VII International Congress: Music and Audio-Visual Culture MUCA

From 22-26 March 2021, the University of Murcia will host the Seventh International Congress: Music and Audio-Visual Culture MUCA, to provide a forum to scientific exchange with participation of composers, visual artists and researchers from several national and international universities.

It will take place online from March 22nd to 26th, 2021.

We welcome proposals for individual papers (in English or Spanish) in order to promote new perspectives and dialogue about the main topics. Proposals should include:

– Abstract (250-300 words)

– Institutional affiliation (if applicable), brief biography and email address.

Topics for the paper presentation (not exclusive):

  • Music and film.
  • Music and television.
  • Music in advertising.
  • Music and videogames.
  • Music and the Internet.
  • Prosumers and media.
  • Musical analysis in audiovisual culture.
  • Music and technology.
  • Digitization, globalization and new ways of marketing.
  • Teaching music in audiovisual culture.

All authors of accepted and registered papers will be required to upload a pre-recorded video of their paper presentation.

The presentation can be recorded by any of the co-authors and will be available during the original dates of the conference.

Deadline for accepting proposals: December 15, 2020.

Further information: www.congresomuca.com // mail to: info@congresomuca.com


Music – Musicology – Interpretation

XV INTERNATIONAL CONFERENCE OF THE DEPARTMENT OF MUSICOLOGY,
UNIVERSITY OF ARTS IN BELGRADE, FACULTY OF MUSIC

Belgrade, 21 to 23 October 2021

The Department of Musicology of the Faculty of Music, University of Arts in Belgrade, has decided to postpone the Conference due to the COVID-19 pandemic. The Conference will take place in Belgrade from 21 to 23 October 2021. The organizers of this conference will make contingency plans for an online event, in case an in-person gathering is not possible, because of the continuing uncertainties arising from the COVID-19 pandemic.

A second call for paper is open now, until 15 March 2021; decisions and notifications are re-scheduled for 1 May 2021. Those papers that have already been accepted will be programmed as a matter of course. Details are available on the website. Further information about the conference will also follow in due time.

CONFERENCE CALL

The Department of Musicology of the Faculty of Music, University of Arts in Belgrade, is pleased to announce its Fifteenth International Conference on the topic Music–Musicology–Interpretation.

The subject of the conference Music-Musicology-Interpretation focuses on the complex and multifaceted relationships between the constituent concepts. It proposes to re-examine these multiple relations by thematizing, from the point of view of interpretation, music as language, discourse, work of art and text, the performance of music and the discourse on music – musicology itself.

Musical hermeneutics as a discipline is today the focus of musicological interest. During the last three decades of the 20th century, it developed in parallel with research into musical semiotics and, as the influence of “pure” structural analysis was waning, it became an important current of thought about music at the beginning of the 21st century. Its renewal in relation to the legacy of the 19th century was partly due to interpretive criticism in Anglo-Saxon literature but also to the works of Carl Dahlhaus in the 1970s and 1980s. Next come researchers into hermeneutics and interpretive criticism and analysis, each with a different orientation in their individual pathways and objects of study, most of whom are still active today: Joseph Kerman, Nicholas Cook, Leo Treitler, Lawrence Kramer, Robert Hatten, Eero Tarasti, Jean-Jacques Nattiez, Michel Imberty, Bernard Vecchione, Christian Hauer, Makis Solomos…

In his Peri Hermeneias, Aristotle established an equality between “sounds emitted by the voice” and symbolic language, that is, meaningful language: “The sounds emitted by the voice are the symbols of the states of the soul, and the written words the symbols of words emitted by the voice” (Peri Hermeneias, 1 / 16a /). Being symbolic, signifying language is thus equated with interpretive language, mediating the relation of the transmitter “of the voice” to the things of the world, with the written language then constituted as a double mediation: of the spoken language and the things themselves. This chain of consecutive “interpretations-appropriations” (Ricœur, From Text to Action, 1986) thus recalls a chain of musical interpretations: the things of the world (the world of life, being-in-the-world– the music (discourse, work of art, text) – the performance of music – the discourse on music, projecting, through the hermeneutical arc, into a new being-in-the-world, as an understanding of oneself in front of signs (Ricœur, ibid).

This chain allows us to problematize the relationship between music, discourse on music and interpretation on several levels.

At the methodological level, it enables us to re-examine the position of musicological interpretive criticism in relation to primary research, technical analysis and structural explanation, on the one hand, and the “new musicology”, on the other, and, at the disciplinary level, to re-examine the position of and relationship between musical hermeneutics and structuralism, as well as semiotics. In both cases, the question can be raised as to whether the structural explanation of the musical work or the explanation of the signs of culture, on the one hand, and interpretation, on the other, are mutually exclusive, or whether a methodological reconciliation is possible in the sense of the mediating role of explanation in the process of understanding, explanation and understanding being integrated into the interpretive chain.

At the poetic level, it allows us to reopen the question of the interpretive character of the musical work/discourse/text itself as the “voice emitted”, thus already the symbolic voice, and then to re-problematize the relationship between musical language and meaning, reference, representation, narrativity and time. In this sense, another question can be posed, namely how the specific abilities of music can help shed light on the interpretive process and the contemporary hermeneutical task in general. Also related to this is the problematics of the historicity of musical hermeneutics / musical interpretation, as well as the problematics of the interpretive discourse on music in history and as history. The issue of the subjectivity and objectivity of the discourse on music and music itself is part of the old debate but it lends itself to reconsideration in relation to music as a “thing” (L. Kramer) and the work of interpretation as event, action, dynamism, creation, production. The notion of metaphor, extracted as a key concept in different conceptualizations by many authors, musicologists and philosophers, is also proposed for examination: as a musical metaphor (at the poetic level) and as a metaphor in the discourse on music.

As a link in the interpretive process, the performance of a musical score as “appropriation” and actualization of a musical text, as a realization of its meaning in another “voice”, offers itself to examination, testifying to the opening of the musical work, discourse and text. In that sense, when it comes to interpreting music from the aspect of performing practice, it is understood as something much more than a mere reproduction of the score in sound. The variable roles of the music performer throughout history represent different social, cultural, stylistic, etc. conditions under which music is understood. In all these different approaches to a work of music, it is implicitly indicated that all of its incidences and meaningful transformations are only achieved by the performance.

The position of the listener in the interpretive process can be approached from several angles: semantic, psychological, narrative. Does the interpretive process not in fact end in the effectuation of the sense in the discourse (tacit or explicit, oral or written) of the listener who has passed through the musical interpretive chain?

Referring to the aforementioned findings, the following topics could be considered:

  • Interpretive criticism in musicology versus primary research and the “new musicology”
  • Musical hermeneutics versus semiotics and structural analysis of music
  • Musical hermeneutics / interpretation in history and as history
  • Musical work / discourse / text as interpretation
  • Musical language and meaning, reference, representation, narrativity and time
  • Musical metaphor and metaphor in the discourse on music
  • Subjectivity and objectivity in musical interpretation
  • Music and / as performance
  • Musical performance and / as analysis of music
  • Historically informed performance as a field of recreation of the past
  • The listener as interpreter

Please submit your paper topic (including the thematic area as listed above) to Ivana Petković Lozo at e-mail address: muzikologija@fmu.bg.ac.rs

The submission deadline is March 15th, 2021.

Please include your short biography and an abstract of 250 words. You will be notified by 1 May, 2021 if your topic has been accepted.

The official language of the conference is English. It is possible to deliver papers also in German, French, Russian, and Serbian, but the authors are kindly requested to provide a Power-Point presentation in English or the translation of their papers in English. The time limit for the presentation and discussion of your paper is set at 30 minutes in total. Selected papers presented at the conference will be published in the proceedings.

Conference fee: Both participation at the Conference and the publication of a text whose topic has been accepted by the Programme Committee are conditional upon the payment of the participation fee. The travel expenses, per diem expenses and hotel accommodation are to be covered by the participants. The fee can be paid on the spot or with PayPal (120€; early bird, deadline June 15th, 2020: 100€; PhD candidates: 50€). Participants will be notified about PayPal payments instructions.

More about conference, themes and participation you may find at conference web site https://musicmusicologyinterpretation2020.wordpress.com/

Keynote Speakers:

Danielle Cohen-Levinas
Professor of Musicology and Philosophy
Université Paris 4 / ENS-CNRS, France

Robert S. Hatten
Marlene & Morton Meyerson Professor in Music
Professor of Music Theory
Sarah and Ernest Butler School of Music
The University of Texas at Austin, USA (TBC)

Lawrence Kramer
Distinguished Professor of English and Music
Fordham University, USA

Makis Solomos
Professor of Musicology
Université Paris 8, France

Eero Tarasti
Professor emeritus of Musicology
The University of Helsinki, Finland

Programme Committee:

Professor Antonio Baldassarre, Lucerne University of Applied Sciences and Arts, Suisse
Professor Danielle Cohen-Levinas, Université Paris 4 / ENS-CNRS, France
Associate Professor Paulo Ferreira de Castro, CESEM – Nova FCSH, Portugal
Professor Robert S. Hatten, University of Texas at Austin, USA
Distinguished Professor Lawrence Kramer, Fordham University, USA
Associate Professor Marija Masnikosa, University of Arts in Belgrade, Serbia
Professor Ivana Perković, University of Arts in Belgrade, Serbia
Professor Tijana Popović Mladjenović, University of Arts in Belgrade, Serbia
Professor Makis Solomos, Université Paris 8, France
Professor Irina Susidko, Gnesins Russian Academy of Music in Moscow, Russia
Professor Leon Stefanija, University of Ljubljana, Slovenia
Professor Ana Stefanović, University of Arts in Belgrade, Serbia
Professor Dragana Stojanović-Novičić, University of Arts in Belgrade, Serbia
Professor emeritus Eero Tarasti, University of Helsinki, Finland
Academician, Professor emeritus Stanislav Tuksar, HAZU/University of Zagreb, Croatia
Professor Mirjana Veselinović-Hofman, University of Arts in Belgrade, Serbia

Organizing Committee:

Stefan Cvetković, PhD candidate, Teaching Assistant, University of Arts in Belgrade
Marina Marković, PhD candidate, Teaching Assistant, University of Arts in Belgrade
Ivana Miladinović-Prica, PhD, Teaching Assistant, University of Arts in Belgrade
Radoš Mitrović, PhD, Teaching Assistant, University of Arts in Belgrade
Ivana Petković Lozo, PhD, Teaching Assistant, University of Arts in Belgrade
Neda Nestorović, PhD candidate, Research Assistant, University of Arts in Belgrade
Milica Petrović, PhD candidate, Junior Researcher, University of Arts in Belgrade
Marija Simonović, PhD candidate, Research Assistant, University of Arts in Belgrade
Maša Spaić, PhD student, Junior Researcher, University of Arts in Belgrade
Marija Tomić, PhD student, Junior Researcher, University of Arts in Belgrade

Call for Proposals: Networked Collaborative Processes 2021

Since the initial lockdown in February/March 2020, there has been a growing appearance of online forms of music making as communal events for collective music making, or as an alternative to the live, public concert. Examples of such work includes: Free Range Orchestra, Montrose Composers Club, Bastard Assignments, Pan Y Rosas Discos, Jefferson Park EXP, Peter Nagle’s digital drone orchestra using highfidelity.com and the Free Range Concert Series.

Due to the lack of live music making, both in concert and privately, we consider this to be a burgeoning and emergent form of music making, that has had to develop in a short space of time to identify and therefore adapt to the many technical challenges.

This emergent form of experimental music making comprises: 

  • The consideration of practicalities under lockdown circumstances.
  • The influence these online technologies have on aesthetic considerations.
  • The growth of online concerts.
  • The engagement with a communal form of communication and interaction with software that is by its very nature prone to glitches and latency.
  • The wider international potential of any online collaboration. 

Working within these parameters has contributed to defining an aesthetic environment that sets itself apart from the conventional live situation, from which potentially genuinely new musically creative work can appear.

In June 2021, Music and/as Process will be hosting an online event that focuses on new work that has been specifically composed for remote/collective forms. Alongside performances, the event will feature discussions focusing on the process(es) and experiences of realising such works.

You are invited to submit sketches / pieces / papers that address and explore the technological challenges and aesthetic considerations of remote network performance.

These may include, but are not limited to:

  • Critical aesthetics from within the medium itself.
  • Creative work which addresses latency, glitches, synchronisation of multiple audio streams, software and hardware issues. 
  • Collaborative creative practices, in which, for example, projects have developed over time amongst teams of performers/composers/improvisers.
  • Issues regarding the quality of participation, and their possible solutions. 
  • Networked music performance practises including the functionalities of individual platforms.

We are looking to present music which is created bespoke for the remote networking medium, rather than arranging pre-existing music for this format.

Proposals should include, as appropriate:

  • A copy of the score / sketches, as a PDF.
  • A short description (250 words) of the way/s in which the practice explores online performance and remote communication.
  • A 250 word abstract if delivering a paper.
  • Links to documentation (video or audio) of previous performances.

For proposals featuring live performance, the piece can involve between 2 to 10 people – including yourself. Pre-recorded performances can involve as many people as you wish.

There will be approximately 30 minutes for each presentation, which can be used as desired.

Please send your submissions to musicandasprocess@gmail.com

Deadline for submissions: 23:59 (GMT) on 26th of March, 2021.

Decisions will be communicated mid April.

The RMA Music and/as Process Committee:

  • Dr Steve Gisby (Independent researcher)
  • Dr Richard Glover (Reader in Music at the University of Wolverhampton)
  • Dr John Hails (Senior Lecturer and Reader in Music at Edinburgh Napier University)
  • Sophie Stone (PhD candidate at Canterbury Christ Church University)
  • Dr Alistair Zaldua (Independent researcher)

Virtuosity and Innovation. Symposium on Piano Music of the Brilliant Style (ca. 1790–1840)

Brandenburg Technical University Cottbus–Senftenberg, Department of Instrumental and Vocal Pedagogy, 25–27 June 2021

The Department of Instrumental and Vocal Pedagogy at the Brandenburg Technical University Cottbus–Senftenberg is pleased to announce a symposium dealing with piano music from the transition between Viennese classicism and romanticism.

The piano works of Johann Nepomuk Hummel (1778-1837), Carl Czerny (1791-1857), Ignaz Moscheles (1794-1870) and others are by no means exhaustively defined by their attribution to a brilliant style – and thus to a phase of change in which the emerging virtuosity (not only) on the piano supposedly dominated over compositional innovation and poetic. A number of recent projects have already provided important impulses to help pianistes compositeurs / compositeurs pianistes in the period between Beethoven and Chopin and their works to gain an appropriate place within the musicological and music theoretical discourse.

The symposium wishes to continue and intensify this discourse, thereby deepening questions on aspects of musical analysis, aesthetics, music history, and performance practice. The keynote speaker will be Prof. Dr. Florian Edler (University of the Arts, Bremen). The symposium will be followed by concerts – performers will be Prof. Wolfgang Glemser/Veronika Glemser (Brandenburg Technical University Cottbus–Senftenberg) and Dr. Chanyapong Thongsawang (Princess Galyani Vadhana Institute of Music Bangkok) – as well as masterclasses for students, which will hopefully result in numerous direct synergies.

The event will take place from the 25th – 27th of June 2021 at the Campus Sachsendorf, Lipezker Str. 47, DE 03048 Cottbus, building no. 7. If necessary, the event will be held online.

Please submit proposed titles of papers (20 min duration + 10 min discussion) as well as abstracts (max. 300 words) to:

stephan.lewandowski@b-tu.de.

Deadline for the submission of proposals is 04 April 2021. 

There will be no participation fee for the symposium. Travel and accommodation costs as well as costs for meals are to be covered by the participant. Conference languages are German and English. Further details and updates on the event can also be found at: https://www.b-tu.de/ag-musiktheorie/forschung/symposium-zur-klaviermusik-im-brillanten-stil

Conference on Music Education in the 19th century

The Bern University of the Arts (HKB) is organising a conference on Thursday, 3 and Friday, 4 December 2020 entitled “On Music Education in the 19th Century”. The programme can be viewed on the website of the HKB Institute Interpretation (https://www.hkb-interpretation.ch/veranstaltungen/musikalische-ausbildung-im-19jh). 
The international and bilingual conference (German/English) will reflect on selected aspects of research into the history of music (theory) teaching in the 19th century in the German-speaking area, in Italy and in Spain. The topic is one of the focal points of the Institute Interpretation at the HKB. In particular, the conference will present the final results of the multi-year project “Integrative Listening”, which examines the early history of the current subject of aural training. Furthermore, the conference is intended to follow on from the symposium held in January 2019 on “The musical education institutions in Europe in the long 19th century (1789–1914)”. Researchers from the HKB will be joined by colleagues from Germany and Italy.
The conference will take place virtually via the video conference platform Zoom (https://zoom.us/j/97209829161). Registration is not necessary.
We look forward to numerous participants and stimulating discussions!
If you have any questions, please do not hesitate to contact us: claudio.bacciagaluppi@hkb.bfh.ch

Music Across the Ocean: Processes of Cultural Exchange in a Transatlantic Space, 1800–1950

Interdisciplinary and international symposium of the research project “Musical Crossroads. Transatlantic Cultural Exchange 1800–1950“

University of Music and Performing Arts Vienna, Austria

June 24th – 25th 2021

„As it is already known, artists (except mechanical) are among the people [in the USA] who are least in demand, and in recent times have even been cautioned against immigration.“ That is how critical a journalist of the German Allgemeine musikalische Zeitung in 1820 viewed career opportunities for European musicians in the “New World”, the United States of America. The author, who was located in the European musical culture system supported by courtly, bourgeois and sacred institutions, found it difficult to imagine that European artists could find a place in society and a financial livelihood in this relatively young state. But this is only one perspective that represents a snapshot of the transatlantic music cultural exchange between Europe and North America. Only a few decades later the journalist would have most likely revised his opinion in view of an increase in counter examples such as traveling music or singing ensembles like the Hutchinson Family Singers or the Parepa Rosa Opera Company, traveling virtuosos like Ole Bull, Louis Moreau Gottschalk or Jenny Lind, but also instrument makers like the Steinweg family. Important impulses for transatlantic exchange processes came from political upheavals and crises, but also from economic and cultural considerations.  

The international interdisciplinary conference Music Across the Ocean: Processes of Cultural Exchange in a Transatlantic Space, 1800-1950 will address music-related transatlantic cultural exchange processes in both directions, whereby culture is understood here not as a state or condition, but as a process connected with phenomena of overlapping and transmission and the interweaving and negotiation of power relations (such as cultural hegemony). The concepts of cultural exchange (Burke 2000), cultural transfer (Lüsebrink 2005) and cultural translation (Bachmann-Medick 2016) are just a few examples of possible methodological approaches. In this context, exchange processes are not only regarded as a transfer of individuals (musicians, music teachers and students, music dealers), but likewise on the levels of transferred practices (instrument making, running a musical, orchestra conducting, teaching), media (sheet music, instruments, images, film), concepts of society (heroic images, musical canon, democracy) and spatial concepts (private houses, theaters, concert halls, business premises). 

We welcome contributions from the fields of music, art, theater and media studies as well as history, American studies, (cultural) sociology, gender studies and related disciplines that investigate (music) cultural exchange processes in a transatlantic space on the basis of one or more of the five mentioned levels. Planning an international conference in these unpredictable times, in which also the scientific community must learn to deal with limited mobility, requires new ideas and creativity. Therefore, the conference scheduled to take place on site in Vienna will be extended by a “Transatlantic Web Session”. This additional web panel will explicitly include digital communication channels and especially address contributions that exploit the specifics of these channels: Possible ideas for submissions could include virtual visits to museums and archives, as well as the integration of location-bound source material and transatlantic dialogues. The conference will be held in German and English. We would also like to point out a supplementary program in which, with regard to modern science communication, the results of our research will be presented in the form of an exhibition and an intermedia theater performance.

Interested researchers are invited to submit a proposal for a 20-minute talk or an idea for a Web Session(max. 250 words) together with a short CV to the organizers by November 30th 2020. A budget is available for the support of travel and accommodation costs, especially for young researchers.

Contact: 

Prof. Dr. Melanie Unseld, Dr. Carola Bebermeier and Clemens Kreutzfeldt, MA

Institut für Musikwissenschaft und Interpretationsforschung 

Universität für Musik und darstellende Kunst Wien 

Seilerstätte 26
1010 Wien, Österreich
Tel.: +43/1/71155-3523

URL: https://www.mdw.ac.at/imi/musical-crossroads/ 
Mail: musicalcrossroads@mdw.ac.at

Italian Film Music, 1950s-1970s: Between Tradition, Innovation, and Internationalisation

Organized by

Centro Studi Opera Omnia Luigi Boccherini, Lucca

Lucca, Complesso Monumentale di San Micheletto

15-17 October 2021

Because of the continuing uncertainties arising from the COVID-19 pandemic, the organisers of this conference will make contingency plans for an online event, in case an in-person gathering is not possible

CALL FOR PAPERS

The Centro Studi Opera Omnia Luigi Boccherini of Lucca is pleased to invite submissions of proposals for the symposium «Italian Film Music, 1950s-1970s: Between Tradition, Innovation, and Internationalisation», to be held in Lucca, Complesso Monumentale di San Micheletto, from Friday 15 until Sunday 17 October 2021.

The end of the Fascist era and WWii marked a watershed for Italian cinema. Gone were the well-polished style of the ‘telefoni bianchi’ melodramas, the apolitical levity of Mario Camerini’s Italianate screwball comedies, or the magniloquence of Alessandro Blasetti’s epics. The series of neorealist films that bridged the last years of WWii with the first of the postwar period brought a fracture with the style, themes, and topics of the previous cinema. Everyday life and outdoor locations were preferred over artfully arranged studio settings; regional dialects and vernacular speech patterns supplanted the artificial ‘received pronunciation’ and the literary eloquence of most of the past cinema’s dialogue; the themes indigence and underdevelopment, political struggles, and social injustice that would be silenced in the Fascist cinema gained a foregrounded position. Though neorealism per se was more successful at festivals and in film critics’ circles than with the general public, the innovations it introduced spilled all over the 1950s lighter and more popular genres – e.g. the sentimental comedies set in lower-class environments of the ‘neorealismo rosa’ – and sowed the seed for the more radical innovations of the 1960s auteur cinema. Film music too was caught in this change of tide.

The melodic lines, musical conduct, and dramaturgical approaches of Italian film music were sensibly influenced by the tradition of Italian opera. For example, compared to the seamless almost wall-to-wall musical flow of the 1930s Hollywood music that was influenced by the musical continuity of Wagner’s wortondrama, the Italian film music of the same age was preferably built in closed musical numbers, as happened in Italian opera. Yet, the cantabile, melodramatic, and at times over-sentimental quality of such opera-influenced music began appeared inappropriate and inconsistent with the unfiltered and direct representation of reality that neorealism strove to depict. The early neorealist films presented new themes through an otherwise mostly traditional style, which might explain why music remained similarly traditional in style. Yet, as the polished style of the 1930s was being increasingly superseded by new approaches in which film style, and not only the themes, became more innovative and experimental, so music too had to find new idioms and approaches to keep up with the change.

The three decades 1950s, 1960s, and 1970s were the site of such musical renewal, from the injection of jazz, pop music, musique concrète, electronic music, avant-garde, vernacular music, light and dance music, progressive rock, up to Morricone’s tradition-shattering and highly influential ‘spaghetti western’ scores. Papers are invited that examine the various aspects of these three decades of change, hybridisation, and internationalisation in Italian film music, for example:

The contribution of music to the 1960s auteur cinema

  • Vernacular music and popular film comedy
  • Director/composer relationships (e.g. Federico Fellini and Nino Rota; Pietro Germi and Carlo Rustichelli, etc.)
  • The influence of international collaborations on a composer’s approach and style (e.g. Mario Nascinbene)
  • Less studied works of prominent composers (e.g. Morricone’s minor films)
  • The synergy and cross-promotion between the film and the record industries
  • How innovations in the musical style mirrored innovations in the cinematic style
  • Comparisons between the style and function of Italian film music with the film music of other countries
  • Tthe consumption of film-music albums
  • The demographics of film-music consumers and the influence on the musical choices
  • The balance between the Italian musical tradition and the imports from abroad (e.g. how jazz or rock were integrated into Italian film music)
  • The influence of Hollywood film music or the rejection of Hollywood film music
  • Film genres and musical genres

Proposals for twenty-minute papers are sought from musicologists and music theorists aimed at presenting historical/archival surveys or music/dramaturgy analyses; from film/media scholars interested in exploring how music served the films or the innovations of a specific genre/movement/author or how film-music production was regulated and organised within the Italian film industry; from popular-music and cultural-studies scholars interested in the consumption of film music beyond the films and its presence and significance in the Italian (or even international) record market or its appropriation in specific socio-cultural groups.

Programme Committee:

  • Emilio Audissino (Linnaeus University)
  • Roberto Illiano (Centro Studi Opera Omnia Luigi Boccherini)
  • Massimiliano Locanto (Università di Salerno)
  • Fulvia Morabito (Centro Studi Opera Omnia Luigi Boccherini)
  • Massimiliano Sala (Centro Studi Opera Omnia Luigi Boccherini)

Keynote  Speaker:

  • Franco Sciannameo (Carnegie Mellon University, Pittsburgh, PA)

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 biographical information.

All proposals should be submitted by email no later than ***14 March 2021*** to <conferences@luigiboccherini.org>. 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 April 2021, 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

conferences@luigiboccherini.org

www.luigiboccherini.org

Classical Music in Contemporary Media and Society

Call for papers

International conference, October 15-17, 2021,

Department of Cultural Sciences, University of Gothenburg

Keynote speaker: Professor Lawrence Kramer (Fordham University)

The conference Classical Music in Contemporary Media and Society will bring together researchers interested in how classical music is represented in today’s multifaceted mediascape. We encourage submissions from scholars and practitioners interested in how ideas, conceptions and values surrounding classical music are reaffirmed, negotiated and disputed in our contemporary mediatized and digitalized world, and the ways in which representations of classical music challenge, subvert or reproduce existing racialized, gendered, and classed power-relations.

The place and relevance of classical music in a world marked by ongoing cultural diversification, commercialization and mediatization is a subject that has received considerable attention in recent years. The topic has been a recurring theme in both the scholarly literature and in broader public discourses. During the last decade, discourses on classical music have also become progressively more visible in public space and in mainstream popular culture. While such discourses have certainly had a long-standing presence in public media – cinema, newspapers, radio broadcast, telecasts, etc. – they have lately been increasingly disseminated through diverse visual and audio-visual representations related to newly emerging advertising strategies of concert institutions, record companies and streaming sites, as well as to on-line social media and widely popular TV-series and fiction films. Thus, a vigorous negotiation is taking place in a variety of contemporary locations and media. At stake here is not only the cultural status and significance of classical music but, more radically, the very idea of what classical music is. This situation calls for research that addresses the broader meaning-making processes surrounding and shaping our conceptions of classical music and classical musicians today. 

The main objective of the conference Classical Music in Contemporary Media and Society is to promote such research and encourage a genuinely interdisciplinary discussion about classical music as a contemporary cultural and mediatized phenomenon.

Proposals for papers are invited on (but not limited to) any of the following topics:

  • Representations of classical music and classical musicians in film, TV-series and other fictional screen media
  • Representations of classical music and classical musicians in documentaries
  • Representations of classical music and classical musicians in the music industry’s marketing discourses
  • Representations of classical music and classical musicians in screened and mediatized theatre 
  • Cultural and media representations of amateur music making
  • Cultural and media representations of musical listening and musical subjectivity
  • Concert institutions and representations of classical music
  • Classical music in social media
  • Opera in/and screen media
  • Opera institutions and the representation of opera
  • Classical music  in art cinema
  • Classical music in video games

Presentation formats

  • Individual papers 20 min (+ 10 min discussion)

Proposal length and submission

Abstracts of papers (250 words) and a short biography (max 150 words including contact details) should be submitted by no later than 15 March, 2021. Please send your abstract and bio to classicalmusic@kultur.gu.se. Applicants of selected contributions will be notified by the end of May.

Conference fee

Participation at the Conference is conditional upon the payment of the participation fee. Deadline for payment is August 30 2021. Information on how to pay the fee will be posted on the conference website (see link below).

For scholars – 120 €

For PhD students – 60 €

In case of social restrictions regarding Covid-19, online execution of the conference will be considered. Applicants of selected contributions will be notified about the conference format no later than August 15 2021. In case of online execution the conference fee will be adjusted to 60 € for scholars and 30 € for PhD students.

Program committee

Tobias Pontara (University of Gothenburg)

Christina Scharff (Kings College, London)

Inka-Maria Nyman (Åbo Akademi University)

Michael Baumgartner (Cleveland State University)

Adrian Curtin (University of Exeter).

Organization and funding

The conference Classical Music in Contemporary Media and Society is organized by the Department of Cultural Sciences (University of Gothenburg) in collaboration with the research project  Classical Music for a Mediatized World: Visual and Audio-Visual Representations of Western Art Music in Contemporary Media and Society (funded by the Swedish Research Council 2018-2022).

Find out more about the conference at our conference website: https://www.gu.se/en/event/classicalmusic2021

2nd International Congress The Musical Heritage of the Crown of Aragón

The 1st International Conference on The Musical Heritage of the Crown of Aragón was held in Valencia (Spain) in 2019 and was a pioneering initiative in the approach to the musical history shared by the regions that made up this political and cultural entity which lasted until the 18th century. However, the aims of the Conference went above and beyond pure musicological debate; a further objective was to encourage reflection on the routes available today to inform other professionals and society in general about the knowledge gleaned from research. In short, to establish dialogue among the various agents who are part of the integral process of acquiring and transferring knowledge, such as musicologists, historians, educators, performers and communicators. The success of the 1st Conference has led to a 2nd Conference being organised which will continue to study this theme in great depth and will take place in Valencia (Spain) from 28th to 30th January 2021.

Having reviewed the current state of historical research in the 1st Conference, this 2nd Conference will present recent progress made in research through ten papers which will be presented in two of the available sessions. The first session will be monographically devoted to Jaime I and his era and the second session will deal with a selection of courtly contexts for music between the 15th century and the beginning of the 18th century in different regional areas of the Crown of Aragón. There will also be two sessions set aside for knowledge transfer, education and dissemination, with papers and round tables. Other activities will also be included, such as concerts, book presentations and a visit to the old monastery, San Miguel de los Reyes.

The Conference will also be receptive to the presentation of subjects freely chosen by researchers who wish to publicly convey the results of their latest research into the historico-geographical context of the ancient Crown of Aragón. Proposals for papers on the history of the music of the Crown of Aragón (12th century -1707), knowledge transfer and education will be accepted in Spanish, Valenciano/Catalán, Italian and English:

o Music in the royal courts and those of the nobility. 
o Music under the patronage of the Church.
o Musical activities promoted by civil institutions.
o Music networks in the cities.
o Music and secular and religious ceremonies. o Soundscape.
o Development of music in private spaces.
o Manufacture of musical instruments.
o Biographies and prosopographies of musicians.
o Social history of musicians.
o Repertoires of plain song, polyphony and instrumental music.
o Musical sources.
o Teaching of music. Musical treatises.
o Knowledge transfer, innovation, dissemination via exhibitions, digital technology, databases, music publishing, training researchers and teachers in the musical heritage of the Crown of Aragón.
o Creating modern educational resources.

Research linking the various areas of the Crown of Aragón or comparing the situation within the Crown of Aragón with other political entities will have preference.

The time limit for each paper (in Spanish, Valenciano/Catalán, Italian or English) will be 15 minutes. In view of the current pandemic, a video recording may be made to replace an in-person presentation. This must be sent to the secretary before 21st January 2021 and it will be played in the conference hall for the time limit corresponding to the paper.

Anyone wishing to propose a paper must send the title and an abstract of between 250 and 300 words (written in such a way that the identity of the author is secret), in a Word document, to the Conference Secretary: info.fund@culturalcdm.eu (Ana Jiménez). The deadline for proposals is 30h November 2020.

The Scientific Committee will be responsible for selecting the papers and the Secretary will advise the people selected before 7th December 2020. Once advised that their work is accepted, those selected must register and make the corresponding payment of 30 euros.

Scientific Committee

Antonio Ezquerro Esteban (Consejo Superior de Investigaciones Científicas).
Antoni Furió (Universitat de València).
Maricarmen Gómez Muntané (Universitat Autònoma de Barcelona).
Tess Knighton (ICREA/Universitat Autònoma de Barcelona).
Francesco Zimei (Istituto Abruzzese di Storia Musicale (L’Aquila-Teramo)).

Conference Management

Rosa Isusi Fagoaga.
Francesc Villanueva Serrano.

Secretary

Ana Jiménez.

Organised by:

Associació Cultural Comes and Fundació Cultural CdM.

Sweelinck Studies: Exploring New Approaches

Call for papers 

Sweelinck studies: exploring new approaches 
International conference
20-22 October 2021
Orgelpark, Amsterdam

Jan Pieterszoon Sweelinck is generally regarded as the greatest musician the Netherlands ever produced. On the occasion of the 400th anniversary of his death (16 October 1621), the IMS, Orgelpark and KVNM are organizing a three-day symposium to explore new approaches in Sweelinck studies. The symposium organisers explicitly aim to put Sweelinck in the context of his time and encourage scholars to contribute on one of the three themes: 

  • Cultural entrepreneurship in early seventeenth-century Amsterdam; 
  • Amsterdam psalm production in the period 1580-1620; 
  • The relationship between notated music and improvisation. 

All three themes also invite consideration from a broader, international perspective, as befits a composer who was one of the most European, cosmopolitan artists of his time. 

Cultural entrepreneurship in early seventeenth-century Amsterdam
Without a significant court culture and without a church as a potential employer, artists in the young Republic of the Seven United Provinces were largely deprived of a permanent income. As a city organist, Sweelinck was a favourable exception, but even this position did not provide an adequate salary. Many of those in cultural professions had to rely on a multitude of activities to generate an income; in a sense, they needed to be active as cultural entrepreneurs. What was the collaboration between the creative industry and cultural entrepreneurs in early seventeenth-century Amsterdam like – also in comparative perspective with other European cities? Which local conditions influenced the creative process and what was the position of individuals in it? How did painters, poets, sculptors, musicians and others working in the cultural industries provide themselves with an adequate income? How did this process take place during various stages of their working life? And, most of all, how does Sweelinck fit into this picture? 

Amsterdam psalm production in the period 1580-1620
From the moment the Calvinistic psalms, in their final form known as the Genevan Psalter, were brought into circulation, compositions – both vocal and instrumental – appeared in which the Genevan melodies were incorporated. Polyphonic settings could not play a role within the Calvinist church, since only monophonic, unaccompanied psalm singing was allowed there. These settings were therefore used in circuits outside the church. In order to place Sweelinck’s psalm production in context it is necessary to understand the role the psalms played in all layers of society. Book printers, especially in Amsterdam, brought out countless editions with the psalm texts both in their French original form and in Dutch and German translations, usually accompanied by the Genevan melodies. Sweelinck’s psalms were not only printed with their original French texts, but also in German translation (Berlin), and they were even provided with Rhaetian psalm texts in Switzerland. Many settings were meant for vocal performance, others for organ and sometimes also for lute (both solo and as accompaniment for vocal performance). Is a musical development visible in the polyphonic arrangements of the psalms in the relatively short period from 1580 to 1620 in which Sweelinck’s editions of 1604, 1613, 1614 and 1621 can be placed? What effect did psalm production have on Amsterdam’s cultural industry and to what extent can Sweelinck’s psalms also be interpreted as an expression of this industry? And how do they relate to Genevan psalm settings by his predecessors like Goudimel and Le Jeune, his contemporaries such as Hans Leo Hassler, or his pupil Paul Siefert, whose psalms were composed in explicit emulation of those of his master? 

The relationship between notated music and improvisation
Common sense has it that improvisation precedes composition – and that it always has been that way. Yet, Sweelinck’s highly developed keyboard art invites to rethink the way improvising, composing and music-making interrelate, at least in his time. Are his scores for keyboard something like recipes, that is an invitation to identify and perform an ideal version of the music hidden in them? Or are they mnemonic devices, functioning as aids to remember a convincing musical discourse, one that one might wish to play again and/or use as educational material. Furthermore, if the latter is true, would the term ‘improvisation’, as in ‘making music on the spot, without a score’ actually fit Sweelinck’s music-making practice? For example, access to the organ was very limited; he and his students must have mainly practiced at home on the virginal or the harpsichord. Addressing these and related questions may help to shed new light on how to make music based on Sweelinck’s scores, both at the keyboard and with an ensemble, the latter certainly also encompassing the human voice. And from this vantage point, the relationship between Sweelinck’s music and contemporary European culture can be fruitfully reappraised. 

Keynote speakers
Claartje Rasterhoff, assistant professor cultural policy & management at Maastricht University; project leader culture monitor at Boekmanstichting
Rudolf Rasch, emeritus associate professor of musicology at Utrecht University 
Michael Beckerman, professor at NYU College of Arts and Science 

Call for Papers
We invite scholars from musicology and related fields (e.g., cultural history, art/book history, urban history) to contribute to one of these three themes. Proposals for individual papers (for 20 minutes, followed by 20 minutes of discussion), should include: 

  • The presenter’s name, affiliation and email address 
  • A concise abstract (maximum 300 words) 
  • Short biography (maximum 150 words) 

Please submit proposals to Simon Groot, s.h.groot@uva.nl, before March 15, 2021. 

The official conference language is English, but contributions in Dutch, German or French are also welcome. 

Programme committee
Thomas Delpeut MA (KVNM, Radboud University)
Dr Pieter Dirksen (Sweelinck 2021)
Prof.dr Hans Fidom (Orgelpark, VU University)
Dr Simon Groot (Sweelinck 2021, University of Amsterdam, Utrecht University) 

Organised in cooperation with International Musicological Society (IMS), Orgelpark Amsterdam and Royal Society for Music History of the Netherlands (KVNM).