Society for Musicology in Ireland: 18th Annual Plenary Conference

18th Annual Plenary Conference: 25-27 June 2020

Hosted by the School of Music, University College Dublin.

The Annual Plenary Conference of the Society for Musicology in Ireland (SMI) has, over
the past several years, become very well-known as an exceptionally welcoming and
friendly occasion of scholarly deliberation on music. In 2020, the conference will be
hosted by the School of Music, University College Dublin. In the spirit of previous
conferences, we warmly invite papers from scholars across the global musicological
community to share their work in what promises to be a lively gathering of specialists in
historical musicology, ethnomusicology, music theory and analysis, sonic arts,
performance research, popular music, the sociology of music, aesthetics, the philosophy
and politics of music and cultural history. We encourage proposals not only from
members of the SMI but from scholars everywhere who would like to present their work
in a positive and constructive forum.

Proposals for contributions are invited in four formats: (a) twenty-minute papers on any
aspect of musicological research (b) themed panels of three to four twenty-minute papers
(c) poster sessions comprising up to six short (ten-minute) presentations followed by a
general debate (d) thirty-minute lecture-recitals.
Themed panel sessions may include (but are not limited to) ‘musicology and difference’;
‘musicology and contemporary Europe’; ‘musicology and the digital humanities’;
‘musicology and globalisation’. Prospective organisers of panel and poster sessions are
encouraged to suggest topics entirely independent of these themes, which are nominated
here merely as a stimulus.

A keynote speaker will be announced in due course.

Please send proposals to by 31 January 2020.
Please include an abstract of no more than 250 words in a word-compatible format or (in
the case of panel or poster-session proposals), an outline of no more than 250 words of
the topic(s) to be addressed and a list of potential speakers. Where relevant, please
indicate an institutional affiliation.

The programme committee for SMI 2020 includes Dr Laura Anderson (UCD), Dr Joe
Davies (Maynooth), Dr Wolfgang Marx (UCD), Dr Tomás McAuley (UCD), and
Professor Harry White (UCD).

The co-secretaries of the organizing committee are Anika Babel and Eoghan Corrigan, to
whom all enquiries should be addressed at the email given above.

CFP Early Music Conference: “Musicking: Culturally Informed Performance Practices”

Early Music Conference: “Musicking: Culturally Informed Performance Practices”

CFP Deadline: January 15, 2020

Conference Dates: May 19-23, 2020

University of Oregon School of Music and Dance, Eugene, Oregon

The purpose of the conference is to unite research, education, and performance of historical music in the broadest sense by considering performance practices and performance practice studies through a cultural lens. In its fifth year, the conference will feature educational workshops, lecture performances, academic panels, and evening concerts. Round-table discussions will focus on the state of early music in 2020. Special events at this year’s conference include a performance of Giovanni Bononcini’s oratorio, “San Nicola di Bari” (Rome, 1693) and “Élevé: A Symposium of Music & Dance in Honor of Marian Smith,” featuring workshops and a keynote address by Doug Fullington (Pacific Northwest Ballet).

The committee welcomes proposals addressing all aspects of performance practice studies, not only from a purely historical point of view, but also from a broader cultural perspective. Proposals should consider the conference topic through a lens of musicking, in all its possible facets, including music as ritual, music’s metaphorical meanings and the language of gesture. The Musicking committee also invites proposals for lecture performances for programs 30-45 minutes in length, designed to engage audiences in an informal and fairly intimate setting. Proposals should include a short concert/lecture description and music selection, and should include an mp3 audio file or link displaying the performer’s musical ability. This year, the Musicking committee will grant one lecture-performance applicant an award of up to $1000 to assist in travel and lodging costs. Lecture-performance applicants who wish to be considered for this award should indicate so in their proposal.

All proposals should be sent by Wednesday, January 15, 2020. Please visit the Musicking Website for submission instructions.

SEMPRE Autumn Conference

The role of music psychology research in a complex world: Implications, applications, and debates

10–11 September, 2020

School of Music, University of Leeds

The study of the musical mind its associated behaviours has become increasingly socially conscious, with more emphasis on applications and values (Sloboda, 2005), and calls to reflect on music(king)’s capacity to afford (inter)subjectivity and empathy; to engage with music’s global diversity, and to encourage interdisciplinarity communality (Clarke, 2011). Recent years have seen rapid societal and cultural change, which has impacted on priorities for the environment, education, community, wellbeing, politics, and social justice, as well as mounting concern about the rise of intolerance in an increasingly polarised society.

This SEMPRE conference aims to bring together researchers to (re)consider music psychology (in the broadest sense of the term) in light of current social, cultural, and environmental challenges, and seeks to foster discussion and debate about the role that music psychology might play in addressing them. Encouraging a broad and inclusive approach, we invite submissions for individual 20-minute papers or posters that address a wide variety of topics, methodologies, and questions, including (but not limited to):

  • (How) can music psychology understand and address current societal challenges?
  • What should a socially engaged music psychology look like today?
  • What are the urgent/difficult questions?
  • What new approaches to socially applicable research are there?
  • What key assumptions remain in the field and how might they be challenged?
  • Any paper/poster that explicitly applies music psychological knowledge to address socially urgent research questions.

A Call for Proposals will be circulated soon. For all enquiries, please contact Dr Emily Payne (

‘Don’t mention the C Word’ – re-assessing the meaning and impact of censorship in opera

Call for Papers – deadline Friday 29 November 2019

‘Don’t mention the C Word’ – re-assessing the meaning and impact of censorship in opera

University of Leeds, Wednesday 5 February 2020

At its 2015 conference in Madrid, Opera Europa, the main European industry network, heard from opera producers in Perm, Russia about the threat they face from renewed political oppression. Alexander Pereira, then Artistic Director of Teatro alla Scala, Milan, told the conference “there is no future without solidarity”. But solidarity with whom, and against what? This conference will explore a new understanding of opera’s regulation in a world in which binary poles between freedom of expression and censorship in opera have broken down.

The opera business model in its mature markets has been undermined by shrinking public grants and become more reliant on philanthropy. As opera ecologies expand in regions like East Asia and the Middle East, gender norms, sexuality and violence, cultural habits like smoking and tattoos, and the visual representation of naked flesh, are policed in highly individual contexts. Performance tradition and power structures in opera are also being breached by more collaborative approaches to production and community opera, as well as performer and audience activism based on gender, ethnicity and disability. These trends challenge existing concepts of censorship, in which a range of participants have agency in processes which may mimic regulatory control, but in pursuit of diversity and against cultural appropriation, for example ethnocentric operatic tropes such as ‘blackface’ Otellos and ‘yellowface’ orientalism. Many of these trends encourage risk aversion and self-censorship.

The boundaries between taste, market forces, local cultural contexts and artistic freedom have always been shadowy. This one-day conference will address the pressing need for a more nuanced articulation of how censorship is operating in the global market for opera.

Potential Conference Themes:

  • Theoretical concepts and expanded definitions of censorship
  • Legacies of censorship.
  • What is being censored in opera – text, music, characterisation, staging, space, reception.
  • Processes of adaptation
  • Censorship of opera in relation to other art forms.
  • Local, regional, national conventions, transnational circulation, globalisation.
  • Emerging markets – artistic, cultural, religious, political contexts.
  • Opera business models and their impact on artistic expression – state and private funding, co-production and hires.
  • Evolving sub-genres of opera – eg. community opera, site-specific opera.
  • Agency and power dynamics within opera production.
  • Broadcasting, digital criticism, social media, audience activism.
  • Rhetorics of censorship including cultural sensitivity and exchange, diplomacy, marketing.

Abstracts for 20-minute papers (max 300 words) and short biographies (max 150 words) should be sent to by Friday 29 November.

Interdisciplinary approaches, and paper proposals from early career researchers and opera practitioners are particularly welcome.

The conference is hosted jointly by the School of Performance and Cultural Industries and the School of Music, also supported by Oberto at Oxford Brookes University.

The conference will be free to attend. A small number of travel and accommodation bursaries, generously provided by the Institute of Musical Research, will be available to doctoral candidates, and early career researchers.

For any additional information contact Andrew Holden: 

Decolonising the musical university

University of Edinburgh, 23-24 July 2020
Twitter: @decol_music

Call for participation

We invite researchers, educators and activists to join us in July 2020 to participate in the process of decolonising the musical university.

Decolonisation is the disruption and dismantling of colonial structures and behaviours. As such, in this meeting too, we would like to disrupt some of the formats of academic practice and prioritise more inclusive ways of working.

Our main aims as organisers are to facilitate, and make space for, marginalised colleagues, and to encourage more privileged colleagues to listen and to reflect on how colonial ideologies continue to influence teaching, learning and research.

Please note that, therefore, this is a call for participation, not a call for papers: the event will not be based around presentation of papers

Our plan as organisers is to create a tailored and pragmatic programme of activities for conference participants based on the interests of those who wish to attend, working in formats suggested by participants.
This is because we want this gathering to produce meaningful changes in practice and thinking that have real-life impact on current and prospective staff and students involved in music in universities.
We particularly welcome participation of those who are marginalised in the arts, society and academia, especially BIPOC.

Please send your expression of interest to participate in ‘Decolonising the Musical University’ by 23:59 GMT on Sunday 15 December 2019.
Submissions should be made by email to<>
This expression of interest should outline your areas of work/interest, and proposed topics of discussion you would like to bring to the table.
Submit your expression of interest as a written document of no more than 300 words, or a voice note of up to three (3) minutes.
Please include your name, location and organisation/institution/role where relevant.

There is no fee to attend the conference. We are working to obtain funds for travel bursaries to assist students and unfunded researchers to attend, but are not able to guarantee any assistance to individuals at this stage.

Conference organisers:
Dr. des. Diljeet Bhachu
Dr M. J. Grant

Full information at

SONG STUDIES 2020 – Exploring Interdisciplinary Approaches to Songs and Practices of Singing (1200-today)

Ghent University, 1-3 July 2020

Deadline call for papers: 20 December 2019

Keynote speaker: Monique Scheer (Tübingen University)

The singing voice is a medium of expression that is found in all times and cultures. People have always been singing, not only to perform entertainingly, but also to express emotions or to embody identities. This has for example made collective singing (and listening) practices a primary way for people to articulate and embody the identities that are fundamental to the existence of social groups. The bodily and sensory experience of moving and sounding together in synchrony, enables individuals to experience feelings of togetherness with others.

Song is the versatile medium facilitating such processes. Songs can evoke and channel emotions, employing them for specific (or less specific) means. As a multimodal genre, song enables not only the articulation and embodiment of ideas; as an inherently oral and intangible medium, songs can move through space and time, transgressing any material form. Therefore, songs have proven an ideal tool for the distribution of news, contentious ideas, or mobilising messages.

This conference aims to bring together researchers from various disciplines investigating song (for example musicology, literary studies, history, sociology, performance studies, cognition studies, anthropology, etc.). The focus will be on the definition of possible approaches to the study of this medium (both in its material and performed existence), its performances (in any form) and reception (in any context). Research examples may cover songs written and sung in any culture and language, and any (historical) period. Common ground will be found through concepts, approaches and methodologies, encouraging an interdisciplinary and transhistorical dialogue, breaking ground for a new research field: song studies.

Possible research areas and questions to be explored are:

  • how to study the multimodality of the genre, acknowledging both textual and musical characteristics, and its performative nature;
  • the sensory/bodily and emotional/affective experience of listening and singing;
  • cognitive and/or affective processes of singing (and collective singing practices);
  • how to study the performative aspects of songs in historical contexts;
  • the ‘power’/agency of song;
  • the role of song and singing in social processes and historical developments; etc. We invite proposals for 20-minute individual papers (max. 300 words) or alternative formats (pre- submission inquiry is encouraged). As the aim of this conference is to facilitate dialogue, there will be ample time for discussion and exchange. Please send your proposal, including your name, academic affiliation and a short biographical note, no later than 20 December 2019 to For more information and registration, see

In Search of Perfect Harmony: Giuseppe Tartini’s Music and Music Theory in Local and European Contexts

International Musicological Conference
University of Ljubljana, Faculty of Arts, Ljubljana, Slovenia
Tartini House, Piran, Slovenia
16 and 17 November 2020

The 250th anniversary of the death of the famous violinist, violin teacher, composer and music theorist Giuseppe Tartini (1692–1770), which we will commemorate in 2020, presents an opportunity to reconsider the research of his life and work already done, as well as to address topics that have so far remained in the background. The international musicological conference, which will be held on 16 and 17 November 2020 in Ljubljana and Piran, Tartini’s birthplace, will focus on Tartini’s musical-theoretical thought and his compositional creativity.
When in 1896 Tartini’s monument was erected in Piran, one of the commemorative records named him as “an artist and scientist of European reputation without an equal” (Amico, 2 August, 1896). Indeed, not many musicians made history both as an outstanding composer (the renowned mathematician, physicist and Tartini’s contemporary Leonhard Euler even called him the greatest composer of the time) and as an exceptional music theorist (beginning from traditional musical-theoretical ideas, Tartini laid the foundation for many later music-acoustical considerations). Especially after he began to devote himself to speculative reflections on music, Tartini seems to have been searching for harmony between music theory (which he studied in depth, even reaching back to ancient concepts of music) and musical practice (his daily routine as composer and violinist at St Anthony’s Basilica in Padua and as violin teacher).
Given that during his lifetime Tartini’s music and musical-theoretical works were known throughout Europe, they should also be considered in a broad European context. Despite his international reputation and his residence in Padua, Tartini remained connected to his native Piran: although he never returned to live there after 1708, when he left for Padua, he stayed in touch with his family through a lively correspondence. The influence of local (Istrian) folk-music traditions is of particular importance for his compositional output as well as for his theoretical reflections on music. This is revealed by the fact that the Piran archives still hold many Tartini documents, including manuscripts containing theoretical essays and fragments.

In this context, the following themes seem to be of special interest:
– Tartini’s music-theoretical thought in Italian and European contexts.
– Tartini as a follower of ancient theoretical tradition.
– Specific musical-theoretical questions in Tartini’s treatises.
– Tartini as a mathematician and a philosopher.
– Previous research on Tartini’s musical-theoretical thought and the publications of his musical-theoretical writings.
– Links between Tartini’s music theory and his compositional work.
– Tartini’s music in the European context.
– Tartini’s perceptions of folk-music tradition.
– Traces of folk music (especially Istrian) in Tartini’s works.
– Musical analysis of Tartini’s works.
– Music-theoretical and compositional influences on Tartini and Tartini’s influence on music theorists and composers of later periods.
– Other themes connected to Tartini’s compositional and musical-theoretical work.

Proposals for papers (20 minutes + 10 minutes discussion), which should include a title and a short summary of the proposed topic (200-400 words), a short biography and contact details of the author, are to be sent by Sunday, 31 May 2020, to

Authors will be informed about the selection of papers, which will be reviewed by the international scholarly committee, no later than 30 June 2020. The final programme of the conference will be formed by the middle of October 2020. After the conference, the selected papers will be published either in a monograph or a special number of Musicological Annual.

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

The registration fee for active participation at the conference is € 50.00; members of the Slovenian Musicological Society may participate free of charge.

Invited keynote speakers
Prof. Sergio Durante, Ph.D. (University of Padua)
Prof. Pierpaolo Polzonetti, Ph.D. (University of California, Davis)

International scholarly committee
Prof. Patrizio Barbieri (Rome)
Prof. Dr Matjaž Barbo (University of Ljubljana)
Prof. Sergio Durante, Ph.D. (University of Padua)
Sr. Res. Fell. Dr Metoda Kokole (Research Centre of the Slovenian Academy of Sciences and Arts)
Prof. Dr Svanibor Pettan (University of Ljubljana)
Prof. Neal Zaslaw, Ph.D. (Cornell University)

Organizational committee
Assist. Prof. Dr Katarina Bogunović Hočevar (Faculty of Arts, University of Ljubljana)
Res. Assoc. Dr Klemen Grabnar (Research Centre of the Slovenian Academy of Sciences and Arts)
Assist. Prof. Dr Nejc Sukljan (Faculty of Arts, University of Ljubljana)

British-Russian Crossroads: Cultural and Historical Exchanges of Words and Music

15 February 2020

Venue: Nikolai Rimsky-Korsakov Memorial Museum-Apartment (Saint Petersburg State Museum of Theatre and Music), Zagorodniy Prospekt, 28, Sankt-Peterburg, Russia, 191002.

Part of the Russia-UK Year of Music project: 

A Voice between Nations: forming lasting bilateral Russia-UK collaborative partnerships through word and music’ (14 February – 16 February 2020)

Conference languages will be English and Russian with simultaneous translation.

Held within Russia-UK Year of Music, this conference celebrates the longstanding fascination the two countries have for each other’s cultures through word and music by rediscovering the intersection of their cultures and identities.  It takes place as part of a festival of art song that focuses on the distinct nineteenth-century Russian-British synthesis of Saint Petersburg’s cosmopolitanism and London’s liberalism which crystallised in the unique sound world of Rimsky-Korsakov’s and the ‘Mighty Handful’s’ romances, and the legacy that this set for on-going intercultural exchange through words and music.

Bringing together performers, musicologists, composers, and cultural historians – and building a community across national boundaries – the conference seeks to encourage an interdisciplinary dialogue that looks at topics relating to the intersection of Russian and British culture through words and music both specifically through art song, as well as in a wider sense, including:

  • Russian songs, opera and musicals set to British texts, either in the vernacular or in translation
  • British songs, opera and musicals set to Russian texts, either in the vernacular or in translation
  • Formation of performer identities, practices and audience reception in the engagement with Russian and/or British art song internationally
  • Words and music through the artistry of Russian-British performers and Russian-British composers
  • Performance and reception of Russian art song, opera and musicals in Britain
  • Performance and reception of British art song, opera and musicals in Russia
  • Representation of Russian music or music-making in British literature or film
  • Representation of British music or music-making in Russian literature or film
  • Historic and current Russian-British collaborations in performance, and the composition of song, opera and musicals.
  • Intersection of Russian-British artistic synthesis of words and music with other countries, cultures or languages

Keynote speakers and panels:

Professor Philip Ross Bullock, University of Oxford

Olga Manulkina, Saint Petersburg State University

Professor Liudmila Kovnatskaya, Saint Petersburg Conservatory, & Russian Institute of Fine Arts History in St Petersburg

Special sessions will be dedicated to:

  • Performer perspectives session and panel discussion with Professor Iain Burnside (Guildhall School of Music & Drama) and soloists from the Mariinsky Opera
  • Contemporary composition perspective session with Russian composers in conversation with Professor Philip Grange (University of Manchester)

As part of the event participants are cordially invited to:

  • Concert of Russian and British art song and piano music (14th February 2020)
  • Song Masterclasses with singers from the Mariinsky Opera (14th February 2020)
  • Concert of Russian-British art song by advanced students of the Guildhall School of Music & Drama, and the State Saint Petersburg Rimsky-Korsakov Conservatory at the Theatre Museum (15th February 2020) 
  • Concert in Sheremetev Palace by singers from the Mariinsky Opera accompanied by Iain Burnside and Maria Razumovskaya (16th February 2020)

Plans are being made to publish selected papers in an edited volume of proceedings.

Please submit abstracts of 250 words for 20 minute papers or 30 minute performance lecture-recitals to by 10 November 2019.

Please direct queries regarding logistics and travel to/in Russia to

Conference committee:
Dr Lidia Ader, Russian State Rimsky-Korsakov Museum, Saint Petersburg
Dr Paul Archbold, School of Advanced Studies, University of London
Dr Maria Razumovskaya, Guildhall School of Music & Drama, London

Supported by:

British Embassy in Moscow

State Rimsky-Korsakov Museum, Saint Petersburg

Guildhall School of Music & Drama, London

Institute of Modern Languages Research, School of Advanced Studies

Open World Research Initiative, Cross Language Dynamics (AHRC)

International Workshop: “Women as Patrons: Gender, Patronage and Cutural Transfer at the turn of the 20th century”

The workshop ‘Women as Patrons’ aims to foster an interdisciplinary dialogue about the role of women in the patronage system and in the dissemination and management of music and arts at the turn of the 20th century. Taking into account previous patterns of female patronage throughout history, this workshop seeks to explore the emergence of a highly empowered network of women in various aspects of musical and cultural life during a moment of economic change characterised by the expansion of capitalism and the second wave of colonialism. The goal of this workshop is to define gender patterns in the promotion of music and arts at that time, going beyond individual and local experiences to focus on the networks, transnational exchanges, and cultural transfers operating around those cultural processes.

The Workshop will be held in Bern from 15 November to 16 November 2019 at the Institut für Musikwissenschaft, Universität Bern, Mittelstrasse 43, Room 120.

Full workshop details available at:

Presentations by:

Prof. Dr. Francisco Javier Albo, Georgia State University, Atlanta

Prof. Dr. Teresa Cascudo, Universidad de La Rioja, Logroño
Prof. Dr. Annegret Fauser, North Carolina University at Chapel Hill

Prof. Dr. Anselm Gerhard, Universität Bern
Prof. Dr. Sylvia Kahan, City University of New York
Prof. Dr. Jann Pasler, University of California, San Diego
Prof. Dr. Bullock Philip Ross, University of Oxford
Dr. Ascensión Mazuela-Anguita, Universidad de Granada
Dr. Martin Rempe, Universität Konstanz
Dr. Sabine Hohl, Universität Bern
Dr. Victor Strazzeri, Universität Bern

Workshop Organizers:
Dr. Vincenzina C. Ottomano & María Cáceres-Piñuel

Fail Better: Sharing Challenges and Learning in Classical Music Innovation

Maastricht Centre for the Innovation of Classical Music

Dates: 27–28 March 2020
Main venue: Conservatory Maastricht, the Netherlands.

Call for Projects, Workshops and Papers:

Innovation in classical music is happening everywhere, driven by musicians and orchestras around the globe. Although we tend to share our successes, there are few spaces to reflect on the challenges, obstacles and potential risks that we encounter in innovative practices. Through sharing these we believe that valuable learning opportunities can be created.

Following from the success of the first international symposium of the Maastricht Centre for the Innovation of Classical Music in March 2019, which was attended by 103 delegates, we would again like to invite practitioners; music educators and students; orchestral musicians, directors and administrators; as well as academic and artistic researchers to present innovative projects. Presentation of work in progress, as well as completed projects, is encouraged. In particular we seek to reflect on how obstacles and setbacks can trigger learning processes. The symposium aims to stimulate a supportive and fruitful dialogue in order to better understand what ingredients lead to successful innovation in classical music.

Participants are encouraged to present in a manner that best reflects or expresses their practice, rather than simply describing it. Therefore, nontraditional and interactive learning-appropriate modes of presentation are encouraged, such as lecture-recitals, workshops, performances, project presentations or combinations of these, using, for example, video, audio, posters, or panel discussions.
We invite submissions relating to the following themes, though this is not an exhaustive selection. All presentations should be in English.

  • Learning how to collaborate
  • Engaging audiences, e.g. children, young people, or older people
  • Learning as an institution and institutionalizing innovation
  • Making music matter
  • Exploring new musical contexts and spaces.

These themes can be explored with reference to any aspect of work in classical music, whether it be audience development, participatory projects, outreach and community work, new educational formats, empowerment of musicians, spatial/venue innovation, digital mediations, institutional learning, or cultural policy. Again, this list is not exhaustive.

Abstracts (max. 250 words) should be submitted to by 8 December 2019. Please include the name of presenter(s)/author(s), a short biography and organizational or institutional affiliation. Also add presentation requirements: spatial setup, stage, technical equipment, etc. The committee will review and select projects based on their relevance, clarity of the project’s main learning opportunity, and originality. Moreover, the committee seeks to construct a program bringing together learning opportunities from all levels of experience and expertise. Students thus are particularly encouraged to attend.

For queries, please contact

Prof Peter Peters, Director Maastricht Centre for the Innovation of Classical Music, Maastricht University.
Dr Stefan Rosu, Intendant philharmonie zuidnederland.
Dr Ruth Benschop, Professor at Zuyd University of Applied Sciences, Research Centre Autonomy of the Arts and the Public Sphere.
Dr Joachim Junghanss, Director Conservatorium Maastricht.
Dr Neil T. Smith, Postdoctoral researcher, Maastricht University. Karoly Galindo Molina, MA, Research assistant, Maastricht University.

The Maastricht Centre for the Innovation of Classical Music (MCICM) aims to study the dynamics of changing classical music practices and their societal contexts, and to actively shape classical music futures. The centre is a collaboration between philharmonie zuidnederland, Zuyd University of Applied Sciences, and Maastricht University. We combine academic research on innovation of performance practices with artistic research to renew classical music practices and music education in artistically relevant ways.