RATM (Journal for Music Analysis and Theory) is an international journal, double blind peer reviewed, providing an outstanding platform of opportunity to publish valuable research studies. RATM complies with the Code of Conduct and Best Practice Guidelines for Journal Editors edited by COPE (Committee on Publication Ethics).

RATM invites interested research scholars and teachers to submit articles for a special issue in its editorial project. This Special Issue, in collaboration with AEC (Association Européenne des Conservatoires), EPARM (European Platform for Artistic Research in Music) and the online Open Access journal Music Performance Research, aims to provide a platform to present new research and developments in Artistic Research in music.

ARTISTIC RESEARCH

Artistic Research in music touches on a crucial feature of the activities of performers and composers, as well as those involved in education. The so-called Practice Turn has focused attention on the ability of practices to produce knowledge, highlighting the epistemic activity within systems of practice. This is now widely recognised as a valuable contribution to debates on music theory and analysis.
In the context of Western art music, it problematises the notion that a musical work is an ideal object, hidden in the depths of the score, waiting to be reified; rather, it is the never-finished product of continuous interactions of practice and text. That practice is artistically and socially contingent; moreover, it may have a "tacit" dimension that is challenging (and may be impossible) to express in the language of scientific research.

TOPICS

Following these observations, the areas of interest for this special journal issue include, but are not limited to, the following topics:

How instrumental performance practice shapes, and is shaped by, Artistic Research
Analysis of musical structures in the light of the Practice Turn
Musical composition in/as Artistic Research

Critical use of technology within Artistic Research
Music Education in/as Artistic Research
Artistic Research: an invitation to interdisciplinarity? Curricular and institutional paths towards Artistic Research The score and the performer’s freedom: new perspectives.

FORMAT OF CONTRIBUTIONS

Due to the breadth and interdisciplinary vocation of the research area, and the diversity of the expected contributions, the Scientific Committee will consider articles from 8000 to 12000 words.
Articles should be submitted in English, Open Office or Word format, and sent by mail to:

Antonio Grande, Questo indirizzo email è protetto dagli spambots. È necessario abilitare JavaScript per vederlo.<mailto:dQuesto indirizzo email è protetto dagli spambots. È necessario abilitare JavaScript per vederlo.>.
PLEASE, SPECIFY IN THE SUBJECT LINE OF YOUR EMAIL: AR_RATM2023_NAME_SURNAME

CALENDAR

Deadline for submission of articles: 15 June 2023.
The results of the evaluation process will be communicated to the proponents by 05 September 2023.
If necessary, revised articles are due back by 25 October 2023.
The publication date is scheduled for December 2023.

SCIENTIFIC COMMITTEE

Stephen Broad (Royal Conservatoire of Scotland)
Paulo De Assis, (Orpheus, Belgio)
Mine Doğantan-Dack (University of Cambridge/University of Manchester)                                                         Stefan Gies (AEC CEO)
Antonio Grande (Verdi Conservatoire in Como, Italy)
Kerri Kotta, (Estonian Academy of Music and Theatre)
Marina Mezzina (Martucci Conservatoire in Salerno, Italy)
John Rink (University of Cambridge)

CFP: Spaces of Dancing
Special edition of Dancecult: Journal of Electronic Dance Music Culture

Edited by Ben Assiter

http://dj.dancecult.net/ <http://dj.dancecult.net/>
With the dance floor at its core, space is of critical importance to electronic music and dance culture (EMDC). The dance floor is a unique social space, produced through sound, bodies, and an array of sensory and spatial technologies. The spaces of EMDC—including nightclubs and informal, repurposed venues—shape its development and historical imaginary as much as the DJs and producers of the music. EMDC is also closely entangled within wider dynamics of urban (and rural) space, in which conflicts over noise, disorder, and cultural value mediate the production of nightlife scenes.

This special issue of Dancecult seeks to explore the diverse relations between space and EMDC. The moment for this research is opportune: when COVID-19 led to the closure of nightclubs and music venues worldwide, dance music communities were forced to renegotiate their relationships to space. Virtual spaces emerged, using digital technology to replicate and transform the co-present intimacies of the dancefloor. With the events economy on hold, venues had to reinvent themselves, and find ways to communicate their public value for government support schemes. Prior to the pandemic, questions around EMDC and space had already entered public and academic discourse. In the 2000s and 2010s, many urban nightlife scenes experienced a series of spatialised pressures, in part contributing toward the emergence of new modes of night time governance, including the introduction of night mayors. Within dance music communities, conversations took place around access and the production of safe(r) spaces, invigorating debates around dance music’s historical and ongoing significance for marginalised groups, which complicate the fragile utopianism of the dance floor.

Existing research has tended to focus on specific spatial issues in EMDC, but there have been few attempts to combine a diversity of approaches, which conceive of space at multiple, overlapping scales. This issue seeks to encourage dialogue between researchers of EMDC; urban planners and architects; as well as EMDC practitioners and those involved in the organisation of spaces and events.


Suggested themes:

- The social space of the dance floor

- Dance music and spatial technologies (e.g. sound, lighting, drugs)

- Sound systems, acoustics, and space

- Safe(r) spaces

- Space and accessibility

- Nightclub architecture and design

- Histories of spaces and venues

- Spaces and marginalised communities

- Venues during and after COVID-19

- Shifts from physical to digital/virtual space

- Ephemeral and temporary spaces

- Club culture and urban politics

- EMDC and night time governance

- Nightlife spaces, organising, and activism

- Gentrification with and against urban nightlife

- Electronic music scenes and cities

- Nightlife and urban heritage

- EMDC and rural environments


// SUBMISSIONS //

Feature Articles will be peer-reviewed and are 6000–9000 words in length (including endnotes, captions and bibliography). For policies, see: https://dj.dancecult.net/index.php/dancecult/section-policies <https://dj.dancecult.net/index.php/dancecult/section-policies>

From the Floor (FTF) articles. The issue will include a themed From the Floor Section hosting imaginative submissions reviewed by the guest editor. As Dancecult policy stipulates: FTF submissions include field reports, mini-ethnographies, photo-essays and interviews. Pieces for this section should be between 750-2500 words in length. Rather than written in the style of an article with formal analysis and many citations, FTF pieces are more conversational or blog-like in style, and may consist of experimental and creative reportage styles across the field of electronic dance music. They may include substantive multimedia components and for this special issue on space, creative visual and sonic explorations of the theme are encouraged. We welcome FTF submissions in accordance with the schedule below


Articles must adhere to all style and formatting rules stipulated in the Dancecult Style Guide (DSG). Download it here:

https://dj.dancecult.net/index.php/dancecult/libraryFiles/downloadPublic/4 <https://dj.dancecult.net/index.php/dancecult/libraryFiles/downloadPublic/4>

Multimedia Submissions:
Dancecult encourages authors to complement their written work with audio and visual material. See the DSG for style and formatting requirements.

// DATES AND DEADLINES //

This special edition is proposed for publication in Dancecult in November 2024.
If interested, send a 250-word abstract (along with a one hundred word maximum author biography) to the editor by 15 April 2023. Please send abstracts for feature article and From the Floor submissions to Ben Assiter: Questo indirizzo email è protetto dagli spambots. È necessario abilitare JavaScript per vederlo. <mailto:Questo indirizzo email è protetto dagli spambots. È necessario abilitare JavaScript per vederlo.>

If your abstract is accepted, the deadline for submission of a full article draft to the guest editor for comments is 15 October 2023. If the full draft article is accepted, the deadline for online submission of your full article to Dancecult (for blind peer-review) is 1 March 2024.


Please send enquiries and expressions of interest to Ben Assiter: Questo indirizzo email è protetto dagli spambots. È necessario abilitare JavaScript per vederlo. <mailto:Questo indirizzo email è protetto dagli spambots. È necessario abilitare JavaScript per vederlo.>

Editor biography



Ben Assiter is a PhD student and Associate Lecturer in the music department at Goldsmiths, University of London. His research focuses on London’s electronic dance music scenes and spaces, exploring their relationship to contested notions of the night time as cultural territory, economic category, and site of urban governance. He has published articles in Annals of Leisure Research, Riffs, and Dancecult – to which he has also contributed as an Associate Editor. Ben is active in London’s electronic dance music scenes as a DJ and producer, and performs internationally as touring drummer with the recording artist James Blake.


Questo indirizzo email è protetto dagli spambots. È necessario abilitare JavaScript per vederlo. <mailto:Questo indirizzo email è protetto dagli spambots. È necessario abilitare JavaScript per vederlo.>

We are offering two fully-funded PhD positions to form part of the team for the project IMPRODECO: Improvised Music and Decolonisation:

  *   Position 1: PhD in Afro-Dutch Jazz, Improvisation and Decolonisation<https://www.uu.nl/en/organisation/working-at-utrecht-university/jobs/phd-in-afro-dutch-jazz-improvisation-and-decolonisation-10-fte>
  *   Position 2: PhD in Indo-Dutch Jazz, Improvisation and Decolonisation <https://www.uu.nl/en/organisation/working-at-utrecht-university/jobs/phd-in-indo-dutch-jazz-improvisation-and-decolonisation-10-fte>
This project is funded by a Starting Grant from the European Research Council, and will be led by Dr. Floris Schuiling<https://www.uu.nl/staff/FJSchuiling>. You will be based at Utrecht University, at the department of Media and Culture Studies<https://www.uu.nl/en/organisation/department-of-media-and-culture-studies> and the Institute for Cultural Inquiry <https://www.uu.nl/en/research/institute-for-cultural-inquiry> (ICON). The project team consists of the PI, two PhD candidates, a Postdoc, and a project assistant.

The project as a whole studies the emergence of free improvisation in Europe in the context of the historical process of decolonisation, with a particular focus on the Netherlands. As part of the project's goals, the two PhD candidates will describe the currently unwritten history of postcolonial migrant musicians and their role in post-war Dutch jazz and improvised music. One will focus on Afro-Dutch musicians (mostly from Suriname and the Dutch Caribbean), and one will focus on Indo-Dutch musicians from Indonesia. Applicants may further design or expand on these sub-projects based on their expertise, in consultation with the PI. Additional case studies or critical perspectives can be described in the applicant's research proposal.

Please follow the links above for more information about the project, Utrecht University, and the application process.

IAGMR Conference 2023: Music and Conflict: The Politics and Escapism of Wartime Culture



19-20 May 2023, Department of Music and Media, University of Surrey (Hybrid)



The Institute of Austrian and German Music Research (IAGMR) invites papers, panels, lecture recitals, and compositions for our conference on 'Music and Conflict'.



This conference sets out to explore the various relationships between music and war across historical and contemporary Austrian and German contexts. In particular, the twin functions of music as either a product of war or a form of resistance against it are of interest. Papers might address the ways in which music has and continues to figure as a form of escapism, lamentation, or satire in times and places of war, conflict, violence, and military aggression in Germanophone lands. The historical remit of this conference is completely open to explore the deep involvement of musical composition, performance, criticism, and reception within any period of Austrian and German history.



We are particularly keen to receive papers from any subdiscipline of music, or music-adjacent discipline with a focus on music and war in Austria and/or Germany, including:





  *   Historical and Cultural Musicology

  *   Music Analysis

  *   Performance Studies

  *   Composition

  *   Archival Studies

  *   Music Psychology

  *   Music Philosophy and Aesthetics

  *   German/Austrian Historical/Cultural Studies

  *   Screen (Music) Studies

  *   Disability Studies



Presentations: 20-minute Papers, 60-minute Panels, 45-minute Lecture-Recitals, 10-minute Compositions (plus 10-min presentations).



Submissions should include the following: 250-word abstract, indication of equipment required, 50-word biography, and statement of attendance (in-person/remote).

Deadline for submissions: Friday 17 March 2023, 5pm by email to Questo indirizzo email è protetto dagli spambots. È necessario abilitare JavaScript per vederlo.<mailto:Questo indirizzo email è protetto dagli spambots. È necessario abilitare JavaScript per vederlo.<mailto:angus.a.howie@durham.ac.uk%3cmailto:angus.a.howie@durham.ac.uk>>.

The Committee will notify authors of its decision by 6 April 2023.



This conference will feature a lecture-recital by the 2022-23 Artist in Residence at the Department of Music and Media, pianist and researcher Anna Scott (Royal Conservatory of The Hague and University of Leiden). We encourage everyone to attend this conference in person, but there will be a hybrid option for those who are unable to travel.



The University of Surrey is fully committed to the principles of equality and diversity enshrined in the Race Equality Charter, the Athena SWAN Charter, the Disability Confident scheme, and through its support of LGBTQ+ communities.



Conference Committee:



Angus Howie               (Durham University)

Anna Scott                   (Royal Conservatory of The Hague and University of Leiden)

Erik Levi                      (Royal Holloway, University of London)

Jeremy Barham            (University of Surrey)

Manuel Cini                 (University of Surrey)

Supplemental Questions

Applicant Documents

Appel à communications – Colloque international

Musique et Maladie
Paris, IRCAM, 19-20 octobre 2023

Organisation : Vincent Barras (Lausanne, Institut des humanités en médecine)
Laurent Feneyrou (Paris, CNRS – STMS)
Céline Frigau Manning (Lyon, Université Jean Moulin Lyon 3 – IHRIM)
Ce colloque international (français/anglais) se propose de nouer histoire de la médecine
et histoire de la musique dans le monde occidental, et d’interroger les conditions et les méthodes
de leur dialogue à l’âge moderne, du XVIIIe siècle à la fin du XXe siècle. Il ne porte pas
principalement sur la santé, le soin et les vertus thérapeutiques de la musique, mais sur l’étude
des maladies.
Trois types d’approches sont envisagés, qui se baseront sur des périodiques et des traités
de médecine, générale et spécialisée, sur l’histoire de la médecine, sur l’histoire des maladies,
sur l’histoire des médecins, qu’ils soient illustres, ceux de Chopin, ou non, ceux de Schumann,
par exemple, sur la littérature médicale consacrée aux musiciens, sur leurs biographies, sur leurs
archives, sur leurs correspondances et sur leurs écrits d’orientation thérapeutique ou
scientifique (les lettres de Leopold Mozart sont éloquentes à ce sujet, qui exposent les
symptômes de son fils et, avec une certaine connaissance, ses traitements médicamenteux), sur
l’iconographie qui leur est relative, sur les témoignages de leurs contemporains ou de
spectateurs centrés sur une physiologie des effets, mais aussi, et surtout, sur les œuvres
musicales :
1. Des études de cas ou des pathographies d’artistes, compositeurs et interprètes, dans le but
de décrire les conséquences de la maladie sur la biographie, la pratique, voire l’esthétique du
musicien. La figure du compositeur ou de l’interprète devient en effet décisive avec
l’affirmation du sujet moderne. Dans un saisissant renversement, ce compositeur ou cet
interprète, autrefois sorte d’Orphée, exprime, expose son pathos, et devient malade, de plus en
plus gravement : Bach, Haendel, Mozart, Beethoven, Schubert, Mendelssohn, Chopin,
Schumann, Puccini, Ravel, Bartók, par exemple, permettent d’aborder la chirurgie de l’œil, des
tableaux cliniques plus ou moins complexes, des troubles psychiatriques, mais aussi l’histoire
de l’hygiène, de l’hôpital ou de la sexualité, la pharmacologie, la pratique de l’autopsie... Il ne
s’agit plus seulement d’établir un diagnostic, mais d’écrire une pathographie. Un tel genre
implique un renouveau de la biographie et un régime singulier de discursivité qu’il conviendra
d’interroger précisément. En ce sens, les communications se garderont bien de produire une
énième tentative d’interprétation médicale qui prétendrait expliquer la créativité des musiciens
ou plus largement le phénomène artistique au prisme des savoirs médicaux positifs du moment.
Nous viserons, au contraire, à étudier les pathographies existantes ou le genre même dont elles
relèvent en questionnant la tentation de soustraire le regard médical à sa détermination
historique, ainsi que les modalités de prise en considération, du point de vue musical comme
musicologique, du corps naturel de l’artiste.
2. Des études par maladies – syphilis, tuberculose, cancer, Sida..., mais aussi, dans le champ
psychiatrique, schizophrénie et psychose maniaco-dépressive ou trouble bipolaire, auxquels
s’ajoutent les pathologies construites comme spécifiquement musicales, comme les amusies,
hypermusies, obsessions, « vers auditifs » ou « vers cérébraux ». Il conviendra d’étudier
l’histoire de ces maladies et leurs descriptions médicales, à travers traités et autres documents
historiques, mais aussi d’examiner la manière dont ces maladies sont rapportées à des
musiciens, à leurs œuvres ou à leurs interprétations, à leurs discours, ainsi qu’à des

représentations musicales, notamment dans le domaine, également littéraire et scénique, de
l’opéra. Comment, par exemple, Giuseppe Verdi ou, récemment, Péter Eötvös représentent-ils,
dans le genre lyrique, la tuberculose et le Sida, ou plus exactement celles et ceux atteints par
ces maladies ?
3. Des études par disciplines médicales, en mesurant, par exemple, l’histoire de l’obstétrique
à l’aune de la représentation de la naissance dans le domaine musical ; l’histoire de la pédiatrie
à celle de l’enfance, vivace depuis le XIXe siècle, de Schumann à Stockhausen ; l’histoire de la
pneumologie, particulièrement efficiente dans le cas du romantisme tardif, à celle du souffle ;
ou l’histoire de la cardiologie à celle du rythme, ce dernier point faisant signe vers le thème,
séculaire, de la musique et du pouls, connu depuis Hérophile, que François Nicolas Marquet
revivifie au XVIIIe siècle, avec sa Nouvelle Méthode facile et curieuse, pour connoître le pouls
par les notes de la musique, et dans lequel s’inscrit une composition comme Cardiophonie de
Heinz Holliger.
Nous nous situerons donc au carrefour de l’histoire de la musique, de l’esthétique musicale,
de l’histoire et de la philosophie de la médecine, en croisant les approches monographiques,
comparées et synthétiques. Notre objectif ne sera pas, ce faisant, de nous inscrire dans la
dynamique alimentée par les humanistes et les médecins attachés à « humaniser » les sciences
médicales en prônant l’apport des arts, dont la qualité principale serait de développer la
sensibilité, l’empathie ou la compréhension universelle. À rebours, nous questionnerons de
telles approches utilitaristes et nous demanderons comment le musicien de l’époque moderne
devient un objet d’étude, et plus précisément un patient ou un malade de choix. Pour expliquer
sa constitution ou ses pathologies, multiples sont les modèles interprétatifs convoqués, qui
courent sous la plume de médecins, mais aussi d’autres musiciens et de spectateurs. Le corps
du musicien doit être alors interrogé, pour reprendre les mots d’Alain Corbin, dans « la tension
instaurée entre l’objet de science, de travail, le corps productif, le corps expérimental, et le corps
fantasmé ». Comment comprendre la place accordée à la musique et au musicien dans les écrits
médicaux, qu’ils relèvent de l’anatomie, de la physiologie, de la thérapie ou encore de la
prophylaxie ? Que retenir de l’intérêt des artistes eux-mêmes pour les sciences médicales ?
Nous partons de la conviction que ces questions doivent être prises au sérieux et non pas
demeurer au rang de curiosités historiques ; qu’il y a bien là, aux frontières de l’histoire du
corps et de la médecine, un vaste champ d’étude pour les musicologues, historiens de la
musique ou de la médecine, et philosophes des sciences.
Les propositions, sous la forme d’un abstract de 1 500 signes environ et d’une biographie
de 5 à 10 lignes, sont à soumettre avant le 1er mars 2023, à l’adresse suivante :
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Appel à contributions pour la revue Seizième Siècle (n° 27, 2025)
Musique et expérience du temps à la Renaissance

Numéro thématique coordonné par Jorge Morales

ARGUMENT

L’étude du temps musical à la Renaissance, époque où les différentes techniques et les
différents styles de composition se diversifient et donnent vie à des répertoires nouveaux ou
renouvelés, s’est surtout concentrée, jusqu’à présent, sur l’écriture du rythme (les structures
temporelles de la musique).
Qu’en est-il du temps comme acteur, à une période où le rapport à celui-ci change, où
l’Antiquité se met à nourrir le présent ? En effet, la relecture des Anciens fait naître une conception
du temps qui s’accommode parfaitement avec l’idée de modernité musicale, alors considérée
comme synonyme d’excellence et de dépassement du passé. La musique a-t-elle contribué à aiguiser
cette conception du temps, à établir un nouveau « régime d’historicité » (François Hartog) fait de
bouleversements (la Réforme) et d’enchevêtrements de temporalités ?

Si le rapport au temps dévoile le rapport au monde, comment l’évolution de la musique a-t-
elle modelé les rythmes du temps et comment la mutation du rapport au temps a-t-elle façonné les

formes musicales ? En effet, l’art musical se déroule dans le temps (durée musicale), agit sur lui
(variations de la perception du temps) et est capable de se situer hors de lui (inactualité de la
performance). Analyser les temporalités structurantes de la musique (le temps perçu et le temps
imaginé) nécessite qu’on s’intéresse aux tournants, seuils, emboîtements, retournements,
basculements, conjonctures, épaisseurs, dissonances, imprévus, continuités ou décalages temporels
que produit l’expérience du temps musical à cette époque.

2

Ce volume sera organisé autour de trois axes thématiques :
Le premier concerne la perception du temps et les formes de temporalité dans l’art musical.
Le renouvellement de la conception du temps a contribué au mouvement historique musical, que
ce soit dans la théorie ou dans la pratique. Il a produit de nouvelles formes d’historicité qui ont eu
des conséquences sur les plans artistique, politique et culturel.
Le deuxième axe porte sur le temps en tant que source d’inspiration sonore et culturelle. La
référence au passé dans le temps présent a donné lieu à des événements avec musique qui ont
renforcé la conscience de soi et contribué à modeler les systèmes de représentation de la société.
Enfin, le troisième axe se concentre sur les expressions musicales liées aux décalages
géographiques et temporels, c’est-à-dire aux écarts culturels que la musique est capable de combler
et de modifier à travers le temps et l’espace. En effet, la transformation de l’expérience du temps
est étroitement liée à l’espace urbain, lieu où cohabitent différentes échelles temporelles.
Ce numéro thématique, à travers un dialogue pluridisciplinaire qui mobilise la musicologie,
l’anthropologie, la sémiologie et l’histoire culturelle, propose une réflexion large qui permettra de
mieux comprendre comment l’expérience du temps a transformé la pensée et l’histoire musicales.
MODALITÉS DE SOUMISSION
Les contributions devront être rédigées en français et ne devront pas dépasser 30 000 signes
(notes et espaces compris). Elles devront comporter également un résumé (environ 500 mots), le
nom et les coordonnées électroniques de l’auteur, ainsi que la mention de son institution de
rattachement.
Les textes doivent être adressés avant le 15 novembre 2023 à : Questo indirizzo email è protetto dagli spambots. È necessario abilitare JavaScript per vederlo.
Tous les articles feront l’objet d’une expertise en double aveugle.
L’acceptation des propositions sera communiquée durant le second semestre 2024 pour une
parution à l’automne 2025.

Per frequentare il Centro Internazionale di Studi della Civiltà Italiana “Vittore Branca” nel periodo gennaio-dicembre 2024, la Fondazione Giorgio Cini bandisce 8 borse di studio residenziali da 2 mesi ciascuna a copertura del costo di soggiorno, destinate a PhD e post-doc che non abbiano superato i 40 anni al 30 giugno 2023.

Le otto borse di studio sono rivolte, nel contesto multidisciplinare dell’Isola di San Giorgio Maggiore, a studiosi italiani e stranieri interessati allo studio della civiltà italiana in uno dei seguenti ambiti: storia dell’arte, storia di Venezia, musicologia, musica vivaldiana, etnomusicologia, letteratura, teatro, libri antichi, civiltà e spiritualità comparate.

Info: Questo indirizzo email è protetto dagli spambots. È necessario abilitare JavaScript per vederlo.

Call for Papers

“Musical tale and children’s opera in the

English-speaking world”
International Conference
University of Caen Normandy, France
22-23 November 2023

Abstract
Some controversy surrounds one of the earliest operatic
productions in the English-speaking world: Henry Purcell’s
opera Dido and Æneas (1689) was supposedly performed by
young pupils at the Boarding School for Girls, in Chelsea, in London. English opera may thus have been
born as a musical genre for young audiences. The following centuries saw a spectacular boom in
opera and operetta in Europe, but mainly adult audiences were targeted and it was not until the 20th
century that producers started currying favor with younger spectators. In the United States, Aaron
Copland composed The Second Hurricane (1937), an opera specifically designed for school
performances, while in the United Kingdom Benjamin Britten created his children’s opera The Little
Sweep (1949), then his opera-oratorio Noye’s Fludde (1957), which brought together amateur
artists and young singers. The twentieth century also saw the emergence of the musical comedy
genre, which soon engaged with young audiences with well-known works such as Mary Poppins
(1964) or Chitty Chitty Bang Bang (1968). Lately, a young English prodigy, Alma Elizabeth Deutscher,
made her debut at the age of seven with her first opera The Sweeper of Dreams (2012), then, at the
age of ten, wrote her second opera Cinderella (2016), outshining the young Mozart who was twelve
when he composed his first singspiel Bastien und Bastienne (1768).
The musical tale, less spectacular than the opera, developed in the 20th century especially with the
appearance of new mass media. This specific genre, akin to both song and opera, requires a unique
approach to word and music interrelations in works destined for young audiences. Like opera, the
musical tale hinges on a plot and tells a story, but its smaller size, enabling easier rote learning, lends
itself better to a greater variety of stage uses, including small theaters or school shows. Its concise
structure makes it possible to hold the audience’s attention more easily. Even if it depends on music
in a less central and more utilitarian way than opera, remaining attached to the literary tradition of
text recitation, the musical tale remains a musical work in its own right and is undoubtedly best known
for its didactic or moral purposes.
This conference’s main argument lies at the crossroads of these two somewhat similar yet different
traditions, offering specialists an opportunity to discuss a vast array of topics in relation to the musical
tale and the opera for children, with a particular focus on the role of young audiences and young
musicians in the field of musical entertainment and musical productions intended for young audiences
in the contemporary world.
First, this conference sets out to explore the generic specificities of compositions for young audiences
(sung tale, opera, musical comedy, etc.). Emphasis will be laid on the themes and the specific
composition techniques used in works for young audiences. How is melody conducted? What type of
texture is used? Are there any specific structural patterns? The question of specific discourse can
be addressed as well, such as, for instance, humor which is part and parcel of the musical tale.
Moreover, the issue of educational, political and moral underpinnings behind these compositions can
also be broached, as in Lisa Lehemann’s moralistic work Four Cautionary Tales and a Morale (1909).

Besides, scenic and participatory practices constitute an interesting field of investigation. Ways of
involving young musicians can be studied: children’s roles or children's choirs, for example. Britten’s
The Little Sweep encourages participative creation: Let’s make an Opera is a call for participation
and shared creativity. Children are a demanding audience who will not stay put for hours on end but
would much sooner engage in the show, which undoubtedly constitutes one of the major
characteristics of children’s productions. Britten’s Noye’s Fludde brings together youngsters,
amateurs and professional musicians as well as the church congregation, thus relying on the
performative tradition that dates back to the 18th and 19th centuries, with The Beggar’s Opera,
often played by children, or Gilbert and Sullivan’s comic operas matinees for children. Numerous
performances rely on recitation and narration to enhance understanding, as in Bang! by John Rutter
(1975), whose plot is based on The Gunpowder Plot of 1605.
There may also be a question of specific traditions linked to the trends in performance practices of
works intended for young audiences. Recent productions of musical tales have drawn on television
and children’s television programs. Likewise, some opera productions, such as the American
televised opera Amahl and the Night Visitors (1951) by Gian Carlo Menotti, have resorted to
television broadcasting as well. But many works are also created as educational shows for school
performances, endowed with didactic and moralizing purposes and intended to be performed in a
specific context and circumstances.
Furthermore, we would like to explore word and music interrelations in works for children. In musical
tales, music may play only a secondary role of illustrative background, or ‘incidental music’, as, for
instance, in Lisa Lehemann’s tale The Selfish Giant: A story by Oscar Wilde (1911), where music
solely lends support to the recitation of the text. What are the main types of text-music relationship?
What are the sources of lyrics and librettos? As far as the textual source is concerned, are the works
based on tales or well-known stories like that of Pinocchio in The Adventures of Pinocchio (2007) by
Jonathan Dove, or perhaps original sources such as A Place To Call Home (1993) by the American
composer Edward Barnes, whose libretto is based on a series of interviews with refugees?
Finally, we will also look at the world of contemporary entertainment in the English-speaking
territories. What are the trends in contemporary productions and how have they evolved over the
last few decades? What are the organizations which encourage such shows for young audiences?
What media are favored for the transmission and popularization of these productions? Also, what
constraints should be taken into consideration when working with children and what are the financial
and ideological stakes of contemporary performances?
This international conference will be held at the University of Caen Normandy. It is hosted by ERIBIA
research group and coorganized by IDEA (Interdisciplinarité Dans les Études Anglophones, UR
2338). This conference is mainly dedicated to subjects arising in English-speaking countries, but
contributions from diverse contexts and interdisciplinary fields are welcome.
Relevant topics may include (but are by no means limited to):
• musical works sung for/by children, namely children’s opera and musical tales
• representations of children in opera
• specificities and technicalities of musical genres intended for young audiences
• questions of cultural territories and geographies of vocal musical genres for children
• topics related to didactics and musical pedagogy
• moral and ethical issues
• political and ideological questions
• methods of staging and participatory for young musicians

Submissions should include a title, a 250-300-word summary, a short biographical note, your
academic affiliation, and should be sent to Questo indirizzo email è protetto dagli spambots. È necessario abilitare JavaScript per vederlo. by June, 30th, 2023.
Deadline for submissions: June 30, 2023
Registration fee for participants: €60 / Ph.D. students: €30
Contact email: Questo indirizzo email è protetto dagli spambots. È necessario abilitare JavaScript per vederlo.
Organiser: Marcin STAWIARSKI
Location: Université de Caen, Amphithéâtre de la MRSH (Campus I, Caen, Esplanade de la Paix)
Dates: 22-23 November 2023
Publication of conference proceedings:
A selection of submissions will be published in a special issue of LISA e-Journal
Research teams hosting the event:
https://eribia.unicaen.fr/
https://idea.univ-lorraine.fr/
Scientific committee:
Cécile AUZOLLE, Université de Poitiers, musicology
Gilles COUDERC, Université de Caen Normandie, English studies
Pierre DEGOTT, Université de Lorraine, English studies
Coralie FAYOLLE, Conservatoire de Paris, écriture, musicology
Jean-Philippe HEBERLÉ, Université de Lorraine, English studies
Stéphane LELIEVRE, Université Paris-Sorbonne, comparative literature
Maud POURADIER-GENDREL, Université de Caen Normandie, philosophy
Theresa SCHMITZ, EHESS, musicology
Marcin STAWIARSKI, Université de Caen Normandie, English studies
Nathalie VINCENT-ARNAUD, Université de Toulouse II, English studies

RATM invites interested research scholars and teachers to submit articles for a special issue in its editorial project.
This Special Issue, in collaboration with AEC (Association Européenne des Conservatoires), EPARM (European Platform for Artistic Research in Music) and the online Open Access journal Music Performance Research, aims to provide a platform to present new research and developments in Artistic Research in music.

Musical interpretation is by definition closely tied to the body of the performer. Traces of past performances, such as those left in writing (annotated parts or written instructions) as well as in sound (piano rolls or early recordings) need to be investigated in consideration of the performer’s body. Consequently, understanding the meaning of historical text and sound information requires retrospective translation processes, i.e. from annotations back into cultural practices, from instructions back into sound, from early recordings back into performance. The conference seeks to investigate innovative methods for the analysis of musical performance and interpretation, with a special focus on “historical embodiment” and “musical reenactment” in the developing field of “early recordings informed performance”.
Call for Papers
We invite papers dealing with issues of instrument-body connections such as mouthpieces, piano actions or bows, annotated performance material, and musical performance in early sound and film documents.
Presentations should be no longer than 30 minutes (followed by 10 minutes discussion). Vocal or instrumental demonstrations are encouraged. Publication of conference contributions is intended.
Please mail submissions to Questo indirizzo email è protetto dagli spambots. È necessario abilitare JavaScript per vederlo. by 17 April 2023. Proposals should be in English (c. 400 words), describing the topic and including the following:

  *   Abstract (background, research questions, aims, and significance)
  *   Short CV incl. name, postal and email addresses, and institutional affiliation of proposer
  *   Type of submission (paper presentation, lecture recital, concert).
Confirmation of accepted papers will be announced by 31 May. All presenters must register for the conference.
Conference website: https://www.hkb-interpretation.ch/embodiment

The Fryderyk Chopin Institute in Warsaw is pleased to announce International Musicological Conference:
Romanticism in Music: Poland in its European Context planned for 17–19 October 2023 in Warsaw

CFP: the deadline for proposal is 16 April 2023




ABOUT THE CONFERENCE:

_________________________

When we try, at least in the most general way, to look at the landscape of nineteenth-century music, and thus – romantic music, we notice its heterogeneity, its internal, innate diversity, and its contrasts. ‘Romanticism’ is a term that has been well researched in literature and the visual arts, while in music the meanings it carries, and even the time frames of it, are different and not strictly defined.

The aim of the conference is to raise the subject that allows to highlight the issue of musical romanticism from many points of view and thus to get closer to the essence of this trend in the history of European music. We are not trying to create a definition of romanticism, but to explore selected, particularly important, issues related to that era.

Therefore, t he programme committee encourages submissions within the following areas:

1. – The meaning of romanticism in purely instrumental music

2. – Romantic programme music

3. – The references of opera to instrumental music

4. – Relationship between music and the word; intersection of music and literature – Lied ; vocal lyric

5. – The paths of the idea of ​​romanticism reaching Poland, Fryderyk Chopin’s exposure on ideas of romanticism

All proposed papers should fall within the ambit of frameworks limiting the subject matter:

Temporal: first half of the 19th century

Geographical: Poland, Germany, France, Italy, England

The Society for Eighteenth-Century Music will hold its tenth biennial conference at the University of North Texas in Denton, TX, on October 5–8, 2023.

We invite proposals for papers and presentations on all aspects of eighteenth-century music, particularly those that extend the geographic, social, and stylistic borders of an increasingly diverse and inclusive field of eighteenth-century music scholarship.

Presentations may be
● traditional papers of 25 minutes;
● work/dissertation-in-progress presentations of 10 minutes;
● lecture recitals (up to 45 minutes); or
● themed panels on scholarly, pedagogical, or professional development topics (3-4 presenters, 15 minutes each, total length up to 90 minutes).

Preference will be given to those who did not present at the 2021 virtual meeting. All presenters must be current members of SECM.

Submit your proposal (250 words) using the SECM 2023 Submission Google form (https://forms.gle/k2bG95BDUZuvwL4A7). The deadline for proposals is April 14, 2023. Only one submission per author will be considered. You will be asked to upload an anonymized document that includes your proposal title and abstract to the Google form. The committee’s decision will be announced in mid-May.

Students are encouraged to apply for the Sterling E. Murray Award for Student Travel; the application form and information may be found at https://secm.org/awards.html. The application deadline is June 2, 2023. The SECM Student Paper Award will be given to a student member for an outstanding paper presented at the conference.

For questions, please contact the Program Committee Chair Kimary Fick at kimary.fick -at- oregonstate.edu. 

«Musical Interpretation and Performance
from the XIXth to the XXIst Century»
Bergamo, Fondazione MIA (Sala Locatelli)
10-12 November 2023

Keynote Speaker:
Rémy Campos (Conservatoire de Paris / HEM – HES-SO)

All proposals should be submitted by email no later than ***14 April 2023***

organised by
Centro Studi Opera Omnia Luigi Boccherini
Palazzetto Bru Zane
in collaboration with
IAM – Italian Institute for Applied Musicology
Fondazione MIA

The programme committee encourages submissions within the following areas, although other topics are welcome:

Musical work between text and performance
Creation and interpretation
Cultural elements beyond the performance
Performance practice, Historical Periods and Interpretation
Technical skills and musical interpretation
Performance and Improvisation
Musical experimentation and Happenings
Musical Genres and Performance
Interpretation and Social Identity
The relationship between performer and audience in the creation of a musical meaning
Musical interpretation and musical narrative
Thought and Gesture
Types of Reproduction and the Development of Musical Recording
The influence of recording on Composition and Concerts

The official languages of the conference are English, French, Italian. Papers selected at the conference will be published in a miscellaneous volume. Papers are limited to twenty minutes in length, allowing time for questions and discussion. Please submit an abstract of no more than 500 words and one page of biographical information.
For any additional information, please contact:

Dr. Massimiliano Sala
conferences -at- luigiboccherini.org 

CALL FOR PAPERS

ISPS 2023
Performance Care and Careers

17 | 20 August 2023
Warsaw | Poland

www.performancescience.org<http://www.performancescience.org/>

The next International Symposium on Performance Science, ISPS 2023, will be hosted by the Chopin University of Music and the Medical University of Warsaw on 17–20 August 2023.

The ISPS 2023 theme, Performance Care and Careers, is intended to encourage discussion and debate on connections between performance, wellbeing, and society. Specific research topics, fields of study, and methodological approaches have been left open intentionally to encourage interdisciplinary exchange.

Submissions detailing original research are invited from all performance disciplines, offering new perspectives from across the arts and sciences.

We intend to offer both on-site and electronic presentation options, although the former will depend on possible restrictions on public meetings and international travel in place at the time of the event.

KEYNOTE SPEAKERS

Roberta Antonini Philippe
Institute of Sport Sciences
University of Lausanne (Switzerland)

Hans-Christian Jabusch
Institute of Musicians’ Medicine
Dresden University of Music Carl Maria von Weber (Germany)

Tapio Lokki
Department of Signal Processing and Acoustics
Aalto University (Finland)

Hara Trouli
Faculty of Medical Sciences
University College London (UK)

IMPORTANT DATES

01 April 2023: Paper/poster abstract submission deadline
01 May 2023: Notification of submission decision
15 May 2023: Article submissions open for ISPS 2023 Research Topic in Frontiers
01 June 2023: End of early registration
17 August 2023: Start of ISPS 2023
31 December 2023: Article submission deadline for ISPS 2023 Research Topic in Frontiers

SUBMISSIONS

Submissions are invited for

- Spoken papers
- Poster presentations
- Symposia

Detailed instructions for submissions are available via the conference website: www.performancescience.org<http://www.performancescience.org/>. Submissions should be made electronically by 01 April 2023.

GRADUATE AWARDS

The Scientific Committee is keen to encourage the attendance of students, as well as established researchers and practitioners.

The ISPS 2023 Graduate Paper Award will be offered to one graduate student to present a keynote paper at the conference.

In addition, at the symposium, delegates will be able to vote for the highest quality poster presentation delivered by a graduate student. The student(s) with the highest vote tally will be given the ISPS 2023 Graduate Poster Award.

REVIEW PROCESS

Each submission will be reviewed anonymously by the Scientific Committee according to its originality, importance, clarity, and interdisciplinarity. Corresponding authors will be notified by email of the Committee’s decision by 01 May 2023.

CONFERENCE PUBLICATION

Building on the publication of articles from ISPS 2013, ISPS 2015, ISPS 2017, ISPS 2019, and ISPS 2021 in Frontiers in Psychology, the journal is hosting a Research Topic in the specialty section Performance Science for ISPS 2023 presenters. To qualify, the first (or corresponding) author must be a registered presenter at ISPS 2023, and the manuscript should be submitted to the journal for independent peer-review between 15 May and 31 December 2023.

To learn more about the specialty section Performance Science, see www.frontiersin.org/Performance_Science<http://www.frontiersin.org/Performance_Science>.

Note. The ISPS 2023 Research Topic replaces the Proceedings of the International Symposium on Performance Science. A proceedings volume will not be produced for ISPS 2023; however, published articles from all previous ISPS are freely available at www.performancescience.org<http://www.performancescience.org/>.

REGISTRATION

Full and one-day registration options are available, which also include student discounts and online-only options.

Online registration will open on 01 March 2023.

For further information about the venue, submissions, graduate award, and registration, visit the conference website: www.performancescience.org<http://www.performancescience.org/>.

The official language of the conference is English.

Aaron Williamon, London
Krzysztof Dąbrowski, Warsaw

The American Brahms Society awards the Karl Geiringer Scholarship in Brahms Studies annually as meritorious candidates present themselves. The competition is open to students who are in the final stages of preparing a doctoral dissertation written in English. Work relating to Brahms should form a significant component of the dissertation, but it need not be the exclusive or even primary focus. Winners receive a cash award.

Application guidelines are posted on our website, https://americanbrahmssociety.org/. Applications for the 2023 competition should be sent to Geiringer Committee chair Karen Leistra-Jones, at karen.leistra-jones -at- fandm.edu, by 31 March. 

Call for Paper and Films
ICTM Study Group on Audiovisual Ethnomusicology
The 3rd International Symposium, 1–3 September 2023
(In-person meeting)

Venue and organizer
Department of Music
School of Film, Music and Theatre
University College Cork
Sunday’s Well Road
Cork, Ireland T23 HF50

Music | University College Cork (ucc.ie)

Understanding filmmaking as a valuable and multi-faceted tool in creating, disseminating and experiencing knowledge, the 2023 International Symposium aims to provide a scholarly venue for broad reflections on the use of audiovisual media as a research tool in ethnomusicology. Meanwhile, the Symposium offers an occasion to explore new ways of preserving and disseminating ethnomusicological knowledge and for the fostering of debates on and within the emerging field of audiovisual ethnomusicology.

We welcome scholars and filmmakers from ethnomusicology, folklore, and related fields to join our discussion and sharing. We invite you to submit paper and/or films of ethnomusicological interest, include those that employ ethnomusicological research methodologies, and those that examine creative ways that audiovisual materials might be used in research, outreach, and teaching. Papers and films with a focus on music making in ethnic minority communities and populations are also warmly encouraged.

Conference language
For papers: All papers should be presented in English.
For film: English subtitles for films are required for films presented in other languages.

Submissions
All proposals should be submitted by the deadline of 31 March 2023 to the e-mail address qiaoqiaocheng922 -at- gmail.com. Specifying in the email title whether your proposal is a film or a paper. The e-mail should clearly indicate the name of the author(s) and the title of the presentation. An attached Word or Open Office file, with no indication of authorship, should contain the abstract (max. 250 words) and 5 keywords. The same author may make no more than one proposal in each category: 1 paper + 1 film.

Dipartimento di Lettere e Filosofia - Bando di selezione per il conferimento di n. 1 assegno di ricerca post-dottorato nell'ambito del progetto UE HE ERC LAUDARE - decr. 281/2022

Collecting and Curating: Power, Material Wealth and Cultural Knowledge, Past and Present
Symposium, University of York, 3-5 May 2023

Organisers: Stephanie Wynne-Jones (Archaeology), Rachel Cowgill (Music), Chloe Wigston Smith (English), Richard McClary (History of Art)

This symposium will bring together scholars, curators and creative practitioners from across the Arts, Humanities and Social Sciences, and from museums, venues and galleries, to explore practices of curation and collecting as a rich and complex window into past and present systems of value. We invite proposals for 20-minute papers that examine the complexities of curatorial practice and collecting from any time period or geographic region.

Conference themes include the accumulation of material wealth such as precious metals or objects, the pursuit of unique and/or exotic items, as well as the collection of cultural knowledge and expression in the form of scientific, artistic or technological expertise, specimens, instruments, artworks and related resources. How does the collection and curation of items both material and intangible uphold inequalities of wealth and power? How is the accumulation of cultural wealth linked to coercion and colonialism? How do collected objects and things illuminate the ways that peoples and societies value particular forms of production and materiality?

We welcome proposals of 300-400 words for papers that address some of the following themes: cultural property and looting; collecting, value and wealth; collecting knowledge, including books, manuscripts, expertise; objects, extraction and trauma. Deadline for proposals is 31st March 2023; please submit proposals to Questo indirizzo email è protetto dagli spambots. È necessario abilitare JavaScript per vederlo..uk.

The symposium will begin with an evening keynote by Professor Robbie Richardson (Princeton University) on 3rd May, followed by two days of panel discussions structured around several keynote papers.

Appel à candidatures : poste de professeur des universités en informatique vacant à Bordeaux INP :

- Recherche en informatique musicale dans le département image et son du LaBRI (www.labri.fr) et au SCRIME (scrime.u-bordeaux.fr)

- Enseignement à l'ENSEIRB-MATMECA ( https://enseirb-matmeca.bordeaux-inp.fr/fr) dans la filière informatique (https://enseirb-matmeca.bordeaux-inp.fr/fr/informatique)

- Ouverture des candidatures sur galaxie : jeudi 23 février 2023 à 10h
- Clôture des candidatures : jeudi 30 mars 2023 à 16h

- Fiche de poste : https://enseirb-matmeca.bordeaux-inp.fr/sites/default/files/upload/BordeauxINP/RECRUTEMENT/EC2023/fop_0333232j_4132.pdf

- Plus d'info : https://enseirb-matmeca.bordeaux-inp.fr/fr/enseignants

- Contact : myriam.desainte-catherine@labri.fr

 

--  ENGLISH VERSION -- To be widely distributed  --

 

Call for applications: vacancy for a university professor in computer science at Bordeaux INP:
- Research in computer music in the image and sound department of the LaBRI (www.labri.fr) and at SCRIME (scrime.u-bordeaux.fr)
- Teaching at ENSEIRB-MATMECA ( https://enseirb-matmeca.bordeaux-inp.fr/fr) in the computer science department
- Schedule: applications between February 23 2023, and March 30 2023, start September 2023

- More information : https://enseirb-matmeca.bordeaux-inp.fr/fr/enseignants

- Contact : myriam.desainte-catherine@labri.fr

 

Applicants must propose a research project that fits within the image and sound department of the LaBRI to work in particular with the Sound and Music Modeling group, and create links with the Manao team and the Analysis and Indexing group. Candidates must also propose a project for the SCRIME research platform (Studio de Recherche et de Création en Informatique et Musiques Expérimentales) following the departure of the current director. The research area is computer music (sound and music computation, musical interaction). The candidates must be involved in at least one of the following themes:
- computer processing of music and sound: analysis, transformation and generation of music and sound, including environmental sounds and soundtracks of ecological videos, by computational approaches (algorithms, signal processing, learning) in all dimensions of music and sound (timbre, pitch, dynamics and spatialization).
- Sound and music interaction: designing new Interfaces between users and computers to create new means of musical expression, through the design of virtual/mixed/augmented sound reality systems, and new models of musical scores and instruments, through interaction with images and other media, and through the use of sound as a means of information.
- understanding and modeling of sound and music: music information retrieval, computational musicology, computational approaches to music cognition, formal models and languages for music (time and space of sound and music parameters)
- design of new tools for sound and music creation, performance and pedagogy: development of tools to assist sound design and music composition, scenarization, sonification, spatialization (includes algorithmic composition, especially by learning techniques), includes research of software architectures and languages combining micro (sound) and macro (musical form) levels, frugality of computations and transfers of sound and music data, minimization of sound transmission delay, formal specifications for tool preservation.

 

Congrès biennal de la Société française de musicologie : 2e

édition

19-21 octobre 2023, Angers

Appel à communication
Pour donner une impulsion nouvelle au réseau musicologique français, la Société française de
musicologie a inauguré en 2021 un rendez-vous d’échanges privilégiés sous la forme d’un Congrès
international biennal.
La deuxième édition de cette biennale sera accueillie du 19 au 21 octobre 2023 à Angers par la Faculté
des Humanités de l'Université catholique de l'Ouest (UCO) et le Département de philosophie de Nantes
Université. Elle sera aussi l’occasion de proposer une session dans le cadre d'une collaboration avec la
Gesellschaft für Musikforschung initiée à Sarrebruck deux semaines plus tôt lors du symposium annuel
de cette dernière.
Itinérant, le Congrès de la Sfm souhaite valoriser les différents lieux dans lesquels la musicologie est
présente sur le territoire national, et se veut aussi un espace de rencontre ouvert à toutes les spécialités
de la discipline. C’est pourquoi cet appel à communication, qui s’adresse à tout chercheur et toute
chercheuse, y compris aux plus jeunes, comporte deux catégories :
 Appel à communication libre (20 minutes)
 Appel à contribution aux sessions thématiques en lien avec les axes suivants portés par les
partenaires locaux et en collaboration avec la Sfm :
1. Musique et philosophie aujourd'hui
Outre le fait de valoriser la formation originale "Humanités et musique" proposée par Nantes
Université, cette session a pour ambition d’accueillir des études à l’intersection de ces deux
champs disciplinaires. En ce sens, toutes les approches seront les bienvenues, qu’elles touchent
à l’histoire des idées ou qu’elles soient dans une veine plus systématique et/ou critique. Si une
attention particulière sera accordée aux répertoires et aux questions contemporains, toutes les
époques méritent qu’on s’y attarde de manière à rendre justice au dialogue que la philosophie
et la musique ont poursuivi depuis l’Antiquité. Les propositions touchant aux musiques
modernes et anciennes seront donc les bienvenues.

2

2. L'interdisciplinarité en SHS : autour de la figure de Jean-Yves Hameline
Prêtre du diocèse de Nantes et directeur de l’Institut de musique sacrée d’Angers avant de
devenir professeur à l’Institut supérieur de liturgie (Université catholique de Paris), Jean-Yves
Hameline (1931-2013) a développé tout au long de sa vie une recherche sur la dimension rituelle
des liturgies, et plus particulièrement celle du culte chrétien abordé dans ses aspects cérémoniels
tels qu’ils se sont manifestés au cours de son histoire, accordant une large place à sa dimension
sonore et musicale. Se situant toujours au point de connexion de plusieurs disciplines des
sciences humaines et sociales, où celles-ci concourent à mettre en évidence cette « ratio propre
à son objet », Jean-Yves Hameline apparaît comme l’un des guides les plus inspirants pour
approcher la complexité du monde à travers l’établissement d’une épistémologie fondée sur une
pluridisciplinarité étroitement en prise avec l’humain.
Afin de nourrir la discussion sur cette thématique, des communications ouvertes à tous sujets
sont sollicitées sur les façons d’aborder l’interdisciplinarité en SHS, sous forme de réflexions,
retours d’expérience ou présentations d’autres cas exemplaires.

3. Musicologie et musicologie didactique : pour une épistémologie des savoirs et savoir-
faire de la musique

Les recherches scientifiques sur l'articulation enseigner/apprendre la musique sont aujourd’hui
nombreuses et couvrent aussi bien l'enseignement général (l’Éducation nationale ou équivalent
dans d'autres pays) que l'enseignement spécialisé de la musique (Ministère de la culture ou
équivalent à l'étranger). Pour autant, peu de travaux ont porté sur l'articulation
enseigner/apprendre la musique à l'université et sur les partenariats entre les institutions
d'enseignement artistique et les établissements d'enseignement supérieur (Universités ;
Conservatoires et CNSMD ; Hautes Écoles de musique ; Hochschulen für Musik ; Royal
Collège of Music ; etc.). Cet axe se propose de poser un premier jalon en sollicitant des
contributions aux questions suivantes :
 Comment enseigne-t-on ou apprend-on les pratiques musicales à l'université ?
 Quels dispositifs pédagogiques et/ou didactiques innovants sont proposés ?
 Comment forme-t-on au métier de professeur de musique ?
 Quels apports peuvent avoir les recherches en pédagogie et en didactique de la
musique dans le champ de la musicologie ?

4. Perspectives franco-allemandes / Deutsch-französische Perspektiven

En lien avec la session internationale portant sur les collaborations musicologiques franco-
allemandes, nous sollicitons des propositions de communication sur des travaux récents ou en

cours dans ce domaine.
—Pour ce panel, la langue allemande sera autorisée.—
La Société française de musicologie et la Kommission für Auslandsstudien de la Gesellschaft
für Musikforschung invitent notamment les doctorant.e.s et post-doctorant.e.s dont les
recherches intègrent une dimension franco-allemande à venir présenter une communication liée
à leur projet de recherche. Il s’agit de proposer une plate-forme d’échanges, de diffusion et de
rencontre au croisement des traditions disciplinaires et de favoriser les contacts entre jeunes
musicologues des deux pays.
Die Société française de musicologie und die Kommission für Auslandsstudien der Gesellschaft
für Musikforschung laden Nachwuchswissenschaftler*innen mit deutsch-französischem
Schwerpunkt zu einem gemeinsamen Panel für Doktorierende und Postdocs. Der Panel versteht
sich als Plattform für Austäusche und Diskussionen sowie als Begegnungsraum zwischen beiden
Fachtraditionen und möchte Kontakte zwischen jungen Musikwissenschaftler*innen beider
Länder fördern.

3

Note concernant les sessions thématiques : Les organisateurs se réservent la possibilité de demander
des ajustements en fonction des problématiques retenues pour les sessions thématiques, et de proposer
des formats et durées d’interventions adaptés.
Les propositions de communications portant sur la thématique internationale 4, seront évaluées
également par des experts de la GfM. / Vorschläge für Vorträge, die sich auf das internationale Thema 4
beziehen, werden ebenfalls von Experten der GfM bewertet.
Les propositions de communication et de contribution devront être rédigées en français ou en anglais
dans les formats Word (.doc, .docx) ou OpenOffice (.odt), et comporter :
 un titre et le résumé de la proposition (2500 signes espaces compris) ;
 le nom, les coordonnées électroniques de leur auteur.e, et sa biographie mentionnant son
institution de rattachement, le cas échéant (1000 signes espaces compris) ;
Date limite d’envoi des propositions : 30 mars 2023 à minuit
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Comité d’organisation et institutions organisatrices : Denis Huneau (UCO), Marie-Gabrielle Isopet (UCO),
Anne-Zoé Rillon-Marne (UCO), Lara Boisseleau (UCO), Anne Bongrain (Sfm), Achille Davy-Rigaux (Sfm),
Nancy Hachem (Sfm), Pierre Pascal (Sfm), Patrick Lang (Nantes Université).
Comité scientifique : Lara Boisseleau (Université de Toulouse), Damien Bonnec (Nantes Université), Cécile
Carayol (Université de Rouen), Christophe Guillotel-Nothmann (CNRS), Denis Huneau (UCO), Marie-Gabrielle
Isopet (Université de Rennes), Patrick Lang (Nantes Université), Nicolas Munck (Université Lyon2), Anne-Zoé
Rillon-Marne (UCO), Jérôme Rossi (Université de Tours), Daniel Saulnier (CESR), Pascal Terrien (Aix-Marseille
Université) ;
et pour le CA de la Sfm : Anne Bongrain (Sorbonne Université), Jean-Christophe Branger (Université Lyon2),
Céline Carenco, Achille Davy-Rigaux (CNRS), Laurence Decobert (BnF), Louis Delpech (Hochschule für Musik
und Theater Hamburg), Catherine Deutsch (Université de Lorraine), Nicolas Dufétel (CNRS), Florence Fabre
(Université d'Évry), Guy Gosselin (Université de Tours), Pierre Pascal (Université de Lorraine), Anne Piéjus
(CNRS), Gaël Saint-Cricq (Université Lyon2).

La documentazione è presente nella sezione allegati

settore concorsuale: 10/C1 − Teatro, Musica, Cinema, Televisione e Media audiovisivi

settore scientifico disciplinare: L-ART/07 − Musicologia e Storia della musica

Sede di afferenza e di servizio: Dipartimento di Storia, Patrimonio Culturale, Formazione e Società

Attività di ricerca prevista: L’impegno scientifico previsto consiste nello svolgimento di attività di ricerca sulla storia della musica dal XVII al XX secolo, indagata attraverso sia fonti primarie sia documenti d’archivio che possano contestualizzare il fatto musicale nella società, anche mediante l’utilizzo di validi strumenti informatici che permettano, tra l’altro, una aggiornata catalogazione di fonti musicali.

link MIUR: https://bandi.miur.it/jobs.php/public/job/id_job/103978

The Department of Musicology, University of Oslo has announced Research Fellowships with the deadline 20 March 2023.

Three fully-funded Doctoral Research Fellowships (PhD) in the following areas :

Music and Nature:
https://www.jobbnorge.no/en/available-jobs/job/237444/doctoral-research-fellowship-in-music-and-nature

Creative, Generative and Collaborative Sonic Computing:
https://www.jobbnorge.no/en/available-jobs/job/237441/doctoral-research-fellowships-in-creative-sound-and-music-computing

Music Production:
https://www.jobbnorge.no/en/available-jobs/job/237447/doctoral-research-fellowships-in-music-production

In addition, a four-year postdoctoral fellowship is announced in:
Music and Nature:
https://www.jobbnorge.no/en/available-jobs/job/237446/post-doctoral-research-fellowship-within-music-and-nature

Symposium: Positioning Prokofiev in the 21st Century and Beyond - June 15-16, 2023


Sergei Prokofiev’s life and music continue to inspire and intrigue the world seventy years after his death. Indeed, it can be argued that Prokofiev’s role in music scholarship and performance has reached its golden age.



The “Positioning Prokofiev in the 21st Century and Beyond” symposium seeks to capture the energy of this moment, and encourages scholars to take a fresh look at Prokofiev’s legacy from a multidisciplinary and global perspective. We are particularly interested in contributions that expand previous scholarship to explore Prokofiev’s music at intersections with topics including (but not limited to):

  *   Visual arts

  *   Ballet

  *   Film

  *   Archival studies

  *   Performance studies

  *   Music theory and analysis



Scholars and performers from all disciplines and professional perspectives are invited to submit proposals. Proposals may be for individual papers or lecture-recitals (both 20 minutes).

The symposium will take place at Columbia University in New York City on June 15-16, 2023. We will also arrange a hybrid option for speakers and guests.

Deadline for submission is March 20, 2023. In addition to the proposal (250 words), please include a brief biography of no more than 150 words, including institutional affiliation and recent publications. Applications should be emailed to Questo indirizzo email è protetto dagli spambots. È necessario abilitare JavaScript per vederlo.. Proposals will be reviewed by a scientific committee, and applicants will be notified by April 1, 2023.

The event is organized by the Rare Book and Manuscript Library at Columbia University with support from the Serge Prokofiev Foundation.

Updated information about the symposium will be found on our website https://blogs.cuit.columbia.edu/prokonyc/.

IAGMR Conference 2023: Music and Conflict: The Politics and Escapism of Wartime Culture

19-20 May 2023, Department of Music and Media, University of Surrey (Hybrid)

The Institute of Austrian and German Music Research (IAGMR) invites papers, panels, lecture recitals, and compositions for our conference on ‘Music and Conflict’.

This conference sets out to explore the various relationships between music and war across historical and contemporary Austrian and German contexts. In particular, the twin functions of music as either a product of war or a form of resistance against it are of interest. Papers might address the ways in which music has and continues to figure as a form of escapism, lamentation, or satire in times and places of war, conflict, violence, and military aggression in Germanophone lands. The historical remit of this conference is completely open to explore the deep involvement of musical composition, performance, criticism, and reception within any period of Austrian and German history.

We are particularly keen to receive papers from any subdiscipline of music, or music-adjacent discipline with a focus on music and war in Austria and/or Germany, including:


  *   Historical and Cultural Musicology
  *   Music Analysis
  *   Performance Studies
  *   Composition
  *   Archival Studies
  *   Music Psychology
  *   Music Philosophy and Aesthetics
  *   German/Austrian Historical/Cultural Studies
  *   Screen (Music) Studies
  *   Disability Studies

Presentations: 20-minute Papers, 60-minute Panels, 45-minute Lecture-Recitals, 10-minute Compositions (plus 10-min presentations).

Submissions should include the following: 250-word abstract, indication of equipment required, 50-word biography, and statement of attendance (in-person/remote).
Deadline for submissions: Friday 17 March 2023, 5pm by email to Questo indirizzo email è protetto dagli spambots. È necessario abilitare JavaScript per vederlo.<mailto:Questo indirizzo email è protetto dagli spambots. È necessario abilitare JavaScript per vederlo.>.
The Committee will notify authors of its decision by 6 April 2023.

This conference will feature a lecture-recital by the 2022-23 Artist in Residence at the Department of Music and Media, pianist and researcher Anna Scott (Royal Conservatory of The Hague and University of Leiden). We encourage everyone to attend this conference in person, but there will be a hybrid option for those who are unable to travel.

The University of Surrey is fully committed to the principles of equality and diversity enshrined in the Race Equality Charter, the Athena SWAN Charter, the Disability Confident scheme, and through its support of LGBTQ+ communities.

Conference Committee:

Angus Howie               (Durham University)
Anna Scott                   (Royal Conservatory of The Hague and University of Leiden)
Erik Levi                      (Royal Holloway, University of London)
Jeremy Barham            (University of Surrey)
Manuel Cini                 (University of Surrey)

The Editorial Board of Roczniki Humanistyczne (Fascicle 12 = Musicology) is seeking contributions of high academic quality for the forthcoming (2023) issue: Between Western classical music and popular culture.

The type of music termed both ‘artistic’ and ‘classical’ has been linked with popular culture for centuries. However, it was only at the end of the 18^th century, and later the 19^th, that there arose any reflection on popular culture itself, and it was the 20^th century which provided the tools that made possible the emergence of systematic studies of both popular culture and music. Currently, research into this area of culture is being carried out on a large scale the world over, although the perspectives from which they are being made are constantly shifting, resulting in changes in the perception of this very area of culture.

One such paradigmatic change in the research on popular culture is in its equal treatment and connection with so-called high culture. These interactions take place in various areas and to varying intensity.The relationships between these two artistic spheres are complex and often very close, if not always obvious. These interactions are gradually becoming the subject of more and more extensive research, as demonstrated by the book published in October 2022, namely Twentieth-Century Music in the West: An Introduction by Tom Perchard, Stephen Graham, Tim Rutherford-Johnson and Holly Rogers, or Współczesna kultura muzyczna a popkultura: spotkania, dialogi, konfrontacje [Contemporary music and pop culture: meetings, dialogues, confrontations] edited by Ewa Kowalska-Zając (2021), although, of course, this topic has appeared before, for example in the thematic issue of the journal “Musurgia” – Le “savant” et le “populaire” (IX/1, 2002).

We especially, although not exclusively, encourage papers in the following area(s):

• “classical” genres and popular culture (musicals, rock operas, oratorios, cantatas, etc.) and vice versa;
• artistic techniques typical of “classical” music in the context of popular culture and vice versa (cyclicality, concept-albums, intertextuality, works on poetic texts, instruments, suites with film music, etc.);
• the experience of “classical” artists in the field of popular culture and vice versa;
• the functioning of classical music themes in popular culture and vice versa (quotations and paraphrases in songs, music in advertising, film music, popular songs in opera, covers and transcriptions, etc.);
• genres and other possibilities which are located on the border between these two areas and which integrate them;
• the functioning of stars and virtuosos in culture, and their reception;
• the methodology used to study “classical” music in research on popular culture and vice versa;
• research on the interactions of these areas of culture in theoretical and aesthetic approaches.

We accept only unpublished papers of academic quality, reserving the right to preselect articles in terms of both subject matter and editorial content. Contributions, which should follow the MLA citation style and not exceed 30,000 characters in length (including abstract and references), should be submitted via the Open Journal System.

Preferred languages: English, French, Polish.

Deadline for submission: 15^th March 2023.

Address for correspondence:

Dr hab. Małgorzata Gamrat (Questo indirizzo email è protetto dagli spambots. È necessario abilitare JavaScript per vederlo.)

https://ojs.tnkul.pl/index.php/rh/about

Roczniki Humanistyczne ('Annals of Arts') is an academic journal of the humanities published by the Learned Society of the John Paul II Catholic University of Lublin and the Faculty of Humanities of the John Paul II Catholic University of Lublin. It has appeared without interruption since 1949. Roczniki Humanistyczneis a platform of exchange of ideas between scholars from different parts of the world in five areas of the humanities: literary studies, linguistics, history, art history, and musicology, as well as across these disciplines.  

Roczniki Humanistyczne is indexed in the following databases: SCOPUS,Clarivate Analytics – Emerging Sources Citation Index (Web of Science Core Collection), CEEOL, EBSCO, ERIH Plus, CEJSH, BazHum, Index Copernicus, and POL-Index.

All articles submitted to Roczniki Humanistyczne are double-blind peer-reviewed free of charge, as explained in the sections Publication Ethics and Fees, Sources of Financing. Accepted articles are assigned a DOI number and are permanently archived on the Journal website at no cost. All articles published in Roczniki Humanistyczne are accessible online and can be downloaded free of charge, as explained in the Open Access section. 

Appel à contributions

revue Caliban (à paraître en septembre 2024)

Géographies musicales

en texte, sur scène et à l'écran

 Responsables du numéro : Nathalie Vincent-Arnaud et Frédéric Sounac (Université Toulouse-Jean Jaurès)

 Ce double numéro de Caliban offrira un prolongement au programme de recherche interdiscipinaire « Musique et Littérature : dialogues intersémiotiques », porté conjointement par les équipes d’accueil CAS (EA 801) et LLA-CREATIS (EA 4152). Le thème « Géographies musicales » y fait suite depuis peu à celui de « Dérèglements » qui a privilégié l'étude de la confrontation avec les espaces liminaux que la musique ouvre pour l'intellect et les sens, la tension entre mise en ordre et chaos, épiphanies et règne de l'irrésolu et de l'instabilité.

Dans la continuité de certaines de nos réflexions antérieures, nous souhaitons, pour ce numéro, faire la part belle à la construction et au déploiement d'un imaginaire musical ainsi qu'à son potentiel d'engendrement créateur en tant que marqueur identitaire et territorial. Le terme de « géographies » amène nécessairement à s'interroger sur les notions d'identité, de territoire, de frontière, d'accueil, d'ouverture et de clôture, qu'il conviendra d'examiner dans leurs diverses acceptions mais aussi dans leur complémentarité. En guise d’exemple, on peut remarquer que le développement d’un nationalisme musical à l’âge romantique alimente chez Hoffmann une puissante dialectique Italie/Allemagne, relayée par Balzac, à laquelle se substitue, au début du XX^e siècle, une dialectique Allemagne/France. Comment ce relais se manifeste-t-il dans les écrits littéraires, mais aussi sur scène et à l’écran ? En quoi la musique participe-t-elle à la constitution d’un certain regard sur la Russie au XIX^e siècle, sur l’Espagne au début du XX^e ? Et surtout, dans la perspective de Caliban, pourquoi l’Angleterre, au mépris de l’évidence, a-t-elle pu être considérée comme un territoire « sans musique » alors que l’Écosse constitue pour sa part un véritable mythe esthétique pour la génération romantique ?

Les diverses notions précédemment mises en exergue nous semblent ainsi, en tout premier lieu, appeler un travail définitoire touchant aux domaines conjugués de la musicographie (on peut penser, au XVIII^e siècle, au célèbre Voyage musical dans l’Europe des Lumières du Britannique Charles Burney), de l'histoire culturelle, de l'esthétique, mais aussi bien sûr de l'histoire, de la philosophie, de la linguistique et de l'analyse des autres langages artistiques avec lesquels la musique entrera en relation pour l'étude concernée (notamment littérature, cinéma, opéra).

Corélativement, outre l'ancrage originel d'un genre musical, d'une œuvre ou d'un compositeur dans un territoire spécifique et les effets produits par cette appartenance première (dont la nature et l'histoire pourront être précisées), on pourra envisager leur dissémination au-delà des frontières territoriales ou génériques, ainsi que les modalités de leur voyage, de leur réception et, le cas échéant, de leur évolution, de leur mutation ou de leurs détours, dans d'autres contextes géographiques, linguistiques ou sémiotiques. 

De même, ce thème nous semble ouvrir la voie à des considérations sur les effets de « géographie magique » (au sens que Jean-Pierre Richard a donné à ce terme dans Poésie et profondeur) engendrés par une œuvre ou un compositeur, résultant de la fascination qu'ils sont susceptibles d'exercer et de l'arrimage aux valeurs et aux mythes qu'ils véhiculent. Pourront également trouver leur place dans ce cadre les notions de sanctuarisation de certains espaces musicaux, de pélerinage musical, liées à la remarquable force d'attraction exercée par un langage qui, selon Charles Rosen, « se tient aux confins du sens et du non-sens » ou encore, comme l’affirme Jean-Michel Maulpoix, « affole ou fait taire la parole » et offre donc, à ce titre, des perspectives souvent inédites de passage et de franchissement de frontières dont la nature, la variabilité et le degré de porosité restent à définir.

 Ces quelques pistes ne sont bien sûr qu'indicatives. En raison des orientations de la revue, les contributions devront avoir partie liée avec le monde anglophone, quelles que soient les époques et les aires géographiques concernées.

Modalités de soumission et calendrier prévisionnel 

Les propositions de contribution, en français ou en anglais, devront être adressées pour le 15 mars 2023 aux deux responsables du numéro, Nathalie Vincent-Arnaud et Frédéric Sounac (Questo indirizzo email è protetto dagli spambots. È necessario abilitare JavaScript per vederlo. ; Questo indirizzo email è protetto dagli spambots. È necessario abilitare JavaScript per vederlo.). Elles devront comporter un résumé d'environ 250 mots ainsi qu'une brève notice biographique.

Les notifications d'acceptation ou de refus seront envoyées pour le 15 avril 2023. 

Les articles complets (entre 6000 et 8000 mots, notes de bas de page comprises) devront ensuite parvenir aux deux responsables du numéro pour le 1er octobre 2023, mis en forme selon la feuille de style de la revue. Une attention particulière devra être portée aux normes bibliographiques en vigueur avant la remise des articles. 

CALL FOR PROPOSALS

American Musicological Society, Southwest Chapter
Spring 2023 Meeting, at the University of Arkansas
Proposal Due Date: March 10, 2023
Meeting Date: April 29, 2023

The AMS-SW Chapter is pleased to announce its Spring 2023 Meeting, to be held Saturday, April 29, 2023, at the University of Arkansas in Fayetteville.

AMS-SW invites all scholars working on musical topics, including those not affiliated with academic institutions, to submit proposals. We particularly encourage participation by graduate student presenters, from both within and beyond university musicology programs.

Poster presentations, panels, and lecture-recitals will be considered for inclusion in this meeting. (For other formats, please contact the AMS-SW Secretary-Treasurer.) This meeting will be held in person; online submissions are welcome for our hybrid sessions. Online papers will be read in real time and will only be recorded with the presenter’s express permission.

Proposals should be sent to the AMS-SW Secretary-Treasurer, Dr. Virginia Whealton . Proposals must arrive by 11:59 p.m. on Friday, March 10, 2023.

GUIDELINES FOR SUBMISSION OF PROPOSALS
Abstracts should include a precise statement of the problem, methodological framework, findings, and implications for specific fields of study. Abstracts must not exceed 250 words. Please send all information requested below as a Word document (with the author’s last name as the file name) to the Secretary-Treasurer, Dr. Virginia Whealton , with the e-mail subject “AMS-SW.” The AMS bylaws stipulate that one must be a member of the national organization in order to be a member of a chapter. Hence, all presenters must be members of the chapter and society. You can join the chapter and society, renew your membership, and pay Southwest Chapter dues at https://amsmusicology.org

Name (as it should appear in program):
Institutional or Other Affiliation:
Presentation Title:
Format: Paper OR Poster OR Panel OR Lecture-Recital
Presentation method: in person OR online
Special Technical Requirements:
Abstract (max. 250 words):
Presenter Bio (max. 100 word per presenter):
Email Address:
Website/Social Media Handle:
Permission to share a recording of your presentation with registered conference attendees? Y or N 

The Midwest Chapter officers are pleased to announce that the Spring 2023 meeting will be held in person on Saturday, March 18, at the University of Dayton in Dayton, Ohio. Participants must plan to attend in person, but online viewing will be an option.

Deadline for submission: February 10, 2023, by 11:59 PM, EST

Proposals for presentations, workshops, roundtables and/or special sessions, poster presentations, and papers with a performance component are welcome on any topic related to musicology.

Abstracts should be no longer than 250 words and should clearly indicate the scope of the research, methodology, and conclusions. Paper presentations will be limited to twenty minutes, with an additional ten minutes allotted for questions and discussion. Workshops, roundtable discussions, and special sessions may not exceed 90 minutes. Speakers at the past 2022 Fall meeting are not eligible to submit a paper abstract for the 2023 Spring meeting; however, they are welcome to submit proposals for poster presentations or participate in roundtable discussions. Only one submission per person is allowed.

The 2023 Spring Conference will take place in collaboration with a Many Musics of America event sponsored by the American Musicological Society. This event will be dedicated to Dayton Funk and will feature a keynote and a line dance party.

We have instituted an easy online submission process available at the chapter website:
https://amsmidwest.weebly.com/abstract-submission.html.

We encourage both graduate and undergraduate students to present their work at our meetings. In addition to the abstract and other requested information, students submitting proposals must name and provide the email address for an advisor or other faculty member who can verify the student presenter’s readiness to present at a professional meeting. Student members of AMS-Midwest are invited to compete for one of the annual awards for outstanding papers: the awards offered by Indiana University Press and A-R Editions, Inc. as well as the Michael Budds Student Paper Prize. For updated details of the awards, see: https://amsmidwest.weebly.com/awards.html.

The Chapter also offers limited support for travel and lodging to student presenters. Details for both opportunities can be found at the Guidelines for Paper Submission, and on the AMS-Midwest website.

Thank you for your interest in the upcoming meeting of the AMS-Midwest Chapter.

We hope to see you in Dayton! 

Sonic Ties: Rethinking Communities and Collectives
isaScience 2023, mdw – University for Music and Performing Arts Vienna
Reichenau/Rax, Austria and online, 26-30 August 2023

Sound and social relations are tightly interwoven and oftentimes contingent upon each other. ‘Sonic Ties’ offers a lens through which to study the qualities of connection and intersubjectivity that arise through sound. isaScience 2023 invites you to explore ‘Sonic Ties’ as a central mode of sharing communality and experiencing collectivity through music, dance, and other phenomena of performance and cultural expression.

By focusing on this specific mode of relating the sonic and the social, mdw’s interdisciplinary, international conference investigates how sound shapes collectives and communities in different societal, historical, and geopolitical contexts, and the ways in which these sonic ties reflect back on the individuals involved. Looking at communities and collectives from social movements to musical ensembles, from ethnic communities to artist collectives, isaScience 2023 seeks to investigate the entanglements of sound and power relations. What are the different forms and degrees of sonic participation and to what extent are they tied to local or globalized experiences?

We welcome proposals from a wide range of disciplinary perspectives including, but not limited to, Queer Theory, Musicology, Cultural Studies, Music Theory, Indigenous Studies, Music Sociology, Critical Race Studies, Ethnomusicology, Popular Music Studies, Dance and Performance Studies, Post-Colonial Studies, and Film and Media Studies.

Contributions can include paper presentations (20 minutes plus discussion), panels, lecture performances, workshops, or other, innovative formats. Online contributions are possible.

Abstracts must clearly state your research question(s), theoretical framework, methodology, and presentation format. Please include max. 5 keywords.

Please submit your abstract in English (max. 300 words including references), a short biography (max. 100 words), and your institutional affiliation or location by 5 March 2023 in a single PDF file to isascience -at- mdw.ac.at

Registration is free of charge. Complementary funding for travel and accommodation costs is available after acceptance of the proposal on a case-by-case basis.

Contact: Kathrin Heinrich isascience -at- mdw.ac.at
Find the detailed CfP on the website: https://www.isa-music.org/de/isascience/ 

Il Centro Studi Ligure assegna ogni anno circa 60 Borse di studio in ambito artistico, a chi vuole realizzare progetti creativi oppure accademici (ad esempio, nelle discipline come storia dell’arte, musicologia e similari).

La durata della borsa è di un mese circa o poco più, a seconda dell’origine geografica del candidato, la sua disciplina ed altri requisiti richiesti dalla Fondazione. Le domande vengono valutate due volte all’anno.

Vedi anche: https://www.scambieuropei.info/borse-studio-artisti-bogliasco/

Call for Contributions
Conference on Sociopolitical Topicality in the Repertoire of Nineteenth-Century Provincial Theatres
Thursday 6 July – Saturday 8 July 2023 in Bern (Switzerland)
Held by Hochschule der Künste Bern (HKB)
Conference website: www.hkb-interpretation.ch/feltre3
Theatre Research has long concentrated on major theatres in metropolitan areas. Smaller theatres in provincial towns have thus escaped the attention of larger studies despite their importance as sociocultural venues and vital places of sociopolitical debate in a time of rapid political change. Being places of information exchange, sociopolitical negotiation and the formation of public opinion, nineteenth-century provincial theatres are engaged with an ongoing local reality reflected in their choice of repertoire and their staging decisions.
The conference focuses on nineteenth-century performances of provincial theatres thematising topical sociopolitical events or debates and contextualises these performances in their local realities. It therefore considers not only theatre pieces themselves, but also forms of theatre organisation, stakeholders involved in programming and staging decisions, performance practices, and the composition of a local public as well as their expectations and reactions. These perspectives allow a reevaluation of provincial theatres as venues that deeply shape as well as mirror sociopolitical reality in provincial towns.
The aim of this encounter is thus a discussion of nineteenth-century practices of provincial theatres, in particular case studies of performances staging topical socio-political events or debates.
We invite researchers in various disciplines (history, sociology, musicology, literature and theatre studies, performance studies, visual arts, restoration, anthropology, architecture…) to propose abstracts on the following aspects:
- programming: theatre performances that thematise (local) contemporary events. How is the repertoire in provincial theatres chosen? Who chooses it? What is the relationship between (local) sociopolitical events and performances in local theatres?
- repertoire: theatre pieces with a topical sociopolitical content. What is the relationship between the plot/characters/structure of theatre pieces staged in local theatres and ongoing sociopolitical events/debates?
- reception: the theatre as a place for shaping public opinion. How do spectators react to and participate in current events and debates? How do they react to the staging of pieces with a (local) sociopolitical content?
- tastes and fashions: what are the fortunes and successes of different pieces/theatre genres between centre and periphery? How are debates and events in metropolitan areas taken up in local contexts? How are pieces adapted to a local context?
- performance practice: who performs on stage? How do theatre, opera, dance companies and orchestras choose their repertoire adapted to local theatres? How do their programming and staging practices differ from those for major theatres?
We invite submissions for papers of 20 minutes each (with a subsequent 10 minutes for questions). Proposals may be in English/German/French/Italian (c. 400 words), describing the topic and including the following:
·         abstract (background, research questions, aims, and significance);
·         a short CV, including name, postal and email addresses, and institutional affiliation of proposer.
Please mail submissions to Questo indirizzo email è protetto dagli spambots. È necessario abilitare JavaScript per vederlo. by 28 February 2023.

Confirmation of accepted papers will be announced by 31 March 2023. Travel and accommodation expenses may be covered, if needed. Papers given at the conference will be published in a collected volume on the subject (peer reviewed, open access). For this purpose, they must be submitted in their final form (c. 7000 words) no later than 30 September 2023.
Conference languages: English, German, French, Italian
The conference is organised by the research group on “Italian provincial theatre and the Risorgimento”, financed by the SNSF (Swiss National Science Foundation) and located at the Institute Interpretation of Hochschule der Künste Bern HKB: www.hkb-interpretation.ch/projekte/feltre-e
Organisers: Annette Kappeler, Giulia Brunello, Raphaël Bortolotti & HKB Institute Interpretation

Keywords: Provincial theatre – repertoire – theatre texts – theatre companies – theatre administration – music – dance – gestures – singing – audiences – tastes and fashions – reception – restoration – theatre decoration – stage design – stage managers – impresarios – 19th century – Risorgimento

L’Associazione “Archivio Giovanni Morelli” è sorta nel 2012 per tener
viva la memoria del musicologo Giovanni Morelli (Faenza, 1942-
Venezia 2011), uno tra gli studiosi di maggior rango nella propria disciplina. Presieduta da Andrea Liberovici, «ha per scopo la tutela, promozione e valorizzazione delle cose d’interesse artistico e storico di cui al decreto legislativo 29 ottobre 1999, n. 490 (testo unico delle disposizioni legislative in materia di beni culturali e ambientali). In particolare, l’associazione ha lo scopo di portare volontariamente la propria opera per promuovere online la conservazione e la conoscenza dell’opera di Giovanni Morelli» (Statuto, art. 4).

Poiché l’associazione intende tener fede ai suoi scopi, fra i quali vi è «l’assegnazione di borse di studio» (Statuto, art. 4 comma 7), bandisce su fondi propri un premio di € 1.000,00 (mille/00 euro) lordi destinato a tesi di dottorato, nonché un premio di € 500, 00 (cinquecento/00 euro) lordi destinato a tesi di laurea magistrali, finanziato dalla Fondazione Ugo e Olga Levi.

Le candidature dovranno pervenire all’Associazione entro e non oltre il 28 febbraio 2023, all’indirizzo email: Questo indirizzo email è protetto dagli spambots. È necessario abilitare JavaScript per vederlo.

Professeure ou professeur en musique à l'image et/ou en environnement sonore (design sonore ou sound design)

N^o 05967 Période d'affichage : du 1^er décembre 2022 au 28 février 2023, 17 h

Informations générales

L'Université de Sherbrooke sollicite des candidatures afin de pourvoir à un poste de professeure régulière ou professeur régulier en musique à l'image et/ou en environnement sonore (design sonore ou sound design). Il s'agit d'un poste régulier à temps complet rattaché à l'École de musique de laFaculté des lettres et sciences humaines.

À propos du Département

Pôle majeur de l'enseignement et de la recherche en musique en Estrie, l'École de musique jouit d'un rayonnement qui dépasse le milieu universitaire où elle est implantée. L'École de musique s'associe naturellement aux organismes musicaux du milieu professionnel et à la relève de la région de l'Estrie. 

Reconnue pour l'excellente qualité de ses programmes, l'École de musique a su se renouveler en développant des créneaux novateurs dans lesquels elle se démarque, notamment en professionnalisation de l'interprétation et en composition et musique à l'image (musique de films, jeux vidéo, publicités).

Fonctions

• Enseigner aux trois cycles d'études.
• Développer des activités de recherche fondamentale ou appliquée.
• Encadrer des étudiantes et étudiants aux études supérieures.
• Participer à la vie universitaire.
• Contribuer au service à la collectivité.

Exigences

• Détenir un doctorat en musique ou dans une discipline jugée pertinente.
• Avoir un intérêt marqué et de bonnes aptitudes pour l'enseignement et la pédagogie universitaire.
• Avoir un intérêt marqué pour la recherche (disciplinaire, interdisciplinaire) et pour le transfert de connaissance et l'innovation.
• Démontrer une bonne capacité à diriger des étudiantes et étudiants aux cycles supérieurs.
• Avoir un dossier de publication dans des revues à comité de lecture de niveau international, attestant de l'excellence du dossier de recherche.
• Démontrer des habiletés à établir et maintenir de bonnes relations interpersonnelles, un sens de la collaboration et des habiletés au travail d'équipe.
• Démontrer des qualités de leadership, d'initiative et d'excellentes capacités à communiquer et à interagir efficacement et harmonieusement avec divers partenaires internes et externes.
• Être en mesure de se conformer aux exigences liées à la conduite responsable en recherche.
• Avoir la capacité d'enseigner en français ou d'atteindre cette capacité rapidement.

Conditions de travail

Les conditions de travail sont régies par la convention collective en vigueur.

Poste régulier à temps complet.

Date prévue d'entrée en fonction : 1er août 2023.

La Fondazione Isabella Scelsi promuove a Roma, il 4, 5 e 6 dicembre 2023, un convegno internazionale di studi dedicato all’opera, all’estetica e al pensiero creativo di uno dei più significativi protagonisti della cultura musicale internazionale del XX secolo, il compositore italiano Franco Evangelisti (1926-1980).

Il convegno intende stimolare nuovi percorsi di ricerca sulla figura e l’opera di Evangelisti attraverso lo studio delle fonti documentarie e bibliografiche conservate nel Fondo Franco Evangelisti, recentemente trasferito presso l’Archivio Storico della Fondazione Isabella Scelsi.
Le proposte di papers potranno essere inviate alla Fondazione Isabella Scelsi entro il 26 febbraio 2023.

‘Everyday is Spatial’ (EiS) is an event designed to encourage and explore creativity in the making of audio and immersive experiences. The presentation and discussion of works will enable practitioners to reveal the potentials, challenges and uses for how spatial audio will define the everyday audio experience.



EiS ran for the first time in June 2022 presenting a diverse range of practices all centred around applications of spatial audio.  With 30+ presentations, performances and installations from an international submission list, it established the need and demand for practitioners and academics to share their research and interest in this evolving field.



Production technologies are becoming increasing available for a range of practitioners working across a variety of specialisms and sectors, allowing audio production to go beyond purely technological considerations by harnessing the creative affordances of the spatial paradigm.



At a time when hearing and listening are enabling us to investigate and understand our place in a changing world, the challenge is to populate and define this new immersive ‘soundscape’, by considering how ideas, concepts and practices are facilitating new modes of auditory experience.



For the 2023 ‘Everyday is Spatial’ conference, we invite all practitioners working in this medium to share work, ideas and experiences to generate discussion and debate.



The conference aims to address the following themes:



·         Spatial audio practices in music production – emerging discourses in composing for spatial and spatialising production.

·         Immersive storytelling in journalism, theatre, film and games – spatialisation as a narrative device, issues of authenticity, realism, hyperrealism.

·         Soundscape, ecomusicology and renewed environmentalism – field recording and immersive listening.

·         Immersive events – sound systems, immersive spaces, and emerging paradigms for spatialising live performance and sound design at events.

·         Spatial audio and audiovisual practice – emerging discourses and explorations of spatial audio in the context of screen media, projection and installation.



We are interested in a broad range of creative contexts where spatial audio is a critical factor, and we welcome considerations of how it might be enabling your practice and research in a variety of ways.



Published outputs from EiS 2022 are forthcoming via Routledge and the International Journal of Creative Media Practice, and we anticipate similar outcomes for EiS 2023.



At the University of Gloucestershire we have various spaces designed to enable staff, researchers and students to explore the affordances of spatial audio practices. Facilities for 22.2 / 7.1.4 / 7.2.4 / 5.1 and Binaural playback along with audiovisual capabilities  for screen media with ATMOS, Projections, and VR platforms.



For more details of call for works and submission please see:

https://www.uogimmersiveaudio.com<https://www.uogimmersiveaudio.com/>

è indetta una procedura selettiva per titoli per l’individuazione di n. 1 unità di personale docente per i seguenti insegnamenti inclusi nell’offerta formativa dell’Accademia di Belle Arti di Firenze:

cod.          sett. ordinam.               settore disciplinare campo disciplinare                                                ore

ABST54    TRIENNIO/BIENNIO       Storia della Musica STORIA DELLA MUSICA E DEL TEATRO MUSICALE    45 

Open postdoc position on ‘Musical data science’ in ERC-funded project

DIDONE (https://didone.eu/) is an ERC-funded project jointly participated by ICCMU, UCM and UC3M, and led by Prof. A. Torrente. Its main aims are to (1) determine the compositional techniques whereby emotions were expressed in 18th-century opera seria, (2) develop a set of quantitative tools applicable to our and other repertoires, and (3) create a digital corpus of ca. 3,000 arias.

The postdoc researcher on ‘Musical data science’ is expected to engage and contribute in specific, varying-scale research problems within aims (1) and (2) in collaboration with DIDONE’s research team. S/he will work in tight collaboration with our music theorist, our senior statistician, and our software developer. S/he will be expected to focus on producing high-impact scientific literature at the interface between data/computer science and musicology, and on improving existent computational tools within the project that involve MusicXML and Python.

We offer:
• 1.5-year contract, expected to start in April 2023 or earlier.
• Gross annual salary within the range €25,000–€32,000, depending on experience.
• Possibility of one-year contract extension.
• Possibility of salary increase upon the applicant’s acquisition of funding in immediate calls (see website).
• An array of varying-scale research problems to be tackled.
• Working with a young, ambitious, and interdisciplinary research team with expertise in musicology, statistics, and computer science.
• Access to original curated datasets of ca. 2,000 newly digitised arias.

We look for a candidate with:
• PhD in Computer Science, Statistics, or similar.
• Strong publishing record in the above fields.
• Proven expertise in data analysis and statistical modelling or machine learning.
• Advanced musical knowledge.
• Experience in development with Python and using git.
• Knowledge on MusicXML or willingness to quickly obtain it.

The work location is at UCM, Madrid, Spain. The weekly dedication is 37.5h. The selected candidate will be hired by ICCMU and will be able to work in a hybrid format.

To apply for the position, send CV, list of publications, motivation letter, and at least one reference letter to didone -at- iccmu.es before 15 February 2023. The shortlisted candidates will be interviewed by videoconference after 20 February 2023.

Full details at
https://didone.eu/index.php/vacancies/ 

Conference Title: Musical Competitions in Europe, 1700-1920

Organized by: Centro Studi Opera Omnia Luigi Boccherini, Palazzetto Bru Zane

Lovere (BG) Italy, 9-11 June 2023

Keynote Speakers:
• Charles Edward McGuire (Oberlin College & Conservatory, OH)

Deadline: Sunday 19 February 2023

Multiplication of musical competitions during the 18th and 19th centuries is one aspect of this art’s development that has been neglected until now. It concerns instrumental or vocal performances as well as composition or instrument making. It can be a way to bring people together, to promote an institution or an industry, to encourage emulation, or to develop a certain way to practise or write music.
In the 18th century composers and musicians used to compete each other in performance, especially with organ, harpsichord or violin. But the modern form of competition develops in the 19th century.

Aesthetics and the Body

Annual Conference of the Nordic Society for Aesthetics 1-2 June, 2023

Hosted by the University of Oslo in collaboration with Le Centre universitaire de NorveÌge aÌ Paris, (CUNP), 54 Boulevard Raspail, 75006 Paris

Venue: Citeì universitaire Internationale de Paris
Maison de Norveìge
7 N Bd Jourdan 75014 Paris

Confirmed keynotes

Professor Andrea Kern, University of Leipzig
Associate professor, Judith Sarfati Lanter, Sorbonne University
Associate professor, Vincent Debiais, Centre National de la Recherche Scientifique

The organizers warmly invite abstract submissions for the 2023 Annual Conference of the Nordic Society for Aesthetics, with the leading topic, “Aesthetics and the body”. Aesthetics is inextricably linked with the body; with the body as sensing and as sensed; with objects as embodied, forming the shape of artworks, gestures and rhythm. As bodies we sense the world, at the same time as our experience is mediated, opening up a field of tension and distance, of the object as ‘the other’, as an opening for the sensuous.

Temporary ecological concerns also open up reflections concerning the reconfiguration of the relationship between the body and the sensitive world. Through his concept of force, Christoph Menke grounds aesthetics in an anthropology of difference, a difference between force and faculty, between human and subject, where aesthetics is defined as a force belonging to the human not the subject. In line with this, genealogical anthropology has become aesthetic anthropology leading behind the subject to man. This opens up reflections on aesthetics in relation to the human as embedded in nature, or aesthetics in relation to the Anthropocene.

The conference is an invitation to consider:

  *   the relation between phenomenology and aesthetics
  *   the relation between aesthetics and cognition
  *   the status of “applied Aesthetics” (Analysis, Interpretation, Criticism, Commentary...) within discussions and reception of artworks and art-phenomena today
  *   methodological questions related to aesthetics as an approach to artworks as ‘the other’
  *   aesthetics as embodiment, performance, rhythm, and time.
  *   the relation between aesthetics and the gendered and situated body
  *   the relation between aesthetics and the political
  *   aesthetics and the Anthropocene
  *   questions related to aesthetics as providing a perspective “from the outside”
  *   the aesthetics of practice

Information about the conference will be announced on the website of the society:

https://www.nsae.fi

Proposals can be addressed to: Questo indirizzo email è protetto dagli spambots. È necessario abilitare JavaScript per vederlo.<mailto:Questo indirizzo email è protetto dagli spambots. È necessario abilitare JavaScript per vederlo.>

The time allocated for a paper is 20 minutes, plus 10 minutes for discussion. PhD students are strongly encouraged to submit a proposal. The Society grants up to two scholarships of 500 euros each to PhD students who do not have any other funding to cover their travel and accommodation costs to attend and give a paper at the conference. Priority is given to applicants studying in one of the Nordic universities, but all applications will be taken into consideration. Those applying for the scholarship should mention it in their abstract.

We also encourage panel proposals. The time allocated for a panel consisting of 3–4 contributions is 90 minutes, including time for discussion.

Please send abstracts not exceeding 300 words (papers) or 500 words (panels) no later than 15 February 2023.

Selection will be based on quality, relevance to the conference theme, and program considerations. Notification of acceptance will be sent out by 15 March 2023.

Conference fee, standard: 50 EUR. PhD Students and scholars without institutional affiliation: 30 EUR. A small supplementary fee might be added, in which case it will be announced beforehand. The fee includes one year membership of The Nordic Society of Aesthetics and one year subscription to The Nordic Journal of Aesthetics.

The organizers:

Professor Bente Larsen, Dept. of philosophy, Classics, History of Art and Ideas, section of Art history, University of Oslo

Associate professor, Nanette Nielsen, RITMO Centre for Interdisciplinary Studies in Rhythm, Time and Motion, Department of Musicology, University of Oslo

Postdoctoral Fellow, Emil Bernhardt, RITMO Centre for Interdisciplinary Studies in Rhythm, Time and Motion, Department of Musicology, University of Oslo

Postdoctoral Fellow, Remy Richard Martin, RITMO Centre for Interdisciplinary Studies in Rhythm, Time and Motion, Department of Musicology, University of Oslo

Doctorial research fellow, Ingvild Melby, Dept. of philosophy, Classics, History of Art and Ideas, section of Art history, University of Oslo

We invite contributions to a two-day conference at Lund University, Sweden, on 4–5 May 2023. We welcome researchers, artists, and activists whose work explores issues of colonialism, decolonial resistance, and/or institutional decolonisation initiatives in relation to music’s past and present.

Please submit a title and abstract (max. 200 words) of your proposed contribution to Questo indirizzo email è protetto dagli spambots. È necessario abilitare JavaScript per vederlo. <mailto:philip.dodds@kultur.lu.se> no later than 14 February 2023. We will prioritise in-person presentations, but remote presentations may be accepted in exceptional cases. The selection will be made by Assoc. Prof. Dr. Sanne Krogh-Groth, Dr. Phil Dodds and Dr. Brandon Farnsworth of the Lund University Division of Musicology. A budget exists for covering the travel costs of scholars without other sources of funding.

We welcome creative methods, interdisciplinary approaches, and different presentation formats, but we invite all contributors to specifically address one of the following three themes:

1. Musical colonisation

Kofi Agawu has directed attention to the processes and effects of “musical colonization” (2016, 338), highlighting, among other things, the legacy of colonial European ethnomusicology and the global imposition of Protestant hymns’ diatonic tonality in the nineteenth century. In the African context this was, according to Agawu, “musical violence of a very high order,” the intricacies and processes of which “remain to be properly explored” (ibid.). We therefore invite contributors to explore the processes and consequences of musical colonisation, and the different forms it has taken in different times and places. Specifically:

- How have colonising powers sought to categorise and taxonomise indigenous music?

- How have the musical instruments, styles, and conventions of colonised people been suppressed?

- Through which disciplinary techniques and instruments have colonisers imposed their musical practices and tonal systems?

- How has the composition and performance of music functioned as a means of claiming and asserting control over colonised places and peoples?

2. Music as decolonial resistance

Throughout history many musicians and composers have expressed their political resistance through music practices. The historical Avant-garde did it with abstraction and insistence on art’s materiality, 1960s and 1970s protest movements turned to folk-song tradition and “sing and song” writing, the punk movement used loudness and noise, while artists in totalitarian systems often turn to religious references and expressions. With this context we ask contributors to consider:

- How is musical resistance expressed in colonial contexts?

- What are the institutional strategies?

- What are the aesthetics?

- How can music be an active part of the processes of decolonisation?

3. Dynamics of colonialism in musical institutions today

National governments and inter-governmental organisations have in the past two decades launched programmes meant to explicitly address their colonial legacies in the field of the arts, often part of Diversity, Equality and Inclusion (DEI) initiatives. Our focus is primarily on the Nordic region, but we welcome studies from other contexts, as well as explorations of the geographical and geopolitical complexity of musical institutions’ decolonisation policies, including from STS and infrastructural critique perspectives, with questions such as:

- How are policies addressing colonial legacies being deployed, and how are they interacting with and potentially changing theories of musical aesthetics?

- To what extent do they address and overcome colonial relations?

- How do concepts of decolonisation intersect with other DEI initiatives in music and arts policy today?

- What are the blindspots and negative unintended consequences of these policies?

- In what ways do these programmes intersect with dynamics of neocolonialism? What do contemporary debates on decolonisation in music and art discourses fail to address and why?

Please feel free to contact Questo indirizzo email è protetto dagli spambots. È necessario abilitare JavaScript per vederlo. <mailto:philip.dodds@kultur.lu.se> in advance of the deadline should you have any questions.

Call for Contributions NoiseFloor 2023
The Department of Music and Sound at Staffordshire University will once again be hosting NoiseFloor in May 2023.
Submission link: https://staffordshire.qualtrics.com/jfe/form/SV_4GvJ8kitdysXmei
Key Dates
•       NoiseFloor – Thurs 11th and Fri 12th May 2023
•       Deadline for abstract submissions: Friday 10th February 2023
•       Notification of acceptance: from Monday 13th March 2023
•       Deadline for registration: Friday 14th April 2023

Our theme for 2023 will be Representation.

In the early 1890s, the Czech composer Antonín Dvořák was invited to New York to become the director of the National Conservatory of Music of America. There he encountered African American music through the singing of Harry Burleigh, a talented singer and a scholarship student at the conservatory. Dvořák became convinced that African American music should become the foundation of the music of the United States saying, “These beautiful and varied themes are the products of the soil. They are American…your composers must turn to them. This must be the real foundation of any serious and original school of composition to be developed in the United States”.

While the influence of African American music in Jazz and popular music is undeniable, the story is very different in the world of American classical music. It is only very recently, for example, that the works of composers from underrepresented groups such as Florence Price or Julius Eastman are becoming more widely known.  Although it was founded in 1883, the Metropolitan Opera of New York, did not stage an opera by a black composer until 2021.

Of course, these issues are not unique to the USA. In Europe and across the world important communities and voices are not represented in our art, which raises important questions...

To what extent is our own subset of music guilty of underrepresenting certain groups?  What can we, as a community, do to address these issues? How can we ensure that our work encourages equality, diversity, and inclusion? What constitutes good practice in these areas?

Creative works, presentations and discussion addressing these questions and related themes are encouraged; as always, proposals for other relevant topics are also welcome.

Submissions should fall into one of the following categories:
•       20-minute paper presentations (with 5 minutes for questions)
•       35-minute lecture recitals (with 5-minutes for questions)
•       Fixed acousmatic works (up to 8 channel)
•       Acoustic instruments (with or without electronics)
•       Music and interactive systems (2 channel audio with video)
•       Audiovisual music (2 channel audio with video)
•       Workshops
•       Panel discussions
Please note that we are unable to provide performers or instruments. Contributors will be expected to make their own arrangements.
Submit your contributions at the following link: Submit
NoiseFloor 2023 will be held in person on our campus in Stoke-on-Trent, UK.
Registration: The fees are £65 for presenters and for attendees, £30 for students. Concessions will be available for students of Staffordshire University. There is no submission fee. Contributors are expected to attend the event.
More details to follow on our website: https://noisefloor.org.uk/

Music and Pleasure before the Law <https://www.ucd.ie/music/events/musicpleasurelaw/>
28-29 June 2023

University College Dublin



Keynote: Professor Suzanne Cusick



This conference seeks to step back from the traditional focus on how musicians or musical works represent specific sexual desires and identities to interrogate the larger institutional, administrative, and discursive forces that conterminously shape the history of music and sexuality. Intentionally returning to Foucault’s interest in the emergence and productivity of disciplinary practices, we invite paper presentations that examine moments where music and pleasure have been brought together before the law or, more generally, any authoritative discourse which purports to regulate human behavior. . Inviting scholars to share diverse historical and cultural situations, we intend to collectively and investigate the following questions:  To what extent have legal or doctrinal discourses considered music and sexuality as analogous issues? What are the shared tactics used to regulate or manage musical and sexual behaviors? What actions have been taken by marginalized individuals or groups to undercut, evade, or reform discourses that limited musical and sexual freedom? What methodological, theoretical, or conceptual resources are needed to tackle such issues? Responding to these questions, we hope to consider how our reactions to contemporary sexual politics can draw from those who have previously encountered the varied, but historically persistent forces that attempt to bring order to the unruly world of sexual and musical experience.



Possible topics include:

-Laws, canons, and regulations pertaining to music and sexual behavior.

-Exemplary scandals or court cases in the history of music and sexuality.

-Regulation of performers’ sexuality (either real or imagined).

-Music and sex under colonial administration.

-Transnational and comparative studies of music and law.

-Policing tactics, censorship, or punishment of sexual/sonic transgressions.

-Foucauldian approaches to the history of music and sexuality.

-Biopolitics, reproduction, and the normalization of music/sound.

-Definitions of musical or sonic obscenity.

-Musical/sonic pleasure and morality.

-Music and (sexual) repression.

-Music and (sexual) liberation or protest.



Abstracts (max. 300 words) should be submitted through the conference website by 5 February 2023: https://www.ucd.ie/music/events/musicpleasurelaw/ <https://www.ucd.ie/music/events/musicpleasurelaw/> While preference will be given to those who can intend in-person, we are happy to consider proposals for remote presentations to allow for those unable to travel to Dublin to participate. Applicants will be notified of their acceptance by 20 February 2023 and all papers will be considered for publication as part of a peer-reviewed journal special issue.



All inquired can be directed to Dr. Kyle Kaplan and Dr. Matthew Thomson at Questo indirizzo email è protetto dagli spambots. È necessario abilitare JavaScript per vederlo..

CFP DEADLINE: Sunday 5 February 2023

TITLE: «Music and the Figurative Arts in the Baroque Era»

organized by
Centro Studi Opera Omnia Luigi Boccherini
Societat Catalana de Musicologia

Barcelona, Institut d’Estudis Catalans, 10-12 May 2023

Website: https://www.luigiboccherini.org/2022/08/01/music-and-the-figurative-arts-in-the-baroque-era/

Keynote Speakers:
• Jordi Ballester (Societat Catalana de Musicologia/UAB)
• Florence Gétreau (Centre national de la Recherche Scientifique, Paris)

The official languages of the conference are English, French, Italian and Spanish. Papers selected at the conference will be published in a miscellaneous volume.

All proposals should be submitted by email to <conferences@luigiboccherini.org <mailto:conferences@luigiboccherini.org>> not later than Sunday 5 February 2023.

For any additional information, please contact:

Dr. Massimiliano Sala
Questo indirizzo email è protetto dagli spambots. È necessario abilitare JavaScript per vederlo.g <mailto:conferences@luigiboccherini.org>

L'Università di Pavia bandisce un concorso per l’assegnazione di n. 2 borse di studio dell’importo di
€1.500,00 lordo percipiente ciascuna, rivolte a studenti meritevoli e bisognosi o in stato di svantaggio,
intitolate alla memoria di Fulvio Tripiciano grande appassionato di musica. Le borse sono finanziate
dall’Associazione Fulvio Tripiciano impegnata nell’avvicinamento alla musica e all’arte e nella
diffusione della cultura musicale con particolare riferimento ai generi Blues, Rock e Pop.

Le borse sono destinate a studenti che presentino un progetto di tesi nell’ambito delle discipline legate
alla ricerca sulla popular music iscritti rispettivamente al terzo anno del corso di laurea in Musicologia
e al secondo anno del corso di laurea magistrale in Musicologia di questo ateneo.

The 13th Music in Nineteenth-Century Britain conference will take place at The Open University, Milton Keynes, 28-30 June 2023.  The Programme Committee invites proposals for presentations as follows:

•       Individual papers up to 20 minutes and lecture recitals up to 45 minutes in length (with additional time for questions and discussion)
•       Group presentations (e.g. round table or panel) up to two hours in length
•       Papers and presentations may focus on any aspect relevant to music in Britain, in the long nineteenth century (approximately 1789 to 1914)

Please send proposals to the conference mailbox Questo indirizzo email è protetto dagli spambots. È necessario abilitare JavaScript per vederlo., in the following format:

•       Individual Papers: abstract up to 250 words
•       Lecture recitals: abstract up to 250 words; please indicate the length of your session
•       Group Presentation: overall rationale up to 300 words, individual abstracts up to 200 words; please indicate the length of your session

Please include a note of any specialist technical needs (audio visual equipment for powerpoint, sound and video recordings will be provided as standard; a piano will be available for lecture recitals). 

The deadline for submissions is Wednesday 1 February 2023.  Notification of acceptance will be issued by 28 February, and a draft conference programme will be published by the end of March.  Conference bookings will open in April 2023.  The conference will be held both in person and online.

Programme Committee:
Dr Rosemary Golding (The Open University),
Dr Helen Barlow (The Open University),
Dr Martin V. Clarke (The Open University),
Prof. Rachel Cowgill (University of York),
Dr Rachel Johnson (The Open University)

Music and Sound in Francophone Audiovisual Media

14th Annual Meeting of the Study Group MaM (Music and Media)

The Music and Media (MaM) Study Group of the International Musicological Society (IMS) invites proposals for its 14th annual international conference. The meeting will be hosted by Université d'Évry Paris-Saclay, and is scheduled to take place on 19-21 June, 2023.

We welcome proposals that examine the theoretical and practical implications of Francophone audiovisual media. ‘Media’ here covers both classic audiovisual media (cinema, television – series, shows, advertisements, etc.) and new media (internet, streaming, video and audio platforms, social networks [Instagram, YouTube, TikTok, Facebook...]). We therefore encourage scholarship from a wide range of interdisciplinary approaches—musicology, film studies, ludomusicology, composition, etc.

Conference topics may include, but are not limited to:

1) Music, sound and genre in French fiction (film, television);

2) Music and sound in the French documentary film;

3) New Audiovisual Waves;

4) Approach and dissemination of music and sound in new French-language media;

5) Sound and adaptation in foreign languages (questions of translation, dubbing and subtitling.

Invited keynote speakers are Dominique Nasta (Université Libre de Bruxelles, Belgium) and James Deaville (Carleton University, Canada).

Deadline for proposals: 31 January, 2023.

Each speaker will have 20 minutes for the paper (in French or English) plus 10 minutes for discussion.

Please include as PDF or Word file: an abstract of no more than 250 words, a biographical note of no more than 150 words, contact details including academic affiliation, if applicable. Proposals should be for papers that have not been previously presented or published. Please send proposals to: Questo indirizzo email è protetto dagli spambots. È necessario abilitare JavaScript per vederlo. <mailto:chloe.huvet@univ-evry.fr>.

The Program Committee includes Chloé Huvet and Grégoire Tosser (Université d'Évry Paris-Saclay), Jérémy Michot (Université de Perpignan Via Domitia) and Emile Wennekes (Utrecht University; Chair MaM).

For more detailed info : https://studygroupmam.com/

Two fully paid four-year Ph.D. studentships are advertised at the Department of Musicology at Uppsala University.

Please spread the advertisements far and wide to all potential candidates!

LINK: https://www.uu.se/en/about-uu/join-us/details/...<https://www.uu.se/en/about-uu/join-us/details/?positionId=575068&fbclid=IwAR2hwVw09APCM63pVXzng75kHYkPHGX_FrlyE7WzmRF6L9m3k9LkvsLHC-Y>

Borsa di studio bandita dal Centro Studi e Ricerche dell'Archivio Bergamasco. 

In allegato il bando della Borsa Circolari relativo a progetti sulla storia di Bergamo o della sua provincia: istituzionale, giuridica, economica, sociale, culturale, senza limiti cronologici o vincoli tematici.

Collaborative PhD Studentship: Moving Pictures, Music, and Theatrical Exhibition in London, 1914-c1930

Applications are invited for a fully-funded AHRC collaborative PhD studentship, held at the Music Department of Royal Holloway, University of London<http://www.rhul.ac.uk/music> and  The  London Metropolitan Archives<https://www.cityoflondon.gov.uk/things-to-do/history-and-heritage/london-metropolitan-archives> (LMA) on the theme ‘Moving Pictures, Music, and Theatrical Exhibition in London, 1914-c1930’. The studentship commences in autumn 2023. Full details are here: https://www.royalholloway.ac.uk/research-and-teaching/departments-and-schools/music/news/collaborative-doctoral-award-studentship-moving-pictures-music-and-theatrical-exhibition-in-london-1914-1930/

The student’s project will draw on LMA documents recording discussions and decisions concerning the licensing of London’s theatres (including its picture theatres) as well as the planning of ‘luxury’ buildings at this time. It will be supported by research training activities at Royal Holloway, and funded by the technē AHRC Doctoral Training Partnership<http://www.techne.ac.uk/>.

This studentship is open to both UK and International applicants. (Royal Holloway will cover the difference between Home and OS fees.)

The deadline for receipt of applications (including two references) is Wednesday 24th January 2023. Interviews will be held on Thursday 9th February 2023.

If they wish, candidates could also apply for the general technē funding competition<https://www.royalholloway.ac.uk/research-and-teaching/departments-and-schools/music/news/ahrctechne-doctoral-studentships-2023/> by the earlier deadline of 16th January. This would open up two possible routes to a funded PhD.

Informal enquiries to Professor Julie Brown (Questo indirizzo email è protetto dagli spambots. È necessario abilitare JavaScript per vederlo.).

“Instruments, Interfaces, Infrastructures: An Interdisciplinary Conference on Musical Media”

Harvard University Department of Music, May 11-13, 2023

Deadline for submissions: Friday, January 13, 2023

We are pleased to announce a three-day conference bringing together researchers and artists from a variety of music-related disciplines for a dialogue on the interconnected themes of instruments, interfaces, and infrastructures.

As evidenced by the rise of “new” organologies, there is growing interest among music scholars in studying instruments as epistemologically loaded objects that encapsulate knowledge of sound and mediate sonic practices. Our conference aims to extend this work into the interdisciplinary zones of interface studies and infrastructure studies. Bridging these discourses, the conference will open space for imagining new theories, methodologies, and practices that scale between different layers of musical media, showing how bodies, tools, and techniques are entangled in a dynamic web of material-semiotic relations.

The conference will feature three keynote speakers—musicologist Emily Dolan, sound artist and media scholar Tara Rodgers, and music theorist Sumanth Gopinath—each responding to one of the main conference themes. There will also be creative workshops and performances featuring the 40-loudspeaker HYDRA system of the Harvard University Studio for Electroacoustic Composition, as well as faculty-artists from the Electronic Production and Design (EPD) program at Berklee College of Music. Finally, conference attendees will be offered guided tours of acoustical artifacts at Harvard’s Collection of Historical Scientific Instruments, and researchers are invited to propose papers and panels focusing on these historical objects at hand.

The conference organizing committee welcomes proposals for individual papers, themed sessions, roundtables, workshops, and creative contributions. To foster an interdisciplinary space of collaboration, we encourage applications that respond to the conference themes from a broad range of disciplinary perspectives. We especially encourage proposals by scholars, artists, and activists working within and across Black, Indigenous, and other people of color, LGBTQ+ people, disabled people, and other underrepresented communities in the fields of music, media, and sound studies.

To apply, submit an abstract (350 words), short biography (150 words), and a list of five keywords describing your project. Optionally, you may also provide a select bibliography (1 page) and supplementary examples (1-2 pages), or in the case of creative proposals, a URL weblink to access audio/visual material (2-3 minutes).

The deadline for all proposals is at 11:59pm EST on Friday, January 13, 2023. Authors of accepted proposals will be notified in early February 2023. Email complete proposals to iiicon2023-at-gmail.com.

For more details, see conference website: https://sites.harvard.edu/instruments-interfaces-infrastructures/ 

Organizing Committee
Landon Morrison, lead organizer
Carolyn Abbate 
Michèle Duguay
Toru Momii
Alexander Rehding

Trinity Laban Conservatoire of Music and Dance is seeking to appoint a suitably qualified candidate to a part-time, hourly-paid fixed term teaching position from January 2023 to June 2023. The successful candidate will have expertise in the field of historical musicology and will be expected to contribute to the delivery of the Music, Culture and Society undergraduate module along with other teaching obligations. There is also an opportunity for the successful candidate to provide online tutorial support for the Faculty’s Certificate: The Practice of Music Making programme on a part-time, hourly paid fixed term basis from January 2023 to June 2023.

Job description and application details are available here:

https://jobs.trinitylaban.ac.uk/Vacancy.aspx?ref=321-22


Closing Date:   23.59 hours GMT on Sunday 01 January 2023

Interview Date:         Tuesday 10 January 2023

Call for Papers Music and Dance on East–West Axis:Correlations and Mobilities- Internationalscientific symposium - Organizers:Serbian Academy of Sciences and Arts: Institute of Musicology – Department ofArts, Istanbul University State ConservatoryLocation:Serbian Academy of Sciences and Arts, Belgrade (Serbia)Dates: September 4–6th, 2023 Thequestion of “Orient” inhumanities gained significant attention, especially after the landmark work ofEdward Said (1978). However, the issue of representation from the position ofpower was of a much older date, and the eurocentric perspective of the late 19th and 20th centuriesinfluenced comparative musicology and then ethnomusicology to a certain extent,due to the fact that ethnomusicology as a discipline isrooted in the observation of music of “theOthers”. Said’s work also affected academic discourse aboutquestions of (Middle) East wars and the history and social reflections of thereligions, and it was a necessary basis for postcolonial and deconializationstudies in global terms, which occupy a significant position in contemporaryethnomusicology (and musicology). Perceived from the aspect of“the crossroads between Eastand West” and the attitude of abandonment of burdening synonym forconflicting nations, the Balkans, as the main focus area for this symposium, isobserved as a field for research of correlations in music and dance heritage,as well as the space where/through music/dance and musicians/dancers aremigrating and moving.In the 21stcentury, the study of cultural relations through music and dance in theBalkans, with the idea of establishing historical and contemporary connections,has stimulated several international projects based on collaborativeethnomusicological, ethnochoreological and musicological research. The openingand growth of national “schools” for music and dance studies, as well as the interpretationof new primary sources, expanded the possibility of writing new histories of aregional character. The liminal position of the Balkans has inspired numerousdiscussions in global humanities about this region as a crossroads and a bridgebetween East and West, with a special emphasis on the spectrum of correlationsof Oriental, Mediterranean and Balkan cultures. On this occasion, a rethinkingof the East would be encouraged, with a special focus on establishing commonheritage, practices and tendencies in music and dance – from new applicationsand interpretations of the concepts of Orientalism and postcolonialism to thepresentation of the results of a structural analysis of presumed Easterninfluences in a broader sense.Thiscombination of joint research of international scholars and the fluidity of theEast–West axis points not only to comparative methods, but also to theexamination of current theoretical concepts. By following the process andconsequences of historical and contemporary migrations, the questions of musicand dance in multi-ethnic environments, transnational music and/or dance forms,mobility of musicians and dancers, music and dance in the diaspora are openedup; today they can be of interest to the musicological, ethnomusicological andethnochoreological research teams in the widest geographical frameworks. In thecontext of the investigations of music and dance in the Balkans, it would beparticularly important to build upon the previous studies of complex music anddance phenomena by focusing on the aforementioned aspects of movement.Thesymposium is planned as part of the TRackeRS bilateral cooperation project andselected papers will be published in an edited book in 2024 (editors: MarijaDumnić Vilotijević, Abdullah Akat; publisher: Institute of Musicology SASA).Thelist of topics of the symposium includes (but it is not limited to):- music anddance of the Slavic and Turkish people in the post-Ottoman context;- Pan-Balkanmusic and dance practices in the context of heritage;-scientific, artistic and performative interpretations of the Orient in musicand dance practices;- music anddance in the context of migration;- music anddance in the diaspora;-methodologies of collaborative research in musicology, ethnomusicology andethnochoreology. KeynoteSpeaker: Jim Samson,Fellow of the British Academy; author of Music in the Balkans(Leiden: Brill, 2013) and co-author of BlackSea Sketches: Music, Place and People (London: Routledge, 2021) Submission guidelines:Eachproposal (sent as .DOC or .DOCX file) should include: the author’s name andaffiliation, e-mail address; an abstract (no more than 300 words); a shortbiography (no more than 100 words). The proposal should be submitted to: Questo indirizzo email è protetto dagli spambots. È necessario abilitare JavaScript per vederlo.mby the deadline of April 1st, 2023. All authors will be notifiedabout acceptance by May 1st, 2023.Preliminary program will beannounced by June 1st, 2023, and the book of abstracts will be publishedby August 15th, 2023.Conferencehall is equipped with computer, internet, and sound and projection facilities.Theofficial language of the conference is English.Moreinformation about organizational details will be announced in 2023. Program Committee:AbdullahAkat (Istanbul University State Conservatory, Türkiye)VencislavDimov (Institute of Art Studies BAS, Bulgaria)MarijaDumnić Vilotijević (Institute of Musicology SASA, Serbia)AleksandarFotić (Faculty of Philosophy of the University of Belgrade, Serbia)MehmetHacısalihoğlu(Ludwig-Maximilians-Universität, Germany)JelenaJovanović (Department of Arts SASA, Serbia)MarkoKölbl(University of Music and Performing Arts Vienna, Austria)DankaLajić Mihajlović (Institute of Musicology SASA, Serbia)IreneMarkoff (York University, Canada)BiljanaMilanović (Institute of Musicology SASA, Serbia)IvanaMedić (Institute of Musicology SASA, Serbia)MehmetÖcal Özbilgin (State Turkish Music Conservatory of Ege University, Türkiye)ZdravkoRanisavljević (Faculty of Music of the University of Arts in Belgrade, Serbia)JimSamson (British Academy, United Kingdom)KatarinaTomašević (Institute of Musicology SASA, Serbia)SonjaZdravkova Đeparoska (Faculty of Music of “St.Cyril and Methodius” University, North Macedonia)Sanja Zlatanović (Institute of Ethnography SASA,Serbia)

Call for Contributions to Edited Volume:
Name / Understand / Play: Reflecting on Metaphors in Music and Sound

** Please indicate interest by Feb 1, 2023.  You may also read more and register for upcoming informational sessions on Tuesday, 13 December (6pm PST) and Friday, 13 January (10-11am PST) via the FULL CALL at this link: http://tinyurl.com/PEERLabCfP **

How might reflecting on music’s many metaphors enhance our ability to think precisely, act ethically, and play creatively with music, sound, listening—and more broadly, life?

Our proposed edited volume will map networks of metaphors that structure music discourse; trace their musicological, social, and political repercussions; grapple with current metaphors; and offer up new ones for consideration. We seek essays that dislodge the fixed, open the closed, and enliven the ossified metaphors of the music disciplines.

We invite personal reflections, ethnographic case studies, genealogical critiques, and other forms of prose that seek to dislodge the fixed, open the closed, and enliven the ossified metaphors of the music disciplines.

Proposals comprise of (in no more than 400 words total): 1) a short reflection on your experiences with metaphors in music 2) a short abstract, and 3) a single sentence that embodies your proposed essay’s energy and style.

For questions and more information, please visit the FULL CALL at http://tinyurl.com/PEERLabCfP or contact co-organizers Nina Sun Eidsheim, J. Martin Daughtry & Daniel K.S. Walden at metaphors.in.music.volume@gmail.com<mailto:metaphors.in.musiQuesto indirizzo email è protetto dagli spambots. È necessario abilitare JavaScript per vederlo.>.

Call for Papers: Thirteenth Handel Institute Conference, 17-19 November 2023
Bridewell Hall, 14 Bride Lane, Fleet Street, London, EC4Y 8EQ

Sigfrid Karg-Elert im Kontext seiner Zeit

https://www.luigiboccherini.org/2022/12/01/musical-interpretation-and-performance-from-the-xixth-to-the-xxist-century/

«Musical Interpretation and Performance from the XIXth to the XXIst Century»
Bergamo, Fondazione MIA (Sala Locatelli)
10-12 November 2023

Keynote Speaker:
Rémy Campos (Conservatoire de Paris / HEM – HES-SO)

All proposals should be submitted by email no later than ***14 April 2023*** to <conferences@luigiboccherini.org>.

organised by
Centro Studi Opera Omnia Luigi Boccherini
Palazzetto Bru Zane

in collaboration with
IAM – Italian Institute for Applied Musicology
Fondazione MIA

The programme committee encourages submissions within the following areas, although other topics are welcome:

Musical work between text and performance
Creation and interpretation
Cultural elements beyond the performance
Performance practice, Historical Periods and Interpretation
Technical skills and musical interpretation
Performance and Improvisation
Musical experimentation and Happenings
Musical Genres and Performance
Interpretation and Social Identity
The relationship between performer and audience in the creation of a musical meaning
Musical interpretation and musical narrative
Thought and Gesture
Types of Reproduction and the Development of Musical Recording
The influence of recording on Composition and Concerts

The official languages of the conference are English, French, Italian. Papers selected at the conference will be published in a miscellaneous volume. Papers are limited to twenty minutes in length, allowing time for questions and discussion. Please submit an abstract of no more than 500 words and one page of biographical information.

For any additional information, please contact:

Dr. Massimiliano Sala

Questo indirizzo email è protetto dagli spambots. È necessario abilitare JavaScript per vederlo.g <mailto:conferences@luigiboccherini.org>
www.luigiboccherini.org <https://www.luigiboccherini.org/>

The Northwestern University Libraries' John Cage Collection is an extensive archive of primary materials documenting the life and work of the 20th century’s most revolutionary composer. Established by Cage in the early 1970s, the collection grew considerably over the following decades as Cage placed more and more materials at Northwestern until his death in 1992. Since then, the archive has been expanded further with acquisitions obtained through donation and purchase. As a major repository of original Cage materials, the collection supports the work of scholars worldwide and has been a source for many books, articles and dissertations. 

Established in 2013 to promote further use of the John Cage Collection, the Northwestern University Libraries John Cage Research Grant is a competitive award for one or more scholars whose research requires substantial on-site use of the Cage Collection.  

Funding

• Each year we will award one or more grants, up to a total of $3,000. 
• Grants will be awarded to reimburse expenses for transportation, accommodations, and meals for one or more on-site visits to Northwestern University Libraries for the purpose of research using the John Cage Collection.
  

Eligibility

• Open to academic and independent researchers. We encourage applications by those working in traditional academic practice as well as those whose research is interdisciplinary, or oriented towards creative arts and practices.
• There are no restrictions as to the applicant’s nationality or academic status.
  
• Research may be in any field (e.g., musicology, art history, philosophy, literature, cultural studies), but projects must concern an aspect of Cage’s life and work and must clearly demonstrate a need for extensive use of the Cage Collection. 

• Travel grants are not granted to researchers affiliated with Northwestern University. 
• Applicants who are not awarded the grant the first time they apply may resubmit in following years without prejudice.  
• An applicant may receive only one award for any one project as determined by the selection committee and Northwestern Libraries. 
• At the discretion of the committee and Northwestern University Libraries, the grant may be awarded to an individual applicant, a team, or divided among multiple applicants and/or teams. Further, if a suitable recipient is not identified among the applications received, we reserve the right to withhold the grant for that particular year. 

How to apply

To apply, please submit the following:

1. A project proposal (1,200 words max) that:

• Describes the proposed research
• Explains the significance of the collection materials to the project
• Proposes specific outcomes (e.g., dissertation, article, book, creative or artistic work) that will result from this research

2. A detailed budget indicating total amount requested with itemized list of projected expenses for transportation, accommodations, meals. Applicants should indicate any other sources of funding that will be applied to the project. For additional information on planning a budget, see allowable expenses and Out-of-Town Visitor Resources.

3. A curriculum vitae.

4. Applicants should arrange for one (1) confidential letter of recommendation from someone qualified to judge the quality, feasibility, and significance of the proposal and the qualifications of the applicant to successfully complete the project to be sent in support of their proposed project. Those writing recommendations should submit their letters directly to Questo indirizzo email è protetto dagli spambots. È necessario abilitare JavaScript per vederlo..

Applicants should submit the description, curriculum vitae, and budget by e-mail attachment (in PDF format) to Questo indirizzo email è protetto dagli spambots. È necessario abilitare JavaScript per vederlo..

Please note: The selection committee is unable to provide feedback with regard to unsuccessful applicants. 

Expectations

• All grant recipients will be required to submit receipts for expenses incurred and will be reimbursed, in accordance with Northwestern University policy. Reimbursements must be made within 30 days of last day of visit. 
• Grant awardees must conduct their research visit within the academic year following the grant being awarded (between September 1st and August 1st).
• Following their visit, grant recipients also will be required to submit a brief report [1-2 pages] summarizing their use of the Cage Collection and the status of their research.  

Questions? 

Contact Questo indirizzo email è protetto dagli spambots. È necessario abilitare JavaScript per vederlo.. 

"Benedicamus Domino"
Thursday 7 and Friday 8 September 2023, University of Oslo
Deadline for submission: 15 March 2023

For more than a millennium, the exclamation Benedicamus Domino ("Let us bless the Lord") has sounded in song several times a day, with various liturgical and ritual functions. This two-day conference explores the history of the Benedicamus versicle, its musical and poetic embellishments, and its sacred, secular, and material contexts across the fullest extent of the versicle’s wide chronological and geographical span.

We invite papers that intersect specifically with the Benedicamus Domino or its broader or parallel frames of reference. Themes include but are not limited to:

- New sources, new centres
- Theological and liturgical perspectives
- Poetic elaboration and troping
- Ritual contexts (e.g. processions, comparable versicles)
- Unwritten traditions and their written traces
- Female communities
- Medievalism and carols
- Young singers and pedagogy
- "Simple" polyphony
- Analytical case studies and approaches

Presentations may take the form of either a 20-minute individual paper or a 10-minute lightning paper (focused on a specific source or musical example). This is an English-language and in-person conference.

Please send abstracts of maximum 300 words to benedicamus-conference -at- imv.uio.no by 15 March 2023, with contact details and affiliation (if applicable). Notification of acceptance will be given by 31 March.

A conference webpage can be found at https://www.hf.uio.no/imv/english/research/projects/benedicamus-domino/benedicamus-domino-conference/benedicamus-conference-call-for-papers.html.

Organising committee:
Dr. Nicholas David Yardley Ball
Dr. Manon Louviot
Prof. Catherine A. Bradley
James R. Tomlinson

The conference is part of the project "BENEDICAMUS: Musical and Poetic Creativity for a Unique Moment in the Western Christian Liturgy c.1000–1500" led by Catherine A. Bradley and funded by a European Research Council (ERC) Consolidator Grant under the European Union Horizon 2020 Programme for Research and Innovation (Grant number 864174). 

CFP: The Expertise of the Musical Amateur
University of Music and Performing Arts, Graz
A Cooperation between the Institute for Music Aesthetics, Institute for Music Pedagogy, and the Center for Gender Studies
October 12th and 13th, 2023
Languages of the Conference: English and German
Deadline for Submissions: March 15, 2023

Keynote Speakers: Prof. Dr. Glenda Goodman, Associate Professor in Musicology, University of Pennsylvania, USA
Prof. Dr. Wolfgang Lessing, Professor in Music Pedagogy, Hochschule für Musik Freiburg, Germany

Web CFP: https://musikaesthetik.kug.ac.at/aktuelles/vortraege-und-symposien/symposien-tagungen-konferenzen/the-expertise-of-the-musical-amateur/ <https://musikaesthetik.kug.ac.at/aktuelles/vortraege-und-symposien/symposien-tagungen-konferenzen/the-expertise-of-the-musical-amateur/>


The terms amateur and expert come across, at first glance, as opposing concepts. While in the strictest terms, an amateur is someone who pursues music non-professionally, and thus not for financial gain or to make a living in general, it has been common to assume that most such musicians also usually have less musical skill than professionals, so much so that this has become a secondary part of the definition of the term. Yet many cases in music history and in today’s musical practices–including as studied within music pedagogy–complicate this association. Historically, many amateur musicians attained a professional level of skill, including women for whom a professional career in music was not possible. In the past and today, the boundaries between amateurism and professionalism have been ever fluid. Amateurs have crossed into the world of professional activity, and professionals have similarly become amateurs. In many music clubs such as wind orchestras, professional musicians have worked and still work closely together with amateurs, creating a shared expertise that connects both worlds. In instrumental teaching, there is also a tension between the ideas of professionalism and amateurism: on the one hand, students look up aspirationally to their professional teachers, and may wish to be professionals one day; on the other hand, in the vast majority of cases, the aim is for students to acquire the necessary know-how to be active as amateur musicians.

And perhaps most importantly, amateur music-making has often been praised precisely for its status as something outside of the paid musical professions. Qualities like a greater sincerity, originality, or openness to new ideas have been associated with amateur music-making, for example, and professionals have sometimes been described as being less well-suited to have these qualities due to the market demands on their work. These assumptions about amateurism have been persistent, potent, and deeply problematic historically and in recent discussions about amateurism, as they very often oversimplify distinctions in the musical contributions of amateurs and professionals.

The conference “The Expertise of the Musical Amateur” thus seeks to answer the following questions from multiple interdisciplinary angles: In what senses might amateur musicians be said to have particular, special types of expertise, and how might this expertise be best understood within a continuum of amateur and professional musical practices? To address this question, we invite contributions that take historical, pedagogical, aesthetic, ethnographic, or sociological approaches to the topic; contributions need not be confined to any particular historical period or geographic region.


Some possible topic areas might include (with an eye toward the larger question of “expertise):

-Gender, class, or race and amateurism

-Historical social contexts for amateur musical activity
-Pedagogical perspectives on amateurism in historical or current contexts

-Amateur contributions to music pedagogy

-Social interactions between amateurs and professionals

-Aesthetic qualities of amateur composition or performance

-Amateur (or its synonyms) as a pejorative or laudatory term in music

Please submit an abstract of no more than 350 words according to the following guidelines by March 15, 2023:
-Please send an email including your name and contact information and the title of your paper to Questo indirizzo email è protetto dagli spambots. È necessario abilitare JavaScript per vederlo. <mailto:Questo indirizzo email è protetto dagli spambots. È necessario abilitare JavaScript per vederlo..at>
-Please attach your abstract as a PDF, identifying it only by the paper title, so that your submission can be judged anonymously.

Questions can also be sent to the head of the selection committee, Ass.Prof.in Jennifer Ronyak, PhD MA, Questo indirizzo email è protetto dagli spambots. È necessario abilitare JavaScript per vederlo. <mailto:Questo indirizzo email è protetto dagli spambots. È necessario abilitare JavaScript per vederlo..at>

It's our pleasure to announce the upcoming special issue on “Design 
and Perception of Interactive Sonification” in the Springer Journal on 
Multimodal User Interfaces.

The title says it all. Submissions are welcome.

The Deadline for paper submission is 15 March 2023.
The estimated publication date is Autumn 2023.
You can find the CfP here:
https://interactive-sonification.org/sites/interactive-sonification.org/files/cfp-jmui.pdf

Low End Theories, an online conference about bass music & culture happening 19-20 May 2023.

Please see the call for papers and more information at www.lowendconference.com.
The deadline for submitting an abstract is 12:00 noon GMT, Friday 10 February 2023.

CNCS PG Conference 2023: The Nineteenth Century Now: Reassessing the Continued Role and Relevance of the Long Nineteenth Century

26 April 2023, Newcastle, United Kingdom

The Centre For Nineteenth-Century Studies (CNCS) invites papers (15 minutes) for our annual interdisciplinary Postgraduate conference.

The nineteenth century was a crucial period in the development of new ideas, transnational connections and the widespread professionalisation of disciplines ranging from history to the natural sciences. The Humanities as a whole face new challenges with increasing emphasis on societal impacts from research. Yet, these challenges also present opportunities for nineteenth- century studies to reassess and reshape themselves in new ways, incorporating developments such as the rise of digital humanities and interdisciplinary research methods. The Centre for Nineteenth Century Studies (CNCS) at Northumbria, Newcastle and Durham Universities invites papers that grapple with these developments, from nineteenth-century artefacts and texts to reflections on the place of nineteenth-century studies as a discipline. Papers that address the interdisciplinary nature of nineteenth-century studies are particularly encouraged.

Papers may address, but are not limited to, the following questions:

  *   How does the nineteenth century define itself across disciplines in a contemporary research context? What are the challenges that emerge within and across disciplines?
  *   How might nineteenth-century studies respond to recent projects such as decolonisation of the curriculum? And what does it mean to study the nineteenth century now?
  *   How and why do legacies of the long nineteenth century remain important to current society and culture?

Paper abstracts should be no more than 300 words in length and must be mailed to: Questo indirizzo email è protetto dagli spambots. È necessario abilitare JavaScript per vederlo.<mailto:Questo indirizzo email è protetto dagli spambots. È necessario abilitare JavaScript per vederlo.>. Please attach a biographical note of no more than 50 words with your abstract. The final deadline for abstracts is 10th February 2023 and successful applicants will be notified by 5th March 2023.

Primer Congreso Iberoamericano de Psicología de la Música y Cognición Musical - Tercera Circular


La Asociación Española de Psicología de la Música y la Interpretación Musical (AEPMIM), la Sociedad Argentina para las Ciencias Cognitivas de la Música (SACCoM) y la Associação Brasileira de Cognição e Artes Musicais (ABCM) invitan a participar en el Primer Congreso Iberoamericano de Psicología de la Música y Cognición Musical, a realizarse los días 12 al 15 de abril de 2023. 


El congreso será GRATUITO para quienes estén asociados a AEPMIM, SACCoM o ABCM, y la modalidad será virtual, con actividades presenciales en diferentes universidades iberoamericanas.


El plazo para el envío de propuestas se extendió, y las nuevas fechas son las siguientes:

Plazo para el envío de propuestas: hasta el 6 de febrero de 2023
Informe de resultados de evaluación: 6 de marzo de 2023

Los trabajos enviados  deberán tener una extensión máxima de 2500 palabras y enmarcarse en el área de la Psicología de la Música y la Cognición Musical, bajo algunos de los siguientes ejes temáticos: educación, salud y neurociencia, percepción, creación y performance, o ciencias sociales y humanas.

Para más información, les dejamos un PDF en Español y Portugués:

Tercera Circular (Español) >>>   /   Terceira Circular (Português) >>>



Sitio web del evento: https://congresos.unlp.edu.ar/1cipmus/

Info: Questo indirizzo email è protetto dagli spambots. È necessario abilitare JavaScript per vederlo., Questo indirizzo email è protetto dagli spambots. È necessario abilitare JavaScript per vederlo., Questo indirizzo email è protetto dagli spambots. È necessario abilitare JavaScript per vederlo.

Music and Pleasure before the Law
28-29 June 2023
University College Dublin

Keynote: Professor Suzanne Cusick

This conference seeks to step back from the traditional focus on how musicians or musical works represent specific sexual desires and identities to interrogate the larger institutional, administrative, and discursive forces that conterminously shape the history of music and sexuality. Intentionally returning to Foucault’s interest in the emergence and productivity of disciplinary practices, we invite paper presentations that examine moments where music and pleasure have been brought together before the law or, more generally, any authoritative discourse which purports to regulate human behavior. We especially hope to sustain conversations that are transhistorical and transcultural in order to consider how our reactions to contemporary sexual politics can draw from those who have previously encountered the varied, but historically persistent forces that attempt to bring order to the unruly world of sexual and musical experience.

Possible topics include:
-Laws, canons, and regulations pertaining to music and sexual behavior.
-Exemplary scandals or court cases in the history of music and sexuality.
-Regulation of performers’ sexuality (either real or imagined).
-Music and sex under colonial administration.
-Transnational and comparative studies of music and law.
-Policing tactics, censorship, or punishment of sexual/sonic transgressions.
-Foucauldian approaches to the history of music and sexuality.
-Biopolitics, reproduction, and the normalization of music/sound.
-Definitions of musical or sonic obscenity.
-Musical/sonic pleasure and morality.
-Music and (sexual) repression.
-Music and (sexual) liberation or protest.

Abstracts (max. 300 words) should be submitted through the conference website by 5 February 2023: https://www.ucd.ie/music/events/musicpleasurelaw/ While preference will be given to those who can intend in-person, we are happy to consider proposals for remote presentations to allow for those unable to travel to Dublin to participate. Applicants will be notified of their acceptance by 20 February 2023 and all papers will be considered for publication as part of a peer-reviewed journal special issue.

All inquiries can be directed to Dr. Kyle Kaplan and Dr. Matthew Thomson at music.pleasure.law -at- gmail.com. 

ELIGIBILITY

The Society makes available three funded dissertation-year fellowships each year. Any student registered in good standing for a doctorate at a North American* university who has completed all formal degree requirements except the dissertation at the time of full application is eligible to apply. The fellowships are not intended for support of the early stages of research: it is expected that a fellow's dissertation will be completed within the fellowship year.

Any submission for a doctoral degree in which the emphasis is on musical scholarship will be eligible.

*Includes all 23 countries in the North American continent

ELIGIBILITY

The Howard Mayer Brown Fellowship was established by friends of the late Howard Mayer Brown on the occasion of his sixtieth birthday. Intended to increase the presence of minority scholars and teachers in musicology, the fellowship supports one year of graduate work for a student at a U.S. or Canadian university who is a member of a historically underrepresented group, including, in the U.S., African Americans, Native Americans, Hispanic Americans, and Asian Americans, and, in Canada, aboriginal peoples and visible minorities (as defined by Canadian legislation). Preference will normally be given to candidates who are citizens or permanent residents of a North American* country. The award will not be made to those who already have full funding roughly equivalent to the amount of the Howard Mayer Brown Fellowship, regardless of whether it includes a teaching assignment, except on a non-stipendiary basis.

Students are eligible who have completed at least one year of full-time graduate work, intend to pursue a Ph.D., and are in good standing at their home institution. They should show evidence of academic excellence and promise of continuing achievement in music scholarship. Those in the earlier stages of the degree are particularly encouraged to apply. Students at a U.S. or Canadian university who are a member of a historically underrepresented group, including, in the U.S., African Americans, Native Americans, Hispanic Americans, and Asian Americans, and, in Canada, aboriginal peoples and visible minorities (as defined by Canadian legislation) are encouraged to apply. There are no restrictions as to research area, age, or sex.

*includes all 23 countries in the North American continent

COMPETITION AND APPLICATION PROCEDURES

Application deadline: 11:59pm EST, 3 February 2023

To apply for the Howard Mayer Brown Fellowship, you will be required to provide the following materials:

1. A personal statement (not to exceed 1,250 words) summarizing the applicant's musical and academic background and stating why they wish to pursue an advanced degree in musicology. Areas of research or specific topics that the applicant would pursue in the 2023-2024 academic year if supported by a Howard Mayer Brown Fellowship should be identified and discussed.
2. A summary statement, not to exceed 250 words, outlining areas of research or specific topics presented in the personal statement (item 1).
3. A curriculum vitae.
4. Samples of the applicant’s work (not to exceed thirty pages total), such as term papers, thesis chapters, or any published material. Writing samples should be clearly labeled as to their date and the purpose or context for which they were originally written.
5. Letters of support from three faculty members, one of which may be the letter of nomination. Letters should address the applicant's general intellectual and musical ability and how these might contribute to a successful career in scholarship and teaching. Letters of support must be requested using the reference request feature included in the application form, so have your reference names and emails handy when filling in the form. You may send these requests at any time, even before you are ready to submit the application.

IMPORTANT NOTES:

1. Start your application process early. You may save an incomplete form and continue later.
2. You MUST click the 'Submit' button at the end of the form to submit your application. Applications not submitted by the deadline cannot be considered.
3. Upon submission of your application form you will receive an email confirmation. You may also check the status of your application by signing into your Submittable account and clicking "My Submissions". If you have any questions, please contact  Questo indirizzo email è protetto dagli spambots. È necessario abilitare JavaScript per vederlo..

AWARDS

The fellowship carries a twelve-month stipend, currently set at $24,000. The recipient may also elect to accept the award on a non-stipendiary basis (thus freeing scarce resources for another). The fellowship is intended for full-time study. An equivalent major award from another source may not be held concurrently or consecutively unless the AMS award is accepted without a stipend. The fellowship is for one year and is not deferable or renewable. There are no provisions for the payment of tuition: it is hoped that graduate schools will provide tuition fellowships or waivers. The AMS encourages the institution at which the recipient is pursuing his or her degree to offer continuing financial support.

Fellows are selected in the spring and announced in the summer.

The Holmes / D’Accone Fellowship for dissertation research recognizes academic achievement and future promise in the study of opera. Any full-time graduate student registered in good standing for a doctorate at a North American* university who has had a dissertation proposal in the subfield of opera studies approved at the time of the application is eligible to apply, regardless of the stage of dissertation work.

*Includes all 23 countries in the North American continent

COMPETITION AND APPLICATION PROCEDURES

Application deadline: 11:59pm EST, 3 February 2023

To apply for the Holmes / D'Accone Dissertation Fellowship in Opera Studies, you will be required to provide the following materials:

1. A brief (1000 character) dissertation project description.
2. A dissertation prospectus. The prospectus should include a detailed rationale of the project (supported by, but not limited to, an assessment of relevant secondary literature), an overview of each chapter, all written in prose, as well as a bibliography, and a clear statement of progress to date. This document should include the name of your project, but omit personally identifying information, such as your name and institution.
3. Another writing sample, whether from the dissertation, a seminar paper, the text of a talk, or a work that is published or intended for publication. This document should include the name of your project, but omit personally identifying information, such as your name and institution.
4. You must also arrange for a letter from the registrar or departmental Director of Graduate Studies, attesting to having had the dissertation proposal approved. This must be requested using the reference request feature included in the application form, so have your attestor's name and email handy when filling in the form. You may send the request for this letter at any time, even before you are ready to submit the application.

Please note: letters of recommendation and a curriculum vitae are not required.

IMPORTANT NOTES:

1. Applicants must submit items 1-4, above, in an anonymous form, i.e., without name or evidence of institutional affiliation in any document (including text, headers, footers, footnotes, and document properties). Please be particularly careful not to name university-based sources of funding or other institutional information in the prospectus and timeline.
2. Start your application process early. You may save an incomplete form and continue later.
3. You MUST click the 'Submit' button at the end of the form in order to submit your application. Applications not submitted by the deadline cannot be considered.
4. Upon submission of your application form you will receive an email confirmation. You may also check the status of your application by signing into your Submittable account and clicking "My Submissions". If you have any questions, please contact Questo indirizzo email è protetto dagli spambots. È necessario abilitare JavaScript per vederlo..

AWARD

The Holmes/D’Accone Opera Studies Fellowship is awarded solely on the basis of academic merit. Fellows receive a six-month stipend, currently set at $14,500. They may also elect to accept the award on a non-stipendiary basis (thus freeing scarce resources for others). Fellowships are not deferrable or renewable. The fellowship is intended for full-time study. It cannot be held concurrently with a comparable or year-long fellowship unless accepted on an non-stipendiary basis. It may be held consecutively with a short-term fellowship or short-term teaching/TA position, where short-term is defined as six months or fewer. Awardees who possess a full-year fellowship or teaching position from their home institution for the fellowship year must make arrangements to decrease their existing funding to a half-year stipend, or accept the Holmes / D’Accone fellowship on a non-stipendiary basis. There are no provisions for the payment of tuition: it is hoped that graduate schools will provide tuition fellowships or waivers.

Fellows are selected in the spring and announced in the summer.

The endowment carries the names of two music historians of the early modern period with long and distinguished careers at the University of California. William C. Holmes (1928–99), a scholar of 17th-century music who edited and wrote about operas by Cesti and Scarlatti before turning to the works of Verdi, was professor of music at the University of California, Irvine (1968–94). His Opera Observed: Views of a Florentine Impresario in the Early Eighteenth Century was published by the University of Chicago Press in 1993. Music Observed: Studies in Memory of William C. Holmes appeared in 2004 (Detroit Monographs in Musicology / Studies in Music, no. 42; Harmonie Park Press).

Frank A. D’Accone was professor of music at UCLA (1968–94), where he served as chair of the Departments of Music and Musicology. He has published extensively on Renaissance music in Tuscany and has edited and written about Scarlatti’s first opera. His foundational work, including many editions, has documented the lives and works of a number of Florentine composers as well as musical practices of their times. He served as general editor of Corpus mensurabilis musicae (1983–2002) and co-editor of Musica Disciplina (1989–2002). His The Civic Muse: Music and Musicians in Siena During the Middle Ages and the Renaissance was published by the University of Chicago Press in 1997. A Festschrift, Musica Franca: Essays in Honor of Frank A. D’Accone, appeared in 1996 (Pendragon). D’Accone is a member of the American Academy of Arts and Sciences, and he was named Honorary Member of the Society in 2006.

The Endowment was established by Frank D’Accone in memory of Bill Holmes.

The Department of Arts and Cultural Studies, Faculty of Humanities at the University of Copenhagen invites applications for a 3-year fixed-term (non-tenure-track) Assistant Professor position in Musicology from 1 September 2023 or as soon as possible thereafter. We are seeking a music scholar, appointable at the level of Assistant Professor, with research and teaching expertise in music history. Teaching responsibilities will include both general introductory courses at the BA level and special topics courses at the BA and MA levels. The successful candidate will also be required to teach courses in music analysis.

We seek a colleague who values the integration of musical analysis in music historiographical research and considers it a tool for interpreting music as part of social and historical musical practices. The successful candidate will have a strong understanding of the current positions in and history of the discipline of musicology, and an awareness of ongoing theoretical and methodological challenges therein. The candidate will demonstrate a commitment to understanding the role of music history within the UCPH Musicology programme, and the corresponding pedagogical issues involved.

We seek a candidate with experience integrating musical practice into research and/or teaching contexts, or a desire to develop this facet of their research and pedagogy. Musical practices are understood here broadly to include musical performance and other types of creative music making, as well as practices pertaining to the teaching of music in secondary education institutions (the Danish ‘gymnasium’) and elsewhere, and, finally, musical practices related to professional musical life, the music industry, and the labour market.

The post of assistant professor requires research qualifications at least equivalent to those acquired through the completion of doctoral studies in this field. Application requirements and instructions can be found here:
https://employment.ku.dk/faculty/?show=158153&fbclid=IwAR1NJTDt2hYCvJDtMjkONeEVoSmk1vj3mKYDZRsr7afnfxao2mOfX81BxYc

The closing date for applications is 1 February 2023 at 23:59 CET. Only material in English, Danish, Norwegian, Swedish, German and French will be assessed. 

The Department of Arts and Cultural Studies, Faculty of Humanities at the University of Copenhagen invites applications for a 3-year fixed-term (non-tenure-track) Assistant Professor position in Musicology from 1 September 2023 or as soon as possible thereafter. We are seeking a music scholar with a specialization in pop music and digitalization. The successful candidate should have research and teaching expertise in one or more of the following areas: digital sound and music production, digital media and music technology, including software and hardware, distribution and reception and other relevant areas.

Teaching responsibilities will include both general introductory courses at the BA level and special topics courses at the BA and MA levels. The successful candidate will have a strong understanding of the current positions in and history of the field of popular music studies, and an awareness of ongoing theoretical and methodological developments and challenges therein. The candidate will demonstrate a commitment to understanding the role of pop music studies within the UCPH Musicology programme and the corresponding pedagogical issues involved.

We seek a colleague with experience integrating digital musical practice into research and/or teaching contexts, or a desire to develop this facet of their research and pedagogy. Practices are understood here broadly as all examples of digitalization in musical, sonic and music cultural fields or other digital musical practices, and as practices related to professional musical life, the music industry, and the labour market.

The post of assistant professor requires research qualifications at least equivalent to those acquired through the completion of doctoral studies in this field. Musicology at the Department of Arts and Cultural Studies at the University of Copenhagen is characterised by research and teaching that encompasses the study of all music and sound(s) that can be perceived aesthetically. You will be part of a research and teaching environment that includes musicological study of art and popular music traditions, ethnomusicology, and sound studies.

Application requirements and instructions can be found here:
https://employment.ku.dk/faculty/?show=158157&fbclid=IwAR08HnU8v0kLVZx3dn6L7vneJgQDpyzuqJ9pVn94HPmekcwcUo0pdRwEw8s

The closing date for applications is 1 February 2023 at 23:59 CET. Only material in English, Danish, Norwegian, Swedish, German and French will be assessed. 

The SMA’s annual Theory and Analysis Graduate Students (TAGS) Conference will be hosted by the Department of Music at University of Liverpool on Thursday 13 and Friday 14 April, 2023. The event provides a supportive and friendly environment in which postgraduates can gain experience in presenting their work and meet fellow researchers. Participants who do not wish to give a paper are also very welcome to attend.

International Medieval and Renaissance Music Conference (Medren Munich 2023)

Tenure-track Professorship in Cultural Musicology
More information and application link Vacancies (kuleuven.be)<https://www.kuleuven.be/personeel/jobsite/jobs/60166096>
Attention: Deadline 31 January 2023

The Arts Faculty of the University of Leuven is seeking to recruit a full-time tenure-track professor in musicology, specializing in the field of music and culture. The Leuven musicology department is relatively small, but internationally highly ranked, with a broad view on diverse musicological research domains. Located in one of the oldest university cities in the world, the department offers its professors a stimulating context for innovative research as well as autonomy in developing their own fields of interest.
Duties
Research
- to develop a research programme in the above-mentioned domain(s) through publications, projects, and conferences and/or study-days
- to maintain and strengthen existing collaborative links
- to recruit outstanding researchers both nationally and internationally

Education
- to supervise students at bachelor, master, and doctoral level
- to deliver excellent teaching in the assigned domains
- to maintain good relations with students

TEACHING RESPONSIBILITIES:
- Music History and Analysis: Global Perspectives – annually; 39 contact-hours; BA (9 ECTS)
- Seminar in Music History, Analysis, and Culture – every two years; 20 contact-hours; BA (7 ECTS)
- Music and Society –  every two years; 26 contact-hours; BA (4 ECTS)
- Music and Media – every two years; 26 contact hours; BA (4 ECTS)
- Analysis in Context – every two years; 39 contact-hours; MA (6 ECTS)
- Supervision of bachelor and master papers (usually written in Dutch)

In addition, some introductory courses and seminars with coaching responsibilities may be shared with other staff members after appointment (e.g., Introduction to Musicology, Music History Overview, Introduction to Music Theory, Research Colloquia, Internship Supervision).

(A fully revised musicology curriculum will begin in September 2023, simultaneously with this appointment. An overview of the new programme can be obtained from Prof. Pieter Bergé (Questo indirizzo email è protetto dagli spambots. È necessario abilitare JavaScript per vederlo.<mailto:Questo indirizzo email è protetto dagli spambots. È necessario abilitare JavaScript per vederlo.>). )

Service
- to work together with the other members of the department and the faculty
- to carry out administrative tasks and responsibilities
- to maintain good relations with colleagues both within the university and externally
- to take part in outreach and valorisation activities
Profile
Candidates are expected to:
- have a doctorate in musicology by the time of application
- have demonstrable expertise in cultural musicology, broadly understood. Possible relevant fields include: music and society (gender, eco-musicology, music sociology); music and media (television, film, gaming, audio culture); ethnomusicology (in both western and non-western cultures, post-colonial studies). This expertise should be apparent from publications, conference participation, and involvement in international networks
- have relevant, and positively evaluated, teaching experience at university level
- have teamwork skills and a collegial attitude
- be able to share musicological knowledge with a wider public
- integrate into Flemish and Belgian cultural life
Offer
- full-time appointment at assistant-professor level
- a tenure-track appointment for five years in the first instance (extendible by a year in the event of maternity-leave or serious illness), followed by an evaluation. If this evaluation is positive, the candidate will receive a permanent contract at the level of associate professor
- a starting grant of €100,000 if you cannot rely on substantial other funding
- practical support with regard to immigration and administration, housing, childcare, learning Dutch, partner career coaching, etc.
Interested?
Candidates are requested to submit:
- a covering letter
- a CV
- a research-plan for the coming five years (maximum 2 pages)
- a statement of teaching (maximum 2 pages)
Applications should be submitted in English, through the university’s job application platform.

FURTHER INFORMATION
The KU Leuven’s administrative language is Dutch. If, at appointment, you are insufficiently familiar, or entirely unfamiliar, with this language, the KU Leuven offers training that will allow you to take part in administrative meetings. Before you begin to teach in English or Dutch, you will be given the opportunity to acquire the necessary competence in these languages.

For more information please contact Prof. dr. Liesbet Heyvaert, tel.: +32 56 24 61 45, mail: Questo indirizzo email è protetto dagli spambots. È necessario abilitare JavaScript per vederlo.<mailto:liesbet.heyvaert@kuleuven.be> or Prof. dr. Pieter Bergé, tel.: +32 16 32 48 96, mail: Questo indirizzo email è protetto dagli spambots. È necessario abilitare JavaScript per vederlo.<mailto:Questo indirizzo email è protetto dagli spambots. È necessario abilitare JavaScript per vederlo..For> problems with online applying, please contact Questo indirizzo email è protetto dagli spambots. È necessario abilitare JavaScript per vederlo.<mailto:Questo indirizzo email è protetto dagli spambots. È necessario abilitare JavaScript per vederlo.>.
You can apply for this job no later than January 31, 2023 via the online application tool<http://www.kuleuven.be/eapplyingforjobs/60166096>
KU Leuven seeks to foster an environment where all talents can flourish, regardless of gender, age, cultural background, nationality or impairments. If you have any questions relating to accessibility or support, please contact us at Questo indirizzo email è protetto dagli spambots. È necessario abilitare JavaScript per vederlo.<mailto:Questo indirizzo email è protetto dagli spambots. È necessario abilitare JavaScript per vederlo.>.

Venezia, Fondazione Ugo e Olga Levi
10-15 luglio 2023
Sesto ciclo di seminari interdisciplinari per dottorati con discipline musicologiche

La Fondazione Levi bandisce quindici borse di partecipazione riservate a dottorandi di scuole di dottorato italiane con discipline musicologiche e, in subordine, a dottorandi italiani di scuole di dottorato straniere.

L’edizione 2023 di LEVI Campus si intitola Corpo, Voce, Suono e intende proporre ai partecipanti un approfondimento sulla centralità del corpo nella musica. Verranno proposte riflessioni storiche, teoriche e analitiche ad ampio spettro sulla risonanza emotiva e sulla dimensione speculativa della voce, e sull’importanza del suono nella produzione e nella fruizione della musica. Durante la settimana di seminari è anche prevista una componente esperienziale, con laboratori di danza rinascimentale e di canto corale.

The Future of Digital Editions of Music

28–30 March 2023

Northumbria University, Newcastle upon Tyne, UK

Proposals for 20-minute papers are invited for a conference on the future of the scholarly critical edition in the digital age. The conference will be part of an AHRC-funded network grant, ‘Digital directions for collected editions: keyboard music by British musicians before c.1700’, led by David J. Smith and Frauke Jürgensen.

The main focus for the symposium is to consider what a new infrastructure for collected editions of music might look like in the digital age. Such issues are limited to keyboard music, so discussion will not be restricted in terms of genre; the AHRC project involves the boards of Musica Britannica, Early English Church Music and The Purcell Society Edition as well as the music publisher, Stainer & Bell. 

We invite reflections from editors, musicologists, music technologists and computer scientists on their experiences of what has worked well in past digital editing projects and what has not, as well as a vision for the future of music editing in the digital domain. The following is indicative of areas that might be covered, but is not intended in any way to be prescriptive or restrictive:

• Sustainability in terms of data
• Financial sustainability and business models
• Case studies of existing projects
• New editorial methodologies and the role of the editor
• Technologies – the storing, processing, and presentation of musical data / musical notation
• Skillsets needed, now and in the future – technological, musicological, palaeographical
• Intersection between digital editions, Higher Education, and libraries
• Audiences and users of digital music editions

Abstracts of no more than 250 words should be sent by email to Questo indirizzo email è protetto dagli spambots. È necessario abilitare JavaScript per vederlo. by 27 January 2023; notifications concerning acceptance will be sent no later than 10 February. It may be possible to cover some travel and accommodation costs; priority will be given to independent scholars and ECRs.

The Conference: May 31st-June 2nd 2023, Mexico City

Organized by Universidad Autónoma Metropolitana and Instituto Tecnológico de Monterrey

https://www.nime2023.org/

Theme: Frugal Music Innovation

This year the theme of NIME 2023 will be Frugal Music Innovation. Among the topics listed below, we encourage everyone to propose topics where there are some (ideally most) of the Core Competencies of the Frugal Innovation Hub adopted by the Frugal Innovation Latin American Network(Spanish version) & the Frugal Innovation Hub from Santa Clara University (English version). These competencies or characteristics are:

• Human-Centric

• Simple

• Rugged

• Mobile

• Last-mile distribution

• Local

• Affordable

• Green

• Adaptable

• Lightweight

Besides the aforementioned characteristics, original contributions are encouraged in, but not limited to, the following topics.

• Novel controllers, interfaces or instruments for musical expression

• Augmented, embedded and hyper instruments

• Technologies or systems for collaborative music-making

• New performance paradigms for mobile music-making

• Music-related human-computer interaction

• Sensor and actuator technologies, including haptics and force feedback devices

• Musical mapping strategies

• Explorations of relationships between motion, gesture and music

• Evaluation and user studies of new interfaces for musical expression

• Evaluation and user studies of commercially available “off the shelf” interfaces

• Interfaces for musical expression for people with special needs

• Musical applications of robotics

• Interactive sound art and installations

• Performance rendering and generative algorithms

• Machine learning in musical performance

• Web-based music performance

• Software frameworks, interface protocols, and data formats, for supporting musical interaction

• Historical, theoretical or philosophical discussions about designing or performing with new interfaces

• Discussions about the artistic, cultural, and social impact of NIME technology

• Sonic interaction design

• Pedagogical perspectives or reports on student projects in the framework of NIME-related courses

• Practice-based research approaches/methodologies/criticism

• Music-related human-computer interaction

• User studies and evaluations of NIMEs

• Interactive sound art and sound installations

• New music performance paradigms

• Gesture to sound mapping

• Sonic interaction design

• Musical robotics

• Sensor and actuator technologies for NIMEs

• Interface protocols and data formats supporting musical interaction

• Machine learning and artificial intelligence in NIMEs \

• Pedagogical perspectives and/or student projects in NIME-related courses

Important Dates

All deadlines are 23:59 Anywhere on Earth Time Zone (UTC - 12)

Paper submission deadline: January 22nd, 2023

Music and Installation submission deadline: January 22nd, 2023

Work-In-Progress Showcases & Workshops submission deadline: January 22nd, 2023

Notification of acceptances and rejections: March 1st-7th, 2023

Camera ready submission deadline: April 10th, 2023

Early-bird registration deadline: April 14th, 2023

Pre-conference workshops: May  29th, 2023

Student consortium: May  30th, 2023

Summer School: May 25th-28th, 2023

The Conference: May 31st-June 2nd 2023

General Submission Guide:

NIME uses two steps for a submission: Create your submission on PubPub, our multimedia platform for publication and then submit it through CMT, our conference management system. To submit a paper to NIME 2023, follow these steps (an illustrated guide to this process is forthcoming):

1. Create an account on PubPub if you do not have one already.

2. Create a Pub — Click the "Create Paper Submission" button on the PubPub Submissions page. This will be your submitted paper and will eventually be published if accepted by the review process. Save the URL for future reference.

3. Follow this template to create your submission. The easiest way to follow the template is to copy-paste it into your own Pub, where it will be available for quick reference. Of course, you will ultimately delete or replace everything from the template with your own content.

4. Make sure your Pub is anonymous. Find the pencil icon beside your name, click on it, and uncheck the “List on byline” checkbox. Close out of the pop-up window. (Do not click on the “x” button next to your name, this will remove you as a contributor to your own Pub).

5. Download your Pub as a PDF. Find the "Download" button to the right of the title near the top of your Pub.

6. Upload the PDF to the CMT, NIME2023's conference management system.

Templates at PubPub

Submission portal

For submission guide by category please visit the webpage.

Call For Papers

We welcome submissions of original research on scientific and artistic development and use of new interfaces for musical expression.

There are three different paper submission categories:

• Full paper (up to 5000 words in proceedings, optional demo)

• Short paper (up to 3000 words in proceedings, recorded-video & poster presentation, optional demo)

• Demo paper (up to 1500 words in proceedings, recorded-video & demo presentation. The paper should include a link to audio-visual documentation showcasing the technology and/or activity to be demonstrated.)

Word counts include the article’s main text only.

Paper Review Process:

All paper submissions will be subjected to a rigorous double-blind peer review process by an international committee of experts. All of the submitted papers should demonstrate rigorous research methodology and will be evaluated according to the following criteria: novelty, academic quality, appropriateness of topic, importance, readability, ethical standards, and paper organization. Authors should also familiarize themselves with the NIME statements on diversity and environmental issues.

The review process is as follows:

1. Each paper submission will be assigned to at least 3 reviewers for independent evaluation.

2. A meta-reviewer will moderate a discussion amongst the reviewers, write a summary review, and recommend whether to accept the paper.

3. The paper chairs will make the final decision on paper acceptance and will inform the author(s) of their decision along with the reviewers’ comments.

Please note this review process is double-blind, meaning reviewers remain anonymous to the authors and vice-versa. It is expected that authors respect the NIME Ethical guidelines for NIME publications.

Presentation Format:

If the paper is accepted, authors will be asked to either present in person or provide a recorded video of the presentation for online presentation besides the camera-ready paper. All these files will be publicly available online.

Call For Music

NIME 2023 invites submission of proposals that showcase New Interfaces for Musical Expression in performance and composition. We look forward to receiving submissions that expand and reshape our understanding of NIME in the conceptualization, performance, and perception of music.

Typical NIME performance pieces last for 5-15 minutes, however, proposals for shorter or longer performances will also be accepted. Submissions can be for existing works as well as proposals for new ones.We highly welcome submissions from authors from under-represented communities along the lines of race, sex, gender, gender identity, age, ability, socio-economic background or status in and outside of academia.

If a music submission is selected for performance at NIME, proposing artists are expected to be available to perform their work on any day of the conference. The NIME 2023 organization is unable to consider requests for musical performances to happen on specific days.

Music Review Process:

Given the nature of music submissions, we understand that full anonymity may be difficult to achieve without compromising the supporting material. However, contributors should meet these basic criteria of anonymization:

• Avoid any trace of the authors’ names and affiliations in the written material.

• Use PubPub’s built-in media uploader to host video, audio or image files.

• Identity and affiliations of the author(s) should not be mentioned in the title, description or opening/closing credits of the submitted media.

The review process is as follows:

1. Each submission will be assigned to, at least, 3 reviewers for independent evaluation.

2. A meta-reviewer will moderate a discussion amongst the reviewers, write a summary review, and recommend whether to accept or reject the performance.

3. The music chairs will make the final decision on acceptance and will inform the authors of their decision along with the reviewers’ comments.

Presentation Format:

The presentation format will depend on the author’s location and their ability to travel to Mexico. If the author / performer is located outside of Mexico and can not travel to Mexico City, they will be asked to either prepare a prerecorded video or a live stream of their performance, which will be made publicly available. If the author / performer is located in Mexico or is able to travel to Mexico City for the conference dates, an in-person concert at a venue in Mexico City will be scheduled, which will be publicly live streamed and recorded.

Call For Workshops

NIME 2023 welcomes the submission of Workshop Proposals. Workshops may be in any area of NIME themes or topics.

Typical NIME workshops have been half-day or full-day workshops, with some specialized workshops with shorter times (one or two hours).

Besides the general submission process, a submission includes:

• Workshop Title

• Speaker List: Include Workshop organizer(s) with short bio(s) up to 200 words including background relating to proposed topic, and affiliation and contact information. Include additional speakers name(s), affiliation(s), and contact information.

• Workshop Description up to 750 words, clearly describing the topic and nature of the workshop.

• Short Description up to 70 words, for conference program.

• Preferred length of workshop (half-day, full-day, or number of hours).

• Description of technical and space requirements (e.g. projector, speakers, computers, soldering equipment, etc.), Please include information on contingencies for in-person, virtual, and blended modes, and whether virtual and blended formats are possible for this Workshop.

• Optional links to supporting audio, visual, and/or online documentation, e.g. a workshop web page. Any media materials should use an unrestricted streaming service such as Vimeo or Bilibili.

Workshop Review Process:

Workshops will be curated by the Workshop co-chairs and associated review committee, based on the Workshop proposal’s relevance to the NIME conference and conference theme, and feasibility. As a result, the feedback on these curated acceptances and rejections will be limited. Workshop proposal submissions are not anonymized.

Call For Work-In-Progress Showcase

We welcome the submission of proposals for demonstrations of work in progress accompanied by an extended abstract. This category is especially suitable for submissions from young professionals, students, and first-time NIME attendees.

Besides the general submission guidance  proposals should include:

PROPOSALS (COMPILED IN A SINGLE PDF) SHOULD INCLUDE:

• Abstract with demo description and technical introduction (300-500 words)

• Author bio(s) (200 words max)

• A link to audio-visual documentation showcasing the technology and/or activity to be demonstrated. The documentation link containing media materials should use an unrestricted streaming service such as Vimeo, YouTube or Bilibili.

Presentation Format:

If the submission is accepted, authors will be asked to provide a webpage/website to showcase their work. All materials will be publicly available online. Those who can visit Mexico City will have the opportunity to present their work in extra panel sessions and engage with the local NIME community.

Call For Art Installations

We invite submissions of art installations on new interfaces for musical expression. NIME 2023 will provide several locations that can be used to exhibit new music installation works. These are foyer location installations or room-based installations in connection to the conference venues. Authors could optionally provide a documentation video of the installation for the online attendees. Submitted proposals will be subject to a peer review process by an international expert committee. Documentation of the installations will be available online after the conference.

If an art installation is selected for exhibition at NIME and the proposing artists cannot attend the conference in person, we invite the artists to provide links and access that attendees can experience online.

Presentation Format:

If the Art Installation is accepted, authors will be asked to provide video documentation of the artwork, which will be made publicly available. If they are able to attend NIME23 in-person, they will be offered the opportunity to exhibit the installation on-site.

STUDENT CONSORTIUM

In 2022 the Doctoral Consortium was established for the first time. This year, the idea is extended to give opportunities to students at graduate and undergraduate level to discuss, perform, or demo their research. We welcome applications from students who would like to receive feedback from the NIME community on their conceptual, theoretical, technical and/or musical research components, and participate to an open discussion among peer students and senior scientists, interaction designers and computer musicians. Ideal candidates will be early-stage or mid-way through their program, presenting some concrete research content within the NIME topics yet with no conclusive achievements already at hand. Candidates should clearly explain their contribution to the Consortium as well as the expected benefit from participating in it.

There are two different categories:

• PhD students

• Undergraduates and Graduates students

SUBMISSION INFORMATION

Proposals will include the following entries:

proposal sections: title, keywords, research question/s/problem, context/theory, methods, the expected outcomes (what you hope to contribute and get from the Consortium), references/bibliography (not part of the word count) (optional) software, videos, audio recordings, blueprints documenting music interface concepts and physical prototypes, either uploaded along with the main document or hyperlinked from it

a short recommendation letter from the Supervisor, also clarifying the student's year of study, research objectives, method, and activity in the context of the Department/Research Lab where the PhD is done.

Selection Process

The Graduate & undergraduate Consortium committee will review and select a limited number of candidates via a curation process that considers the quality of their work, and its possibilities to contribute to the creation of a multidisciplinary, diverse, balanced and ethical discussion forum furthermore highly profitable for the participants. Duplicated material submitted also to other NIME calls will be immediately rejected from the Graduate & undergraduate Consortium.

At the conference

If accepted, based on your proposal, we will ask you to design a multimedia poster to both contribute to a live consortium discussion and virtual poster at the NIME conference. Each poster can include performances, demo, design, etc. The Student Consortium will run the day before the beginning of the main conference, on May 30th, with the Chairs actively participating in the event. Please note that the final posters won't be published in the NIME proceedings.

SUMMER SCHOOL

This year we are organizing a summer school programme to engage the local community by providing free NIME-oriented courses in Spanish for students from Mexican Universities and local practitioners. Courses may be imparted remotely as long as we can provide facilitators who can assist during the sessions. Likewise, students may join remotely if they cannot travel to Mexico to assist in person. If you wish to participate in the programme as a student or instructor, or just want to know more about the programme in general, please get in touch with Juan Martinez Avila. More details to be announced. 

OPEN JACK

This year, we are delighted to bring an Open Jack event to finalize the conference.

We aim to run it in the original format laid out in 2007 as part of the Sonorities Festival Belfast.

Analogue to common "open mic" events at traditional venues, open jack is an open forum for musicians and audiences interested in electronic music. From known personalities to local electronic music enthusiasts, open jack is for all to join, jam, improvise and share music making in real-time.

The idea is simple: Electronic Art Music lives outside academia, open jack is all about the music. No prizes, no awards, no recognition, no building up your CV, no 3 pages program notes explaining why anyone SHOULD like a performance or piece, no bringing your rehearsed stuff, no overthought over-structured compositions, no theories behind. Just live improvisation in a collective environment following the groove of the night.

 Rules are straightforward:

• Up to 4 performers on stage at a time.

• First come first plays basis.

• Performers are replaced one by one. Whomever enters the jam must join the music being played at that time.

• Any necessary setup is done by yourself as others are playing. You literally get one input into the mixer and are faded in when you are ready to play

At this stage, we are asking for an expression of interest so that we can arrange interesting combinations of musicians that might not have played together before, whilst keeping it open for local musicians and/or audience members to jump in and join the fun.

CFP: Columbia Music Scholarship Conference: Operatic Feminisms, Columbia University
Deadline for Abstracts: January 20th, 2023
Conference Date: March 25, 2023
The graduate students at Columbia University invite proposals for their upcoming Columbia Music Scholarship Conference, Operatic Feminisms: On and Off the Opera Stage, to be held in-person in New York City on March 25, 2023.

This day-long symposium bridges the worlds of scholarship, performance, and criticism to think through the possibilities for feminist opera studies and the work of women, including BIPOC and LGBTQ+ people, across all elements of opera production, both on and off stage. Public panels, workshops, and roundtables will feature scholarly work and discussions with professionals in NYC’s opera scene, including composers, producers, directors, critics, and opera singers coming together with scholars. Throughout the event, performances of operatic works by women both historical and living will introduce these pieces to audiences, culminating in the world premiere of three new operatic works by composers Tanner Porter, Nicole Balsirow, and Sofia Ouyang.

The committee invites submissions for:

Individual papers, either of scholarly or public nature of (20 minutes in duration followed by questions)
Lecture recitals of (20 minutes followed by questions and
discussion)

Possible themes may consider (but are not limited to):
Women, Opera, and the Archives
Rethinking “Opera,” Rethinking Performance
Opera Beyond the Composer: Production, Performance, and Patronage
Feminist Opera Scholarship: Past, Present, and Future
Opera in New York City and Beyond
Intersectional Opera: Race and Class On and Off Stage
Opera and/as Pedagogy
Trans Opera: Rethinking Voice and Gender

We welcome work from all areas related to opera, including but not limited to academic music studies. The conference is open to all participants both from within and outside academia. We encourage submissions from graduate students and early-career researchers.

Submission Guidelines:
Please submit a 250-word anonymized abstract describing your talk or performance to operaticfeminismscolumbia -at- gmail.com. Submissions are due on January 20th, 2023.
If you would like to be added to the email list to receive updates and further information, please visit the website, operaticfeminismscolumbia.com.
Please contact the organizers at OperaticFeminismsColumbia -at- gmail.com or through the conference website.

Critical Perspectives on Petrosonics



Royal Musical Association and British Forum for Ethnomusicology Affiliated Study Day



Thursday 11th May 2023, King’s College London and Online



Call for Proposals

The emergence of a broad field of energy humanities in recent years has generated interest in the relationship between energy and society, and in cultural and artistic dimensions of energy exploration and extraction. This includes research on resulting global entanglements and colonial/neo-colonial relationships. There has to date, however, been relatively little work that focuses on the musical and broader sonic implications of energy regimes and infrastructures, and few studies to suggest how sound might contribute to energy humanities more broadly.



This study day aims to open up a space to discuss energy sonics, with a particular focus on oil and other fossil fuels. Topics might include but are not limited to:



•         Sounds of fossil fuel exploration and extraction

•         Sonics of ‘oil towns’

•         Creative practice that engages with sounds produced by fossil fuels, their extraction, refinement and processing etc.

•         Sounds of energy company promotional films

•         Sounds of colonial/neo-colonial relationships engendered through fossil fuels

•         Sounds of decarbonization and environmental justice

•         Sounds of social unrest and conflict related to fossil fuels (strikes, revolution, etc.)

•         Energetic and political infrastructures of voice and voicing produced by and through fossil fuels (e.g. via Big Oil), and strategies of listening to and against these voices

•         Material implications of petro-derived products used in the production and consumption of music (carbon microphones, plastics, etc.)



Proposals are invited for 20-minute presentations, followed by 10 minutes of questions and discussion. We also welcome proposals for presentation of sonic practice work.



Please send proposals and any enquiries to Questo indirizzo email è protetto dagli spambots. È necessario abilitare JavaScript per vederlo.<mailto:pQuesto indirizzo email è protetto dagli spambots. È necessario abilitare JavaScript per vederlo.>



Deadline for submission: Friday 20th January 2023. We aim to get back to proposers by mid-February.



We will be offering a number of student/unsupported scholar/EDI bursaries towards travel costs, supported by the RMA and BFE. Details to follow in due course.



Convenors:

Annette Davison, University of Edinburgh

Laudan Nooshin, City, University of London

Gavin Williams, King’s College London

Music Research Forum is currently accepting scholarly articles in the field of music from outstanding graduate students and young professionals. The deadline for submissions for Volume 37 (to be published in late summer 2023) is Wednesday, January 18, 2023.

Music Research Forum is a peer-reviewed journal published annually by the Graduate Student Association of the University of Cincinnati College-Conservatory of Music. Articles will be considered in any area of music scholarship, including but not limited to musicology, theory, composition, ethnomusicology, ludomusicology, music education, electronic media, and criticism. Particularly encouraged are submissions relating to studies surrounding diversity, equity, and inclusion, popular music, gender and sexuality, trauma, disability, and social justice. Faculty are highly encouraged to pass this information along to students and recent graduates.

For over 30 years, Music Research Forum was printed and distributed to a subscriber base. Since Volume 32, Music Research Forum has been published on an open access, online platform which allows for the publication of articles with media components (see Music Research Forum).

Please contact the current editor, Abigail M. Ryan, at musforum -at- ucmail.uc.edu with any further questions or visit MRF online at https://journals.uc.edu/index.php/mrf/index .

SUBMISSION GUIDELINES
Please send documents that adhere to the following requirements:
• Submit to Music Research Forum Article Submissions.
• Submit a Microsoft Word (.docx, .doc) file. Articles should be double-spaced and between 3,000 and 5,000 words in length.
• Include a cover sheet listing the author’s name, email address, phone number, postal address, and academic affiliation.
• Include an abstract of no more than 250 words.
• All materials, including footnote/endnote and resource list citations, should conform to The Chicago Manual of Style (17th edition) and to the style and submission specifications outlined in the MRF Author Guidelines.
• Articles that include music, audio, and video examples are encouraged, all rights to be cleared by the author. Please send separate image, sound, and video files, even if the media should appear embedded in the text. We accept the following media formats:
o image (.tiff, .pdf, .jpg)
o typeset music (.emf, .pdf, .svg, .eps)
o sound (preferably uncompressed audio: .wav, .aiff)
o video (.avi, .mp4, .flv) 

Deux journées d’étude

Piano et pianistes dans le jazz aujourd’hui : panorama, héritages et perspectives
7 et 13 avril 2023, Tours (Département de musicologie), Toulouse (Maison de la recherche)

Les disparitions récentes de McCoy Tyner puis de Chick Corea, l’interruption de carrière de
Keith Jarrett, ou encore le statut de légendes vivantes acquis par Ahmad Jamal ou Herbie
Hancock évoquent un âge d’or bientôt révolu du piano jazz. Notre siècle a vu et voit encore par
ailleurs s’affirmer de nouvelles figures influentes de l’instrument, au premier rang desquelles
celle de Brad Mehldau. D’autres personnalités ou groupes constitués illustrent les différentes
directions prises par le piano dans le jazz – ou par le jazz à travers le piano – depuis le tournant
des années 2000 : Vijay Iyer, Craig Taborn, Matthew Shipp, Sylvie Courvoisier, Bojan Z,
Stefano Bollani, les trios E.S.T., The Bad Plus, etc. Au-delà de ces quelques noms, un grand
nombre de pianistes œuvrent aujourd’hui à prolonger ou revisiter les traditions qui les
précèdent, d’autres partent en quête de voies plus singulières. Sur cette nouvelle génération,
est-il possible d’évaluer l’influence des maîtres du siècle dernier cités plus haut (auxquels il
faudrait ajouter Bill Evans, Cecil Taylor, Martial Solal ou Joachim Kühn) ? A-t-elle intégré
l’apport des maîtres du stride ou de Duke Ellington, l’incontournable empreinte de Thelonious
Monk ou d’autres stylistes du bebop, les alternatives proposées par Lennie Tristano ou Dave
Brubeck ? Si l’on considère la variété des répertoires populaires et savants auxquels est associé
le piano, ou l’étendue de ses transformations possibles (piano préparé, piano augmenté), les
pianistes de jazz ne seraient-ils pas véritablement au cœur du laboratoire de création permanente
qu’est le champ jazzistique ?
Sur la base offerte par ces questionnements, deux journées d’étude sont organisées à Tours et
Toulouse afin de préparer un colloque international prévu pour l’automne 2024 sur les sites des
deux universités.
Parmi les sujets pouvant donner lieu à des propositions de communication :
- Figures dominantes de la seconde moitié du XXe siècle et/ou de la scène contemporaine
- Maîtres·ses et élèves, influences et filiations : quelles généalogies pour le piano jazz ?
- Instruments, traitements gestuels ou sonores, dispositifs
- Le trio de piano, ses modèles, ses répertoires, ses extensions
- Identités, traditions, frontières du piano jazz
- Le piano jazz à la rencontre des musiques savantes, populaires et traditionnelles
- Quand les non-pianistes se mettent au piano (Anthony Braxton, Jack DeJohnette, etc.)
- Piano et pianistes de jazz à l'écran, dans la littérature, au théâtre, etc.

Bibliographie restreinte :
Amestoy (Jean-Luc), Brad Mehldau et le lâcher-prise. Une approche comportementale de
l’improvisation musicale, Doctorat, Université Toulouse Jean Jaurès, 2016.
Ballin (Scott), A Formulaic Analysis of Three Performances from Chick Corea’s Recording:
Now He Sings, Now He Sobs, Ph. D., Five Tows College, 2013.
Barakat (Alexandra), Improvisation(s) solo au piano : Keith Jarrett (The Köln Concert).
Mouvement(s) et frontière(s), Doctorat, Université Aix-Marseille, 2015.
Beuttler (Bill), Make It New. Reshaping Jazz in the 21th Century, s.l., Lever Press, 2019.
Caporaletti (Vincenzo), Florin (Ludovic) & Franco (Maurizio), Blue Etude 2 di Enrico Intra è
Enrico Pieranunzi. Una poesia europea musicale colorita, Lucca, Libreria Musicale
Italiana, 2021.
Cotro (Vincent), « Martial Solal, un et multiple », Cotro (V.), Cugny (Laurent) & Gumplowicz
(Philippe), La catastrophe apprivoisée. Regards sur le jazz en France, Paris, Outre
Mesure, 2013, p. 257-76.
Elsdon (Peter), Keith Jarrett’s The Köln Concert, New York, Oxford University Press, 2013.
Florin (L.), « Entretien avec Brad Mehldau », Mehldau (Brad), André (Philippe), Elegiac
Cycle, Paris, Outre Mesure, 2011, p. 19-45 (traduction V. Cotro).
Florin (L.), Chick Corea, Paris, Éditions du Layeur, 2021.
Freeman (Phil), Ugly Beauty. Jazz in the 21st Century, Alresford, John Hunt Publishing, 2021.
Sarrazy (Marc), Joachim Kühn. Une histoire du jazz moderne, Paris, Editions Syllepse, 2003.
Shipton (Alyn), Handful of Keys: Conversations With Thirty Jazz Pianists, New York,
Routledge, 2004.
Wallman (Johannes P.), The Music of Herbie Hancock: Composition and Improvisation in the
Blue Note Years, Ph. D., New York University, 2010.

Propositions +/- 150 mots et bref CV (5-10 lignes) à envoyer avant le 15 janvier 2023 :

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Langue des communications : français, anglais. Visioconférence possible.
Vendredi 7 avril (10h-18h), Département de musique et musicologie, université de Tours
(organisation Vincent Cotro, ICD)
Jeudi 13 avril (10h-18h), Maison de la Recherche, université Toulouse Jean-Jaurès
(organisation Nathan Arnoult et Ludovic Florin, LLA-CREATIS)
Organisation et prise en charge :
Merci de bien vouloir indiquer votre disponibilité pour l’une au l’autre des deux journées. Un
concert aura lieu au Petit faucheux de Tours le 7 avril (20h) autour du projet Pianoïd d’Édouard
Ferlet. L’entrée sera offerte aux participant·e·s à la journée d’étude ainsi que la nuit
d’hébergement du 7 avril. Une master class avec Pierre de Bethmann se tiendra dans le cadre
de la journée de Toulouse du 13 avril (détail à venir). Les déplacements seront pris en charge
par les intervenant·e·s, un déjeuner-buffet sera proposé le midi pour chaque journée.

Introducing two one-day conferences

Piano and pianists in jazz today: overview, heritage and research perspectives
The recent deaths of McCoy Tyner and Chick Corea, the interruption of Keith Jarrett's career,
or the status of living legends acquired by Ahmad Jamal or Herbie Hancock evoke a golden age
of jazz piano that will soon be over. Our century has seen and continues to see the emergence
of new influential figures in the instrument, most notably Brad Mehldau. Other personalities or
groups illustrate diverse directions taken by the piano in jazz – or by jazz itself through the
piano – since the turn of the century: Vijay Iyer, Craig Taborn, Matthew Shipp, Sylvie
Courvoisier, Bojan Z, Stefano Bollani, the trios E.S.T., The Bad Plus, etc. Beyond these names,
a great number of pianists are working today to prolong or revisit the traditions that preceded
them, while others are seeking more singular paths. Is it possible to evaluate the influence of
the above-mentioned masters of the last century on this new generation (to which we should
add Bill Evans, Cecil Taylor, Martial Solal or Joachim Kühn)? What about the contribution to
current piano conceptions of the masters of stride or Duke Ellington, what about the
unavoidable imprint of Thelonious Monk or other bebop stylists, or the alternatives proposed
by Lennie Tristano or Dave Brubeck? If we consider the variety of popular and written
repertoires with which the piano is associated, or the extent of its possible transformations
(prepared piano, augmented piano), are jazz pianists not truly at the core of the laboratory of
permanent creation that is the jazz field? On the basis of these questions, two one-day
conferences are organized successively in Tours and Toulouse in order to prepare an
international colloquium planned for the fall of 2024 in both universities.
Topics that may result in paper proposals include:
- Major figures of the second half of the 20th/ first quarter of the 21st century
- Masters and pupils, influences and filiations: what genealogies for jazz piano?
- Instruments, gestural or sound treatments, devices
- The piano trio, its models, its extensions
- Identities, traditions, frontiers of jazz piano playing
- When jazz piano meets art, folk or popular music
- Non-pianists at the piano (Anthony Braxton, Jack DeJohnette, ...)
- Jazz piano and pianists on screen, in literature, theater, ...

Proposals +/- 150 words with short biographical sketch, to be sent before January 15th 2023:

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Languages of papers: French, English. Video conferencing allowed.
Friday, April 7th (10 :00 am - 6 :00 pm), Département de musique et musicologie,
University of Tours (org. Vincent Cotro, ICD)
Thursday, April 13th (10 :00 am - 6 :00 pm), Maison de la Recherche, University of
Toulouse Jean-Jaurès (org. Nathan Arnoult and Ludovic Florin, LLA-CREATIS)
Organization and support:
Please indicate your availability for either of the two days. A concert will take place at the Petit
Faucheux, Tours, on April 7 (8pm) around Édouard Ferlet's Pianoïd project. Admission will be
offered to participants as well as the night's accommodation on April 7. A masterclass with
Pierre de Bethmann will be held as part of the Toulouse one-day conference on April 13 (details
to come). Travel expenses will be covered by the speakers, and a buffet lunch will be offered
on both April 7 and April 13.

EMSE 2023: Early Modern Sensory Encounters

8-9 June 2023, Kellogg College, University of Oxford

The University of Oxford and the Open University invite papers for our annual interdisciplinary Early Modern Sensory Experiences (EMSE) conference.

Interest in sensory experiences of the past has grown in recent years, with scholars engaging with both interdisciplinary and anthropological approaches in order to better understand historical lived experiences. This annual conference explores the visual, auditory, tactile, gustatory and/or olfactory elements of particular experiences across the globe between c.1400 and c.1700.

This year’s conference, ‘Sensory Encounters’, welcomes papers that consider sensory experiences as instances or reflections of cultural exchange and which discuss possible methodologies and approaches to this particular subject. Papers may engage with the following themes, amongst others:

• Transcultural Sensory Experiences: how sensory experiences were integral to encounters and entanglements, with both productive and destructive results.
• Senses and the City: how sensory experiences were encountered in the city, and how they may have contributed to cities as sites of cosmopolitanism.
• Mobility and Circulation: How the movement of people, objects, practices and their associated sensorial experiences gave rise to the transfer of similar, or the development of new, sensory experiences.
• Subjectivity: How sensory experiences varied according to gender, social class, race or other perceptions of difference.

Papers are invited from scholars working in any discipline, including musicology, art history, cultural and/or social history, religious studies, and book history, on any geographic region between c.1400 and c.1700.

While we understand that scholars may naturally place emphasis on a particular sense or source as a reflection of their own disciplinary background, we encourage speakers to work across senses, sources and disciplines.

Speakers are encouraged to present work in progress and/or address methodological challenges faced in their research.

Please send a 150-word abstract along with a short biography to Leah Clark (Questo indirizzo email è protetto dagli spambots. È necessario abilitare JavaScript per vederlo.) and Helen Coffey (Questo indirizzo email è protetto dagli spambots. È necessario abilitare JavaScript per vederlo.) by 15 January 2023.

The conference will take place at Kellogg College, University of Oxford, on 8-9 June 2023. This will be a face-to-face conference. Speakers should therefore ensure that they can attend in person.  Please note that we will not be able to cover travel or accommodation costs for speakers.

https://www.open.ac.uk/arts/research/medieval-and-early-modern-research/sensory-experiences

Call for papers : Conference

University of Rouen-Normandie, France,  8-9 June 2023

Organizer : John Mullen

Popular Song in Europe in the 1920s

The 1920s was a key period for popular song. The slow rise of recorded music, and the arrival of radio, brought to the end that era when live performance was at the centre of the music industries. Meanwhile, ongoing urbanization in many countries continually changed the relationship between song, everyday life, fantasy and identity.

In Britain in the 1920s, the urban music hall suffered terribly. The rise of records and then the radio meant that the competition between songs was far stronger, and in general US production was more sophisticated, faster, more modern. Al Jolson, and later Cole Porter, were more impressive than the old-time singers: for the first time in history British popular song was threatened by US domination. The rise of the dance hall did damage too. Younger people wanted to go out and dance, not sit in a theatre singing along. Jazz reinforced the dance halls, while, at the end of the decade musical cinema could provide a more sophisticated song and dance show for a fraction of the price of a music hall evening.

In 1920s France, the tremendous growth of the Parisian spectacle symbolized the "Roaring Twenties". The music hall played a euphoric role. Silent, black and white cinema could not match its sparkle. So the great authors of revues^[1] played with opulence, light and color, the unusual and the exotic, in a style derived from operetta and the circus. It was at this time that Parisian performance venues gained lasting notoriety^[2]. It was often the stars of the caf'conc from the pre-war period who animated the craziest revues and would become the stars of the talkies at the end of the decade.

In Ireland, the gaining of partial independence in 1922 helped to reinforce a nationalist vision  of popular culture, notably through the work of the Gaelic League which worked to encourage traditional song and dance, while in America collectors such as Francis O’Neill worked to preserve and record Irish repertoires.

In Spain, theatres and music halls presented género chico (short theatrical productions with music and dance accompanying), cuplés (short pieces sung by women, with erotic connotations), varietés, and flamenco and jazz spectacles. Jazz had been present since World War One, introduced by artists who were fleeing from the war, but it became popular towards the end of the 20s. The 1920s also brought a paradigm shift in flamenco, since it began to be performed in new venues: theatres, circuses and bullrings. Its newly acquired popularity led flamenco to become the most representative Spanish genre, offering a stereotypical vision of the national music and culture.

In the Kingdom of Serbs, Croats, and Slovenes (1918-1929), popular music developed and spread rapidly. The reasons for this were the increased importance of women in the cultural sphere as a result of wartime circumstances, as well as the slow emergence of new mass media - film and radio.   Popular music was undoubtedly influenced by musical trends and genres from the United States, France, Italy, Germany, Austria, Hungary, and the Soviet Union, but it remained true to itself.  The music industry was just getting started. The most well-known early music publishers were Jovan Frajt and Sergej Strahov, Albini and Akord, (3) while Belgrade and Zagreb were the most significant commercial markets for music.

These few countries, given as examples among many, reveal a period where technological change, cultural change and economic and political factors combine to shake up the music industry and popular song.

We invite papers on any aspect of popular song in Europe in the 1920s. A fully comprehensive or truly synthetic account of such an outpouring of work and energy is no doubt unobtainable. Our aim must rather be to tease out some of the regularities of what the songs meant to people, how they were produced and sold, what they reflected or did not reflect of people’s lives.

The conference will be in English

Proposals of 300 words should be sent by 15/01/2023 to Questo indirizzo email è protetto dagli spambots. È necessario abilitare JavaScript per vederlo. accompanied by a biographical note of 150 words. We will acknowledge receipt and, after examination by the scientific committee, a response will be made by 30 January 2023.

Kenyon College, a highly selective, nationally ranked liberal arts college in central Ohio, invites applications for a two-year Visiting position in Music at the rank of Assistant Professor beginning in July 2023. The successful candidate should have a Ph.D. in hand or be near completion by the beginning of the appointment, with a record of excellent teaching. The primary field of specialization is musicology/ethnomusicology; secondary expertise in areas such as popular music studies, gender studies, wind conducting, or others will be considered. The successful applicant will have the primary responsibility for teaching courses required of music majors and minors. Additional teaching responsibilities could include elective and/or interdisciplinary courses in the applicant’s area of expertise or courses of general interest to non-majors in support of the college’s General Education program.

To apply, candidates should visit the online application site found at http://careers.kenyon.edu. A complete application will be composed of 1) a cover letter that includes an articulation of the applicant's teaching experience and philosophy, including experience with and plans for teaching diverse student populations as well as evidence of teaching excellence; 2) a curriculum vitae; 3) an unofficial graduate transcript; and 4) names and contact information for three recommenders. Ph.D. in hand preferred; ABDs are welcome to apply. All application materials must be submitted electronically through Kenyon's employment website. Review of applications will begin January 13, 2023, and will continue until the position has been filled. Completed applications received by the January 13, 2023 deadline are guaranteed full consideration. Initial screening interviews will be conducted online. 

The Cambridge German History Research Group invites proposals for papers (20-30 minutes) on the theme of “Music in German History”. Presenters can engage any period from 1500 to the present day.

We are interested in papers that engage broadly with musical culture in Germany, Austria, and Switzerland, as well as with the reception of German music in other transnational settings. We are equally interested in papers that engage the Austro-German classical tradition as papers dealing with contemporary music-making in German-speaking Europe such as hip-hop and jazz. Papers can engage with composers, musicians, styles, performance events, institutions, orchestras, philosophies, discourses, etc. Lastly, we encourage presenters to reflect on how the study of music can contribute more generally to the study of German history.

Please send your abstract (max 300 words), together with a short paragraph summarising your CV, institutional affiliation, and research interests, to Questo indirizzo email è protetto dagli spambots. È necessario abilitare JavaScript per vederlo.m<mailto:germanhistoryworkshop@gmail.com> by 13th January 2023 at 12.00PM.

The German History Research Group is a hybrid online and in-person seminar that brings together graduate and early career scholars working on German history (in the broadest sense), offering them an opportunity to broaden their network, present their research and exchange ideas. It is funded by the DAAD Cambridge Hub. Seminars will take place between January and March 2023.

The seminar is aimed at graduate students and early career researchers.

Contact: Questo indirizzo email è protetto dagli spambots. È necessario abilitare JavaScript per vederlo.m

Dear all,

A new Research Topic is now available in Frontiers in Signal Processing:

Preservation and Exploitation of Audio Recordings: from Archives to Industries

The scope of this Research Topic covers all audio signal processing (ASP) topics aimed to preserve, exploit, and valorize analog and digital audio recordings. This includes, but is not limited to:

• ASP for:
   - creative and cultural industrial applications
   - analog and digital audio (music, speech, and other sounds) archives
   - live performance and multimedia installations
   - web audio applications

• ASP from creation to perception
• Audio content analysis
• Audio restoration and enhancement
• Audio detection, recognition, classification, and diarization
• Artificial intelligence for analog and digital audio recordings
• Computational musicology
• Ethics, gender innovation, and fairness in audio archives
• Human-computer interaction and audio archives
• Music information retrieval
• Perception models, quality assessment, and aesthetics
• Standards including ASP
• Sustainability and environmental aspects in audio archives
• Web and cloud technologies for audio archives

(Optional) If you would like feedback on a manuscript’s suitability, please submit an abstract by 11/11/2022.

Submission deadline: 10/01/2023

More info about the collection here: https://www.frontiersin.org/research-topics/47296/preservation-and-exploitation-of-audio-recordings-from-archives-to-industries

CALL FOR PAPERS - *Extension of Deadline*

Irish National Committee of the International Council for Traditional Music, 18th Annual Conference, 24-25 February 2023, University of Galway

The deadline for the ICTM Ireland Annual Conference has been extended until January 9.
We invite proposals for papers on any strand of current research in the field of ethnomusicology and its related disciplines.
Submissions are particularly welcome for papers that address the conference theme, 'Time and Music': for more details see the initial CFP here: https://www.ictm.ie/annual-conference-2023/<https://eur02.safelinks.protection.outlook.com/?url=https%3A%2F%2Fwww.ictm.ie%2Fannual-conference-2023%2F&data=05%7C01%7Cadrian.scahill%40mu.ie%7Cc79ced3b6fd148d4a5b908dadebbaa9a%7C1454f5ccbb354685bbd98621fd8055c9%7C0%7C0%7C638067194856560161%7CUnknown%7CTWFpbGZsb3d8eyJWIjoiMC4wLjAwMDAiLCJQIjoiV2luMzIiLCJBTiI6Ik1haWwiLCJXVCI6Mn0%3D%7C3000%7C%7C%7C&sdata=yn5RZOLecRhR7CZm9kjZXP%2BUxtQ7F4v0pVA9HjnZxJA%3D&reserved=0>
Proposals will be accepted for: * Individual paper (20 minutes) * Panel: Organised panels of 3-4 papers (90 or 120 minutes). * Lecture-recital: These should be 20-30 minutes in length. * Shorter (10-minute) postgraduate presentations may also be submitted. We also welcome short (10 minutes max.) video extract submissions, which will be shown between panel sessions.
To submit, email an attachment including: Title of paper * Name and institutional affiliation * Abstract (200 words; panels should include individual paper abstracts as well as a thematic abstract from the panel proposer) * Short biography (c100 words)
Proposals should be emailed to Questo indirizzo email è protetto dagli spambots. È necessario abilitare JavaScript per vederlo.<mailto:chair@ictm.ie>.
We would also like to announce that the launch of the report Gendered Experiences of the Irish Music Industry will take place on the first day of the conference, Friday 24 February.
Kind Regards,
ICTM Ireland Committee

Until recently, studies about Russian composers have dominated music scholarship on the countries of the former Soviet Union. Postcolonial theory can provide a useful framework to expanding research on music repertoire from the former Soviet republics. The SMT Global Interculturalism and Musical Peripheries Interest Group is planning to propose a Special Session on Decolonizing New Music from the Post-Soviet space, to be held at the SMT/AMS Annual Meeting in Denver, Colorado, on November 9-12, 2023.

We invite proposals for 20-minute presentations that discuss music from the former Soviet Union, composed from the beginning of the 20th century to present. Preference will be given to proposals that engage with postcolonial studies, or in any way address decoloniality, neocolonialism, or anti-colonialism in relation to music of this region.

Please submit an initial 250-word proposal to the IG co-chair Ji Yeon Lee at jlee136 -at- uh.edu before January 3, 2023, 11:59 EST. The authors of accepted proposals will be asked to submit a 500-word abstract later in January, in order to meet the SMT proposal deadline of February 15. 

The School of Music at Georgia State University in Atlanta seeks to hire a tenure-track, Assistant Professor in Music History with specialization in Popular and World Music to begin in the 2023-24 academic year. 

CFP deadline: December 31, 2022
Conference dates: Friday, May 19–Saturday, May 20, 2023
Princeton, New Jersey

This two-day symposium seeks to investigate musical instruments as a source for the historical study of music theory in a global context. We invite proposals exploring the theory-bearing dimensions of musical instruments in different historical periods and across musical cultures. For a detailed description of the symposium’s aims and the proposal submission process see the attached Call for Papers:

https://music.princeton.edu/wp-content/uploads/2022/10/CFPInstrumentsGlobalMusicTheory.pdf

We are delighted that Prof. Alexander Rehding (Harvard University) will deliver the symposium’s keynote address.

A symposium organized by Marcel Camprubi (PhD candidate) with the generous support of the Princeton University Department of Music. Questions can be addressed at instrumentsmt -at- princeton.edu 

IAML Congress 2023, University of Cambridge, UK (30 July-4 August)

Call for Papers and Posters



Paper and poster proposals are invited on subjects related to music in libraries, archives and documentation centres, including (but not limited to): the impact of Covid-19, music bibliography, cataloguing and classification, music encoding, MIR, digital humanities, copyright, professional training, user and public engagement, musicological research, special collections, performance ephemera, and digital resources, as well as presentations of a more general nature addressing issues of professional concern to the music library community. Proposals that seek to encourage discussion and audience interaction are especially welcome.



Paper proposals: http://www.iaml.info/call-for-papers

Poster proposals: http://www.iaml.info/call-for-posters

Congress website: https://iaml2023.org/



The deadline for submission of proposals is Saturday 31 December 2022 (midnight UTC).

Applicants will be notified of the results of the selection process by Friday 17 February 2023.



The Congress is open to anyone with an interest in the field, regardless of IAML membership status. Proposals may be submitted in any of IAML's official languages: English, French, or German.

Call for Submissions for the Special Issue of Computer Music Journal on Musical Interactivity in Human-AI and AI-AI Partnerships

http://computermusicjournal.org/cmj-human-ai-m.html

Guest Editors:
Ken Déguernel (lead), postdoctoral researcher in music and AI, KTH (Sweden) + Research fellow in Computer Science at CNRS (France) (starting Jan 2023)
Bob L. T. Sturm, Associate Professor of Computer Science, KTH (Sweden)
Artemi-Maria Gioti, Research Fellow in Music and AI, UCL (UK) & Lecturer in New Media and Digital Technologies for Music, University of Music Dresden (Germany)
Georgina Born, Professor of Anthropology abd Music, Department of Anthropology & Institute of Advanced Studies, University College, London (UK)

Deadline:
- Submission deadline: 31 December 2022
- Initial online publication of articles: Mid 2023 (individually, soon after each is accepted, with subsequent updates incorporating the Journal's editing and formatting)
- Expected publication of issue: December 2023

Focus: Musical Interactivity in Human-AI and AI-AI Partnerships

There are currently a number of special journal issues (published or seeking contributions) centered on the topic of music and artificial intelligence (AI), showing an ever-growing interest in that field. For instance:

• AI for music (F1000Research Collection)
• Deep Learning applied to Music Signal Processing (EURASIP Journal on Audio, Speech, and Music Processing)
• Advances in Computer Music (Applied Sciences)
• AI, Augmentation and Art (Journal of Pervasive Media)
• AI and Musical Creativity (Transactions of the International Society for Music Information Retrieval).

We are proposing yet another special issue, but focused on human-AI and AI-AI interactions and partnerships within musical contexts. It aims to cover a broad range of topics, from music generation to performance, music analysis, and technological ethics, and to bring together state-of-the-art research from the engineering sciences with emerging artistic practices and critical perspectives from the humanities, in order to bridge the technical, aesthetic and theoretical underpinnings of music AI. Accepted articles of this special issue will address how humans can/could/should interact with and use AI, and how these interactions shape and impact creative and artistic musical practices (and vice versa).

Of particular interest are: how interactions with AI can help one understand, inform, evaluate, and/or model creative processes (e.g., performance, composition, improvisation, audience appreciation, and music recommendation); the unique challenges that arise from human-AI and AI-AI interactions; ethical implications of applying AI to music in regards to different practices, different genres, and different target audiences; critical perspectives from the humanities and social sciences on the methods, contexts, and purposes underpinning uses of AI; novel applications and methods of interactions with AI in music, from creative-support tools to multi-agent systems, leading to new human-AI or AI-AI co-creative partnerships for all kinds of musicking: music generation, performance, rehearsal, production, listening, and so on; and also beyond that, for applications such as music analysis or music criticism by AI regarding learned or discovered aesthetic criteria.

In summary, we invite original submissions that address, but are in no way limited to, the following topics:

• Interfaces for human-AI and AI-AI interactions
• Multimodal interaction
• Understanding and modeling of creative music processes through AI partnership
• Musical authorship, labor, and agency in human-AI music-making
• Music analysis and criticism by computers
• Unique challenges relating to the interaction with and in between AIs for music
• Relationship between artistic practices and AI
• Ethics of applying AI to music
• Explainability and transparency in music AI
• Critical approaches to music AI.

Submission instructions:
Manuscripts should follow the guidelines of Computer Music Journal (https://direct.mit.edu/comj/pages/submission-guidelines). Queries and manuscripts should be emailed directly to the guest editors (Questo indirizzo email è protetto dagli spambots. È necessario abilitare JavaScript per vederlo., Questo indirizzo email è protetto dagli spambots. È necessario abilitare JavaScript per vederlo., artemi-maria.gioti@mailbox.hfmdd.de, Questo indirizzo email è protetto dagli spambots. È necessario abilitare JavaScript per vederlo.) with the subject line "CMJ AI Music Special Issue".

Epistemologies of Music Analysis: What Theories, what Methods, for what Types of Music, and in what Disciplinary and Cultural Contexts?

themus (The Music Society at Temple) is excited to announce a call for papers for its tenth annual graduate conference, which will take place on Friday, March 31, 2023, at Temple University in Philadelphia, Pennsylvania. To celebrate the tenth anniversary of themus, we welcome proposals from all disciplines under the music studies umbrella, as well as affiliated research, that demonstrate how the field has changed in the past decade & where our discipline is headed in the future.

Proposals should be sent using this form (https://forms.gle/JkN3Mw5aD5UKr4UF9) by 11:59 PM ET on Friday, December 30, 2022. No information that identifies the author should appear in the proposal title or abstract (including the file name). Proposals should include:

Your name (as you’d like it to appear in the program), email address, institutional affiliation, & paper title.
An anonymized abstract of 200–250 words suitable for publication in the program.
A biography of no more than 100 words suitable for publication in the program.

All those submitting proposals will be notified of the outcome by January 31, 2023.

The conference features two keynote speakers. Dr. Nina Eidsheim has written books about voice, race, and materiality and is Professor of Musicology at the University of California, Los Angeles. She is also a vocalist and the founder and director of the UCLA Practice-based Experimental Epistemology (PEER) Lab, an experimental research Lab dedicated to decolonializing data, methodology, and analysis, in and through multisensory creative practices. Matthew D. Morrison, Ph.D., is a native of Charlotte, North Carolina, and is an Assistant Professor in the Clive Davis Institute of Recorded Music in the Tisch School of the Arts at New York University. His research focuses on the history of popular music and the relationship between music and identity, and it has been funded by the American Council of Learned Societies, Harvard University, the American Musicological Society, Mellon Foundation, the Library of Congress, the Tanglewood Music Center, and the Center for Popular Music Studies/Rock and Roll Hall of Fame. Matthew’s forthcoming book, "Blacksound: Making Race in Popular Music in the United States," is under contract with the University of California Press.

Please address any queries to Daniel Carsello, the conference chair, at themus.tu -at- gmail.com. For more information, please visit https://sites.temple.edu/themus/conference/current-conference/

Titolo del progetto: SCIENZE DELLE RELAZIONI UMANE

Le relazioni umane si riferiscono all'insieme delle interazioni tra individui situati in un determinato ambiente fisico e sociale (contributo storico, sociale, politico). Tali relazioni si manifestano attraverso il comportamento umano nelle sue diverse accezioni (contributo psicologico e della comunicazione). Le relazioni umane sono sostenute da processi educativi/formativi (contributo pedagogico) essenziali per lo sviluppo personale e intellettuale dell'individuo e per l'evoluzione di regole sociali su cui si basa la convivenza civile e organizzata. La promozione di efficaci relazioni umane ha effetti diretti sulla qualità della vita degli individui, dei gruppi e delle organizzazioni. Le attività del dottorato sono riferibili ai settori ERC: SH2, SH4, SH6 e alle loro intersezioni.

SITO WEB DEL BANDO (vedi in particolare p. 55): https://www.uniba.it/it/ricerca/dottorati/38-ciclo-2022-2023

Da: https://bandi.miur.it/doctorate.php/public/fellowship/id_fellow/223274

Call for papers – Geneva Biennial Baroque 2023

The 20th Biennial International Conference on Baroque Music will be hosted by the Haute École de Musique de Genève-Neuchâtel at its Geneva campus from Wednesday 28 June 2023 to Sunday 2 July 2023 inclusive.

 The conference committee invites proposals for:
- Individual papers of 20 minutes in duration (followed by questions and discussion)
- Lecture-recitals of 30 minutes in duration (followed by questions and discussion)
- Themed and round-table sessions of 90 to 120 minutes in duration, including discussion

 Proposals in any area of Baroque music (c.1600–c.1750) are welcome. Given the setting in a conservatoire, those that relate to performance and performance practice would be particularly appreciated. All presentations must be given in English.

The deadline for receipt of abstracts is midnight (Central European Time) on 15 December 2022.

Individuals may submit one proposal in the form of an abstract of not more than 250 words (individual papers, lecture-recitals), or not more than 350 words (round-table sessions). For lecture-recitals please also attach the repertoire and a sample recording.

The abstract should be preceded by information under the following headings:
• Name
• Institution (where applicable)
• Postal address
• Phone
• E-mail Address
• Presentation type (paper, lecture-recital, round table)
• For doctoral students only: a letter of recommendation from a supervisor must be included

 Abstracts should be emailed to:

 Dr Elizabeth Dobbin (Questo indirizzo email è protetto dagli spambots. È necessario abilitare JavaScript per vederlo.) by attachment. Please back up the attachment with a plain-text version in the main email.

A conference website, which will centralise information relating to the events and associated activities, will be created shortly and will be available for consultation in January 2023.

 Best wishes from Geneva,
Elizabeth Dobbin
For the Geneva Biennial Baroque 2023 Organising Committee

 Organising Committee

Elizabeth Dobbin (chair)
Niels Berentsen
Rémy Campos
Maria Christina Cleary
Anne Marie Dragosits
Lisa Guigonis

Programme Committee

Rebekah Ahrendt
Carrie Churnside
Gergely Fazekas
Giulia Giovani
Massimiliano Guido
Rebecca Herissone
David Irving
Theodora Psychoyou
Robert Rawson
Christoph Riedo
Michael Robertson
Graham Sadler
Shirley Thompson
Yo Tomita
David Vickers

Chères et chers collègues,

The International Conference on Live Coding (ICLC) is dedicated to practices and research focused on technologies and philosophies that interpret the use of computer code as gesture within the context of live performances. In its previous editions the community has offered important insights on this practice from many diverse perspectives – technical, philosophical, educational, political and more.

This 7th edition of ICLC takes place in Utrecht, The Netherlands from April 19 to April 23 2023, and we wish to challenge our community to bridge even further to its multidisciplinary strengths. We are pleased to invite submissions of proposed contributions in the form of theoretical works, live and live-recorded audio/visual performances, videos, workshops and satellite events. This call is open to everyone. We encourage submissions that cover any topic related to live coding, but in particular we invite the exploration of the following overarching main theme:

DISPLACEMENT

(Wikipedia: Displacement (linguistics), the ability of humans (and possibly some animals) to communicate ideas that are remote in time and/or space. Forced displacement, by persecution or violence. Displacement (psychology), a sub-conscious defense mechanism.)

The last few years, and probably also the years that will follow, show us how easily physical spaces we once considered safe and secure can become increasingly hostile environments due to new strains of pathogens, climate change or aggression. At the same time, we are confronted with new technologies for automated creation that might drastically change the value of the digital artisan's craft.

We invite you to reflect on the roles and opportunities that live coding practices, techniques and communities can play in these times of displacement – but equally to be inspired by other uses of the term, e.g. rhythmic displacement in music, displacement shaders, displacement in terms of physics, linguistics or psychology or generally being out-of-place, in many places at the same time or in representation instead of in situ.

Please find more details about the call topics, important dates, and submission instructions at https://iclc.toplap.org/2023

**CALL DEADLINE is DEC. 15, 2022 at 23:59 UTC**

ICLC 2023 is organized by OnTheFly Collective, a group of 5 localized live coding communities working to increase communication and visibility of live coding practices across Europe through international collaborations.

Follow:

@iclc_2023 on Instagram, @incolico on Twitter, @livecodenet on Facebook

Previous Conferences: https://iclc.toplap.org

BANDO DI CONCORSO PER L’ASSEGNAZIONE DI ULTERIORI POSIZIONI DI DOTTORATO FINANZIATE SU FONDI NEXT GENERATION EU – PNRR E DA FONDI ESTERNI PER CORSI DI DOTTORATO DEL 38° CICLO - A.A. 2022/2023

Sono indette presso l’Alma Mater Studiorum - Università di Bologna, con sede in Via Zamboni 33, 40126, Bologna (di seguito denominata Università) le selezioni comparative per l’assegnazione di ulteriori posizioni per la frequenza di corsi di dottorato. Le tematiche di ricerca, i posti e le borse di studio disponibili, i requisiti di ammissione, le modalità e i criteri di selezione dei candidati per la formazione delle graduatorie sono indicati nelle schede dei singoli dottorati, parte integrante del presente bando e pubblicate sul Portale di Ateneo (selezionare il corso di dottorato prescelto → “Maggiori Informazioni” e cliccare su “Scheda del dottorato”).

SITO WEB DEL BANDO: https://www.unibo.it/it/didattica/dottorati/informazioni-per-iscriversi-a-un-dottorato/dottorato-di-ricerca-come-presentare-domanda-di-ammissione

VEDI ANCHE: https://www.unibo.it/it/didattica/dottorati/2022-2023/arti-visive-performative-mediali

SITO WEB DEL BANDO: https://ateneo.unife.it/ripartizione-risorse-umane/ufficio-selezione-personale

The [ https://www.beniculturali.unipd.it/www/homepage/ | Departement of Cultural Heritage ] of the university of Padua (Italy) offers a post-doc fellowship for a project on “Disability and religious practice in medieval musical sources (12th-15th centuries)” to collaborate with the ERC team [ https://cordis.europa.eu/project/id/950248 | SensArt ] .



You will find the call for applications at this [ https://www.beniculturali.unipd.it/www/wp-content/uploads/2022/11/2022-2120-BANDO-MURA.pdf | link ] and some general instructions on the departement website [ https://www.beniculturali.unipd.it/www/lavorare/bacheca-di-dipartimento/ | here ]

The submitted propositions will deal with alternative musico-filmic codes of the classical
western by focusing on the following issues:
- How are the main musical figures of the genre (pastoral, military, heroic topics, etc.) adapted,
reconducted or recreated from the American matrix model?
- What is the place of sound, sound design and silence in the alternative models?
- What kind of pre-existing music is associated with European westerns?
- Is there an equivalent of the Hollywood singing cowboy in the Euro-western ?
- What musical trends can be discerned in the contemporary Western?
- How do music and sound treatment contribute to the emergence of sub-genres of the western
(noir, horrific, intimist, futuristic, political, fantasy, etc.) ?
Proposals including a title and a 300 to 500-word abstract, along with a short biography of
the author(s) should be sent to the conference organizers, Cécile Carayol
(Questo indirizzo email è protetto dagli spambots. È necessario abilitare JavaScript per vederlo.) and Jérôme Rossi (Questo indirizzo email è protetto dagli spambots. È necessario abilitare JavaScript per vederlo.), no later than
November 30, 2022. The conference committee will assess abstracts anonymously and give their
answers in December, 2022. Abstracts and papers can be in English or in French. The duration of
each presentation is 30 minutes (including audiovisual excerpts), followed by a Q&A period.

The British Forum for Ethnomusicology is delighted to announce that our next annual conference will be hosted by the Reid School of Music, Celtic and Scottish Studies and the School of Scottish Studies Archives at the University of Edinburgh. Conference dates are 13th – 16th April 2023.


The theme of the conference will be Music and Movement and our keynote speaker is Professor Ama Oforiwaa Aduonum. The call for papers can be viewed here:

https://drive.google.com/file/d/1rkBrGUWRCy8M5s-qjZuGUyUj9csvE4UB/view?usp=sharing<https://eur03.safelinks.protection.outlook.com/?url=https%3A%2F%2Fdrive.google.com%2Ffile%2Fd%2F1rkBrGUWRCy8M5s-qjZuGUyUj9csvE4UB%2Fview%3Fusp%3Dsharing&data=05%7C01%7Cmatthew.machin-autenrieth%40abdn.ac.uk%7C0390a88d3dce4384681d08dabd8f838d%7C8c2b19ad5f9c49d490773ec3cfc52b3f%7C0%7C0%7C638030721473026342%7CUnknown%7CTWFpbGZsb3d8eyJWIjoiMC4wLjAwMDAiLCJQIjoiV2luMzIiLCJBTiI6Ik1haWwiLCJXVCI6Mn0%3D%7C3000%7C%7C%7C&sdata=AeEsK6GOJtceqxmbvZ3TL%2BfzyngDSyG1v3ikxFhIsMA%3D&reserved=0>


The committee welcomes proposals for paper presentations, panels, roundtables, performance-based presentations, posters and films or other media presentations. We also encourage imaginative or unusual practical or workshop formats.


The deadline for submissions has been extended to the 28th November 2022. For more information or if you have any questions, please don’t hesitate to get in touch with the conference team: Questo indirizzo email è protetto dagli spambots. È necessario abilitare JavaScript per vederlo.<mailto:bfe202Questo indirizzo email è protetto dagli spambots. È necessario abilitare JavaScript per vederlo.>.

[English follows]

La ricerca rientra nell’ambito del progetto “Musica e migrazione” che dal 2015 porta avanti una ricerca su musica e migrazione nella pianura padana centrale.
Il lavoro previsto nell’ambito del presente progetto prevede due compiti principali:
1) Realizzazione di pubblicazioni (un volume o almeno 3 articoli) su musica e migrazione;
2) Collaborazione con la responsabile del progetto nell’ambito delle attività collegate al progetto (Didattica Interculturale, Culture in dialogo, Dal locale al globale, Cremona città creativa della musica)

Il bando con le relative modalità di partecipazione e selezione (artt. 4 e 6) è reperibile all’indirizzo:
http://www-assegni.unipv.it/bandi-dipartimenti-tipo-b/
Requisiti essenziali:1) diploma di laurea (corso di studi di durata non inferiore a 4 anni, previsto dagli ordinamenti didattici ante D.M. n. 509/1999) o di laurea specialistica/magistrale (D.M. n. 509/1999 e n. 270/2004) conseguito presso Università italiane o straniere riconosciuto equipollente–ai fini dell’equipollenza i candidati dovranno produrre documenti utili alla Commissione Giudicatrice per valutare i titoli; 2) curriculum scientifico-professionale idoneo allo svolgimento dell’attività di ricerca; 3) dottorato di ricerca (art. 2–co.1).

Ulteriori specifici titoli (vedi art. 6):

1. Diploma di specializzazione, diploma/i di istituti di alta formazione artistica e musicale ed equipollenti e attestato di frequenza a corsi di perfezionamento;
2. Borse di studio, contratti o incarichi per lo svolgimento di attività di ricerca in Italia/estero;
3. Pubblicazioni in ambiti attinenti all’attività di ricerca.

La domanda di ammissione alla procedura di selezione (datata e firmata), i documenti e le pubblicazioni ritenuti utili ai fini della valutazione devono essere presentati, a pena di esclusione, per via telematica, collegandosi alla seguente pagina web: https://pica.cineca.it/unipv
scegliendo la voce “Assegni di ricerca” e selezionando il Bando di concorso prescelto.
Per poter effettuare la registrazione al sistema è necessario essere in possesso di un indirizzo di posta elettronica. Seguendo le Linee Guida pubblicate nella procedura, il candidato deve inserire tutti i dati richiesti per la presentazione della domanda, allegando tutti i documenti in formato elettronico .PDF.
La selezione dei candidati si svolge per titoli e colloquio, integrata di una prova di conoscenza della lingua straniera (vedi art. 6 – comma 1)

Si può scaricare il bando al link: http://www-assegni.unipv.it/wp-content/uploads/2022/02/4_BANDO-Assegno-PICA-Caruso_PROT.pdf

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The research is part of the "Music and migration" project which since 2015 has been carrying out research on music and migration in the central Po valley. The work envisaged under this project involves two main tasks:
1) Creation of publications (one volume or at least 3 articles) on music and migration;
2) Collaboration with the principal investigator as part of the activities related to the project (Intercultural Education, Cultures in dialogue, From local to global, Cremona creative city of music)

The public call with detailed attendance and selection rules (Art 4 and 6) can be found at: http://www-assegni.unipv.it/bandi-ateneo-tipo-a/
Main requirements are:1) degree (with a course duration of not less than 4 years, as referred to in the pre-existing academic regulations pursuant to D.M. n. 509/1999) or post-graduate degrees (pursuant to D.M. n. 509/1999 and to n. 270/2004) awarded by Italian or foreign Universities recognized as equivalent - for the purposes of establishing the equivalence, candidates must provide the necessary documentation to enable the evaluating board to proceed with the qualification assessment; 2) scientific or professional curriculum suitable for conducting the research activity; 3) Ph.D. title (Art 2- par. 1). 

Further specific assessable qualifications (see Art. 6):

1. Diploma of specialization, diploma / s from institutes of high artistic and musical training and equivalent and certificate of attendance to advanced courses;
2. Scholarships, contracts or assignments for carrying out research activities in Italy / abroad;
3. Publications in areas related to the research activity

The application for admission to the selection procedure (dated and signed),the documents and publications considered useful for the evaluation must be submitted, under penalty of exclusion, electronically, by visiting the following web page:https://pica.cineca.it/unipv
by choosing the “Assegni di ricerca”; item and selecting the Competition Notice you have chosen. In order to register with the system, you must have an email address. Following the guidelines published in the procedure, the applicant must enter all the information required for the application, enclosing all documents in electronic . PDF format. The selection of candidates is carriedout on the basis of qualifications, project and interview, supplemented bya test of knowledge of the foreign language (see art. 6 - paragraph 1).The candidate selection will take place on the basis of the documented qualifications and a personal interview, completed by a test concerning the knowledge of foreign language (see Art. 6 par 1)

Here the call: http://www-assegni.unipv.it/wp-content/uploads/2022/02/4_BANDO-Assegno-PICA-Caruso_PROT.pdf

Bando per Professore di prima fascia in L-Art/07 (Musicologia e storia della musica) presso il Dipartimento di Scienze dell'Educazione dell'Università di Bologna.

Si può accedere al bando e ai documenti per parteciparvi al seguente link:

https://bandi.unibo.it/s/apos4/d-r-n-2163-del-20-dicembre-2021-bando-per-la-copertura-di-posti-di-professore-di-i-fascia-ai-sensi-dell-art-18-comma-1-della-legge-240-2010

Bando per un posto da Professore di prima fascia in L-Art/07 (Musicologia e Storia della Musica) presso il Dipartimento di Studi Umanistici dell'Università di Torino.

Si può accedere al bando e ai relativi documenti sul sito:

https://selezionipersonale.unito.it/concorsi/rtd_scheda.pl?XY=D&codice=161_O

Università degli Studi di Padova - Dipartimento di studi linguistici e letterari - DISLL

Bando di selezione n. 2022RAS01 per il conferimento di n. 1 assegno della durata di 18 mesi per lo svolgimento di attività di ricerca dal titolo “Edizione nazionale delle opere musicali di G. Tartini (Sonate op. I, Sonate a tre) (ENGT)” - su fondi Bando Ricerca Scientifica di Eccellenza 2018 (protocollo Pratica n. 52034) della Fondazione Cassa di Risparmio di Padova e Rovigo - CUP: C94I19008630003 - da svolgersi presso il Dipartimento di Studi linguistici e letterari sotto la supervisione del prof. Sergio Durante, in qualità di Responsabile Scientifico

L'assegno è destinato a realizzare una parte dell'Edizione nazionale delle opere musicali di G. Tartini. L'edizione si basa sui più aggiornati criteri della filologia musicale applicati allo specifico repertorio e al caso particolarmente complesso della trasmissione delle opere del più celebre compositore-violinista del Settecento. Il progetto completo dell'edizione è disponibile al sito www.Tartini2020.it

Link al bando: https://protocollo.unipd.it/albo/viewer?view=files%2F011195888-UNPD0Z9-5650f83f-a4b7-4293-84ec-df324d25f404-000.pdf

Università degli Studi di Padova - Dipartimento di studi linguistici e letterari - DISLL

Avviso di procedura comparativa n. 2022RAU04 per l’individuazione di n. 1 soggetto al quale affidare un incarico mediante la stipula di un contratto di lavoro autonomo di natura occasionale/professionale per lo svolgimento di attività di collaborazione nell’ambito del progetto dal titolo “Edizione nazionale delle opere musicali di G. Tartini (Sonate op. I, Sonate a tre) (ENGT)” - su fondi Bando Ricerca Scientifica di Eccellenza 2018 (protocollo Pratica n. 52034) della Fondazione Cassa di Risparmio di Padova e Rovigo - CUP: C94I19008630003 - di cui è responsabile scientifico il prof. Sergio Durante.

Link al bando: https://protocollo.unipd.it/albo/viewer?view=files%2F011196014-UNPD0Z9-01621f76-4a13-4eca-a385-f25d6b836a03-000.pdf

Bando per Ricercatore a Tempo Determinato di tipo b (RTDb) presso l'Università La Sapienza (Roma) in L-ART/07 (Musicologia e Storia della Musica)

Bando: https://web.uniroma1.it/trasparenza/sites/default/files/2021RTDB023_II_BANDO_PIANO_STRAORDINARIO.pdf

Pagina de La Sapienza su cui è caricato il bando: https://web.uniroma1.it/trasparenza/dettaglio_bando/185145

Indicazioni inerenti il bando sul sito del MIUR: https://bandi.miur.it/jobs.php/public/job/id_job/88743

Sito del bando:

https://web.uniroma1.it/trasparenza/dettaglio_bando_albo/184312/2022-01-09T00%3A00%3A00