9–11 April 2015, Institute of Musical Research, University of London, UK

While musical biography has recently received scholarly attention through an array of insightful research, the sheer breadth of possibilities for the study of biography (and biographies) in relation to music means that the broad field remains rich in untapped investigative potential. This conference will provide a forum for consolidated critical discussion on both the content of musical biography (national trends and ideologies; myths and mythology) and its form (narrative technique and meaning). It will aim to open up interdisciplinary avenues of enquiry across a wide range of subjects and time periods, in the domains of classical music, popular music, and ethnomusicology alike.

In lieu of a single keynote speaker, a series of roundtables with invited speakers is planned, including one on the writing of contemporary musical biographies and another on writing the lives of music critics. Further details will be circulated in due course.

Call for Papers

20-minute papers (plus 10 minutes for questions) are invited on any aspect of musical biography that intersects with the conference theme, including (although not limited to) the following broad areas whether singly or in combination:

1. National ideology
a) Musical biography as national celebration
b) National trends in the writing of musical biography
c) Competing portrayals of the same subject
d) Musical biography as reception history

2. Narrative technique
a) The role of narrative in the creation of meaning in musical biography
b) Musical biography as a literary genre
c) Popular versus scholarly biographies
d) Aspects of the relationships between biographer, subject, and reader

3. The nature of myth
a) The creation, perpetuation, and refutation of mythologies
b) Musical biography as hagiography
c) Constructions of greatness, genius, and virtuosity through biography

Proposal for panels (4 speakers over 2 hours) are also encouraged.

Abstracts should be no more than 250 words and should be e-mailed by 12 January 2015 to Dr Paul Watt, paul.watt@monash.edu and Dr Christopher Wiley, c.wiley@surrey.ac.uk.

Decisions will be communicated to speakers by 31 January 2015.

Queries: Paul Watt, paul.watt@monash.edu or Christopher Wiley, c.wiley@surrey.ac.uk

The conference is part-funded by the Australian Research Council and the Monash University Research Accelerator Program, and is supported by the University of Surrey.

CALL FOR PAPERS: Music in Transition: Changing Styles and Approaches in the Mid-Baroque (1650-1710)

International One-Day Symposium, Friday 3 July 2015

Birmingham Conservatoire, Birmingham City University

Invited Speakers:

Professor Peter Holman, MBE (University of Leeds)

Professor Michael Talbot (University of Liverpool)

Professor Colin Timms (University of Birmingham)

From the revolutionary innovations of Monteverdi and his contemporaries, to the monumental works of Handel and Bach, the Baroque was a time of dramatic change and evolution. Whilst much work has been done on the music of both the early and later periods, less attention has been given to the central years of transition: the mid-Baroque.

The aim of this symposium is to consider the changes that took place in both compositional and performance practice during the years 1650 to 1710. Proposals relating to all musical genres and European traditions will be welcomed, those considering the interchange of national styles particularly so. The day will feature a lunchtime concert of mid-Baroque music held in Birmingham Conservatoire’s Recital Hall.

It is envisaged that selected papers will be published after the conference as a collection of essays.

Proposals are invited for 20-minute presentations, or 30-minute lecture-recitals, on any topic relating to changing compositional style or approaches to performance during the period 1650-1710.

Please e-mail the following materials to Dr Carrie Churnside (Carrie.Churnside@bcu.ac.uk) using a single attachment in Word format:

• Abstract (250 words max.)
• Short biography (150 words max.)
• Name, institutional affiliation (if applicable), email address and other contact details

The official language of the symposium is English. The deadline for submitting proposals is Friday 20 March 2015. Applicants will be notified of the outcome near the beginning of April, with the schedule published shortly after.

Bursaries may be available to assist postgraduate students presenting papers with travel expenses.

PROGRAMME COMMITTEE (Birmingham Conservatoire): Dr Carrie Churnside; Martin Perkins; Professor Graham Sadler; Dr Shirley Thompson

XXII ANNUAL CONFERENCE SOCIETY ITALIAN OF MUSICOLOGY

Perugia, Conservatorio di musica “Francesco Morlacchi”

30-31 ottobre, 1 novembre 2015

CALL FOR PAPERS

The twenty-second Annual Conference of the Italian Musicological Society will be hosted in Perugia  from 30^th October to 1^st  November 2015, in collaboration with the Conservatory of Music “Francesco Morlacchi”. On October 31^st at 4 p.m. the annual Meeting of all members will take place .

The Conference will be divided in 4 free paper sessions and 2 theme-oriented sessions about

1. musical sources and new research topics;
2. new acquisitions in organology.

Scholars from all over the world are invited to submit their proposals.

In your abstract (which has not to exceed 30 lines in word format compatible) please indicate the title of the proposed paper, the state of the art in your research field, with an outline of the project and the specific contribution to the current knowledge.

Along with the text please send also a short C/V (max. 15 lines) and indicate the A/V equipment required.

The paper shall not exceed 20 minutes in duration (corresponding to an 8-page text containing to a maximum of 16000 characters). Scholars are not allowed to send more than one abstract. The abstracts have to be sent to the e-mail address sellerfrancesca@gmail.com or – by mail – to the Società Italiana di Musicologia, Casella Postale 318 Ag. Roma Acilia, via Saponara 00125 Rome, Italy (please add on the envelope the indication “XXII Convegno Annuale”) no later than June 15, 2015.

Acceptance of papers will be notified by July, 15, 2015.

Please provide your full name, address, phone number, fax number and e-mail address. For further information about the conference please visit the web site: http://www.sidm.it.

International Conference, 5th-7th November 2015, Philharmonie de Paris

Partners:
L’Ecole des hautes études en sciences sociales Paris (Centre de recherches sur les arts et le langage & Centre Georg Simmel); Centre Marc Bloch Berlin; Palazzetto Bru Zane Venice; Center for Worldmusic Hildesheim; Philharmonie de Paris

With the question ‘What does democracy sound like?’, this jointly organised German-French conference intends to open up a space for discussing conceptions and potential functions of music within democratic societies. In research, relations between music and politics were especially closely intertwined thought in official representations of feudal societies and in the context of the ideological instrumentalization of music in totalitarian regimes. Considering this, it appears that the relationship between music and politics can carry dangerous, or at least problematic implications. This relationship seems to be also difficult with regard to the (unquestioned) necessity of autonomy and the principle of artistic freedom. In contrast to this stands the positive power of music, as represented by its potential for use in resistance, protest and liberation movements and its mobilization within processes of community and identity building. Instead of viewing these differing perspectives as contradictory, this conference aims to consider them as an expression of the complexity of the relationships between musical practices and diverse conceptions of collective action and social groupings.

In both historical and anthropological approaches, various forms of musical practices, discourses and social groupings (state, regional and local communities, clubs and interest groups etc.) within democratic societies come into consideration here:

How can it, for example, be explained that music often acts as a means of representing a society as being free and equal, i.e. as a medium for the shaping of society? What prerequisites and intentions underlie the understanding of music as social ‘common property’? In how far are different actors/experts (researchers, members of various interest groups or also militant associations) involved in the process of legitimating state intervention in various musical spheres (artistic production, mediation, education, construction of musical spaces)? Also to be discussed are terms such as ‘culture’, ‘music’, ‘society’, ‘the people’ etc., which struggle for definitionwithin the continualinterplay of societal legitimation and contradiction. Musical practice, when viewed in relation to the term ‘democracy’–which shouldalso be problematized with regardtoits social and political processes of mediation – demands an openness of approach. Indeed, the term ‘democracy’ is instinctively connected to unifying societal ideals and political norms, yet the practical implementation of this concept clearly varies according to time and place.

In order to bring this variation to attention, the conference will take on a longue duréeperspective and trace ideas of democratic thinking in music – with its continuities and gaps – from its first appearance (late 18th/early 19th century) up to the present day. The examples of France and Germany can be taken as a starting point but the focus should by no means be restricted to them. Rather, points of reference between different countries and cultural contexts should be drawn upon and produced.

On the basis of these initial questions, contributions to one or more of the following key areas are welcome:

Music and State: music-related cultural and educational policies; debates on societal representation and participation; institutionalization processes; etc.

History of Ideas: historical milestones in the development of concepts of ‘music and democracy’; processes of mobilization and stabilization as well as controversies surrounding related concepts (musical autonomy, representation, cultural diversity, etc.); the construction of musical hierarchies and genres; etc.

Creativity and Politics: debates on the definition and diversity of the terms ‘culture’ and ‘music’ from the viewpoint of artists (social culture, culture for everyone, etc.); conceptions of society and politics that underlie musical practices; politically motivated music; etc.

Space and Reception: construction of musical spaces and events in democratic societies (concert halls, festivals, conservatoires, radio, etc.); social and symbolic dimensions of architectonic conceptions and localizations in space; debates on social responsibility and the financing of musical spaces and events; etc.

Musical Publics: practices and contexts of listening and reception; concepts of ‘the public’ (elite, mainstream, masses, listeners, audiences, fans, etc.); means of constructing and representing the public (statistics, expert studies, market analysis, self-organization, medialization); etc.

By inviting contributions that concern themselves with various historical and geographic situations and that are orientated around different points of access to the topic (different actors, institutions, practices, discourses), the conference intends to open a forum in which the variety of perspectives on this theme can be taken into account. The aim is to consider the relationship between music and politics in all its complexities and different manifestations in democratic societies.

Contributions from a broad range of humanities and social science disciplines are welcome (History, Anthropology, Musicology, Ethnomusicology, Political Sciences, Sociology, DevelopmentalStudies/Pedagogy, Theatre Studies, etc.).
The conference languages are French, German and English.

Proposals (abstract max. 2000 characters, CV max. 500 characters) should be sent by 15th May 2015 at the latest to the following address: musikdemokratie@gmail.com.
Notifications of acceptance will be sent out by 30th June 2015 and the conference programme published online at www.musikdemokratie.wordpress.com.
We look forward to receiving your proposals!

Members of the scientific committee:

Philip Bohlman, Esteban Buch, Annegret Fauser, Wolfgang Fuhrmann, Antoine Hennion, Denis Laborde, Karine Le Bail, Julio Mendívil, Olivier Roueff, Patrice Veit, Raimund Vogels, Sarah Zalfen, Hansjakob Ziemer

Organizers:

Talia Bachir-Loopuyt (Université Jean-Monnet), Etienne Jardin (Palazzetto Bru-Zane), Christina Kaps (Humboldt-Universität zu Berlin), Elsa Rieu (Ecole des Hautes Etudes en Sciences Sociales Paris), Lena van der Hoven (Max-Planck-Institut für Bildungsforschung)

A Contact Zone for the Reconsideration of Musicological Methods

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 17^th 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

Musical Cartographies: The Harvard Graduate Music Forum Conference, 2016

29-30 January 2016

Harvard University Department of Music
Cambridge, MA

Keynote: Arun Saldanha (University of Minnesota)

Call for Proposals

This interdisciplinary conference investigates the relationship between music and the organization of space. Approaching the topic from the perspectives of both scholarly inquiry and creative practice, we will ask how music has been implicated in mappings of physical and conceptual spaces and how spatial mappings have functioned as ways of thinking about musical sound.

Topics for consideration include but are not limited to:

Geography, power, and identity:

• How have historically and culturally contingent geographical formations conditioned music’s production, dissemination, and reception?
• How does music intersect with geographically-mediated categories such as race, nation, and ecology?
• How do issues of diaspora, migration, and stateless peoples complicate the relationships we draw between music and geography?

Representations of sound, time, and musical form:

• How have music-theoretical models mapped domains such as pitch, timbre, and gesture?
• How is map-and path- making implicated in music cognition and the phenomenology of listening, and how might models such as cognitive mapping shed light on these processes?
• How might we think of musical notation and other visual representations of music as forms of cartography?

Practices and technologies:

• How do scholars and creative practitioners draw and contest disciplinary, aesthetic and conceptual boundaries—for instance, between academic fields, between art forms, or between the “musical” or “extra-musical”?
• How do composers, performers, and sound artists creatively organize the physical and conceptual spaces in which they work?
• How have technologies been implicated in mapping musical spaces, and how have new media technologies altered the shape, nature, and limits of such spaces?

Submissions
We welcome submissions from current graduate students exploring these issues from the perspectives of both research and practice. We seek proposals on all repertoires, musical practices, and historical periods from a broad array of disciplinary and methodological perspectives.

Formats for presentation include:

• 20-minute papers, audiovisual presentations, or exploratory text works, with 10 minutes for discussion
  Please submit abstracts of a maximum of 350 words and, where appropriate, up to 4 additional pages for figures. Please add a short statement regarding AV requirements.
• 30-minute composers’ colloquia, performances, or lecture-recitals, with 15 minutes for discussion
  Please submit details of the work to be presented in a maximum of 350 words and, where appropriate, links to downloads (via Dropbox, WeTransfer, Google Drive etc.) of relevant sound recordings, scores, and/or supplementary documentation.

In addition to the above questions, composers and performers might consider:

• What role does space play in your conceptualization of musical form? In your approach to musical performance?
• What is mapped during composition or performance? This could include time, coincidence, relationships, physical space, and other parameters.
• How do you relate in your work to geographical categories such as race, nation, and ecology? Likewise, how do you relate to conceptual boundaries such as those between genres, art forms, or historical periods?
• How do your creative practices challenge existing ways of mapping musical sound?

Deadline for the proposal: 17 November 2015

Please send submissions to: harvardgmf2016@gmail.com

For more information, please visit: http://projects.iq.harvard.edu/gmf2016/home

Ancient Hellenic & Roman Music Conference 2016 

Athens, Greece

Monday, 11 to Thursday, 14 July, 2016 

moisa2016-athens.eu

The Department of Music Studies of the National & Kapodistrian University of Athens in association with L’École Française d’Athènes will host the 9^th Moisa Conference in Athens, Greece, from Monday, 11 to Thursday, 14 July, 2016.

The conference theme is:

“Music and the animal world in Hellenic and Roman antiquity”.

The keynote speaker will be François-Bernard Mâche, musicologist and composer. There will be paper and poster presentations, a final concert with contemporary music inspired by Antiquity, and an excursion to Delphoi on Friday 15 July, for those who would be willing to stay on after the end of the conference.

———— 

Call for Papers 

We are now soliciting submissions for oral and poster presentations. Speakers are invited from all fields of enquiry – philology, archaeology, musicology, computer science, zoology, musical acoustics, theatrology – to contribute to the theme of the conference. We welcome submissions on the following topics: 

• Description of animal voices (tonal and rhythmic aspects; audio representation)
• Classification of animal species by their calls
• Association of animal sounds with the seasons and agriculture
• Influence of human music on animals
• Animal parts in the construction of musical instruments
• Animals and semi-animals as musicians
• Animal calls imitated in human music

 Papers should be presented and posters written in English and must not have been previously published. The final decision on the category will be made by the scientific committee.

Paper presentations must not exceed the limit of 20 minutes. A 10 minute discussion will follow each paper.

Full papers will be submitted after the conference by a
date to be specified in due course. A selection of accepted papers will be submitted for publication to the Moisa journal Greek & Roman Musical Studies (http://www.brill.com/publications/journals/greek-and-roman-musical-studies).

————

Important Dates

Title and abstract submissions (deadline): March 15, 2016

Notifications: April 30, 2016

————

General inquiries should be directed to the conference coordinators:

Stelios Psaroudakes: spsaroud@music.uoa.gr

Sylvain Perrot: sylvain.r.perrot@gmail.com

25-26 April 2016

Emmanuel College, Cambridge

Call for Papers

Bringing together performing musicians engaging in practice-led research, ethnographers of Western art music, and psychologists specialising in tacit knowledge research, this two-day conference will explore performers’ interpretative processes and their uses of tacit knowledge (also called implicit, procedural, or embodied knowledge) in understanding the explicit knowledge presented in historical documents, analyses, and performance treatises.

Keynote participants include Professor Tom Beghin (fortepianist), Margaret Faultless (violinist), Professor Christopher Page (guitarist), Chris Maene (instrument builder), Professor Tina K. Ramnarine (musician and anthropologist), Dr Satinder Gill (experimental psychologist), and Professor John Rink (Director, Cambridge Centre for Musical Performance Studies).

Belgian-Canadian fortepianist Tom Beghin (Orpheus Institute/McGill University) will perform a keynote recital featuring Beethoven’s last three piano sonatas, to be presented on a replica of Beethoven’s Broadwood piano built by master instrument builder Chris Maene.

Margaret Faultless (Cambridge University/RAM) will present an open rehearsal discussing interpretative decision-making processes within conductor-less orchestras. Her presentation will be followed by a performance with the Cambridge University Collegium Musicum.

Keynote papers will be presented by:

• Professor Christopher Page: Performance, Imagination and the Early-Romantic Guitar
• Professor Tina K. Ramnarine: Performance, Storytelling and the Politics of Musical Knowledge
• Dr Satinder Gill: Knowing-How and Knowing-When: researching performers’ musical timing

Proposals are invited for 20-minute papers, 30-minute lecture-recitals (each will be followed by 10 minutes of discussion), and posters. The conference language is English. Presentations that engage critically with theories and methodologies of researching performers’ tacit knowledge, such as the use of ethnographic techniques, practice-led research, or the analysis of recorded audio and audio-visual performance, are especially welcome. Interdisciplinary perspectives are also invited, for example, papers that draw on opera or dance studies, material studies, or cognitive studies in music in discussing the theme of the conference. Topics may include:

• Performers’ creative engagement with historical documents and objects, extending beyond the conventional remit of historically-informed performance practice studies.
• The influence of instrument affordances on performers’ interpretative choices.
• How musicians communicate through gesture and/or vocalisation.
• The challenges and potentials of self-reflexive research in performance.
• The influence of tradition on performers’ interpretative ideas.
• The dynamics of performers’ interpretative decision-making processes in practice, rehearsals, and/or public performance (both solo and in ensemble).

Please submit proposals by Friday, 5 February 2016 including:

• Name and institutional affiliation (if applicable).
• Curriculum Vitae and 100-word biography.
• Title and abstract of presentation, max. 450 words. For lecture-recitals, please include programme details of any repertoire to be performed (details are excluded from the word count).
• A list of technical requirements (computer projection and a Steinway grand piano will be available).

Proposals will be assessed by the conference committee and applicants will be notified of the outcome by 15 February. The registration fee for delegates (whether presenting or observing) will be £90 (full) and £50 (students). Early-bird registration (by 19 February) and RMA member rates are £80 (full) and £40 (students). Registration fee includes all concerts, meals (excluding breakfast), and refreshments. Additional tickets (if required) for Tom Beghin’s recital may be booked through ADC Ticketing for £25 / £15.

Proposals should be emailed to performingknowledge@emma.cam.ac.uk. Please send any enquires to this address also.

Web Page: https://www.emma.cam.ac.uk/conferences/events/perfknow/

Facebook Event Page: https://www.facebook.com/events/647358332072144/

The twenty-third Annual Conference of the Italian Musicological Society will be hosted in Como from 21th-23rd October, in collaboration with the Conservatory of music “Giuseppe Verdi”. On October 22nd at 3 p.m. the annual Meeting of all members will take place.

The Conference will be divided into free paper sessions and one theme-oriented session, based on the topics exposed in the book Italia 1911. Musica e società alla fine della Belle Époque (Milano, Guerini Associati, 2014), entitled:

From the Belle Epoque to the First World War: searching for a Musical Identity

Scholars from all over the world are invited to submit their proposals.
In your abstract (which has not to exceed 30 lines in word format) please indicate the title of the proposed paper, the state of the art in your research field, with an outline of the project and the specific contribution to the current knowledge. Only original, unpublished research will be taken into consideration: papers which are in print will not be accepted.Along with the text please send also a short C/V (max. 15 lines) and indicate the A/V equipment required.

The paper shall not exceed 20 minutes in duration (corresponding to an 8-page text containing to a maximum of 16000 characters). Scholars are not allowed to send more than one abstract. The abstracts have to be sent to the e-mail address convegni@sidm.it or – by mail – to the Società Italiana di Musicologia, Casella Postale 318 Ag. Roma Acilia, via Saponara 00125 Rome, Italy (please add on the envelope the indication “XXIII Convegno annuale”) no later than June 15, 2016.
Acceptance of papers will be notified by July, 15, 2016.

Please provide your full name, address, phone number, fax number and e-mail address. For further information about the conference please visit the web site: http://www.sidm.it.

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 Greek, Italian 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

Registration fees:
Concessionary rates are available to students, unwaged and retired delegates.

Conference committee:
– Philip Bullock, Barbara Eichner, Daniel Grimley, Anna Stoll Knecht, Laura Tunbridge, Benjamin Walton

• For queries and further information please email Emily Tan at this address:19conference@music.ox.ac.uk

Conference, Friday 4^th November and Saturday 5^th November 2016,
Martin Harris Centre for Music and Drama, The University of Manchester

The decades around the turn of the seventeenth century were marked by a new religious self-consciousness developing within the Catholic world over the course of the latter part of the sixteenth century – usually associated with the Council of Trent and the Counter-Reformation but in fact fuelled by a great diversity of intellectual and religious currents which continue to fuel discussions among historians. Italy, besides being one of the main centres of the Catholic world, was home to an extremely rich musical culture, witnessing in the time around 1600 a huge variety of musical styles designated or adapted to enhance the practice of the faith. Large-scale polychoral works for the Tridentine liturgy existed side-by-side with the more intimate genres of musica spirituale which occasionally straddled the stylistic and functional boundaries to the secular realm.

Fascinatingly diverse, this repertoire has long offered a fruitful field of research for musicologists. However, given its chronological situation in a period transgressing the traditional epochal definitions, study of this music has struggled to find a ‘home’ in the standard historiographical discourse, resulting in a perceivable lack of opportunity for researchers working in this area to communicate their knowledge. This conference aims to respond to this need and to act as a forum of exchange for scholars working on Italian liturgical and devotional music in the decades around 1600.

Call for Papers

We welcome proposals for papers (in English) of 20 minutes duration or performance workshops of 30 minutes relevant to the topic. The title along with an abstract of no more than 300 words and a short biography (approx. 100 words) should be submitted to italianmusic1600@manchester.ac.uk by 18 July 2016. Applicants will be notified by 31 July 2016.

Keynote speakers:
Daniele V. Filippi (Schola Cantorum Basiliensis)
Noel O’Regan (Edinburgh College of Art)

Conference Website: http://italianmusic1600.weebly.com

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

In addition, the conference programme includes:

Schedule

Conference fee

Organizer

György Ligeti Symposium Helsinki 2017

February 10–11th, 2017

Sibelius Academy, University of the Arts Helsinki, Finland

INVITATION

The DocMus Doctoral School at the Sibelius Academy, University of the Arts Helsinki, invites performers, composers, researchers and students to take part in the conference György Ligeti Symposium Helsinki 2017, organized in collaboration with the contemporary music festival Musica nova Helsinki 2017.

Themes and topics

The symposium concentrates on the following themes, but proposals on other aspects of Ligeti´s music are also welcome. Alongside scholarly presentations, the organizing committee encourages performers to submit proposals on lecture recitals.

• Issues of performance

• Music-analytical and stylistic approaches

• Ligeti´s influence on music of our time

In addition to scholarly presentations and lecture recitals, the symposium will also feature concerts as part of its varied program , including performances of Ligeti´s Piano Etudes and music influenced by Ligeti.

Invited keynote speakers include:

Prof. Jonathan W. Bernard
Composer Lukas Ligeti
Prof. Fredrik Ullén

The proposals

Proposals for individual papers (20 minutes + 10 minutes for discussion), lecture recitals (max. 40 minutes), posters and panels (60 minutes) should be sent as abstracts (max 500 words) to ligeti2017@uniarts.fi with full contact information for each author. Along with scholarly proposals, abstracts representing practice-based research (‘artistic research’) are welcome.
The DL for proposals is September 15th 2016. The accepted proposals will be announced on October 1st 2016.

The conference language, as well as the language for the abstracts, is English. The deadline for submitting abstracts is September 30th 2016. Authors will be contacted by November 30th 2016 with the acceptance decisions.
Conference abstracts for Ligeti Symposium Helsinki 2017 will be published in advance on the conference website and in print. This will serve as a symposium programme, while also providing 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
– Cover sheet listing the name, affiliation, area of specialty, and email for each proposer, along with the proposal title and format.
– Abstract of max.500 words describing the content of the paper, lecture recital, poster, workshop, panel or other sessions of unusual format.
– Detailed program of the lecture recital: composers, work titles, composition years, opus numbers)
– Recording of the proposer’s performance of at least one work to be presented as part of a lecture recital
– Curriculum vitae and contact information
– Equipment needed for performances and presentations (all instruments, data projectors, etc.)
Symposium fee: 80 euros
Organizing Committee:

Professor Lauri Suurpää (Sibelius Academy, University of the Arts Helsinki)
Professor Veli-Matti Puumala (Sibelius Academy, University of the Arts Helsinki)
University lecturer, DMus Annikka Konttori-Gustafsson
Adjunct professor Alfonso Padilla (Helsinki University)
Coordinator of Doctoral Studies, DMus Markus Kuikka, (Sibelius Academy, University of the Arts Helsinki)
Elisa Järvi, DMus (Sibelius Academy, University of the Arts Helsinki)
Mikko Missi M.A., producer

Contact:

DMus Markus Kuikka
markus.kuikka@uniarts.fi
Ligeti2017@uniarts.fi
http://www.uniarts.fi/ligeti2017

Call For Papers: Brian Boydell Centenary Conference
Friday 23 – Saturday 24 June 2017
The Long Room Hub, Trinity College Dublin
CFP Deadline: Friday 3 February 2017

Contact: boydell100@gmail.com

Born in Dublin in 1917, Brian Boydell was one of Ireland’s major 20th century composers. As a musicologist, he published seminal research on music in 18th century Dublin. As a broadcaster, performer, adjudicator, public lecturer, an often outspoken agitator for music, singing teacher, Professor of Music at Trinity College Dublin, one of the founders of the Music Association of Ireland and long-time member of the Arts Council, his influence on music and music education in Ireland was significant. An honorary DMus of the National University of Ireland (1974) and Fellow of the Royal Irish Academy of Music (1990), he was elected to Aosdána, the affiliation of creative artists in Ireland, in 1984.

To mark his centenary, a conference will be held on Friday 23/Saturday 24 June 2017 in The Long Room Hub, Trinity College Dublin, with a recital of his music in the Royal Irish Academy of Music, to re-evaluate his contributions to Irish musical, artistic and academic life, and their place within the wider contexts of musical, cultural and artistic developments in Ireland in the 20th century. Confirmed speakers are Professor Barra Boydell, who will give a special address, and Peter Murray, Director of the Crawford Art Gallery Cork, who will present a guest lecture on Brian Boydell’s paintings.

Proposals are invited for the following:

• Individual papers
• Joint papers (maximum 2 speakers)
• Lecture recitals
• Themed sessions
• Panel discussions (up to a maximum of 6 speakers)

Proposal details:

All proposals should be submitted as one file in Microsoft Word or PDF format:

Individual papers of 20 minutes in duration followed by 10 minutes for questions and discussion. Proposals should include:

• title of paper
• abstract of no more than 250 words
• name, contact details and affiliation
• a brief biography (max. 100 words)
• any technical requirements

Joint papers of 20 minutes in duration followed by 10 minutes for questions and discussion. Proposals should include:

• overall title of presentation and abstract (max. 150 words)
• titles of individual papers
• individual abstracts of no more than 250 words
• names, contact details and affiliations
• a brief biography for each presenter (max. 100 words)
• any technical requirements

Lecture recitals of 30 minutes (including performance) followed by 10 minutes for questions and discussion. Proposals should include:

• overall title of lecture recital and abstract/proposal of no more than 250 words
• name(s), contact detail(s) and affiliation(s)
• a brief biography for each presenter (max. 100 words)
• any technical requirements

Themed sessions of 90 minutes (3 papers) or 120 minutes (4 papers) including questions and discussion, and Panel discussions of 90 minutes (up to a max. of 6 speakers, each presenting a position paper followed by questions and discussion). Proposals should include:

• overall title of presentation and abstract/proposal (max. 250 words)
• titles of individual papers and abstracts of no more than 250 words
• name, contact details and affiliation of convenor
• names, contact details and affiliations of proposed presenters
• a brief biography for the session/panel convenor and each proposed presenter (max. 100 words each)
• any technical requirements

Deadline for submission of proposals is Friday 3 February 2017.

All proposals should be submitted as a Microsoft Word or PDF attachment to Dr Barbara Jillian Dignam by email at boydell100@gmail.com It is envisaged that notification of the conference committee’s decision will be communicated by March 2017. A conference website will be launched shortly.

Proposals might consider (but are not limited to) Brian Boydell’s contributions under any of the following areas:

• the re-examination and assessment of his compositions – individually and collectively – and their place within Irish music of the 20th century and the wider context
• his musicology and other writings
• his work as a performer: conductor of the Dublin Orchestral Players for over twenty years, founder and director of the Dowland Consort, singer, oboist, and occasional conductor of the Radio Éireann/RTÉ Symphony Orchestra
• his teaching, professorship at TCD, public lectures, adjudicating at music festivals and numerous radio and television broadcasts
• as agitator for music, through the Music Association of Ireland, the Arts Council, Forás Éireann and other bodies to which he contributed
• his place within the wider context of Irish artistic and cultural life in the 20th century

Brian Boydell’s papers, including his original scores, musical notebooks, radio broadcast scripts, and his extensive correspondence with musicians, musical and cultural bodies, and others covering many decades in Irish musical life, are held in the library of Trinity College Dublin and remain a largely untapped resource. The Contemporary Music Centre also holds copies of his scores. His work as an artist in the early 1940s before he devoted himself fully to music were highlighted in the recent exhibition ‘The Language of Dreams’ at the Crawford Art Gallery, Cork. See also Gareth Cox, Axel Klein and Michael Taylor (eds.) The life and music of Brian Boydell (2004), and the Encyclopaedia of Music in Ireland (EMIR).

Conference committee:

Prof. Barra Boydell, Dr Barbara Jillian Dignam (Chair, Maynooth University), Dr Kerry Houston (DIT Conservatory of Music and Drama), Roy Stanley (Trinity College Dublin), Marie Moran (Royal Irish Academy of Music), Dr Gareth Cox (Mary Immaculate College, University of Limerick)

For further information on the conference, submission process or any other queries, please contact the conference committee chair, Dr Barbara Jillian Dignam, at boydell100@gmail.com

Also follow our conference posts on Twitter https://twitter.com/Boydell100 and Facebook https://www.facebook.com/boydell100/

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

20^th-23^rd 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 15^th-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.

7^th UFRJ INTERNATIONAL SYMPOSIUM ON MUSICOLOGY

& II MEETING OF THE BRAZILIAN ASSOCIATION FOR MUSIC THEORY AND ANALYSIS

“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.

IMPORTANT DATES

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

SUBMISSION GUIDELINES

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 sim@musica.ufrj.br or TeMA_Meeting to the e-mail diretoria@tema.mus.br. 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 volpe@musica.ufrj.br

Ilza Nogueira nogueira.ilza@gmail.com

More info: http://www.musica.ufrj.br/ and http://tema.mus.br/.

Also https://www.facebook.com/events/675180942635190/

Second International Workshop on Language, Music, and Computing

http://lmac.hf-guap.ru/ENG/index.html

Aims of the workshop: to encourage interdisciplinary communication and collaboration of linguists, musicians and IT-specialists in the sphere of some actual problems, among which are the following:
1. Language and music acquisition; influence of music skills on language acquisition and language processing; influence of linguistic skills on music acquisition; relationship between music and language training.
2. Linguistic and music knowledge, their structure and functioning; explicit and implicit knowledge of music and language; similarities and differences in understanding of music and language.
3. Automatic classification of linguistic and music knowledge; formal models of linguistic and music knowledge; musical information retrieval vs. linguistic information retrieval.

This year special topics of the workshop are:
– Formal representation of language and music: differences and similarities
– Sound corpora in music and linguistics

Keynote speakers:
Sabine Iatridou, USA
Sergi Jordà, Spain
Merryl Goldberg, USA
Elena Riekhakainen, Russia

Languages of the conference:
Russian & English (some sessions will be simultaneously translated)

Submission process:

Abstracts from different fields are warmly invited. Presentations will last 20 minutes, followed by a ten minute discussion. Abstracts should be submitted before November 27, 2016. Notification of acceptance follows on January 20, 2017. Abstracts should be 450-500 words long (without any subheadings) and clearly present a research question/aim, critical review of the literature, methodology, results and conclusions. Abstracts should be submitted as a pdf. If you wish to include any specific symbols (such as phonetic transcription), please submit your paper both in DOC and PDF format. We have the intention to select papers for a peer-reviewed special issue.
Please send each abstract both in anonymized and unanonymized forms (with author(s) and affiliation) to the following address: al@hf-guap.ru

Registration fee (includes program, coffee-breaks, post-conference publication, visa support (if needed)):
Early-bird fee (before March 15, 2017) – 2500 rubles, or 45 euros; students – 1000 rubles, or 20 euros;
regular fee (after March 15, 2017) – 3000 rubles, or 55 euros; students – 1500 rubles, or 35 euros.

Important dates:

Submission deadline: November 27, 2016
Notification of acceptance: January 20, 2017
Registration starts: February 1, 2017
Early-bird registration ends: March 15, 2017
Workshop: April 17-19, 2017
Final papers: June 1, 2017
Results of the revision process: July 25, 2017
Publication – Fall 2017