Meeting for Sound and Musical Instruments CO2019OC

8th International Scientific Meeting for the Study of Sound and Musical Instruments


Belmonte, east-central Portugal

20-22 September 2019

Instruments of culture and peace

Many complain about the backstage, or invasive, pollution of sound in daily lives, and solutions? Social anxiety is mirroring short and long term influences, notably from birth, or even pre-natal effects through a stressed mother (scientific trends differ, precisely for this reason, we give here an opportunity for discussion, acknowledging it as a vast and often neglected issue). Many refer to “how life in Nature” is so beautiful, where we can play music in a perfect ambiance, but can’t or aren’t moving a finger to do something about it. We are doing it. We are developing a project that not only deals with the essential creativity in the human being but also the setting up of biodiversity in a balanced environment, where one can be thyself. All who visit us feel well here – why? This subject matter is far more important than it seems at a first glance. There is too much ‘noise’ in most people’s lives, too many front page headlines, too many characters on stage, too many spotlights, and everybody talks about all at the same time… we can’t listen to each, we can’t think about each… we need ‘silence’, reflection, to listen to life and art. Why are so many people frustrated and often depressed? Why so much illness with such highly developed medical support? Among many factors, the “sound quantity and quality” in our lives is fundamental. And that of music in our psychological and social balance too.

And – how music and creativity in sound can help a society in crisis? Fight fights, promote peace? How to help a society to be more united and less fragile? Can we, with our work, do better – and be part of the “positive productive” and not, as many do say, be the “useless” for the society? We are inviting you to discuss these and other prominent topics, which are intrinsically related to sound and musical instruments. Please come forward. In a society which is getting used to lightly give an opinion for anything and nothing in the social media, we invite those who “think” and – concretely “do something” – to visit, show, and think and do further.

From the morning of a bright Friday to an exquisite lunch on Sunday at the fabulous old Monastery, now a luxury hotel called Pousada de Belmonte, with concerts, recitals, activities, and full immersion Sessions, our program is quite promising. However, our special invitation to sociologists and musicologists had a good response in quality but not as wide, thematically, as we wanted it to be. There is still time, to make proposals and be part of this interesting gathering of people, who positively and openly discuss about the various issues that concern us all. We look forward to have more work presented that deals with the social impact of music and their musical tools, and studies about sound – for instance, how sound (acoustic and electronic) is affecting daily lives, our world.

You can have more information at the congress website, which is periodically updated: link []

Or you can contact us directly:

Registration: besides the program (as listed above), it includes an active visit to an Exhibition of Musical Instruments (historical, traditional and technological), an unique bag with the program and materials, equipment and technical support, Wireless internet, coffee-breaks (nice and diversified), lunches (2), a banquet-lunch (gourmet), selected visits, reviewed publication (in the book series ‘Liranimus’, which contains essays on Organology, or online), certificate of participation, perhaps a memoir-gift, publishers, makers, restorers, and participants stalls, networking opportunities and, essentially, time reserved “on purpose” for constructive discussions and exchange of ideas. Note: group meals are optional.

All activities are open, namely recitals, concerts, demonstrations, workshops (within a registration limit), and visits. 

Registration fee

Early bird registration » 80€ for ANIMUSIC members (which has a symbolic registration fee of 20€, and no annual fees, no profit) / 110€ others (early bird registration until the 31st of August)

Regular » 120€ (ANIMUSIC) / 150€ (from 1st September)

Dayly fee » 40€ (does not include the banquet-lunch)

Banquet-lunch gourmet (for those friends accompanying, still a special price: 35€)

Other costs: Portugal is one of the less expensive countries in Europe. To give an idea, an expresso coffee costs about 0,70€ in a normal coffee-shop (it’s everywhere, this is the normal coffee, similar to Italia), or even less in automatic machines. Meals may be around 10€ (complete with wine, etc), including nice fresh grilled fish or vegetarian food. There are various options for lodging in Belmonte, you can check with the different available search engines or at Airbnb, averaging 70€ per night in a good hotel.

Transportation: You may use Porto’s or Lisboa’s international airports. From Porto, it is probably easier to rent a car, the rates, when booking from abroad, are quite low (you can have a car for 10€ a day or similar) and it’s basically all highway till Belmonte (if avoiding crossing Porto, you have: A4-A24-A25-A23; or crossing Porto: A29 or A1-A25-A23) which is very comfortable. The transportation from Lisboa is quite easy, also renting a car, or by public transportation: From the airport you take a taxi (5 to 8€)  or the metropolitan, to the Oriente station, which is near the River Tejo (beautiful place to visit if you have time, where the Oceanario is, plus other interesting sites). There, going up the stairs or lift, you check the line for Covilhã, usually trains are in time. If you pay online with anticipation (5, 8 or more days), you can even have a discount of up to 65%, if you are senior, it’s always 50%. The ticket to Covilhã, in the speed direct train, costs (as per today): 17,70€. Arriving in Covilhã, you can take a taxi (not expensive), a bus or meet with a group organised by us and the Municipality, on the 19th of September. If you have special needs, please contact us so that we arrange a special way for transportation. We work the best we can to help your experience be perfect and unique.

Portugal has been rated as the third safest country in the world, after Iceland and New Zealand. So, by visiting us, you shall discover more of this amazing country and meet fellows who are interested in your work, in discussing ideas and in moving forward. This is project Erdissol-ANIMUSIC.

For more information, visit us at this link. You are most welcome to contact us directly if you have questions (email).

The Soundscape of the Venetian Terraferma in the Early Modern Era. International Conference celebrating 475 Years of the Accademia Filarmonica of Verona

immagine della Santissima Vergine Maria di Loreto della Giara in Verona, Stamperia del Seminario, Padova 1714 Domenico Zanatta Venezia 1665 Verona 5 agosto 1748

Verona, 1-3 June 2018

Call for Papers 
Deadline for proposals: 31 December 2017

The Soundscape of the Venetian Terraferma in the Early Modern Era is an international conference organized by the Accademia Filarmonica of Verona on the occasion of the 475th anniversary of its foundation (23 May 1543), in collaboration with University of Verona, Ca’ Foscari University of Venice, University of St Andrews and Conservatorio “E. F. Dall’Abaco” of Verona.
Natural sequel to The Soundscape of Early Modern Venice (Ca’ Foscari University of Venice, 24-27 May 2017 –, this further initiative has the aim of increasing debate on the varied soundscape of the Venetian Terraferma in the early modern period. This territory, which stretched from Bergamo in the west to the Friulian Alps in the north-east and the river Po at the Republic’s southern extremity, formed one of the three subdivisions of the Serenissima; the others were the Dogado (Venice and surrounding area) and the Stato da mar (Venetian possessions in the eastern Adriatic and Mediterranean areas). The articulate system that regulates musical and non-musical sound in the Venetian territories prior to the fall of the Serenissima in 1797 is highly conducive to an interdisciplinary approach which draws on the new perspectives offered by urban history, humanistic geography and historical anthropology. Emblematic, in this sense, are the activities of the Accademia Filarmonica, which have dominated almost five centuries of local musical history.

The official languages of the conference are English and Italian.

The conference will take place in Verona from 1-3 June 2018.

Suggested topics: 
– Sound and urban identity
– The sound of local civic ceremonial and devotional activities
– Reciprocal influence of Venetian and Terraferma soundscapes
– Musical relationships between the Terraferma cities and the courts of northern Italy and elsewhere
– Music and society (patronage; academies and other musical institutions, private and public; private uses of music)
– Educational, philosophical and social dynamics in musical practice
– The sounds of public and private festivities
– Musical theatre in the Terraferma and its social impact
– Music, urban architecture and the visual arts
– Music and economics (music printing, production and commerce of musical instruments, the economics of performance)
– Sound as material and non-material cultural heritage

One session of the conference will be entirely dedicated to research on the Accademia Filarmonica of Verona.

Peer-reviewed contributions will be published in a dedicated volume, scheduled to appear in 2019.


The programme committee invites proposals for 20-minute papers, with 10 minutes for questions and discussion. Please email abstracts (max. 250 words), together with a short biography, to:

Further information will be available from September 2017 on the conference website, which will continue to be updated with details of costs, events and accommodation near the conference venue.

Accepted proposals will be announced before 16 February 2018.


Organizing Committee: 
Alessandro Arcangeli (University of Verona)
Vincenzo Borghetti (University of Verona)
David Douglas Bryant (Ca’ Foscari University of Venice)
Luigi Collarile (University of Geneva)
Michele Magnabosco (Accademia Filarmonica, Verona)
Laura Moretti (University of St Andrews)
Laura Och (Conservatorio “E. F. Dall’Abaco” of Verona)

For further information please contact
Michele Magnabosco:


‘I Am Not There’ International Conference on Bob Dylan

18-19 May 2017

Lisbon, Faculty of Social and Human Sciences, NOVA University of Lisbon.
Organization: CETAPS and CESEM

Call for Papers
(until 26 January 2017)

In 1999, Bob Dylan (b. 1941) was included in the ‘Time 100: The Most Important People of the Century’ as a “master poet, caustic social critic and intrepid, guiding spirit of the counterculture generation”. In 2008, the Pulitzer Prize jury awarded Dylan a special citation for “his profound impact on popular music and American culture, marked by lyrical compositions of extraordinary poetic power”. In May 2012, Dylan received the Presidential Medal of Freedom from President Barack Obama. In 2016, the artist was awarded the Nobel Prize in Literature “for having created new poetic expressions within the great American song tradition”. The New York Times (13-10-2016) reported: “Mr. Dylan, 75, is the first musician to win the award, and his selection on Thursday is perhaps the most radical choice in a history stretching back to 1901…In choosing a popular musician for the literary world’s highest honor, the Swedish Academy, which awards the prize, dramatically redefined the boundaries of literature, setting off a debate about whether song lyrics have the same artistic value as poetry or novels”. After the official Nobel announcement, opinions divided the public and critics. CETAPS (Centre for English, Translation and Anglo-Portuguese Studies) and CESEM (Sociology and Musical Aesthetics Research Center), NOVA University of Lisbon, decided to analyze and celebrate the aesthetic, historical, political, and cultural significance of Bob Dylan’s musical, literary and artistic (visual) work, as well as its influence(s).
The initial expression in the conference’s title is the title of the biographical musical drama film I Am Not There (2007, directed by Todd Haynes and co-written with Oren Moverman), which intercuts the storylines of seven different Dylan-inspired characters. According to Haynes, “the minute you try to grab hold of Dylan, he’s no longer where he was. He’s like a flame: If you try to hold him in your hand you’ll surely get burned. Dylan’s life of change and constant disappearances and constant transformations makes you yearn to hold him, and to nail him down. And that’s why his fan base is so obsessive, so desirous of finding the truth and the absolutes and the answers to him – things that Dylan will never provide and will only frustrate” (apud D. Dalton, Who Is the Man?: In Search of the Real Bob Dylan, 2012).

We will privilege comparative and transdisciplinary approaches. Potential contributors are invited to submit a bionote and a 300 word abstract on themes related to any of the following conference tracks:

• Influences in/of Dylan’s music;
• Bob Dylan and awards;
• The ‘power’ of the Nobel prize for literature;
• The alter-egos and personas of Robert Zimmerman/Bob Dylan (Blind boy Grunt, Bob Landy, Tedham Porterhouse, etc.);
• Dylan’s music videos;
• Dylan in/as performance;
• Dylan and religion;
• Art, activism, protest, and social unrest;
• Dylan on stage – presence, performance and liveliness;
• Dylanesque spaces and places;
• Influences in/of Dylan’s visual art;
• Intertextuality in Dylan’s lyrics, music and videos (text-music relationship);
• Intermediality in musical genres and practices;
• Lyrics as/and poetry/literary narratives;
• Dylan depicted (visual biographies, photography, press and record [album] covers, official website);
• Dylan in cyberspace (myspace, facebook, youtube, etc);
• Dylan’s songs;
• Dylan as trend-setter;
• Musical style(s) in Dylan;
• Bob Dylan in the classroom;
• Adaptation of Dylan’s texts as children’s literature;
• Dylan in/and translation;
• Dylan’s fandom;
• Academia and Dylan’s fandom;
• Music as a social and political agent in Dylan’s and other composers’ production;
• Dylan, music and the moving image (cinema, documentary, television, internet);
• The roles and ideologies of musical, literary and artistic criticism: after Dylan;
• Gender and music;
• Listening to Dylan: social behaviors, musical taste, consumption patterns.

Working languages: Portuguese, English, Spanish. No translation will be provided.

Papers and panels on the above themes are invited. However, papers/panels on other subjects related to the above topics will also be considered. Participants will be held to a twenty minute presentation limit. Please submit an abstract and a bio note, by 05 January 2017, to the conference email:

To ensure prompt notification, please include your e-mail address on your submission. If you are interested in chairing a session, please note this at the top of your abstract.
Registration fee: 80 euros. BA and MA students: 30 euros.

Conference website:

Coordination: Rogério Puga (CETAPS) e Paula Gomes Ribeiro (CESEM).

ODC2017 Traditions-Transitions

Orpheus Doctoral Conference 2017


22-23 February 2017

Orpheus Institute, Ghent



The Orpheus Doctoral Conference 2017, Traditions-Transitions, will explore how different modes of relationships between past and present affect musical performance practice and composition. Further, practitioners and researchers from the fields of music and social sciences will draw on Eric Hobsbawm’s notion of “invented traditions”, examining how traditions are forged, broken or interrupted and how they might be used as sources of renewal.

The conference will feature lectures by Richard Taruskin, Joanna Dudley (tbc), Sigiswald Kuijken and Esteban Buch as well as a musical gallery in which performances and installations addressing the conference topics will be interspersed with moderated discussions between artists and our guest speakers.

We invite researchers, practitioners and artist researchers within related fields to submit proposals that address the broad range of issues involved in the conference topics. Submissions should include, but are not limited to, themes that place strong emphasis on the interplay between social practices and musical performance. We welcome contributions in the form of theoretical papers, performances or a combination of the two.

For more information please visit

With the friendly support of the Academy of Creative and Performing Arts of the University of Leiden.



Submissions should be sent by email to and must include:

  • Name, organization (if any), email and phone contact
  • Abstract (max 250 words) + 3 keywords
  • Technical rider for proposals requiring equipment other than A/V
  • List of references (optional)
  • Short bio (max 150 words) and list of main publications/performances/works as well as links to supporting image, audio and video files.

Presentations are limited to 20 minutes. The language of the conference is English.

Call for proposals deadline: 15 November 2016

Notification of acceptance: 15 December 2016

Music in the Ibero-Afro-American Universe: Interdisciplinary Challenges




“Music in the Ibero-Afro-American Universe: Interdisciplinary Challenges”


Federal University of Rio de Janeiro (UFRJ)

Rio de Janeiro, October 24–27, 2016


The VII SIM_UFRJ “Music in the Ibero-Afro-American Universe” proposes to approach this theme in broad scope of diverse cultural traditions, contexts and historical times, and of special interest to the II TeMA_Meeting is to promote de debate on the “Interdisciplinary challenges between Musicologies and Analytical Theories: Dialogues, Frontiers, and Intersections.” Discussion issues: issues and trends in the Ibero-Afro-American musicologies; musicologies and analytical theories: dialogues, frontiers, and intersections; critical and analytical theories and methods in the disciplinary knowledge; the field of music and the challenges of intra-, inter-, multi-, and trans-disciplinarity; analytical theories and interculturalities; identity and otherness, representation and cultural translation; interdisciplinary studies: music, film, visual arts, theatre, literature, philosophy, history, sociology, and cultural anthropology, cultural dialogues, circulation, transfer, reception, and appropriation of ideas, repertories, aesthetics, styles, techniques, musical practices and ideologies; heritage and collections; musics of written, oral, performing traditions; culture, society and politics; institutional, scientific, artistic, and cultural policies.



Abstract submission deadline: September 5, 2016

Notification to successful applicants: September 20, 2016

Submission of the full version of the paper for publication in the Proceedings: November 30, 2016



Proposals (abstract 300-500 words, and short bio) may be written in Portuguese, Spanish or English, and submitted as attached file (*.doc or *.rtf), indicating the preferred attendance to each conference: SIM-UFRJ to the e-mail or TeMA_Meeting to the e-mail In case the proposal fits the full scope of the joint conference, it must be sent simultaneously to both e-mails.


Program Committee Chairs

Maria Alice Volpe

Ilza Nogueira


More info: and


Musikwissenschaft: Generationen, Netzwerke, Denkstrukturen

We are happy to announce the upcoming conference dealing with the history and sociology of musicology:

Musikwissenschaft: Generationen, Netzwerke, Denkstrukturen

Carl von Ossietzky Universität Oldenburg, Institut für Musik
16.01.2015–17.01.2015, Oldenburg, BIS-Saal

Eine soziologisch und historisch fundierte Wissenschaftsforschung der Musikwissenschaft stellt nach wie vor ein Desiderat dar. Die interdisziplinäre Tagung „Musikwissenschaft: Generationen, Netzwerke, Denkstrukturen“ will dazu beitragen, entsprechende Perspektiven in der Selbstreflexion des Faches zu etablieren. Denn obwohl Geschichte und Soziologie der Musikwissenschaften heute gewiss nicht mehr als terra incognita gelten können, bleiben Denkstrukturen und Netzwerke, die als Räume und Grenzen auf den wissenschaftlichen Landkarten erscheinen müssten, merkwürdig verschwommen.

In vier Panels der Tagung – Generationen und Netzwerke, Sprachen und Kulturen, Denkstrukturen und Wissenskonzepte, Öffentlichkeiten und Medien – markieren Beiträge aus Musikwissenschaften, Kommunikationswissenschaft und Soziologie nicht nur zentrale Gebiete dieser Landkarte. Sie spüren darüber hinaus der Interaktion von Forschung und gesellschaftlichen Strukturen nach und reflektieren am Beispiel der Musikwissenschaft Zusammenhänge zwischen Kommunikation, Macht und Wissen.

Ein abschließender Roundtable weitet unter dem Titel „Warum Wissenschaftsforschung?“ noch einmal die Perspektive, um gemeinsam über Chancen und Notwendigkeiten wissenschaftsgeschichtlicher und wissenschaftssoziologischer Ansätze nachzudenken. Die Tagung bietet dabei ein generationenübergreifendes Diskussionsforum für Wissenschaftlerinnen und Wissenschaftler verschiedener Disziplinen und wird gerade der jungen Forschergeneration eine Stimme geben.

Organisation: Anna Langenbruch (Universität Oldenburg), Ina Knoth (Universität Hamburg), Sebastian Bolz (Ludwig-Maximilians-Universität München), Moritz Kelber (Universität Augsburg)





Freitag, 16.01.2015

13 Uhr Begrüßung und Eröffnung der Tagung
Grußworte von Katharina Al-Shamery (Präsidentin der Carl von Ossietzky Universität Oldenburg) und Melanie Unseld (Prodekanin der Fakultät III der Carl von Ossietzky Universität Oldenburg)

Sebastian Bolz, Ina Knoth, Anna Langenbruch:
Einführung in das Tagungsthema

13.45–16.00 Uhr Panel I: Generationen und Netzwerke
Moderation: Moritz Kelber, Sebastian Bolz

Henry Hope (Oxford)
Friedrich Gennrich und die „Frankfurter Schule“

Lisa-Maria Brusius (Oxford)
Christian Kadens „Wanderung zwischen den Welten“ – Oral History und die Fachgeschichte der Musiksoziologie an der Humboldt-Universität zu Berlin

Annette van Dyck-Hemming und Melanie Wald-Fuhrmann (Frankfurt a. M.)
Von der Generation zum Netzwerk zur Denkfigur? Auf der Suche nach einer zuverlässigen Datenbasis

Michael Custodis (Münster)
Kleiner Fisch im großen Teich? Musikwissenschaft und institutionalisierte Forschungsförderung


16.15–17.45 Uhr Panel II: Sprachen und Kulturen
Moderation: Anna Langenbruch

Michael Braun (Regensburg)
Dürrenmatt und die Bartók-Forschung: Zum Einfluss einer Sprachhürde auf Forschungsrezeption und -entwicklung

Maria Bychkova (Hannover)
Russische Emigration der „ersten Welle“ in der Betrachtung von deutschen und russischen Musikwissenschaftlern. Versuch eines methodischen Vergleichs

Carolin Krahn (Wien)
Dimensionen und Implikationen einer kosmopolitischen Musikwissenschaft im deutschsprachigen Raum


18.00–19.00 Uhr Roundtable I: Kommunikation Macht Musikwissenschaft? Ein- und Ausgrenzung von Wissen
Susanne Binas-Preisendörfer, Michael Braun, Michele Calella, Catherine Herbin, Franziska Hohl, Jens Loenhoff
Organisation: Studierende der Universität Oldenburg
Moderation: Friederike Bunten


Samstag, 17.01.2015

9.00–11.00 Uhr Panel III: Denkstrukturen und Wissenskonzepte
Moderation: Ina Knoth

Jens Loenhoff (Essen)
Implizites Wissen, gelingende Praktiken und die Gegenstände der Erkenntnis

Andreas Domann (Köln)
Analogiedenken in der Musikwissenschaft. Zu den politischen Voraussetzungen eines hermeneutischen Paradigmas

Franziska Hohl (München)
Wissenshybride zwischen Form und Fantasie. Die Materialität der sprachlichen Performanz am Beispiel der musikalischen Improvisation

Karina Seefeldt (Hannover)
Zwischen Schein und Sein – Interdisziplinarität als wissenschaftlicher Ansatz?


11.30–13.30 Uhr Panel IV: Öffentlichkeiten und Medien
Moderation: Sebastian Bolz

Kristina Richts (Detmold)
Musikwissenschaft im digital turn?

Elisabeth Treydte (Wien/Frankfurt a. M.)
Schreiben über Komponist_innen – ein geschlechterforschende Rekonstruktion des Diskurses in der Neuen Zeitschrift für Musik

Jan Hemming (Kassel)
Zwischen Strohfeuer und Nachhaltigkeit. Ein nicht nur persönlicher Erfahrungsbericht zur Medienpräsenz


14.30–16.00 Uhr Roundtable II: Wozu Wissenschaftsforschung?

Ulrike Böhmer, Andreas Domann, Melanie Unseld, Gerald Lind, Melanie Wald-Fuhrmann
Moderation: Moritz Kelber

International Conference on Analyzing Popular Music

An International Conference on Analyzing Popular Music will take place at Liverpool, 2-4 July 2013. Recent work in the analysis of popular music has set compelling new agendas which the conference will debate and celebrate. The conference will explore fundamental questions of theory and analytical method relating to popular music. Among those questions, to what extent are analytical techniques borrowed from the Classical instrumental repertoire appropriate for a music which often displays its complexity in timbre, texture, gesture and persona rather than in melody, harmony or form? What tools and technologies can illuminate the musicality of hip-hop and Indie pop, Björk and Dylan; from bluegrass to dubstep, Abba to Zawinul? Casting its net as broadly as possible across all genres and styles of rock and pop, including jazz and folk, the conference invites papers in topics including but not limited to:

• Modal harmony • Sound design • Narrative • Metre and groove • Voice and vocality • Timbre and texture • Ecological perception • Gesture and embodiment • Theoretical models of analysis • Performance and improvisation • Listening strategies and subject positions • Value, signification, and pedagogy of analysis • Analysis within industry and creative practice • Computational, Neo-Riemannian and spectrum/sonic analysis • Languages and notations of analysis, from the technical to the metaphorical.

We are delighted to welcome three internationally distinguished keynote speakers: Anne Danielsen (University of Oslo), Walter Everett (University of Michigan) and Allan Moore (University of Surrey).

Conference Committee: Michael Spitzer (Chairman) • Nicola Dibben • Dai Griffiths • Tim Hughes • Freya Jarman • Nick Reyland • Kenneth Smith • Rob Strachan

Click here for the poster advert. For further details and to submit your abstract go to The deadline for submissions is 28th February, 2013.

The conference is dedicated to the memory of Adam Krims, who served on the Programming Committee until his recent, untimely death.

Tracking the Creative Process in Music


I n t e r n a t i o n a l C o n f e r e n c e – 2 n d e d i t i o n

10-12 October 2013

Observatoire interdisciplinaire de création et de recherche en musique
Faculty of Music, Université de Montréal

Languages : French/English

This conference, whose first edition was organized by Nicolas Donin and Vincent Tiffon in Lille (France) in 2011, brings together researchers interested in artistic creativity and the study of processes of musical and sound creation of the past and present. Researchers working on this cluster of problems from a wide variety of specialities (history, music analysis, genetic criticism, psychology, cognitive sciences, sociology, ethnomusicology, anthropology, etc.) are invited to assess the different methodologies developed in last thirty years in their respective areas in an interdisciplinary perspective. Each approach contributes in its own way to the advancement of our understanding of the procedures, techniques, knowledge and know-how employed by musicians involved in creative projects.

With the epistemological paradigm shifts that musicology underwent at the end of the last century, the notion of ‘creative process’ has been enriched. Sketch studies has extended its scope beyond notated works of art music. Today this field includes all (learned and popular) contemporary musical repertories as well as the oral, technological and collaborative dimensions of the creative process in music. There is growing interest, for example, in the function of improvisation and of gesture in the creative process, in the collective and collaborative dimensions of artistic work, in the redefinition of the roles of the composer and the performer, in the evolution of the metier of the studio technician/producer/computer music designer and in the strategies of documentation, transmission and future performance of works for combined instrumental and electronic means as well as interactive works, etc. The complexity and the multidimensionality of this field of study requires new analytical tools and new research methods at the crossroads of analytical musicology, social science and other scientific disciplines–between field work and cognitive experimentation.

This broadening of the field also provides a new context for genetic studies of works and composers from the Western musical canon. Whether based on historical archives or on the collection of empirical data, studies of the creative process in music share many of the same methodological requirements, descriptive vocabulary and models of creative action. This conference therefore aims to be a forum in which the most recent results produced by the well established tradition of sketch studies can meet the complementary or alternative paradigms emerging from other repertores or approaches.


Each conference talk proposal, in French or English, must include the following elements:

• First and last name of presenter
• Institutional Affiliation
• Short biography of presenter (maximum 150 words)
• Mailing Address, telephone number and email address
• Title of proposed conference talk
• Abstract, 800 to 1200 words in length, clearly presenting the subject, the main discipline in which the talk is inscribed, the theories and models of creative processes described in the talk, the goals, the methodology used and the results of the study
• Selected Bibliography (3 to 8 references) and main sources used (archives, experimental or ethnographic data, etc.).


• Joseph Auner (Tufts)
• Rémy Campos (CNSMDP / HEM Genève / CMBV)
• Pascal Decroupet (Nice)
• François Delalande (GRM)
• Irène Deliège (Bruxelles)
• Nicolas Donin (Ircam)
• Michel Duchesneau (UdeM)
• Daniel Ferrer (CNRS)
• Jonathan Goldman (Victoria)
• Philip Gossett (Chicago)
• Catherine Guastavino (McGill)
• Antoine Hennion (Mines ParisTech)
• Martin Kaltenecker (Paris-VII)
• William Kinderman (Urbana-Champaign)
• Serge Lacasse (Laval)
• Jerrold Levinson (Maryland)
• Eric Lewis (McGill)
• Felix Meyer (Paul Sacher Stiftung)
• Stephen McAdams (McGill)
• Ingrid Monson (Harvard)
• Jean-Jacques Nattiez (UdeM)
• Christoph Neidhöfer (McGill)
• Emmanuelle Olivier (CNRS)
• John Rink (Cambridge)
• Friedemann Sallis (Calgary)
• Jacques Theureau (CNRS)
• Vincent Tiffon (Lille)
• Caroline Traube (UdeM)
• Elena Ungeheuer (Würzburg)
• Philippe Vendrix (CNRS)


• Nicolas Donin
• Michel Duchesneau
• Jonathan Goldman
• Catherine Guastavino
• Caroline Traube


The proposals must be received no later than 1 December 2012 as an email attachment MSWord file sent to

The conference talk proposals will be evaluated by the Program Committee, composed of specialists from several countries. Notification of acceptance will be sent to applicants within 12 weeks.


• OICRM: Observatoire interdisciplinaire de création et de recherche en musique.
• IRCAM: Institut de Recherche et de Coordination Acoustique/Musique (Paris), Analysis of Musical Practices Research team.
• With the collaboration of the Faculty of Music, Université de Montréal, and the CIRMMT (Centre for Interdisciplinary Research in Music Media and Technology), McGill University.


A conference web site will be online in fall 2012.

Website of the previous Conference: