24th IGEB International Conference on Wind Music

The International Society for Research and Promotion of Wind Music (IGEB) is pleased to invite submissions of proposals, posters, or lecture-performances for the 24th International Conference on Wind Music, to be held in Valencia (Spain) July 23-27, 2020, at “Joaquín Rodrigo” Conservatoire of Valencia and, for the last day, the Societat Musical Santa Cecilia d’Alcàsser.

Main theme- Wind Music: Providing Education & Building Society, Culture and Identity

The relevance of the military and civilian bands in education and their role in building the society, the music culture and the identity, is the main theme of this 24th International Conference. The lecturers are especially invited to submit their proposals within the framework of the following categories:

  • Wind music artistic societies, education and identity.
  • Wind music repertoire, audiences and identity.
  • Wind music teachers, composers and performers.
  • Wind music, cultural environment and identity.
  • Wind music and social development.
  • Wind music and urban soundscapes.

In addition, we also welcome proposals exploring other approaches to wind music, including research in progress.

SUBMISSION OF PROPOSALS AND DEADLINES

DEADLINE: January 31, 2020.

Abstract (250 words) and brief CV should be submitted by e-mail to the Chair of the Scientific Committee (rodriguezgloria@uniovi.es) with copy to Doris Schweinzer (doris.schweinzer@kug.ac.at)

Accepted papers will be notified by April 1, 2020.

IGEB also invites persons interested to chair a session, sending a brief CV to the emails indicated above.

LANGUAGES AND PROCEEDINGS

The official languages of the conference will be English, German, Spanish and Valencià.

The organizers encourage PowerPoint presentations in English. Presentations should not exceed 20 minutes, leaving 10 minutes for discussion.

The organizers will consider papers for future publications in the Alta Musica series.

Presenters and chairs are expected to be members of IGEB.

Registration materials and further information may be found at http://www.igeb.net  and in the IGEB Mitteilungsblatt.

International Conference Rethinking The Three Cornered- Hat a century after

International Conference
Rethinking The Three-Cornered Hat After a century after


Where

Palacio de la Madraza, University of Granada, Spain.

When

3rd – 5th July 2019


Organisation

Fundación Archivo Manuel de Falla/Universidad de Granada/Universidad
Complutense de Madrid/Consejo Superior de Investigaciones Científicas

Collaboration

Festival Internacional de Música y Danza de Granada/Acción Cultural
Española/Ayuntamiento de Granada/Ministerio de Cultura y Deporte-INAEM

Registration and further details

Please, visit our website:

https://sombrero3picos.wixsite.com/congresosombrero

Conference outline


On 22nd July 1919, in the Alhambra Theatre in London, the Diaghilev Ballets Russes premiered
one of the most relevant works in the history of Western dance and music, the international
projection of Spanish culture and the configuration of the Spanishness imaginary. This ballet
was based on the adaptation of Pedro Antonio de Alarcón’s book by María Lejárraga, and had
a score by Manuel de Falla, set and costume designs by Pablo Picasso and a choreography by
Léonide Massine. Since that moment, the ballet has been performed a huge number of times
around the world, with versions by the most significant choreographers, and still lives in the
repertoire of some current dance companies.
Moreover, The Three-Cornered Hat has focused the attention of many critics and scholars, who
have built a large historiography throughout the years, both in Spain and abroad, which might

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.

IMS2022: 21st Quinquennial IMS Congress

Location: Athens, Greece
Dates: August 22–26, 2022

The 21st Quinquennial IMS Congress (IMS2022) will be held in Athens, Greece, from August 22 to 26, 2022. It is sponsored by the Hellenic Musicological Society under the aegis of the Department of Music Studies of the National and Kapodistrian University of Athens and the Department of Music Studies of the Aristotle University of Thessaloniki.

Conference website: https://www.musicology.org/ims2022

The Mediterranean: Migrant Sounds

Location: Valencia, Spain
Dates: July 23–26, 2019

3rd Meeting of the IMS Study Group “Mediterranean Music Studies”
The 3rd meeting of the IMS Study Group “Mediterranean Music Studies” will be held in Valencia, Spain, during the 2nd International Conference of the Associació Valenciana de Musicologia, entitled The Mediterranean: Migrant Sounds, which is taking place from July 23 to 26, 2019.

Conference website: http://avamus.org/en/2019-conference

47th MedRen Music Conference

Location: Basel, Switzerland
Dates: July 3–6, 2019

The IMS Study Group “Musical Iconography” will feature prominently at the 47th Med­Ren Music Conference, hosted by the Schola Cantorum Basiliensis, Basel, Switzerland, in July 2019, with a panel of nine papers (in three sessions): “Early Music Iconography: Methodological Worlds and Cultural Intersections.”

Conference website: https://medren2019basel.com

Atlantic Crossings: Music from 1492 through the Long 18th Century

Location: Boston, USA
Dates: June 7–8, 2019

The IMS Study Group “Early Music and the New World” will hold an open meeting during the session “From Colonies to Republics: Latin American Music in Transition, 1770–1825,” at the international conference Atlantic Crossings: Music from 1492 through the Long 18th Century at Boston University, USA, June 7 to 8, 2019.

Conference website: http://www.bu.edu/earlymusic/2018/09/26/program

Music as Heritage: from Tradition to Product

Central European University invites application to a 10-day summer school held in Budapest on July 1-10, 2019 from practicing professionals as well as graduate students and junior researchers active in the field of research and teaching of related subjects (musicology, ethnography, heritage studies in its broadest sense, management, marketing and tourism studies, minority studies, etc.). Advanced undergraduate students will also be considered.

The course explores various aspects of musical heritage management creating audience development-focused, yet socially conscious business policies – a contemporary and viable approach to responsible arts management. It also includes a field trip providing both a unique opportunity to get further insights into research methods and a real-life experience of traditional music.

Course faculty includes distinguished scholars like Martin Stokes (Department of Music, King’s College London, UK) and Jonathan Stock (School of Music and Theatre, University College Cork, Ireland).

Extended deadline for applications is May 15. More information on the course website .

photo credit: Everengine

REEM-BASEES 2019 Annual Conference – In memoriam Stuart Campbell

BASEES Study Group for Russian and Eastern European Music (REEM)

Saturday 12 October 2019

Durham University

CALL FOR PAPERS

The 2019 BASEES-REEM annual conference will be held in memoriam Stuart Campbell (1949–2018), a notable scholar of Russian music who held the posts of Lecturer in Music, University Organist, and Director of Chapel Music at the University of Glasgow from 1975 to 2000. His publications included two anthologies of Russian music criticism, Russians On Russian Music (Cambridge University Press), and he contributed entries on Russian topics to the New Grove Dictionary of Music and Musicians, Die Musik in Geschichte und Gegenwart, and other reference works. A member of the editorial board overseeing the production of a new Complete Works of Sergei Rachmaninoff, Dr Campbell was also a co-founder and conductor of the Glasgow-based choir Russkaya Cappella and a notable advocate of Orthodox liturgical music.

Proposals are invited for 20-minute presentations that explore themes germane to Stuart Campbell’s research interests, including:

  • Music criticism in Russia and Eastern Europe
  • Eastern Orthodox sacred music
  • The Russian and Eastern European musical diaspora
  • Music and film

The official language is English.

Abstracts of no more than 400 words and short biographical notes (c.200 words) should be sent to reemstudygroup@gmail.com by 31 May 2019. Abstracts will be reviewed and the results announced by mid-June.

REEM has a modest amount of money available to assist speakers, especially postgraduates and those without access to other funds, with the costs of attending. If you would like to be considered for such funding, which is likely to cover only a portion of your travel and/or accommodation expenses, please indicate this in your proposal.

Convenors: Anastasia Belina, Philip Bullock, Katerina Levidou, Ivana Medić, Danijela Š. Beard, and Patrick Zuk.
Enquiries should be sent to reemstudygroup@gmail.com

Opera and the City: Technologies of Displacement and Dissemination

Opera and the City: Technologies of Displacement and Dissemination

National Theater of São Carlos

(Lisbon Opera House)

Lisbon, Portugal

24—25 June, 2019

Keynote Speakers:

David J. Levin (University of Chicago / Department Cinema and Media Studies)

Martha Feldman [to be confirmed] (University of Chicago / Department of Music)

Paulo Ferreira de Castro (Universidade Nova de Lisboa / CESEM)

Program Committee:

Jelena Novak (Universidade Nova de Lisboa / CESEM)

João Pedro Cachopo (Universidade Nova de Lisboa / CESEM)

Mário Vieira de Carvalho (Universidade Nova de Lisboa / CESEM)

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Since its inception in Italy around 1600, opera has maintained an intimate relationship with urban space and the public sphere. Most opera houses were erected in city centers and came to be seen both as secular temples and sites of entertainment in which the appreciation of high art coexisted with popular conviviality and the representation of social, political, and economic power. Just as the development of the operatic genre is inextricably linked to the rise of modern cities, it is also certain that much has changed since the inauguration of the first public opera house, the Teatro San Cassiano, in Venice, in 1637.

During the course of the twentieth-century, the emergence and advancement of new technologies of sound and image reproduction have been decisive factors in these transformations. It became possible to listen to and watch opera without attending a live performance. Further, after the introduction of synchronized sound in cinema, nothing prevented opera from being performed and recorded in places other than opera houses. Later, thanks to TV, live audio-visual broadcasts of opera became a reality, one which new digital technologies have enhanced ever since.

This conference seeks to assess technology’s impact on opera against the backdrop of its relationship to urbanity. The following question, in which issues of displacement and dissemination are weaved together, will stand at the centre of our discussions: how and to what extent did the development of audio-visual technologies allow for the visibility and audibility of opera beyond the theatre while at the same time encouraging its migration to other spaces? Many disparate practices invite this interrogation: from the live simulcasts that beam productions from opera houses to movie theatres, to the creation of new operas in town squares, train stations, old factories, swimming pools, and public transportation, not to mention community-oriented projects such as The Bicycle Opera Project or Operndorf Afrika, and open-air festivals, including the Arena di Verona Festival and the “Festival ao Largo” promoted by the National Theater of São Carlos (Lisbon Opera House).

Despite its widely reputed decline, opera is presently enjoying a moment of surprising vitality. This is true in the fields of reception and production alike, as new forms of staging and creating opera are being experimented with every year. By addressing the link between opera, technology, and the city, this conference will also attempt to draw attention to this very vitality. We hope to stimulate as broad an exchange and as open an inquiry as possible, encompassing issues of dramaturgy, criticism, spectatorship, remediation, technology, and composition, among others.

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We welcome proposals from both scholars and practitioners across disciplines for 20-minute long papers exploring any of the above-mentioned topics. Please submit your abstract (of up to 250 words) to propera2020@gmail.com no later than April 15, 2019. The program will be announced in early May. This international conference is organized within the scope of the project “PROPERA – The Profanation of Opera: Music and Drama on Film” (funded through the European Commission under a Marie Skłodowska Curie Action) and is co-sponsored by the Centro de Estudos de Sociologia e Estética Musical (Faculdade de Ciências Sociais e Humanas / Universidade Nova de Lisboa). More information here.