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

 

 

Liturgical Organ Music and Liturgical Organ Playing in the Long 19th Century

January 20–22, 2016

Sibelius Academy, University of the Arts Helsinki, Finland

INVITATION

The Department of Church Music and the DocMus Doctoral School at the Sibelius Academy, University of the Arts Helsinki, invite organists, researchers, and students to take part in the conference ”Liturgical Organ Music and Liturgical Organ Playing in the Long 19th Century”, a period extending approximately from the French Revolution to the First World War.

The long 19th century was an era of transition, paradoxes, and conflict in the area of church music. While suffering from the continuing decline in the position of the church and the organ in musical life – a process well under way already in the latter half of the previous century – it also saw the birth of several reform movements relating to liturgy, organ and church music, movements that not only shaped much of the developments in the following century but also have had significant repercussions on present-day practices.

Since the long 19th century has been, until recently, largely neglected in liturgical-musical studies, probably because of its lingering association with “decadence” -inherited from 20th century reformists – we feel that it is now time for a thorough reassessment. It is our hope that the conference ”Liturgical Organ Music and Liturgical Organ Playing in the Long 19th Century” will significantly contribute to this purpose.

The conference offers a varied programme, with presentations in words and music in different formats, in addition to, among other things, reconstructed historical services and a concert with Scandinavian congregational hymns.

Invited keynote speakers include:

Prof. Dr. Michael Heinemann, Hochschule für Musik Carl Maria von Weber Dresden

Dr. Kurt Lueders, Paris

 

The conference language is English.

Organizing Committee:

Professor Peter Peitsalo (Sibelius Academy, University of the Arts Helsinki)

Professor Sverker Jullander (Luleå University of Technology)

Professor Karin Nelson (Norwegian Academy of Music)

Lecturer Pekka Suikkanen (Sibelius Academy, University of the Arts Helsinki)

Dr Per Högberg (University of Gothenburg)

Coordinator of Doctoral Studies Markus Kuikka (Sibelius Academy, University of the Arts Helsinki)

MA, MMus Martti Laitinen (Sibelius Academy, University of the Arts Helsinki)

 

CALL FOR CONTRIBUTIONS

Proposals are invited for papers (20 minutes presentation + 10 minutes discussion), lecture-recitals (40 minutes + 15 minutes discussion) and panel sessions (50 minutes). Topics as they relate to the main themes of the conference include, but will not be limited to:

  • purposes of organ playing in liturgy
  • dissemination of repertoire and stylistic ideals through printed collections of liturgical organ music
  • transnational and interdenominational influences
  • liturgical organ music as expression of national identity
  • folk music influences
  • liturgical organ playing as expression of power
  • performance practice issues: hymn playing, plainchant accompaniment, the impact of different organ types
  • forms, functions and models of liturgical organ improvisation
  • church music reform movements, the Bach revival, historical models, changes in liturgical ideals
  • echoes of liturgical organ practice in non-liturgical music
  • comments on liturgical organ playing in the writings of philosophers, theologians, and ecclesiastical authorities as well as in fiction
  • musical representations of aesthetic concepts such as transcendence and the sublime
  • implications of 19th century practices for today’s liturgy and liturgical organ playing.

Proposal writers are encouraged to focus on continuities, transitional phases, and processes of change in Protestant and Roman Catholic church music, as well as Nordic aspects.

Presentations will be held in the Organo Hall of the Helsinki Music Centre (www.musiikkitalo.fi/en/spaces/organo), which has three organs (www2.siba.fi/organo): one by Forster & Andrews from 1892 (III+P/29); one by Verschueren from 1994, built along the lines of North German and Dutch baroque tradition (II+P/26); and one by an unknown Italian builder from the 18th century (I/9). In addition, historical organs in nearby churches will be used during the conference, e.g., the main organ of the St. John’s Church (Johanneksenkirkko, Johanneskyrkan), built by E. F. Walcker & Co in 1891 and restored by Christian Scheffler in 2005 (III+P/66).

All proposals must include the following:

  1. an abstract of maximum 500 words, including information on the type of presentation proposed
  2. a short CV with contact information (for panel sessions, CVs for all panel members, and for lecture-recitals, CVs for all participating musicians, are required
  3. In addition, proposals for lecture-recitals must include: a detailed programme for the music to be performed (composers, work titles, composition years, opus numbers or equivalent)

Please, fill in the online submission form at the conference website and submit it as instructed. The submission time is April 10 – June 5, 2015.

All who submit proposals will be notified of the committee’s decision on acceptance by July 1, 2015.

For further information, please contact:

Peter Peitsalo, DMus, Professor, peter.peitsalo(at)uniarts.fi

Markus Kuikka, DMus, Coordinator, markus.kuikka(at)uniarts.fi

website: http://sites.siba.fi/en/web/organ-and-mass-communication/home

2015 Conference of the Historical Keyboard Society of North America (HKSNA): French Connections – Networks of Influence and Modes of Transmission of French Baroque Keyboard Music

2015 International Conference of the Historical Keyboard Society of North America

May 21-24, 2015

The Schulich School of Music of McGill University, Montreal, Canada

CALL FOR PAPERS AND PERFORMANCES

The Historical Keyboard Society of North America (HKSNA) and the Schulich School of Music of McGill University (Montreal, Canada) are pleased to invite submissions of proposals for the Fourth Annual Meeting of HKSNA:

“French Connections: Networks of Influence and Modes of Transmission of French Baroque Keyboard Music”

The conference will be held at the Schulich School of Music, McGill University, from May 21 to 24, 2015.

Details of the Event and Requirements for Presenters:

The conference aims to deepen understanding of French baroque keyboard music, its style, influence, transmission, and the different teaching traditions that nourished it. Although it is difficult to speak of a single French baroque keyboard style, it remains true that the grand siècle generated a musical classicism cultivated by keyboardists not only in France but transnationally. Often, the terms ‘baroque’ and ‘classical’ are used interchangeably in relation to both the repertoire and instruments of the period.

A special section of the conference is dedicated to the internationally-renowned organist and pedagogue, John Grew, Professor Emeritus at McGill University and an expert of the French baroque organ and harpsichord repertoires.Concerts by guest keyboard performers will also be offered to conference participants and the general public, and master classes will be open to qualified students and participants.

The programme committee encourages submissions of individual papers, round-table discussions, group sessions, lecture-recitals, mini-recitals, and multimedia demonstrations on the following topics as they relate to French baroque keyboard music and historical keyboards:

  • Networks of influence within and beyond France;
  • Pedagogical treatises and other sources of transmission;
  • Legacies and influence of composers or groups of composers and performers;
  • Repertoires, genres, and contexts of performance;
  • Connections with other media such as literature and art;
  • Instruments and builders;
  • Patronage and politics;
  • New perspectives or insights into le goût français.

Although the principal theme for this year’s international conference is French baroque keyboard music, proposals of presentations outside or peripheral to this theme, including contemporary repertoires and issues for historic keyboard instruments, are also welcome and will be accommodated if possible.

Available instruments include single- and double-manual harpsichords by Yves Beaupré, Willard Martin, Frank Hubbard and William Post Ross, clavichords and a fortepiano, and, on May 21 only, the French-classical organ by Hellmuth Wolff in Redpath Hall.

Submission procedure. Abstracts of no more than 400 words excluding titles must be received by 5 p.m. EST on 30 September, 2014. Only one proposal per presenter or group of presenters can be chosen.

Lecture-recital, mini-recital, and multimedia demonstration proposals must also include a sample recording, provided via internet link or as an attached MP3 file.

All proposals, whether they be for papers, lecture-recitals, mini-recitals, multimedia demonstrations, round tables or group sessions, must include short biographical statements for all presenters. Presentations should last no longer than 25 minutes.

  • Presenters must be members of HKSNA. Presenters must also register for the conference and cover their own travel and other expenses.

Presenters whose proposals are chosen will be invited to revise their abstracts for the conference program. Results will be transmitted to presenters by 30 October, 2014. Please send your proposal abstracts directly to hksna2015@gmail.com.

Programme Committee:
Frances Conover Fitch

Hank Knox

Sonia Lee

Rachelle Taylor

Lena Weman

Of special note: This year, HKSNA hosts the Ninth Aliénor International Harpsichord Composition Competition. For more details: http://historicalkeyboardsociety.org/competitions/alienor-competition/.

Celebrating the Tercentenary of C. P. E. Bach

Sensation and Sensibility at the Keyboard in the Late Eighteenth Century: Celebrating the Tercentenary of C. P. E. Bach
Conference and festival
October 2-4, 2014
http://www.westfield.org/cpebach
Cornell University, Ithaca, NY

Revered across Europe during his lifetime, C. P. E. Bach was the unparalleled master of intimate expression at his favorite instrument, the clavichord; yet his stature also rested on vivid choral and orchestral masterpieces. In all genres, Bach’s highly affective music cast new light on, and was heard in terms of, contemporary theories of sentiment and the sublime.

This conference and festival explores the constellation of philosophical and aesthetic ideas, and the conditions of musical production and reception, clustered around concepts of sentiment, feeling, and sensation in the late 18th century. Celebrating the richness of late eighteenth-century keyboard culture (and C. P. E. Bach’s contribution to it), performances will feature clavichord, fortepiano, harpsichord, and organ.

The conference features contributions by Yonatan Bar-Yoshafat, Tom Beghin, Emily Dolan, Matthew Head, Nicholas Mathew, Pierpaolo Polzonetti, Annette Richards, David Schulenberg, with keynote addresses by Richard Kramer and James Kennaway.

Tom Beghin, Matthew Dirst with Ars Lyrica Houston, Matthew Hall with the Cornell Baroque Orchestra, Lucy Fitz Gibbon, Dennis James, Sarah Mesko, Annette Richards, Peter Sykes, Andrew Willis, and David Yearsley will appear in programs of music from C. P. E. Bach’s oeuvre for solo keyboard, concertos for fortepiano and organ, symphonies and vocal music, including “Klopstocks Morgengesang am Schöpfungsfeste,” as well as music by other Bach sons (including “Die Amerikanerin” by J. C. F. Bach) and the cantata “L’Harmonica” by J. A. Hasse.

The conference is co-sponsored by the Westfield Center for Historical Keyboard Studies and Cornell University, and features the Fall 2014 Atkinson Forum in American Studies.

Registration is available at http://www.westfield.org/cpebach

Konfession – Werk – Interpretation. Perspektiven der Orgelmusik Max Regers

Konfession – Werk – Interpretation. Perspektiven der Orgelmusik Max Regers – International Conference, organized by the Max-Reger-Institut [linkto:www.max-reger-institut.de]
October 25th–27th, 2012 –
Akademie des Bistums Mainz Erbacher Hof, Akademie der Wissenschaften und der Literatur Mainz, Hochschule für Musik Mainz an der Johannes Gutenberg-Universität Mainz

The conference is mounted on behalf of the new Wissenschaftlich-kritische Ausgabe von Werken Max Regers (RWA) [http://www.max-reger-institut.de/de/rwa.php] at the Max Reger Institute, Karlsruhe. By the conference date three volumes of the first section, Organ Music, will have been published and the editing of the fourth completed. Due to its innovative technical approach (a hybrid edition of combining the printed score and a digital section comprising the Critical Apparatus including all digitized sources and an additional wealth of information related to the works) the new scholarly edition has been critically acclaimed. Its central concern to combine philological accuracy, practical relevance and user-friendliness facilitates the discourse between scholars and artists.
In the Luther Decade celebrating one of the founders of the German Protestant Church [http://www.luther2017.de/], 2012 is the year of church music. Hence the focus of the conference lies, amongst others, on the Protestant Chorale in the oeuvre of the Catholic Reger, on the importance of J. S. Bach, Reger’s self-conception and his relationship to Mysticism, historically contextualized.
Further details regarding the conference, including the complete conference programme, are available on http://orgeltagung.max-reger-institut.de/