to 250 words)
  • Full Paper (up to 7 pages, file extension .pdf)
  • 5-7 Keywords
  • List of References (at least 15 items)

Topics

1. Music theory

  • Theoretical concepts of music in general and its individual aspects (pitch structures, rhythm, counterpoint, etc.).
  • Musical epistemology.
  • The lingual and non-lingual aspects of music.
  • Problems and methods of musical analysis.
  • Musical-theoretical systems: a variety of approaches to the understanding of music by theorists of different times and peoples.

2. Music and biology. Relationship of physiological and psychological aspects in music research

  • Musical activity as a component of mental and nervous activity.
  • Neurological studies of musical thinking.
  • Experimental study of intonation as a musical phenomenon and as a phenomenon of verbal language.
  • Musical activity at early stages of a human formation (pre-verbal period).

3. Psychology and physiology of musical perception

4. Origin, formation and evolution of musical activity according to anthropology, ethnography, paleography

5. The diversity of forms of musical thinking in different cultures and in different epochs

  • Differences and similarities in pitch and rhythmic structures in different musical cultures.
  • Discoveries in the field of musical paleography.

6. Music and mathematics

  • Mathematical methods in music-theoretical research.
  • Mathematical methods in experimental studies of musical activity and sound perception.
  • Links and analogies between musical thinking and mathematical thinking.

7. Music and acoustics

  • Acoustic factors in musical thinking and perception.
  • Psychoacoustics.
  • The phenomenon of timbre and the phenomenon of harmony from the standpoint of acoustics.
  • New approaches to the theory of musical tunings.

8. Animal sound activity

  • The problem of revealing musical specificity in sound activity of animals.

9. Philosophical paradigms of music-theoretical, natural science, mathematical and humanitarian aspects of the study of music in their specificity and interconnection

10. Music technology from a scientific perspective

  • The scientific principles of digital technologies for musical activity (music analysis, education, sound recognition, etc.).
  • Digital technologies as tools for research of music composition, performing, and perception.
  • Artificial Intelligence.
  • Philosophical, culturological, sociological aspects of the presence of digital technologies in the field of music, communication, and education.

Note: the topics proposed within these areas are intended to focus the attention of researchers on important issues, but are not mandatory. Each area contains a variety of topics that are not on the list, but are of significant interest.

We welcome researches that are not limited to individual fields, but make the connections between them, and combine the methods of the different sciences in the study of music.

Reframing the Golden Age Musical: Methods, Sources, Performance

The forth Biennial StageStruck! Conference
An international conference in honor of Prof. Kim Kowalke, President of the Kurt Weill Foundation.
Convenor: Professor Dominic McHugh, University of Sheffield

The Great American Songbook Foundation at The Center for the Performing Arts, Carmel, IN
12 – 14th May 2021

CALL FOR PAPERS – 1 JULY 2020
See below for more information.

Abstract:

Traditional histories of the American musical tend to revolve around the formation of a canon of Broadway shows written roughly between the 1940s and mid-1960s, with Oklahoma! (1943) and Fiddler on the Roof (1964) often cited as terminal works. Other key works during the period include Kiss Me, Kate (1948), Guys and Dolls (1950), My Fair Lady (1956) and West Side Story (1957). The era encompasses the ends of the careers of figures from the previous generation such as Cole Porter, Irving Berlin and Kurt Weill, the peak of the output of Rodgers and Hammerstein and Lerner and Loewe, and the beginning of the creative influence of Stephen Sondheim and Bock and Harnick.

Yet to what extent is the concept of the Golden Age a useful tool for framing musicals, and how can we better understand these ever-present yet curiously elusive works?

In a conference honoring the career of Kim Kowalke (Professor, Rochester, NY; President of the Kurt Weill Foundation), and marking the seventieth anniversary of the death of Kurt Weill, we take stock of existing scholarship on the Golden Age musical and explore ways forward.

The conference also affords the opportunity to celebrate the richness of the Great American Songbook Foundation’s collections on the musical.

The conference will include a keynote from Kara Gardner, author of Agnes de Mille: Telling Stories in Broadway Dance.

Possible lines of enquiry might include:

  • What is the nature of the Golden Age musical?
  • What are the best tools, approaches and methodologies for analysing and examining the Golden Age musical?
  • When did it start to be conceived of as the Golden Age?
  • What are the benefits and pitfalls of the term?
  • What are the major archival holdings on Golden Age musicals?
  • How can we access the Golden Age musical, especially in the case of works that were not filmed and/or recorded?
  • What was the relationship between Broadway and Hollywood during the Golden Age?
  • How can we strengthen relationships between scholars of different disciplines (e.g. musicology and film studies) and between scholars and performers?
  • What impacts, if any, did the Broadway musical have beyond New York (and beyond America) during the Golden Age?
  • How can we avoid the pull of nostalgia in framing the Golden Age musical

Lodging:

Area hotels and group rate information coming soon.

Attendees are responsible for travel & lodging.

Call for Papers:

Proposals for individual papers (20 minutes + 10 minutes of discussion) or for a 90-minute panel (three papers + discussion) should be emailed to Dominic McHugh at d.mchugh@sheffield.ac.uk by 1 July 2020.

Learn about the Great American Songbook Foundation:

The conference will include a showcase of the Great American Songbook Foundation’s holdings on musical theatre, which include the papers of Meredith Willson and Gus Kahn.

Previous Stagestruck! Conferences have been held at the University of Sheffield (2014, 2016) and at the Great American Songbook Foundation (2018).


Shakespeare and Music: New Interdisciplinary Perspectives

Call for Papers

Shakespeare and Music: New Interdisciplinary Perspectives

10–11 December 2020, Universities of Manchester and Huddersfield

Deadline for proposals: 15 September 2020.

‘When were you wont to be so full of songs, sirrah?’ (King Lear, I/4)

We are delighted to announce the inaugural conference of the ‘Shakespeare and Music’ Study Group, on Thursday 10 December 2020 at the University of Manchester and Friday 11 December at the University of Huddersfield.

The ‘Shakespeare and Music’ group was founded in affiliation with the Royal Musical Association to provide a distinct forum for researchers and practitioners across disciplines and cultures. In line with the mission of the group, the conference aims to promote and foster research, collaboration and exchange of ideas in two complementary aspects: music in Shakespeare’s time, including various aspects of music in Shakespeare’s works; and music inspired by Shakespeare’s works, whether composed to Shakespearean themes or directly for Shakespeare plays.

In lieu of a keynote address, the conference will feature a world premiere performance of John Casken’s The Shackled King, a dramatic cantata to the composer’s own libretto derived from Shakespeare’s King Lear, with Sir John Tomlinson CBE in the title role and Rozanna Madylus (mezzo-soprano) as Cordelia, Goneril, Regan and The Fool.

The performance will be repeated in Huddersfield.

The conference also strives to provide post-graduate and early career colleagues with a platform for cross-disciplinary exchanges. To this end John Casken and John Tomlinson will work with students in post-concert composition and performance workshops, running in parallel with the academic sessions of the conference.

Apart from at least one confirmed session on ‘Shakespeare, Music and Gender’, other possible threads for papers (20 minutes) and lecture-recitals (30 minutes) include but are not limited to:

  • Music imagery and imagination in Shakespeare
  • Original melodies for Shakespeare songs and their afterlives
  • Shakespeare and opera
  • Incidental music for Shakespeare productions past and present
  • Analysis and contextualising of individual Shakespeare-inspired works
  • Setting Shakespeare’s words to music
  • Shakespeare in instrumental music
  • Shakespeare and film music
  • The role of Shakespeare in the musical imagination and creative output of composers
  • Shakespeare and musical nationalism
  • Shakespeare in non-classical music (jazz, musicals, pop)
  • Performing Shakespeare’s music
  • The afterlife of Shakespeare-inspired music

Please send an abstract of no more than 300 words accompanied by a short (150-word) biographical note to Michelle Assay m.assay@hud.ac.uk and David Fanning David.fanning@manchester.ac.uk by 15 September.

Please note: we are aware of the current uncertainties and in the event that public events are still not possible in December or that delegates are unable to travel we shall make the necessary arrangements for virtual delivery and/or streaming of the conference and its associated events.

SSCM 2020 Virtual Conference, June 26-28

The Society for Seventeenth-Century Music invites you to attend our twenty-eighth annual conference, June 26-28, via Zoom.  Originally scheduled for April at Case Western Reserve University, the Eastman School of Music at the University of Rochester has graciously allowed us to use its Zoom platform for the rescheduled event.  The full program of the meeting is available at https://sscm-sscm.org/wp-content/uploads/2020/05/SSCM-2020-program-virtual.pdf.

Attendance of the meeting will be free of charge, open to all interested parties.  For security reasons, however, we will ask attendees to register in advance.

To do so, please fill out the form at https://tinyurl.com/SSCM2020.  If you have any trouble with this form or have any questions, please email our treasurer, Anita Hardemann, at treasurer (at) sscm-sscm.org.  Once registered, you will receive the Zoom links to be used for the conference and the Guidelines for Attendees, explaining how things will work.

We are delighted that the annual meeting of our Society will proceed in this fashion and that this year we will be able to share our work even more widely.

7th International Conference on Digital Libraries for Musicology (DLfM 2020)

Schulich School of Music, McGill University, Montréal, Canada

https://dlfm.web.ox.ac.uk/

Conference: 16 October 2020
Submission deadline: 31 July 2020

While Digital Libraries have long offered facilities to provide multimedia content, the requirements of systems for library music are complex. The many forms taken by musical data, the needs for connections between these, and the importance of scholarly and historical contextual information all require special care to support meaningful engagement with the materials.

The Digital Libraries for Musicology (DLfM) conference presents a venue specifically for those working on, and with, Digital Library systems and content in the domain of music and musicology. This includes Music Digital Library systems, their application and use in musicology, technologies for enhanced access and organisation of musics in Digital Libraries, bibliographic and metadata for music, intersections with music Linked Data, and the challenges of working with the multiple representations of music across large-scale digital collections such as the Internet Archive and HathiTrust.

This, the seventh DLfM conference follows previous workshops in The Hague, Paris, New York, Shanghai, Knoxville and London. We are proud to be a satellite event of the annual International Society for Music Information Retrieval (ISMIR) conference for the fifth time, an association that encourages reflection on the use of MIR methods and technologies within Music Digital Library systems when applied to the pursuit of musicological research.

Proceedings of previous DLfM conferences can be found in the ACM Digital Library (recent DLfM proceedings can be accessed for free by navigating from the conference website)

We invite:

  • Full papers (up to 8 pages)
  • Short and position papers (up to 4 pages)
  • Transforming Musicology Challenge papers (up to 2 pages)

Transforming Musicology Challenge papers are more speculative position papers to be presented in a panel or as a poster and will not be included in the proceedings, although they will be published on the workshop website. Full details are available at the workshop website.

In light of the extraordinary circumstances presented by the COVID-19 pandemic, we are regularly reviewing and updating plans to ensure a successful conference in 2020. A section of the full CfP on our website is dedicated to contingency planning and will be updated to reflect any changes.

Orchestrating Isolation: Musical Interventions and Inequality in the COVID-19 Fallout

June 22 2020

organised by Shzr Ee Tan, Royal Holloway University of London

and Kiku Day, Aarhus Academy of Music/ University of London

with support from the Institute of Musical Research

[*This event has been re-themed and revised in format from an earlier conference, now postponed till 2021, on ‘Racialised Performance in Western Classical Music’, organised by Shzr Ee Tan & Maiko Kawabata.]

‘Orchestrating Isolation: Musical Interventions and Inequality in the Covid-19 Fall-out’  calls to attention the devastation caused to musicians, freelancers and researchers in precarious labour, even as we mourn the traumatic losses of artists, investigators and teachers to the disease. This online event is also interventionist while remaining reflective in its commitment to not simply ‘waiting it out’ at a time where the world is no longer going to be the same again, in spite—or because—of the fact that basic systems of society continue to run, tenuously and miraculously at unimaginable costs: COVID-19-related racism, inequality in healthcare provision, economic impacts of industry shutdowns (not least music and live entertainment), closing of national borders; devastation of livelihoods.

To this end, we remain committed to exploring the issue of how inequalities and marginalities (shaped by race discourses and more) intersect with evolving catastrophic developments that are, critically, not always as society-levelling as formerly imagined. More worryingly, COVID-19 has been used as a blanket ‘blame response’ for the reluctance to address critical issues which predate it. As such, we also speak to the current situation in our convening of this meeting not simply as a topical or ‘trendy’ response of the moment. We ask further questions about the longer-term impacts of COVID in a post-pandemic world.

In the past months alone, we have witnessed musical communities all over the world spring up to sing, play and listen ‘together, 2-meters apart’ on balconies in solidarity, or wear masks in appropriately socially-distanced reimaginations of cori spezzati. As many jobs, professions and institutions have been transformed or scaled—up or down—online, overnight, we have also seen corresponding, heartening spikes in sounded internet responses to public health and other campaigns. These have ranged from the proliferation of pandemic playlists to the rise of stay-at-home Youtubers and musical government health directives. As our streets heave into relative silence with enforced or unofficial quarantines, we listen to birdsong in the city, the wind on our lawns, passive-aggressively panting runners, Netflix marathon broadcasts, or the sudden creepy whirr of distant traffic, with eerie wonder and (unjustified) irritability. There is discomfort and unease as some of the more privileged members of our community ‘take stock’ in quarantine, or claim private space in crowded living arrangements through sonic cocoons of our headphones. Some of us—and many more musical communities around the world—cannot afford to socially distance, or stop work even at the cost of free virtual labour. Some of us will inevitably fall ill. But simply ‘stopping to take stock’, indeed, is not enough.

What can and should we do here, as musicologists, ethnomusicologists, musicians, composers? We do not simply ‘press pause’, as different territories struck by the disease enter remission, reinfection, and eventual recovery at worryingly different rates. Instead, we rethink the way we make, write (about) and teach music. We share teaching, research and musicking resources. We build physical music communities into virtual spaces with offline as well as livestreamed performance pacts across the globe’s different timezones. We rethink musical performance, syllabi and research for public health and virality. And while we acknowledge that things cannot go on as before, we remember that in the pre-2020 world, there already existed complex, musical global challenges whose need for addressing should not be diminished a force majeure event.   

On the specific discourses of inequality and how musicians of colour and artists are caught between the crevices of global lockdowns, we ask, further:

1. How has the pandemic changed musicking across cultural and geographical borders along new baselines of re-levelled (if still asymmetrical) virtual connectivities?

2. In the rush to embrace online musicking, how do we deal with digital inequalities (such as differences in internet accessibility) and digital censorship across different locales?

3. What are the cultural differences in approaches and tolerance of haptic activity in home-based musicking, as well its eventual remediation to the virtual world? Where do issues of privacy and unequal access to home performance spaces fit into debates?

4. How does one read musical ‘gesture’ across a screen? (What does this say, for example, about the stereotype of the ‘inscrutable Asian face’ in musical performance?)

5. In revamped live performance, how do differing and emerging ideas of musical social distancing across geocultural contexts prevail?

6. What is the potential re-levelling of representational input of diverse voices in a virtual context?

7. What is the economic impact on the recruitment of international students to music programmes?

8. How has the closure of national borders affected jobbing musicians previously and precariously making a living through networks of travel and transnationality?

9. How have intersectional politics played out on COVID-related racial aggressions against East Asian and broader POC musician communities, with the increasing rise of nationalist movements worldwide alongside anxieties over COVID?

The event will feature two keynote speakers – international violinist Jennifer Koh, and founder of the European Shakuhachi Society/ ethnomusicologist Kiku Day in performance, followed by panel discussions.

For a full lineup of the event, and also for registration, please visit: https://tinyurl.com/rp9uqy8

4th Transnational Opera Studies Conference

Bayreuth, June 24–26, 2021
Founded in Bologna in 2015, tosc@ is a biennial meeting designed to give scholars, artists and opera lovers from different countries the opportunity to come together. The name of the conference is an acronym:

                            Transnational

                            O pera

                            S tudies

                            C onference

                                        @                   with the final word referring to the host city.

Open to all approaches, forms, genres and periods, the tosc@ conference aims to unite the excellence and boldness of contemporary research on opera and musical theatre in general. The conference moves from place to place, encouraging the presence of contributors from the host countries, enlarging the circle of its participants and promoting encounters between cultures and sensibilities. In this way it hopes to foster interest in opera studies in the younger generation of researchers, be they musicologists or scholars from other disciplines. Papers may be given in the language(s) of the host country or in English. Everyone is invited to take part, regardless of their professional status.

tosc@bayreuth.2021

Following the success of the first three meetings (tosc@bologna.2015, tosc@bern.2017 and tosc@paris.2019), the fourth edition of the tosc@ conference will take place at the University of Bayreuth, Germany, from June 24–26, 2021. Since 1976 the University has hosted a unique Research Institute for Music Theatre, located in the nearby Castle of Thurnau. With the Richard Wagner Festspielhaus and the Margravial Opera House the city of Bayreuth is filled with operatic history and culture, which can be explored by all participants in the diverse organized activities accompanying the conference.

The Programme Committee consists of:

Luisa Cymbron (Universidade NOVA de Lisboa),

Nils Grosch (Universität Salzburg),

Kordula Knaus (Universität Bayreuth),

Gundula Kreuzer (Yale University),

Raphaëlle Legrand (Université Paris-Sorbonne),

Isabelle Moindrot (Université Paris 8),

Anno Mungen (Universität Bayreuth)

and Benjamin Walton (University of Cambridge).

Kordula Knaus and Anno Mungen are also the conference organizers.

The Programme Committee welcomes proposals in the following formats:

individual papers (20 minutes long, with 10 minutes for discussion);

themed sessions (three or four papers, each 20 minutes long with 10 minutes for discussion – please note that the Committee reserves the right to accept one or several proposals on a separate basis even if the entire panel is not selected);

roundtable sessions (90 minutes long, up to six people each giving a brief position paper, followed by a general discussion).

We invite submissions on any subject related to opera and other forms of musical and music theatre. Presentations which integrate performative aspects, or other alternative formats, are welcome. Methodologies may be varied, traversing disciplines and perspectives: verbal text, music, drama, performance, body, voice, interpretation, declamation, painting, scenography, dance, staging, stage technology, cinema, photography, video, television, radio, digital arts, as well as reception, historiography, economics, ecology, opera and society, opera and the media, opera and the other arts, etc.

Reflecting the special research interests of the University of Bayreuth with its Research Institute for Music Theatre and the ‘Africa Multiple’ cluster of Excellence, proposals focusing on performance research and practices as well as proposals focusing on perspectives of racially or culturally ‘othered’ operatic phenomena are encouraged. Furthermore, proposals that engage with questions of opera at the periphery of the traditional Western operatic culture and opera in a globalized world, as well as transnational perspectives, will be of particular interest to the committee. Preference will be given to proposals that explore questions and problematics, rather than simply offering descriptive accounts.

Proposals may be submitted in English, French, German or Italian. They must include the following:

– author’s full name, – country and institution, – e-mail address, – paper title, – abstract.

Abstracts should be prepared as follows:

– individual papers: maximum 350 words;

– themed sessions: a 250-word summary outlining the aims of the session and a 350-word abstract for each paper;

– roundtable sessions: a 250-word summary outlining the aims of the session, and a brief description of each position paper.

Typically, an academic abstract should include a clear statement of the topic and research question(s), contextualized within existing knowledge; a summary of the argument, evidence and conclusions; and an explanation of why the topic and findings are important. Abstracts should thus include all necessary information that will allow the Programme Committee to evaluate the paper’s quality and originality and its potential as an oral presentation.

Proposals must be submitted as attachments by email as a Word file (“.doc” or “.docx” – not “.pdf”) to:

tosc@uni-bayreuth.de

by September 30, 2020

Everyone submitting a proposal will be sent a confirmation email; if you do not receive a notification within six days, please resend the proposal. All abstracts will be anonymized before being evaluated by the Programme Committee. Do not include any information in your abstract that could reveal your identity (such as ‘As I have shown in my earlier article…’).

All those who have submitted a proposal will be notified of the outcome by the beginning of January 2021. Following acceptance by the Programme Committee, there will be an opportunity to revise abstracts before their publication in the conference programme.

FEES

As for other events of this kind, participants (speakers and spectators) will be required to pay for themselves. The precise registration fee will depend on the number of participants, and will be confirmed when the notification of accepted papers is sent; it will, however, be no more than € 100 (€ 50 for students and scholars from the Global South), and will include three buffets. A special effort will be made for scholars from the Global South in order to provide travel grants. ​

THE tosc@bayreuth.2021 AWARD

The Programme Committee will offer an award for the best paper presented by a junior scholar at the conference. All those who started their doctoral research in 2010 or later and whose papers are accepted for the conference, will be eligible. Those who wish to be considered for this award must submit the final version of their paper to the Programme Committee (accompanied by any musical examples, images, etc.) to tosc@uni-bayreuth.de by May 20, 2021.

The tosc@bayreuth.2021 award will be awarded at the end of the event (June 26, 2021). The winner will be invited to submit the oral presentation as a full article for publication in a prominent international peer-reviewed journal, and will be invited to present a new paper at a plenary session of the fifth edition of tosc@.

CALENDAR

  • September 30, 2020: Deadline for the candidates’ submissions
  • Early January 2021: Announcement of the results
  • May 20, 2021: Deadline for submissions to the tosc@bayreuth.2021 award
  • May 20 – June 20, 2021: Evaluation of young researchers’ papers
  • June 24–26, 2021: tosc@bayreuth.2021

Click here to download the CfP.

Click here for more information on the conference homepage.

ENIM 2020 – 10th Conference on Musical Research

ENIM 2020 – 10th CONFERENCE ON MUSICAL RESEARCH 

SPIM – Portuguese Society for Research in Music, in partnership with theDepartment of History, Archeology and Arts of the Faculty of Arts and Humanities of the University of Coimbra (Portugal) 

Coimbra, Portugal, November 19th to 21st  2020

CALL FOR PAPERS

The 10th Conference on Musical Research (ENIM 2020) will be held at the Faculty of Arts and Humanities of the University of Coimbra, from November 19th  to 21st, 2020. The call is now open for paper submissions, as well as for thematic panels of 3 to 4 presenters and papers with performance. All relevant themes on musical research are welcome. Submissions should be sent in Portuguese, English or Spanish according to the following formats: 

Spoken papers: 20 minutes. Proponents should send an abstract (250 to 300 words), 3 to 5 keywords and a short bio (ca. 150 words). 

Panel proposals: 1 hour and a half, including final discussion. Proposals should include an overall title and rationale (ca. 300 words), the name of the main proponent, titles and descriptions of the contributions of all speakers and biographies for each speaker (ca. 150 words). 

Papers with performance: 30 minutes. Proponents should send an abstract (250 to 300 words), 3 to 5 keywords, a short bio (ca. 150 words), as well as information about equipment requirements.

Proponents should send an abstract (250 words, and 3 to 5 keywords), a short bio (ca. 150 words), as well as information about equipment requirements. Panel proposals should indicate the general title and the name of the chair, besides the general abstract (ca. 300 words), and the individual abstracts and their titles. Each proponent can only submit one proposal (including individual submissions and panels). Proposals should be sent just in word format to <enim2020@spimusica.pt> by 31st May 2020, at the latest. The mail should include the following information: name, institution, postal address, and phone number. The abstract should not include any identification information, only the title. The abstracts will be blind-reviewed by members of the scientific commission, and evaluation results will be sent by June 30th, 2020. For further information, please contact: <enim2020@spimusica.pt>

Scientific Committee: Ana Flávia Miguel (INET-md), Francesco Esposito (CESEM), Helena Caspurro (University of Aveiro), Helena Marinho (University of Aveiro), João Silva (INET-md), José Luís Arósteguí (University of Granada), José Oliveira Martins (University of Coimbra), Lorenzo Bianconi (Professor emeritus of the University of Bologna) 

Organizing Committee: José António Oliveira Martins, Maria José Artiaga 

Keynote speakers will be soon announced 

Website: http://www.spimusica.pt

2nd International Conference on Timbre

Timbre 2020, the 2nd International Conference on Timbre, will be held 3–4 September 2020 as a virtual conference.

The study of timbre has recently gained a remarkable momentum. Following the Berlin Interdisciplinary Workshop on Timbre (2017) and the international conference Timbre is a Many-Splendored Thing (2018), the goal of Timbre 2020 is to continue a tradition of meetings around timbre.

Timbre poses multifaceted research questions at the intersection of psychology, musicology, acoustics, and cognitive neuroscience. Bringing together leading experts from these and related fields, Timbre 2020 aims to provide a truly interdisciplinary forum for exchanging novel perspectives and forging collaborations across different disciplines to help address challenges in our understanding of timbre from empirical, theoretical, and computational perspectives.

Four keynotes from distinguished experts will discuss timbre from a broad and complementary set of perspectives: Morwaread M. Farbood (New York University) on the role of timbre in music psychology, Jennifer Bizley (University College London) on the neural coding of timbre, Stefan Bilbao (University of Edinburgh) on acoustics of musical instruments and rooms, and David Howard (Royal Holloway University of London) on singing voice quality and synthesis.

Timbre 2020 is jointly organised by Asterios ZacharakisKai Siedenburg, and Charalampos Saitis, with support from the School of Music Studies of the Aristotle University of Thessaloniki, the School of Electronic Engineering and Computer Science of the Queen Mary University of London, and the Department of Medical Physics and Acoustics of the University of Oldenburg.

The submissions system is open at https://easychair.org/conferences/?conf=timbre2020 until Friday 22 May 2020. More information can be found on the conference website.

Re-envisaging Music: Listening in the Visual Age

Siena – Accademia Musicale Chigiana
10-12 December 2020

Keynote Speaker Prof. Leslie Korrick
(School of the Arts, Media, Performance & Design, York University, Toronto):
“Listening in the Age of Sound Art”

Music and images, seeing and hearing have always been inextricably linked. Even when more autonomous concepts of music developed at various times through the centuries, they arguably served to keep at bay the ever-present visual dimensions of the act of listening. When we listen to music, do we just listen? When we see a painting, or anything else, do we just watch?

The last few decades, however, have witnessed the advent of an ever more pervasive visuality. From the development of technology to social media to special effects, seeing is foregrounded like never before. What does this mean for music? How do music’s materialities answer to the materialities of visual objects and arts? How does music answer to the demands of pictures? Do these new developments affect our listening and performance experiences? What categories are particularly useful to explain the connections between musical and visual domains? How are different musical traditions, from “classical” music and opera to jazz, popular and folk music being re- envisaged?

Possible topics for consideration include, but are not limited to, the following:

  • live performance
  • site-specific performance
  • installations/sound art
  • video performance
  • live broadcasting
  • pre-existing music as soundtrack
  • historically informed listening
  • places/spaces for performance
  • urban musicology

The official languages of the conference are English and Italian.

A selection of the conference papers will be published in the 2021 volume of Chigiana. Journal of Musicological Studies (https://journal.chigiana.org/).

Please send proposal to chigiana.journal@chigiana.org  by 25 June 2020.

Proposals should include:
– Title of paper
– Name of speaker(s)
– Institutional affiliation
– An abstract of c. 300 words

The papers should not exceed 30 minutes in duration.

Conference Committee: Antonio Cascelli, Tim Carter, Laura Leante, Allan Moore, Christopher Morris, Emanuele Senici

Organizing Committee: Nicola Sani, Stefano Jacoviello, Susanna Pasticci

The conference is organized within the 2020 Chigiana Project, Reshaping the Traditions. The project aims to explore the impact of the concepts of tradition in contemporary music culture, combining educational opportunities, music production and scientific research.

We are aware that there are still uncertainties in the current scenario; we will constantly monitor the situation and the measures that the Italian and other governments put in place and we hope that by December 2020 it will be possible to travel, so that the conference may go ahead as planned and we can meet in Siena. However, if necessary, we will be running the conference online.