The Soundscape of the Venetian Terraferma in the Early Modern Era. International Conference celebrating 475 Years of the Accademia Filarmonica of Verona

immagine della Santissima Vergine Maria di Loreto della Giara in Verona, Stamperia del Seminario, Padova 1714 Domenico Zanatta Venezia 1665 Verona 5 agosto 1748

Verona, 1-3 June 2018

Call for Papers 
Deadline for proposals: 31 December 2017

The Soundscape of the Venetian Terraferma in the Early Modern Era is an international conference organized by the Accademia Filarmonica of Verona on the occasion of the 475th anniversary of its foundation (23 May 1543), in collaboration with University of Verona, Ca’ Foscari University of Venice, University of St Andrews and Conservatorio “E. F. Dall’Abaco” of Verona.
Natural sequel to The Soundscape of Early Modern Venice (Ca’ Foscari University of Venice, 24-27 May 2017 – vmo.unive.it/soundscape2017), this further initiative has the aim of increasing debate on the varied soundscape of the Venetian Terraferma in the early modern period. This territory, which stretched from Bergamo in the west to the Friulian Alps in the north-east and the river Po at the Republic’s southern extremity, formed one of the three subdivisions of the Serenissima; the others were the Dogado (Venice and surrounding area) and the Stato da mar (Venetian possessions in the eastern Adriatic and Mediterranean areas). The articulate system that regulates musical and non-musical sound in the Venetian territories prior to the fall of the Serenissima in 1797 is highly conducive to an interdisciplinary approach which draws on the new perspectives offered by urban history, humanistic geography and historical anthropology. Emblematic, in this sense, are the activities of the Accademia Filarmonica, which have dominated almost five centuries of local musical history.

The official languages of the conference are English and Italian.

The conference will take place in Verona from 1-3 June 2018.

Suggested topics: 
– Sound and urban identity
– The sound of local civic ceremonial and devotional activities
– Reciprocal influence of Venetian and Terraferma soundscapes
– Musical relationships between the Terraferma cities and the courts of northern Italy and elsewhere
– Music and society (patronage; academies and other musical institutions, private and public; private uses of music)
– Educational, philosophical and social dynamics in musical practice
– The sounds of public and private festivities
– Musical theatre in the Terraferma and its social impact
– Music, urban architecture and the visual arts
– Music and economics (music printing, production and commerce of musical instruments, the economics of performance)
– Sound as material and non-material cultural heritage

One session of the conference will be entirely dedicated to research on the Accademia Filarmonica of Verona.

Peer-reviewed contributions will be published in a dedicated volume, scheduled to appear in 2019.

*** 

The programme committee invites proposals for 20-minute papers, with 10 minutes for questions and discussion. Please email abstracts (max. 250 words), together with a short biography, to: biblioteca@academiafilarmonica.191.it

Further information will be available from September 2017 on the conference website, which will continue to be updated with details of costs, events and accommodation near the conference venue.

Accepted proposals will be announced before 16 February 2018.

*** 

Organizing Committee: 
Alessandro Arcangeli (University of Verona)
Vincenzo Borghetti (University of Verona)
David Douglas Bryant (Ca’ Foscari University of Venice)
Luigi Collarile (University of Geneva)
Michele Magnabosco (Accademia Filarmonica, Verona)
Laura Moretti (University of St Andrews)
Laura Och (Conservatorio “E. F. Dall’Abaco” of Verona)

For further information please contact
Michele Magnabosco: biblioteca@accademiafilarmonica.191.it The Soundscape of Early Modern Venice

 

Advertisements

19th Biennial International Nineteenth-Century Music Conference

19th Biennial International Nineteenth-Century Music Conference
Faculty of Music, University of Oxford
11-13 July 2016

Book here:

 

Registration fees:
Concessionary rates are available to students, unwaged and retired delegates.

– Standard 3-day registration fee – £100.00
– Concessionary 3-day registration fee – £70.00
– Standard 1-day registration fee – £45.00 per day
– Concessionary 1-day registration fee – £25.00 per day
– 3-course conference dinner at Merton College, Tuesday 12th July – £50.00

Accommodation Information:
– College and city accommodation available, see website for details.

Keynote speakers:
Professor Daniel Chua (University of Hong Kong)
Professor Jessica Gienow-Hecht (Freie Universität Berlin)

Conference programme:
– A draft can be downloaded from the website.

Conference committee:
– Philip Bullock, Barbara Eichner, Daniel Grimley, Anna Stoll Knecht, Laura Tunbridge, Benjamin Walton


Faculty of Music, University of Oxford
St Aldate’s
Oxford
OX1 1DB

Opera and the Greek World during Nineteenth Century

International Conference.  Corfu, Greece, 17-19 November 2017

2017 marks for opera in Greece four anniversaries: the centenary since the passing of Spiros Samaras (1861-1917), the bicentenary since the birth of two important Greek opera composers, Spiridon Xyndas (1817-1896) and Domenikos Padovas (1817-1892), as well as the 150 years since the premiere of the opera O ypopsifios [The Parliamentary Candidate] (1867, music by Xyndas and libretto by Ioannis Rinopoulos), which was both the first full-scale opera in Greek and the pivotal point for the emergence of opera in Greek language.

The Hellenic Music Research Lab of the Music Department of the Ionian University and Corfu Philharmonic Society on the occasion of the aforementioned anniversaries organize the international conference entitled Opera and the Greek World during Nineteenth Century, which is going to take place in Corfu, Greece, on 17, 18 and 19 November 2017.

Corfu, the seat of the Ionian University, was the birthplace of the three aforementioned composers. The San Giacomo theatre of Corfu, the earliest theatrical stage of the region, hosted opera performances already since 1733, contributing decisively to the dissemination of opera within the Greek world during 19th century. Moreover, Xyndas, Padovas and Samaras presented in the same theatre their operas. Xyndas in 1840 was also one of the initial founders and professors of the Corfu Philharmonic Society and he dedicated to it certain of his operas. Padovas also taught harmony and music theory in the Philharmonic, in 1857 he dedicated to it his opera Dirce and since 1884 he was appointed the Society’s artistic director. Samaras, a student of Xyndas during his early music training, had multiple connections with the Philharmonic Society and had been its honorary artistic director since 1889.

Given the above, the conference will not be confined solely to the lives and the works of the aforementioned composers, but it will focus on matters regarding the place, the reception, the importance and the formative factors of the operatic activity within the Greek world during the “long nineteenth century”. With these in mind, some indicative themes of the conference are proposed to be;

  • Spiros Samaras: life and work
  • Spiridon Xindas: life and work
  • Domenikos Padovas: life and work
  • The activities of the Italian opera troupes in the Greek areas (singers, musicians, impresarios, repertory etc)
  • The activities of the French opera troupes in the Greek areas
  • The activities of the Greek opera troupes
  • Opera in the Greek communities of Diaspora (Trieste, Odessa, Alexandria, Smyrna, Constantinople etc)
  • Opera in the Greek urban centres
  • Institutions of operatic activity
  • The reception of opera in the Greek world
  • Subjects related to Greece in the 19th-century opera

The official languages of the opera are GreekItalian and English.

Scholars and researchers interested to participate in the conference are asked to submit their abstracts (250 words) and short biographical notes (100 words) for papers of no more than 20 minutes. Themed sessions of 60 minutes can also be proposed (Abstract of 450 words and Bios of 100 words).

There are no fees for the participation or the attendance of the conference.

The final date for the proposals’ submission is 31 December 2016.

The abstracts and the biographical notes should be sent until the above date in the following email: operaconfcorfu2017@gmail.com
The Official website of the conference is: http://users.ionio.gr/~GreekMus/operaconf2017/eng.htm
The conference’s programme will be finalized by 1 March 2017.

Programme Committee
Prof. Haris Xanthoudakis
Prof. Anastasia Siopsi
A. Prof. Panos Vlagopoulos
A. Professor Avra Xapapadakou

Organizing Committee
Spiridon Padovas
Kostas Kardamis
Kostas Sambanis
Stella Kourbana
Alexandros Charkiolakis
Gerasimos Martinis

What does democracy sound like? Actors, Institutions – Practices, Discourses

International Conference, 5th-7th November 2015, Philharmonie de Paris

Partners:
L’Ecole des hautes études en sciences sociales Paris (Centre de recherches sur les arts et le langage & Centre Georg Simmel); Centre Marc Bloch Berlin; Palazzetto Bru Zane Venice; Center for Worldmusic Hildesheim; Philharmonie de Paris

With the question ‘What does democracy sound like?’, this jointly organised German-French conference intends to open up a space for discussing conceptions and potential functions of music within democratic societies. In research, relations between music and politics were especially closely intertwined thought in official representations of feudal societies and in the context of the ideological instrumentalization of music in totalitarian regimes. Considering this, it appears that the relationship between music and politics can carry dangerous, or at least problematic implications. This relationship seems to be also difficult with regard to the (unquestioned) necessity of autonomy and the principle of artistic freedom. In contrast to this stands the positive power of music, as represented by its potential for use in resistance, protest and liberation movements and its mobilization within processes of community and identity building. Instead of viewing these differing perspectives as contradictory, this conference aims to consider them as an expression of the complexity of the relationships between musical practices and diverse conceptions of collective action and social groupings.

In both historical and anthropological approaches, various forms of musical practices, discourses and social groupings (state, regional and local communities, clubs and interest groups etc.) within democratic societies come into consideration here:

How can it, for example, be explained that music often acts as a means of representing a society as being free and equal, i.e. as a medium for the shaping of society? What prerequisites and intentions underlie the understanding of music as social ‘common property’? In how far are different actors/experts (researchers, members of various interest groups or also militant associations) involved in the process of legitimating state intervention in various musical spheres (artistic production, mediation, education, construction of musical spaces)? Also to be discussed are terms such as ‘culture’, ‘music’, ‘society’, ‘the people’ etc., which struggle for definitionwithin the continualinterplay of societal legitimation and contradiction. Musical practice, when viewed in relation to the term ‘democracy’–which shouldalso be problematized with regardtoits social and political processes of mediation – demands an openness of approach. Indeed, the term ‘democracy’ is instinctively connected to unifying societal ideals and political norms, yet the practical implementation of this concept clearly varies according to time and place.

In order to bring this variation to attention, the conference will take on a longue duréeperspective and trace ideas of democratic thinking in music – with its continuities and gaps – from its first appearance (late 18th/early 19th century) up to the present day. The examples of France and Germany can be taken as a starting point but the focus should by no means be restricted to them. Rather, points of reference between different countries and cultural contexts should be drawn upon and produced.

On the basis of these initial questions, contributions to one or more of the following key areas are welcome:

Music and State: music-related cultural and educational policies; debates on societal representation and participation; institutionalization processes; etc.

History of Ideas: historical milestones in the development of concepts of ‘music and democracy’; processes of mobilization and stabilization as well as controversies surrounding related concepts (musical autonomy, representation, cultural diversity, etc.); the construction of musical hierarchies and genres; etc.

Creativity and Politics: debates on the definition and diversity of the terms ‘culture’ and ‘music’ from the viewpoint of artists (social culture, culture for everyone, etc.); conceptions of society and politics that underlie musical practices; politically motivated music; etc.

Space and Reception: construction of musical spaces and events in democratic societies (concert halls, festivals, conservatoires, radio, etc.); social and symbolic dimensions of architectonic conceptions and localizations in space; debates on social responsibility and the financing of musical spaces and events; etc.

Musical Publics: practices and contexts of listening and reception; concepts of ‘the public’ (elite, mainstream, masses, listeners, audiences, fans, etc.); means of constructing and representing the public (statistics, expert studies, market analysis, self-organization, medialization); etc.

By inviting contributions that concern themselves with various historical and geographic situations and that are orientated around different points of access to the topic (different actors, institutions, practices, discourses), the conference intends to open a forum in which the variety of perspectives on this theme can be taken into account. The aim is to consider the relationship between music and politics in all its complexities and different manifestations in democratic societies.

Contributions from a broad range of humanities and social science disciplines are welcome (History, Anthropology, Musicology, Ethnomusicology, Political Sciences, Sociology, DevelopmentalStudies/Pedagogy, Theatre Studies, etc.).
The conference languages are French, German and English.

Proposals (abstract max. 2000 characters, CV max. 500 characters) should be sent by 15th May 2015 at the latest to the following address: musikdemokratie@gmail.com.
Notifications of acceptance will be sent out by 30th June 2015 and the conference programme published online at http://www.musikdemokratie.wordpress.com.
We look forward to receiving your proposals!

Members of the scientific committee:

Philip Bohlman, Esteban Buch, Annegret Fauser, Wolfgang Fuhrmann, Antoine Hennion, Denis Laborde, Karine Le Bail, Julio Mendívil, Olivier Roueff, Patrice Veit, Raimund Vogels, Sarah Zalfen, Hansjakob Ziemer

Organizers:

Talia Bachir-Loopuyt (Université Jean-Monnet), Etienne Jardin (Palazzetto Bru-Zane), Christina Kaps (Humboldt-Universität zu Berlin), Elsa Rieu (Ecole des Hautes Etudes en Sciences Sociales Paris), Lena van der Hoven (Max-Planck-Institut für Bildungsforschung)

Listening to Early Modern Catholicism. New Perspectives from Musicology

When: July 14-16, 2014
Where: Boston College, Chestnut Hill, MA
Organizing Committee: T. Frank Kennedy, S.J.; Michael Noone; Daniele V. Filippi
Sponsored by The Jesuit Institute and The Music Department of Boston College

An international group of musicologists will convene at Boston College to discuss the sonic cultures of Early Modern Catholicism (c.1500–1750).
Scholars from nine different countries will demonstrate the unique insights that can be gained about Early Modern Catholicism from the study of music and sound.
Keynote addresses will be offered by John O’Malley, S.J. (Georgetown University), and Robert L. Kendrick (The University of Chicago).
The conference will also feature a round table (chaired by T. Frank Kennedy, S.J.) concerning the role of the Jesuits and their networks in the creation of Catholic soundscapes.

For further information, including the list of participants, the program, and the abstracts, please see http://www.listening2014.com/
Contact: daniele.filippi@bc.edu

Out of Bounds. Ethnography | Music | History

Harvard University Department of Music is delighted to present a conference in honor of G. Dordon Watts Professor Kay Kaufman Shelemay. Out of Bounds: Ethnography, History and Music, will take place  October 24-26, 2014 in the Music Building/Paine Hall on the Harvard University campus. The conference is free, but registration is recommended. For information and to pre-register, go to: http://www.music.fas.harvard.edu/out.html

Conference papers will be organized around the importance of history in ethnomusicology, collaborative ethnography, migration, music and memory, and the interrelationship between the cognitive and the musical. A keynote will be given by Ellen T. Harris, Class of 1949 Professor Emeritus at Massachusetts Institute of Technology. The conference also features a concert by Ethiopian pop sensation, Debo Band, an 11-member group led by Ethiopian-American saxophonist Danny Mekonnen.

Additional conference information is available at http://www.music.fas.harvard.edu/out.html/  To contact conference organizers, write musicdpt@fas.harvard.edu


Annual Meeting, Society for Christian Scholarship in Music

CALL FOR PAPERS

Society for Christian Scholarship in Music

Annual Meeting

February 20-22, 2014

Trinity Christian College, Palos Heights, IL

The Society for Christian Scholarship in Music seeks proposals for its upcoming annual meeting, which will take place at Trinity Christian College (Palos Heights, IL), February 20-22, 2014.

Individual papers, panels, and lecture recitals on any topic pertaining to music and Christian scholarship are welcome. Individual papers are 25 minutes long; panels (with three people) are one and a half hours; and lecture-recitals, one hour. We invite submissions representing a variety of approaches and perspectives, including history, ethnomusicology, theory and analysis, philosophy and theology, liturgy, and critical theory.

SCSM encourages submissions from current graduate students. A $250 prize will be awarded for the best paper presented by a graduate student at the 2014 meeting.

The Society for Christian Scholarship in Music (formerly the Forum on Music and Christian Scholarship) is an association of scholars interested in exploring the intersections of Christian faith and musical scholarship. We are an ecumenical association, reflecting the world-wide diversity of Christian traditions, and seeking to learn from scholars outside those traditions. As scholars of Christian convictions, we are dedicated to excellence in all our work as musicologists, theorists, and ethnomusicologists. Conference registration is open to all interested persons: undergraduate and graduate students, as well as independent and affiliated scholars. For more information about SCSM and about previous conferences, see www.fmcs.us.

Please send a 250-word abstract for individual papers and lecture recitals, and a 500-word abstract for panels, including all names, affiliation, and contact information. Send submissions or any questions to scsm.trinity.2014@gmail.com. The deadline for submissions is October 1, 2013.

Databases and digital resources: current issues

Thursday, July 4, 2013
Ircam – salle Igor-Stravinsky – 1 place Igor Stravinsky 75004 Paris (France)

This study follows the one organized in June 2010 by the Centre d’Histoire “Espaces et Cultures” at the University of Clermont-Ferrand around databases and digital resources. It will be a step in the evolution of the offers in this area and will review various achievements applied to music, literature, history of performing arts and arts. The application problems in a general context of clustering and data aggregation, the need for interoperability and sustainability of tools will be among the topics discussed by speakers.

10h
Introduction
Jérémy CRUBLET et Barbara NESTOLA (Centre de musique baroque de Versailles)
Réponses techniques à une problématique scientifique – L’Académie royale de musique (1669-1790) : du livret à la scène

Samuel GOLDSZMIDT et Minh DANG (Ircam)
Brahms, Sidney et Archiprod : des données communes et des bases différentes

Cécile DAVY-RIGAUD, Alban FRAMBOISIER et Philippe RIGAUX (IRPMF)
Neuma : construire une bibliothèque numérique de données musicales patrimoniales

Lunch break

14h30
Philippe BOURDIN, Cyril TRIOLAIRE et Jérémy CRUBLET (Université de Clermont-Ferrand)
Therepsicore : reconstituer et réévaluer la vie théâtrale provinciale sous la Révolution et l’Empire

Alexandre GEFEN (CNRS-Université Paris 4-Sorbonne)
Un texte littéraire est-il une base de données ?

Emmanuelle BERMES (Centre Pompidou)
Le partage des données et leur intégration (OpenData et LinkedData)
L’utilisation du Web sémantique pour créer des liens entre plusieurs bases de données

Discussion

4th International Musicological Student Conference-Competition

4th International Musicological Student Conference-Competition
April 2013
Tbilisi, Georgia

Requirements:
Participants should be the students of undergraduate and postgraduate (Master’s and Doctorates) courses of Higher Educational Institutions (both musicologists as well as performers).

Themes:
The Conference-competition participants are free in choice of the theme in following areas:
Music History, Music Theory, Sacred Music, Ethnomusicology, Musical Interpretation. Issues of music aesthetics, philosophy, also methodological issues of musicology.

Working Languages:
Georgian, English, Russian
Deadlines
• The deadline for proposals is November 30 . 2012
• All proposals are submitted online: geomusicology@gmail.com;
• Applicants will receive the application form by e-mail, during 5 days after online registration.
• Filled applications and abstracts should be sent no later than 10 days from registration.
• The full version of the paper should be sent by March 30, 2013.
• Fee for participation is € 30.

The program of the conference/competition also includes concert and cultural program.
Conference/competition will be held at April 2013, In Tbilisi State Conservatoire, Tbilisi Georgia.

Those interested in participating
• Participants (Competitors and out of competition participants) will be selected through the abstracts they have sent.
• Abstracts should be written in English or Russian (500- 650 words). Page format – A4, Font size – 12, Paragraph -1,5; Margins – 2cm. Font – Times New Roman or Sylfaen.
• The papers submitted shouldn’t be more than 6 printed page (Page format – A4, Font size – 12, Paragraph -1,5; Margins – 2cm).
• Time-limit for paper presentation 10 min.
Time-limit for paper discussion is 10 min.

For more information please contact:

Official e-mail of the Conference/Competition: geomusicology@gmail.com
Phones: +995 598 272048 – Maia Sigua
+995 593 985699 – Ketevan Chitadze
+995 593 909123 – Nana Katsia

web-site: http://www.conservatoire.edu.ge