Iberian musical crossroads through the ages: Images of music-making in their transcultural exchanges

Fifteenth symposium of the ICTM Study Group on Iconography of the Performing Arts
organized by the Societat Catalana de Musicologia, Institut d’Estudis Catalans

Barcelona, 17–19 October 2018

Iberian peninsula—the home of Spanish, Catalan, Portuguese, Basque, and Galician peoples—has been a significant economic and political region through the history, which had been both conquered by the powers coming from elsewhere and generating its own forces exploring and conquering other regions and cultures in the world. From the Bronze Age onwards, explorers and traders used the peninsula as the crossroad between the Mediterranean and much of the rest of the world. The Phoenicians came to Iberia in the ninth century BC, and the Greeks followed two centuries later. The Romans conquest of Hispania started during the second Punic War in 206 BC and by the time of Augustus near the entire peninsula was under the control of Rome. During the Middle Ages, Al-Andalus with its Islamic administration was open to an import of Arab knowledge, philosophy, culture, arts and music. Later on, Spain and Portugal were the strongest naval powers in the world and their overseas explorations have radically altered both the old and new worlds: Spain influenced South American and Caribbean cultures, and even the Philippines; the Portuguese travellers, traders and conquerors reached Brazil, sailed along the African coast, and arrived all the way to India, Malacca, and Macao. Through the crown of Aragon, Catalonia experienced cultural exchanges within the western Mediterranean Sea and southern Italy. In addition to the overseas networks, cultural and artistic exchanges were also occurring in Europe through commercial and political ties, and also through marriages between the royal houses. Throughout the history pilgrims walking the Camino de Santiago, or visiting the shrines of Montserrat or Fatima were bringing with them songs, dances and instruments from all over Europe.

All these and many other explorations and migrations created a fertile framework for a rich exchange of musical ideas, sounds, forms, rhythms, dances, and instruments. The Barcelona conference of the ICTM Study Group on the Iconography of Performing Arts will examine visual sources documenting transborder and transcultural transmission of musical ideas between the peoples of the Iberian Peninsula and the rest of the world. Papers are invited concerning the following topics:

  • Sounds of the ancient world: The Iberian cultures in an exchange with other Mediterranean traditions
  • Islamic sounds in Al-Andalus
  • Music and dances of Spanish Sephardim
  • Music along the road: Travelers and pilgrimages in Spain and Portugal
  • The Borgia family as a mediator of musical life between Iberia, Rome and the Vatican
  • Music and explorers (Columbus, Vasco da Gama, trade routes to Latin America, Asia, Africa)
  • Portuguese ethnohistoric accounts about music of Brazil, Macao, and Estado da Índia
  • Spanish encounters with music cultures of pre-Colombian America
  • Music in Catholic missions of New Spain and in the Christianization of Goa
  • Exchanges between Catalonia and kingdoms of Naples and Sicily
  • Reception of the Italian opera in Spain and Portugal
  • Zarzuela and other music theater in Latin America
  • Spain as a topos in music exoticism (opera, operetta, ballet, dance); Orientalism in Spanish art
  • Exchanges of musical instruments between Iberian Peninsula and the rest of the world
  • Internal musical exchanges between the peoples of the Iberian peninsula
  • Spanish/Portuguese iconographic models used in Latin American decorative programs
  • Transcultural musical topics in the 20th- and 21st-century art
  • Proposals related to other transcultural music exchanges in the world may be also considered

English is preferred language for the conference presentations.
Abstracts of 250–300 words may be submitted before 2 April 2018 to:

Zdravko Blažeković
Research Center for Music Iconography
City University of New York, The Graduate Center
365 Fifth Avenue
New York, NY 10016-4309
zblazekovic@gc.cuny.edu

and

Jordi Ballester
Societat Catalana de Musicologia
Institut d’Estudis Catalans
Carrer del Carme 47
08001 Barcelona
Jordi.Ballester@uab.cat

International conference for PhD students

International conference for PhD students

 “Musicology (in)action: Past musics, present practices, future prospects”

 Thessaloniki, 9 – 11 February 2018

 The Department of Music Studies of the Aristotle University of Thessaloniki and the Department of Music Science and Art of the University of Macedonia will host, under the auspices of the Hellenic Musicological Society, an international conference for PhD students entitled “Musicology (in)action: Past musics, present practices, future prospects” in Thessaloniki, Greece, from 9 to 11 of February 2018.

 

Call for papers

In recent years, musicology has tested its boundaries, objects of study, and, indeed, prospected future through the constant questioning of its subfields, themes, and methodological underpinnings. At the same time, this interrogative process has also been one of constant development of new, often interdisciplinary methodological approaches, frequently extending their grasp on new or hitherto neglected musical repertoires. It is this ambiguous state of conditions that the novice in the field of musicological research faces in her/his everyday effort to situate her/his own research within a constantly changing disciplinary environment. This conference aims to bring together fresh ideas of new researchers in an attempt to help them secure their position with respect to the ongoing discourse of musicology’s saga and with an eye to the future prospects of the field.

 

We welcome proposals of PhD students for 20-minute paper presentations or 40- to 80-minute panel presentations (of up to four participants), addressing a variety of old and new(er) research topics from the broad field of musicology (e.g. historical and cultural musicology, music theory and analysis, ethnomusicology and musical anthropology, music psychology, computational musicology, music philosophy and aesthetics). Proposals on topics that cross the strict intra- or inter-disciplinary boundaries of musicology are also welcomed.

Proposals and inquiries should be submitted to the following email address:

conf.phd.2018@gmail.com

 

Proposals for paper presentations should include:

– name of participant(s) and institutional affiliation(s)

– abstract (up to 300 words)

– brief CV (up to 100 words)

 

Proposals for panel presentations should include:

– name of participants and institutional affiliations

– general abstract of proposed panel presentation (up to 300 words)

– individual abstract of each participant’s presentation (up to 300 words)

– brief CV of each participant (up to 100 words)

 

DEADLINE FOR PROPOSAL SUBMISSION: 30 May 2017

NOTIFICATION OF APPROVAL: No later than 15 July 2017

PARTICIPATION FEE: PhD students: 50 euros, undergraduate and master’s students: 30 euros

OFFICIAL LANGUAGE: English

For more information on the reviewing committee, the venue of the conference, etc. please visit the conference’s website (which is under construction):

http://conferences.lib.auth.gr/ICMDR/index/index

 

ACADEMIC ADVISORY COMMITTEE:

Chardas Konstantinos

Nika-Sampson Evanthia

Pastiadis Konstantinos

Vouvaris Petros

 

COORDINTAING COMMITTEE

Kalaitzidou Stamatia

Spanoudakis Dimosthenis

Toumanidou Katerina

Trouka Dimitra

Zlatkou Vasiliki

 

ORGANISING COMMITTEE

Apostolou Andreas Foivos

Authentopoulou Despoina

Banteka Dimitra

Diminakis Nikos

Karamanidis Charalampos

Nikolaidis Nikos

Ntousiopoulou Antigoni

Ntovas Christos

Pouris Christos

Roumpi Antonia

Savvidou Charoula

Scarlatou Chrysa

Seglias Zisis

Sidiropoulou Christina

Sotiriadis Theophilos

Tasoudis Dimitris

2nd Annual Historical Performance Conference

CFP – Historical Performance / 2nd Annual International Conference
Historical Performance: Theory, Practice, and Interdisciplinarity
CFP Deadline: February 25, 2017
Conference Dates: May 19-21, 2017
Venue: Indiana University Jacobs School of Music, Bloomington

The Historical Performance Institute of the Indiana University Jacobs School of Music calls for papers for its second-annual international conference, Historical Performance: Theory, Practice and Interdisciplinary, to convene May 19-21, 2017 on the campus of Indiana University Bloomington.

Guidelines for CFP submissions and other preliminary details can be found by following this link.

Plenary speakers to include: Margaret Bent, Davitt Moroney, Laurie Stras, Nick Wilson, Claire Holden, Eric Clarke
With guest performers/speakers: Kenneth Slowik, Catalina Vicens
Convener: Dana Marsh (Director, Historical Performance Institute)

View the full inaugural conference program from May 2016 – click here

XXIII Annual Conference of the Italian Musicological Society

XXIII ANNUAL CONFERENCE OF ITALIAN MUSICOLOGICAL SOCIETY

 

Como, Conservatory of music “Giuseppe Verdi”, 21-23 October 2016

 

CALL FOR PAPERS

 

The twenty-third Annual Conference of the Italian Musicological Society will be hosted in Como from 21th-23rd October, in collaboration with the Conservatory of music “Giuseppe Verdi”. On October 22nd at 3 p.m. the annual Meeting of all members will take place.

 

The Conference will be divided into free paper sessions.

 

Scholars from all over the world are invited to submit their proposals.

 

In your abstract (which has not to exceed 30 lines in word format) please indicate the title of the proposed paper, the state of the art in your research field, with an outline of the project and the specific contribution to the current knowledge. Only original, unpublished research will be taken into consideration: papers in print will not be accepted.

 

Along with the text please send also a short C/V (max. 15 lines) and indicate the A/V equipment required.

 

The paper shall not exceed 20 minutes in duration (corresponding to an 8-page text containing to a maximum of 16000 characters). Scholars are not allowed to send more than one abstract. The abstracts have to be sent to the e-mail address convegni@sidm.it or – by mail – to the Società Italiana di Musicologia, Casella Postale 318 Ag. Roma Acilia, via Saponara 00125 Rome, Italy (please add on the envelope the indication “XXIII Convegno annuale”) no later than June 15, 2016. Acceptance of papers will be notified by July, 15, 2016.

 

We inform you that one session of the conference will be entitled “From the Belle Epoque to the First World War: in search for a Musical Identity”, and based on the topics exposed in the book “Italia 1911. Musica e società alla fine della Belle Époque” (Milano, Guerini Associati, 2014).

 

Please provide your full name, address, phone number, fax number and e-mail address. For further information about the conference please visit the web site: http://www.sidm.it.

Images of Music-Making and Its Trans-Cultural Exchanges

Fourteenth symposium of the ICTM Study Group for Iconography of the Performing Arts,
organized by the Xi’an Conservatory of Music (西安音乐学院)

Xi’an, 27–31 October 2016

Besides notated compositions, preserved instruments, and writings on music, images can also furnish an abundance of information important for music history. The conference will provide scholars of music iconography with a forum to present their views on exchanges of cultural and musical influences. For the Chinese scholars, this will be an opportunity to get acquainted in more detail with the Western visual sources, as well as the research methodologies and techniques facilitated by the Western scholars which are often significantly different from the Chinese models. For the Western scholars, on the other hand, the conference will bring into focus the richness of Chinese iconographic sources, their significance in the music history of Asia, and methods of research facilitated within Chinese academia.

Proposals for Papers on the Following Topics are Invited:

  • Music culture of China and other Asian countries reflected in visual sources
  • Instruments and their symbolism represented in visual arts
  • Scenography and iconography of music theater
    (traditional Chinese/Asian theater forms, Western opera and music theater)
  • Iconography of dance
  • European visions of Chinese and other Asian musics
  • Methods of research in music iconography
  • Papers on other topics related to music iconography will be considered

English is preferred language for the conference presentations.
Abstracts of 200–300 words may be submitted before 15 March 2016 to:

Zdravko Blažeković
Research Center for Music Iconography
The City University of New York Graduate Center
365 Fifth Avenue
New York, NY 10016-4309
zblazekovic@gc.cuny.edu

and

杨婷婷 / Yang Tingting
Research Center for Northwestern Ethnic Music
Xi’an Conservatory of Music
No. 108, Chang’an Mid Road
Xi’an, Shaanxi Province 710061
xbmzyyyjzx@163.com

Timing of the symposium is coordinated with the dates of the 10th symposium of the International Study Group for Music Archaeology, which will be held at the Hubei Provincial Museum in Wuhan, 21–25 October 2016.

Fifth Annual Meeting of the Historical Keyboard Society of North America (HKSNA) | The Compleat Keyboardist: harpsichord, fortepiano, organ, clavichord, continuo

FIFTH ANNUAL MEETING OF THE

HISTORICAL KEYBOARD SOCIETY OF NORTH AMERICA (HKSNA)

21-23 MARCH 2016

Oberlin College’s Conservatory of Music (Ohio, USA) will host the fifth annual meeting of the Historical Keyboard Society of North America (HKSNA) from Monday, 21 March, to Wednesday, 23 March 2016. The meeting’s theme “The Compleat Keyboardist: harpsichord, fortepiano, organ, clavichord, continuo” hopes to inspire us with the variety of instruments played by our forefathers and foremothers.

Three days of morning and afternoon events (Monday to Wednesday) will include papers, lecture-recitals, mini-recitals, and an exhibition of publications, recordings, and contemporary instrument makers’ work. Proposals for individual presentations or for themed sessions with multiple participants on any subject relating to historical keyboard instruments, their use and repertories from the Middle Ages to the twenty-first century, are welcome.

*Of special note: Oberlin College will also host the Eighth Jurow International Harpsichord Competition during 22-24 March 2016. For more details, visit: http://historicalkeyboardsociety.org/2016-jurow-competition/.

CALL FOR PROPOSALS

Please submit proposals by electronic means only, via email to hksna2016@gmail.com by 30 September 2015. Individual presentations will be limited to 25 minutes. For papers and themed sessions, submit a one-page abstract attached to the e-mail as a Microsoft Word document. For mini-recitals and lecture-recitals, submit complete program information and a representative recording as an internet link or as an attached MP3 file. For performers not intending to bring their own instruments or to make arrangements to use exhibitors’ instruments, instruments will be available, based on needs for the Jurow harpsichord competition; see list below. All proposals must include short biographical statements (250 words or less) for all presenters and indicate any audio-visual/media needs.

Notification of accepted proposals will be made by 31 October 2015. Presenters must be members of HKSNA and must register for the conference. Presenters must also cover their own travel and other expenses. Further information, as it becomes available, will be posted on the website of HKSNA (www.historicalkeyboardsociety.org).

PROGRAM COMMITTEE

David Breitman
Lisa Goode Crawford
Frances Conover Fitch
Joseph Gascho
Sonia Lee
Webb Wiggins, chair

*          *          *

Below is a list of Oberlin Conservatory’s Historical Performance Program keyboard instruments; not all may be available for use in your proposal due to use in the Jurow harpsichord competition or hall availability.

French Harpsichords
Richard Kingston double, 1990
Keith Hill double, 1987
John G. P. Leek double, 1975
William Dowd double, 1969
Willard Martin single, 1979

Flemish Harpsichords
Zuckermann double after Moermans, 2007
Robert Myerly single, 1989
Willard Martin single, 1979

German Harpsichords
John Phillips double after Gräbner, 2014
William Dowd double after Mietke, 1986 (Wiggins)

Italian Harpsichords
David Sutherland, 1983
Anderson Dupree, 1982
William Dowd, 1965 (A=415/440/463)

Virginals
Edward Kottick muselar (mother & child), 2004 (A=440)
Willard Martin muselar, 1973 (A=415)
potential Owen Daly Italian, 2016 (A=463)

Chamber Organs
Gerrit Klop chamber organ, 1985 (8’ 4’ 2 2/3’ 2’ flutes, 8’ wooden principal treble only)
Robert Byrd chamber organ, 1990’s (8’ 4’ 2’ flutes)
D. A. Flentrop chamber organ, 1956

Concert Organs
D. A. Flentrop three-manual North European organ in Warner Concert Hall, 1974
C. B. Fisk three-manual late-Romantic organ in Finney Chapel, Op. 116
John Brombaugh two-manual early 17th century meantone organ in Fairchild Chapel, 1981

Clavichords
Joel Speerstra pedal and two-manual clavichord, c. 2006
Gough unfretted 5-octave clavichord, c.1964
Zuckermann “King of Sweden” fretted 4-octave clavichord, 2009

Early Pianos
Thomas & Barbara Wolf after Dulcken, Viennese, 5-octave + 2 notes (FF-g’’’), c. 1990’s
Paul McNulty after Walter, Viennese, 5-octave + 2 notes (FF-g’’’), c. 2005
Anton Zierer fortepiano, Viennese, 6 ½-octave (CC-g’’’’), c. 1829
Broadwood parlor grand piano #5418, 7-octave (85 notes), c. 1865

 

XXII ANNUAL CONFERENCE SOCIETY ITALIAN OF MUSICOLOGY

XXII ANNUAL CONFERENCE SOCIETY ITALIAN OF MUSICOLOGY

Perugia, Conservatorio di musica “Francesco Morlacchi”

30-31 ottobre, 1 novembre 2015

CALL FOR PAPERS

The twenty-second Annual Conference of the Italian Musicological Society will be hosted in Perugia  from 30th October to 1st  November 2015, in collaboration with the Conservatory of Music “Francesco Morlacchi”. On October 31st at 4 p.m. the annual Meeting of all members will take place .

The Conference will be divided in 4 free paper sessions and 2 theme-oriented sessions about

  1. musical sources and new research topics;
  2. new acquisitions in organology.

 

Scholars from all over the world are invited to submit their proposals.

In your abstract (which has not to exceed 30 lines in word format compatible) please indicate the title of the proposed paper, the state of the art in your research field, with an outline of the project and the specific contribution to the current knowledge.

Along with the text please send also a short C/V (max. 15 lines) and indicate the A/V equipment required.

The paper shall not exceed 20 minutes in duration (corresponding to an 8-page text containing to a maximum of 16000 characters). Scholars are not allowed to send more than one abstract. The abstracts have to be sent to the e-mail address sellerfrancesca@gmail.com or – by mail – to the Società Italiana di Musicologia, Casella Postale 318 Ag. Roma Acilia, via Saponara 00125 Rome, Italy (please add on the envelope the indication “XXII Convegno Annuale”) no later than June 15, 2015.

Acceptance of papers will be notified by July, 15, 2015.

Please provide your full name, address, phone number, fax number and e-mail address. For further information about the conference please visit the web site: http://www.sidm.it.

 

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/.

Forte / Piano: A Festival Celebrating Pianos in History

How have the practices of composition, performance, improvisation, and listening been informed by the piano in its long history? How have the concepts, designs, materials, and sonorous resources of pianos been entwined with musical thought and affect across time and space? Specifically, how might we resituate eighteenth-century pianos in relation to harpsichords and clavichords, account for the rapid evolution of nineteenth-century pianism, and explain (or challenge) Steinway’s perceived hegemony in the twentieth century?

The Westfield Center for Historical Keyboard Studies invites proposals for recitals, talks and innovative presentations from performers, scholars, organologists, builders, and technicians for an international festival to be held at Cornell University on August 5–9, 2015. We particularly encourage individual and collaborative proposals that combine insights drawn from scholarship, performance, and organology and examine the ways in which pianos have generated, reflected, and modulated musical thought and behavior.

Proposals may focus on composers, performance traditions, improvisatory methods, and geographical centers of influence. Potential topics include Haydn’s keyboard music; Brahms’s piano music; the piano in early twentieth-century Paris; the piano in late eighteenth-century London; the improvisation of cadenzas, fantasias, and preludes; the standardization of piano manufacture in the context of industrialization; pedagogical institutions; the piano, bodily techniques, and the performance of gender.

The festival will feature a number of leading performers, including Tom Beghin, Kris Bezuidenhout, Malcolm Bilson, David Breitman, Penelope Crawford, Alexei Lubimov, and Andrew Willis among many others. The festival will focus on an array of historical instruments and replicas built by prominent builders. We encourage proposals that will take advantage of the opportunities these instruments afford, and will provide more specific information on request. Potential presentation formats include (but are not limited to) traditional conference papers, lecture-recitals, lecture-demonstrations, and discussion panels.

Proposals should include a 250-word description and a CV, and for performers, a sound or video recording of at least 30 minutes. The submission deadline is September 15, 2014. Proposals may be submitted online at www.westfield.org/festival

Neoclassical Reverberations of Discovering Antiquity

Twelfth conference of the ICTM Study Group for the Iconography of the Performing Arts

in collaboration with the Istituto per i beni musicali in Piemonte

will be held at the Archivio di Stato di Torino

Torino, 6–10 October 2014

With the discoveries of Herculaneum and Pompeii, the eighteenth century marked the birth of modern archaeological methods. The newly discovered Roman sites became a leading attraction for intellectuals travelling in Italy on the Grand Tour, and equally admired by royalty, young British students, or artists and musicians. On the other hand, Napoleon’s Egyptian Campaign inspired the fashion of Egyptomania, which could be in its different forms traced back to antiquity. These new opportunities for the study of Mediterranean antiquity and the general fascination with it, made the ancient artistic vocabulary fashionable throughout Europe, and it was reflected in the most diverse aspects of nineteenth-century life, ranging from the decoration of public buildings and artistic and architectural styles, to fashion, furniture, and opera libretti. The conference aims to examine the influences and reflections of this new knowledge of antiquity on visual arts as related to music.

  • Music in neoclassical visual art
  • The impact of archaeological explorations at Pompeii and  Herculaneum
  • New visions of ancient musical life and myths
  • Public buildings decorated in the ancient Roman style
  • Music of ancient Egypt and North Africa as seen by Western artists
  • Antiquity in operatic scenography
  • Musical impressions by artists on Grand Tours

Free papers will be also considered

 

Abstracts of 200–300 words may be submitted before 1 May 2014 to:

Zdravko Blažeković

Research Center for Music Iconography

City University of New York,

The GraduateCenter

365 Fifth Avenue

New York, NY10016-4309

zblazekovic@gc.cuny.edu

Cristina Santarelli

Istituto per i beni musicali in Piemonte

Via Anton Giulio Barrili 7

10134 Torino

cristina.santarelli@tin.it

Further information will be posted at

http://www.ictmusic.org/group/iconography-performing-arts

and

http://www.ibmp.it/entrata.htm