Rethinking musical transcription and arrangement

A one-day conference, with support from the Royal Musical Association and the Music & Letters Trust.

Saturday, 19 May 2018; University of Cambridge, UK.

Musical arrangements, according to Peter Szendy, enable us to “listen to someone listening”, to “hear them hear”. Arrangement and related practices (including transcription, orchestration, adaptation, reworking, translation, and completion) are musically ubiquitous, reinscribing pre-existing musical material(s) into fresh historical, cultural, and aesthetic contexts. However, the study of musical arrangement and transcription has been neglected within musicology, owing in part both to the lack of suitable theoretical and analytical methodologies for dealing with their processes and products, and to entrenched ideologies which privilege ‘originality’ and ‘authenticity’. This conference aims to bring together critical perspectives on these multifarious practices from within musicology and beyond.

We invite proposals for 20-minute papers on any related topic. Recognising that existing scholarship has often been narrowly specific to a particular repertoire or theoretical approach, we especially encourage paper proposals that consider broader implications of such practices for musical meaning, ontology, situation, authorship, and interpretation, as well as the social dimensions and mediations of musical transcription and arrangement, in the hope of drawing out theoretical underpinnings common to these diverse practices. We also welcome practice-based proposals from performers and composers.

A non-exhaustive list of themes includes:

-Studies of particular musical transcriptions, arrangements, and reimaginings.

-Musical transcription and arrangement and the challenging of ontologies of music.

-Social, political, economic, and legal stakes of musical arrangement.

-Perspectives from fields of translation, adaptation, and performance studies.

-Critical perspectives on timbre, instrumentation, and organology.

-The roles of transcription in ethnomusicology and popular music studies.

Keynote Speaker: Professor Jonathan Kregor (University of Cincinnati)

Please send abstracts (250 words) to <> by 28th February, along with a short biography (100 words), contact details, institutional affiliation, and technical requirements listed on a separate page. Decisions will be communicated in mid-March. We will be able to offer some financial assistance towards expenses for students — please indicate if you would like to be considered for a bursary.

This conference is organised by a London-based, IMR-affiliated study group on musical transcription and arrangement, ‘TAROT’ (


Peter Asimov (University of Cambridge)

Frankie Perry (Royal Holloway, University of London)

William Drummond (University of Oxford)


International Congress on Musical Signification

Music as Cultural Heritage and Novelty
11-15 May 2018, The “Gheorghe Dima” Academy of Music, Cluj-Napoca, Romania

 Conference directors:

  • Eero Tarasti
  • Oana Andreica

Call for Papers

The International Congress on Musical Signification (ICMS) is a biennial conference on recent developments and future trends in Musical Semiotics. It is one of the major platforms and achievements of the project of Musical Signification, launched in Paris in 1984, and subsequently directed for over 30 years by Eero Tarasti.
Following the XIIIth ICMS in Canterbury, the XIVth International Congress will be held in the lively city of Cluj-Napoca, the heart of the historic region of Transylvania. It will be organised and hosted by The “Gheorghe Dima” Academy of Music, during the International Festival “Sigismund Toduţă”, and under the auspices of the International Association for Semiotic Studies (IASS), the International Semiotics Institute (ISI) and the Academy of Cultural Heritages.

Keynote Speakers

  • Eero Tarasti, University of Helsinki
  • Marta Grabocz, Université de Strasbourg
  • Nicholas McKay, Canterbury Christ Church University
  • Dario Martinelli, ISI, Technological University of Kaunas
  • Dan Dediu, University of Music Bucharest
  • Gabriel Bebeşelea, Principal Conductor of the “Transylvania“ State Philharmonic

Special attention will be paid to the following topics:

  • Topics and narrative strategies in music
  • Musical heritage in the age of digitalization and media
  • Semiotic theories and analyses of music
  • National and Local Composers in the Integration of the European Societies in the 20th and 21st Century
  • Popular music studies as the avant-garde of music analysis
    • The integration of the sounds of music into the study of culture and society
    • The reformation of music theory and musicology with the purpose of the adequate designation of as wide a variety as possible of musical sounds

Call for papers:
20-minute papers and presentations are invited on topics relating to any of the above conference themes along with those addressing broader notions of musical signification and semiotics.

Submission guidelines:
Abstracts of not more than 500 words (saved as MS Word or PDF file) should be emailed to oana.andreica[at] (under the subject heading: “ICMS 14 paper proposal”) by 18th February 2018. Abstracts should be accompanied by a short biographical note of no more than 150 words. Please add the following information: Name, surname, institutional affiliation, title of proposal and abstract.
The main language of the congress is English, but French is accepted as well.

E-mail enquiries to Oana Andreica at:

Honorary Committee:
Byron Almén, Mario Vieira de Carvalho, Paulo Chagas, William Dougherty, Christine Esclapez, Julius Fujak, Marta Grabocz, Anita Granat-Janki, Joan Grimalt, Robert S. Hatten, Jean-Marie Jacono, Kai Lassfolk, François-Bernard Mache, Constantino Maeder, Dario Martinelli, Nicholas McKay, Costin Miereanu, Ricardo Nogueira de Castro Monteiro, Joha Ojala, Mark Reybrouck, Lewis Rowell, Paulo de Tarso Salles, Anthony Seeger, Esti Sheinberg, Gino Stefani, Philipp Tagg, Lasse Thoresen, Mieczyslaw Tomaszewski, Heloïsa de Duarte Valente

Scientific Committee
Eero Tarasti, Marta Grabocz, Oana Andreica, Gabriel Banciu, Ecaterina Banciu, Valentina Sandu-Dediu, Antigona Rădulescu

HuCPeR 19th Century Salon

The HuCPeR 19th Century Salon: A chamber music workshop for advanced students and professional musicians
University of Huddersfield, 28 August – 1 September 2018
*Application deadline: 1 March*

The HuCPeR 19th Century Salon offers performers chance to explore historical style, expression and ensemble performance practices in 19th century chamber music by working side-by-side with leading international performer-scholars. The event is designed to bring together musicians with an interest in 19th-century Historically-Informed Performance to make new connections, foster a practitioner community and explore challenging ideas in a supportive and open environment.

Five days of immersive coaching, workshops, presentations and discussions will be based within the University of Huddersfield’s Creative Arts Building, a state-of-the-art rehearsal and performance facility situated close to Huddersfield town centre. Participants will have access to pianos by Broadwood (1894) and Streicher (1870) as well as modern Steinway and Yahama grand pianos.

Participants will be placed into chamber groups to explore new approaches to 19th century music-making by playing alongside the course tutors. Alongside a daily keynote presentation by the tutors, each evening will feature a ‘salon’: a space for discussion, readings, spontaneous music-making and sharing of participants’ own research. Free time will be ringfenced for participants to explore new collaborations, read through repertoire, and have individual coaching. There will also be a workshop on routes into research at doctoral and post-doctoral level.

HuCPeR is grateful for the generous support of the Huddersfield University Research Fund to make this workshop possible.

Guest tutors currently confirmed:
Claire Holden, violin (University of Oxford)
Dr Anna Scott, piano (University of Leiden)

From the University of Huddersfield:
Dr David Milsom, violin
Dr George Kennaway, cello
Dr Emily Worthington, clarinet
Dr Inja Stanovic, piano

Applications are welcomed from players of piano, woodwind, strings and horn.

Although the workshop is primarily aimed at period-instrument musicians, applications from players of modern instruments with a strong interest in historical performance will also be considered. Applications from pre-formed chamber ensembles are also welcomed.

Players of historical woodwinds must be able to bring their own instrument pitched at A=438-440.

If you are interested in attending, please email for further details and an application form. Students should be of postgraduate level. An active interest in HIP research is welcomed but not essential.

The course fee is £100, including all tuition and one meal per day. A limited number of fee-waivers are available to those with no institutional support: these will be allocated in response to financial need and to ensure an appropriate balance of instruments for the workshop.

**Application deadline: 1 March**

Successful applicants will be notified by the 31 March. Please note that numbers of violins and upper woodwind will be limited to ensure balance.


Huddersfield is a large town situated conveniently between Manchester and Leeds in the North of England. It is surrounded by the beautiful landscape of the Yorkshire Dales, Peak District National Park and Penines, with access to many walking and cycling routes.

By air: the nearest airport is Leeds/Bradford (LBA), but it is easier to use Manchester Airport (MAN) – there is a direct train between Huddersfield and Manchester Airport (c55 mins) –

By train: Huddersfield is around 3 hours by train from London.


See below for recommended hotels. Further information regarding accomodation will be released shortly.
Premier Inn (c5mins) –
The Central Lodge Hotel (c10mins) –

The Cambridge Hotel – (c20mins, but 5mins from train station)

Instrumental Theatre. Music and the Stage in Latin America (1954-2006)

International Conference. 3-5 December, 2018.

Casa del Bicentenario – CASo (Centro de Arte Sonoro). Buenos Aires, Argentina.

Confirmed Keynote Speakers: Carmen Baliero (composer, Argentina), Björn Heile (University of Glasgow), Christina Richter-Ibáñez (Universität Salzburg)
Public interview with Margarita Fernández (Grupo Acción Instrumental)
by David Oubiña

For more information, go to, or write to

On October 14th 1958, at Gallery 22 in the city of Düsseldorf, John Cage, Cornelius Cardew and David Tudor premiered Music Walk. Among the audience were composer Mauricio Kagel, a newcomer from Argentina, and the German critic Heinz-Klaus Metzger. Cage’s work will leave a deep mark on these two spectators: that same year Metzger responds to the performance with a conference given at Darmstadt, titled “Intrumentales Theater”, where he proposed the first definition for this type of experience as “theatre that arises as a result of an instrumental performance”. Two years later, Kagel applied the ideas of Cage and Metzger in his work Sonant (1960), considered as one of the first to reconceptualise silence as a sound-action embodied in the performer (Kagel 1963, 1997). Since then he has become the main reference of the genre, extending his influence to all of Europe. Thus goes the “founding myth”, with a precise date and place, of the genre called “Instrumental Theatre” (Kaduri 2016, 342-345; Salzman and Desi 2008, 127; Craenen 2014, 55; Heile 2006, 34-35, Adlington 2005).

When doing a retrospective review in the field of contemporary music in Latin America, we find that in the 1970s, the Grupo de Acción Instrumental (formed by Margarita Fernández, Jacobo Romano and Jorge Zulueta), carried out at least four works identified under the genre of instrumental theatre, presented in Latin American and European tours. In parallel, the group Movimiento Musica Más carried out performances and happenings that sought to transcend the limits of the concert hall. This leads us to wonder how many of the works produced in the CLAEM (Centro Latinoamericano de Altos Estudios Musicales) of the Instituto Torcuato Di Tella and the CICMAT (Centro de Investigaciones en Comunicación Masiva, Música y Tecnología), or by composers Oscar Bazán (Argentina), Mesías Maiguashca (Ecuador), Gilberto Mendes (Brazil) and Joaquín Orellana (Guatemala) can be considered part of these conceptions that expand the languages of both music and the stage.

This conference proposes a philological-historical research of the works, events and institutions little explored and that played an important role in the development of both instrumental theatre and New Music Theatre in Latin America, between 1954 and 2006. Although all time frames are arbitrary, we have taken as significant events the work Música para la Torre (1954) by Mauricio Kagel, and the “Festival Kagel 2006”, organized by the Centro de Experimentación del Teatro Colón in honour of the composer, who returned to Argentina after a 30-year absence. This festival involved a recognition of the composer in his country, which received him with an effervescent scene, especially in the production of contemporary operas and collaborations between theatre and music. Música para la Torre, an early, “fascinating and elusive” work (Heile 2014, 14), was a commission for the Feria de América in Mendoza, in collaboration with the architects César Janello and Gerardo Clusellas (Richter-Ibáñez 2014; Monjeau 2017). The work proposes, perhaps for the first time in the region, ideas of bi-dimensional theatre, in which light and sound correlate with the actions of the interpreters (Heile 2014, 21). In this sense, the time frame that we propose serves as a hypothesis to think of a back story for the founding myth that was Music Walk in 1958.

What are the boundaries between opera, music drama, ballet? The productions of the 60s widened these questions of the pre-war avant-gardes, surpassing distinctions between theatrical and musical actions, and consolidating new terminologies. Instrumental theatre, anti-opera, happening, “visible music” (Schnebel, 1996), contemporary opera – these are some of the new genres that gave account of this transformation. We propose to consider them outside compartmentalized definitions, to think of them as questions, as initiatives that stressed disciplinary boundaries and demonstrated that music is more than what is heard.

Some of the themes proposed are:

  1. the reflections of the composers themselves on their practice and on their inspirations from twentieth century music and theatre as well as the “modern drama”.
  2. the multiple relations between avant-garde and politics: works that specifically address a political issue or that offer implicit critiques in its structure of theatrical-stage behaviours and modes of expression.
  3. technology as a keyword for thinking about the incorporation different media in music theatre: light installations, visual projections, electronics, sound spatialization, audio-visual recordings. This allows a consideration of radio and television as new means for experimentation.
  4. the institutional and geographical contexts of production of these new productions and the role played by the “off” circuits – the alternative festivals and the different production centres. This also includes a diasporiccharacteristic of Latin American composers inside and outside the continent.
  5. the challenges for the analysis presented by many of these works – that involve hybrid languages that include the movements of the actors and new bodily forms, images, staging. They are works that establish a permanent negotiation between the abstraction of the music and the concreteness of the theatre. The tension between these elements, which are often not in the scores and which can change according to each performance raises the question of how to analyse these works if we consider the permeable borders between the different categories and definitions, such as “Instrumental Theatre”, “New Musical Theatre”, “Music for Theatre”, “Contemporary opera”?
  6. the characterization of the performer that is needed for this type of theatre and the type of training that is required. This raises questions regarding the role of the voice and new forms of vocalities, the instrumental performance as it relates to theatrical action, the influence among performers (musicians, actors, mimes, dancers) and the reconceptualization of the idea of performance in general.

These axes are to serve as a guide only. Proposals from different disciplines and theoretical frameworks will be accepted (musicology, theatre studies, art history, literature, narratology, cultural history, among others).

Paper submission

Abstracts must include author, institutional affiliation, title, and a summary of up to 400 words. Proposals will be accepted in Spanish, English or Portuguese and must be sent to before May 31st, 2018. The accepted speakers will be notified during the month of June.

Important Deadlines

May 31st 2018: CFP dead-line

June 2018: final program announcement

November 2018: reception of papers

December 3rd-5th, 2018: conference

Organizing committee 

Esteban Buch (EHESS/CRAL), Miguel Garutti (UBA), Violeta Nigro Giunta (EHESS/CRAL), Camila Juárez (UNQ), Martín Liut (UNQ), Laura Novoa (UBA).

Documenting Jazz

Documenting Jazz Conference

17 – 19 January 2019

Dublin Institute of Technology, Conservatory of Music and Drama, Dublin, Ireland.

CFP Deadline: 30 June 2018

Keynote Speakers: Krin Gabbard and Gabriel Solis


The first jazz studies conference in Ireland will take place at the Dublin Institute of Technology, Conservatory of Music and Drama, Rathmines, Dublin, Ireland from 17 January to 19 January 2019. The event is delivered in partnership with the Research Foundation for Music in Ireland, the Society of Musicology in Ireland and the Birmingham Centre for Media and Cultural Research, Birmingham City University, UK.

In marking the centenary of the first documented jazz performance in Ireland, that of ‘Mr Gordon’s Jazz Band’ at the Royal College of Surgeons, Dublin, we invite participants to consider who and what has been documented, by whom, and for what purposes. The committee welcomes submissions that investigating the power of documentation to shape the narratives and mythologies surrounding the music.

Conference themes include but are not limited to:

  • Documenting jazz histories
  • Documenting jazz in popular culture
  • Documenting jazz as sound
  • Documenting jazz in images
  • Documenting gender in jazz
  • Documenting jazz in film
  • Documenting jazz online
  • Documenting Jazz on television

Proposals are invited as individual papers, joint papers, proposals for themed panels and round-table discussions. Further information regarding submitting proposals can be found at

Enquired and submissions can be sent to  Dr Damian Evans (damian evans -at-

Body, concepts, canon, constructions: Sex and gender in New-Music discourse since the 1950s

Call for papers

Date: 6-8 July, 2018

Place: Hamburg University of Music and Theatre

In 2016[1] a study of the German Cultural Council validated the obvious asymmetry of the sexes in culture and media, particularly with respect to the contemporary music scene. For decades the participation of women had been limited to performing artists, but there was also a remarkable absence of female composers.

Either randomly or induced by the study, contemporaneous initiatives started to discuss sexism in New Music. Examples of this trend include the founding of the group “Gender Relations in Darmstadt (GRID)” [2], initiated by the composer Ashley Fure at the Darmstädter Ferienkurse 2016. That same year this group presented statistics on the constantly low female participation at the Darmstadt Summer Courses since 1946.[3] Another example was the panel discussion held at the Donaueschingen Festival 2017 (transmitted via German Southwest Broadcasting (SWR)).[4] However, a comprehensive and fundamental scientific study that questions unconscious and subliminal criteria, for example the preference of mind over body, within the discourses of new music and performance art is lacking.

Methods of ex- and inclusion that ask for sex (and gender) or that include an interdisciplinary approach with criteria like social class, ethnicity or age, shall be questioned at the conference.

The symposium will take place shortly before the Darmstadt Summer Course 2018 to give impulses for the discussions. Position papers and panel discussions will include the following topics

New music[5], gender and

  • Institutions since the 1950s
  • Aesthetics
  • Cultural politics
  • Feminism
  • Process of canonisation
  • Concepts of Avantgarde
  • Electronic music
  • Experimental music, performance art, neo-conceptual art
  • Discourses of body
  • Digitisation
  • Positions between high and low arts
  • Present contemporary artistic positions
  • Critic of music
  • Musicology
  • Audience
  • Intersectional perspectives


Further proposals are welcome.


The symposium wants to open new discussions; thus, the presentations should include basic aspects and questions. A publication of a selection of the contributions is planned.


Please submit abstracts (up to 2,000 characters including spaces) for 25-minute presentations, and contact details via the email address below by 11 March, 2018. Junior researchers are especially encouraged to apply. The conference will be held in English and German. Thanks to sponsorship from Mariann-Steegmann-Foundation applicants can receive travel costs (max. € 200) and accommodation (max. 2 nights). Decisions will be made until 31 March, 2018.



Contact information:


Dr. Vera Grund

Musikwissenschaftliches Seminar Detmold/Paderborn

Hornsche Straße 39

32756 Detmold


Prof. Dr. Nina Noeske

Hochschule für Musik und Theater Hamburg

Harvestehuder Weg 12

20148 Hamburg

[1] Gabriele Schulz, Carolin Ries, Olaf Zimmermann: Frauen in Kultur und Medien. Ein Überblick über aktuelle Tendenzen, Entwicklungen und Lösungsvorschläge, Berlin 2016, online:


[3] Particularly Further statistics


[5] The term “New Music” here is used comprehensively, including experimental music as well as performance art etc.

10th Music and Media meeting

 Call for Papers 10th MaM meeting (Salamanca, June 2018)



IMS Study Group “Music and Media” (MaM) and University of Salamanca


Location: University of Salamanca, Spain


Dates: 13-16 June 2018



Call for papers:

The 10th annual conference of the IMS study group “Music and Media” (MaM) will be held in Salamanca, Spain, concurring with the 11th edition of the international symposium La Creación Musical en la Banda Sonora. Both gatherings are part of the University of Salamanca’s 800-year celebration.


Academics, practitioners, and postgraduate students are invited to submit papers and/or panel proposals on the following areas of interest, including (but not limited to):


  • 2009-2018: a decade of studying the interaction between music and media – retrospectives & perspectives;
  • music and documentary film;
  • streaming media soundtracks;
  • new methodologies for studying soundtracks in all audiovisual media.



Proposals for 20 minute long papers in English are welcomed. Each submission should include the following information: author(s) name(s), academic affiliation(s), e-mail address(es), title of presentation, abstract (300 words max.), (a) short CV(s) and a list of technological requirements (overhead, powerpoint, etc).


All proposals must be submitted by 20 March, 2018 to e.wennekes [AT]


Program committee:

Emilio Audissino (University of Southampton), James Deaville (Carleton University), Matilde Olarte Martínez (University of Salamanca), Michael Saffle (Virginia Tech), Emile Wennekes (Utrecht University).


Music and Musicology in the Age of Post-Truth

7-8 September 2018 University College Dublin

In recent months alternative facts, fake news and similar terms have become more and more commonplace among politicians, media and other public influencers alike in what is now often called the age of post-truth. Expertise appears to be discredited, gut feeling at least as important as facts, and facts themselves no longer valid and reliable. Often postmodernism and poststructuralism are blamed for the rise of a relativism that lies at the heart of post-truth attitudes. But is this really the case? And how should an academic subject such as musicology react to this development? Given the impact that postmodernism and post-structuralism have had on our disciplinary development, do we as academics in general and musicologists in particular have a special responsibility to engage productively with this challenge – as researchers, educators and last but not least as citizens? Are there potential music- specific reactions to the post-truther’s mindset? How can / should we adjust our teaching in this environment? And what role does music / do musicians play in the new “culture war” that we now find ourselves in? How is music utilised by either side? Are there differences in the responses from within popular, traditional and art music (and their respective musicologies)? Is our task as academics to neutrally analyse and describe developments, or rather to try and actively influence them through research, teaching and as public intellectuals – and if so, how?

This conference, jointly hosted by the UCD School of Music and the UCD Humanities Institute, and supported by the Society for Musicology in Ireland, the Irish chapter of the International Council for Traditional Music, and the International Association for the Study of Popular Music (UK and Ireland) will investigate these and similar questions. We invite proposals for papers of twenty minutes’ duration to be followed by ten minutes of discussion.

Please submit abstracts of up to 250 words, together with a CV of up to 150 words, your contact details and the technical requirements of your presentation in a single, word-compatible file by Friday, 9 March 2018 to We also invite proposals for themed sessions; in this case there ought to be an additional abstract of 150 words outlining the rationale behind the session. We aim to notify participants within four weeks after the deadline.

Conference Committee

Wolfgang Marx (University College Dublin)
Siobhán Donovan (University College Dublin)
Anne Fuchs (University College Dublin)
John Millar (University College Dublin)
Lonán Ó Briain (University of Nottingham) Caroline O’Sullivan (Dublin Institute of Technology) Timothy Summers (University College Dublin)

Between ecstasy and inspiration: wine and music in the visual arts

IMS Study Group on Musical Iconography
Bordeaux, La Cité du Vin
June 21-23, 2018
Call for Papers (Deadline: March 23, 2018)
This international conference is organized on occasion of the exhibition “Le Vin et la Musique: accords et désaccords (XVIe–XIXe siècle)”, hosted by La Cité du Vin, Bordeaux (March 23 to June 24, 2018, curator: Florence Gétreau, emerita at CNRS). The following partners are involved: Fondation pour la Culture et les Civilisations du Vin, International Musicological Society (IMS Study Group on Musical Iconography), Institut de Recherche en Musicologie (UMR 8223 of CNRS), University Paris-Sorbonne, and University Bordeaux-Montaigne.
Not only is Bacchus (or Dionysus, in Greek) the God of drunkenness, sensual pleasures, fertility, creative inspiration, and religious ecstasy, but he is also associated with love, dance and music. This multifarious symbolism is at the core of many works of art, ceremonial objects, musical compositions and choreographies, evoking contexts that are at times cultic, festive, moralizing, and even philosophical. The conference will be devoted to the powerful union of the two realms of wine and music in the visual arts. It will broaden the general theme of the exhibition both in its temporality (from antiquity to the present day) and in the balance of cultural diversity between East and West, exploring the Greco-Roman as well as the Judeo-Christian, the Buddhist and Islamic civilizations, among others.
Papers on this theme from all disciplines will be considered, including anthropology, archeology, art history, history, musicology, cultural and performance studies. Suggested topics include mythology (the history, cult and iconography of Bacchus/Dionysus and bacchanalia, as well as related goddesses, meanads, and satyrs [e.g. Ceres, Silenus]); history (Anacreon); religious and Biblical subjects (the Wedding of Cana, Belshazzar’s banquet, Prodigal Son, Child Jesus at the Cluster); genre scenes (royal, aristocratic and popular banquets, merry companies, tavern and family scenes, royal entrances, urban festivals); still lifes and allegories (Five Senses, Virtues and Vices, inspiration), among others.
Presentations are limited to 20 minutes in length, allowing time for 10 minutes of questions and discussion. Communications via Skype will not be possible. Proposals in English, French, German, Italian, or Spanish, including abstract (max. 250 words) and short CV (max. 250 words), should be submitted by March 23, 2018 (deadline) to <>.
Preference is given to proposals that address research topics and questions in an exemplary way. The Programme Committee will make its decision by April 15, 2018, and speakers will be informed immediately thereafter. Further information about the programme, registration, and accommodation will be available in due time. Selected papers will be published in Imago Musicae and Musique • Images • Instruments.

CityMac 2018: Final CfP (19 Feb deadline)

CityMAC 2018 

5-7 July 2018, City, University of London 

*Deadline extended to 19 February 2018* 


The City Music Analysis Conference (CityMAC 2018), sponsored by the Society for Music Analysis (SMA), will take place on Thursday 5 to Saturday 7 July 2018 at City, University of London. This international conference will feature analysis of world music, but in keeping with the SMA’s ethos, it welcomes paper proposals on any aspect of theory or analysis relating to music of any genre and historical period. This is a final call for papers (note extended deadline above). 


Keynote speakers 

Professor Janet Schmalfeldt (Tufts University) and Professor Richard Widdess (SOAS). 

Proposal categories 

  • Papers (20 minutes maximum, with 10 minutes for discussion) 
  • Paper sessions (three or four papers, each of 20 minutes maximum, with 10 minutes per paper for discussion) 
  • Roundtable discussions (up to 6 participants, each giving a short position paper, followed by a general discussion, total running time of 90 or 120 minutes) 
  • Recitals, lecture-recitals and lectures illustrated by sound diffusions or audio-visual screenings (maximum duration 90 minutes) 

Proposal guidelines 

  • For individual papers: up to 250 words 
  • For paper sessions: 250-word (maximum) summary and up to 200 words for each session participant 
  • For roundtable discussions: 250-word (maximum) and up to 150 words for each panel participant 
  • For recitals, lecture-recitals and lectures illustrated by sound diffusions or audio-visual screenings: 250 word (maximum) summary, plus participant CVs and recordings / scores / other details of works to be included in the event (contact the organiser to discuss) 

Closing date for submissions: 19 February, 2018. Applicants will be notified by 30 March. 

Further information for applicants 

  • Only one proposal of each type is permitted per applicant 
  • Proposals must be sent by email as a MS Word or pdf attachment to 
  • Proposals need not be anonymised. 
  • Student members and individuals without access to institutional funds are eligible to apply for an SMA Travel Bursary to help cover the costs of travel and accommodation. Further details can be found here: Please note that the deadline for application for bursaries is 7 June 2018. 
  • Delegates are also welcome to apply to our Development Fund scheme to cover the cost of attending. For further details, see: There is no deadline for this fund, but retrospective applications will not be considered. 
  • All enquiries should be sent to Dr Shay Loya via 

Programme committee 

Dr Chloë Alaghband-Zadeh (Loughborough), Professor L. Poundie Burstein (Hunter College, CUNY), Dr Esther Cavett (King’s College London), Professor Julian Horton (Durham), Dr Shay Loya (City, Organiser), Professor Danuta Mirka (Southampton), Dr Laudan Nooshin (City), Ian Pace (City), Dr Kenneth Smith (Liverpool).