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 31 December 2018
  • Notification of approval: no later than 28 February 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

 

 

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

Autopsie eines Gesamtkunstwerks: das Chorbuch der Münchner Jahrhunderthochzeit von 1568

Vienna, Austrian Academy of Sciences, 21–23 April 2016

troJa 2016: Kolloquium und Jahrbuch für Renaissancemusik is devoted to a monographic study of a sumptuously decorated choirbook of the Austrian National Library, Cod. Suppl. Mus. 2129. It will be investigated from a multidisciplinary perspective with a particular focus on the interplay of music, texts and images. As the only piece of music it contains the three-partite wedding motet “Gratia sola Dei” by Orlande de Lassus, which he composed for the spectacular wedding celebrations of the Wittelsbach crown prince William (V) of Bavaria to Renata of Lorraine in 1568.

Speakers: Martin Arneth, Dagmar Eichberger, Andrea Gottdang, Jürgen Heidrich, Andreas Pfisterer, Klaus Pietschmann, Harriet Rudolph, Katelijne Schiltz, Bernhold Schmid, Katja Schmitz-von Ledebur, Nicole Schwindt, Björn R. Tammen, Maria Theisen, Philipp Weiß.

For the first time organized in Austria, troJa 2016 is hosted by the Institute for History of Art and Musicology of the Austrian Academy of Sciences. Direction: Björn R. Tammen (Vienna) in cooperation with Nicole Schwindt (Trossingen). Conference venue: Austrian Academy of Sciences, Theatersaal, Sonnenfelsgasse 19, 1010 Vienna, Austria. The conference will open on April 21, 2016, at 17:00, and close on April 23, 2016, at 12:30. There is no registration fee. If you would like to attend, please email the local organizer at bjoern.tammen@oeaw.ac.at. A final and detailed schedule  is published online at http://www.oeaw.ac.at/en/ikmseite/veranstaltungen/aktuelle-veranstaltungen.

Mag. Dr. Björn R. Tammen | Österreichische Akademie der Wissenschaften | Institut für kunst- und musikhistorische Forschungen | Abt. Musikwissenschaft | Postgasse 7–9 | A-1010 Wien | Tel. 0043-1-51581-3712

 

XXIII Annual Conference of the Italian Musicological Society

XXIII ANNUAL CONFERENCE OF ITALIAN MUSICOLOGICAL SOCIETY

 

Como, Conservatory of music “Giuseppe Verdi”, 21-23 October 2016

 

CALL FOR PAPERS

 

The twenty-third Annual Conference of the Italian Musicological Society will be hosted in Como from 21th-23rd October, in collaboration with the Conservatory of music “Giuseppe Verdi”. On October 22nd at 3 p.m. the annual Meeting of all members will take place.

 

The Conference will be divided into free paper sessions.

 

Scholars from all over the world are invited to submit their proposals.

 

In your abstract (which has not to exceed 30 lines in word format) please indicate the title of the proposed paper, the state of the art in your research field, with an outline of the project and the specific contribution to the current knowledge. Only original, unpublished research will be taken into consideration: papers in print will not be accepted.

 

Along with the text please send also a short C/V (max. 15 lines) and indicate the A/V equipment required.

 

The paper shall not exceed 20 minutes in duration (corresponding to an 8-page text containing to a maximum of 16000 characters). Scholars are not allowed to send more than one abstract. The abstracts have to be sent to the e-mail address convegni@sidm.it or – by mail – to the Società Italiana di Musicologia, Casella Postale 318 Ag. Roma Acilia, via Saponara 00125 Rome, Italy (please add on the envelope the indication “XXIII Convegno annuale”) no later than June 15, 2016. Acceptance of papers will be notified by July, 15, 2016.

 

We inform you that one session of the conference will be entitled “From the Belle Epoque to the First World War: in search for a Musical Identity”, and based on the topics exposed in the book “Italia 1911. Musica e società alla fine della Belle Époque” (Milano, Guerini Associati, 2014).

 

Please provide your full name, address, phone number, fax number and e-mail address. For further information about the conference please visit the web site: http://www.sidm.it.

Composition Schools in the 20th Century: the Institution and the Context

45th Baltic musicological conference dedicated to the centennial anniversary of Julius Juzeliūnas

19–22 October 2016

Lithuanian Academy of Music and Theatre, Vilnius

Keynote speakers are dr. Algirdas Ambrazas (Lithuanian Academy of Music and Theatre), dr. Gražina Daunoravičienė (Lithuanian Academy of Music and Theatre), dr. Marina Frolova-Walker (University of Cambridge), and dr. Melita Milin (Serbian Academy of Sciences and Arts).

Secondary themes:
The idea of a composition school and the guidelines for its theoretical conceptualisation
The core of composition schools: traditions, programs, and pedagogical directions
Composition schools vs. individual tutors: differentiation and value criteria
Teachers of composition: pedagogic innovations and ties with traditions
Pedagogy of composition and the idea of writing national music: paths and crossroads
Active pedagogy in composition: ideas and realisation
Teaching the art of sounds in the 21st century
The phenomenon of Julius Juzeliūnas as teacher of composition
Exploring Julius Juzeliūnas’ personality and works
Traditions, directions and identity dimensions of the composition schools in the Baltic States
Ties between national schools of composition and traditions within the world’s largest centres of composition training
The micro-stories from different composition schools that capture imagination

There is no conference fee.

English and German are the two working languages of the conference. Participants who wish to speak during the conference or want to offer topics for round-table discussions and study group sessions should submit their proposals by 18 April 2016 to Zita Abramavičiūtė, coordinator of the conference (mokslas@lmta.lt). Individual speakers are expected to provide an abstract of up to 300 words for a 20-minute report and a CV of up to 150 words. Those intended to speak during round table discussions and study group sessions should send a general summary of their topic. The information about the selected themes is to be announced by the end of April 2016. More details regarding the programme and accommodation are due in May 2016 online. Please check the websites of the Lithuanian Academy of Music and Theatre (www.lmta.lt) and the Lithuanian Composers’ Union (www.lks.lt).

The idea of national schools of composition which emerged in the leading European centres of culture in the 19th century was later gradually adopted by smaller nations seeking statehood and cultural identity. The three Baltic States and the neighbouring countries with similar cultural traditions saw the idea of national music coming into fruition in the early 20th century, the development that prompted their national composition schools to begin taking shape between the two world wars. The latter is an undeniable sign of maturity of a national musical culture. Evidently enough, scientific papers dedicated to the development of professional music often overlook the phenomenon of national composition schools the concept of which usually exists as a non-binding general category although no one has ever tried to play down its importance. Whenever we are trying to describe a national school of composition which, according to Algirdas Ambrazas, is “the commonness of self-awareness of a national culture, aspirations, and artistic images inspired by ethnic consciousness“, the term refers to the equivalent of a national culture of music.

The formation and development of pedagogic schools of composition plays a particularly important role within the structure of the phenomenon of a composition school. They bring together teachers, students, programs, classes, and creative efforts of both students and their tutors. Pedagogic schools of composition offer knowledge and expertise, orientation and technological principles vital in the process of developing skills the craft requires and, quite often, help to define one’s creative stance. As far as their concept is concerned, pedagogic schools of composition are based on several commonly accepted components, such as programme, teachers, students, and particular location, time and tradition. This level of the phenomenon reveals the ways alongside which a teacher’s oeuvre together with his or her stylistic and technological mindset, ideals and pedagogic traits inspire their students and, through their artistic endeavours, eventually influence the advance of a particular musical culture.

Artur Kapp, Heino Eller, Jāzeps Vītols and Juozas Gruodis – the four composers behind the emergence of national pedagogic schools of composition in Estonia, Latvia and Lithuania – have set the first milestones for the development of professional music in their native countries. Spanning over more than one hundred years, its history provides a wealth of material for anyone eager to learn more about its birth and evolution. This conference aims first and foremost at exploring the concept of national schools of composition in small nations and at examining their role in the processes of musical culture of the 20th century and early 21st century.

The conference offers a ground for discussions on a number of provoking subjects: What is the role of a traditional institution, a school for composers, within the contemporary culture given the ever increasing volume of exchanges in musical information? What is key in making a centre for composition studies attractive and productive? What are the priorities and methodical tools in developing a composer’s creativity and skill of his craft? Should the contemporary knowledge about making music be limited by a national tradition? Is teaching composition the exclusive privilege of the most famous composers? What are the ways of transforming experience and creativity in teaching composition? What famous schools of composition have emerged in the 20th century outside the world’s leading centres of musical education?

These are just a few intriguing questions that have inspired the organisers of the Conference dedicated to the centennial anniversary of Julius Juzeliūnas (1916–2001), one of the outstanding representatives of the Lithuanian school of composition. In Lithuania, Stasys Šimkus was the first to offer a course in composition in 1923 while working as a teacher for Klaipėda Music School, or Memeler Konservatorium der Musik as its was officially known at the time. It took another several years for a more systemic approach to develop after Juozas Gruodis began tutoring composition at Kaunas Music School which eventually grew into a conservatory. As one of the most famous and influential teachers of composition, Julius Juzeliūnas has ensured the continuity of the national tradition in professional music as well as its rejuvenation in the second half of the 20th century.