International Chopinological Conference: ‘The integration of a work: from miniature to large scale’

We are very pleased to announce the call for abstract submissions to the conference “The integration of a work: from miniature to large scale”.

The aim of the 2018 conference is to examine the ways in which works of instrumental music were integrated during the first half of the nineteenth century. Analysing the methods and factors integrating a musical work during the early Romantic era, from miniature pieces to large-scale works, is a crucial way of identifying composition technique, and consequently of defining composers’ individual styles and the style of the epoch.

Proposed thematic areas:
I Genres
1. Genre as a way of shaping the music
2. Genre as a method of social communication: the relationship between audience and artist, the impact of reception on decisions concerning genre, form and the shaping of musical elements
3. Blurring the boundaries between genres – standard or innovative composition techniques
– popular elements in post-Classical genres
– the influence of dance forms on non-dance genres
– the merging of features from different genres in cyclic and non-cyclic forms
– the Romantics and their forerunners – the distinctiveness of Romantic composers
II Form and structure
1. The influence of the miniature on the shaping of musical form -incl. sonata form, other large forms, cyclic forms
2. The musical work as an opus. Methods of integration
3. Structuralizing musical works
– symmetry vs linear thinking in musical structure
– the use of standard and non-standard forms in genres
– building tension and climaxes in a musical work
III Culture and communication
Aspects of pedagogy and its impact on composers’ creative attitudes
– how teaching methods influenced compositional processes (e.g. Chopin and Mendelssohn vs Berlioz and Liszt), how musical training influenced musical material
– the evolution of pedagogy in nineteenth-century Europe: from individual relations to conservatory classes
IV Elements of reception
Analytical traditions – analytical methods compared (concluding with a round table discussion)

Important Deadlines

The conference is planned from 26 to 28 September 2018.

Please submit proposed titles of papers and abstracts by the extended deadline 31 January 2018 to the fallowing e-mail:

Abstracts, no more than 1800 characters in length, should contain the main hypothesis, information on the material analysed and the method employed, and also research results.

The Academic Committee will choose the papers no later than in April 2018. All those invited to participate in the conference will be obliged to submit full papers by 1 August 2018; the papers will be made available to all participants (and no one else) before the conference itself.

For full details please visit our website at:

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