2020 Institute for Russian Music Studies Annual Conference

July 2-5, Vipiteno, Italy

Utopia and Dystopia in Russian Music

Special sessions:

“Tchaikovsky and Friends” to commemorate 180th Tchaikovsky’s anniversary

“Russian Women Composers and Performers”

Two IRMS 2020 Prizes and monetary awards to be awarded: for the Best Junior Scholar Paper and the Best Student Paper

Further detail on Website: https://www.orfeomusicfestival.com/registration-conference-irms-2018  

The conference of the Institute for Russian Music Studies (IRMS) is hosted July 2-5, 2020 (July 1 arrival – July 6 departure) under the auspices of the Orfeo Music Festival and the Municipality of Vipiteno.

Scholars and students of Russian music from around the world are invited to submit paper proposals of new research in Russian music. The committee will select papers of special interest for conference presentations and panel sessions. Papers are planned as 20-minute presentations followed by 10-minute discussions. The official languages of the conference are English and Russian (with provided English translation).

March 1: 1) Deadline for 300-400-word abstract. Include title of proposed paper, the state of research field and the contribution of the paper to the field. 2) Your 100-word biography, digital head shot, name, institutional affiliation or independent scholar status and your contact information. Email to: InstituteRMS@gmail.com.

March 15: Paper acceptance notifications are sent out. 

March 20 – May 31Registration is open on the website. https://www.orfeomusicfestival.com/registration-conference-irms-2018

Fees: $190 for 4 days & includes lunch, Early Registration $150 by 3/30, Student Registration available.

Conference Board:
Ada Aynbinder (Tchaikovsky State Museum-Reserve, State Institute for Art Studies, Russia)
Philip Ross Bullock (University of Oxford, UK)
Olga Digonskaya (Shostakovich Archive, Russian National Museum of Music, Russia)
Emily Frey (Brandeis University, USA)
Marina Frolova-Walker (Cambridge University, UK)
Larisa Jackson (University of Houston – Downtown, USA; OMF, Italy)
Simon Morrison (Princeton University, USA)

The 21st Century Guitar

The 2nd edition of the international interdisciplinary conference The 21st Century Guitar will be hosted from November 2-5, 2020 by the Centre for the Study of the Sociology and Aesthetics of Music (CESEM) of the Faculty of Social Sciences and Humanities of Universidade NOVA de Lisboa (NOVA FCSH) in collaboration with the International Guitar Research Centre (IGRC, University of Surrey) and the Canadian Music Centre. It will take place in the Colégio Almada Negreiros at NOVA’s Campolide Campus.

The goal of this edition is to bring together academics, composers and performers from different fields who are interested in unconventional approaches to guitar research, sound production, composition, performance and pedagogy.

The call for contributions can be found at http://21cguitar.com and will be open until March 1, 2020.

Beyond Sovereignism: New perspectives on Fausto Torrefranca

CALL FOR PAPERS

Beyond sovereignism: New perspectives on Fausto Torrefranca, 11-13 March 2021

Roma Tre University, via Ostiense 139 – 00154 Rome, Italy

Organizer: Department of Philosophy, Communication and Performing Arts – Roma Tre University

Fausto Torrefranca (1883-1955) was a prominent musicologist and music critic, and held the first Chair in Music History at any Italian university. His reputation has been tainted by his strong nationalistic feelings and inclination towards acrimonious and, by today’s standards, politically inconvenient controversies. After his death, he became remembered primarily as the interpreter par excellence of a dusty and obtuse musicological sovereignism. For this reason, he never enjoyed particular consideration among the scholars who came after him, nor was his work judged with the equanimity it deserved. However, the few musicologists who have examined his writings carefully have realized that his work, strong ideological connotations notwithstanding, does not lack a strong methodological foundation—on the contrary. In addition to a profound knowledge of the sources, his writings reveal a keen intuition and uncommon ability to elaborate innovative historiographical hypotheses.

The goal of this conference is not only to revisit but also to spread new knowledge about Torrefranca’s work, thereby restoring the international dimension that it had during his lifetime, when Torrefranca was one of the few Italian musicologists known and published abroad.

Suggested themes (in any case with reference to the career and works of Fausto Torrefranca) include, but are not limited to:

– Biographical aspects

– ‘Politically Incorrect’ Torrefranca

– Aesthetics

– Research methods and tools (philology, ecdotics, musical description and analysis, etc.)

– Study and cataloging of sources, bibliographic research

– Studies on the Middle Ages and the Fifteenth Century

– Studies on eighteenth-century instrumental music

– Studies on music theater from the seventeenth to the twentieth century

– Writings on the music of Torrefranca’s own time

– Dissemination of musical culture and knowledge exchange

– Relationship between music and other performing arts and media

– Professional networks in musicology (national and international)

PROGRAMME COMMITTEE

Luca Aversano (Coordinator, Roma Tre University)

Virgilio Bernardoni (University of Bergamo)

Giorgio Biancorosso (Hong Kong University)

Stephanie Klauk (Universität des Saarlandes)

Cormac Newark (Guildhall School of Music & Drama, London)Jacopo Pellegrini (Roma Tre University)

SUBMISSION OF PROPOSALS AND DEADLINES

Scholars interested in participating are invited to submit, by 31 May 2020, an abstract of no more than 300 words and a short bio-bibliographical note (approx. 150 words) to the following e-mail address: torrefranca.roma2021@gmail.com. Papers must last 20 minutes ca.

The programme committee will select proposals based on their relevance to the themes of the conference. It will make its final decision on the abstracts by the end of June 2020, and prospective contributors will be informed immediately thereafter.

LANGUAGES

The official languages of the conference will be Italian and English.

FEE AND SOJOURN DETAILS

There are no registration fees. The organizers will provide meals and refreshments during the conference for all participants. Accomodation and travel expenses will be covered by all participants themselves. The organizers will suggest accommodation options (in partner Hotels) for different price categories.

PROCEEDINGS

The organizers are planning to publish the proceedings of the conference by the end of 2022.

CONTACTS

Please send all correspondence and queries to the following address: torrefranca.roma2021@gmail.com 

MusicaFemina International Symposium Budapest

Wednesday 8 January – Thursday 9 January 2020

Venues: Central European University and Három Holló/Drei Raben, Budapest

MusicaFemina International Symposium is a forum for researchers, music professionals and local communities in Central and East Europe to explore relations of gender and musical practice in four interrelated programs. Gender and Creativity in Music Worlds is a two-day conference including lectures, panel discussions and roundtable discussions. The panels focus on the role of gender in music education, the relations between gender and music in the Central and East European region, and issues of gender within the music industry. At the roundtable discussions, performers, composers and managers will address issues of creativity from a gender perspective. For the first afternoon of the symposium, we invite experts from the Hungarian music world (composers, performers, journalists and music historians) to a series of roundtable discussions in order to talk about the issue of gender in the Hungarian music scene (entitled Hang-nem-váltás? / Changing Tonality?). The discussions will be followed by a special edition of Ladyfest Budapest Extra, an underground event, in Három Holló Café, with all-female bands from Germany, Poland and Hungary performing. The final event of the symposium will be the opening concert of the Transparent Sound New Music Festival, preceded by a brief discussion.

Please register until 2 January, 2020

Registration: https://forms.gle/VjykhB5qUmf1gjgd9

For further information please visit: atlatszohang.hu/musicafemina

The Improviser's Experience; knowledge, methodologies, communication: An RMA study day

Date: 2 April 2020

Venue: University of Huddersfield

Co-convened by Irine Røsnes and Jonny Best (University of Huddersfield) in partnership with Royal Musical Association, and the University of Huddersfield’s Centre for  Research in New Music and Research Centre for Performance Practices.

Submission deadline: February 14, with selection notifications by February 28, 2020

Improvisation presents epistemological challenges to the artistic researcher. It’s hard to explain exactly what we’re doing when we improvise; the experience of spontaneous music-making can seem to be consciously directed only in part. To the extent that improvised musical performance relies on embodied or procedural knowledge, it can be elusive and resistant to being fully known, let alone pinned down in words.

As artistic researchers investigating the practices and procedures of improvisation, how should we respond? What kinds of knowledge about improvisation are obtainable? Which methods are most suited to the task? And how can we manufacture interfaces which enable the wider scholarly community – and the world beyond – to gain meaningful access to  experiences of improvised performance? How can we write and talk about improvisation effectively?

This study day will comprise a mixture of paper presentations (which can include a live performance element), facilitated discussion, ’round table’ conversations, and performances.

We welcome proposals from PhD students, early-career researchers and improvisation practitioners. While the focus of the study day is artistic research, we also welcome proposals from non-performing academics who currently work with improvisation in some form. Musical improvisation is the day’s central preoccupation, but proposals addressing other spheres of improvisational practice are enthusiastically welcomed. Please consider the information in this Call for Proposals a jumping-off point, rather than a precise, fixed demarcation of the day’s parameters.

These are some of the questions we’re interested in addressing. This list is indicative of our broad area of interest only – please do not let it constrain your imagination.

  • What kinds of knowledge are produced through and by improvised (musical) performance?
  • What kinds of processes are taking place in the moment of creatively engaging with a musical instrument through improvisation? To what extent and how does this vary with different musical instruments and sound-producing mechanisms? Through which methods might we perceive these processes?
  • To what extent can the performer’s kinds of knowing be made explicit, expressed and shared? 
  • To what extent and how should we structure our self-reflection as improvising artistic researchers?
  • To what extent should we be beware, or embrace, the performer’s subjectivity? What might its uses or limitations be?
  • What role can auto-ethnography play?
  • What role can phenomenology play?
  • What vocabulary or terminology expresses the experience of (musical) improvisation most usefully? How can we meet the challenge of communicating the experience of improvised performance to those who have not experienced it for themselves? 

Proposals/abstracts (200-word max) are invited as follows:

– 15 min paper presentations

– 15 min performance presentations (including some blend of live performance with traditional paper)

–  improvised performances of any type up to 15 mins (shorter performances are very welcome!)

Please include biographies (max 100 words) of presenters

Please submit via the online submission portal: https://forms.gle/8uxk5miycYXNWcfA8

Standard PA system with a projector is available. There are two grand pianos in the hall. If you require any further technical or musical equipment, please provide full details with your application. 

If you have any enquiries, please email Irine and Jonny at network.impro@gmail.com

The registration fee for the study day is £5. The event is free for members of Huddersfield University and the Royal Musical Association. 

                           For more information visit: http://www.impro.network

Musical Networking in the 'Long' 19th Century

15th International Musicological and Interdisciplinary Conference of the Croatian Musicological Society (www.hmd-music.org)

Zagreb, 15-17 October 2020

CALL FOR PAPERS!

15th International Musicological and Interdisciplinary Conference of the Croatian Musicological Society (www.hmd-music.org)

ZAGREB, CROATIA

Theme: MUSICAL NETWORKING IN THE ‘LONG’ 19TH CENTURY

Place and date: ZAGREB, CROATIA, OCTOBER 15-17, 2020, THE LIBRARY OF THE CROATIAN ACADEMY OF SCIENCES AND ARTS, STROSSMAYER SQUARE 14

Organizers: CROATIAN MUSICOLOGICAL SOCIETY, THE DEPARTMENT FOR THE HISTORY OF CROATIAN MUSIC OF THE CROATIAN ACADEMY OF SCIENCES AND ARTS, THE CROATIAN INSTITUTE OF HISTORY

A musician cannot prove him- or herself as an artist without an audience, without a performance space, without the support of a benefactor, without an instrument builder to create musical instruments – the musician’s performing tools, without a reviewer who would spread the musician’s fame. He or she could probably have not become an artist without a teacher, or music to be performed – either from memory, or from a manuscript or a print. All these persons and artefacts make part of the infrastructure that enables The Artist to realise his or her special gifts, and each of them is a part of or creates their own network.

As, for example, a musicological or a cultural project theme gathers people in a vertical network in order to achieve a common goal, a musician creates various horizontal networks in achieving their own goal, an event that would give the musician the opportunity to present his or her artistic qualities in public (concerts, theatre performances) or in private (salon).

A musical network analysis examines the structure of relationships between various components, not all of them being (always) directly connected to music. They might be individuals but also groups or institutions, even musical pieces or publications.

However, the aim of the conference is not to discuss the theory but to present case studies, whose variety gives a vivid picture of the social history of music of the (very) ‘long’ 19th century. Not only musicologists but also historians and sociologists dealing with music are welcome to contribute to that common goal.

Suggested themes include, but are not limited to:

The relationship between teacher(s) and pupil(s)

Musicians on tours

Theatre/opera companies and their networks

Composers and publishers/copyists

Musical salons

Music as a means/medium of representation (political, social, etc.)

Benefactors, Patrons and their (musical) circles

The establishment of musical institutions and their networks

Music collections and their creators

Researchers in music and their networks

Interaction and overlapping of musical networks

Forms of communication in musical networking (postal service, roads and railways)

SUBMISSION OF PROPOSALS AND DEADLINES

Proposals (in the application form) containing the working title and abstract for a 20-minute paper, accompanied by a short biography of c. 200 words, in English, should be submitted by e-mail, to:

  1. Croatian Musicological Society, Opatička 18, 10000 Zagreb, Croatia, at the

e-mail address: hmd@hmd-music.hr

The deadline is 1 March, 2020.

The list of accepted participants will be announced by 20 March, 2020.

LANGUAGES

The official language of the conference will be English.

FEE AND SOJOURN DETAILS

Participants pay the fee of €70 or the equivalent value in local currency (520 HRK) by 1 September 2020. Doctoral students pay €40 (300 HRK).

The organizers will provide refreshments during the conference for all participants, as well as the initial reception and the farewell lunch.

Travel expenses to and from Zagreb and accommodation arrangements and expenses will be covered by all participants themselves.

PROCEEDINGS

The organizers are planning to publish the Proceedings of the conference with selected papers by the end of 2021.

CONTACTS

If needed, please send all other correspondence and queries to the official address or to the email contact address listed on the website of the Croatian Musicological Society, as indicated above. Email queries may also be addressed to the coordinator Dr Vjera Katalinić, or directly to other members of the Organizing Committee.

ORGANIZING AND PROGRAMME COMMITTEE

Dr Ivana Horbec, Croatian Institute of History

Dr Vjera Katalinić, Croatian Musicological Society and Department for the History of Croatian Music of the Croatian Academy of Sciences and Arts and Croatian Musicological Society (Coordinator)

Dr Katja Radoš Perković, Philosophical Faculty, University of Zagreb

Dr Stanislav Tuksar, Member of the Croatian Academy of Sciences and Arts

Sara Ries, Department for the History of Croatian Music of the Croatian Academy of Sciences and Arts (Secretary)

3rd International Music and Musicology Doctoral Conference

THE RHYTHM OF RESEARCH

Thursday June 4th – Saturday June 6th 2020
at La Sorbonne, rue Victor Cousin, 75005 Paris

Deadline for submissions: February 15th 2020

Scientific committee:
Susan Boynton, Christophe Corbier, Pierre Couprie, Nicolas Dufetel, Gilles Demonet

Dear Doctoral students,

Each year the International Music and Musicology doctoral conference presents the current state of the principal themes of research in Music and Musicology presented by the work of young researchers, doctoral students of IReMus or other groups.

Entitled ”The rhythm of research”, it is an opportunity for young researchers from multiple countries to present an aspect of their research, thus permitting:

  • exchange between young researchers from different backgrounds;
  • dialogue between doctoral candidates and experienced researchers;
  • shared reflection on current academic themes through collaborative ateliers;
  • thereby promoting research in Music and Musicology.

The Conference is open to all doctoral students in music and musicology, regardless of their institute of origin or university to give presentations particularly in the following areas: musical history, music analytical practices, digital humanities applied to musicology, ethnomusicology, music theory and the history music theory, sociology of music, music and other disciplines, etc.

Each year the conference brings together over twenty doctoral students and scholars, specialists and speakers in round table discussions. This year our featured guests will be:

Susan Boynton, Columbia University (Musicologist – Medieval music);

Laurent Cugny, Sorbonne Université (Musicologist – jazz musician – director of the UFR of Music and Musicology);

Gilles Demonet, Sorbonne Université (Head of Masters of music Administration and director of the Institute IReMus – Institute of Research and Musicology);

Dinko Fabris, Università della Basilicata (Musicology – Baroque Music);

François Picard, Sorbonne Université (Ethnomusicology);

Paper proposals are selected by a committee composed of Christopher Corbier (in charge of research at CNRS and historiographical specialist of Greek music), Pierre Couprie (Associate Professor , Analysis and Electroacoustic music representation specialist), Gilles Demonet (director of the masters program in music Administration and director of the institute IReMus – Institute of Research and Musicology) and Nicolas Dufétel (in charge of research at CNRS and adjunct director of IReMus, specialist of Music of the 19th century).

One afternoon will be devoted to workshops in which doctoral students will reflect on current themes of musicological research, a moment dedicated to brainstorming and academic discussion.

A concert in connection with the conference will be organized the first evening at the Riche-lieu amphitheater at the Sorbonne. The objective is to give a wholistic sense of connection between the practice of music and musicological research.

Submit proposals by February 15th 2020. Simply fill out the form by clicking on the follow-ing link:
https://framaforms.org/iiie-congres-doctoral-international-de-musique-et-musicologie- 1572953703

Information concerning the 3rd International Music and Musicology doctoral conference is also available on the institute’s website: http://www.iremus.cnrs.fr/fr/le-laboratoire/bureau-des-jeunes-chercheurs

Follow our updates on the official facebook page of BJC IReMus: https//www.facebook.com/bjciremus

Beyond Beethoven, 2020-1770

Beyond Beethoven, 2020-1770: Conference and Concert Festival
Cornell University, Ithaca, NY, USA, September 17-20, 2020
Cornell Center for Historical Keyboards and the Westfield Center 

Call for Papers

Celebrating the 250th anniversary of Beethoven’s birth, this conference and concert festival explores keyboard culture around the edges of, in the shadows below, on the distant horizon from the monument that is “Beethoven.” To what extent is Beethoven a pole of both attraction and resistance? In a year saturated with Beethoven, how might we both think through and beyond this single composer’s contribution? 

The Cornell Center for Historical Keyboards and the Westfield Center for Historical Keyboard Studies invite proposals for concerts, lecture-demonstrations and talks that place Beethoven’s music in new historical and contemporary contexts, rethinking questions of influence and impact, production and reception in light of the current state of the discipline. Contributions might approach the topic from angles technological, media-theoretical, economic, global, addressing later 18th-century keyboard culture (Haydn, C.P.E. Bach and precursors), composers and performers in Europe’s urban centers (and rural satellites) around 1800, Beethoven’s contemporaries and students, later 19th-century disciples of Beethoven, 20th– and 21st-century responses to and even rejections of Beethoven, and the global dissemination and transmission of Beethovenian sounds. 

Is Beethoven a proverbial “dead duck,” with the decisive swerve within the humanities today away from hermeneutics, authority, and the canon, towards materiality, mediality, and the (re)distribution of cultural capital? If not, how might Beethoven be useful in a shifting global political economy, marked by aesthetic fatigue and the institutionally mandated critical intervention surrounding his music? We are particularly interested in papers exploring the construction, reconstruction, or even negation of meaning in the Beethovenian soundscape vis-à-vis changing media environments across the centuries and around the globe.

We especially welcome proposals from younger scholars, and some funding assistance is available for travel to the conference for current students. We encourage performers to design concert programs that may include no more than one work, or set of works, by Beethoven, along with others that critique or shed new light on it. Abstracts of c. 300 words, describing a 25-minute paper, recital or lecture-demonstration, should be sent to cchk@cornell.edu by February 1, 2020.

Early Recordings: Methodologies in Research and Practice

Institute of Music Research – Senate House, London, 10th June 2020

In June 2019, the conference Early Recordings: Past Performing Practices in Contemporary Research, held at Pushkin House in London, confirmed that research into early recordings as documents of performance practice is thriving internationally, with junior and more established scholars engaging in innovative work using a wide range of repertoires and approaches. The conference also highlighted the need for increased open, critical discussion of the methodologies in use: from further development of the computational methods pioneered in the 2000s, to an explosion of practice-led research at the hands of performers and composers, to cultural and contextual studies that highlight the sometimes hazaphard, experimental nature of the early recording industry. This second conference, Early Recordings: Methodologies in Research and Practice, aims to provide a forum to continue discussion and debate, with a particular focus on methodologies.

Early Recordings: Methodologies in Research and Practice shall take place on 10th June 2020 at the Institute of Music Research – Senate House in London. We invite scholars and performers interested in any aspect of early recordings (pre-1945) as documents of performance practice to submit 250-word abstracts for 20-minute papers to both Dr Inja Stanovic (I.Stanovic@hud.ac.uk) and Dr Eva Moreda Rodríguez (Eva.MoredaRodriguez@glasgow.ac.uk) by 31st January 2020. While papers might focus on specific repertoires and contexts, participants are encouraged to include reflection and discussion of the methodologies employed. Standard audio-visual equipment will be provided; if you need any other equipment, please give details in your abstract. We regret that we will not be able to provide a piano.

The organizers are grateful to the Institute of Music Research, as well as to the University of Huddersfield and the University of Glasgow.

10th International Workshop on Folk Music Analysis (FMA2020)

Dates: 29 June – 1 July 2020 
Location: Aalborg University, Aalborg, Denmark 

General Chairs: 
David Meredith (Aalborg University) 
Darrell Conklin (University of the Basque Country UPV/EHU) 

CfP Deadline: 1 April 2020. 

The International Workshop on Folk Music Analysis features research on traditional music and musical cultural heritage from interdisciplinary perspectives, including musicology, cultural studies, computer science and music information retrieval. 

FMA 2020 in Aalborg will celebrate the 10th anniversary of the workshop series. For the first time FMA will collaborate with Springer, and full papers will be published by Springer in post-workshop proceedings in the Communications in Computer and Information Science (CCIS) series. 

TOPICS 

For FMA 2020 we invite contributions on the computational study of folk, traditional and world musics. Topics of interest include but are not limited to: 
* Computational ethnomusicology 
* Computational musicology 
* Digital music libraries and archives 
* Empirical and statistical approaches to music    
* Formal and computational music analysis 
* Machine learning for music analysis and generation    
* Methods for music transcription and annotation 
* Models of oral transmission of music 
* Philosophical and aesthetic aspects    
* Psychological    and cognitive aspects 
* Representation and modelling 
* Retrieval systems for non-Western and folk musics 

IMPORTANT DATES 

Submission Deadline: 1 April 2020 
Notification of Acceptance: 3 May 2020 
Workshop: 29 June – 1 July 2020 
Full Papers ready for inclusion in Springer proceedings: 22 July 2020 

SUBMISSION GUIDELINES 

FMA 2020 invites submissions in the form of Extended Abstracts (4 pages Springer template, including headers and references) or Full Papers (12-15 pages Springer template, including headers and references). Submissions should be made via EasyChair. 

Author instructions and templates (Latex or Word) are available on the Springer website under “Information for Authors of Springer Computer Science Proceedings” (https://www.springer.com/gp/computer-science/lncs/conference-proceedings-guidelines

For further details see the FMA website: https://fma2020.aau.dk.