4th Transnational Opera Studies Conference

Bayreuth, June 24–26, 2021
Founded in Bologna in 2015, tosc@ is a biennial meeting designed to give scholars, artists and opera lovers from different countries the opportunity to come together. The name of the conference is an acronym:

                            Transnational

                            O pera

                            S tudies

                            C onference

                                        @                   with the final word referring to the host city.

Open to all approaches, forms, genres and periods, the tosc@ conference aims to unite the excellence and boldness of contemporary research on opera and musical theatre in general. The conference moves from place to place, encouraging the presence of contributors from the host countries, enlarging the circle of its participants and promoting encounters between cultures and sensibilities. In this way it hopes to foster interest in opera studies in the younger generation of researchers, be they musicologists or scholars from other disciplines. Papers may be given in the language(s) of the host country or in English. Everyone is invited to take part, regardless of their professional status.

tosc@bayreuth.2021

Following the success of the first three meetings (tosc@bologna.2015, tosc@bern.2017 and tosc@paris.2019), the fourth edition of the tosc@ conference will take place at the University of Bayreuth, Germany, from June 24–26, 2021. Since 1976 the University has hosted a unique Research Institute for Music Theatre, located in the nearby Castle of Thurnau. With the Richard Wagner Festspielhaus and the Margravial Opera House the city of Bayreuth is filled with operatic history and culture, which can be explored by all participants in the diverse organized activities accompanying the conference.

The Programme Committee consists of:

Luisa Cymbron (Universidade NOVA de Lisboa),

Nils Grosch (Universität Salzburg),

Kordula Knaus (Universität Bayreuth),

Gundula Kreuzer (Yale University),

Raphaëlle Legrand (Université Paris-Sorbonne),

Isabelle Moindrot (Université Paris 8),

Anno Mungen (Universität Bayreuth)

and Benjamin Walton (University of Cambridge).

Kordula Knaus and Anno Mungen are also the conference organizers.

The Programme Committee welcomes proposals in the following formats:

individual papers (20 minutes long, with 10 minutes for discussion);

themed sessions (three or four papers, each 20 minutes long with 10 minutes for discussion – please note that the Committee reserves the right to accept one or several proposals on a separate basis even if the entire panel is not selected);

roundtable sessions (90 minutes long, up to six people each giving a brief position paper, followed by a general discussion).

We invite submissions on any subject related to opera and other forms of musical and music theatre. Presentations which integrate performative aspects, or other alternative formats, are welcome. Methodologies may be varied, traversing disciplines and perspectives: verbal text, music, drama, performance, body, voice, interpretation, declamation, painting, scenography, dance, staging, stage technology, cinema, photography, video, television, radio, digital arts, as well as reception, historiography, economics, ecology, opera and society, opera and the media, opera and the other arts, etc.

Reflecting the special research interests of the University of Bayreuth with its Research Institute for Music Theatre and the ‘Africa Multiple’ cluster of Excellence, proposals focusing on performance research and practices as well as proposals focusing on perspectives of racially or culturally ‘othered’ operatic phenomena are encouraged. Furthermore, proposals that engage with questions of opera at the periphery of the traditional Western operatic culture and opera in a globalized world, as well as transnational perspectives, will be of particular interest to the committee. Preference will be given to proposals that explore questions and problematics, rather than simply offering descriptive accounts.

Proposals may be submitted in English, French, German or Italian. They must include the following:

– author’s full name, – country and institution, – e-mail address, – paper title, – abstract.

Abstracts should be prepared as follows:

– individual papers: maximum 350 words;

– themed sessions: a 250-word summary outlining the aims of the session and a 350-word abstract for each paper;

– roundtable sessions: a 250-word summary outlining the aims of the session, and a brief description of each position paper.

Typically, an academic abstract should include a clear statement of the topic and research question(s), contextualized within existing knowledge; a summary of the argument, evidence and conclusions; and an explanation of why the topic and findings are important. Abstracts should thus include all necessary information that will allow the Programme Committee to evaluate the paper’s quality and originality and its potential as an oral presentation.

Proposals must be submitted as attachments by email as a Word file (“.doc” or “.docx” – not “.pdf”) to:

tosc@uni-bayreuth.de

by September 30, 2020

Everyone submitting a proposal will be sent a confirmation email; if you do not receive a notification within six days, please resend the proposal. All abstracts will be anonymized before being evaluated by the Programme Committee. Do not include any information in your abstract that could reveal your identity (such as ‘As I have shown in my earlier article…’).

All those who have submitted a proposal will be notified of the outcome by the beginning of January 2021. Following acceptance by the Programme Committee, there will be an opportunity to revise abstracts before their publication in the conference programme.

FEES

As for other events of this kind, participants (speakers and spectators) will be required to pay for themselves. The precise registration fee will depend on the number of participants, and will be confirmed when the notification of accepted papers is sent; it will, however, be no more than € 100 (€ 50 for students and scholars from the Global South), and will include three buffets. A special effort will be made for scholars from the Global South in order to provide travel grants. ​

THE tosc@bayreuth.2021 AWARD

The Programme Committee will offer an award for the best paper presented by a junior scholar at the conference. All those who started their doctoral research in 2010 or later and whose papers are accepted for the conference, will be eligible. Those who wish to be considered for this award must submit the final version of their paper to the Programme Committee (accompanied by any musical examples, images, etc.) to tosc@uni-bayreuth.de by May 20, 2021.

The tosc@bayreuth.2021 award will be awarded at the end of the event (June 26, 2021). The winner will be invited to submit the oral presentation as a full article for publication in a prominent international peer-reviewed journal, and will be invited to present a new paper at a plenary session of the fifth edition of tosc@.

CALENDAR

  • September 30, 2020: Deadline for the candidates’ submissions
  • Early January 2021: Announcement of the results
  • May 20, 2021: Deadline for submissions to the tosc@bayreuth.2021 award
  • May 20 – June 20, 2021: Evaluation of young researchers’ papers
  • June 24–26, 2021: tosc@bayreuth.2021

Click here to download the CfP.

Click here for more information on the conference homepage.

Naturalising Sounds: How Instrumental Music is (Made) National

International Conference, Regensburg, 22–23 January 2021
University of Regensburg, Department of Musicology

CfP deadline: 24 July 2020

In 1997 the symposium “French and German Music in the 20th Century” in Frankfurt am Main (“Französische und deutsche Musik im 20. Jahrhundert”) concluded that “today all national typology has lost its validity” (conference review in Die Musikforschung by Peter Jost). At the end of his article on “Nationalism” for the New Grove Dictionary of Music and Musicians, Richard Taruskin, citing Mark Slobin, expressed a hope for a pluralistic global culture consisting of a “fascinating counterpoint of near and far, large and small, neighborhood and national, home and away”. This now seems to be contradicted by the nationalistic tendencies that are gaining popularity worldwide. Music does not remain untouched by this and can become the subject of ideological appropriation. Against this background, nationalistic currents of bygone music history gain relevance once more, after having been considered for some time as over and done with. Here we find actual examples of the mechanisms of making music “national” in a nationalistically charged socio-political climate.

The conference’s main focus lies on instrumental music and those particular moments in modern music history when national or even nationalistic qualities have been attributed to it. These instances occur outside the sounding music itself; they are manifested verbally: in texts accompanying music performances, writings of music theory and music history and, last but not least, in the press – see for example such different cases as Robert Schumann’s articles on Nils Wilhelm Gade in the Neue Zeitschrift für Musik or Carl Mennicke playing off the “Mannheimer Schule” against the Italian opera introduction (Hasse und die Brüder Graun als Symphoniker, Leipzig 1906).

For the interpretation of such cases a distinction needs to be made between terms such as “national” and “nationalistic”, as well as “political”, “popular”/”folksy” and—as Peter Benary emphasized in 1979—“scenic” (“landschaftlich”). Raising questions about “moments” of nationalising music seems to be in contradiction to the long cultivated concept of folk music being the basis of all national musical characteristics. Despite this view, folk music is essentially a local or at least a regional phenomenon. Since a national element cannot constitute itself purely on the basis of sounds, there still have to be acts of reflection and interpretation to attribute such qualities to folk music.

It is the aim of this conference to discover these instances in the wide realm of instrumental music, to examine, analyse and compare them.

Keynote speaker will be Prof. Dr. Stefan Keym (University of Leipzig). As part of the conference there will be a concert with a thematically related programme (esp. Dmitri Shostakovitch’s Seventh Symphony) by the University Symphony Orchestra on 23 January.

We welcome papers of 20 minutes’ length settled in the area of modern music history, focussing on questions such as (but not excluding others):

Is it possible to distinguish different strategies of branding music with a nationality in historical or contemporary music criticism and analysis?

Who decides about the nationality of music? What are the criteria?

How are differences of opinion handled?

How does one become a national composer? Can this status be lost again?

Are there instrumental genres that at certain times tended to be treated and interpreted in a national context? What are the reasons for this?

How are obvious inter-national overlaps of musical material handled (Scotch snap, Lombard rhythm, Hungarian word emphasis)?

How is the “internationality” of particular music established?

Abstracts (2000 characters), along with a short autobiography (700 characters), should be sent to Dr. Michael Braun (michael4.braun@ur.de), Department of Musicology at the University of Regensburg, no later than 24 July 2020. Conference languages are German and English. Notifications of acceptance will be sent by 28 August 2020.

Beyond Sovereignism: New perspectives on Fausto Torrefranca

CALL FOR PAPERS

Beyond sovereignism: New perspectives on Fausto Torrefranca, 11-13 March 2021

Roma Tre University, via Ostiense 139 – 00154 Rome, Italy

Organizer: Department of Philosophy, Communication and Performing Arts – Roma Tre University

Fausto Torrefranca (1883-1955) was a prominent musicologist and music critic, and held the first Chair in Music History at any Italian university. His reputation has been tainted by his strong nationalistic feelings and inclination towards acrimonious and, by today’s standards, politically inconvenient controversies. After his death, he became remembered primarily as the interpreter par excellence of a dusty and obtuse musicological sovereignism. For this reason, he never enjoyed particular consideration among the scholars who came after him, nor was his work judged with the equanimity it deserved. However, the few musicologists who have examined his writings carefully have realized that his work, strong ideological connotations notwithstanding, does not lack a strong methodological foundation—on the contrary. In addition to a profound knowledge of the sources, his writings reveal a keen intuition and uncommon ability to elaborate innovative historiographical hypotheses.

The goal of this conference is not only to revisit but also to spread new knowledge about Torrefranca’s work, thereby restoring the international dimension that it had during his lifetime, when Torrefranca was one of the few Italian musicologists known and published abroad.

Suggested themes (in any case with reference to the career and works of Fausto Torrefranca) include, but are not limited to:

– Biographical aspects

– ‘Politically Incorrect’ Torrefranca

– Aesthetics

– Research methods and tools (philology, ecdotics, musical description and analysis, etc.)

– Study and cataloging of sources, bibliographic research

– Studies on the Middle Ages and the Fifteenth Century

– Studies on eighteenth-century instrumental music

– Studies on music theater from the seventeenth to the twentieth century

– Writings on the music of Torrefranca’s own time

– Dissemination of musical culture and knowledge exchange

– Relationship between music and other performing arts and media

– Professional networks in musicology (national and international)

PROGRAMME COMMITTEE

Luca Aversano (Coordinator, Roma Tre University)

Virgilio Bernardoni (University of Bergamo)

Giorgio Biancorosso (Hong Kong University)

Stephanie Klauk (Universität des Saarlandes)

Cormac Newark (Guildhall School of Music & Drama, London)Jacopo Pellegrini (Roma Tre University)

SUBMISSION OF PROPOSALS AND DEADLINES

Scholars interested in participating are invited to submit, by 31 May 2020, an abstract of no more than 300 words and a short bio-bibliographical note (approx. 150 words) to the following e-mail address: torrefranca.roma2021@gmail.com. Papers must last 20 minutes ca.

The programme committee will select proposals based on their relevance to the themes of the conference. It will make its final decision on the abstracts by the end of June 2020, and prospective contributors will be informed immediately thereafter.

LANGUAGES

The official languages of the conference will be Italian and English.

FEE AND SOJOURN DETAILS

There are no registration fees. The organizers will provide meals and refreshments during the conference for all participants. Accomodation and travel expenses will be covered by all participants themselves. The organizers will suggest accommodation options (in partner Hotels) for different price categories.

PROCEEDINGS

The organizers are planning to publish the proceedings of the conference by the end of 2022.

CONTACTS

Please send all correspondence and queries to the following address: torrefranca.roma2021@gmail.com 

Nationality / Universality ‘Musical historiography in Central and Eastern Europe’

International Musicological Conference: Nationality / Universality  ‘Musical historiography in Central and Eastern Europe’

Radziejowice, near Warsaw, 15–18 September 2014

THEME
The central theme of the International Musicological Conference will be the musical historiographies of the countries of Central and Eastern Europe. As well as attempting to recapitulate historical research of various profiles and surveying current research topics, the conference will provide an opportunity to reinterpret national musical historiographies and compare different perspectives on music history.
For several decades now, historiography, regarded as a central discipline of musicology, has witnessed a search for new directions and inspirations. The key tenets of historical musicology are being re-evaluated, particularly the notion that music history is forged by great individuals, great works, great traditions or great discoveries. The legitimacy of global and universal perspectives has been questioned, with scholars proposing that attention be focussed on regional reality and on everyday musical life. The question arises as to how such thinking affects local historiographies. Has there been any change in the methodologies and narratives of national music histories that lie outside the principal current of Western historical reflection? And, if so, in what direction?

SUBJECT AREAS

  • National music histories versus the history of musical regions and centres
  • National music histories in relation to methodological historiographic models the object of musical historiography: the history of music, the history of writing about music, the history of reception and of musical life
  • The ‘heroes’ of national music in national historiographies
  • The socio-political and cultural determinants of musical historiography in the countries of Central and Eastern Europe
  • The significance of folk traditions in national historiographies

SUBMISSION OF PROPOSALS AND DEADLINES
You are invited to propose a paper by submitting the completed form together with an abstract of your paper in English (300–400 words). Proposals should be sent by 15 November 2013. Website address: http://www.chopin.nifc.pl/conference The list of accepted abstracts will be announced by 31 December 2013.

FEE
The fee for participation in the conference is 50 euro [200 PLN], which should be paid into the account of the Fryderyk Chopin Institute between 31 December 2013 and 30 June 2014. The organiser will provide accommodation and meals during the conference, but will not refund travel expenses.

LANGUAGE
The conference proceedings will be conducted in English.

SCIENTIFIC COMMITTEE
prof. dr hab. Sławomira Żerańska-Kominek, Institute of Musicology – University of Warsaw
prof. dr hab. Irena Poniatowska, Institute of Musicology – University of Warsaw, Polish Chopin Academy
dr hab. Paweł Gancarczyk, Musicology Section – Polish Composers’ Union, Institute of Art – Polish Academy of Sciences
dr Artur Szklener, The Fryderyk Chopin Institute

PROCEEDINGS
The organiser is planning to publish a book of conference.

CONTACT AND QUERIES
Further information on the conference will be posted on our website: http://www.chopin.nifc.pl/conference
Please send any queries by email: conference@nifc.pl
Your questions will be answered by members of the Organising Committee.

ORGANISER’S ADDRESS
The Fryderyk Chopin Institute
Research and Publishing Department
ul. Tamka 43
00-355 Warszawa
fax +48 22 44 16 113
e-mail: conference@nifc.pl
www.chopin.nifc.pl, http://en.chopin.nifc.pl/institute/events/conferences/year/2014

CONFERENCE VENUE
Dom Pracy Twórczej w Radziejowicach
ul. Henryka Sienkiewicza 4
96-325 Radziejowice
Poland