Aktuelles | Call for papers

Deadline: 30. August 2019

Händels Bilder – Ikonographie, Ästhetik, kompositorische Praxis

Die Internationale Wissenschaftliche Konferenz anlässlich der Händel-Festspiele in Halle an der Saale am 8. und 9. Juni 2020 wird sich im Anschluss an das Festspiel-Motto „Musikalische Malereien“ mit „Händels Bildern“ auseinandersetzen. Die Genitivbildung ist dabei mehrdeutig: Es soll einerseits um die Bilder seiner Gemäldesammlung und die Bildwelten gehen, die ihn an seinen verschiedenen Wirkungsorten umgaben; es soll aber zum anderen auch um jene visuellen Vorstellungswelten gehen, die er in seinem künstlerischen Wirken aktivierte; und es soll darüber hinaus unter einem rezeptions- und wirkungsgeschichtlichen Aspekt auch die Frage behandelt werden, welche Händel-Bilder gestaltet wurden, um die Figur und die Werke des Komponisten in verschiedene kulturelle, ästhetische oder politische Wertesysteme einzuordnen und mit ihnen zu versöhnen.

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Deadline: 15. Oktober 2019

Call for Papers (Conference)

Imperfection as an Aesthetic Idea in Music: Perspectives from Musicology and Artistic Research

Venue: University for Music and the Performing Arts, Graz, Austria (Kunstuniversität Graz)

Dates: May 6 and 7th, 2020

Languages: English and German

Keynote Speaker: Prof. Seth Brodsky (University of Chicago)

When we look to music, are we looking for perfection? Or does imperfection ultimately have more aesthetic value for us as practitioners and researchers? Historically, perfection has been treated with suspicion as an aesthetic idea in general. Already in the 1757 On the Sublime and the Beautiful, Edmund Burke mused that “beauty in distress is the most affecting beauty”; Heinrich Kleist, in his 1810 On the Marionette Theater, further suggested that perfection in art only resided beyond the domain of the properly human. In recent discussions of aesthetics in the more specific realm of music, however, the issue of imperfection has most often been discussed with primary reference to musical improvisation, although additional topics have sometimes been part of the discourse in musicology and artistic research.

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Deadline: 1. September 2019

INTERNATIONAL CONFERENCE
“IGNACIO JERUSALEM 250: GALANT MUSICS IN ITALY, THE IBERIAN PENINSULA, AND THE NEW WORLD”

Wednesday, December 3 – Friday, December 5. 2019
Universidad Internacional de Andalucía, Baeza (Spain)

Traditionally seen as a transitional style between the Baroque and Classical periods, the galant style is recognized today, thanks to the work of D. Heartz and R. Gjerdingen, among others, as the principal musical style cultivated in Europe and the Americas between 1720 and 1780. This transnational style of composition and performance, an example of cultural modernity with marked roots in the theater, developed in the conservatories of the Kingdom of Naples and from there it was disseminated to and adapted by different geographies and institutions, initially by Italian musicians, who transformed the musical aesthetics heard in churches, theaters, and aristocratic chambers in a profound  way. Ignacio Jerusalem (Lecce, 1707 – Mexico City, 1769), a progressive Neapolitan musician active in Italy, Spain, and Mexico, actively contributed to the diaspora of the galant style, and through his three musical roles, he  paradigmatically embodies the reception of the new style in the Iberian world: composer for the theater and the church, violinist, and teacher.

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Deadline: 1. September 2019

Call for Papers

50+ Years of Creative Music:
Anthony Braxton – Komponist, Multiinstrumentalist, Musiktheoretiker

Internationale Tagung
18. Juni bis 20. Juni 2020

Institut für Historische Musikwissenschaft der Universität Hamburg Neue Rabenstr. 13, 20354 Hamburg

Im Juni 2020 feiert Anthony Braxton seinen 75. Geburtstag. Seit über einem halben Jahrhundert gehört er als Komponist, Multiinstrumentalist, Musiktheoretiker, Pädagoge, Mentor und Visionär zu den Schlüsselfiguren der zeitgenössischen, avantgardistischen Musik. Braxton selbst nennt seine Musik transidiomatisch: "creative music", die gleichermaßen aus dem Jazz, der europäischen Kunstmusik und der Musik unterschiedlicher Weltkulturen Anregungen bezieht. In der ersten internationalen Tagung, die sich seinem umfangreichen Werk widmet, sollen vom 18. bis 20. Juni 2020 an der Universität Hamburg Forschungsergebnisse diskutiert werden, die die kompositorischen Verfahren Braxtons, den Instrumentalisten und seine musikphilosophischen Ansichten beleuchten.

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Deadline: 2. September 2019

Call for Papers

Interdisziplinäre Tagung „Netzwerke – Performanz – Kultur“

Veranstalter: Arbeitskreis Netzwerke und Kultur der Deutschen Gesellschaft für Netzwerkforschung (DGNet) in Kooperation mit dem Forschungsinstitut für Musiktheater (fimt)

Datum, Ort: 12. + 13. Dezember 2019, Schloss Thurnau bei Bayreuth

Deadline: 02. September 2019

Spätestens seit der kulturellen Wende in der Netzwerkforschung besteht mehr oder weniger Konsens darüber, dass Netzwerke und Kultur in einem starken Abhängigkeitsverhältnis zueinanderstehen. Aus unterschiedlichen Forschungsperspektiven wird die Beziehung zwischen Netzwerken und Kultur seither auf theoretische wie methodische Implikationen geprüft, in unterschiedlichem Ausmaß problematisiert und analysiert. So vielfältig die damit verknüpften Forschungsansätze und Untersuchungsgegenstände sind, so vage bleibt das Begriffspaar mitunter. Als zentrale Analysekategorie kann Performanz mit ihren Dimensionen Handlung und Wirkung dazu beitragen, das komplexe Verhältnis zwischen Netzwerken und Kultur genauer auszuloten, zu konzeptualisieren und etwaige Leerstellen zu identifizieren.

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Deadline: 5. September 2019

Groove the City 2020 – Constructing and Deconstructing Urban Spaces through Music

Date: 13–15 February 2020

Place: Leuphana University of Lüneburg, Germany

Introduction: city, space and music


“Here time becomes space.” In Parsifal Richard Wagner implies that music is a manifestation of the space-time totality. And music and space are indeed related in many ways. Music is embedded in the social and physical spaces where it is produced, distributed or consumed. It can be performed in locations such as music halls, clubs, or concert houses—and has the power to produce images and symbolic associations. Music can mark the acoustic boundaries of a neighborhood or a community or turn “non-musical” spaces into “musical” ones, as street music does. Music, thanks to new technologies and digitalization, has opened doors to virtual spaces. Think of music mapping, sound cartographies, soundscape archives and sounding postcards—all new forms of sonic sociability.

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Deadline: 15. September 2019

Call for Papers and Poster Presentations
Paris Lodron University Salzburg, 3 to 4 April 2020
Deadline for submission of abstracts: 15 September 2019

Life-World and Musical Form – Concepts, Models, and Analogies

“It is by no means certain what form in music is, and any attempt to formulate rules would provoke nothing but derision”. Despite Dahlhaus’ habitually pessimistic insight, music scholars and musicians have developed manifold concepts of form that were usually applied to more than one musical work. In doing so, they were influenced by life-world [lebensweltlich] concepts, models and analogies: in the musical rhetorical tradition, Mattheson understood musical form as the sequence of sentences (principal and subordinate clauses). Marx established an architectural model encoding the individual modules with letters. Around the turn of the 20th century Schenker and Kurth implicitly drew on evolutionary theory and theories from the field of thermodynamics for their models of musical form. In the late 20th century, after the scholarly community had come to terms with the hyper-individuality of contemporary and especially avant-garde music, Caplin initiated a new trend in musical-form analysis, which shifted the priority from the composition’s wholeness to its elements. While his approach was functional and taxonomic, Hepokoski and Darcy proposed the established dichotomy between ‘general/normative’ vs. ‘particular/deviant/innovative’ to musical form. Most recently, Greenberg, Diergarten and Neuwirth described form of the classical era as an effect of the type case or toy block principle according to which the composers combined modules more or less freely. In sum, the history of music theory points to the constitutive role that life-world experiences, visualizations and metaphors have played in the development of diverse concepts of musical form.

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Deadline: 15. September 2019

Beethoven and the Piano: Philology, Context and Performance Practice

Conference in Lugano, Conservatorio della Svizzera Italiana

Wednesday 4 to Friday 6 November 2020

Organised by the Bern University of the Arts (HKB) and the Conservatorio della Svizzera Italiana, Lugano

With the scientific support of the Beethoven-Haus, Bonn, and of the Italian Musicological Society Conference website: www.hkb-interpretation.ch/beethoven2020

Keynote speakers

Christine Siegert (Beethoven-Archiv, Bonn)
Barry Cooper (University of Manchester)
Tom Beghin (Orpheus Instituut, Gent)
Clive Brown (professor emeritus, University of Leeds)
Michael Ladenburger (former head of the museum and custodian of the collections, Beethoven-Haus, Bonn)

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Deadline: 30. September 2019

Best Paper Award 2019

Musicologica Austriaca – Journal for Austrian Music Studies

The Austrian Musicological Society (Österreichische Gesellschaft für Musikwissenschaft) is awarding a prize for the best academic paper on the broad topic of music and musical culture in or from Austria. Researchers from all musicological fields and related disciplines are encouraged to participate. We welcome all methodological perspectives on music, musicians, and musical culture associated with Austria in a broad sense.

The unpublished article should not exceed a length of 10,000 words and must be submitted in English. The evaluation of submissions will be conducted by a jury composedoftheboardof directors of the Austrian Musicological Society and the awardwinningpaperwillbepublished as an openaccess article in Musicologica Austriaca, free of charge. Papers that make use of the possibilities of multimedia (image, audio, and video files, for example) are particularly encouraged. Any copyright issues should be clarified by the author, but this can also be done subsequent to receiving the award.

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Deadline: 30. September 2019

Call for Papers: Jahrestagung der AG Auditive Kultur und Sound Studies der Gesellschaft für Medienwissenschaft
(GfM) vom 30.1. bis 1.2.2020 in Düsseldorf.

((((A.I.2020))))
ACOUSTIC INTELLIGENCE – HÖREN UND GEHORCHEN

„Acoustic intelligence“, auch ACINT oder ACOUSTINT genannt, ist ein Begriff der militärischen Überwachung
und beschreibt den Informationsgewinn durch das Speichern und Prozessieren akustischer
Phänomene. Während der Begriff im militärischen Gebrauch vor allem die hydroakustische Erfassung
submariner Bewegungsaktivität bezeichnet, soll „acoustic intelligence“ bei der Jahrestagung der AG
Auditive Kultur und Sound Studies 2020 in einem weiteren, technoakustischen Sinne des (Ab‐)Hörens
und Gehorchens verstanden werden.

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Deadline: 16. Februar 2020

MUSIC, CINEMA, AND MODERNISM:
 
The Works and Heritage of Kurt Weill between Europe and America
 
TORINO, , Università degli studi di Torino, Palazzo Nuovo
 
22-24 May 2020
 
Keynote Speakers:
 
• Nils Grosch (Universität Salzburg)
 
• Stephen Hinton (Stanford University)
 

The conference aims to address aspects of Kurt Weill’s works in relation to his contemporaries and his heritage to succeeding generations, both in the United States and in Europe. The creative activities of the German-American composer have been characterized by his keen interest in new media: principally, in radio in Germany and in the cinema in the United States, and in new forms of experimentation in musical theater on both sides of the Atlantic.

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