2nd International Congress The Musical Heritage of the Crown of Aragón

The 1st International Conference on The Musical Heritage of the Crown of Aragón was held in Valencia (Spain) in 2019 and was a pioneering initiative in the approach to the musical history shared by the regions that made up this political and cultural entity which lasted until the 18th century. However, the aims of the Conference went above and beyond pure musicological debate; a further objective was to encourage reflection on the routes available today to inform other professionals and society in general about the knowledge gleaned from research. In short, to establish dialogue among the various agents who are part of the integral process of acquiring and transferring knowledge, such as musicologists, historians, educators, performers and communicators. The success of the 1st Conference has led to a 2nd Conference being organised which will continue to study this theme in great depth and will take place in Valencia (Spain) from 28th to 30th January 2021.

Having reviewed the current state of historical research in the 1st Conference, this 2nd Conference will present recent progress made in research through ten papers which will be presented in two of the available sessions. The first session will be monographically devoted to Jaime I and his era and the second session will deal with a selection of courtly contexts for music between the 15th century and the beginning of the 18th century in different regional areas of the Crown of Aragón. There will also be two sessions set aside for knowledge transfer, education and dissemination, with papers and round tables. Other activities will also be included, such as concerts, book presentations and a visit to the old monastery, San Miguel de los Reyes.

The Conference will also be receptive to the presentation of subjects freely chosen by researchers who wish to publicly convey the results of their latest research into the historico-geographical context of the ancient Crown of Aragón. Proposals for papers on the history of the music of the Crown of Aragón (12th century -1707), knowledge transfer and education will be accepted in Spanish, Valenciano/Catalán, Italian and English:

o Music in the royal courts and those of the nobility. 
o Music under the patronage of the Church.
o Musical activities promoted by civil institutions.
o Music networks in the cities.
o Music and secular and religious ceremonies. o Soundscape.
o Development of music in private spaces.
o Manufacture of musical instruments.
o Biographies and prosopographies of musicians.
o Social history of musicians.
o Repertoires of plain song, polyphony and instrumental music.
o Musical sources.
o Teaching of music. Musical treatises.
o Knowledge transfer, innovation, dissemination via exhibitions, digital technology, databases, music publishing, training researchers and teachers in the musical heritage of the Crown of Aragón.
o Creating modern educational resources.

Research linking the various areas of the Crown of Aragón or comparing the situation within the Crown of Aragón with other political entities will have preference.

The time limit for each paper (in Spanish, Valenciano/Catalán, Italian or English) will be 15 minutes. In view of the current pandemic, a video recording may be made to replace an in-person presentation. This must be sent to the secretary before 21st January 2021 and it will be played in the conference hall for the time limit corresponding to the paper.

Anyone wishing to propose a paper must send the title and an abstract of between 250 and 300 words (written in such a way that the identity of the author is secret), in a Word document, to the Conference Secretary: info.fund@culturalcdm.eu (Ana Jiménez). The deadline for proposals is 30h November 2020.

The Scientific Committee will be responsible for selecting the papers and the Secretary will advise the people selected before 7th December 2020. Once advised that their work is accepted, those selected must register and make the corresponding payment of 30 euros.

Scientific Committee

Antonio Ezquerro Esteban (Consejo Superior de Investigaciones Científicas).
Antoni Furió (Universitat de València).
Maricarmen Gómez Muntané (Universitat Autònoma de Barcelona).
Tess Knighton (ICREA/Universitat Autònoma de Barcelona).
Francesco Zimei (Istituto Abruzzese di Storia Musicale (L’Aquila-Teramo)).

Conference Management

Rosa Isusi Fagoaga.
Francesc Villanueva Serrano.


Ana Jiménez.

Organised by:

Associació Cultural Comes and Fundació Cultural CdM.

Music and Power in the Long Nineteenth Century

Siena, Accademia Musicale Chigiana

2-4 December 2021, Siena

Call for papers

The use of the arts, including music, as an instrument of representation and exercise of power, is widely debated within the context of the society of the ancien régime and the twentieth century, with frequent emphasis on absolutism and dictatorships. This conference aims to investigate this issue in the “long nineteenth century” (c. 1789-1914): the age of the Industrial Revolution, liberalism and social conflicts, nationalism and colonialism.

The geographical scope considered is the Western world (Europe and the Americas), including those extra-European territories subject to or influenced by colonial rule. The entire field of musical experience will be considered, without limitations on genre, from sacred to instrumental music, from musical theater to song and beyond.

“Power” is understood not only in a strictly political sense, such as state power, or as the domination of one nation or ethnic group over others; instead, in light of contemporary and emerging historiographical and philosophical debates, the scope of the concept extends broadly to all aspects of social life in which relations of dominion/submission are significant. By way of example, the following types of relationships might be considered: those between social classes, between economic powers, between religious affiliations, between genders, within the family, and others, in all possible combinations and permutations.

Proposals to further broaden the field of investigation are welcome; preference will be given to those that combine a breadth of conceptual horizons with a rigorous presentation of unpublished sources.

Possible topics for consideration include, but are not limited to, the following:

  • Musicians and power
  • Musical practices as instruments of power and organizations of consent
  • The language of power in musical material
  • The use of music and entertainment in celebration
  • Symbolic representations of power relationships in opera
  • Sacred music as an expression of power
  • Song and choral music as a means of exercising and negotiating power
  • Folk, popular, and dance music within an increasingly powerful music industry
  • Negotiations of power in discourses about music
  • Domain relationships in musical education

The official languages of the conference are English and Italian. A selection of the conference papers will be published in the 2021 volume of Chigiana. Journal of Musicological Studies (https://journal.chigiana.org/).

Please send proposals to chigiana.journal@chigiana.org by 30 November 2020.

Proposals should include:

  • Title of paper
  •  Name of speaker(s)
  •  A proposal of c. 300 words

Papers should not exceed 30 minutes in duration.

Scientific Committee: Esteban Buch, Fabrizio Della Seta, Markus Engelhardt, Axel Körner, Massimiliano Locanto, Fiamma Nicolodi, Antonio Rostagno, Carlotta Sorba.

Organizing Committee: Susanna Pasticci, Stefano Jacoviello, Anna Passerini, Nicola Sani.

We are aware that the current scenario presents many uncertainties; we are constantly monitoring the situation and the measures that the Italian and other governments have put in place and we hope that by December 2021 it will be possible to travel, so that the conference may go ahead as planned and we can meet in Siena. However, if necessary, we will be running the conference online.

CALL PDF English: https://journal.chigiana.org/wpcontent/uploads/2020/09/Chigiana_Call_PDF_Eng_2021.pdf Italian: https://journal.chigiana.org/wpcontent/uploads/2020/09/Chigiana_Call_PDF_Ita_2021.pdf

Bach and Italy

Turin (Italy), November 26-28, 2020

Thanks to a long tradition that began with Bach’s contemporary, Padre Martini,  Italy is considered today as a “Bachian” country. The past 250 years have seen an abundance of creative interactions with Bach and his music, including numerous transcriptions, arrangements and editions, scholarly and non-scholarly writings, Bach festivals, recordings and the use of Bach’s music in the media. Out of respect for this history, we formed JSBach.it to improve communication and coordination of Italian Bach activities, to facilitate and encourage academic and artistic research, and to promote its dissemination nationally and internationally.

​We will be holding our First International Conference on Bach and Italy at the Conservatory of Turin on November 26-28, 2020, in cooperation with the Conservatory of Turin, the Istituto per i Beni Musicali in Piemonte, and the Coro Maghini and with the Patronage of the University of Genoa, of the Bach Network, of Il Saggiatore musicale, and of the SIdM (Società Italiana di Musicologia).

We welcome proposals for 20-minute papers, for 30-minute lecture-recitals and for panels regarding all aspects relating to Johann Sebastian Bach and Italy.

​Possible topics include, but are not limited to:

  1. Bach and his Italian models/sources
  2. Reception of Bach’s music and treatments of his biography in an Italian context
  3. Bach and the Italian opera
  4. Bach and the revival of Italian instrumental music

A more detailed list of possible subjects can be found here.

​Although the conference languages will be Italian and English, we encourage delegates to present their papers in English.

Abstracts of maximum 300 words can be in either Italian or English. Please submit this together with contact details, and maximum 50 words of bio on the form found here. The deadline for submission is 31 March, 2020.

​The Scientific Committee includes Prof. Kenneth Hamilton (University of Cardiff), Prof. Michael Heinemann (Hochschule für Musik, Dresden), Dr habil. Michael Maul (Bach-Archiv and Intendant of the BachFest Leipzig), Prof. Stefano A. E. Leoni (Conservatorio di Torino), Dr Ruth Tatlow (University of Uppsala), Prof. Yo Tomita (Queen’s University, Belfast), along with Dr Chiara Bertoglio (Facoltà teologica dell’Italia settentrionale and JSBach.it) and Maria Borghesi (Hochschule für Musik, Dresden and JSBach.it).

The keynote lecture will be delivered by Dr Michael Maul, and the plenary concluding speech will be given by Prof. Raffaele Mellace; the gala concert will be given by the Coro Maghini and Festival BackTOBach of Turin.

Please contact info@jsbach.it for information; more details will be found at www.jsbach.it/bach2020 – bit.ly/bach2020.

Yuri Falik: Metamorphoses of Life And Work




International Musicological Conference and Roundtable

dedicated to the memory of Y. A. Falik (1936–2009)

December 13th -15th 2019, St. Petersburg, Russia

Yuri Alexandrovich Falik (1936-2019) – People’s Artist of Russia, internationally renowned composer, orchestral conductor, and a public figure, Professor of Composition and Instrumentation at the St. Petersburg State Conservatory. The composer’s artistic legacy includes choral, orchestral and chamber instrumental music, several works for musical theater, and a number of sacred works. Many of Falik’s compositions became the staple of the repertoire of many performing ensembles in Russia and abroad, earning him a well-deserved fame.

Y.A. Falik’s colleagues, students, and friends remember him as an artist and intellectual who embraced everything new. At the same time, Falik’s artistic professionalism is deeply rooted in tradition, austerity, and self-discipline. All of these characterize the personality of a great artist, for whom technical considerations were secondary to the embodiment of an artistic concept.

The conference’s title resonates with the title of Falik’s autobiographical book in a form of the dialogues. Organizers of the conference conceived of this forum as a continuation of the dialogue and, simultaneously, as an attempt to comprehend the phenomena of the personality and oœvre of Y. A. Falik within the categories specified by the composer himself.

The Program Committee invites participation of musicologists, composers, performers, music educators, and graduate students, as well as independent scholars and archivists. The presentation topics may include the following:

  • Falik’s work in the context of musical culture of the 20th-21st centuries
  • Falik and the St. Petersburg compositional school
  • The composer`s personality and biography in memoirs of contemporaries, friends, colleagues, and students
  • The work of Y. A. Falik at the intersection of tradition and innovation
  • Main stages of the composer’s creative evolution: the problems of periodization of Falik’s oœvre
  • Falik as composer and performer: The interaction between the two sides of his artistic persona
  • Musical-aesthetic and pedagogical views and principles of Y. A. Falik
  • Falik’s creative methodology and compositional technique  
  • Major themes in the works of Y. A. Falik
  • Falik’s interpretation of a “concert style” concept in works in different genres
  • Orchestral and instrumental chamber music
  • Vocal chamber and choral music
  • Genre paradoxes in Y. A. Falik`s works
  • The role of Russian Silver Age poetry in the composer’s oœvre
  • Falik’s musical theater
  • Performance as interpretation of Y. A. Falik`s music

The duration of presentations is limited to 20 minutes.

The main language of the conference is Russian; however, submissions in English are also invited. Interested scholars who will not be able to attend are invited to send their paper to be read at the conference. All presenters will receive a certificate of participation.

Participation proposals should be sent by email to kle-zemer@bk.ru.

The abstract must not exceed 500-1000 characters.

The deadline for submissions is December 1st, 2019.

When submitting your abstract, please include the following information:

  1. First and last name
  2. Title of the paper
  3. Academic degree
  4. Academic position
  5. Country, city
  6. Home institution
  7. Phone number including country and city code
  8. Email address
  9. Abstract (500-1000characters)

Other information:

  • The conference will take place at the Composers’ House, Bolshaya Morskaya Street, 45, St. Petersburg, 190068, Russia.
  • There is no registration fee. All conference events are free of charge for the presenters. While the organizers cannot offer any travel grants or accommodation discounts, we will be happy to offer practical advice when you make your travel arrangements. A personal invitation to the conference will be sent upon request.
  • There are plans to publish conference proceedings. Participants should send their papers  (15000 characters or less) to kle-zemer@bk.ru. The deadline is  June 1st, 2020. The program committee reserves the right to edit all submissions.
  • The style guide will be available after the conference.

Program Committee:

Iosif Raiskin – musicologist, music critic, Chair of Musicology and Music Criticism section at the St. Petersburg Composers Union

Tamara Tverdovskaya –PhD in musicology, Vice-Rector of Research at the St. Petersburg Conservatory

Evgeny Khazdan – composer, Head of the Music Fund of the Jewish Community Center of St. Petersburg

Eugeni Petrov – composer, Associate Professor of Instrumentation and Non-Major Composition Department of the St. Petersburg Conservatory.

Sergei Ekimov – composer, choral conductor, Professor of Russian State (Herzen) Pedagogical University; Head of the Academic Choral Department, Faculty of Arts, St. Petersburg State Institute of Culture.

Olga Usacheva – PhD in musicology, Deputy Director of Russian Music Research Institute at Linyi University (China)

Music and Political Democratisation in Late Twentieth Century

Study Day

Music and Political Democratisation in Late Twentieth Century

6 November 2020

University of Huddersfield


Convened by Igor Contreras Zubillaga (British Academy Postdoctoral Fellow, University of Huddersfield) and Robert Adlington (University of Huddersfield)

Keynote speaker: Marina Frolova-Walker (University of Cambridge)

This event aims to innovatively question how musical practices formed ways of imagining democracy in the democratic transitions that took place after Portugal’s ‘Carnation Revolution’ in 1974 – what Huntington (1991) called the ‘third wave’ of democratisation, which involves more than 60 countries throughout Europe, Latin America, Asia, and Africa. Rather than studying music’s diverse deployments within these political contexts (music ‘in’ transitions to democracy), this study day places the emphasis upon ways in which music embodies democratisation processes and participates in the wider social struggle to define freedom and equality for the post-authoritarian era (hence the ‘and’ in the title of the event).

As political science has shown, democracy is a highly contested category, one that has been imagined in many different ways, and any particular realisation of which carries costs as well as benefits. According to the historian of democracy Pierre Rosanvallon, the rise of democracy has historically represented both a promise and a problem for a society: ‘a promise insofar as democracy reflected the needs of societies founded on the dual imperative of equality and autonomy; and a problem, insofar as these noble ideals were a long way from being realized’ (2008:2). These complex facets of democracy became especially apparent in the political context of transition to democracy after an authoritarian regime, leading to a struggle between different ‘ideas’ of democracy (Albertus and Menaldo, 2018).Thus, this study day also seeks to engage in a comparative discussion of how music framed different ideas of democracy in post-authoritarian transitions during the 1970s, 80s, and 90s. How did musical practices instantiate ideas of democracy in these political contexts? Inversely, how did such democratic values inform musical practice? How did musicians negotiate between creative autonomy and social responsibility? And more broadly, what is the role of musical culture in a transition to democracy?


8h30-9h00 Coffee and welcome

9h00-9h45 Seonhwa Lee (Royal Holloway, University of London): “The symbolic position of music embodied in democracy and politics: the example of the protest song 임을 위한 행진곡 (Marching for Our Beloved)’

9h45-10h30 Núria Bonet (University of Plymouth): “Musical Democracy in Chilean Prisons During Pinochet’s Dictatorship (1973-1990)”

30 min. break

11h00-12h30 Keynote Lecture: Marina Frolova-Walker (University of Cambridge)

Lunch Break

13h30-14h45 William Fourie (Africa Open Institute, Stellenbosch University): “Composing the Interregnum: Kevin Volans and South Africa’s Transition to Democracy”

14h45-15h30 Mamadou Drame (Université Cheikh Anta Diop de Dakar, Senegal): “Faire le procès des indépendances 40 ans après : réflexions autour de l’avis des jeunes africains par le biais du hip hop et de la littérature postindépendance”

30 min. break

16h00-16h45 Alicia Pajón Fernández (Universidad de Oviedo): “The View of Popular Music in the Press During the Spanish Transition to Democracy: The Difficult Compromise Between Idealism and Capitalism”

16h45-17h30 Diego García-Peinazo (Universidad de Granada): “A(n) (Popular Music) Anthem for Post-Franco Spain? Performing Transition to Democracy and Beyond Around Jarcha’s ‘Libertad sin ira’ (1976)”

17h30-18h00 Final discussion

18h00-18h45 Drinks

18h45 Conference Dinner

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.

Music in Transmission: Teaching and Learning Traditional Music Today

Important dates

Abstract submission deadline: 30 April 2019
Notice of acceptance deadline: 15 May 2019
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’?


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.

This symposium will be conducted in English.

More about the symposium.

Abstract formal requirements

Range: Maximum 300 words
Presentation format:  20 min + 10 min

Register for the Symposium online at https://isfp.cz/about-symposium/open-call/

Download Open Call in PDF: Open Call 

Symposium Committee

Marian Friedl, Department of Musicology, Palacký University Olomouc

Vít Zdrálek, Institute of Musicology, Charles University

Jakub Míšek, NEIRO Association for Expanding Arts

Paper formal requirements and submission

Please see website of ŽiváHudba/Living Music Review:

Should you have any questions about the paper publication, please contact Jakub Míšek at jkb.misek@mail.muni.cz.

Symposium Fees and Registration

Speaker fee: 40 EUR
Visitor fee: 10 EUR (students for free)

IMS2022: 21st Quinquennial IMS Congress

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

The IMS2022 Congress will be held in Athens, Greece, from August 22 to 26, 2022, and 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. The submission deadline for free papers, roundtables, and study sessions is June 30, 2021.

The congress website will be updated frequently, so be sure to check back now and then.

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

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