York Conference on Church Music

Monday 13 – Wednesday 15 February 2017

The planning committee of the York Conference on Church Music would like to invite you to join us on 13th-15th February 2017 in York, UK. This joint venture between the University of York and York Minster seeks to promote and heighten awareness of the academic study, composition, and practical output of church music.

Keynote speakers include Professor Bennett Zon (Durham University), Fr Peter Allan (Principal, Community of the Resurrection), Professor Jonathan Wainwright (University of York), Dr Phillip Cooke (Aberdeen University) and Dr Thomas Hyde (Oxford University), with topics including ‘The theology of Church Music’, ‘Church Music Models for the future’, ‘Girl Choristers’, ‘The Evensong Tradition’, ‘Composition for the Church’ and ‘Worldwide experiences of Church Music’. There will be the opportunity to attend Evensong at York Minster on Monday and Tuesday and to see at close hand the workings of a modern, vibrant choral foundation.

Tickets are available via our Eventbrite site at https://www.eventbrite.co.uk/e/york-conference-on-church-music-2017-tickets-23822798632

For further information on the conference, please visit our website at http://yccm2017.webs.com/ or contact us by email at churchmusic2017@york.ac.uk

York Conference on Church Music is a joint partnership between the University of York Music Department and York Minster.

Radio and Ethnomusicology: BFE One Day Conference

Date: 22 October, 2016

Location: University of Edinburgh and the Museum of Communication, Scotland

Keynote Speaker: Prof. Tim Taylor, UCLA

Wesbsite: https://sites.eca.ed.ac.uk/radioethnomusicology/

The 2016 British Forum for Ethnomusicology one-day conference is being organised by the Reid School of Music at the University of Edinburgh, and will be hosted by the Museum of Communication, Scotland.

Radio was one of the most important innovations of the 20th century, reconfiguring notions of intimacy, ushering in new forms of consumer economy, and playing a primary role in the rise of entertainment culture (Taylor 2012). At the same time, radio contributed to the democratisation of everyday life, reinvented a sense of national community, and created new communicative potentials for marginalised social groups (Scannell 1989). Politically, radio has been at the centre of global events such as the rise of National Socialism in Germany in the 1930s (Birdsall 2012), the Algerian Revolution (Fanon 1965), Cold War antagonism and cooperation (Badenoch et al 2013), and the Rwandan Genocide (Kellow and Steeves 1998). Across the world, it has been a tool of nation building, nationalism and internationalism, war and peace, sounding and silencing.

Despite proclamations of the death of radio (and television) in the 21st century, as a mode of broadcasting its contemporary importance has not diminished. Rather, broadcasters have migrated online, new digital listening forums have adopted techniques and practices from older media, and listening publics continue to be shaped by radio. Globalising and localising processes have been described as complementary rather than organised hierarchically (Appadurai 1996), with sounds and technologies made meaningful locally. Radio has adapted to the new technological forms and social logics of the digital era; it could therefore be argued that radio is as influential as ever.

It is a good time, then, to examine the relationships – both historical and contemporary – between radio and ethnomusicology. Within the discipline, radio has been heard in numerous ways: as a force of modernity that would destroy traditional music cultures; a means of circulating and developing respect for certain musics; a vehicle for musical scholarship; an accompaniment to musical migration and displacement; and a contact zone between music cultures. Moreover, radio broadcasters have frequently worked collaboratively with ethnomusicologists, commissioning, archiving and broadcasting field recordings (Davis 2005, Arnberg et al 1969, Reigle 2008). And radio serves as a productive site of ethnomusicological study today in its capacities as mediator, disseminator, and disciplinary mouthpiece.

Radio means different things in different times and places, and ethnomusicology is well equipped to provide form-sensitive and ethnographic accounts of its varying roles in musical and social life.


Thirteenth Annual Plenary Conference of the Society for Musicology in Ireland

University College Cork

12–14 June 2015

[Deadline: 31 March 2015]


Musicology in Progress…

Keynote address: Nicholas Cook (1684 Professor of Music, University of Cambridge),

“The imaginary African: music, identity, and race”

In this conference, we come together to share our current research, our personal musicologies in progress. We also seek opportunities to reflect, in and around the programme, on the state of musicological enquiry more generally. Musicology is itself a work in progress, with recent discoveries heaped ever higher upon the ground bass of its enduring concerns, with the expanded timbres offered by new materials and approaches, and with the heady call-and-response of habitual practice vs. emergent subjectivities. In all this we’re meanwhile surrounded by others—inside and beyond the academy—who are every bit as actively taking up the challenge of explaining music as a vital facet of human experience. And as scholars we’re increasingly challenged to demonstrate how our work makes an impact in the wider world. So, we wish to discuss together how musicology leads to or springs from action that improves the human situation. What is our progress in that respect? We invite participants to consider submitting proposals that touch upon the notion of musicology in progress, and to take this opportunity to reflect on where we are now and where our next steps might take us.

Proposals are now welcome for papers (20 minutes’ duration) and panels (60/ 90 minutes) addressing any area, field or theme of musicology—broadly defined. Proposals may be submitted to smi2015cork@gmail.com (closing date: Tuesday 31 March 2015). Each proposal should contain:

– (each) speaker’s name, title, affiliation (where applicable) and contact email;

– an abstract summarising the paper or panel. Abstracts for individual papers should be c. 250 words in length; those for panels should be of similar proportion for each speaker;

– the proposal can be submitted in doc, docx or rtf format;

– we welcome proposals for research presentations that adopt other formats, including posters, performances, sound art, digital interventions, roundtables or films; abstracts for these should be similar in length to those already discussed.

Currently, we anticipate announcing the draft programme on Tuesday 28 April. If you need proof of earlier acceptance for visa or grant-related reasons, be sure to note that in your accompanying email.

Registration is now open at http://www.uccconferencing.ie/product/2015-annual-conference-society-musicology-ireland-june-12-june-14-2015/, with reduced rates for SMI members. Meanwhile, SMI membership can be taken out or renewed at http://www.musicologyireland.com/. A small number of free registrations are available to research students willing to work for up to 6 hours as conference assistant: contact smi2015cork@gmail.com (by 31 March 2015) for further information.

Nationality / Universality ‘Musical historiography in Central and Eastern Europe’

International Musicological Conference: Nationality / Universality  ‘Musical historiography in Central and Eastern Europe’

Radziejowice, near Warsaw, 15–18 September 2014

The central theme of the International Musicological Conference will be the musical historiographies of the countries of Central and Eastern Europe. As well as attempting to recapitulate historical research of various profiles and surveying current research topics, the conference will provide an opportunity to reinterpret national musical historiographies and compare different perspectives on music history.
For several decades now, historiography, regarded as a central discipline of musicology, has witnessed a search for new directions and inspirations. The key tenets of historical musicology are being re-evaluated, particularly the notion that music history is forged by great individuals, great works, great traditions or great discoveries. The legitimacy of global and universal perspectives has been questioned, with scholars proposing that attention be focussed on regional reality and on everyday musical life. The question arises as to how such thinking affects local historiographies. Has there been any change in the methodologies and narratives of national music histories that lie outside the principal current of Western historical reflection? And, if so, in what direction?


  • National music histories versus the history of musical regions and centres
  • National music histories in relation to methodological historiographic models the object of musical historiography: the history of music, the history of writing about music, the history of reception and of musical life
  • The ‘heroes’ of national music in national historiographies
  • The socio-political and cultural determinants of musical historiography in the countries of Central and Eastern Europe
  • The significance of folk traditions in national historiographies

You are invited to propose a paper by submitting the completed form together with an abstract of your paper in English (300–400 words). Proposals should be sent by 15 November 2013. Website address: http://www.chopin.nifc.pl/conference The list of accepted abstracts will be announced by 31 December 2013.

The fee for participation in the conference is 50 euro [200 PLN], which should be paid into the account of the Fryderyk Chopin Institute between 31 December 2013 and 30 June 2014. The organiser will provide accommodation and meals during the conference, but will not refund travel expenses.

The conference proceedings will be conducted in English.

prof. dr hab. Sławomira Żerańska-Kominek, Institute of Musicology – University of Warsaw
prof. dr hab. Irena Poniatowska, Institute of Musicology – University of Warsaw, Polish Chopin Academy
dr hab. Paweł Gancarczyk, Musicology Section – Polish Composers’ Union, Institute of Art – Polish Academy of Sciences
dr Artur Szklener, The Fryderyk Chopin Institute

The organiser is planning to publish a book of conference.

Further information on the conference will be posted on our website: http://www.chopin.nifc.pl/conference
Please send any queries by email: conference@nifc.pl
Your questions will be answered by members of the Organising Committee.

The Fryderyk Chopin Institute
Research and Publishing Department
ul. Tamka 43
00-355 Warszawa
fax +48 22 44 16 113
e-mail: conference@nifc.pl
www.chopin.nifc.pl, http://en.chopin.nifc.pl/institute/events/conferences/year/2014

Dom Pracy Twórczej w Radziejowicach
ul. Henryka Sienkiewicza 4
96-325 Radziejowice