Public Musicology Symposium

Organized by the Society for Musicology in Ireland

The Kevin Barry Recital Room
National Concert Hall, Dublin
Wednesday 26 April 2017
Time: 08.30-18.30

This international one-day symposium on Public Musicology, organized by  the Society for Musicology in Ireland, is in accordance with the aims of that society: to nurture and highlight the role of music in education and broader society on a national and international platform. The aim of this symposium is to ask how musicology relates to the ‘public voice’, the voice of culture at large. At a time when the government is calling for a new level of connectedness between higher education and wider society, academics are under increasing pressure to address this issue of civic engagement. Additionally, as many of our doctoral graduates do not follow an academic career path, there is an urgent need to offer alternative pathways to graduate students forging a career beyond the academy.

Our eleven guest speakers will explore a diverse range of themes: careers in and beyond musicology, community-based projects, curating concerts and issues of programming, musicology in journalism, musicology and civic engagement, music theory, musicological entrepreneurship, public musicology in Ireland, public musicology projects, and musicology and the media. This symposium aims to bring together the published scholar but also the journalist, the writer of programme notes, the teacher, the radio broadcaster and any others in a position to affect the wider discourse on music. The primary objective of the symposium is to raise awareness of how music scholars, educators, music journalists and industry professionals engage with the public at large.


Keynote Speaker:
Prof. Christopher H. Gibbs

Bard College | New York

Dr Lorraine Byrne Bodley MRIA | Maynooth University | President of the Society for Musicology in Ireland
Prof. Harry White MRIA | University College Dublin
Prof. Julian Horton | Durham University
Dr Anne M. Hyland | University of Manchester
Dr Stephen Graham | Goldsmiths, University of London
Dr J. Griffith Rollefson | University College Cork
Dr Aidan Thomson | Queen’s University, Belfast
Dr Alexandra Buckle | Oxford University
Dr Melanie Marshall | University College Cork
Dr Deirdre Ní Chonghaile | NUI Galway


General Admission: €10
Student Tickets: FREE

Tickets are €10 which includes tea and coffee and admission to all sessions, including the keynote address by Professor Christopher Gibbs, Bard College, New York. Students attend for FREE but must register and purchase a student ticket. Please note that there will be a wine reception following the symposium: 18.30-19.15, The 1st Floor Foyer, outside The Kevin Barry Recital Room.

Please fill out the registration form, which also contains the link to purchase tickets, via the National Concert Hall Box Office. The link to the National Concert Hall Box Office is provided at the bottom of the registration form. Please click on the link to book your ticket:




If you have any queries in relation to the event, please contact the symposium coordinator, Barbara Strahan:

Funded by the Irish Research Council New Foundations scheme


Creating music across cultures in the 21st century


Creating music across cultures in the 21st century

Istanbul Technical University, 25-27 May 2017

In the context of one of the world’s most organic melting pots, Istanbul, The Centre for Advanced Studies in Music, Istanbul Technical University, will host an international conference, in partnership with the European Research Council funded project “Beyond East and West,” May 25-27, 2017.

No music is an island.  Since time immemorial, cultures have traded and mixed musics across their domains, yet only in the 21st century have people around the world gained instant and virtually free access to musics beyond those of their neighbors.  The history of these mixings has been marked by a plethora of descriptors, some benign and others acerbic.  Depending on one’s perspective, the “other” musics span the gamut of primitive (“first”), Oriental, classical, art, learned, popular, etc.  Their mixtures have been termed synthetic, syncretic, trans-traditional, trans-cultural, intercultural, cross-cultural, borrowed, or globalized.  The oral and the literate have been contrasted, while the exotic has been vilified.  Quests for musical beauty and knowledge have been shaped by political, economic and social, hegemonic forces.  We are now at a point where, for the first time in history, the playing field has reached a new level of equity, with widespread access to a majority of the world’s traditions, on a scale radically different from a mere generation ago.

We invite proposals for papers (20-minute presentation plus 10-minute discussion) on any topic related to the mixing of musics from different musical traditions.  In addition to mixtures of maqam, raga, and other art traditions, we encourage proposals concerning the incorporation of “folk,” “traditional,” and “low-technology” musics in our 21st-century milieu. Our conference will be Interdisciplinary, and we welcome proposals from composers, performers, improvisers, musicologists, critical theorists, music philosophers, ethnomusicologists, and—especially—etcetera.  While springing from a notated art music tradition, we welcome other perspectives, oral traditions, and boundary stretchers.

Deadline: Please send a 250-word abstract to Robert Reigle,, with subject heading “Creating Music across Cultures-Abstract,” by 6 March 2017.  We will announce acceptances by 20 March.

Keynote speaker: Dr. Münir Nurettin Beken, Associate Professor of Ethnomusicology, University of California, Los Angeles.

Programme committee: Prof. Amanda Bayley, Prof. Şehvar Beşiroğlu, Prof. Sandeep Bhagwati, Dr. Michael Ellison, Dr. E. Şirin Özgün, Dr. Robert F. Reigle.


Conference Fee: Full conference, 3 days: €60 / 200-Turkish Lira; 2 days: €40 / 140-TL; 1 day: €20 / 70-TL.

(€ international/TL local rates).  Free for students, both international and local.

We gratefully acknowledge funding from the European Research Council (ERC) under the European Union’s Horizon 2020 research and innovation programme (Grant no. 648810), and MIAM Centre for Advanced Studies in Music.

International conference for PhD students

International conference for PhD students

 “Musicology (in)action: Past musics, present practices, future prospects”

 Thessaloniki, 9 – 11 February 2018

 The Department of Music Studies of the Aristotle University of Thessaloniki and the Department of Music Science and Art of the University of Macedonia will host, under the auspices of the Hellenic Musicological Society, an international conference for PhD students entitled “Musicology (in)action: Past musics, present practices, future prospects” in Thessaloniki, Greece, from 9 to 11 of February 2018.


Call for papers

In recent years, musicology has tested its boundaries, objects of study, and, indeed, prospected future through the constant questioning of its subfields, themes, and methodological underpinnings. At the same time, this interrogative process has also been one of constant development of new, often interdisciplinary methodological approaches, frequently extending their grasp on new or hitherto neglected musical repertoires. It is this ambiguous state of conditions that the novice in the field of musicological research faces in her/his everyday effort to situate her/his own research within a constantly changing disciplinary environment. This conference aims to bring together fresh ideas of new researchers in an attempt to help them secure their position with respect to the ongoing discourse of musicology’s saga and with an eye to the future prospects of the field.


We welcome proposals of PhD students for 20-minute paper presentations or 40- to 80-minute panel presentations (of up to four participants), addressing a variety of old and new(er) research topics from the broad field of musicology (e.g. historical and cultural musicology, music theory and analysis, ethnomusicology and musical anthropology, music psychology, computational musicology, music philosophy and aesthetics). Proposals on topics that cross the strict intra- or inter-disciplinary boundaries of musicology are also welcomed.

Proposals and inquiries should be submitted to the following email address:


Proposals for paper presentations should include:

– name of participant(s) and institutional affiliation(s)

– abstract (up to 300 words)

– brief CV (up to 100 words)


Proposals for panel presentations should include:

– name of participants and institutional affiliations

– general abstract of proposed panel presentation (up to 300 words)

– individual abstract of each participant’s presentation (up to 300 words)

– brief CV of each participant (up to 100 words)



NOTIFICATION OF APPROVAL: No later than 15 July 2017

PARTICIPATION FEE: PhD students: 50 euros, undergraduate and master’s students: 30 euros


For more information on the reviewing committee, the venue of the conference, etc. please visit the conference’s website (which is under construction):



Chardas Konstantinos

Nika-Sampson Evanthia

Pastiadis Konstantinos

Vouvaris Petros



Kalaitzidou Stamatia

Spanoudakis Dimosthenis

Toumanidou Katerina

Trouka Dimitra

Zlatkou Vasiliki



Apostolou Andreas Foivos

Authentopoulou Despoina

Banteka Dimitra

Diminakis Nikos

Karamanidis Charalampos

Nikolaidis Nikos

Ntousiopoulou Antigoni

Ntovas Christos

Pouris Christos

Roumpi Antonia

Savvidou Charoula

Scarlatou Chrysa

Seglias Zisis

Sidiropoulou Christina

Sotiriadis Theophilos

Tasoudis Dimitris

Research Hands on FLUTE

Research Hands on FLUTE

Research ‘Hands on’ FLUTE is a meeting dedicated to the area of the flute, and is unique due to its symbiosis between two types of meetings: the convention, of an artistic nature which concentrates on a particular instrument (such as the British Flute Society Convention 2016, for example) and the traditional academic research conference, but focusing on an instrumental area. ‘Hands on’ Flute aims to bridge the gap between artistic production and academic research, creating opportunities to combine the artists’ and the researchers’ knowledge, for mutual benefit. This first meeting will take place at the University of Aveiro from April 10th to 13th, 2017.


Call for Proposals

The University of Aveiro, INET-md (Institute of Ethnomusicology, Centre for Studies in Music and Dance) and the Associação Portuguesa de Flautas, will host the research meeting Research ‘Hands on’ FLUTE, in Aveiro, Portugal, from the 10th to the 13th of April, 2017.

This research meeting aims to bring artistic production and academic research closer together, creating opportunities to combine the artists’ and the researchers’ knowledge, which will have benefits for all. The invited keynotes speakers and performers, who have already confirmed, are: Sophie Cherrier; Paolo Taballione; Mario Caroli; Sibel Pensel; Berten Dhollander; Monica Finco; Christine Erlander Beard; Michele Gori; Stefano Parrino; Francesco Parrino; Qi Wang; Marco Gaudino; Luca Bellini (as soon as new names are confirmed they will be added to this list).

This first edition in 2017 focuses on the vast instrumental area of the flute – historical and modern performance practices, repertoire, pedagogy, aesthetics, ethnomusicology, history, analysis, organology and interpretation. Proposals that centre on performance practices as research are particularly welcome. Lecture-recitals are the most natural format for these proposals.

The conference organisers accept submissions in Portuguese and Spanish, although English is preferable. Proposals that focus on the above aspects are particularly encouraged, although other proposals may also be accepted, once they lie within the general theme of the meeting. Proposals that focus on any research area relating to flute performance will also be considered.

Proposals should be submitted via the platform Easy Chair, formatted according to the nature of the proposal (in order to fulfil the form, the applicants should first create an Easy Chair account):

  • Lecture Recitals: The abstract should include information regarding the duration of the presentation, which may be between 30 and 45 minutes, and a short artistic CV of the presenter(s). These submissions may also include a link to a Youtube video of the proposed performance (you may choose to upload your video as ‘unlisted’, ‘private viewing’ or ‘public viewing’). The link must be included in the field ‘other documents’ on the platform. The proposer must also specify any technical requirements or materials necessary for the recital.
  • Papers: Communications will be of a 20 minute duration. The abstract should contain a maximum of 350 words.
  • Recitals: Recitals will have a maximum duration of 30 minutes. You must send a recording/demo, which will be evaluated by the Artistic and Scientific Commission. Please include a short artistic CV of the performer(s). These submissions must include a link to a Youtube video of the proposed performance (you may choose to upload your video as ‘unlisted’, ‘private viewing’ or ‘public viewing’). The link must be included in the field ‘other documents’ on the platform. You must also specify any technical requirements or materials necessary for the recital.
  • Panels: In addition to the abstract and/or media, please send details regarding the panel participants, including their institutional affiliations, and the themes of each individual presentation. The total duration of the panel, including debate, should not exceed 90 minutes.
  • Presentation of Projects: The organising committee does not stipulate any particular model for these abstracts, but recommends that the proposals include information regarding the context, objectives, methods and results.
  • Demonstration of pedagogical approaches: These demonstrations should be of a 20 minute duration. Abstracts must not exceed 350 words.
  • Workshops: Please send a description and the duration of your proposed workshop.
  • Performative Installations: Abstracts should not exceed 350 words. Please use the field ‘other documents’ on the Easy Chair platform to upload your technical/material requirements. The installations could be made available during the four days of the meeting.

Should you have any queries (registration, travel, accommodation), please do not hesitate to contact us at

Important Deadlines

The deadline for proposal submission is February 15th, 2017.

The acceptance of proposals, following a process of evaluation by the scientific and artistic commission, will be communicated no later than February 28th, 2017, with proposals from outside Europe being notified as quickly as possible.

The selected authors will be invited to submit an article or recording to the book of conference proceedings (with audio-visual support). All articles and recordings must be submitted by April 30th, 2017.



Associação Portuguesa de Flautas (APF)

Departamento de Comunicação e Arte

Instituto de Etnomusicologia Centro de Estudos em Música e Dança (INET-md)
Universidade de Aveiro


Álvaro Sousa

Language, Music, and Computing

Second International Workshop on Language, Music, and Computing

Aims of the workshop: to encourage interdisciplinary communication and collaboration of linguists, musicians and IT-specialists in the sphere of some actual problems, among which are the following:
1. Language and music acquisition; influence of music skills on language acquisition and language processing; influence of linguistic skills on music acquisition; relationship between music and language training.
2. Linguistic and music knowledge, their structure and functioning; explicit and implicit knowledge of music and language; similarities and differences in understanding of music and language.
3. Automatic classification of linguistic and music knowledge; formal models of linguistic and music knowledge; musical information retrieval vs. linguistic information retrieval.

This year special topics of the workshop are:
– Formal representation of language and music: differences and similarities
– Sound corpora in music and linguistics

Keynote speakers:
Sabine Iatridou, USA
Sergi Jordà, Spain
Merryl Goldberg, USA
Elena Riekhakainen, Russia

Languages of the conference:
Russian & English (some sessions will be simultaneously translated)

Submission process:

Abstracts from different fields are warmly invited. Presentations will last 20 minutes, followed by a ten minute discussion. Abstracts should be submitted before November 27, 2016. Notification of acceptance follows on January 20, 2017. Abstracts should be 450-500 words long (without any subheadings) and clearly present a research question/aim, critical review of the literature, methodology, results and conclusions. Abstracts should be submitted as a pdf. If you wish to include any specific symbols (such as phonetic transcription), please submit your paper both in DOC and PDF format. We have the intention to select papers for a peer-reviewed special issue.
Please send each abstract both in anonymized and unanonymized forms (with author(s) and affiliation) to the following address:

Registration fee (includes program, coffee-breaks, post-conference publication, visa support (if needed)):
Early-bird fee (before March 15, 2017) – 2500 rubles, or 45 euros; students – 1000 rubles, or 20 euros;
regular fee (after March 15, 2017) – 3000 rubles, or 55 euros; students – 1500 rubles, or 35 euros.

Important dates:

Submission deadline: November 27, 2016
Notification of acceptance: January 20, 2017
Registration starts: February 1, 2017
Early-bird registration ends: March 15, 2017
Workshop: April 17-19, 2017
Final papers: June 1, 2017
Results of the revision process: July 25, 2017
Publication – Fall 2017

Geography, Music, Space

One-day conference, supported by the Institute of Musical Research

Wednesday 25 January 2017; Kingsley Barrett Room, Calman Learning Centre, Durham University, UK

Keynote Speaker: George Revill, The Open University

The event is free and all are welcome. Please click here to register attendance by Friday 16 December 2016.

To read the paper abstracts, please visit:
For more information, contact Samuel Horlor at


08:30-09:00 – Registration

09:00-11:00 – Session I: The political spaces of music
Fausto di Quarto (Sociology, Bicocca University of Milan) – Reclaiming Democratic (Public) Spaces through Music: The Case of Viaduto Santa Tereza in Belo Horizonte (Brazil)

Alice Cree (Geography, Durham University) – “People want to see tears”: Gendered Military Logics, Music, and the Military Wives Choir

Jelena Gligorijević (Music, University of Turku, Finland) – The Political Potential of Contemporary Music Festivals as Micronational Spaces: Articulations of National Identity in Serbia’s Exit and Guča Trumpet Festivals After Milošević

James Williams (Music, University of Derby) – Music ‘Mash-ups’ and Social-Media Culture: How ‘Cassetteboy’ Tackles Politics in Cyberspace

June Wang (Public Policy, City University of Hong Kong) – Practicing Music, Practicing Musical City: Spatial Politics of Chinese Rock in Shenzhen

11:00-11:20 – Coffee

11:20-13:00 – Session II: Music and everyday space making
Maria Lindmäe (Geography, Universitat Pompeu Fabra, Barcelona) – The Impact of Collective Practice of Music on Young People’s Behaviour Towards their Everyday Environment: A Case Study in Medellín

Jasmine Hornabrook (Music, Goldsmiths, University of London) – Music and Everyday Space-making in London’s Tamil Diaspora

Gretchen Larsen (Business School, Durham University) & Maurice Patterson (Business School, University of Limerick) – Creolized Sonic Ecologies: Sound, Space and Consumer Subjectivities in New Orleans

James Armstrong (Music, University of Surrey) – Person-Environment Relationships: Influences beyond Acoustics in Musical Performance

13:00-14:00 – Lunch (includes film screening):
Candice Boyd (Geography, University of Melbourne) – Musical Improvisation as Therapeutic Practice: A Short Film

14:00-15:40 – Session III: Performance spaces: hearing, playing, feeling
Jonathan Hicks (Music, King’s College London) – Tunnel Hearing

Arran Calvert (Social Anthropology, University of St Andrews) – Can You Hear the Architecture?

Lucy Dearn & Sarah Price (Music, University of Sheffield) – Performance Spaces and Listeners: Understanding Two Regional Concert Halls

Emily Falconer (Sociology, University of Westminster) – In Harmony or Out of Tune? Affective and Emotional Geographies of All-Male Choirs

15:40-16:00 – Coffee

16:00-17:15 – Keynote Lecture
George Revill (Geography, The Open University)

[original CFP follows]

One-day conference supported by the Institute of Musical Research

25 January 2017, Durham University

CFP Deadline: 15 September 2016


Keynote speaker: George Revill, The Open University


How does music shape diverse spaces, such as an immigration detention centre, a street performance, a military wives’ choir, or a family kitchen? Is there common ground to be found between researching the chants of a protest marcher, the beats of a commuter’s headphones and a soloist’s concert hall recital? What is the role of music in the construction of space, and vice versa? How and why do we research this?


This one-day conference will explore the relationship between space and how music is expressed, circulated and politicised to construct particular identities. It will also examine music at a non-representational level, with meaning emerging through affect and emotion, folded through a variety of embodied and spatially situated experiences. In short, it will consider the nuanced interplay between music and space.


The conference aims to bring together scholars working at the intersection of music and space, not only within the areas of musicology, ethnomusicology and geography, but also as approached from a variety of other disciplinary backgrounds (including politics, sociology, anthropology, philosophy). We especially encourage contributions from Postgraduates and Early Career Researchers.


20-minute papers addressing, but not limited to, the following themes are welcomed:


Music, materiality and space

– How is the materiality of music (a longitudinal wave; the materials that constitute a live performance; a recording on CD or mp3 file) significant in the construction of space?

– What does the material form that music takes bring to its circulation, governance and reception?


Music, the everyday and space

How do the materialities of music (or the sonic) fold through the multiple spaces of the everyday?

– In which social contexts are music and space mutually constitutive (performance, work, leisure)?

– What does a privileging of music bring to understanding the everyday? What other actors should be considered?


Music, the body and space

– How are spatialized identities formed through embodied acts of music such as singing, playing, and performing?

– How does music play into the construction of gendered bodies?


Music, the political and space

– What role does music have within contested, highly politicised spaces?

– What new spaces for politics open up through the circulation of music?

– How can we conceptualise the politics of music beyond textual analysis?


Researching music and space

– What methodological challenges and interdisciplinary opportunities arise from researching music and space?

– What does it mean to ‘do’ geographies of music?


Please send abstracts of no more than 250 words to Samuel Horlor at

Deadline: 15 September 2016


Successful applicants will be notified by the end of September. A limited number of travel bursaries will be available to Postgraduates or Early Career Researchers (those within three years of completing their PhD).

Music in the Ibero-Afro-American Universe: Interdisciplinary Challenges




“Music in the Ibero-Afro-American Universe: Interdisciplinary Challenges”


Federal University of Rio de Janeiro (UFRJ)

Rio de Janeiro, October 24–27, 2016


The VII SIM_UFRJ “Music in the Ibero-Afro-American Universe” proposes to approach this theme in broad scope of diverse cultural traditions, contexts and historical times, and of special interest to the II TeMA_Meeting is to promote de debate on the “Interdisciplinary challenges between Musicologies and Analytical Theories: Dialogues, Frontiers, and Intersections.” Discussion issues: issues and trends in the Ibero-Afro-American musicologies; musicologies and analytical theories: dialogues, frontiers, and intersections; critical and analytical theories and methods in the disciplinary knowledge; the field of music and the challenges of intra-, inter-, multi-, and trans-disciplinarity; analytical theories and interculturalities; identity and otherness, representation and cultural translation; interdisciplinary studies: music, film, visual arts, theatre, literature, philosophy, history, sociology, and cultural anthropology, cultural dialogues, circulation, transfer, reception, and appropriation of ideas, repertories, aesthetics, styles, techniques, musical practices and ideologies; heritage and collections; musics of written, oral, performing traditions; culture, society and politics; institutional, scientific, artistic, and cultural policies.



Abstract submission deadline: September 5, 2016

Notification to successful applicants: September 20, 2016

Submission of the full version of the paper for publication in the Proceedings: November 30, 2016



Proposals (abstract 300-500 words, and short bio) may be written in Portuguese, Spanish or English, and submitted as attached file (*.doc or *.rtf), indicating the preferred attendance to each conference: SIM-UFRJ to the e-mail or TeMA_Meeting to the e-mail In case the proposal fits the full scope of the joint conference, it must be sent simultaneously to both e-mails.


Program Committee Chairs

Maria Alice Volpe

Ilza Nogueira


More info: and


Church Music and Musicians in Britain 1660-1900: “Between the Chapel and the Tavern”

A Conference sponsored jointly by Canterbury Christ Church University and Canterbury Cathedral for performers and scholars to discuss new research and practice.

20th-23rd June 2017

Call for Papers

The deadline for receipt of abstracts (see below) is Monday 31 October 2016; selection will be made by Monday 28th November 2016.

All presentations must be given in English. The programme committee invites proposals related to one or more of the following key themes:

  • Music: new scholarship on composers, performers and repertoire in Britain 1660-1900.
  • Performance Practice: Music & Liturgy; vocal and instrumental forces.
  • Socio-historical perspectives: senses of identity and community; patronage, subscription, & freelance incomes; class and culture in church & cathedral music; social and musical mobility; cross-fertilisation between sacred and secular music-making.
  • Church and cathedral music in the provinces: local narratives, connections, cultures and legacies (especially Canterbury-related).
  • Aesthetics, philosophy and theology of church music 1660-1900.
  • Interdisciplinarity and performativity: liturgical music, drama and dance; singers and instrumentalists in liturgical contexts; music and sacred space.
  • Training and education: pedagogy, philosophy, function.
  • Written music: manuscript, printing, publishing and copyright studies.
  • Sacred and secular: intersections/exchanges; church music and politics; civic and sacred performances; local, national, colonial and post-colonial issues.
  • Reception: criticism, regard and neglect.

Abstracts for individual papers (of 20 minutes’ duration) of approximately 250 words should be preceded by the following information: name; institution (as appropriate); postal address; phone; email address; title.

Abstracts should be emailed to:

Conference features

  • Keynote Speaker: Prof. Rachel Cowgill, University of Huddersfield.
  • Accommodation in the International Study Centre (in the Precincts of the Cathedral).
  • Conference Dinner in the Claggett Auditorium, ISC.
  • An evening with the Canterbury Catch Club: excellent food, drink and convivial song (participation welcomed, though not compulsory) in the timbered upper room of a 15th-century local hostelry.
  • A Conference Concert reflecting the dual nature of the music and musicians under discussion in the superb chamber music space of St Gregory’s Centre for Music, CCCU, given by Cathedral musicians.
  • Free access for Conference Delegates to Cathedral, Precincts, Library, and Archives.
  • Cathedral Evensongs integrated into the Conference schedule.

Programme Committee:

  • Chris Price (co-chair): Senior Lecturer, Canterbury Christ Church University & Tenor Lay Clerk, Canterbury Cathedral.
  • Dr David Newsholme (co-chair): Assistant Organist & Director of the Cathedral Girls Choir, Canterbury Cathedral.
  • Canon Chris Irvine: Canon Librarian, Canterbury Cathedral.
  • Christopher Gower, FRCO, FCM: former Organist of Peterborough Cathedral.

Any queries should be addressed to

The Power of Hip Hop: EXCHANGE

One day seminar around hip hop and social change


FRIDAY 8TH JULY, 9.30 – 17.00 (plus post-event networking and music)

Venue: RichMix, Bethnal Green Road, London


Full Price: £45

Student / Concession: £36

SPECIAL DISCOUNT: Use code hiphop15 at checkout to get your £15 ticket

Lunch, refreshments and delegate packs provided.

To Book:

The Power of Hip Hop: LIVE is a unique academic seminar that explores the role, challenges and potential of hip hop culture in facilitating social change in global contexts, and its role as a site of resistance and identity.

Keynote Speakers

Martha Diaz (NYU Gallatin)

Hip-Hop Without Borders: A Revolutionary Global Movement of Struggle, Liberation and Sustainable Living”

Jason Nichols (University of Maryland)

Lean wit it:  Black Masculinities in Hip-Hop Dance”

Plus special introduction about In Place of War’s work by Professor James Thompson


Four diverse panels exploring: 

  • Global power of hip hop
  • Cultural power of hip hop
  • Power of place & identity
  • Hip hop and pedagogy

International Artist Presentations by

Shhorai (Colombia)

Zambezi News (Zimbabwe)

Smockey (Burkina Faso)


For a full programme and speaker list visit:

Steering Group

Richard Bramwell (University of Cambridge)

Eithne Quinn (University of Manchester)

Teresa Bean (In Place of War)

Featuring a programme of academic panels, keynote papers, artist presentations and practitioner provocations, this event harnesses In Place of War’s vast international network of grassroots artists and blends it with a rich selection of researchers exploring issues including but not limited to hip-hop and gender, race, religion, commerce, and conflict.

A day full of rich discussion, unique encounters, thought-provoking papers and academic-artist exchange.

The Power of Hip Hop: EXCHANGE is part of In Place of War’s event series Culture. Conflict. Change. taking place at RichMix throughout 2016. It is proudly funded by the Arts & Humanities Research Council, and supported by Index on Censorship.

Find out about the rest of the series here: 


About In Place of War:

About Index on Censorship:





* DEADLINE 19 JUNE 2016*


International sound studies conference organised by NuSom – Research Centre on Sonology

22-25 November, 2016  São Paulo

For the past few years, we have seen the development and appearance of research departments, books, journals and other forms of scholarship and institutional endeavours dedicated to what we now know as sound studies. This encompasses the study of warfare and politics of sound; cultural and technological critiques; sound art and associated praxis; urban phonography and acoustic ecology; sonic epistemologies; new musicology and historically situated reflections.

In this sense, we feel that is high time to promote work done both nationally and in Latin America. In doing so, we hope to establish fruitful dialogues with researchers coming from other parts of the world, and create a platform for an interdisciplinary, deconstructive and archaeological approach that expands the discussion on the above thematics.

The terminology of sound studies itself – ‘SONOLOGIA’ – here  reflects the local academic culture and our interest in having in this event (besides the already above mentioned), researchers from different areas of study: music technology; anthropology; philosophy; gender studies; cultural, performance and media studies; experimental, popular and contemporary music.

Themes and topics

The ‘out of phase’ theme, while referring to a technical and theoretical jargon in sound, encompasses a strong metaphorical stance towards the need to incorporate views that are of out-of-sync or in opposite polarity regarding a possible familiarity in contemporary sonic theory and practice.  Thus, we are inviting submissions that can refer to, but are not limited to, the following topics:

  •         postcolonial historiographies that counter euro-american narratives and describe the importance of other geographically situated musical/sonic practices, not only in the development of a regional experimental/contemporary music scene,  but also in the wider history of such practices;
  •         practice-based artistic research and/or musicological reports of music, sound art (improvisation, composition, performance, installation, radio, field recording, performance, site-specific endeavours) or other post-medium/hybrid artwork;
  •         case studies that describe and reflect on the processes involved in the transfer of knowledge, technology and creative practices between different geographical realities (relating to music/sound);
  •         critical insights into the politics of sound: demarcation and regulation of territories and communities, online and public activism, noise abatement, sonic warfare and torture;
  •         research projects or case studies that promote the accessibility of music technology software/hardware, through repurposing old/novel technologies or using open-source platforms;
  •         discussions related to technical, social and poetic aspects regarding the role of technology in music and sound art production;
  •         inter or trans-disciplinary methodological papers that describe the study of sound/music and its pertinence to other fields;
  •         ethnographic inquiries that describe the national and institutional frameworks that support contemporary/experimental music and sound art making;
  •         expanded epistemic and multimodal accounts of knowing the world through feminist, queer, trans, race or(and) other non-normative/binary listening perspective(s);
  •         inquiries that problematise discursive and practical tropes in contemporary sonic artworks that deal with place, nature and human/non-human entities;
  •         discussion(s) regarding the mediation of composers’/artists’ presence (authorial and physical) in making/presenting music or art;

Individual papers and presentations

As stated above, we wish to bring a diverse of range of researchers, coming from different disciplines and locations in order to present original scholarship from a multi-vocal and global framework. All proposals will be submitted to a review process by an appointed scientific committee.

Please submit your extended abstract (in English) of max. 1 page full and half (A4) and a short bio (50 words) no later than June 5th, 2016 by 11:59pm Pacific Standard Time (GMT -3) via Please allow 24-48 hours for confirmed reception.

Selected presentations will need to submit camera-ready papers (in English) by October 16th with a provided (by us) ODT/ MS Word templates (up to 8 pages long in A4 format).

Selected submissions will be published in the conference proceedings, under an ISSN reference and archived using the OJS platform.

After the conference, 12 papers will be considered for a special edition of Interference: A Journal of Audio Culture, guest-edited by Rui Chaves and Lílian Campesato.


We are open to different types of presentations, that reflect the critical and creative necessities of theoretical or practice-based research.  The official language of the event is English, although simultaneous interpreting – regarding English to Portuguese – will be available to all. In certain cases, the presenters may request simultaneous interpreting for Portuguese to English.

Important Dates

Submission: June 19, 2016 by 11:59pm Pacific Standard Time (GMT -3)

Selected papers announcement: July 24, 2016

Camera-ready paper/program note deadline: October 16

For any questions regarding the submission process, please contact us at