Music and Intercultural Practice Symposium

29th and 30th April 2021

University of Hull, UK – Online

KEYNOTE SPEAKERS

Professor Lily Chen-Hafteck (University of California, Los Angeles, USA)

Professors Laudan Nooshin (City University, UK) & Amanda Bayley (Bath Spa University, UK)

Dr Arla Good (Ryerson University, Toronto, Canada) 

Dr Fang Liu (University of Reading, UK)

Interculturality is about the interaction of cultures. It might be regarded as a practice through which individuals from different cultures learn more about their own culture and the culture of others. One example is the Chinese Whispers™ project at the University of Hull, which seeks to enable members of the University, local schools, and community choirs to learn Mandarin Chinese through the medium of song and to promote intercultural awareness.* 

This online symposium will feature invited presentations and selected submissions from researchers, performers and composers on intercultural practice involving music. We invite contributions exploring this theme from a range of perspectives, including musical, historical, psychological, educational, health and wellbeing. Contributions are welcome from researchers, performers and composers at all levels and are especially encouraged from postgraduate students and early-career researchers. In addition to spoken papers, live/recorded performances and compositions, a panel discussion will be held with our keynote speakers, Professors Lily Chen-Hafteck, Laudan Nooshin and Amanda Bayley, Drs Arla Good and Fang Liu. Submissions should show how the topic relates to music and intercultural practice.

Please send abstracts for spoken presentations, performances or compositions (250 words) to musicICP@hull.ac.uk by Monday 1st March 2021. For further information, please email: musicICP@hull.ac.uk

To register an interest in attending the symposium, visit [https://www.eventbrite.co.uk/e/music-and-intercultural-practice-symposium-university-of-hull-online-tickets-140856235793]

Symposium Committee: Yanyi Lu, Eloise McCann, James Rushworth, Dr Elaine King (Chair), Dr Simon Desbruslais, Dr Shane Lindsay, Dr Rowan Oliver, Dr Alexander Binns 

*The Chinese Whispers™ project is run by the Confucius Institute at the University of Hull. Researchers in the areas of both Music and Modern Languages are investigating the emotional experiences of choir members, the teaching process, and the development of intercultural practice.

Appel à communications – Colloque international « La Péniche Opéra 1982-2015 »

Paris et Poitiers (FR) 4-10 avril 2022

Contexte historique

En 1975, la metteuse en scène Mireille Larroche crée avec le comédien-musicien Jean-Paul Farré une compagnie itinérante : la Péniche Théâtre. En quête de nouvelles pratiques théâtrales, les spectacles s’ouvrent de plus en plus à la musique (Utopopolis, Instantanés/Actualités, Il était un soldat/L’ Histoire du Soldat). En 1982, la compagnie devient « Compagnie d’Expression Musicale et d’Opéra Vivant » (association loi 1901) à bord du bateau de 80 places appelé Péniche Opéra, amarré à Paris sur le bassin de La Villette.

Les quatre fondateurs de la Péniche Opéra représentent chacun un domaine : Mireille Larroche vient du théâtre, Pierre Danais défend la création musicale contemporaine, Ivan Matiakh porte le répertoire des XIXe et XXe siècles, Béatrice Cramoix soutient la musique ancienne. En 1988, une deuxième péniche, la Péniche Adélaïde, propose les soirées « Coups de cœur », cartes blanches intimistes confiées aux collaborateurs de la Péniche Opéra. Reconnue « Compagnie Nationale de Théâtre Lyrique et Musical » par le Ministère de la Culture en 1998, cette institution atypique témoigne de l’histoire du spectacle vivant au tournant des XXe et XXIe siècles et d’ une politique favorisant les processus de démocratisation, de diffusion et de décentralisation culturelles.

La Péniche Opéra soutient la création à travers la commande d’opéras et de pièces de théâtre musical, comme Opéra Louffe (1983), La Barca de Venitia per Padova / O comme Eau (1984), Les Chambres de Cristal (1985), Shoot again (1986), Moderato Cantabile (1987), Vingt mille lieues sous les mers (1988), Le Rouge et le noir (1989), Rêves et dérives (1991), Scorrendo (1992), Le Fusil de chasse (1999), La belle Lurette (2000), Ubu, opéra (2002), Cantates de bistrot (2005) … Les formes sont souvent novatrices, les œuvres peuvent rassembler plusieurs compositeurs ou établir des perspectives à travers le temps et l’espace. Des opéras oubliés sont ressuscités comme Le Mariage forcé, Le Toréador, Ô mon bel inconnu, Le Vin herbé, Le Roi Pausole... Enfin, la compagnie programme des soirées thématiques en cycles : « cabaret contemporain » (1985, 1998), « coups de cœur » (1988-2015), « le printemps de la mélodie » (2002-05), « les lundis de la contemporaine » (2006-2014), « les mardis baroques » (2007- 2008) et peut accueillir des spectacles d’autres compagnies.

La politique de la Péniche Opéra repose sur une volonté de mobilité et de diffusion, notamment envers les publics peu sensibilisés au théâtre lyrique. Dans un souci de mutualisation, elle conçoit des coproductions avec le Cargo-Maison de la culture de Grenoble, l’Opéra-Comique, l’Opéra de Toulon, le Théâtre des Champs-Élysées, le Théâtre Sylvia Monfort et diffuse son répertoire (Wozzeck) dans certains opéras de la Réunion des opéras de France (Avignon, Rouen, Limoges, Reims, Nice). Elle est programmée dans de nombreux festivals (Romans, Utrecht, Sarrebruck, Strasbourg, Avignon, Versailles, Aix-en-Provence, Beaune, Évian, Brétigny), tourne au Japon et en Chine, est accueillie en résidence à Fontainebleau, Vitry-sur-Seine et part en tournée sur les canaux européens depuis Paris jusqu’à Berlin (1985), Prague (1990), Magdebourg (1993), Maubeuge (2000). En 2015, Mireille Larroche a transmis la Péniche Opéra à la POP, incubateur artistique et citoyen destiné à soutenir des spectacles de création sonore et musicale. Ses anciens partenaires artistiques et institutionnels sont alors sollicités pour penser la valorisation de ses archives.

Contexte scientifique

Un programme de recherches fédère depuis 2016 le Centre de Recherche en Histoire de l’art et Musicologie (Université de Poitiers), l’IReMus (Sorbonne Université/BnF/CNRS/Ministère de la Culture) et l’Institut de Recherche en Études Théâtrales (Université Sorbonne-Nouvelle).

L’investigation de ces archives s’inscrit en effet dans plusieurs axes de recherche – politique culturelle, esthétique musicale et théâtrale, économie de la culture et sociologie – qui ont en commun de démontrer la singularité de cette institution et de son répertoire.

Après inventaire1, une partie des archives de la Péniche Opéra a été déposée à la Bibliothèque nationale de France (départements de la Musique et de l’Audiovisuel) en juin 2019 et a déjà pu faire l’objet d’un traitement par un groupe de chercheurs issus des institutions qui pilotent le projet. À partir du printemps 2021 la mise à disposition de toute la communauté scientifique de l’ensemble des archives permettra de compléter et d’approfondir les travaux de recherche amorcés. Le fruit de ces travaux sera présenté lors d’un colloque international en avril 2022, à l’occasion du quarantième anniversaire de la création de la compagnie. Il sera enrichi de manifestations culturelles et un volume collectif sera publié l’année suivante.

Axes de réflexion

Pour préparer le colloque et sa publication, il est proposé de travailler, le cas échéant en les croisant, sur quelques dimensions encore inexplorées.

– Histoire culturelle : le contexte d’éclosion de la Péniche Opéra : les compagnies alternatives dans les années 1980 ; la place de la Péniche Opéra modèle ou contre modèle pour la construction des compagnies et ensembles de théâtre lyrique en France et dans le monde : études transversales et comparées ; transmettre le spectacle vivant : la passation de la Péniche opéra…

– Histoire et esthétique des arts du spectacle : les collaborations récurrentes – Claude Prey, Bruno Gillet, Denis Chouillet, Vincent Bouchot…, les rencontres d’artistes, la construction des choix musicaux, la recherche de nouveaux genres – Opéras louffes, Les Chambres de cristal…, le répertoire et son rayonnement, les recréations –Vlan dans l’oeil, Le Toréador, Le Vin herbé…, l’esthétique du cabaret et de la revue, la place du cinéma à la Péniche Opéra -les films de résidences, les spectacles autour des Shadocks…

– Études de genre : la scène au féminin. On se penchera sur l’itinéraire de Mireille Larroche la créatrice, mais aussi sur le rôle qu’a joué cette expérience dans la construction de la carrière et du rapport à la musique scénique de Béatrice Cramoix et des compositrices accueillies, Isabelle Aboulker, Françoise Barrière, Édith Canat de Chizy, Monic Cecconi, Pascale Criton, Graciane Finzi, Suzanne Giraud, Betsy Jolas, Caroline Marçot, Claire Renard, Michèle Reverdy, Françoise Sarhan, Élisabeth Sikora, Mélanie Sinnhuber, Valérie Stéphan.

1 Cécile Auzolle, Sylvain Labrousse et Clara Roupie, Le Fonds d’archives de la Péniche Opéra. Inventaire [en ligne], Institut de Recherche en Musicologie, janvier 2018, disponible sur : https://www.nakala.fr/nakala/data/11280/79d0057f

– Sociologie de la musique : les publics de la Péniche Opéra : comment les archives administratives permettent-elles de comprendre la constitution des publics de la Péniche Opéra, leur recherche, leur motivation, leur évolution, leur fidélisation ? Quelle fut la réception des spectacles de la Péniche Opéra, en France comme à l’étranger ?

Format des propositions

Les propositions de communication (2000 signes maximum, espaces compris) accompagnées d’une courte bio-bibliographie (500 signes maximum, espaces compris) sont à envoyer au format word ou PDF au comité d’organisation du colloque :

cecile.auzolle@univ-poitiers.fr ; augustinbraud@gmail.com ; marianne.coutures@cnrs.fr ; Gilles.DEMONET@cnrs.fr ; catherine.treilhou-balaude@sorbonne-nouvelle.fr ; clara.roupie@hotmail.fr ; noemietessier.pro@gmail.com

Les langues du colloque seront le français et l’anglais. Date limite de soumission des propositions : 15 avril 2020

Réponse du comité scientifique : fin mai 2020

Comité scientifique

Cécile Auzolle (Université de Poitiers/Criham/IReMus) Guillaume Bourgeois (Université de Poitiers/Criham/IReMus) Gilles Demonet (Sorbonne Université/IReMus)
Sylvie Douche (Sorbonne Université/IReMus)
Catherine Treilhou-Balaudé (Université Sorbonne Nouvelle/IReT) Daniel Urrutiaguer (Université Sorbonne Nouvelle/IReT)

Comité d’organisation

Cécile Auzolle (Université de Poitiers/Criham/IReMus)
Augustin Braud (Université de Poitiers/Criham)
Marianne Coutures (IReMus)
Gilles Demonet (Sorbonne Université/IReMus)
Catherine Treilhou-Balaudé (Université Sorbonne Nouvelle/IReT) Clara Roupie (Université Sorbonne Nouvelle/IReT)

Noémie Tessier (Université Sorbonne Nouvelle/IReT)

Comité d’honneur

Mathias Auclair, directeur du Département de la Musique de la BnF Vincent Bouchot, compositeur
Graciane Finzi, compositrice
Mireille Larroche, metteuse en scène, fondatrice de la Péniche Opéra Olivier Mantei, directeur du théâtre de l’Opéra-Comique

SysMus21

We are excited to welcome you to SysMus21 in Aarhus, Denmark (and virtually), on 3-5 Nov 2021! SysMus conferences (International Conference of Students of Systematic Musicology) are annual student-run events designed to allow advanced bachelors, masters, and PhD students in the fields of systematic musicology and music science to meet and discuss their research. They provide the opportunity to present scientific work to peers in a professional, yet informal, setting. Due to generous funding from Novo Nordisk Foundation, the conference fee will be very low — we expect less than 60 EUR. We invite presentations in the form of live talks, virtual talks, and poster presentations (details below).

SysMus is dedicated to represent the diversity of topics and methods that are summarized under the umbrella term ‘systematic musicology’. Therefore, submissions addressing any of the following subjects are welcome (but not limited to these): Music perception, music cognition, music therapy, music modelling, music information retrieval, music sociology, music education, music technology, music and culture, music philosophy, music theory and analysis.

We are pleased to announce this year’s keynote speakers: Jonna Vuoskoski (RITMO Centre for Interdisciplinary Studies in Rhythm, Time and Motion, University of Oslo) and Nori Jacoby (Computational Auditory Perception research group at the Max Planck Institute for Empirical Aesthetics, Frankfurt). Additionally, Peter Vuust (Center for Music in the Brain, Aarhus University) will give a welcome talk. A satellite event (“Music in the Brain”) is scheduled for 2 Nov.

Please check out our conference website (https://sites.google.com/view/sysmus21) and connect via Twitter (https://twitter.com/SysMus21)!

 What to submit

Submissions are due on June 1st, 2021.

Full details: https://sites.google.com/view/sysmus21/call-for-contributions

Please submit two abstracts via the submission system (https://app.oxfordabstracts.com/login?redirect=/stages/2481/submitter).

1. Short Abstract

The short abstract is limited to no more than 100 words and should briefly describe the motivation, main findings, and implications. It should explain the significance of the research at a level understandable to researchers outside the author’s own specialized field. This is what will go into the abstract book.

2. Extended Abstract

The extended abstract gives you an opportunity to describe the motivations for your work, the methodology used, as well as the results and conclusions in more detail. This is what will go into the conference proceedings. The word limit is 300-500 words, and extended abstracts follow the structure: Background, Aims, Method, Results, and Conclusion. The author can choose to indicate a preference for either spoken (live or virtual) or poster presentation in the submission form. Authors should avoid referring to their own names within the submitted abstracts, as acceptance will be determined by anonymous peer review.

Live and virtual presentations

Live and virtual presentations will be allocated slots of 20 minutes, with 12 minutes for the presentation, 5 minutes for discussion, and 3 minutes to prepare for the next talk. The amount of virtual presentations will depend on the COVID situation. We will try to be flexible in choosing the most suitable format and will try to provide the same flexibility for participants, while ensuring everyone’s safety.

Poster presentations

Poster presentations will have designated time slots and presentation spaces that will not overlap with any other activity. Poster presentations will be live and/or virtual – we will keep you updated.

Important dates

1st June 2021: Submission deadline for short and extended abstracts

1st August 2021: Notification of acceptance & registration open

1st October 2021: Deadline for revised abstracts

3-5 November 2021: SysMus21 in Aarhus (and virtually)

Best regards,

SysMus21 Organizing Committee

(Signe Hagner (chair), Christine Ahrends, Jan Stupacher, & Niels Chr. Hansen)

The 22nd International Society for Music Information Retrieval Conference

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ISMIR 2021, Online, November 8-12, 2021
https://ismir2021.github.io/
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The annual conference of the International Society for Music Information Retrieval (ISMIR) is the world’s leading research forum on processing, analyzing, searching, organizing and accessing music-related data. The 22nd ISMIR conference, to be held online, welcomes contributions related to any aspect of Music IR, including foundations and theories for music processing, evaluation algorithms, applications, and analysis.

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Important Dates
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Time zone: Anywhere On Earth (AOE)
Abstract Submission: May 8, 2021
Final Submission: May 15, 2021
Notification of Acceptance: July 9, 2021
Camera-Ready Upload: August 2, 2021

There will be *no extension* to the submission deadlines. However, authors of registered papers on or before May 8th will be allowed to upload new versions of their papers until May 15th.

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Submission Guidelines
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All submissions must comply with the following requirements:

Length (6+n pages): papers must contain at most 6 pages of scientific content (including figures and tables), with additional optional pages that contain only references and acknowledgments.

Templates: papers must be submitted in PDF format using the ISMIR 2021 templates (LaTex or Word) to be released soon. You may not manipulate the style files in any way.

File size: submitted PDF files must be at most 4MB in size. Please compress images and figures as necessary before submitting.

Originality: papers must be original contributions. They cannot have been published elsewhere nor currently submitted for publication anywhere else. All relevant work, including direct quotations from your own work, should be cited.

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Submissions
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Submission system: We will use Microsoft CMT (the submission link will be released soon).

Supplementary material: In addition to the PDF file of the manuscript, authors will be able to also upload supplementary files for their submission, such as audio samples, code or additional results. We strongly encourage authors to do this.

Main message: During submission, authors will be asked for ONE line of text stating the main take-home message of their work. This information will NOT be available to reviewers or meta-reviewers; it is intended to help organize cohesive sessions for the conference.

Anonymity: ISMIR reviews are double-blind; authors and reviewers will be anonymous to each other. For the initial submission, please keep the author list from appearing in the text. Also, do not add any links/URLs that could reveal authors’ identity (e.g., to github pages). Likewise, make any self-citations in the third person, although self-citations should be kept to a minimum. Note that acknowledgments must not be included in the anonymized submission.

Preprints: to maintain the legitimacy for our double-blind review process, we strongly discourage authors from posting near duplicate manuscripts on public archives (technical reports, arXiv, etc.). In the same spirit, to protect our double-blind reviewing process, authors need to make sure they do not promote their work in any way during the review process (social media, blog, mailing-list, etc.), since this may prevent preserving anonymity.

Submissions that deviate from any of the above requirements will be automatically rejected.


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Review Process
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In order to ensure the quality of the papers published at the conference, all submissions will be evaluated according to the following criteria:

– Novelty
– Scholarly/scientific quality
– Reusable insights
– Thought-provoking potential
– Appropriateness of topic
– Importance
– Presentation and readability

We especially call for submissions that explicitly discuss reusable insights, that is, insights that may go beyond the scope of the paper, domain or application, to build up consistent knowledge across the MIR community.

The reviewing workflow follows a two-tier model, i.e. with one level of “regular” reviewers, and another level of “meta-reviewers”. All papers are examined by at least three reviewers.

Accepted papers must be presented at the conference by one of the authors, and at least one of the authors must register before the deadline given for author registration (TBD). Failure to register before the deadline will result in automatic withdrawal of the paper from the conference proceedings and program.

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Topics of Interest
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ISMIR 2021 welcomes full-paper contributions to any aspect of Music IR. Relevant topics include, but are not limited to:

– MIR fundamentals and methodology: music signal processing; symbolic music processing; metadata, tags, linked data, and semantic web; lyrics and other textual data, web mining, and natural language processing; multimodality.

– Domain knowledge: representations of music; music acoustics; computational music theory and musicology; cognitive MIR; machine learning/artificial intelligence for music.

– Musical features and properties: melody and motives; harmony, chords and tonality; rhythm, beat, tempo; structure, segmentation, and form; timbre, instrumentation, and voice; musical style and genre; musical affect, emotion and mood; expression and performative aspects of music.

– MIR tasks: sound source separation; music transcription and annotation; optical music recognition; alignment, synchronization, and score following; music summarization; music synthesis and transformation; fingerprinting; automatic classification; indexing and querying; pattern matching and detection; similarity metrics.

– Evaluation, datasets, and reproducibility: evaluation methodology; evaluation metrics; novel datasets and use cases; annotation protocols; reproducibility; MIR tasks.

– Philosophical and ethical discussions: philosophical and methodological foundations; legal and societal aspects of MIR; ethical issues related to designing and implementing MIR tools and technologies.

– Human-centered MIR: user behavior analysis and mining, user modeling; human-computer interaction and interfaces; personalization; user-centered evaluation.

– Applications: digital libraries and archives; music retrieval systems; music recommendation and playlist generation; music and health, well-being and therapy; music training and education; music composition, performance, and production; gaming; business and marketing. 

For additional information, you can reach the program chairs via email at ismir2021-papers@ismir.net.

Zhiyao Duan, Peter van Kranenburg, Juhan Nam, and Preeti Rao

ISMIR 2021 Scientific Program Chairs

Singing and the Online World: Call for Abstracts

In March 2020, most countries around the world were forced into lockdowns, which instigated a change in how people communicate, interact, and even how they live and work. For many, online video-conferencing technologies such as Zoom, Microsoft Teams, Facebook messenger, Skype, WhatsApp etc. became vital resources in everyday communication, and though all of these platforms had existed previously, none had been designed to cope with such a multitude of online activity.  All forms of singing have been especially difficult to facilitate online. While the desire and need to continue vocal performance, teaching and research has swiftly forced the creation of new methods and practices that utilise the online space, it is also important to question issues of accessibility caused by this mass move online.

On the one hand, the online platform has opened up areas of singing practice and research to those who may not have had the means to access in-person activities or physical resources. For example, over the last ten years, there have been creative initiatives devised to help level barriers to access, allowing people with long-term physical and mental health issues, those who live far away, and those with caring responsibilities to engage in singing practice and/or research. Indeed, studies by Jeanette Tamplin (2019), Imogen N. Clark (2018), Shreena Unadkat, and Trish Vella-Burrows (2016) have turned to the online space and digital technology to facilitate singing activities.  On the other hand, singing online also presents many unique challenges, arguably imposing just as many, if not more, barriers to access. These include, but are not limited to access to a computer, fast-internet connection, headphones, a recorder, and the skillset and confidence to use video-conferencing and video-editing software. Other challenges could be, engaging in online singing activities while at home, limitations posed by the space or other people, comfort and confidence to engage socially online and so forth. These are just a few of the challenges this edited collection plans to address.

As such, Singing and the Online World aims to interrogate questions of access, considering the mitigations that need to be put in place to facilitate singing practice and research online. We seek papers that discuss, evaluate, and engage with issues of access when utilising the online space for singing practice and research. Please note topics do not have to centre on the Global pandemic and can highlight singing practices and research that utilised the online space before 2020.

Topics may cover but are not limited to:

  • Perceptions of accessibility. 
  • Initiatives designed to facilitate online singing activities. 
  • Benefits and challenges of interacting online compared to in-person interactions. Interactions might include lessons, masterclasses, choirs, ensembles, children singing activities, singing for health activities etc. 
  • Auditory experience of singing online. 
  • Psychological, social, demographic and environmental impacts encourage or prevent engaging with online singing activities or research.
  • The importance of developing accessible resources to facilitate singing practice and research. 
  • Understanding and interpreting historical materials and/or current research on singing.  
  • Initiatives designed to bring singing events into the home via online streaming platforms. 
  • Audience responses to streaming events. 
  • Accessibility and the streamed event.
  • History and development of online singing

We are particularly interested in research that challenge assumptions regarding accessibility, singing and the online space.

Where did the idea for this collection emerge?

The idea for this collection emerged from the Spheres of Singing online conference held in May 2020. Several papers presented at the conference considered singing practice and research in a variety of ways, but two of the most common themes were accessibility and utilising the online space. We have already approached an academic publisher who is interested in seeing a proposal for this collection.

Abstract Deadline

Please send abstracts of 500 words (maximum) as a PDF or word doc. to b.rkirkland@rcs.ac.uk by 28th February 2021. Please also include a 250-word biography. Final chapter lengths will be between 7000-8000 words (maximum).

Timeline

We will decide on final abstracts by 31st March and these will be included in our proposal (due to be submitted mid-April). If the proposal is contracted, we will be in touch with a final submission deadline for the completed chapter. All enquiries are welcome.

Global Piano Roll Meeting – Prelude 2

Online conference, 27 March 2021

The Global Piano Roll Meeting is excited to announce a second virtual conference on 27 March 2021 at 21:00 CET (20:00 GMT, 13:00 PST, 07:00 AEDT). This three-hour meeting will include lectures on Hupfeld DEA and Aeolian, discussion groups and a listening session. It aims to continue the communication and collaboration sparked by the 2018 gathering, and to be a second prelude to a planned 2021 conference in Switzerland. 
The conference will occur online via Zoom and will offer interactive opportunities for questions and group discussion. It is hosted by the Bern University of the Arts HKB in collaboration with Stanford University, Faszination Pianola and the Museum für Musikautomaten Seewen.

For more information and registration, please see https://www.hkb-interpretation.ch/2nd-global-piano-roll-meeting

“Baltic Musics After the Post-Soviet”

“Baltic Musics After the Post-Soviet,” Amherst College, Virtual, January 21-23, 2022

Deadline: April 1, 2021

“Baltic Musics After the Post-Soviet” is an international conference hosted virtually at the Center for Humanistic Inquiry at Amherst College (Massachusetts, USA) on January 21-23, 2022. The conference will bring together scholars and artists working in the Baltics (Estonia, Latvia, Lithuania, and areas connected by the Baltic Sea) and with Baltic musics to document and understand emerging worlds and narratives of Baltic music. The three-day event will focus on questions of creative and scholarly practice after the “post-Soviet”: What happens as processes of return, reunion, restoration, revival, and reconciliation characterizing “post-Soviet” life in the Baltics give way to new emergencies and urgencies? What happens as generations less impacted by the experience of Soviet occupation and coloniality create sounds and spaces beyond the “post-Soviet”? For Baltic musicians, musical publics, and scholars working to decolonize national culture, critically rethink ethnolinguistic and racialized identities in musical life, and make scenes and traditions sustainable, the certainty of the “post-Soviet” as “that which we no longer are” is also its limit—always once occupied, once colonized.

Confirmed keynote speakers and presenters are:

Kevin Karnes (Emory University)

Rūta Stanevičiūtė (Lithuanian Academy of Music and Theatre)

Laura Jēkabsone (Composer/Arranger, Latvian Voices)


We invite music- and sound-centered papers and presentations of creative work that address Baltic musics after the “post-Soviet” from practice-based, ethnographic, historical, and comparative perspectives. For papers, please submit a 250-word abstract along with a 150-word biography. For maker and performer presentations, please submit either a 250-word description of your presentation plan or a prospective program with a 100-word description of relevant themes, topics, or connecting threads. All maker and performer proposals should include 1-3 links to audio/visual/other if relevant materials that are representative of the proposed presentation. All materials should be submitted in PDF format to balticmusics2022@gmail.com by April 1, 2021.


For more information, please see the conference website here: https://bit.ly/3t5SrdJ

Fragility of Sounds Lecture Series #8

For an exchange across disciplines and cultures, the FOS Lecture Series brings together composers, performers, musicians, scientists and researchers, in order to investigate into terrains such as the fragility and interdependency of sound, membranes and surfaces, filters and transitions. We look into movement, space, and the body in connection with music theatre and electronic music, as well as into society and environment, identity and gender in the context of composing. These multiple fields contribute to the vast landscape of music theatre today. In this series, we understand music theatre in the widest sense of the term: music theatre is sound moving in, through, or with space and time. Music theatre is a collaborative process that necessitates co-operation and collaboration.

Join us on an inspiring journey into contemporary music, theatre, listening, and culture: we explore new ideas, discuss, and critically comment the various results and insights. Lectures will be in English.

All events are only held online. Participation is free of charge and accessible worldwide.

>>> https://www.fragilityofsounds.org/fragility-of-sounds-lecture-series/

Thursday 11 March – 5 PM [CET/UTC+1]

Veza Fernandez
Tremor – Video performance and artist talk

Chikako Morishita
Composing ‘Narrative Dissolution’: Framing Subjectivity in Music Composition

…continuing through March 2021, with a further contribution by Pia Palme.

Fragility of Sounds Lecture Series #7

For an exchange across disciplines and cultures, the FOS Lecture Series brings together composers, performers, musicians, scientists and researchers, in order to investigate into terrains such as the fragility and interdependency of sound, membranes and surfaces, filters and transitions. We look into movement, space, and the body in connection with music theatre and electronic music, as well as into society and environment, identity and gender in the context of composing. These multiple fields contribute to the vast landscape of music theatre today. In this series, we understand music theatre in the widest sense of the term: music theatre is sound moving in, through, or with space and time. Music theatre is a collaborative process that necessitates co-operation and collaboration.

Join us on an inspiring journey into contemporary music, theatre, listening, and culture: we explore new ideas, discuss, and critically comment the various results and insights. Lectures will be in English.

All events are only held online. Participation is free of charge and accessible worldwide.

>>> https://www.fragilityofsounds.org/fragility-of-sounds-lecture-series/

Thursday 04 March – 5 PM [CET/UTC+1]

Aistė Vaitkevičiūtė
Emerging in the Process: Alternative Musical Thinking Recalling Archaic (Female) Existence

Sarah Weiss
Precarious Resistance: On Women Singing Transgression in Ritual Contexts

…continuing until March 2021, with further contributions by Veza Fernandez, Chikako Morishita, Pia Palme.

NoiseFloor 2021: Extended Deadline Friday 26th February

NOISEFLOOR 2021: EXTENDED DEADLINE – SUBMIT PROPOSALS BY FRIDAY FEBRUARY 26TH

NoiseFloor 2021 Call for Works

We are delighted to announce that NoiseFloor will be returning to the Music and Sound department at Staffordshire University in May 2021.

Key Dates

  • NoiseFloor – Tues 11th and Weds 12th May 2021
  • Deadline for abstract submissions:
    1. EXTENDED DEADLINE – SUBMIT PROPOSALS BY FRIDAY FEBRUARY 26TH
  • Notification of acceptance: Monday 29th March 2021
  • Deadline for registration: Friday 16th April 2021

Our theme for 2021 will be Collaboration

Submission Portal

http://staffordshire.qualtrics.com/jfe/form/SV_ehTdBkQsmXJFt3v

As we begin seek ways to emerge from the global pandemic, the arts have rarely been so threatened or so important in people’s lives. Throughout 2020, and into 2021, we have all had to learn new ways of working together and of reaching our audiences. How important have collaborations been to this process and to what extent does collaboration play a role in your work more generally? Contemporary music frequently brings together practitioners from very diverse backgrounds: composers, performers, programmers, and multimedia artists can all find themselves working towards common goals. What are the challenges and rewards of such collaborations? Collaborations can also involve working with local communities, or with academics and industry professionals from other disciplines. What insights and experiences can we bring to these situations to ensure their success?

Compositions, performances and other works addressing our theme are particularly welcome; as are proposals for presentations, lecture recitals, panel discussions, workshops and other ideas. As always, proposals for other relevant topics will also be considered. We welcome submissions from composers, researchers, academics, postgraduates and any other interested parties.

Submissions should fall into one of the following categories:

  • 20-minute paper presentations (with 5 minutes for questions)
  • 35-minute lecture recitals (with 5-minutes for questions)
  • Fixed acousmatic works (up to 8 channel)
  • Acoustic instruments (with or without electronics)
  • Music and interactive systems (2 channel audio with video)
  • Audiovisual music (2 channel audio with video)
  • Workshops
  • Panel discussions

Please note that we are unable to provide performers or instruments. Contributors will be expected to make their own arrangements.

With the continuing uncertainty surrounding the global pandemic, the organisers have taken the decision to move the event online for 2021. However, this decision will be reviewed periodically and, if it is safe, legal and responsible to do so, we may move to a blended approach nearer the date. An online event will impact on the format of the intended concerts, but we shall review all submissions and decide how best to proceed closer to the event date. Any changes will be announced on this website.

Registration: The fees are £45 for presenters and for attendees, £20 for students. Concessions will be available for students of Staffordshire University. There is no submission fee. Contributors are expected to attend the event.