The Fourth Annual Representations of Early Music on Stage and Screen (REMOSS) Conference: Music and Medievalism

The REMOSS study group will hold its fourth annual conference at the University of Edinburgh on 15-16 June 2018.

REMOSS’s previous activities have been largely focussed on the use of early music in stage and screen contexts; this conference hopes to widen that perspective turning its focus towards ‘medievalism’ as a methodological and aesthetic lens through which to further interrogate those themes.

The conference committee would particularly welcome proposals on themes of ‘Global Medievalisms’ and Cross-media/intermedia Medievalism’; however, all proposals and contributions will be considered. As ever, our conception of ‘early music’ is a broad one, including the use, or re-use, of ‘real’ early music in contexts new and old, historically informed performance, and modern music drawing on medieval themes and structures. We are also interested in alternative and global traditions of ‘early’ music, as well as imagined or invented ones.

Proposal for papers, workshops, demonstrations, lecture-recitals, and panels are solicited by February 16 2018. Please send a proposal of c.200 words including the session/paper format, the names and affiliations of any speakers, and contact details for the proposer, to If you have any questions about the conference, feel free to contact any of the organisers. To register as an attendee, follow this link:  Sign-up for our jiscmail newsletter at: REMOSS@JISCMAIL.AC.UK

Conference attendance will be free. Digital presentations will be available for speakers who cannot attend in person and, as always, the event will be live-streamed for those who wish to attend digitally.

Dr James Cook, University of Edinburgh (

Dr Alex Kolassa, Royal Holloway, University of London (

Dr Alex Robinson, Paris-Sorbonne University (

Dr Adam Whittaker, Birmingham City University (


North-South Interchanges: Collaborations, Tensions, Hybridizations

Organized by

UNESP (State University of São Paulo) – Instituto de Artes, São Paulo (Brazil)

Centro Studi Opera Omnia Luigi Boccherini, Lucca (Italy)

Universidad de la República, Montevideo/Salto (Uruguay)

Universidade Federal do Espírito Santo (UFES) – Centro de Artes, Vitória (Brazil)

UNESP, Instituto de Artes, São Paulo – Brazil

19-21 September 2018


The relations between the music made in South America, and that made in Europe, and in North America has been characterized at times by efforts to approach, some others times by rejection, many times resulting in peculiar hybrids. These same relations reflect in music criticism and in aesthetics, sometimes reinforcing the similarities, sometimes invoking the differences, or even having to deal with musical phenomena for which no specific vocabulary has been invented yet. We part from the argument proposed by Joseph Kerman, «repertories are determined by performers, and canons by critics» (‘A Few Canonic Variations’, in: Critical Inquiry, x/1, Canons [Sep. 1983], pp. 107-125), evoking the strength of the discursive network that develops around musical creation, performance, and its aesthetics. This conference intends to explore the rich and multifarious relations between music-making — understood in a very broad sense — and music criticism and aesthetics that, in some way, deal with or reflect the North-South relations.

The programme committee encourages submissions within the following areas, although other topics are also welcome:

  • The reception of European and North-American music in South America;
  • The reception of South-American music in Europe and in North America;
  • Nationalisms and the adaptation / rejection of foreign models in Music Criticism;
  • The North-South relations in Popular Music Criticism;
  • The North-South relations in Art Music Criticism;
  • Aesthetics, Philosophy of Music and Music Criticism;
  • Nationalisms and aesthetics: discourse between borders;
  • Aesthetics and Philosophy of Music in South America;
  • History of Music Criticism.

Scholarly Committee:

  • Marita Fornaro Bordolli (Universidad de la Respública, Uruguay)
  • Roberto Illiano (Centro Studi Opera Omnia Luigi Boccherini, Italy)
  • Fulvia Morabito (Centro Studi Opera Omnia Luigi Boccherini, Italy)
  • Massimiliano Sala (Centro Studi Opera Omnia Luigi Boccherini, Italy)
  • Lia Tomás (UNESP – Instituto de Artes, Brazil)
  • Mónica Vermes (Universidade Federal do Espírito Santo – Centro de Artes, Brazil)

The official languages of the conference are English, Spanish and Portuguese. 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 no more than 200 words of biography.

All proposals should be submitted by email no later than ***Sunday 5 May 2018*** to <>. With your proposal, please include your name, contact details (postal address, e-mail, and telephone number) and (if applicable) your affiliation. The committee will make its final decision on the abstracts by the end of May 2018, and contributors will be informed immediately thereafter. Further information about the programme, registration, travel, and accommodation will be announced after that date. For any additional information, please contact:



Registration open: Listening Experience Database Conference 2018

The experience of listening to music: methodologies, identities, histories

6-7 March 2018, The Open University, Milton Keynes, UK

The Listening Experience Database project team is pleased to announce that registration is open for our second project conference.

The Listening Experience Database (LED) Project is gathering evidence of personal experiences of listening to music with the aim of establishing an evidential base for the exploration of the way music has impacted on people in the past.

The impact of music on individuals has been studied in different ways by psychologists, anthropologists, ethnomusicologists, social scientists, social and cultural historians and musicologists, and this conference aims to bring together some of these perspectives and methodologies.

Our keynote speakers are Professor Dave Russell, who will speak on ‘Live music and popular listening cultures, c.1850-1960’, and Professor Stephanie Pitts (University of Sheffield), who will speak on ‘Understanding audiences: what are concert-goers doing when they listen?’.

The conference website, which contains a link to the Eventbrite booking site, the draft programme and information about accommodation in Milton Keynes, can be found at

Early bird conference rates are available until 31 January.

Please feel free to address any queries to the conference organisers, Helen Barlow and Simon Brown, at


Orpheus Seminar 2018 “The Power of Musical Networks”

Orpheus Seminar 2018 “The Power of Musical Networks”
February 21-22, 2018, Orpheus Institute, Ghent (BE)

Deadline extended!


Networks are everywhere these days. In effect, the new information technologies are interconnecting all aspects of our world, enabling unseen levels of social, political and economic interdependencies that characterise our times. The notion of Networks has become an extremely powerful metaphor, serving as a cornerstone for understanding this new complex, interconnected world.

Networks have transformed the creation, production and dissemination of art such as to change its very nature as a cultural artefact or human activity. Such a powerful trope allows for a wider range of interpretations and development. Moreover, it can serve as the ideal bridge between conceptual considerations from the technological and scientific domains, and creative/compositional enquiries from the artistic field.

This seminar provides a forum for exploring these ideas and approaches, their commonalities and representations and for considering the wider creative and explanatory potential of networks.


Some questions we hope proposals will address are:

  • Has our understanding, experience and critical discourse of music evolved to keep pace with technological models?
  • Where do the boundaries between network as structure and metaphor lie? Are they porous?
  • How does the use of networks as technologies impact on our imagining, our conceiving of music? Which of the many new affordances find most resonance?
  • What is the explanatory or creative potential of network in non-technological or non-contemporary music?
  • How do particular examples of the use of Network models/principles/theories bridge the potential gap between the Scientific Disciplines dealing with Network Theory and the creative artistic world using them?

Presentations might relate to the following topics, among others:

  • the nature of Networks as technical objects and metaphors for artistic creation
  • the production of knowledge through the creative application of Network theory(s)
  • the communication of artistic creation as research
  • the embedding of artistic creation in relationship to scientific and technological discourses related to the notion of Networks.
  • particular issues relating to metaphorica or cultural understandings of Networks

Proposals are welcome from researchers in non-musical critical or scientific areas, especially from those dealing with models of Networks or abstractions based on Network theory.

Confirmed special guests

  • David Rosenboom (Composer, Dean School of Music, CalArts): Music of Many Nows — Musical Configuration Spaces and the Networked Possible
  • Chris Chafe (Composer, Director CCRMA, Stanford):TN_CC*JI&JP: Networked room acoustics-based performance
  • Fernando Rosas (Centre of Complexity Science, Imperial College, London) Understanding Complexity through Networks


  • We invite proposals (max 500 words) for presentations in the form of paper, demonstration or performance, or any hybrid thereof. We particularly welcome proposals for presentations that explore the demonstration of Network models and theories applied to music creation.
  • The convenors aim to produce a publication developed from selected presentations at this seminar.

Proposals should be submitted using the following form: (Please specify whether your proposal relates to a short (20) or long (30 minute) presentation.)

Enquiries to Juan Parra ( and Jonathan Impett (

  • Deadline for proposals: 15 January 2018 (Extended from December 20)
  • Notification of acceptance: 19 January 2018

Convenors: Juan Parra, Jonathan Impett (Orpheus Institute, Ghent), Fernando Rosas (Imperial College, London)


Diaspora Sounds: Innovation and Creativity in Music Learning and Performance

Symposium at Goldsmiths, University of London, 1 June 2018.

This one-day symposium will bring together academics and musicians to discuss innovation and creativity in diasporic music learning and performance. Cutting across disciplinary boundaries and across sectors, Diaspora Sounds will address current musical practices in diasporic communities in the UK, with a focus on Asian diasporas. What issues are being experienced and expressed through experimental musical projects? How is diasporic learning and performance impacted by austerity and the reinforcement of national borders? The symposium will provide an opportunity for engagement and dialogue between academics and musicians involved in teaching and performance to develop new perspectives.

This symposium aims to explore emerging musical styles by new generations of musicians from different backgrounds in the UK. Building on the important scholarly work that focused on the Asian Underground and Bhangra between the 1980s and 2000s, we will explore innovative learning methods and creative projects reflecting changes in migration and resettlement patterns, musical taste, technology, representation and expression. From the development of transnational online concert platforms to the expression of current diasporic experiences through the combination of Asian popular and classical music, Euro-American popular styles and UK Grime in new music productions, we will explore community-based, state-funded and music industry practices.

We invite academics, musicians, teachers, and arts organisations to discuss innovation and creativity in diasporic music-making in the context of austerity, Brexit and threats to arts funding. The event will incorporate academic papers, talks by practitioners, performances and films. Supported by the Institute of Musical Research (IMR), the event will be hosted by the Asian Music Unit (AsMU) at Goldsmiths, University of London. Although there will be a focus on music in Asian diasporas, papers and discussions will not be limited to this area. This is an interdisciplinary event and we particularly encourage PhD students and early career researchers from a variety of backgrounds to enter discussions with musicians and arts organisations.

Themes for academic papers, talks, performance-based presentations and films include:

  • the use of digital technology and digital media
  • religion, music and innovation
  • emerging styles and genres
  • funding for creative projects
  • innovation in education and pedagogic methods
  • class and/or gender
  • advocacy, activism and representation
  • transnational connections

Potential contributors are invited to submit abstracts of up to 300 words to Jasmine Hornabrook ( The deadline for submissions is 15th January 2018 and contributors will be notified of their participation by 5th February 2018.

The symposium is free to attend. There are a limited number of travel bursaries of up to £50 for PhD students and early career researchers travelling from outside London. If you would like to be considered for a travel bursary, please make this clear when submitting your abstract.


1st Academic Conference on “Music, Communication and Performance”

23-24 June 2018

The “Associazione Europea di Musica e Comunicazione” organizes the 1st Academic Conference on “Music, Communication and Performance”. The conference promotes interdisciplinary research and original approaches in any field of musicology, communication studies, philosophy, literature, etc., and in any field of artistic performance that involve music. Deadline for receiving the abstracts of papers and performances is March 31, 2018.

The venue for the performances is equipped with restored 1883 Bechstein grand The venue for the presentations is equipped with Kawai grand, computer, projector, and sound system

Formats: 15-minute presentations (+5 minutes of discussion) and artistic performances (30-45 minutes); poster presentations, round-tables, panels, and other forms may also be considered. The conference language is English.

The conference will be held on 23-24 June 2018, at the “Bruno Mezzena Academy of Music and Communication” in Montecassiano, Italy. Montecassiano features in the list of “Italy’s most beautiful villages”, and is just kilometers from some of the most pristine beaches of the Adriatic Sea, as well as from cultural sites such as poet Giacomo Leopardi’s birthplace.

The keynote speech will be given by Professor Monika Fink (University of Innsbruck); the keynote performance will be given by pianist and composer Martin Münch

Organized by Alberto Nones, PhD, and Ricciarda Belgiojoso, PhD

All information on submissions and conditions of participation at



SMA TAGS (Theory and Analysis Graduate Students) Conference 2018

Call for Papers: SMA Theory and Analysis Graduate Students (TAGS) Conference


Department of Music, Durham University

Saturday 7th and Sunday 8th April 2018


Deadline for proposals: 31st January 2018

Keynote Speaker: Professor Daniel Grimley

Student travel bursaries available



The SMA’s annual Theory and Analysis Graduate Students (TAGS) Conference will be hosted by the Department of Music at Durham University on Saturday 7th and Sunday 8th of April, 2018. The event provides a supportive and friendly environment in which postgraduates can gain experience in presenting their work, and meet fellow researchers. Participants who do not wish to give a paper are also very welcome to attend.


Our keynote speaker, Professor Daniel Grimley, is a Professor of Music at Oxford University, Fellow and tutor at Merton College, and lecturer at University College. Proposals are invited for 20-minute papers, themed sessions, and lecture recitals addressing any analytical, critical, or theoretical subject and in relation to any style of music. This includes, but is not limited to:


  • Formenlehre and Sonata Theory;
  • Analysing non-Western Musics;
  • Analysis, Philosophy, and Critical Theory;
  • Intersections between History, Theory, and Analysis;
  • Analysis and Cultural Geography;
  • Analysing Popular Music and Improvisation;
  • Music Perception and Cognition;
  • Empirical Approaches to Music;
  • Analysing Musical Modernism;
  • Analysing a-/microtonal Music;
  • Themed sessions focusing on the analysis of a particular work(s), or on specific arrangements or transcriptions are also welcomed.


For 20-minute paper proposals, abstracts of no more than 250 words should be sent by email to Maddie Kavanagh Clarke at Please include the following: name, institutional affiliation, email address, and any AV requirements on a separate cover sheet (Microsoft word or PDF only please). Organisers of themed sessions should submit a brief overview, together with individual abstracts; proposals for lecture recitals should include full details of the proposed performance, and any relevant requirements in their cover sheet.


The closing date for receipt of proposals is 31st January 2018.

All those submitting proposals will be notified of the outcome by mid-February 2018.


Delegates will be invited to register from the morning of Saturday, 7th April, and the conference will run all-day Saturday and until Sunday afternoon, 8th April. Conference accommodation will be available on the evening of Friday 6th April and Saturday 7th April 2018. Durham University is easily accessible by train, with the department located a 15-20 minute walk from the station.


If you are presenting a paper, you will be eligible to apply for an SMA Student Travel Bursary to help cover the costs of travel and accommodation (B&B accommodation will be provided in one of the Durham colleges). Further details on the bursaries can be found here. Please note that the deadline for application for bursaries is Tuesday 6th March 2018.

Music, Medievalism, and Modernism: Between Old and New

University of Huddersfield, 27-28 June 2018: In association with the Institute of Musical Research 

Medievalism, or the ongoing (creative and intellectual) interest in the European Medieval past, has long been recognised as a kind of response to industrial modernity. As such, its history is closely related to that of artistic modernism, whose narratives of progress may variously be traced to medievalist movements of the nineteenth century: from the protomodernisms of the Pre-Raphaelite Brotherhood and the utopian and fantasy socialism of William Morris, to Wagnerian Romanticism, and the neo-gothic literary and architectural revivals.

Nowhere has this association been more frequently demonstrated than in the field of music, where the presence of the distant past has provided a complex and often contradictory wellspring of technical innovations and historical themes, serving diverse aesthetic and ideological aims. From the medieval ritual barbarism of Stravinsky’s Rite of Spring, to serialist reinventions of medieval compositional technique, in addition to folk music revivals and historical film scoring, musicians and composers have consistently sought to move forward by looking to the past.

This conference hopes to fill a gap in the nascent field of medievalist studies by providing a space for interdisciplinary exchange on the subject of music, modernism, and medievalism. The legacies of medievalism in modernism are numerous and we are interested in reflecting a broad range of perspectives and interpretations. Suggested themes for submissions include, but are not limited to:

  • National representations (e.g. Britain and the Manchester School)
  • Progressive/reactionary medievalisms
  • Medievalism as a site for cross-media collaboration
  • Curating and juxtaposing old and new
  • Scoring medievalism on stage and screen[…]
  • […and in] New media (e.g. videogames)
  • Anachronism and authenticity
  • The ‘authentistic’ modernism of historically informed early music
  • Folk music revivals and progressive rock
  • Neomedieval popular music

We expect papers to be 20 minutes in length allowing for 10 minutes of questions. Proposals involving performance or practice-led research are also welcome; panel proposals will also be considered. In the interests of interdisciplinary exchange, we would like to welcome contributions from across the humanities; perspectives from outside of musicology would be particularly welcome.

It is expected that there will be a small number of bursaries to help promising graduate students to attend this conference. More information on this will follow, but if you have any questions please enquire with the email below.

If you have any questions, please contact Dr Alexander Kolassa at

The official website for the conference can be found at also check our Twitter account for updates at (@ModMusicMed)

The deadline for proposals Friday 16 February 2018

This conference is supported by the Institute of Musical Research.

Music and Figurative Arts in the Nineteenth Century

lezione di musicaorganized by
Centro Studi Opera Omnia Luigi Boccherini (Lucca)

Lucca, Complesso Monumentale di San Micheletto
16-18 November 2018

Call for Papers

The Centro Studi Opera Omnia Luigi Boccherini of Lucca is pleased to invite submissions of proposals for the symposium «Music and Figurative Arts in the Nineteenth Century», to be held in Lucca, Complesso Monumentale di San Micheletto, from Friday 16 until Sunday 18 November 2018.
In 1795 Friedrich Schiller wrote: «In its most elevated perfection, the plastic art ought to become music and move us by the immediate action exercised on the mind by the senses» (Schiller, Letters on the Aesthetical Educaiton of Men, Letter N. XXII, 1795). This sentence underlines the fundamental aesthetic change that coincided with the onset of the nineteenth century. According to ut musica pictura, music becomes the model for an art able to express and communicate feelings. As music no longer has to embody  order, so painting moves away from pure imitation to encompass emotional effect. Music and painting converge in embodying a sensual conception of the arts: music is capable of expressing emotions and arousing them in the audience; painting can do the same through visual perception. The present conference aims to explore this multifaceted relationship between music and figurative arts in the nineteenth century. The programme committee encourages submissions within the following areas, although other topics are also welcome:

  • The Relationship Between Composers and Artists, Painters and Sculptors;
  • The Concurrence of Musical and Artistic Aesthetics in the Nineteenth Century;
  • Tradition and Restoration in the Course Of The Century;
  • Virtuosity and Interpretation;
  • Nationalism and Universality;
  • Absolute Music;
  • The Pictorial Basis of the Symphonic Poem;
  • Music Pictorialism in Paintings;
  • Opera and Paintings;
  • Scenography and Theatrical Art;
  • Wagner and the Visual Arts;
  • Realism and the Turn of the Twentieth Century;
  • Colour, Music and Symbolist Movements;
  • Published Title Pages as an Artistic Phenomenon;
  • Exoticism and Folklorism.

Programme Committee:
Jordi Ballester Gibert (Universitat Autonoma de Barcelona)
Roberto Illiano (Centro Studi Opera Omnia Luigi Boccherini)
Fulvia Morabito (Centro Studi Opera Omnia Luigi Boccherini)
Massimiliano Sala (Centro Studi Opera Omnia Luigi Boccherini)
Peter L. Schmunk (Wofford College, Spartanburg, SC)

Keynote Speaker:
Peter L. Schmunk (Wofford College, Spartanburg, SC)
Jordi Ballester Gibert (Universitat Autonoma de Barcelona)

The official languages of the conference are English, French and Italian. Papers selected at the conference will be published in a miscellaneous volume.  Papers are limited to twenty minutes in length, allowing time for questions and discussion. Please submit an abstract of no more than 500 words and one page of biography. All proposals should be submitted by email no later than ***Sunday 06 May 2018*** to <>. With your proposal please include your name, contact details (postal address, e-mail and telephone number) and (if applicable) your affiliation. The committee will make its final decision on the abstracts by the end of May 2018, and contributors will be informed immediately thereafter. Further information about the programme, registration, travel and accommodation will be announced after that date.

For any additional information, please contact: Dr. Massimiliano Sala  

Sonorities Symposium 2018: Techno–Human Encounters


LOCATION: School of Arts, English and Languages, Queen’s University Belfast


Call for Papers:

This symposium aims to provoke a conversation between artists, scholars, and scientists on the conference theme: Techno–Human Encounters. What do we mean by techno– human encounters today? How do changing conceptions of technology, body, life, and environment feed into experience and mediation of sound? And what can be the role of sound in techno–human encounters, especially at times of crisis and uncertainty? Taking its cue from these questions, and drawing on music, sound, media and mobile technologies, the symposium will explore errant and co-emergent aspects of human and nonhuman interactions. We especially encourage submissions on the following themes:

musical and digital interface
machine listening and audio coding
virtual analog
improvisation and distributed agency
forms of listening, sounding and voicing
embodiment and affect
field recording, global challenges, and protest
sonic critiques of the Anthropocene
sound and biopolitics

We invite contributions in the form of 20 minute talks. The symposium will be programmed as a part of the Sonorities Festival Belfast and include a keynote by Brian Kane.

Following the guidelines mentioned below, please submit proposals by 11 December 2017 to with the subject line: Techno–Human Encounters

Proposal submission guidelines:

Proposals must not exceed 300 words. All proposals must include the proposer’s name, address, email address and institutional affiliation (if any). All proposals must be submitted electronically as Microsoft or Microsoft-compatible WORD or PDF documents via email. Acceptances will be notified by 15 January 2018.