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

 

Analysis – Interpretation – Performance

A Contact Zone for the Reconsideration of Musicological Methods

Annual Conference of the Austrian Society for Musicology (ÖGMW) 2015

University of Music and Performing Arts Graz (KUG)
November 18–21, 2015

Programme Committee:
Christian Utz (chair); Klaus Aringer, Christa Brüstle, Federico Celestini, Martin Eybl, Werner Goebl, Gerd Grupe

Call for Papers [download]

Processes of musical performance are increasingly the focus of musicological attention. The discourse on the relevance of an aural interpretation for a contemporary understanding of music from the past was triggered by the trend towards historically-informed performance practice that developed from the 1960s onwards. Further “performative turns” in aesthetics, literature and theatre studies did not, however, bring about major repercussions in musicology until the 1990s. Together with an enhanced interest in the history of reception and performance, these developments finally contributed to an understanding of musical works not solely as objects of contemplation but also as frameworks for a “performance culture”. Parallel developments in technology enabled recordings to be used broadly as fundamental research material, often in performance-oriented corpus studies.

Nevertheless, the question of the position of musical analysis, as a traditional musicological tool, in the face of this methodological integration of performance and sound remains unresolved. Conventional approaches that considered musical analyses to be “guidelines” for performance have been decidedly refuted since the 1990s, culminating in Carolyn Abbate’s categorical separation of “drastic” musical experiences through live performances and “gnostic” interpretations based on established musicology and analysis. Recently, a more differentiated approach to this field of tension has emerged, paradigmatically represented in Nicholas Cook’s extensive concept of “music as performance”. Increasingly, the term “performance” is understood to encompass not only live situations but also various forms of medially-documented performances.

How can intuitive knowledge applied and gained in performances (as documented in “arts-based research”, for instance) and analytically-substantiated musicological insights synergize fruitfully? This question may be approached from diverse research traditions: along with the studies on reception and performance history that have been carried out over the course of several decades, the historical and systematic methods of British Performance Studies (including the research projects CHARM 2004–2009 and CMPCP 2009–2014), empirical research e.g. in Performance Science (international symposia/ISPS since 2007), and performance-oriented analytical methods, the rediscovery of structural analysis in ethnomusicology (in the journal Analytical Approaches to World Music, among others) has also shed new light on the field of performance, which had always been of central importance to that discipline.

Abstracts submitted for the annual conference of the Austrian Society for Musicology 2015 may thus feature any area of musicology and should address current research on the relationship between analysis, interpretation and performance as a challenge for reconsidering musicological methods.

Section 1: The Presence of Historical Sound
Section 2: Listening to the Twentieth Century: Musical Performance in the Era of Analysis
Section 3: Analyzing Interpretations and Interpreting Analyses
Section 4: Performance and Analysis in Non-Western Musical Genres
Section 5: Performance, Analysis and Empirical Research Methods

Keynotes:
Kai Köpp (Bern University of the Arts)
Joshua Rifkin (Boston University)
John Rink (University of Cambridge)
Renee Timmers (University of Sheffield)
Sarah Weiss (Yale University / YaleNUSCollege Singapore)

Abstracts for papers (up to 500 words) and poster presentations (up to 300 words) may be submitted by e-mail to oegmw2015(at)kug.ac.at until May 31, 2015. The abstracts will be reviewed anonymously by a jury. Notification of papers accepted will be made by July 15, 2015.

www.kug.ac.at/performance-analysis

Magnified & Sanctified: The Music of Jewish Prayer

AHRC “Care for the Future” Theme, Performing the Jewish Archive

University of Leeds, UK, Tuesday 16 – Friday 19 June 2015

 For the first time in Britain an International Academic Conference is being devoted to the music of Jewish prayer. Internationally acclaimed scholars in Jewish liturgical music will lead the programme presented jointly by the School of Music, University of Leeds and the Academic Wing of the European Cantors Association. The conference is organised in association with the international research project Performing the Jewish Archive, funded by the Arts and Humanities Research Council. 


KEYNOTE SPEAKERS

  • Professor Emeritus Eliyahu Schleifer, Professor of Sacred Music and Director of the School of Sacred Music at HUC-JIR/Jerusalem
  • Professor Mark Kligman, Professor of Jewish Music University of California, Los Angeles
  • Professor Rabbi Jeffrey Summit, Research Professor, Tufts University, nr Boston 

CALL FOR PAPERS

The English music scholar Percy Scholes wrote in the Oxford Companion to Music: ‘Throughout the ancient history of the Jewish people we find music mentioned with a frequency that perhaps exceeds that of its mention in the history of any other people. Music not only impresses itself on the daily life of the Jewish people through religious observance, but it is a dominant feature of the Jews’ cultural expression of their own milieu over centuries and more recently of the wider community in which they live.  Music for the Jews is an indelible part of their existence’.

This conference will explore recent research into aspects of Jewish liturgical music. This could include Hebrew Psalmody, Cantillation, Jewish modes and melodies, Piyyutim, Missinai Tunes and synagogue composition, both cantorial and choral in areas where Jewish communities have flourished across the globe and through the centuries.  It will also examine current trends and issues and the interface between Jewish liturgical music and the musics of the wider Christian, Muslim and other societies.

Proposals for 20-minute papers with 10 minutes for discussion (which may include relevant musical presentations) are invited. Papers that make use of original archival sources, or that reinterpret known sources, will be particularly welcome, though all relevant areas of investigation will be considered. We also invite suggestions for round table sessions of c.60 or 90 mins.

THE OFFICIAL LANGUAGE OF THE CONFERENCE IS ENGLISH. It is envisaged that selected papers will be published in a volume of proceedings.

PLEASE SEND AN ABSTRACT OF up to 300 WORDS by 10 November 2014, to the Conference Director, Dr Stephen Muir S.P.K.Muir@leeds.ac.uk. Your proposal should include the title of your presentation, your name and institutional affiliation and contact details, and a biography of up to 150 words. Please indicate whether your presentation includes live or recorded musical illustrations, and the technical support required.

THE PROGRAMME COMMITTEE will make its decisions by 10 December 2014, and contributors will be informed soon thereafter.

SABBATH AND EUROPEAN CANTORS CONVENTION All delegates to the International Conference are invited to join with the European Cantors Convention in special choral Sabbath with guest cantors and choirs on Friday night 19 and Saturday 20 June. Delegates might also like to attend the Convention which will take place immediately following on Sunday 21 and Monday 22 June.

FOR ADDITIONAL INFORMATION, please contact the Conference Director Stephen Muir S.P.K.Muir@leeds.ac.uk  (Information about the programme, registration fees, travel and accommodation will be announced by the end of December 2014). Bursaries covering all or part of the conference fee may be offered to students.

CONFERENCE WEBSITE


CONFERENCE COMMITTEE

Dr Stephen Muir Senior Lecturer in Music, School of Music University Leeds

Dr Alexander Knapp Head, ECA Academic Wing. Research Associate, Department of Music SOAS University of London (retired Joe Loss Lecturer in Jewish Music, SOAS),

Dr Malcolm Miller Associate Fellow of the Institute of Musical Research, University of London

Geraldine Auerbach MBE Conference coordinator


INTERNATIONAL ADVISORY BOARD INCLUDES

Keynote speakers:

Professor Emeritus Eliyahu Schleifer – Jerusalem

Professor Mark Kligman – Los Angeles

Professor Rabbi Jeffrey Summit – nr Boston

and

Professor Philip Bohlman – Chicago

Professor Edwin Seroussi – Jerusalem

 

 

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/.

Analysis, Cognition and Ethnomusicology Conference

Analysis, Cognition and Ethnomusicology Conference: BFE and AAWM 2014

  

Annual Conference of the British Forum for Ethnomusicology (BFE 2014)

AND

Third International Conference on Analytical Approaches to World Music (AAWM 2014)

 

ANALYSIS, COGNITION AND ETHNOMUSICOLOGY

July 1–4, 2014

Hosted by: Department of Music, School of Oriental and African Studies (SOAS), University of London and Institute of Musical Research (IMR), School of Advanced Studies, University of London, in association with the Centre for Music and Science (University of Cambridge) and the Society for Music Analysis.

List of speakers and titles

 

Registration

To register please go to: http://store.london.ac.uk/browse/extra_info.asp?compid=1&modid=5&catid=34&prodid=643

Further information:

http://www.bfe.org.uk/conf/analysis-cognition-and-ethnomusicology-bfe-and-aawm-2014

http://aawmconference.com/

 

 

 

 

International Musicological Meeting in Brasília

International Musicological Meeting in Brasília 2014, at the Brasília Music School with University of Brasília Musicology Lab.

Call for papers: all fields in Musicology, composition and chamber music.
Date: 12 April 2014, 14:30.
Address: TCG, Escola de Música de Brasília, 601 Sul (Brasília Music School, 601 South), Brazil.
Support: PPGUS-University of Brasília (+55.61) 3107-1113
Languages: English and Portuguese.
Keynote speaker: Dr Christopher Dromey (UK).
Organization and information: Dr Zoltan Paulinyi, UnIMeM; Paulinyi@yahoo.com (+55.61) 8653.4811.
Deadline for submitting abstracts, papers and articles: 5 April 2014. Please, use template at:
https://www.dropbox.com/s/8cissuzusrvwqye/ArticleTemplate-UnB2014.doc

Send works with CV to Paulinyi@yahoo.com (cc to Zoltan.Paulini@gmail.com).

PROGRAMME (sketch): 12 April 2014
14:30 – Arrival.
15:00 – Meeting opening with Dr. Beatriz Magalhães Castro
15:15 – Dr Christopher Dromey’s keynote on “Anglo-Brazilian Perspectives on the Pierrot Ensemble”
16:00 – Papers.
20:00 – End.

University of Brasília will provide certificates for all active participants. This Meeting aims to publish the proceedings in PDF.
The Musicological Lab, coordinated by Dr Beatriz Magalhães Castro, focuses on “Theories and contexts in musicology”, at the University of Brasília Post-graduate and undergraduate Program in Musicology.

Homepage:
http://paulinyi.blogspot.com.br/2014/03/encontro-internacional-de-musicologia.html

Arditti Quartet Workshop: International Call for New Works for String Quartet 2014

Early-career composers of any age and nationality are invited to submit new string quartets for rehearsal in a public workshop with the Arditti Quartet

Part of a series of research training days and seminars designed for postgraduate students

Deadline for receipt of scores 1 March 2014

Submit one score (maximum duration 15 minutes) and curriculum vitae to:
Dr Paul Archbold, Institute of Musical research, Senate House, Malet Street, London WC1E 7HU

Alternatively you may submit pdf files electronically to:
 paul.archbold@sas.ac.uk

Composition workshops will take place on Wednesday 23 April 2014 at the Institute of Musical Research at Senate House, University of London.
Selected composers will be expected to attend the full day of workshops

The workshops and concert are open to members of the public. Admission is free

Please visit the Institute of Musical Research website to download the brochure for a full list of all the events. music.sas.ac.uk

For any enquires regarding this post contact Osvaldo Glieca by email: osvaldoglieca@gmail.com

Doctors in Performance

DOCTORS IN PERFORMANCE
The first festival conference of music performance and artistic research
University of the Arts Helsinki–Sibelius Academy
Helsinki Music Centre, Sept. 4–5, 2014
Organizer: DocMus Doctoral School

The DocMus Doctoral School at the Sibelius Academy Helsinki invites artistic research performers at doctoral and post-doctoral levels to take part in the first
festival conference of music performance and artistic research.
Keynote performers:

Laurence Dreyfus, PhD (Columbia), Diplôme Supérieur (Brussels), Hon RAM, FBA, D.Litt (Oxon)

Matti Raekallio, DMus (Sibelius Academy), Pianist, Professor at Juilliard School (NY)

Since 1988, Sibelius Academy has offered a doctoral degree through its Arts Study Program, where the main focus of study is on independent artistic work. This means that after their master’s degrees, musicians can still continue to develop the very essence of their skills—their artistic work. Through their studies, artistic doctoral students also develop their skills in the field of artistic research, but this never suppresses the artistic focus, the actual music making. The organizer of the festival conference, the DocMus Doctoral School, has for more than two decades acted as a pioneer agent in developing the artistic Doctor of Music degree in Europe.

In September 2014, doctoral students working in the fields of musical performance and practice-based or artistic research (in music; Western art music, jazz, folk music) are invited to participate in a new festival conference, Doctors in Performance. In general, conferences with an actual performance focus are rare if not non-existent. Instead of exclusively introducing paper presentations or having live performances as a curiosity or mere decoration, Doctors in Performance highlights the music itself. Therefore, each of the presentations will consist of a musical performance (solo or chamber music) of 40 minutes maximum. The performance can take the form of a recital or a concert lecture. The music performed is expected to include or relate closely to the contents of the doctoral degree the student is pursuing. Those who have already achieved their doctoral degrees can focus on their postdoctoral topics. A paper presentation on artistic research (20 minutes maximum) is also possible in the auditorium sessions (only an upright piano will be available).

Forms for presentations:

a) recital, 40’ (+ 10’ discussion)
b) concert lecture, 40’ (+ 10’ discussion)
c) paper presentation, 20’(+ 5’ discussion)

Doctors in Performance will offer three halls for recitals and an auditorium for paper presentations. See links about the available halls:

The Camerata Hall of Helsinki Music Centre
The Organo Hall of Helsinki Music Centre (organ, harpsichord available)
The Black Box of Helsinki Music Centre
The Auditorium of Helsinki Music Centre

A grand piano, three organs and a harpsichord are available for performers. Also a limited set of percussion instruments will be available. The festival prefers programmes with small percussion sets.

Conference proceedings for Doctors in Performance will be published in advance on the conference website and in print. This will serve as a concert programme as well as provide background information about the participants and their research topics. The applicants are therefore encouraged to include written comments discussing how their artistic and other research work support each other and towards which common goal they are directed.
The proposal must be accompanied by

– a detailed program of the recital (not more than 40 minutes): composers, work titles, composition years, opus numbers)
– a written summary of the student’s doctoral degree studies and research topics (500 words maximum)
– curriculum vitae and contact information
– equipment needed for performances and presentations (all instruments, data projectors, etc.)

Please, fill in the on-line submission form and submit it as instructed in the conference site. The submission time is 15th January – 1st March 2014. The link to the site is here.

The proposals will be peer-reviewed anonymously. Successful contributors will be notified via email by 1st May 2014.

Organising Committee

Kari Kurkela, Vice Dean of Sibelius Academy
Tuire Kuusi, Director of the DocMus Doctoral School, Sibelius Academy
Annikka Konttori-Gustafsson, Assistant Director of the DocMus Doctoral School, Sibelius Academy
Anne Sivuoja-Kauppala, Professor of of Performance Research, DocMus Doctoral School, Sibelius Academy
Kati Hämäläinen, Assistant Professor, DocMus Doctoral School, Sibelius Academy
Margit Rahkonen, Lecturer in Piano Music, DocMus Doctoral, School Sibelius Academy
Anu Vehviläinen, Assistant Professor, DocMus Doctoral School, Sibelius Academy
Markus Kuikka, Coordinator of Advanced Study, DocMus Doctoral School, Sibelius Academy

For further information, please contact:

Anu Vehviläinen, DMus, Pianist, Assistant Professor, anu(at)vehvilainen.net
Markus Kuikka, DMus, Doctoral Study Coordinator, markus.kuikka(at)siba.fi

Notation in Contemporary Music: Composition, Performance, Improvisation

Notation in Contemporary Music: Composition, Performance, Improvisation

Call for Papers / Performance Presentations

Contemporary Music Research Unit
Department of Music, Goldsmiths, University of London

18 – 19 October, 2013

This symposium proposes to bring together composers, researchers and practitioners working in contemporary music, and musicologists studying the influence notation has had for composers and performers.
From the problematics of the score as music’s sound-image to the the (im)possibility of transcription, contemporary music has been challenging the role of notation on various levels. Several responses such as non-standard formats of open works, graphic or text-based scores, have today become standard practice. To the extent that new notation seeks to problematize traditional ideologies of music performance, the symposium seeks to address the limits that current notational practices wish to explore, and to throw open possibilities for future endeavours. As such, post-WWII approaches are considered to be part of standard performance practice, although past practices can prove fruitful today in unexpected ways. Especially after the deconstructive turn in philosophy and the arts, music notation has seen novel interpretations, which are particularly welcome, although the symposium is aimed at accommodating all current directions. Recent developments in composition, aesthetics, technology, or performance can inform this gathering, which hopes to constitute a space of thinking today’s notation at the intersection of current research in such fields.

Themes might include, but are not limited to:
Graphic notation
Relationship between notation and improvisation
New complexity
Aesthetics, philosophy, and notation
Visual music
Interpretation
Word scores

Proposals of up to 300 words are invited for 20 minute presentations with 10 minutes questions. Please also include a short biographical note of around 100 words.

In addition, proposals involving practice are encouraged. These may take the form of a 30 minute presentation split between practice, speaking and questions as desired by the proposer, or pieces which could be performed as concert items. In the case of these presentations, please supply a full list of equipment needed for the presentation/piece.

Simultaneous to, and affiliated with, the symposium will be a study day devoted to the AHRC funded Digital Scores project led by Mick Feltham (University of Sussex) and Alistair Zaldua (Goldsmiths). Depending on the number of applicants this study day may run in parallel with the Notation in Contemporary Music symposium, however a discourse between acoustic notation and digitally determined/influenced notation will be sought and encouraged. Composers, performers and researchers involved in the this area are invited to submit abstracts. Information on the Digital Scores project can be found at http://thedigitalscore.net.

Please send proposals and indications of interest to either Professor Roger Redgate: r.redgate@gold.ac.uk , Dr Dimitris Exarchos: d.exchargos@gold.ac.uk, or Alistair Zaldua: a.zaldua@gold.ac.uk

Deadline for proposals: Friday, 14 June 2013

SEMPRE: ‘Music and Empathy’ Conference

Conference Announcement and Call for Papers: MUSIC and EMPATHY

University of Hull – Saturday 9 November 2013

This one-day SEMPRE conference hosted by the University of Hull will include invited
presentations, a specialist workshop, and selected submissions from researchers on the
theme of music and empathy. In recent years there has been a growing interest in empathy in the fields of music psychology and education. Research in music and empathy now spans a variety of contexts, including education and development, emotion, expressiveness, and performance. This conference seeks to draw together current research from a range of areas, and to encourage and stimulate discussion on research in music and empathy.

Submission Procedure
Contributions are welcome from researchers at all levels and are particularly encouraged from postgraduate students. Submissions should show how the topic relates to the conference theme. Accepted submissions will be broadly organised into themes and presentations will be chaired by leading researchers.

Please send titles and abstracts for spoken presentations (max. 200 words) by email to Caroline Waddington (contact details below) by Friday 16 August 2013.

For further information, please contact:
Caroline Waddington
Department of Drama & Music
University of Hull
Hull, HU6 7RX
Email: C.E.Waddington@2011.hull.ac.uk