Aktuelles | Call for papers

Deadline: 5. September 2019

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

Date: 13–15 February 2020

Place: Leuphana University of Lüneburg, Germany

Introduction: city, space and music


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

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Deadline: 15. September 2019

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

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

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

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Deadline: 15. September 2019

Beethoven and the Piano: Philology, Context and Performance Practice

Conference in Lugano, Conservatorio della Svizzera Italiana

Wednesday 4 to Friday 6 November 2020

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

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

Keynote speakers

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

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Deadline: 30. September 2019

Best Paper Award 2019

Musicologica Austriaca – Journal for Austrian Music Studies

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

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

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Deadline: 30. September 2019

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

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

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

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Deadline: 15. Oktober 2019

Call for Papers (Conference)

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

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

Dates: May 6 and 7th, 2020

Languages: English and German

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

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

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Deadline: 31. Oktober 2019

[English version below]

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

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

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

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Deadline: 1. November 2019

Call for Book Chapters

Scoring Laughs:

Styles and Functions of Music in Comedy Cinema

Edited by Emile Wennekes and Emilio Audissino

Historically, the examination and theorisation of the use of music in films has addressed its presencein dramas – ‘serious’ films – while fewer accounts are available on what types of music is utilised incomedies and what functions it performs. As Hollywood cinema has been the benchmark andprincipal terrain of inquiry, this factual unbalance can be partly due to the scarce presence of musicin the classical Hollywood comedies – for example, the iconic 1930s screwballs – compared to thefantasy/adventure/drama films of the same era, in which the fathers of Hollywood music – Steiner,Korngold, Newman… – thrived and set the foundations of the practice, and from which the first filmmusicscholars launched the discipline. The lack of scholarly attention, can also be due to the fact thatcomedies, having to deal with laughter and lighter situations instead of the graver and moreexistentially compelling narratives of dramas, have been seen as less reputable objects of study, lessworthy of being taken seriously by academics – a point raised by Brett Mills in his monograph on thesitcom (Mills 2008). Recent analyses of the music’s agency in cinema in general have, as per tradition,preferred dramas – for example, Audissino 2017 and Lehman 2018 – while comedy is taken intoconsideration mostly in focussed publications – for example, Lochner 2018, or Evans and Hayward2016. This collection of essays aims at investigating the presence, nature, and function of music inthe comedy film from fresh perspectives, in order to contribute to a re-evaluation of film-musicstudies by casting more light on the more neglected comedic department.

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Deadline: 3. November 2019

[English / French version below]

Call for Papers

Internationale Nachwuchstagung
des DFG-Graduiertenkollegs „Europäische Traumkulturen“ (GRK 2021)

10. bis 12. Februar 2020 an der Universität des Saarlandes

Träumen mit allen Sinnen.
Sinnliche Wahrnehmung in ästhetischen Traumdarstellungen

In ihren Memoiren schreibt die taubblinde Schriftstellerin Helen Keller 1903: »In my dreams I have sensations, odours, tastes, and ideas which I do not remember to have had in reality.« Der Traum lässt sich in der Tat nicht auf seine visuelle und sprachliche Dimension reduzieren, sondern schließt weitere Formen der Wahrnehmung und Erfahrung mit ein: Geträumt wird mit allen Sinnen, wie auch die neurowissenschaftliche Forschung belegt (Bulkeley 2009, Schredl 2008). Noch vor jeglichem psychoanalytischen, hermeneutischen oder naturwissenschaftlichen Versuch der Bedeutungs- und/oder Funktionszuschreibung stellt der Traum damit eine elementare Körpererfahrung dar: Von der Schwerlosigkeit des Fliegens bis hin zum Erleben einer paralysierenden Starrheit, von der erotischen Erregung bis hin zu den körperlichen Impulsen von Wut oder Angst, wird in Träumen die leiblich-sinnliche Dimension unmittelbar erlebt.

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Deadline: 30. November 2019

CfP

Gesund und krank durch Musik?
Kulturelle Konzepte der Wirkung von Musik seit 1950

Tagung in Freiburg, 19. und 20. Juni 2020

Seit der Antike wird über die Wirkung von Musik auf das Wohlbefinden der Menschen nachgedacht. Vielstimmig sind die Äußerungen, die auf positive gesundheitliche Effekte abheben, seien sie körperlicher, seelischer oder geistiger Natur. Andere Autorinnen und Autoren problematisieren die Musikwirkungen und sehen eher negative Folgen, etwa eine akustische Umweltverschmutzung, die Beeinträchtigung des Gehörs durch Lärm oder eine Schädigung der Psyche, insbesondere bei jungen Menschen. Eine eigene „Pathologie“ der Musik wird hierbei diskutiert, zuweilen spielt in der Debatte auch die gezielte Schädigung von Menschen durch Musik (Terror, Folter) eine Rolle.

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Deadline: 15. Dezember 2019

Call for Proposals

TWELFTH INTERNATIONAL DOCTORAL WORKSHOP IN ETHNOMUSICOLOGY
16th – 19th June 2020

The Center for World Music at the University of Hildesheim and Hanover University of Music, Drama and Media are pleased to announce thetwelfth annual workshop for PhD candidates in ethnomusicology. Through paper presentations, discussion and working groups, the workshop offers a unique environment for 16 doctoral students at the writing stage for their PhD dissertations to engage in international dialogue andexchange, and expand critical debate on recent research within the discipline. The workshop will be directed by Prof. Dr. Philip V. Bohlman (Chicago/Hanover), Dr. Michael Fuhr (Hildesheim), Dr. Cornelia Gruber (Vienna/Hanover) and Prof. Dr. Raimund Vogels (Hildesheim/Hanover).

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Deadline: 31. Januar 2020

[English version below]

Musikwissenschaft nach Beethoven
XVII. Internationaler Kongress der Gesellschaft für Musikforschung
16.–19. September 2020

Auf Einladung der Abteilung für Musikwissenschaft/Sound Studies der Universität Bonn und des Beethoven- Archivs des Beethoven-Hauses Bonn findet der vierjährlich abgehaltene Internationale Kongress der Gesellschaft für Musikforschung 2020 vom 16. bis 19. September in Bonn statt. Zwei Hauptsymposien widmen sich den Themen „Neue Aufgaben der Beethoven-Forschung“ und „Ästhetische Normativität in der Musik“.

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Deadline: 15. Februar 2020

International Society for Research and Promotion of Wind Music

CALL FOR NOMINATIONS

IGEB Research Award 2020

IGEB (The International Society for Research and Promotion of Wind Music) invites nominations for its 2020 Research Award.

Nominations, including self-nominations, are invited for dissertations in the field of wind music research completed between 2015 and January 2020. Dissertations may be on any subject concerning wind music, in English, German, French, Italian or Spanish from any country, worldwide.

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Deadline: 15. Februar 2020

International Society for Research and Promotion of Wind Music
CALL FOR PAPERS

The International Society for Research and Promotion of Wind Music (IGEB) is pleased to invite submissions of proposals, posters, or lecture-performances for the 24th International Conference on Wind Music, to be held in Valencia (Spain) July 23-27, 2020, at “Joaquín Rodrigo” Conservatoire of Valencia and, for the last day, the Societat Musical Santa Cecilia d'Alcàsser.

Main theme- Wind Music: Providing Education & Building Society, Culture and Identity
The relevance of the military and civilian bands in education and their role in building the society, the music culture and the identity, is the main theme of this 24th International Conference. The lecturers are especially invited to submit their proposals within the framework of the following categories:

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Deadline: 16. Februar 2020

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

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

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Deadline: 15. März 2020

Financing Music in Europe from the 18th to the Early 20th Century

The Centro Studi Opera Omnia Luigi Boccherini of Lucca, in collaboration with Palazzetto Bru Zane – Centre de musique romantique française, Venice, is pleased to invite submissions of proposals for the symposium «Financing Music in Europe from the 18th to the Early 20th Century», to be held in Lucca, Complesso Monumentale di San Micheletto, from 16 to 18 October 2020.

Keynote Speakers:

  • Katharine Ellis (University of Cambridge)
  • Yannick Simon (Université de Rouen Normandie)

The ways in which music was financed from the 18th to the early 20th centuries has usually been depicted as a slow transition from private investment (or patronage) to more public forms of financial support. In particular, the later 18th and earlier 19th centuries marked fundamental changes in European life with the development of new technologies and expanding market economies.

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Deadline: 29. März 2020

Title: Music and Science from Leonardo to Galileo
Conference dates: 13-15 November 2020
Location: Lucca, Complesso Monumentale di San Micheletto
 
 
CFP Deadline: 29 March 2020
 
Keynote Speakers:
 
• Victor Coelho (Boston University)
• Rudolf Rasch (Utrecht University)
 
The relationship between music and science is particularly close during the sixteenth and seventeenth centuries, and both fields develop and thrive through their often confrontational relationship with patronage, the church, and between theory and practice. During Antiquity and the Middle Ages, music was one of the artes liberales, the inverse proportionality between string length and pitch understood as a model for relationships between art and science. In the modern era, musical sound (and acoustics) has had implications for both music and physics.
 

Deadline: 26. April 2020

Music and Resistance

Conference dates: 11-13 December 2020

Location: Lucca, Complesso Monumentale di San Micheletto

Website: https://www.luigiboccherini.org/2018/12/08/music-and-resistance/

CFP Deadline: 26 April 2020

Keynote Speakers:

• Mark Andrew Le Vine (University of California Irvine)

• Germán Gan Quesada (Universitat Autònoma de Barcelona)

The word “resistance” is often associated with the wars that marked the history of the twentieth century. The music of “resistance” found a huge space in popular music, but also in celebratory and protest works with which many composers reacted to the violence of dictatorship. But in a broader sense, the word resistance is also used in modern forms of musical art in association with anti-fascist themes, or linked to social rights movements (women, LGBT movements) and ethnic groups, or as a means of generational identity (such as punk, hip-hop or rap).

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