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 firstname.lastname@example.org. 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.
Full papers for reviewed publication submission deadline: 30 June 2019
Symposium date: 12 September 2019
The International Shakuhachi Festival Prague 2019, September 12 – 16, is an event dedicated to cultural and artistic exchange between Japanese and European contemporary music. Over the twelve years of its existence, it has become an important artistic, networking and educational platform for musicians, composers, scholars and artists. Its long-term goal is to expand its audience perception for sound.
Transmission of traditional music in modernizing and globalizing world has been an issue in various fields of music studies for several decades. In ethnomusicology, the discourses have historically entertained the notions of ‘preservation’ and ‘authenticity’ and ‘continuity’, of the ‘formal’ and the ‘informal’, of the ‘oral’ and the ‘visual’ or even of ‘cultural appropriation’ and ‘resistance’. Various traditional cultural institutions of musical transmission have been studied to understand both continuity and change under the conditions of globalization. New sites and ways of teaching and learning traditional instruments and singing techniques have constantly appeared in the globalizing world, especially in its better connected and more affluent parts, opening up the possibilities for fresh research perspectives.
Moreover, the technological boom has enabled an unprecedented availability of musical recordings, video tutorials and sophisticated music software enabling thus the potential for learning and/or reviving any kind of music in the world. Yet, the intimacy between the teacher and the learner, the oral transmission face to face, is still greatly appreciated and usually seen as indispensable for acquiring ‘the knowledge’ of an instrument or a singing technique in full. Indeed, neither an instrument, nor a voice are a ‘thing’, they are both always already cultured and socialized, and active actors playing their role in embodiment of the musical tradition and the culture they belong to.
What is this ‘knowledge’ musicians desire to teach and learners seek to learn today? Why do they do it? To what extent do they share or differ in their perspectives? How do various technologies influence the teaching/learning process today? What does the ‘mastering’ of a traditional instrument or a voice actually mean today? Who is the judge – the teacher, peer-musicians, the audience (and who is the audience)? What does teaching/learning traditional music entail and perhaps offer in the cross-cultural perspective? Does an instrument or a singing technique have an agency? How does an instrument ‘play’ the musician and how does a voice ‘sing’ her or his body? What is the role of institutions both ‘informal’ and ‘formal’ in the process of teaching/learning and what are the relationships between them in particular contexts? And why, in the first place, do people – still and anew – teach and learn ‘traditional music’ in the ‘modern world’?
CALL FOR PAPERS
Music in Transmission:
Teaching and Learning Traditional Music Today
Single day symposium September 12, 2019 Prague, Czech Republic
Researchers in (ethno)musicology, music ethnology/folkloristics and music education as well as theorizing and reflective music teachers, learners and practitioners are encouraged to submit their proposals for 20-minute-long individual presentations which will be followed by a 10-minute-long discussion. Experience-based and ethnographic case studies- based presentations are particularly welcome. The abstracts must not exceed 300 words.
Selected papers with topics falling within the scope of musicology, ethnomusicology, organology and music theory will be published upon peer review in Živá Hudba/Living Music Review, the journal of the Music and Dance Faculty of the Academy of Performing Arts in Prague.
Written papers, however, are not mandatory for the symposium presentations.
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.
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.
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.”
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.
Palacio de la Madraza, University of Granada, Spain, 3rd – 5th July 2019 – Deadline: March 1st 2019
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 be advisable to review. The work becomes a relevant and complex creation where concepts such as the construction of stereotypes, the national identity, the authentic, the popular, and the joining of tradition and avant-garde are interwoven. Not many works have had such an impact on the spreading of the Spanish dance beyond its borders, of Picasso’s aesthetic innovations where his paintings had never been shown before, of Falla’s music, which has been played and versioned over and over again, being submitted to a constant process of resignification.
Therefore, this international conference proposes celebrating the centenary of this milestone which allowed the convergence of so many prominent Spanish and international artists, studying its world impact and assessing its contributions in dance, music, visual arts and literature. With all these objectives, this scientific meeting is settled from an interdisciplinary perspective, which gathers the most recent research in dance history, musicology, history of art and philology, but also in other related areas, like sociology, philosophy, anthropology, communication, fashion, etc.
Papers may address, but are not limited to, the following topics: – Analysis of different aspects in choreography, musical language, scenography, costume design, and libretto of the original The Three-Cornered Hat version of 1919. – Study of the impact and critical fortune that The Three-Cornered Hat had in the different places where it has been performed. – Convergence of the work with other artistic international movements in the same historical and cultural context. – Analysis of the different The Three-Cornered Hat versions up to the present. – Influence of The Three Cornered Hat in the 20th and 21st centuries. – Spanishness in The Three-Cornered Hat and its derivations.
PAPER PROPOSALS The oral presentations will have a duration of 15 minutes. Papers will be admitted in Spanish, English and French. For submitting a proposal, an abstract of a maximum of 2,000 characters and a brief CV are to be submitted to email@example.com before 1st March 2019. The selection of papers by the Scientific Committee will be communicated by mail and will be considered for publication.
Juan Aguilera Sastre (IES Inventor Cosme García, Logroño) Antonio Álvarez Cañibano (Centro de Documentación de Música y Danza – INAEM) Miguel Cabañas Bravo (Instituto de Historia, Consejo Superior de Investigaciones Científicas) Eugenio Carmona (Universidad de Málaga) Emilio Casares Rodicio (Universidad Complutense de Madrid) Michael Christoforidis (University of Melbourne) Chris Collins (Bangor University) Lynn Garafola (Columbia University, Nueva York) Mª Luz González Peña (Archivo SGAE) Carol A. Hess (University of California Davis) Beatriz Martínez del Fresno (Universidad de Oviedo) Elna Matamoros Ocaña (Compañía Nacional de Danza) Antonio Najarro (Ballet Nacional de España) Yvan Nommick (Université Paul-Valéry de Montpellier III) Emilio Peral Vega (Universidad Complutense de Madrid) Gemma Pérez Zalduondo (Universidad de Granada)
The ninth Bach Network Dialogue Meeting will be held at the historic house of Madingley Hall, Cambridge, from Monday 8 to Saturday morning 13 July 2019, with the formal programme running from the afternoon of Tuesday 9 to Thursday evening 11 July. By popular request we have again included a day before and after the formal programme, to facilitate networking, research discussions and the practicalities of travel.
The programme will feature sessions on a range of current topics, including the Bach 333 project, Bach and materiality, the Art of Fugue, Bach’s chorale pedagogy, musical authorship, and Bach’s contemporaries, as well as our ever-popular Early Career Forum and Flash Announcement session. Presenters and panellists will include Christine Blanken, Isabella van Elferen, Nicholas Kenyon, Kevin Korsyn, Michael Marissen, Paul Moseley, Derek K. Remeš, Barbara M. Reul, Stephen Roe, Stephen Rose, Joel Speerstra, Ruth Tatlow, Bettina Varwig, Christoph Wolff and Steven Zohn. In addition, we are delighted to welcome renowned harpsichordist Mahan Esfahani for an evening lecture recital, and director Paul Spicer to lead a choral singing session.
The schedule is designed with generous open discussion time, to give every delegate an opportunity to engage with the subjects. Every registered delegate is invited to speak for five minutes about their current research at the Flash Announcement Session. We encourage doctoral and post-doctoral students to present a short summary of their research topic at the Early Career Forum. There will also be time over meals and in the wonderful gardens to continue discussions informally.
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
Theory of music
Music and pop culture
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.
Accepting applications with abstracts – until 31th of May 2016.
Information about accepted papers – by 30 June 2016.
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.
Jagiellonian University in Kraków, Department of Musicology
Address: Westerplatte Street 10; 31-033 Kraków, Poland
In 2015, the year of its centenary, the Sydney Conservatorium of Music is delighted to host the annual conference of the Musicological Society of Australia. The conference invites participants to consider how the idea of ‘dialogue’ is relevant to their musical research interests. Whether conceived of in terms of the relationship between a creator and her audience, between a work and its historical antecedents, between different music cultures, or between performance and research, the notion that art involves dialogue of some kind is commonplace. Indeed, in the globalised world in which we live, dialogue between different musical traditions, different traditions of thought and different methodological approaches actively works to reshape the ways in which we both create and understand music and has given rise to recent calls for relational musicology.
We are pleased to announce that two of the plenary speakers are already confirmed. They are Gary Tomlinson (John Hay Whitney Professor of Music & the Humanities, Yale University), and Neal Peres Da Costa (Associate Professor, Historical Performance, Sydney Conservatorium of Music).
The theme “Musical Dialogues” seeks to engage with and showcase a wide breadth of scholarly expertise. This might involve a consideration of the way dialogue takes place in musical collaborations, performer-composer interactions, or the critical and hermeneutic discourse that has sprung up around many types of music. Participants might also consider exploring dialogues across history (not forgetting that the present changes the past as much as the past influences the present) or how a composer, work, or practice can be understood as a response to past phenomena, be they musical, cultural or social. Other types of dialogue for consideration might be those that take place between different traditions that co-exist within the same geographical space: settler societies such as Australia have a rich heritage of such cross-cultural interactions.
We particularly welcome papers addressing the following topics, though these are only suggestions and should not constrain authors.
Australian music: intercultural and intra-cultural exchanges
Performance as dialogue (with the composer/work/audience)
Temporal intersections: music of the past in the present; new musics in the context of their pasts
Global musical dialogues
Musical institutions as they engage with their social contexts
Discourses in music theory and historiography
Popular music as social discourse
Jazz scenes, communities and practices
Sound and image: dialogues between music and the visual – iconography, film, gaming
Free papers are also welcome.
Guidelines for Applicants
Scholars are invited to submit 250-word abstracts for individual presentations related to the conference sub-topics listed above or in the category of “free paper” to the following email address firstname.lastname@example.org. All submissions must be received by 1 April 2015 and will be acknowledged with a receipt to sender. The conference format will provide each successful applicant with 20-minutes for presentation and 10 minutes for Q&A. Applicants will be informed of acceptance by 29 April 2015.
The planning committee will also accept proposals for panel sessions related to the conference theme. Proposals for panel sessions should be 250-words in length, include a full list of panel members and be submitted as per the guidelines outlined above.
A variety of performances will be held during the conference. A highlight will be a new Noh (shinsaku Nô) play in English by Allan Marett to be presented by members of The Oppenheimer Noh Project during the conference. Entitled “Oppenheimer,” the play focuses on the development and use of the atomic bomb on Hiroshima in 1945. Conference registrants will be offered tickets to this event at a specially discounted price.
Linda Barwick, Christopher Coady, David Larkin, Alan Maddox and Kathleen Nelson