Aktuelles | Call for papers

Deadline: 31. Dezember 2017

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


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 the University of Verona, Ca’Foscari University of Venice, the University of St Andrews and the Conservatorio “E. F. Dall’Abaco” of Verona.

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Deadline: 1. Januar 2018

Call for Papers

Wagner Weimar Eisenach – Wechselwirkungen und Spannungsfelder zwischen Kultur und Politik

Veranstalter: Projektteam »Wissenschaftlich kommentierte Quellenbeschreibung und Diskussion ausgewählter Aspekte der Richard-Wagner-Sammlung in Eisenach«

Leitung: Prof. Dr. Helen Geyer; Dr. des. Kiril Georgiev

Veranstaltungsort: Hochschule für Musik Franz Liszt Weimar; Institut für Musikwissenschaft Weimar-Jena

Datum: 14./15. Juni 2018

Deadline: 1. Januar 2018

Der rezeptionsgeschichtliche Urknall von Richard Wagners Werk, der schließlich um die Welt expandierte, fand an einem Ort statt, der sich selbst zwischen den Gegenpolen Provinz und Residenz, Tradition und Fortschritt, Idee und Verwirklichung zerrieb, um schließlich in der eigenen – mit Wagner gesprochen – »schönen Einöde« zu ersticken. Gemeint ist das Großherzogtum Sachsen-Weimar-Eisenach.

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Deadline: 3. Januar 2018

Let's squeeze that Lemon
Kulturelle und mediale Repräsentation im Visual Album "Lemonade" von Beyoncé
Call for Paper
 
Termin: Fr. 26.1.2018
Ort: Carl von Ossietzky Universität Oldenburg, Institut für Musik
Organisation: Jolanta Stebel, B.A. & Dr.des. Carla Schriever
 
Dass Popkultur in gesellschaftlichen und politischen Prozessen tief verankert - und somit nicht trivial ist (Hecken 2013), stößt in vielen geisteswissenschaftlichen Diskursen auf gemeinsamen Konsens. Zur Analyse von popkulturellen Medien und  dessen (audio-)visuellen Repräsentationen sowie semantischen Decodierungen stellen Musikvideos ein beliebtes Medium dar. Im Zeitalter von Youtube hat dieses Format wieder an Relevanz gewonnen (Lilkendey 2017). Das "Visual Album" als  eigenes bzw. eigenständiges Format wird bisher in diesem Gefüge vernachlässigt.
 

Deadline: 5. Januar 2018

APPROACHES TO RESEARCH ON MUSIC AND DANCE IN THE INTERNET ERA
INTERNATIONAL FORUM OF FIVE MUSIC RESEARCH SOCIETIES
ICTM ‐ SEM ‐ IMS ‐ IAML ‐ IASPM
Central Conservatory of Music, Beijing, 11‐14 July 2018

Call for Papers for IMS sessions


Forum Abstract


The internet age has brought forward a series of new approaches to the research of music and dance, and new patterns of scholarship have been developed, both within different disciplines and across the globe. Scholars from five global research associations (ICTM, SEM, IMS, IAML, IASPM) will meet to present and discuss the new methodologies now emerging, looking both for commonalities and distinctive new departures. Inter‐, multi‐, trans‐ and cross‐disciplinary approaches will be welcome, including those that reach out beyond the specifically academic domain toward new social and economic usages. We ask how these new possibilities provide a means to generate respect for and engagement within traditional, historical or popular forms of music and dance, as well as allowing our imagination to reach knowledgeably across conventional geographical, social and historical boundaries. The Forum will interleave discipline‐specific and interdisciplinary sessions.

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Deadline: 12. Januar 2018

Symposium "Musikvermittlung" der FG "Musikwissenschaft und Musikpädagogik"
bei der Jahrestagung der GfM in Osnabrück (26.-29.9.2018)
 
Call for Paper
 
Unsere Fachgruppe "Musikwissenschaft und Musikpädagogik" möchte auf der Jahrestagung der GfM in Osnabrück (26.-29.9.2018) ein eigenes Symposium zur Musikvermittung abhalten.
 
Angedacht sind 5 Vorträge und ein roundtable, v.a. zum Thema der Beziehung von Musikwissenschaft und Musikpädagogik in der Musikvermittlung. Zu diesem Thema gibt es übrigens ein bemerkenswertes Memorandum auf der Homepage der GfM, das Prof. Wolfgang Auhagen und Prof. Dörthe Schmidt (ehemaliger und neue Präsidenten) verfasst haben:
 
 
In den Referaten soll es um alte und neue Ideen zur Musikvermittlung gehen, die musikpädagogisch UND musikwissenschaftlich ausgerichtet sind.
 

Deadline: 14. Januar 2018

CFP: Narrating and Constructing the Beach, Munich (Abstracts: 14 January, 2018)

International and interdisciplinary conference at the Amerikahaus Munich, 14 – 16 June, 2018

Keynote: Michael Taussig, Professor of Anthropology, Columbia University

[deutsche Version unten]

The beach has recently become the site of important transformations: understood in the context of mass tourism for many years, nowadays we perceive the beach as bearing witness to the arrival of refugees, to pollution and climate change (e.g. tsunamis, rising sea levels), and to a growing number of sociocultural conflicts (e.g. over dress codes as in the case of burkini / nudist debates). As an area of unregulated movement as well as an institutional / institutionalized border, the beach receives growing media interest, but still remains at the periphery of maritime studies in academia. To do justice to the complex spatial concepts, dynamics, practices, and aesthetics of the beach, the international conference ›Narrating and Constructing the Beach‹ views it as a (border) phenomenon in its own right and sets out to analyze it systematically and historically.

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Deadline: 15. Januar 2018

Call for Papers

LASTING IMPRESSIONS

Music and Material Cultures of Print

in Early Modern Europe

Conference at the University of Salzburg, 28-30 June 2018

The advent of music printing was a significant milestone in the social and cultural contexts of late medieval and early modern Europe. Prelates, reformers, composers, and businessmen were among the many that seized upon the new technology to accomplish a variety of aims. These included the dissemination of standardised liturgies, the spread of new religious ideals, the cultivation of relationships with powerful patrons, and the maximization of profits from the printing industry. The resultant sources are not only important witnesses to their contemporary religious, political, and musical climates, but also to their material cultures. This latter aspect has recently garnered increased attention in musicological scholarship.

Deadline: 28. Januar 2018

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

Deadline: 30. Januar 2018

European Academy of Religion (EuARe) annual conference

Bologna (Italy), March 5-8, 2018

Call of the EuARe Music Study Group

6 – 7 March 2018

‘Fixity, variability, creativity in Religious Music’

Like silence, music is inseparable from religious (sacred, mystical, spiritual) experience. Whether magnified, tolerated or forbidden, it is there, in one form or another. In other words, we are dealing with the nature of the special relationships of   men and cultures with transcendence through music.

Dealing with the elements of fixity, variability and creativity in religious music raises these first questions (though they are not limited to these): What are the conditions for these features to emerge – or (perhaps) not? What are the limits (if any) to the religious musical work/expression, and to its potential variations? What about the impact on listeners (auralities)? How does variability fit with fixity? In what way may creativity be exercised in the face of either fixity or variability? In which ways does the concept of “religious music” interfere with or reinforce creativity, and how do the ideas of fixity and variability intersect with this? How the contingencies of the performance influence the process of creation, (and/or) re-creation, variation, adaptation?

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Deadline: 31. Januar 2018

CALL FOR PAPERS

IGEB-Konferenz 2018

(Internationale Gesellschaft zur Erforschung und Förderung der Blasmusik)

            Anlässlich ihrer 23. Konferenz vom 18.-24. Juli 2018 in Wadgassen / Saarland lädt die IGEB Interessenten dazu ein, Vorschläge für Referate, Poster, Podiumsdiskussionen und „lecture performances“

bis zum 31. Januar 2018 einzureichen.

Interessenten schicken einen Themenvorschlag, ein kurzes Abstract und ein kurzes CV an Doris Schweinzer Diese E-Mail-Adresse ist vor Spambots geschützt! Zur Anzeige muss JavaScript eingeschaltet sein!;. Weitere Informationen können zu einem späteren Zeitpunkt auf der Internetseite www.igeb.net und im IGEB Mitteilungsblatt eingesehen werden.

Generalthema:

Neue Technologien und Innovationen in der Blasmusikforschung und –ausbildung

 

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Deadline: 2. Februar 2018

3rd International Musicological and Psaltic Conference on Psaltic Art

of the Department of Psaltic Art and Musicology of the Volos Academy for Theological Studies

«…ἐν ἐπιγνώσει ὑμνοῦντας Σε…»

(=chanting consciously in praise to Thee)

Prerequisites and Skills for Sacred Chanting in Orthodox Worship

Wednesday, May 30 (evening) – Saturday, June 2 (afteroon), 2018

Thessaly Conference Center – Melissiatika, Volos, Greece

CONFERENCE ANNOUNCEMENT

The Department of Psaltic Art and Musicology of the Volos Academy for Theological Studies is happy to announce its 3rd International Musicological and Psaltic Conference on Psaltic Art, under the title «…ἐν ἐπιγνώσει ὑμνοῦντας Σε…» (=chanting consciously in praise to Thee): Prerequisites and Skills for Sacred Chanting in Orthodox Worship.

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Deadline: 5. Februar 2018

3. IASPM D-A-CH Collegium Musicum Populare
Call for Papers


Das Collegium Musicum Populare (CMP) ist ein regelmäßig stattfindender Workshop des deutschsprachigen Zweiges der International Association for the Study of Popular Music (IASPM D-A-CH), der den fachlichen und persönlichen Austausch zwischen Studierenden, AbsolventInnen und ProfessorInnen im Bereich der Popular Music Studies fördert. Ausgehend von einem thematischen Schwerpunkt wird v.a. ForscherInnen, die sich in einer frühen Phase ihrer wissenschaftlichen  Laufbahn befinden, die Möglichkeit geboten, ihre aktuellen Forschungsarbeiten im persönlicheren Rahmen vorzustellen und während der zwei Tage des Collegiums ausführlich, intensiv und multiperspektivisch zu diskutieren.

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Deadline: 18. Februar 2018

Film Musik Kontexte
Intermediale Referenz in audiovisuellen Medien

XIII. Symposium zur Filmmusikforschung
Johannes Gutenberg-Universität Mainz, 21. bis 23. Juni 2018

Call for Papers


Konzepte wie die Unterscheidung zwischen diegetischer und extra-diegetischer Musik, on und off oder die Konzentration auf Momente musikalischer Performanz oder die Konzentration auf musikalische Einlagen im Film suggerieren, es sei das  grundsätzliche methodische Vorgehen der Untersuchung von Filmmusik, zwischen den musikalisch klingenden Momenten eines Films und dem ›musikfreien Rest‹ zu unterscheiden. Ohne die Triftigkeit der genannten Kategorien infrage stellen zu  wollen oder zu können, möchte das XIII. Symposion zur Filmmusikforschung dieses Konzept zwar nicht konsequent umwenden, aber eine dezente perspektivische Verschiebung vorschlagen und das heuristisches Potenzial dieses Versuches ausloten. Um Musik im Film als möglichst weites Konzept zu verstehen, sollen zwei grundsätzliche Phänomenkreise im Mittelpunkt stehen:

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Deadline: 4. März 2018

Internationales Schönberg-Symposium
am Arnold Schönberg Center in Wien
11. bis 13. Oktober 2018

Call for Papers

Das Arnold Schönberg Center in Wien veranstaltet in Zusammenarbeit mit dem Wissenschaftszentrum Arnold Schönberg und die Wiener Schule am Institut für Musikwissenschaft und Interpretationsforschung der Universität für Musik und  darstellende Kunst Wien von 11. bis 13. Oktober 2018 ein internationales Symposium.

Willkommen sind Referate zu allen Fragen aktueller Schönberg-Forschung.

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Deadline: 15. März 2018

Call for Papers
 
Participatory Approaches to Music & Democracy
 
The conference isaScience 2018 is part of isa, the International Summer Academy of the mdw – University of Music and Performing Arts Vienna, Austria.
 
Conference date: 10–14 August 2018
Conference venue: Hotel Marienhof, Reichenau an der Rax, Austria
Keynote: David Hesmondhalgh, Professor for Media, Music and Culture, University of Leeds, UK
Organisers: Dagmar Abfalter, Marko Kölbl, Rosa Reitsamer, Fritz Trümpi
 
Over the last few decades, a rich body of literature has explored how individuals and groups use music as a resource to achieve social, cultural and political participation and to bring about social change in society. 
Studies have also investigated music’s use by political groups and parties in the past and present that impose 
authoritarian, neoliberal or even fascist political ideas. Finally, research is concerned with the promise and 
myth of democratization through technology in regard to music production, distribution and reception/appropriation.
 

Deadline: 15. April 2018

"L’abbé Gounod”: French Sacred Music during the Romantic Era
 
Lucca, Complesso Monumentale di San Micheletto
 
5-7 October 2018 
 
Organized by
Centro Studi Opera Omnia Luigi Boccherini, Lucca
Palazzetto Bru Zane, Venice
 
Even if Charles Gounod (1818-1893) signed his scores as “abbé Gounod” for a very short period of time, his involvement in the production of Sacred Music never diminished from the 1840’s –when he was pensionnaire at the French Academy in  Rome (Villa Médicis)– to the end of his carrier. By focusing on Gounod’s sacred production, this conference aims to explore his works but also the context in which he produced his masses, motets and hymns. We encouraged Music analyses (with a special focus on Gounod’s oratorios: Tobie, La Rédemption, Mors e Vita & Saint François d’Assise) as much as Reception studies, Biographical studies and papers that will focuses on Gounod relations with music publishers, Sacred Music institutions or other Sacred Music composers. This conference also aims to revaluate French Sacred Romantic Music in its entirety. Even if this production from the Napoleonic era to the 1903 Motu proprio (and the 1905 Separation of State and Church) has been oversized, searchers during the last decades have mostly neglected it and often treated it with contempt because of its specular tendencies. By studying the places where this music was performed, the purpose of its executions and the long history of French Sacred Operas we might be able to examine this production not only as Church Music but in a larger perspective.
 

Deadline: 29. April 2018

Rossini after Rossini: Musical and Social Legacy (1868-1918)
 
Lucca, Complesso Monumentale di San Micheletto
 
19-21 October 2018
 
Organized by
Centro Studi Opera Omnia Luigi Boccherini, Lucca
 
The influence of Rossini on his contemporaries has been and remains the subject of innumerable essays, conventions and publications. The story of the composer’s long life (1792-1868), initially focused on purely musical connections (Paganini, Giuliani,  Mercadante, Schubert, Donizetti, Bellini, Auber, Meyerbeer, Verdi, Offenbach, Bizet, just to name a few), has been expanded to include literary, philosophical and political dimensions (Stendhal, Balzac, Schopenhauer, Mazzini). Less  frequently investigated, however, is Rossini’s legacy as it unfolded during the second half of the nineteenth and early twentieth centuries. On the occasion of the 150th anniversary of the composer’s death the present conference focuses on  the span of time corresponding more-or-less to the fifty years following 1868, almost to the threshold of the so-called Rossini Renaissance that, beginning in the early 1920s, generated renewed interest into the composer’s output, from the points of view of both performance and philology, and also helped to clarify the ambiguity of Rossini as a man.
 

Deadline: 30. April 2018

Ars Antiqua III: Music and Cuture in Europe, c1150-c1330
Lucca, Complesso Monumentale di San Micheletto
30 November -  02 December 2018
 
Organized by
Centro Studi Opera Omnia Luigi Boccherini, Lucca
 
The Centro Studi Opera Omnia Luigi Boccherini of Lucca will host the symposium «Ars Antiqua III: Music and Culture in Europe, c1150-c1330», to be held in Lucca, Complesso Monumentale di San Micheletto, from Friday 30 November 2018 until  Sunday 2 December 2018.
 
The two previous Ars Antiqua conferences (Princeton, 2011 and Southampton 2013) demonstrated both the range of work being undertaken in the field of music from the last third of the twelfth to the first third of the fourteenth centuries,  and also the amount of work that still remains to be undertaken. ARS ANTIQUA III aims to bring into alignment work considering not only such recognised genres as organum, conductus, motet, and vernacular song, but also continuing  plainsong and liturgical traditions during the period, sequence and rhymed office as well as vernacular romance and related genres.

Deadline: 6. Mai 2018

Music and Figurative Arts in the Nineteenth Century
 
Lucca, Complesso Monumentale di San Micheletto
16-18 November 2018 
Organized by
Centro Studi Opera Omnia Luigi Boccherini, Lucca
 
In 1795 Friedrich Schiller wrote: «In its most elevated perfection, the plastic art ought to become music and move us by the immediate action exercised on the mind by the senses» (Schiller, Letters on the Aesthetical Educaiton of Men, Letter  N. XXII, 1795).
 

Deadline: 6. Mai 2018

North-South Interchanges: Collaborations, Tensions, Hybridizations
UNESP, Instituto de Artes, São Paulo - Brazil
19-21 September 2018
 
Organized by
UNESP (State University of São Paulo) – Instituto de Artes, São Paulo (Brazil)
Centro Studi Opera Omnia Luigi Boccherini, Lucca (Italy)
Universidad de la República, Montevideo/Salto (Uruguay)
Universidade Federal do Espírito Santo (UFES) - Centro de Artes, Vitória (Brazil)
 
The relations between the music made in South America, and that made in Europe, and in North America has been characterized at times by efforts to approach, some others times by rejection, many times resulting in peculiar hybrids. These same relations reflect in music criticism and in aesthetics, sometimes reinforcing the similarities, sometimes invoking the differences, or even having to deal with musical phenomena for which no specific vocabulary has been invented yet. We part  from the argument proposed by Joseph Kerman, «repertories are determined by performers, and canons by critics» (‘A Few Canonic Variations’, in: Critical Inquiry, x/1, Canons [Sep. 1983], pp. 107-125), evoking the strength of the discursive  network that develops around musical creation, performance, and its aesthetics. This conference intends to explore the rich and multifarious relations between music-making — understood in a very broad sense — and music criticism and  aesthetics that, in some way, deal with or reflect the North-South relations.