Rossini after Rossini: Musical and Social Legacy (1868-1918)

6a00d8341c684553ef019affbaa57b970c-piorganized by
Centro Studi Opera Omnia Luigi Boccherini (Lucca)

Lucca, Complesso Monumentale di San Micheletto
19 – 21 October 2018

Call for Papers

The Centro Studi Opera Omnia Luigi Boccherini of Lucca is organizing the symposium «Rossini after Rossini: Musical and Social Legacy (1868-1918)», to be held in Lucca, Complesso Monumentale di San Micheletto, from Friday 19 until Sunday 21 October 2018.

The influence of Rossini on his contemporaries has been and remains the subject of innumerable essays, conventions and publications. The story of the composer’s long life (1792-1868), initially focused on purely musical connections (Paganini, Giuliani,  Mercadante, Schubert, Donizetti, Bellini, Auber, Meyerbeer, Verdi, Offenbach, Bizet, just to name a few), has been expanded to include literary, philosophical and political dimensions (Stendhal, Balzac, Schopenhauer, Mazzini).
Less frequently investigated, however, is Rossini’s legacy as it unfolded during the second half of the nineteenth and early twentieth centuries. On the occasion of the 150th anniversary of the composer’s death the present conference focuses on the span of time corresponding more-or-less to the fifty years following 1868, almost to the threshold of the so-called Rossini Renaissance that, beginning in the early 1920s, generated renewed interest into the composer’s output, from the points of view of both performance and philology, and also helped to clarify the ambiguity of Rossini as a man.
Topics of investigation include, but are not limited to, the  following:

• Rossinian influences on operetta in Paris, Vienna, London and Italy;
• Rossinian influence on subsequent opera composers;
• the theory and practice of Operatic Singing;
• aspects of orchestration and instrumentation;
• stylistic and compositional legacy;
• treatises and biographical memoires;
• literature and poetry;
• reception;
• Rossini and the cinema;
• Rossini, the vocal chamber music and the popular song;
• Rossini’s iconography and portraiture;
• Rossini in politics, society and public opinion.

Programme Committee:

• Lorenzo Frassà (Centro Studi Opera Omnia Luigi Boccherini)
• Federico Gon (Universität Wien)
• Roberto Illiano (Centro Studi Opera Omnia Luigi Boccherini)
• Arnold Jacobshagen (Hochschule für Musik und Tanz Köln)
• Fulvia Morabito (Centro Studi Opera Omnia Luigi Boccherini)
• Massimiliano Sala (Centro Studi Opera Omnia Luigi Boccherini)

Keynote Speaker:

• Arnold Jacobshagen (Hochschule für Musik und Tanz Köln)

The official languages of the conference are English, French and Italian. Papers selected at the conference will be published in a miscellaneous volume.
Papers are limited to twenty minutes in length, allowing time for questions and discussion. Please submit an abstract of no more than 500 words and one page of biography.
All proposals should be submitted by email no later than ***Sunday 29 April 2018*** to <conferences@luigiboccherini.org>. With your proposal please include your name, contact details (postal address, e-mail and telephone number) and (if applicable) your affiliation.
The committee will make its final decision on the abstracts by the midst of May 2018, and contributors will be informed immediately thereafter. Further information about the programme, registration, travel and accommodation will be announced after that date.
For any additional information, please contact:

Dr. Massimiliano Sala
conferences@luigiboccherini.org
www.luigiboccherini.org

Symphonism in Nineteenth-Century Europe

organized by
Centro Studi Opera Omnia Luigi Boccherini (Lucca)

Research Group ERASMUSH, University of Oviedo (Oviedo, Spain)

In collaboration with
Ad Parnassum. A Journal of Eighteenth- and
Nineteenth-Century Instrumental Music

Oviedo, Edificio Histórico de la Universidad
10 – 12 May 2018

Call for Papers

The Centro Studi Opera Omnia Luigi Boccherini of Lucca and Research Group ERASMUSH of the University of Oviedo (Spain), in collaboration with Ad Parnassum Journal, is pleased to invite submissions of proposals for the symposium «Symphonism in Nineteenth-Century Europe», to be held in Oviedo, Edificio Histórico de la Universidad de Oviedo (Historic Building of the University of Oviedo), from Thursday 10 until Saturday 12 May 2018.
This conference aims to deal with the complex world of symphonism during the nineteenth century, a period in which symphonism encompassed not only the creation of musical products and performances, but also significantly affected many compositional approaches, as well as aesthetic factors, such as the opposition between programme and absolute music. The emergence of the great symphony orchestras led to unprecedented types of professional interaction, and new forms of patronage. It also fostered the creation of a specific repertoire, and the construction of the first purpose-built concert halls. These developments originated in Europe at the beginning of the 19th century, in conjunction with the development of music destined for increasing orchestral formations, and the concert as a social phenomenon, available to the public, rather than reserved for exclusive social circles sponsored by royalty, the aristocracy or the bourgeoisie. Finally, symphonic repertoire favoured the creation of a particular approach to performance among orchestral conductors, which continued into post-Romanticism and that have persisted to the present day.

The programme committee encourages submissions within the following areas, although other topics are also welcome:
• Repertoire, composition, analysis and musical creation
• Musical aesthetics and criticism: programme and absolute music
• Orchestras and symphonic ensembles
• Performing practice, orchestra conductors and performative models
• Musical performing venues, production system, consumption, entertainment system in the European countries
• The editing of orchestral music in Europe in the 19th century
• The public and its social component
• Dissemination and reception of symphonic models in Europe

Programme Committee:
• Roberto Illiano (Centro Studi Opera Omnia Luigi Boccherini)
• Luca Lévi Sala (New York University / Université de Montreal)
• Fulvia Morabito (Centro Studi Opera Omnia Luigi Boccherini)
• Massimiliano Sala (Centro Studi Opera Omnia Luigi Boccherini)
• Ramón Sobrino (Universidad de Oviedo)
• José Ignacio Suárez (Universidad de Oviedo)

Keynote Speakers:

• Ramón Sobrino (Universidad de Oviedo)
• Christian Speck (Universität Koblenz-Landau)

The official languages of the conference are English, Spanish and Italian. Papers selected at the conference will be published in a miscellaneous volume.
Papers are limited to twenty minutes in length, allowing time for questions and discussion. Please submit an abstract of no more than 500 words and one page of biography.
All proposals should be submitted by email no later than ***Sunday 4 February 2018*** to <conferences@luigiboccherini.org>. With your proposal please include your name, contact details (postal address, e-mail and telephone number) and (if applicable) your affiliation.
The committee will make its final decision on the abstracts by the end of February 2018, and contributors will be informed immediately thereafter. Further information about the programme, registration, travel and accommodation will be announced after that date.
For any additional information, please contact:

Dr. Massimiliano Sala
conferences@luigiboccherini.org
www.luigiboccherini.org

Church Music and Musicians in Britain 1660-1900: “Between the Chapel and the Tavern”

A Conference sponsored jointly by Canterbury Christ Church University and Canterbury Cathedral for performers and scholars to discuss new research and practice.

20th-23rd June 2017

Call for Papers

The deadline for receipt of abstracts (see below) is Monday 31 October 2016; selection will be made by Monday 28th November 2016.

All presentations must be given in English. The programme committee invites proposals related to one or more of the following key themes:

  • Music: new scholarship on composers, performers and repertoire in Britain 1660-1900.
  • Performance Practice: Music & Liturgy; vocal and instrumental forces.
  • Socio-historical perspectives: senses of identity and community; patronage, subscription, & freelance incomes; class and culture in church & cathedral music; social and musical mobility; cross-fertilisation between sacred and secular music-making.
  • Church and cathedral music in the provinces: local narratives, connections, cultures and legacies (especially Canterbury-related).
  • Aesthetics, philosophy and theology of church music 1660-1900.
  • Interdisciplinarity and performativity: liturgical music, drama and dance; singers and instrumentalists in liturgical contexts; music and sacred space.
  • Training and education: pedagogy, philosophy, function.
  • Written music: manuscript, printing, publishing and copyright studies.
  • Sacred and secular: intersections/exchanges; church music and politics; civic and sacred performances; local, national, colonial and post-colonial issues.
  • Reception: criticism, regard and neglect.

Abstracts for individual papers (of 20 minutes’ duration) of approximately 250 words should be preceded by the following information: name; institution (as appropriate); postal address; phone; email address; title.

Abstracts should be emailed to: cmmc@canterbury.ac.uk.

Conference features

  • Keynote Speaker: Prof. Rachel Cowgill, University of Huddersfield.
  • Accommodation in the International Study Centre (in the Precincts of the Cathedral).
  • Conference Dinner in the Claggett Auditorium, ISC.
  • An evening with the Canterbury Catch Club: excellent food, drink and convivial song (participation welcomed, though not compulsory) in the timbered upper room of a 15th-century local hostelry.
  • A Conference Concert reflecting the dual nature of the music and musicians under discussion in the superb chamber music space of St Gregory’s Centre for Music, CCCU, given by Cathedral musicians.
  • Free access for Conference Delegates to Cathedral, Precincts, Library, and Archives.
  • Cathedral Evensongs integrated into the Conference schedule.

Programme Committee:

  • Chris Price (co-chair): Senior Lecturer, Canterbury Christ Church University & Tenor Lay Clerk, Canterbury Cathedral.
  • Dr David Newsholme (co-chair): Assistant Organist & Director of the Cathedral Girls Choir, Canterbury Cathedral.
  • Canon Chris Irvine: Canon Librarian, Canterbury Cathedral.
  • Christopher Gower, FRCO, FCM: former Organist of Peterborough Cathedral.

Any queries should be addressed to cmmc@canterbury.ac.uk.

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

 

 

Opera and the Greek World during Nineteenth Century

International Conference.  Corfu, Greece, 17-19 November 2017

2017 marks for opera in Greece four anniversaries: the centenary since the passing of Spiros Samaras (1861-1917), the bicentenary since the birth of two important Greek opera composers, Spiridon Xyndas (1817-1896) and Domenikos Padovas (1817-1892), as well as the 150 years since the premiere of the opera O ypopsifios [The Parliamentary Candidate] (1867, music by Xyndas and libretto by Ioannis Rinopoulos), which was both the first full-scale opera in Greek and the pivotal point for the emergence of opera in Greek language.

The Hellenic Music Research Lab of the Music Department of the Ionian University and Corfu Philharmonic Society on the occasion of the aforementioned anniversaries organize the international conference entitled Opera and the Greek World during Nineteenth Century, which is going to take place in Corfu, Greece, on 17, 18 and 19 November 2017.

Corfu, the seat of the Ionian University, was the birthplace of the three aforementioned composers. The San Giacomo theatre of Corfu, the earliest theatrical stage of the region, hosted opera performances already since 1733, contributing decisively to the dissemination of opera within the Greek world during 19th century. Moreover, Xyndas, Padovas and Samaras presented in the same theatre their operas. Xyndas in 1840 was also one of the initial founders and professors of the Corfu Philharmonic Society and he dedicated to it certain of his operas. Padovas also taught harmony and music theory in the Philharmonic, in 1857 he dedicated to it his opera Dirce and since 1884 he was appointed the Society’s artistic director. Samaras, a student of Xyndas during his early music training, had multiple connections with the Philharmonic Society and had been its honorary artistic director since 1889.

Given the above, the conference will not be confined solely to the lives and the works of the aforementioned composers, but it will focus on matters regarding the place, the reception, the importance and the formative factors of the operatic activity within the Greek world during the “long nineteenth century”. With these in mind, some indicative themes of the conference are proposed to be;

  • Spiros Samaras: life and work
  • Spiridon Xindas: life and work
  • Domenikos Padovas: life and work
  • The activities of the Italian opera troupes in the Greek areas (singers, musicians, impresarios, repertory etc)
  • The activities of the French opera troupes in the Greek areas
  • The activities of the Greek opera troupes
  • Opera in the Greek communities of Diaspora (Trieste, Odessa, Alexandria, Smyrna, Constantinople etc)
  • Opera in the Greek urban centres
  • Institutions of operatic activity
  • The reception of opera in the Greek world
  • Subjects related to Greece in the 19th-century opera

The official languages of the opera are GreekItalian and English.

Scholars and researchers interested to participate in the conference are asked to submit their abstracts (250 words) and short biographical notes (100 words) for papers of no more than 20 minutes. Themed sessions of 60 minutes can also be proposed (Abstract of 450 words and Bios of 100 words).

There are no fees for the participation or the attendance of the conference.

The final date for the proposals’ submission is 31 December 2016.

The abstracts and the biographical notes should be sent until the above date in the following email: operaconfcorfu2017@gmail.com
The Official website of the conference is: http://users.ionio.gr/~GreekMus/operaconf2017/eng.htm
The conference’s programme will be finalized by 1 March 2017.

Programme Committee
Prof. Haris Xanthoudakis
Prof. Anastasia Siopsi
A. Prof. Panos Vlagopoulos
A. Professor Avra Xapapadakou

Organizing Committee
Spiridon Padovas
Kostas Kardamis
Kostas Sambanis
Stella Kourbana
Alexandros Charkiolakis
Gerasimos Martinis

MVSA Conference April 2016 – Victorian News: Print Culture and the Periodical Press

The Midwest Victorian Studies Association will hold its 2016 annual conference at the University of Missouri–Columbia, April 8-10. Taking as its starting point the remarkable explosion in the periodical press and the availability of cheap print in the Victorian Era, the conference aims to attract papers that reflect fresh and current thinking about the topic. Proposals for papers of twenty minutes in length are sought from scholars working in art history, musicology, history, science, philosophy, theater, and literature. We particularly encourage presentations that will contribute to cross-disciplinary discussion, a special feature of MVSA conferences.

The official call for papers is now closed, but the seminar CFP has been extended to January 20, 2016.  MVSA Conference seminars are open to graduate students, faculty and independent scholars.  Participants will write 5-7-page papers, to be pre-circulated among other seminar participants in advance.  Members will identify important points of intersection and divergence, as well as future areas of inquiry and collaboration.  The seminar format allows a larger number of scholars to participate in MVSA and to seek financial support from their respective institutions.  Seminars are limited to 12 participants.  All seminar proposals should be submitted via email directly to the seminar leaders by January 20, 2016.  See the full seminar CFP here.

The three seminar topics and leaders are:

Print Culture and the Mass Public: Dissemination and Democratization (Leader, Julie Codell, School of Art, Arizona State University)

Finding/Creating a Voice in the Periodical Press (Leader, Leanne Langley, IMR Lifetime Fellow, University of London)

The Transatlantic Periodical Press (Leader, Jennifer Phegley, Department of English, University of Missouri – Kansas City)

For further information, including a range of possible topics across the full conference, see the 2016 Conference website here.

 

 

 

 

 

Wagner’s Reception in Western Culture

X International Conference Goethe Society in Spain:

Wagner’s Reception in Western Culture
Wagners Rezeption in  der Abendländischen Kultur 

University of Alcalá, Rectorado-Cisneriana, 3th-4th June 2013
Alcalá de Henares, Madrid, Spain 

Organizing Committee: Paloma Ortiz-de-Urbina (Coordination);
Lorena Silos; Montse Bascoy; Anne Grytz

Scientific comitee: Arno Gimber; Berta Raposo; Miguel Salmerón

The aim of the conference is to shed light on the reception of Richard Wagner’s works. The reception of his oeuvre as well as the aesthetic revolution it caused manifests itself in various cultural fields such as philosophy, literature, music, the fine arts, architecture and politics.

Papers are invited on the following or related topics:

  • The reception of Richard Wagner in musical compositions
  • The presence of Richard Wagner in the literary realm (novel, poetry, drama)
  • The presence of Wagner in Western Cultural

The reception of Wagnerian aesthetics in music, literature, philosophy, architecture or the fine arts (painting, set design, sculpture)

Researchers are invited to submit proposals in the form of an abstract, in German or Spanish, of no more than 250 words.

The language of the conference will be German and/or Spanish and papers will be of  20 minutes duration and will be followed by 10 minutes of discussion.

The proceedings will be published by a German academic publishing house.

4th June 2013, 20h: Concert at the Aula de Música performed by the Orchestra of the University of Alcala.

Deadline for abstract submissions: 15th March 2013. Please submit proposals by email to Paloma Ortiz-de-Urbina: paloma.urbina@uah.es

Further information in German (D) and Spanish (E) is available on the following website: http://www.ub.edu/filoal/sge.html

 

Perspectives on the Reception of the work of Roberto Gerhard


INTERNATIONAL CONFERENCE
PERSPECTIVES ON THE RECEPTION OF THE WORK OF ROBERTO GERHARD  

Universidad de Alcalá, Salón de Actos, Rectorado de la Universidad de Alcalá,
6th and 7th June 2013

Conference Sponsors: Universidad de Alcalá and University of Huddersfield

The aim of the conference is to shed light on the reception of Gerhard’s work, by critics, audiences and his fellow musicians and composers. How did the reception of both his compositions and writings vary from place to place and time to time and what were the reasons for this? Which works proved most influential and how were specific composers and other individuals changed by his work? The conference may also include papers on other Gerhard-related topics.

Researchers are invited to submit proposals in the form of an abstract, in English, of no more than 250 words (other Gerhard-related topics will also be welcome).

Organizing Committee:

  • Prof. Paloma Ortiz-de-Urbina (Coordination)
  • Prof. Michael Russ
  • Prof. Monty Adkins
  • Dr. Carlos Duque
  • Mr. Trevor Walshaw

The language for the conference will be English and papers will be 20 minutes, followed by 10 minutes discussion. Please note: there are no parallel sessions.

The proceedings will be published by the University of Huddersfield.

6th June 2013, 20h: Concert at the Aula de Música by Elena Gragera & Antón Cardó

Deadline for abstract submissions: 2 April 2013. Please submit proposals by email to:

Dr. Carlos Duque: musicalia@musicalia.com and
Prof. Paloma Ortiz-de-Urbina: paloma.urbina@uah.es

Further information is available on the Gerhard website: : robertogerhard.com