Meeting for Sound and Musical Instruments CO2019OC

8th International Scientific Meeting for the Study of Sound and Musical Instruments

CONGRESSO DE ORGANOLOGIA 2019 ORGANOLOGICAL CONGRESS

Belmonte, east-central Portugal

20-22 September 2019

Instruments of culture and peace

Many complain about the backstage, or invasive, pollution of sound in daily lives, and solutions? Social anxiety is mirroring short and long term influences, notably from birth, or even pre-natal effects through a stressed mother (scientific trends differ, precisely for this reason, we give here an opportunity for discussion, acknowledging it as a vast and often neglected issue). Many refer to “how life in Nature” is so beautiful, where we can play music in a perfect ambiance, but can’t or aren’t moving a finger to do something about it. We are doing it. We are developing a project that not only deals with the essential creativity in the human being but also the setting up of biodiversity in a balanced environment, where one can be thyself. All who visit us feel well here – why? This subject matter is far more important than it seems at a first glance. There is too much ‘noise’ in most people’s lives, too many front page headlines, too many characters on stage, too many spotlights, and everybody talks about all at the same time… we can’t listen to each, we can’t think about each… we need ‘silence’, reflection, to listen to life and art. Why are so many people frustrated and often depressed? Why so much illness with such highly developed medical support? Among many factors, the “sound quantity and quality” in our lives is fundamental. And that of music in our psychological and social balance too.

And – how music and creativity in sound can help a society in crisis? Fight fights, promote peace? How to help a society to be more united and less fragile? Can we, with our work, do better – and be part of the “positive productive” and not, as many do say, be the “useless” for the society? We are inviting you to discuss these and other prominent topics, which are intrinsically related to sound and musical instruments. Please come forward. In a society which is getting used to lightly give an opinion for anything and nothing in the social media, we invite those who “think” and – concretely “do something” – to visit, show, and think and do further.

From the morning of a bright Friday to an exquisite lunch on Sunday at the fabulous old Monastery, now a luxury hotel called Pousada de Belmonte, with concerts, recitals, activities, and full immersion Sessions, our program is quite promising. However, our special invitation to sociologists and musicologists had a good response in quality but not as wide, thematically, as we wanted it to be. There is still time, to make proposals and be part of this interesting gathering of people, who positively and openly discuss about the various issues that concern us all. We look forward to have more work presented that deals with the social impact of music and their musical tools, and studies about sound – for instance, how sound (acoustic and electronic) is affecting daily lives, our world.

You can have more information at the congress website, which is periodically updated: link [https://congressorganimusic.wixsite.com/co2019oc]

Or you can contact us directly: congressorg2019.animusic@gmail.com

Registration: besides the program (as listed above), it includes an active visit to an Exhibition of Musical Instruments (historical, traditional and technological), an unique bag with the program and materials, equipment and technical support, Wireless internet, coffee-breaks (nice and diversified), lunches (2), a banquet-lunch (gourmet), selected visits, reviewed publication (in the book series ‘Liranimus’, which contains essays on Organology, or online), certificate of participation, perhaps a memoir-gift, publishers, makers, restorers, and participants stalls, networking opportunities and, essentially, time reserved “on purpose” for constructive discussions and exchange of ideas. Note: group meals are optional.

All activities are open, namely recitals, concerts, demonstrations, workshops (within a registration limit), and visits. 

Registration fee

Early bird registration » 80€ for ANIMUSIC members (which has a symbolic registration fee of 20€, and no annual fees, no profit) / 110€ others (early bird registration until the 31st of August)

Regular » 120€ (ANIMUSIC) / 150€ (from 1st September)

Dayly fee » 40€ (does not include the banquet-lunch)

Banquet-lunch gourmet (for those friends accompanying, still a special price: 35€)

Other costs: Portugal is one of the less expensive countries in Europe. To give an idea, an expresso coffee costs about 0,70€ in a normal coffee-shop (it’s everywhere, this is the normal coffee, similar to Italia), or even less in automatic machines. Meals may be around 10€ (complete with wine, etc), including nice fresh grilled fish or vegetarian food. There are various options for lodging in Belmonte, you can check with the different available search engines or at Airbnb, averaging 70€ per night in a good hotel.

Transportation: You may use Porto’s or Lisboa’s international airports. From Porto, it is probably easier to rent a car, the rates, when booking from abroad, are quite low (you can have a car for 10€ a day or similar) and it’s basically all highway till Belmonte (if avoiding crossing Porto, you have: A4-A24-A25-A23; or crossing Porto: A29 or A1-A25-A23) which is very comfortable. The transportation from Lisboa is quite easy, also renting a car, or by public transportation: From the airport you take a taxi (5 to 8€)  or the metropolitan, to the Oriente station, which is near the River Tejo (beautiful place to visit if you have time, where the Oceanario is, plus other interesting sites). There, going up the stairs or lift, you check the line for Covilhã, usually trains are in time. If you pay online with anticipation (5, 8 or more days), you can even have a discount of up to 65%, if you are senior, it’s always 50%. The ticket to Covilhã, in the speed direct train, costs (as per today): 17,70€. Arriving in Covilhã, you can take a taxi (not expensive), a bus or meet with a group organised by us and the Municipality, on the 19th of September. If you have special needs, please contact us so that we arrange a special way for transportation. We work the best we can to help your experience be perfect and unique.

Portugal has been rated as the third safest country in the world, after Iceland and New Zealand. So, by visiting us, you shall discover more of this amazing country and meet fellows who are interested in your work, in discussing ideas and in moving forward. This is project Erdissol-ANIMUSIC.

For more information, visit us at this link. You are most welcome to contact us directly if you have questions (email).

Media of Hate: Representations of Religious Persecution and Repression in Early Modern Europe

3-4 October 2019

CENTRE FOR RESEARCH IN THE ARTS, SOCIAL SCIENCES AND HUMANITIES (CRASSH), UNIVERSITY OF CAMBRIDGE

Further details available from http://www.crassh.cam.ac.uk/events/28573

The religious turmoil of the early modern period saw widespread repression of minority religious groups across Europe, involving degrees of violence that prompted large-scale migration across national borders. Those suffering persecution at home often sought refuge in likeminded nations, yet in striking parallel to the refugee crises of today, migrant groups often faced considerable prejudice within their host nations (if not outright violence). Evidence for such religious prejudice can be found across the continent in a variety of media.

Media of Hate brings together scholars from the fields of early modern literature, religious studies, history, musicology, and art history in order to explore the various media used to communicate and represent discrimination and distrust towards religious minorities across early modern European contexts, from Dutch Protestant and French Huguenot refugees, to Jewish communities, and Catholic recusants. What distinctions, if any, emerge between singing discrimination, painting it, or writing a poem about it? On what were people’s fears fundamentally based (nationality, cultural habits, language)? Is it possible to discern similarities and differences in xenophobic material from country to country? What effect did hate speech have on policy-making and public opinion? Through this conference, we hope to delineate trajectories regarding hate in the early modern public sphere, arguing for the power that media could wield in shaping historical events and policies, as well as the considerable role that popular concerns about foreigners and belonging played in shaping the literature, art, and music of the period.

Società Italiana Di Musicologia. 26th Annual Conference

Matera, Conservatorio di musica “Egidio Romualdo Duni” – Università della Basilicata 18-20 October 2019

The 26th Annual Conference of the Società Italiana di Musicologia (SIdM) will take place in Matera, European Capital of Culture 2019, in collaboration with the Conservatory of Music “Egidio Romualdo Duni”and the Basilicata University from 18 to 20 October 2019. The annual member’s meeting will take place during the conference.
Scholars from all over the world are invited to submit their paper proposals. Every topic in the field of musicological studies is welcomed.
The abstract (no more than 30 lines) should indicate the title of the proposed paper, the state of the art for in the chosen research field, an outline of the project and its specific contribution to the current knowledge.
Along with the text please send also a short CV (max 15 lines) and indicate the A/V equipment required. Please provide your full name, address, phone number, fax number and e-mail address.
Scholars are not allowed to send more than one abstract.
The paper shall not exceed 20 minutes in duration (corresponding to an 8-page text containing to a maximum of 16000 characters). Preference will be given to the proposals of scholars who did not take part in the previous SIdM conference. Please send the proposals to the e-mail address segreteria@sidm.it
All proposal must be received no later than 15th June 2019. Acceptance of papers will be notified by 10th July 2019. For further information about the conference please visit the web site: http://www.sidm.it.

Agents and Actors: Networks in Music History

Sixth Sibelius Academy Symposium on Music History

Wednesday 3 June—Friday 5 June, 2020
Sibelius Academy, University of the Arts Helsinki, Finland
Deadline for submissions: September 30, 2019

The Fifth Symposium (in June 2018) took institutionalisation as its theme in order to contribute to and clarify the ways in which they exert power, the relationships between then, and the hierarchies they establish. In the final plenary session, delegates debated a range of topics that might be given further consideration in the next symposium. The discussion largely focussed on two areas of interest – heritage and networks – and both were considered important current areas of work with which the next symposium could engage. It has been decided that the sixth symposium should concentrate on networks and music, while the seventh would focus on questions of heritage.

The Sixth Symposium on Music History will therefore focus on issues relating to agents, actors and networks and the ways in which they relate to music in order to discuss changes in focus towards more collective and complex objects of study.

Proposals for papers and group sessions are invited on any of the following topics:

  • The construction and formation of networks in music history
  • The history of networks in music from antiquity to the present
  • The power exerted by networks in music history
  • The institutionalization of networks in music
  • The theoretical underpinnings of working with networks (actor-network theory; art worlds, cultural fields, assemblages, mediation theory)
  • Close reading of musical scores against understandings of networks
  • The place of networks in diachronic and synchronic histories of music
  • The inner workings and dynamics of networks of music

The keynote speakers of the symposium are

Annegret Fauser (University of North Carolina, Chapel Hill, US)
Antoine Hennion (Mines ParisTech, FR)
Benjamin Piekut (Cornell University, US)

Proposal submission:
please use the link https://www.lyyti.in/networks2020-proposal and submit your proposal for an individual presentation or a panel by September 30, 2019.
The organizing committee will be in touch no later than November 4, 2019 with the information about acceptances.

Proposal length:

  • individual presentation proposals: max 2200 characters, incl. spaces;
  • panel session proposals: max 2500 characters, incl. spaces + each panelist’s proposal 2000 characters, incl. spaces.

Contact for inquiries (no proposal submissions): networks2020(at)uniarts.fi Symposium web page: https://sites.uniarts.fi/web/networks2020

RASMB-IMS 2019 Conference: MUSICAL AND CULTURAL OSMOSES IN THE BALKANS

Bucharest, 2–6 September, 2019

Call for Papers

The National University of Music in Bucharest in collaboration with the IMS Regional Association for the Study of Music of the Balkans announce an International Musicological Conference on the subject Musical and Cultural Osmoses in the Balkans. The conference will take place at the National University of Music Bucharest, on 2–6 September, 2019.

The purpose of the International Musicological Conference is to promote interaction, research, discussion and intercultural dialogue among musicologists, ethnomusicologists, researchers and students from Romania, the Balkans and other countries with an interest on the different local musical traditions in South-East Europe and their interactions to the Mediterranean and broader region.

The conference strongly encourages debating subjects such as art music in the Balkans and its interactions with Western Europe traditions, Byzantine and Post-Byzantine chant, methodologies and new trends in Musicology and Ethnomusicology/Music Anthropology of the Balkans, current issues and approaches in Music Education in the Balkans, music and political regimes.

Proposal may address (but are not limited to) the following categories that fall under the topic of the conference:

  1. Art Music in the Balkans
  2. Byzantine and post-Byzantine chant
  3. Musical encounters: Silk roads across Mediterranean area to Asia
  4. Ethnomusicology – Anthropology
  5. Methodologies and new trends in Musicology and Music Theory
  6. Music and politics

The official conference language is English. However, participants can present in Romanian, having submitted prior to the conference and at a set deadline a translation of the final paper in English.

Proposals are invited for:

  • 20-minute papers
  • Panels of up to four presentations (90 minutes).

Abstracts of 20-minute papers should not exceed 300 words and panels’ proposals should contain the description of the panel’s subject (no more than 100 words) and an abstract (no more than 300 words) for each paper included in the panel.

All proposals should be sent electronically as an attachment to the following email address: IMS2019bucharest@unmb.ro with the subject line: Musical and Cultural Osmoses in the Balkans.

The attachment should include the following information as well:

  • Name(s) of the author(s) and institution affiliation (if applicable)
  • Type of proposal
  • Title of the paper/panel proposal
  • Short biographical note of the author(s) (100 words)

Full audiovisual equipment and adequate technical support is available for all presentations.

Important dates:

  • Abstracts of proposals/panels: no later than 22 February 2019
  • Notification of approval: no later than 22 March 2019
  • Submission of finalised papers (only in cases of translated papers from Romanian to English): no later than 1 August 2019

Registration fees:

Participants: 30 Euros (10 Euros for students, including PhD candidates)

Date and venue:

Bucharest, 2–6 September, 2019, National University of Music Bucharest, 33 Știrbei Vodă Str., Sector 1, 010102 Bucharest, Romania (http://www.unmb.ro).

Contact information:

Further instructions and details will soon be posted on the conference webpage: ims2019bucharest.ro.
See also: http://www.musicology.org/networks/ra/rasmb
Announcements will also appear on the webpage of the National University of Music Bucharest (http://www.unmb.ro) and the New Europe College (http://www.nec.ro).

Centennial Reflections on Women’s Suffrage and the Arts

CENTENNIAL REFLECTIONS ON WOMEN’S SUFFRAGE AND THE ARTS

Local : National : Transnational

An international, multi-disciplinary public conference

University of Surrey, UK, 29–30 June 2018

Keynote Speakers:

  • Irene Cockroft, author of Women in the Arts & Crafts and Suffrage Movements at the Dawn of the 20th Century
  • Elizabeth Crawford, author of The Women’s Suffrage Movement in Britain and Ireland

CFP: deadline for submissions 26 January 2018

Conference website: www.suffragecentennial.wordpress.com

The 2018 centenary of the Representation of the People Act (6 February 1918), which granted the vote to many women in the UK, yields an ideal opportunity for sustained critical reflection on women’s suffrage. This conference seeks to explore the artistic activities nurtured within the movement, their range and legacy, as well as the relationships between politics and art. In striving for an inclusive, transnational reach, it will at the same time seek to move beyond traditional emphases on white middle-class feminism and explore the intersections between the regional, national, and global contexts for women’s suffrage with specific respect to the arts.

While proposals addressing any aspects of women’s suffrage will be welcomed, this conference will focus upon three strands:

  1. Women’s suffrage in/and the arts
  2. Women’s suffrage in Surrey and the surrounds
  3. Transnational networks and flows of texts in relation to women’s suffrage

20-minute papers are invited on any aspect of these strands, including but not limited to:

  • Late nineteenth- and early twentieth-century women’s writing on suffrage;
  • Political reflections on the arts and the cultural sphere, e.g. in music;
  • Transnational networks and mobilities of political texts and ideas, incorporating suffrage movements in other countries;
  • Politically active individuals with strong links to Surrey (particularly in relation to the arts) e.g. Mary Watts, Dame Ethel Smyth, Gertrude Jekyll, Marion Wallace Dunlop;
  • Networks such as Ferguson’s Gang, Surrey Hills Group, Surrey Pilgrimage Group, and women who organised suffrage marches;
  • Sociological theories of women’s suffrage;
  • Contributions of women of colour to suffrage movements in Britain and globally;
  • Art (both historical and contemporary) inspired by women’s suffrage.

Proposals for panels of 3–4 papers (1.5–2 hours) are also warmly welcomed, as are proposals for one-hour roundtables of 3–5 participants. We encourage proposals from postgraduate students and independent scholars in addition to institutionally-affiliated established academics.

Planned activities include a panel discussion featuring artists who have been active in performing and creating works based on women’s suffrage and some of its key figures; and a recital of music and readings. We envisage that an edited publication will be developed from papers presented at the conference.

Abstracts of not more than 300 words should be e-mailed by 26 January 2018 to suffragecentennial@surrey.ac.uk. Decisions will be communicated to speakers by 23 February 2018. A limited number of student bursaries may be offered to offset costs of attendance.

Conference Committee: Christopher Wiley, Charlotte Mathieson, Lucy Ella Rose (co-chairs)

Enquiries: suffragecentennial@surrey.ac.uk

Principles of Music Composing: ratio versus intuitio

17th International Music Theory Conference

November 8th – 10th 2017

Vilnius, Lithuania

The aim of the annual conference ‘Principles of Music Composing’ is to foster theoretical thought that is essential for compositional practice and education of composers. Sixteen conferences of this series have already been held in Vilnius. The 17th conference draws attention to the phenomena of rationality and intuition, which are considered to be contrasting yet complementary poles in the compositional process. Intuition often alters the realization of rational scheme, model or archetype chosen by the composer. Meanwhile rational revision may improve intuitive improvisation, sonorous vision, or the artistic idea.

The topic of the conference could be divided into suggested subtopics:

  1. Rational processes of composition and aural intuition (theoretical insights, definition, conceptions, typology)
  2. Musical work as the result of rational and intuitive creative activity (theoretical, historical and aesthetical aspects)
  3. Adaptation of interdisciplinary ideas in the compositional practice based on rational and intuitive origin
  4. Rational and intuitive qualities in new musical resources and techniques (sonorism, microchromatics, extended techniques, aleatory, electronics, etc.)
  5. ‘Rational’ and ‘Intuitive’ composers: features of their works and the creative process
  6. Phenomena of rationality and intuition in the contemporary compositional practice
  7. Lithuanian composers: between rationality and intuition

Paper proposals (abstract and a short biography) should be sent by email pmc@lmta.lt . The abstract must not exceed 500 words. The duration of full presentation is limited to 20–25 minutes.

 The main language of the conference is English.

The deadline for proposal submissions is August 20th 2017. Proposals will be reviewed by the members of the scholarly committee and all applicants will be notified of the outcome in the beginning of September 2017.

The participation fee is 20 Euros.

Selected papers of the conference will be published in the annual peer reviewed scientific journal ‘Principles of Music Composing’.

pmc.lmta.lt 

Music & Material Culture. From Medieval Times to the Present

MUSIC AND MATERIAL CULTURE. FROM MEDIEVAL TIMES TO THE PRESENT

One-Day Workshop
University of Cambridge, 7 December 2016

CALL FOR PAPERS

     During the last decade, many disciplines have been increasingly oriented towards the study of material culture, exploring the relations between objects and people. From different perspectives within the humanities and social sciences, this 'material turn' has emphasized both the materiality of objects, and their social life as bearers of cultural meaning.
     Music and sound studies have also seen a growing interest in objects and materiality, with approaches ranging from the relations of music and space, the technologies of sound production and consumption, and the materiality of musical notation, to the raise of 'materialism' as opposed to the 'idealism' that governed traditional musicology. However, these developments have taken place in a generally uncoordinated manner, and the purpose of this conference is to bring them together in such a way as to deepen knowledge and promote discussion of objects and materiality in music and sound studies.
     This workshop proposes to create a bridge between material culture studies and musical studies, exploring the wide range of objects that interact with musical practice and consumption, sound production, and the sense of hearing. The workshop has a wide regional and historical scope, ranging from Medieval times to the present.

Some of the topics that will be addressed in the workshop are:

–The theoretical and methodological challenges of materialism in musicology

–The social life of musical instruments: a new organology

–Scientific knowledge and ideas of the material in music and sound

–The body and the senses

–Mobility and cultural exchange

–Sonic materiality and immateriality of music

Abstracts of no more than 350 words should be sent both to af504@cam.ac.uk and vw261@cam.ac.uk by August 22, 2016. Please include title, name, institutional affiliation, email address, and a short biography (150 words). The Committee will notify applicants of the outcome by September 5, 2016. We welcome submissions for twenty minutes papers in English and in French. Due to time constraints, only a limited amount of papers will be selected. If you have any further queries, please contact the organising committee by emailing af504@cam.ac.uk or vw261@cam.ac.uk.

Organising Committee:

Amparo Fontaine (University of Cambridge)
Vera Wolkowicz (University of Cambridge)
Violeta Nigro Giunta (CRAL/EHESS)
Nicolò Palazzetti (CRAL/EHESS)

György Ligeti Symposium Helsinki 2017

György Ligeti Symposium Helsinki 2017

February 10–11th, 2017

Sibelius Academy, University of the Arts Helsinki, Finland

INVITATION

The DocMus Doctoral School at the Sibelius Academy, University of the Arts Helsinki, invites performers, composers, researchers and students to take part in the conference György Ligeti Symposium Helsinki 2017, organized in collaboration with the contemporary music festival Musica nova Helsinki 2017.

Themes and topics

The symposium concentrates on the following themes, but proposals on other aspects of Ligeti´s music are also welcome. Alongside scholarly presentations, the organizing committee encourages performers to submit proposals on lecture recitals.

• Issues of performance

• Music-analytical and stylistic approaches

• Ligeti´s influence on music of our time

In addition to scholarly presentations and lecture recitals, the symposium will also feature concerts as part of its varied program , including performances of Ligeti´s Piano Etudes and music influenced by Ligeti.

Invited keynote speakers include:

Prof. Jonathan W. Bernard
Composer Lukas Ligeti
Prof. Fredrik Ullén

The proposals

Proposals for individual papers (20 minutes + 10 minutes for discussion), lecture recitals (max. 40 minutes), posters and panels (60 minutes) should be sent as abstracts (max 500 words) to ligeti2017@uniarts.fi with full contact information for each author. Along with scholarly proposals, abstracts representing practice-based research (‘artistic research’) are welcome.
The DL for proposals is September 15th 2016. The accepted proposals will be announced on October 1st 2016.

The conference language, as well as the language for the abstracts, is English. The deadline for submitting abstracts is September 30th 2016. Authors will be contacted by November 30th 2016 with the acceptance decisions.
Conference abstracts for Ligeti Symposium Helsinki 2017 will be published in advance on the conference website and in print. This will serve as a symposium programme, while also providing background information about the participants and their research topics. The applicants are therefore encouraged to include written comments discussing how their artistic and other research work support each other and towards which common goal they are directed.
The proposal must be accompanied by
– Cover sheet listing the name, affiliation, area of specialty, and email for each proposer, along with the proposal title and format.
– Abstract of max.500 words describing the content of the paper, lecture recital, poster, workshop, panel or other sessions of unusual format.
– Detailed program of the lecture recital: composers, work titles, composition years, opus numbers)
– Recording of the proposer’s performance of at least one work to be presented as part of a lecture recital
– Curriculum vitae and contact information
– Equipment needed for performances and presentations (all instruments, data projectors, etc.)
Symposium fee: 80 euros
Organizing Committee:

Professor Lauri Suurpää (Sibelius Academy, University of the Arts Helsinki)
Professor Veli-Matti Puumala (Sibelius Academy, University of the Arts Helsinki)
University lecturer, DMus Annikka Konttori-Gustafsson
Adjunct professor Alfonso Padilla (Helsinki University)
Coordinator of Doctoral Studies, DMus Markus Kuikka, (Sibelius Academy, University of the Arts Helsinki)
Elisa Järvi, DMus (Sibelius Academy, University of the Arts Helsinki)
Mikko Missi M.A., producer

Contact:

DMus Markus Kuikka
markus.kuikka@uniarts.fi
Ligeti2017@uniarts.fi
http://www.uniarts.fi/ligeti2017

International Conference of Young Musicologists. Young Musicology Today: tendencies, challenges and perspectives

The aim of the conference is to integrate the musicological community through the creation of an international forum for exchanging ideas and research experiences. We encourage young musicologists to present results from ongoing studies and to engage in discussion on the future of musicology, its role and place in the contemporary culture. Currently, musicology, which is not only the study of music, is starting to perform social functions, becoming not only a field of scientific inquiry but one of use to society. During the conference, we would like to consider new avenues of research, new methodologies of musicologists’ work, and the challenges and career prospects faced by musicologists entering the labour market. It will also be an opportunity to consider the subject areas of interest to young musicology.

Subject areas for consideration include

  • New research perspectives in musicology
  • Music versus other arts
  • Music in the public space (sonosphere research)
  • Music in society (music and ideologies)
  • Music and the sacred
  • Music and science (e.g. psychology of music)
  • Challenges of modern ethnomusicology
  • The state and the form of contemporary music criticism
  • Source studies and music editing
  • Music librarianship – issues and challenges
  • Performance practice
  • Theory of music
  • Music and pop culture
  • Opera nowadays

The conference will incorporate both traditional lectures and panel discussions, during which groups of researchers conducting a joint project or studying similar subjects will be able to present the results of their studies or discuss a specific subject. We encourage the participants to organise their own panel sessions during the conference (due to time constraints, we suggest no more than four papers during one session; please indicate the person leading the session during registration).

In addition, the conference programme includes:

  • “A musicologist on the labour market” panel

This will be an opportunity for an in-depth discussion of the current employment situation of musicology graduates in Poland and abroad, and for the presentation of experiences in this area. We encourage participation in this panel session by musicologists – musical life animators, employees of media and cultural and educational associations and institutions etc.

  • Masters’ lectures (plenary speakers)
  • The conference programme includes additional events, such as concerts, sightseeing in Krakow, and exhibitions.

A publication of the collected papers presented at the conference is also planned.

Conference language: English.

Schedule

  • Accepting applications with abstracts – until 31th of May 2016.
  • Information about accepted papers – by 30 June 2016.
  • Conference dates: 7-9 November 2016.

Applications should be made by sending the application form via email to: agnieszka.lakner@doctoral.uj.edu.pl  and musicologytoday@gmail.com

You can find an application form here.

For any further information please feel free to contact: Agnieszka Lakner; agnieszka.lakner@doctoral.uj.edu.pl

Conference fee

Conference fee: 200,00 PLN / 50 €

The fee includes:

Admission to the conference, conference program, publication of the paper in the conference proceedings, lunches and coffee breaks during sessions and conference attractions such as sightseeing and concerts. Registration fee does not include accommodation and transportation. If you wish, Organizers will help you to book an accommodation.

Organizer

Jagiellonian University in Kraków, Department of Musicology

Address: Westerplatte Street 10; 31-033 Kraków, Poland

http://www.muzykologia.uj.edu.pl