Premio biennale “Pier Luigi Gaiatto”

BANDO DI CONCORSO – SETTIMA EDIZIONE

presentazione della domanda entro il 30 aprile 2024 – consegna dei contributi 31 luglio 2024
 
In adesione alla volontà di Gabriella, Angelo e Davide Gaiatto, di tenere vivo il ricordo di Pier Luigi, loro figlio e fratello, sostenendo gli studi musicologici, la Fondazione Ugo e Olga Levi di Venezia bandisce la settima edizione del concorso riservata a ricerche originali e inedite sulla musica sacra e sulla musica nella religione cristiana, realizzate negli anni 2022 – 2024.
 
Il premio è aperto a ricercatori e studiosi under 35.
Sono ammessi al concorso lavori scientifici inediti, non destinati a pubblicazione in altra sede.
 
Il vincitore riceverà un premio indivisibile pari a € 4.000,00 (quattromila).
Un premio indivisibile pari a € 1.000,00 (mille) verrà destinato ad un altro lavoro meritevole.
Qualora l’attribuzione dei premi andasse deserta per mancanza di contributi adeguati, l’importo sarà destinato al bando successivo.
 

Convegno "Mapping Musical Life (MML). Musica e cultura urbana in età moderna e contemporanea"

5-7 giugno 2024

Università degli Studi di Firenze, Dipartimento di Storia, Archeologia, Geografia, Arte e Spettacolo (SAGAS)

IL MONDO DI NONO VISTO DA GIOVANNI MORELLI: NOSTALGIE UTOPICHE E PROSPETTIVE ATTUALI

Fondazione Ugo e Olga Levi
Venezia, 17-18 maggio 2024

Call for papers
Un rapporto di affinità lega Giovanni Morelli a Luigi Nono. Il musicologo docente a Ca’ Foscari, figura sui generis, ha vissuto nelle stesse calli del compositore veneziano, seguendone la parabola creativa e facendosi talora interprete del suo lascito di suoni e di ideali. Seppur fondamentale, il suo contributo allo sviluppo degli studi noniani resta ancora in ombra, nell’attesa di un’approfondita valutazione. Come fondatore e direttore dell’Istituto per la Musica della Fondazione Cini, nel 1985 Morelli invitava Nono a intervenire nei “Corsi di alta cultura”, dedicati all’Europa musicale e al progetto di una modernità degli stili, aperta alla differenza. Il testo della lezione, trascritto nella raccolta di atti, aveva il titolo di un manifesto di poetica, che di lì a poco sarebbe risuonato come un testamento: Altre possibilità di ascolto. Con il Ritratto di Luigi Nono, pubblicato sulla rivista «Belfagor» nel 1995, Morelli proseguiva il suo dialogo a distanza con il musicista, unendo la più ardita fantasia espositiva al rigore dell’indagine filologica. Nel saggio era presente un catalogo delle opere, con riferimenti a materiali autografi (abbozzi, libri annotati, progetti incompiuti), che giacevano nell’Archivio Luigi Nono, fondato solo due anni prima. Si delinea così un’attenzione per le fonti del processo compositivo, che diverrà la cifra di molte iniziative promosse negli anni a venire – ne sono testimonianza i volumi La nuova ricerca sull’opera di Luigi Nono (1999) e Le musiche degli anni Cinquanta (2004), curati insieme a Gianmario Borio e Veniero Rizzardi.
 
L’interesse morelliano si rivolge in particolare alla produzione tarda di Nono (Das atmende Klarsein, Prometeo), che diventa lo spunto per un discorso più ampio sull’orizzonte tecnico-estetico delle avanguardie e sui destini dell’espressione musicale. A questo nucleo di pensiero, in cui rientrano i pezzi di Kurtág e il cinema di Tarkovskij, è dedicata la monografia Scenari della lontananza. La musica del Novecento fuori di sé (2003).
 
Da oltre un anno, un gruppo di ricerca della Fondazione Ugo e Olga Levi si riunisce per riflettere sui temi della saggistica di Morelli, cogliendone gli stimoli ed elaborandoli verso direzioni che risentono del dibattito musicologico odierno (https://www.fondazionelevi.it/ricerca/il-novecento-di-giovanni-morelli-prove-di-esegesi-sugli-scritti/). Alle soglie del 2024, in coincidenza del 100° anniversario della nascita di Luigi Nono e del 40° della prima veneziana del Prometeo, il gruppo estende il proprio invito agli studiosi per un convegno che faccia il punto sull’eredità noniana e sulle sue interpretazioni.
 
 
Saranno privilegiati contributi originali riguardanti i seguenti ambiti di indagine:
– Luigi Nono: biografia, poetica, ricezione
– Ricerche d’archivio sull’opera di Nono o su compositori a lui affini: studio degli schizzi, analisi
– Spazializzazione nella musica del XX e del XXI secolo
– Il testo musicale e la sua apertura: autorialità, pratiche improvvisative, ruolo della tecnologia
– L’esistenza di una ‘scuola veneziana’ che lega la generazione di Gian Francesco Malipiero a quella di Nono e Maderna (tesi avanzata da Morelli ne La carica dei quodlibet, 2005)
– Vitalità o crisi dell’avanguardia nella sua incidenza socioculturale e politica
 
Per esplorare le diverse tematiche, si raccomanda tra l’altro la consultazione della Bibliografia degli scritti di Giovanni Morelli, a cura di Paolo Pinamonti, Firenze, Olschki, 2015. L’Archivio Luigi Nono, co-promotore dell’iniziativa, mette a disposizione degli studiosi i propri materiali, ricercabili nel catalogo digitale, previa registrazione (https://archivio.luiginono.it/login).
 
Le proposte di intervento, della durata di 20-25 minuti, in italiano o in inglese, dovranno includere il titolo, un abstract di massimo 3000 caratteri e un breve CV, comprensivo di una lista delle principali pubblicazioni.
I documenti vanno inviati all’indirizzo:This email address is being protected from spambots. You need JavaScript enabled to view it. entro il 29 gennaio 2024. Le proposte saranno valutate entro il 26 febbraio 2024.
 
Il convegno prevede, per gli studiosi privi di sostegno istituzionale per missione, il rimborso delle spese di viaggio da parte della Fondazione Ugo e Olga Levi e l’ospitalità per la notte del 17 maggio 2024.
 
Comitato scientifico
Francesco Fontanelli (Università di Pavia)
 
Roberto Calabretto (Università di Udine, Fondazione Ugo e Olga Levi)
Angela Ida De Benedictis (Fondazione Paul Sacher, Basilea)
Laurent Feneyrou (CNRS di Parigi)
Veniero Rizzardi (Università Ca’ Foscari di Venezia)
Giada Viviani (Università di Genova)
 

1. La Fondazione Accademia Nazionale di Santa Cecilia di Roma, d’intesa con il Trust “Fiamma Nicolodi”, istituisce il II Premio Internazionale “Alfredo Casella ideato da Fiamma Nicolodi” di 10.000 € destinato a studiosi italiani e stranieri che non abbiano superato i 40 (quaranta) anni di età al momento della scadenza del bando, per lo svolgimento di un progetto di ricerca a carattere prevalentemente musicologico concernente la musica del primo Novecento italiano nel suo contesto storico e culturale; periodo, questo, che in tempi recenti sta incontrando un rinnovato interesse nelle Università, Conservatori, istituzioni musicali e case discografiche. L’intestatario del premio, Alfredo Casella (Torino, 1883 – Roma, 1947), compositore, interprete, didatta, saggista, ne fece parte come figura rappresentativa; Fiamma Nicolodi – nipote del musicista – ha studiato quale musicologa di primario livello internazionale tale periodo storico e ne è stata testimone culturale anche quale Accademica di Santa Cecilia.

2. Il premio ha cadenza triennale e quindi sarà erogato nel corso di un triennio al vincitore, che dovrà produrre uno studio monografico completamente inedito, pronto per la pubblicazione, che, previa approvazione da parte della Commissione di valutazione, sarà edito a carico dell’Accademia nazionale di Santa Cecilia entro 12 mesi dalla consegna.

3. Al concorso si partecipa mediante presentazione di un progetto di ricerca. Nella descrizione del progetto si specificheranno l’argomento e le caratteristiche di novità, tracciando, oltre a una sintetica ricognizione dello stato dell’arte, modi e fasi d’indagine che si prevede di sviluppare nel corso del triennio. Le domande di partecipazione al concorso dovranno pervenire entro e non oltre il 15 ottobre 2023 e potranno essere presentate esclusivamente on line, compilando in ogni sua parte il form di iscrizione pubblicato sul sito internet della Fondazione, all’indirizzo web www.santacecilia.it/premiocasella e procedendo all’invio telematico secondo le istruzioni presenti sul sito.  I candidati dovranno allegare alla domanda:

• • La descrizione del progetto di ricerca (in italiano o inglese) di circa 14.000 caratteri, spazi inclusi ed escludendo la bibliografia;
  • copia di un documento di identità:
  • curriculum vitae (in italiano o inglese).

La Commissione, composta di 7 membri, presieduta dal Presidente Sovrintendente dell’Accademia Nazionale di Santa Cecilia o da un suo delegato, oltre sei membri, di cui tre italiani e tre stranieri, valuterà il progetto tenendo conto dei seguenti criteri:

• • l’originalità della proposta di ricerca;
  • la pertinenza degli strumenti metodologici;
  • la congruenza tra ricerca proposta e limiti temporali della sua realizzazione;
  • la qualificazione scientifica del candidato.

La Commissione ha competenza riguardo alla scelta del progetto, al controllo dello svolgimento della ricerca e alla nomina del vincitore.

4. Il 21 dicembre 2023 sarà annunciato l’esito della selezione, con il nome del vincitore, sul sito istituzionale e sui canali social dell’Accademia Nazionale di Santa Cecilia. La ricerca si svolgerà nei tre anni successivi all’assegnazione del premio, con la presentazione al termine del primo e del secondo anno dello stato di avanzamento del progetto e con la consegna al termine del terzo della monografia, pronta per la pubblicazione, alla Commissione per la relativa approvazione. Alla nomina del vincitore l’Accademia Nazionale di Santa Cecilia verserà al candidato un anticipo del Premio pari al 20% dell’importo di cui al punto 1. Eventuali e motivate proroghe potranno essere concesse a giudizio insindacabile della Commissione, che ha la facoltà di erogare acconti intermedi fino a un massimo del 50% del saldo, a seguito di documentata e motivata richiesta. Nel caso in cui il lavoro venga giudicato insufficiente o qualora non siano stati rispettati i termini di consegna previsti dal bando, il vincitore decadrà dalla nomina e il saldo del premio non verrà corrisposto.

5. Alla fine del triennio il vincitore è tenuto a consegnare alla Biblioteca dell’Accademia Nazionale di Santa Cecilia un elenco dei testi e dei materiali consultati nel corso della ricerca.

6. Alla presentazione del volume del vincitore farà seguito un evento musicale promosso dalla Fondazione Accademia Nazionale di Santa Cecilia.

7. Al progetto di ricerca proposto da un/una candidato/a al di sotto dei 30 anni che, pur non premiato, sia ritenuto di particolare interesse e originalità, sarà assegnato un premio speciale istituito in memoria di Fiamma Nicolodi, con la pubblicazione di un saggio concernente lo stesso argomento proposto, previa approvazione dalla Commissione, nella rivista “Studi Musicali” edita dall’Accademia Nazionale di Santa Cecilia.

8. La Commissione può decidere a suo insindacabile giudizio di assegnare delle menzioni speciali a progetti ritenuti meritevoli.

The 3rd Global Piano Roll Meeting will take place in Sydney, Australia, July 26–28, 2024 at the Sydney Conservatorium of Music. The program committee invites proposals for individual papers, organized sessions, lecture-recitals, panel discussions, posters, and performances.
This bi-annual meeting, which follows the 2nd Global Piano Roll Meeting held in Bern, Switzerland in 2023, is an international forum that fosters community and supports inquiry among professionals, students, and enthusiasts working with paper rolls and pneumatic roll-playing instruments.

Music rolls and pneumatic instruments are a vital part of the history of recording and mechanical music. They provide a unique window into the technological, musical, cultural and economic history of the late nineteenth and early twentieth centuries. Recent projects to preserve rolls by scanning and digitization have sparked wider interest in the field. This work has allowed for technical studies of rolls, which are an early digital record of music making. Archival documents are also yielding insights into the business and technology of roll manufacturing.
The committee looks forward to receiving proposals that build upon and expand these areas of inquiry. Topics may include but are not limited to the historical study of piano and organ rolls, performers, audiences, and repertoires; pneumatic instruments; roll manufacturing, archival preservation and access; performance studies; technical studies; and archival research with roll collections and related documentary materials.
The conference will be conducted in English.

Proposal Guidelines:
All proposal abstracts should be a maximum of 350 words plus a title.
Individual Papers. Presenters have up to 20 minutes to present their work, followed by 10 minutes for discussion. The Program Committee will compile individual papers into topically-based sessions.
Organized Sessions. Participants collaborate to propose a 90-minute session of three papers. Each paper is 20 minutes long, followed by 10 minutes for discussion. The session organizer is responsible for submitting a session abstract as well as individual paper abstracts. Proposals must also indicate a session chair.
Lecture-recitals will be 30 minutes followed by 10 minutes for discussion. Proposals should include a description and a proposed program.
Performances will be 40 minutes. Proposals should include a description and a proposed program.
Panel discussions will be 30 minutes and include a moderator with 2–3 participants.
Posters. Proposals should follow the guidelines for individual proposals.

Proposals (incl. category) must be sent to This email address is being protected from spambots. You need JavaScript enabled to view it. by 11:59pm, September 30, 2023 (at point of origin).

Conference website: https://www.hkb-interpretation.ch/global-piano-roll-meeting

Chers collègues, 

En 2024, La Sirène de Paris fêtera les 150 ans d’une exceptionnelle longévité. À cette occasion, en association avec l’Institut de recherche en musicologie (IReMus - UMR 8223) , le Centre d’Histoire Culturelle des Sociétés Contemporaines - Recherches Arts Spectacles Musiques de l’Université Paris-Saclay (RASM-CHCSC) et Le Musée des Instruments à Vents - La Couture Boussey, elle organise un colloque international dont l’objet consistera à situer cette institution musicale originale dans une perspective socio-historique.

Créée en 1874, La Sirène de Paris est l’un des plus anciens orchestres à vent de la capitale française. Comptant à l’origine une dizaine de musiciens issus des communes d’Ivry, Gentilly, Bicêtre et Paris, elle accueille au début du XX^e siècle plus de 140 instrumentistes se produisant dans de nombreuses manifestations en province et à l’étranger, La Sirène de Paris jouit alors d’une renommée certaine en tant que fanfare. Toujours en activité, transformée en orchestre d’harmonie dans les années 1950, elle compte aujourd'hui 70 musiciens amateurs de bon niveau, venant d'horizons divers.

Son histoire, son répertoire et son instrumentarium, son recrutement, son public, son cadre institutionnel (statut, organisation, réseaux et relations avec d’autres institutions musicales et institutions publiques) forment l’axe central de ce colloque. Il permettra de valoriser un fonds exceptionnel et très peu exploité à ce jour, constitué d’une importante partothèque historique (partitions et matériels), d’archives administratives et comptables, de collections de programmes et d’affiches, d’instruments anciens et de divers artefacts liés à l’histoire de l’orchestre (médailles, bannières, bustes et portraits de sociétaires, photographies, etc.) couvrant les années 1874 à nos jours, et qui sera progressivement mis à la disposition des chercheuses et des chercheurs à l’IReMus (Bibliothèque nationale de France, Quai François Mauriac, 75706 Paris Cedex 13).

Ce colloque, organisé à l’occasion des 150 ans de La Sirène de Paris, sera l’opportunité de contextualiser la singularité de cet ensemble musical avec un éclairage renouvelé de la part de la communauté scientifique francophone et internationale, par des approches plurielles englobant des disciplines telles que la musicologie, l'ethnomusicologie, l'histoire, la sociologie ou les sciences de l'éducation. Des contributions portant sur le mouvement orphéonique, la création musicale pour ensemble à vent aux XIX^e, XX^e et XXI^e siècles, les relations entre musique savante et populaire, civile et militaire, associations musicales, identité locale, appartenance à la nation et esprit communautaire sont particulièrement attendues tout comme celles évoquant, dans leur diversité d’approche, La Sirène de Paris d’hier, d’aujourd’hui et de demain.

Sans se limiter à une étude monographique consacrée à La Sirène de Paris, ce colloque entend plus largement être le point de départ d’une réflexion sur la place de l’ensemble à vent dans la culture occidentale contemporaine et sa prise en compte par la musicologie.

Les propositions de communication doivent être envoyées à This email address is being protected from spambots. You need JavaScript enabled to view it. avant le 1^erseptembre 2023 ; elles seront évaluées par un comité de personnalités qualifiées. De plus, elles pourront porter sur les axes suivants :

• La Sirène de Paris, son histoire, son répertoire et son instrumentarium ; son recrutement et son public ; le cadre institutionnel dans lequel elle s’inscrit (statut, organisation, réseaux et relations avec d’autres institutions musicales et institutions publiques).
• Les singularités et les dynamiques locales, nationales et internationales (fédérations, concours, échanges culturels, enseignement). La Sirène, une spécificité parisienne ?
• Pratiquer en amateur et en professionnel.
• Les répertoires pour ensembles à vent entre tradition et mutations (transcriptions, créations, nouveaux médias, etc.)

En vous priant de diffuser ces informations auprès de votre entourage, je me permets de partager, en pièces jointes, les documents en français et en anglais de l’appel à communication du colloque. Pour tout complément d’information, je vous prie de vous rapprochez du site web de l’IReMus :

https://www.iremus.cnrs.fr/fr/appel-communication/la-sirene-de-paris-150-de-pratiques-musicales

En vous souhaitant une bonne lecture, veuillez agréer, chers collègues, l'expression de mes salutations distinguées.

Oscar CATALAN

Date : samedi 2 décembre 2023, 10h-17h (horaires prévisionnels)

Lieu : Conservatoire Hector-Berlioz – 6 rue Pierre Bullet, 75010 Paris

Langue : français

Organisation : Jean-Michel Bardez et Marie-Noëlle Masson

* * *

APPEL À CONTRIBUTIONS

Les Rencontres d’Analyse Musicale Appliquée (RAMA) de la SFAM ont pour objectif la mise en pratique de l’analyse musicale : applications théoriques et analyses ordonnées à des choix d’interprétation y sont développées dans une recherche et un débat partagés entre instrumentistes, théoriciens et analystes. Les RAMA 2023 se tiendront à Paris au Conservatoire Hector-Berlioz le samedi 2 décembre 2023.

Plusieurs pièces y seront jouées et analysées, parmi lesquelles :
– Étude en canon pour piano-pédalier/orgue op. 56 n° 4 de Robert Schumann ;
– Three Pieces for Flute Duet de John Cage ;
– Rebonds A de Iannis Xenakis.

Les analyses y seront d’une vingtaine de minutes, avec la participation des instrumentistes, et seront suivies d’un débat.

Les personnes qui seraient intéressées par une intervention sur l’une de ces trois œuvres sont invitées à envoyer leurs propositions d’analyses avant le 1er septembre 2023 à This email address is being protected from spambots. You need JavaScript enabled to view it.. Ces propositions d’analyses prendront la forme d’un texte de 3000 signes maximum précisant l’approche analytique proposée et ses grandes articulations et seront accompagnées d’une brève présentation biographique.

La participation aux RAMA 2023 est conditionnée à l’adhésion 2023 à la Société Française d’Analyse Musicale au moment de l’envoi de la proposition. D’éventuels défraiements sont envisageables.

Comité de sélection des propositions : Elisa Constable, Philippe Gantchoula, Anne Piret, Viviane Waschbüsch

Calendrier :
– Date limite de réception des propositions : 1er septembre 2023
– Notification d’acceptation des propositions : 15 septembre 2023

Lontano dall’Europa.

Approcci transnazionali della storia dello spettacolo italiano

(circolazioni, ibridazioni, ricezione)

Seminario di ricerca organizzato da Céline Frigau Manning e Jean-François Lattarico,
professori ordinari in italianistica all’Università Jean Moulin – Lyon 3

Il seminario Lontano dall’Europa ha lo scopo di studiare la diffusione al di fuori dell’Europa delle varie
forme di spettacolo (teatro, teatro per musica, opera, opera-balletto, performance, canto
performato...) che, dall’epoca moderna ai giorni nostri, hanno preso origine nella penisola italiana o
hanno riguardato la nozione, per quanto sovente mitizzata, di italianità. Facendo tesoro dei recenti
studi condotti in ambito internazionale, il progetto mira così a colmare una lacuna nel campo
dell’italianistica francese sugli studi di teatro e di musicologia. Analizzeremo la presenza e gli effetti di
forme spettacolari in musica, percepite come italiane, nelle culture e nelle società non europee,
tralasciando la nozione di “influenza” per esplorare le resistenze, le ibridazioni e gli adattamenti dei
codici generici, che rimodellano profondamente la loro italianità e suscitano forme inedite.
La visione di un’Italia come fulcro di opere e di artisti, ma anche come terra di un popolo votato
allo spettacolo, costituisce un espediente culturale la cui fortuna è antica. Se da un lato, esso
accompagna i viaggiatori e le loro esperienze di vita, d’altro canto tale espediente si nutre attivamente
della mobilità degli stessi artisti, cantanti, autori, compositori, ma anche pedagoghi o editori, che
percorrono l’Europa e il mondo, esplorando sempre più sistematicamente territori extra-europei.
Le forme teatrali italiane facilitano particolarmente queste circolazioni. Ricche di miti fondatori
(dalla Commedia dell’arte al teatro per musica e al suo progetto originario di opera che unisce tutte le
arti, al fine di far rinascere il teatro antico), esse sono insieme segnate da una “italianità” storicamente
costruita e sognata, profondamente mobile e malleabile secondo le sue circolazioni e ibridazioni. In
America del Sud e del Nord, in Oceania, in Asia o ancora in Africa, il “teatro italiano” circola a volte
rapidamente, a volte con difficoltà, a seconda degli adattamenti e delle resistenze. Tale circolazione
prende piede nelle società dove il teatro italiano viene spesso associato a dei modi di
drammatizzazione specifici, che hanno a che fare con l’intensità o l’eccesso – nel comico come nel
tragico –, di figure fortemente caratterizzate e di un mondo morale senza compromessi. I luoghi e le
istituzioni che programmano spettacoli presentati come italiani, dall’epoca moderna ai giorni nostri,

devono affrontare delle sfide di creazione e di mediazione importanti, sforzandosi di inventare o di re-
inventare il pubblico di un repertorio normalmente ben riconoscibile sulla scena culturale.

Le forme spettacolari italiane, forse quelle meglio esportate durante tutto il periodo
considerato – grazie in particolare alla rapidissima esportazione dell’opera italiana fuori dalle frontiere
del continente europeo, dopo la sua “invenzione” agli albori del Seicento – rappresentano una
tradizione certo di eccellenza ma al contempo accessibile, che stimola la riflessione e la fantasia fuori
dall’Europa. Così le stampe locali esaltano gli artisti collegati a tradizioni provenienti dalla penisola,
facendo ricorso a delle liste ricche di nomi italiani o italianizzati. E la continuità nella quale si inserisce

2
il teatro detto italiano, con la sua storia e le sue sfilze d’interpreti, di autori e di compositori illustri,
passati e presenti – che non sempre prendono il rischio di lasciare l’Europa, lasciando che i loro colleghi

meno famosi cerchino fortuna altrove – emerge fortemente negli approcci transnazionali extra-
europei, i quali, da un lato mantengono il divismo teatrale, e dall’altro se ne nutrono per meglio

consolidare delle specifiche legittimità locali.
Ora, l’idea per cui le forme spettacolari italiane possono contribuire a formare il gusto teatrale
– o a esercitare l’udito nel caso dell’opera – è un retaggio antico in Europa. Ma qual è la situazione
negli altri continenti? In che modo il teatro italiano, inteso come universo di riferimenti, di pratiche e
di performatività, alimenta approcci transnazionali originali? Quale posto gli viene affidato in una
cartografia internazionale delle missioni e dei talenti? Come circolano il repertorio, gli artisti e i miti
italiani, in quanto emanazioni di una forma specifica di spettacolarità (“italianità” vs “germanità”
secondo la distinzione già operata da Giuseppe Mazzini nella sua fondamentale Filosofia della musica
e poi da Thomas Mann)?
Questi sono alcuni dei quesiti che affronteremo. La riflessione verterà sulle esperienze di
esportazione di forme teatrali italiane “lontano dall’Europa” (missioni gesuite in America latina o in
Cina o in Giappone), sull’opera italiana indigena (come l’opera seria metastasiana in Brasile), ma anche
sulle esperienze contemporanee che mirano allo stesso tempo a impregnarsi delle culture locali (come
il progetto di messa in scena della Calisto di Cavalli, che esporterà in grande l’occhiale galileiano,
presente nel prologo, nel deserto australiano, o l’esempio della capocomica Clara Weiss che fece
conoscere l’opérette in Argentina, o ancora l’esempio della drammaturga contemporanea Lucia
Calamaro che iniziò la sua formazione teatrale nell’avanguardia uruguaiana).
Partire in cerca di scene teatrali italiane fuori dall’Europa implica dunque uno studio globale
che non si limita alla questione del repertorio o delle biografie di artisti itineranti, ma che arriva sin ad
indagare gli “altrove” del teatro – nei suoi espedienti, nei suoi luoghi comuni e nei suoi dirottamenti,
nelle sue vicissitudini e le sue ibridazioni, nei rifiuti o nelle nuove creazioni che esso suscita secondo i
suoi viaggi e i suoi approdi. L’esplorazione di questi “altrove”, lontano dall’Europa, solleva problemi
estetici, tecnici, drammaturgici, ma anche politici, che derivano direttamente dalla strategia locale
delle istituzioni o dei luoghi teatrali ove questo teatro si dispiega, e che riguardano anche la questione
fondamentale dell’elaborazione di una via italiana dell’arte, oltralpe, ma anche oltreoceano, prima e
dopo l’unificazione culturale e politica della penisola.
Il silenzio storiografico che a lungo ha gravato sulle circolazioni extra-europee tuttavia cruciali
si spiega con le difficoltà che pone la ricerca delle fonti, e con la necessità di plasmare strumenti che
siano adatti. Gli studi transnazionali, oggi molto proficui per la storia dello spettacolo, sottolineano
l’importanza di affrontare i processi storici al di là delle strutture degli Stati e delle Nazioni,
privilegiando la storia comparata, la storia incrociata o la Transfergeschichte. Questo approccio è
particolarmente rilevante in un campo in cui si sono susseguiti case studies che trattano di una forma
teatrale, di una sala, di una città, di una regione o di un paese. Se è possibile realizzare studi così
incentrati su una prospettiva transnazionale, molte ricerche si muovono ormai su scala globale. Cosa
significa allora condurre tali ricerche al tempo degli studi postcoloniali e della «storia globale
dell’Ottocento» (Osterhammel)? La stessa nozione di globalizzazione può essere discussa. La
mondializzazione, accompagnata da racconti relativi all’opera globalizzata, va anche letta come il
segnale di una fantasticheria contemporanea (Walton) piuttosto che come concetto idoneo a
teorizzare una storia transnazionale dell’opera dell’Ottocento.

3
Cercheremo di affrontare le scene teatrali italiane lontano dall’Europa attraverso diverse
prospettive:
- le caratteristiche e gli effetti percepiti come tipicamente «italiani», da spettatori non
europei;
- come un campo di applicazione e soprattutto di sperimentazione di processo di creazione
e di ricezione inediti;
- come un luogo di socializzazione e di dibattito politico, in un’epoca di divismo teatrale e
musicale la cui internazionalizzazione s’intensifica lungo il periodo storico considerato,
favorendo l’emergere di nuovi approcci, nonché di quesiti estetici e morali.

Il tema dell’importanza delle scene teatrali dette italiane nell’evoluzione, e nella prospettiva di una
riforma sociale – che mescolano popolazioni locali e espatriate, trasferite da una o più generazioni –,
sarà dunque al centro della nostra analisi.
Il progetto sarà diviso in due parti.
* La prima riguarda la riflessione attiva condotta attraverso un seminario programmato in modalità
ibrida, in vari mercoledì e giovedì dell’anno (più o meno una seduta ogni sei settimane, dal secondo
semestre 2023 al primo semestre 2025).
* La seconda parte riguarderà invece la pubblicazione delle attività di ricerca sotto forma di un volume
collettivo o di un numero speciale di rivista.
Le proposte di interventi al seminario, sotto forma di un abstract di circa 1 500 caratteri e di
una biografia compresa tra 5 e 10 righe, dovranno pervenire prima del 1° settembre 2023 a
This email address is being protected from spambots. You need JavaScript enabled to view it. e This email address is being protected from spambots. You need JavaScript enabled to view it..

Please see below the CFP for the Sonic Materiality special issue of the Journal of Sonic Studies.

The last decade has witnessed what has been characterised as a material turn in the arts and humanities, which has shifted attention from the role played by language and discourse within culture to that of objects, technologies, materials, and non-human organisms and processes. New ways of thinking about materiality prompted by developments in realist philosophy, including new materialism and speculative realism, have raised important questions about the place of the material in arts and culture, nonhuman agency, the relationship between technology and culture, anthropocentrism, and the environment. However, consideration of the sonic has not always been at the forefront of these discussions – perhaps because sound has been understood to be immaterial or addressed in ontological ways that privilege its sources. In this way materialist approaches to the sonic raise the possibility of rethinking the nature of sound itself, and thereby what is at stake in it.

In this special issue of the Journal of Sonic Studies we will explore how new ways of thinking about materiality might contribute to our understanding of sound, and at the same time how sound might contribute to developing ideas on materiality. This special issue continues and builds on the journal’s discussion of sonic materiality in its two ‘Materials of Sound’ special issues edited
by Caleb Kelly (2018 and 2019) and focuses on two fundamental questions: what is sound’s materiality and what is sonic materialism?
We welcome proposals for both articles and sound artworks that specifically address the issue of sonic materiality. Proposals may engage with, but are not limited to, the following topics:

• What is sound’s materiality, and what is at stake in a critical engagement with sonic materiality?
• How can notions of materiality politicise and historicise thinking about sound?
• What are sound’s material dimensions? Do these relate only to the objects, technologies, bodies and organic and inorganic forms of matter that create, preserve or respond to sound? Or are there ways in which sound (as event, energy or change) might be considered material?
• What new perspectives on the cultures, technologies, politics and ethics of sound are opened up by a consideration of sound’s materiality?
• How do notions of nonhuman agency relate to sound’s materiality? What is at stake in the idea of sonic agency?
• In what ways might creative practice in sound represent a form of ‘material thinking’? How do technological and material processes challenge established forms of creative practice?
• What is a sonic object?
• If the notion of sonic ecology points to the ways in which sound is situated within environments, what does a consideration of materiality bring to this?
• What are the ecological and biopolitical dimensions of sound’s materiality? How might ideas about materiality prompt a reconsideration of the relationship between the human and the nonhuman?
• How might sonic materialism function as a form of nonideal theory, through direct engagement with material objects and practices rather than idealized models of sound?
• How might a critical engagement with sound address the gap between the philosophical and theoretical approaches to materiality and the experienced materiality of sound and sound-related objects and processes?
• How can we create a language of materialism that emerges directly from the materials of sound?
• What might sound contribute to the material turn’s shift to objects, technologies, materials and nonhuman organisms and process? How might this relate to the anthropocentrism inherent in what has been termed the ‘sonic turn’, in which recent discussion of the politics of listening
have focused on the human subject.
• How might indigenous perspectives on matter and sound challenge and problematise the so-called “new materialism”?

We would particularly welcome proposals for articles that address these topics from Global South and/or Global Majority perspectives.

Please send your abstract (300 words) and short contributor biography
(100 words) to Andy Birtwistle This email address is being protected from spambots. You need JavaScript enabled to view it..uk<mailto:andy.birtwistle@canterbury.ac.uk> and
Lauren Redhead This email address is being protected from spambots. You need JavaScript enabled to view it.<mailto:l.This email address is being protected from spambots. You need JavaScript enabled to view it.> by 30 July 2023

Sono indette presso l’Università degli Studi di Pavia selezioni comparative per l’ammissione ai corsi di dottorato di ricerca – 39° ciclo, anno accademico 2023/24. Il bando completo è disponibile alla pagina http://phd.unipv.it/ciclo39/
Il bando ha scadenza 28/7/2023 alle 12.00

dal sito MIUR: https://bandi.miur.it/profcalls.php/public/job/id_job/109742

Dal sito del MIUR: https://bandi.miur.it/bandi.php/public/fellowship/id_fellow/237014

Un poste ATER en musicologie est ouvert à l’université Jean-Monnet, à Saint-Étienne, sur un profil  « Jazz » : les candidatures sont à transmettre sur Galaxie Altair jusqu'au 10 juillet 16h.

Campagne d’emplois ATER 2023

Université J. MONNET - ST ETIENNE Localisation du Poste : Saint-Etienne

IDENTIFICATION
DU POSTE

Section CNU 18 MUSICOLOGIE Composante :
ALL

Nature : ATER temps plein Laboratoire de recherche :

IHRIM

Profil : MUSIQUE ET MUSICOLOGIE

Enseignement
L’ATER, ayant une formation complète en musique et musicologie, assurera principalement des
enseignements en jazz au niveau licence. La personne recrutée devra également être en mesure de
proposer un séminaire sur une thématique proche au niveau master. Elle contribuera également à des
cours de méthodologie de la recherche (en Ml) et/ou des études universitaires (en Licence). Des
compétences techniques et pratiques, permettant une polyvalence d’enseignement, seront
appréciées. Une connaissance de l’environnement institutionnel est attendue.
Recherche
L’ATER sera rattaché à l’IHRIM (Institut d’histoire des représentations et des idées dans les modernités)
qui est une UMR pluridisciplinaire (philosophie, littératures française et étrangères, musicologie,
études théâtrales, histoire de l’art, histoire des sciences et des techniques). Le laboratoire se
caractérise par une approche historique des idées et des représentations (littéraires, artistiques,
symboliques), afin d’étudier les fondements et la structuration de la notion de modernité.
Les travaux de la personne recrutée s’inscriront prioritairement dans l’axe 5 du laboratoire (« Arts :
discours, formes et pratiques ») qui accueille les recherches dans le domaine des études théâtrales, de
la musicologie, de l’histoire de l’art et de la littérature. Cet axe cherche à interroger les régimes
historiographiques des arts, institués dans les discours et les représentations, ainsi que les formes et
les pratiques artistiques selon une perspective historique. Une des particularités de cet axe tient
également aux formes spécifiques que peut prendre la recherche, lorsqu’elle est intimement liée à la
création ou à la performance, mais aussi à sa propre valorisation qui passe par l’exposition, le concert
ou la mise en scène.
La personne recrutée pourra également contribuer aux axes de l’UMR dans lesquels s’inscrit tout
particulièrement l’équipe de Saint-Étienne : « Les normes, les canons et leurs critiques », qui
s’intéresse à la codification des catégories et des disciplines et à leur mise en question et l’axe «
Éditions et histoire du livre » en particulier dans l’étude du geste éditorial qui peut intéresser les
musicologues.

DRH ENS ATER
Il est attendu également que la personne recrutée s’inscrive dans la dynamique interdisciplinaire qui
caractérise l’équipe, avec des travaux et projets qui encouragent les rencontres et croisements entre
les arts et les disciplines.
Personne(s) à contacter :
Signature du Directeur de Composante
Clara MORTAMET

Signature de la Directrice de Laboratoire
Delphine REGUIG

1^st International Workshop on Networked Immersive Audio

Pisa, October 27, 2023

https://internetofsounds.net/1st-international-workshop-on-networked-immersive-audio/

Satellite event of https://internetofsounds.net/is2_2023/

Call for abstracts, papers and demos

Networked Immersive Audio is an emerging topic in sound-based communications. To date, scarce research has been conducted on how to integrate networking systems with immersive audio rendering techniques able to enrich the listeners’ perception of sharing the same acoustic environment and to provide the localization information of the remote users or other real or virtual acoustic sources. 

The aim of the workshop is to bring together academics and industry to investigate and advance the development of systems at the confluence of spatial audio and networking, as well as the understanding of human perception in immersive, networked contexts.

Topics of interest include, but are not limited to, the following areas:

• Frameworks for Networked Immersive Audio
• Spatial audio systems for networked interactions
• 3D audio perception in networked settings
• Spatial audio for Web Audio
• Embedded spatial audio systems
• Experimental results of prototype/testbed for Networked Immersive Audio
• URLLC communications
• 5G/6G architectures leveraging slicing and Multi-access Edge Computing
• Standardization activities for Networked Immersive Audio
• Packet loss concealment methods
• Network traffic predictions
• Optimization in the placement of Virtual Network Functions
• Security and privacy in Networked Immersive Audio

We consider contributions in the form of abstracts (max 500 words), full papers (min 5 pages, max 10 pages), poster papers (4 pages), or a demo proposal (max 2 pages). We encourage the submission of work in progress as well as more mature work. LaTeX and Word templates are available: IEEE conference templates.

Venue

The workshop is a satellite event of the 4^th International Symposium on the Internet of Sounds (IS² 2023: https://internetofsounds.net/is2_2023/), which will be hosted at the congress center “Ex Monastero delle Benedettine” in the city of Pisa, Italy, and will take place on the 26 and 27 of October 2023. The workshop as well as the main Symposium will be held in hybrid form, virtual and in presence.

Important dates

• Submission deadline: July 15, 2023
• Author notification: September 1, 2023
• Camera ready due: October 1, 2023
• Registration deadline: October 1, 2023
• Workshop date: October 27, 2023

Publications

The workshop proceedings will be part of the IS² 2023 proceedings, which will be submitted to the IEEE for publication. 

Organizing Committee

• Luca Turchet (University of Trento)
• Marina Bosi (Stanford University)
• Cristina Rottondi (Polytechnic University of Turin)
• Nils Peters (University of Erlangen-Nürnberg and Fraunhofer IIS)

dal sito del MIUR: https://bandi.miur.it/bandi.php/public/fellowship/id_fellow/236868

One fully-funded PhD position is available at the Creative, Intelligent & Multisensory Interactions Laboratory of University of Trento, Italy (https://www.cimil.disi.unitn.it/).

CALL FOR PAPERS: INSAM Journal No. 11
The Main Theme:
Technological Aspects of Contemporary Artistic and Scientific Research

Deadlines (No. 11):
-for the theme and abstract submission: July 10, 2023
-for the full-text submission: September 15, 2023

---

Dear Colleagues,

The Editorial Team of the INSAM Journal of Contemporary Music, Art and Technology is happy to invite you to collaborate on our eleventh issue (II/2023). The main theme of this issue will be “Technological Aspects of Contemporary Artistic and Scientific Research”. 

With this celebratory issue, we would like to return to the foundational ideas of our journal. Thus, we invite you to explore the notion of research in current practices of performing and visual arts, music and technology. We encourage the debate on topics that include (and are not limited to) the following areas and perspectives:
     • Technological means as a fulcrum in artistic and scientific research;
     • Methodologies of research in/of contemporary art and music;
     • Individual case studies of artistic endeavors driven by technology;
     • Current research in arts and humanities driven by technology (computational musicology, computational art history, media studies, art and data science, etc.);
     • Interdisciplinarity and transdisciplinarity in contemporary music and art.

INSAM Journal is structured in four sections: The Main Theme, Beyond the Main Theme, Reviews, and Interviews. The main topic predefines only The Main Theme section; in other sections, we welcome your contributions related to contemporary art and media theory, artistic music, performing and visual arts, and technology.

This issue will be published in July 2023. For detailed information on the manuscript preparation, see Authors Guidelines on our website – https://insam-institute.com/guidelines-for-authors/ . Send your proposals by July 10, 2023, and, if accepted, full papers by September 15 2023 to This email address is being protected from spambots. You need JavaScript enabled to view it..



Looking forward to our cooperation,

Rijad Kaniža, Editorial Assistant
INSAM Journal of Contemporary Music, Art and Technology

Music and Sonic Art: Seeing Sound, Hearing Sight
MuSA 2023
University of Manchester, UK Martin Harris Centre
28-29 October 2023
Supported by the Royal Music Association
CALL FOR PAPERS:
We are delighted to announce the twelfth international conference on Music and Sonic Art: Seeing Sound, Hearing Sight (MuSA 2023), an interdisciplinary event supported by the Royal Musical Association and to be held at the University of Manchester in association with the annual MANTIS (Manchester Theatre in Sound) Festival. To see the MANTIS Call for Works, please visit: http://mantisfestival.com/
Keynote speaker: Professor Simon Emmerson
Conference dates: Saturday, 28 October & Sunday, 29 October 2023
Deadline for abstract submission: Friday, 30 June 2023
The principal aim of MuSA 2023 is to advance interdisciplinary investigations in and between Music and Sonic Art, by exploring and building on the historical, theoretical, and practical connections and continuities between these two areas. Proposals for individual papers are invited from academics, independent researchers, practitioners, and post-graduate students. All proposals will be “blind” peer reviewed. The conference language will be English.
The theme of MuSA 2023 is Seeing Sound, Hearing Sight. Recent research has witnessed a surge in exploring the multimodal nature of musical and sonic art practices. Experience of sound involves complex multimodal components: it is well established, for example, that hearing interacts with sight in important ways, and what we see impacts what we hear and how we listen. The affective impact of music and sonic art creations, the evaluation of musical performances, expressivity of sounding phenomena all rely on meanings generated and conveyed through the interaction of hearing with other sense modalities. In this conference, we aim to explore the ways sight and sounds work together in the creation and reception of artistic outcomes in disciplines that use sound as their main creative medium. We invite submission on the following, and other related topics:

  *   audiovisual aesthetics
  *   audiovisual ecology
  *   sonic spectatorship
  *   sonic ecology and sight
  *   sound-sight and agency
  *   listening and imagery
  *   ambient music and visuals
  *   film music and film sound
  *   musicalization of visual art
  *   game music and sound
  *   classical music and new media
  *   sound and sight as documentary
  *   soundwalks as multimodal phenomena
  *   historical multimodal musical practices
  *   multimodal phenomenologies of listening
  *   sounds and sights of the performing body
  *   sonic-visual affordances of musical instruments
  *   affect and multimodal experiences of music and sound
ABSTRACT SUBMISSION:
Please submit an abstract of approximately 350 words in Word format to This email address is being protected from spambots. You need JavaScript enabled to view it.<mailto:j.dack@mdx.ac.uk> as an e-mail attachment.
As contributions will be “blind” peer-reviewed, please do not include information that might facilitate identification from the abstract. In addition, please submit separately the name(s) of the author(s), institutional affiliation (if any) and short biography (approximately 100 words).
Deadline for the receipt of abstracts is Friday, 30 June 2023. Notification of acceptance will be sent by Friday, 14 July 2023.
If additional information is required, please contact Prof Mine Doğantan-Dack or any member of the Conference Committee:
Prof Mine Doğantan-Dack (University of Manchester, UK; University of Cambridge, UK) mine.dogantan-dack@manchester.ac.uk<mailto:mine.dogantan-dacThis email address is being protected from spambots. You need JavaScript enabled to view it.> / This email address is being protected from spambots. You need JavaScript enabled to view it.<mailto:md787@cam.ac.uk>
Dr John Dack (Middlesex University, UK)
This email address is being protected from spambots. You need JavaScript enabled to view it.<mailto:j.dack@mdx.ac.uk>
Dr Sean Williams (Open University, UK)
This email address is being protected from spambots. You need JavaScript enabled to view it.<mailto:This email address is being protected from spambots. You need JavaScript enabled to view it.>
Dr Alfonso Benetti (University of Aveiro, Portugal)
This email address is being protected from spambots. You need JavaScript enabled to view it.<mailto:alThis email address is being protected from spambots. You need JavaScript enabled to view it.>
Prof Miroslav Spasov (Keele University)
This email address is being protected from spambots. You need JavaScript enabled to view it.<mailto:m.This email address is being protected from spambots. You need JavaScript enabled to view it.>

Borse di studio residenziali da due mesi offerte dalla Fondazione Giorgio Cini 

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 postdoc 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: musicologia, musica vivaldiana, etnomusicologia, storia dell’arte, storia di Venezia, letteratura, teatro, libri antichi, civiltà e spiritualità comparate, digital humanities.

Borse di studio in ambito musicologico

L’Istituto per la Musica promuove la ricerca scientifica e la diffusione del sapere su diversi ambiti della cultura musicale dell’Occidente. Le sua attività di ricerca si svolgono primariamente, ma non esclusivamente, nell'ambito della musica del XX e del XXI secolo con particolare riferimento al processo compositivo, alla prassi esecutiva, al teatro musicale e alle creazioni  audiovisive. Esso opera inoltre per l’acquisizione, la conservazione, la tutela, e la valorizzazione di archivi del XX e del XXI secolo.

Sono benvenuti progetti di ricerca di taglio storico-critico o filologico indirizzati alla valorizzazione del patrimonio archivistico dell’Istituto, consultabile attraverso il portale degli archivi digitali: http://archivi.cini.it/cini-web/istitutomusica/home.html.

- Bando per borse di studio residenziali - 

Domande entro venerdì 30 giugno 2023 

Info: This email address is being protected from spambots. You need JavaScript enabled to view it.

Curators
Giulia Carluccio (Università di Torino), Massimo Fusillo (Università dell'Aquila), Stefania
Rimini (Università di Catania), Emanuele Senici (Università di Roma La Sapienza)
Coordinators
Cristina Colet, Leonardo Mancini, Giulia Muggeo (Università di Torino)
Scientific Committee
Luca Aversano (Università Roma Tre), Alberto Bentoglio (Università di Milano), Giorgio
Biancorosso (University of Hong Kong), Gabriella Giannachi (University of Exeter), Michal
Grover-Friedlander (Tel Aviv University), Serena Guarracino (Università dell'Aquila),
Gerardo Guccini (Università di Bologna), Andrea Malvano (Università di Torino), Antonella
Mascio (Università di Bologna), Federica Mazzocchi (Università di Torino), Isabelle
Moindrot (Université Paris 8), Federica Muzzarelli (Università di Bologna), Franco Perrelli
(Università di Torino), Mariapaola Pierini (Università di Torino), Antonio Pizzo (Università di
Torino), Maria Rizzarelli (Università di Catania), Emilio Sala (Università di Milano), Paola
Valentini (Università di Torino)
Organization
UniVerso and CRAD (Centro Ricerche Attore e Divismo) - Università di Torino
"Da tutte le parti d’Europa, però, chi era riuscito a mettere insieme la somma e non si
lasciava spaventare da un caldo capace d’abbattere le peggiori bestiacce, aveva
giurato da mesi di non perdersela, quest’occasione di assistere a uno dei grossi
sortilegi del mondo moderno: in un remoto angolo della Grecia di sassi, una notte di luna
appare una maga, che è uno dei grandi personaggi del secolo, e in una cerimonia di
stregoneria rotocalchesca Commuove i Popoli..."
With these words, Italian writer Alberto Arbasino poignantly evokes the compelling call
that drove an international crowd to a torrid Epidaurus in July 1960 for Maria Callas’
performance in Norma. But, just as poignantly, Arbasino’s words also suggest the
complexity of the Callas phenomenon as both performer and character, dominating the
great stage of the twentieth century and beyond.
17-20 DICEMBRE 2023 TEATRO REGIO DI TORINO

Call for papers

1
To mark the centenary of Maria Callas’ birth, the University of Turin promotes an
international conference as the culmination of its “UniVerso/Maria Callas Icon” program.
The conference is promoted together with UniVerso and CRAD, and in collaboration with
Fondazione Teatro Regio di Torino.

The conference will comprise several sessions related to different disciplinary areas.
The following keywords are intended to provide an initial conceptual framework:
ACTING • ARCHIVES • BODY • BODY POLITIC • CELEBRITY • CHARACTER • CINEMA •
COLLECTING • DIRECTING • DIVA • EXHIBITION • FANDOM • FASHION • GENDER • GENRE
• MEDIA • MYTH • MUSIC • OPERA • PERFORMANCE • PUBLIC/PRIVATE • QUEER •
REPERTOIRE/INTERPRETATION • SINGING/VOICE • SOCIETY/TWENTIETH CENTURY •
THEATER • WRITING/REWRITING
• The conference Maria Callas at 100: Opera, Celebrity, Myth aims to address, from an
interdisciplinary perspective, the study of an artistic personality who left a profound mark
on the history of opera, but also more generally on the collective imaginary, becoming a
true icon of the twentieth century. Her singing, which poet and critic Eugenio Montale
defined as expressionistic, not only marked a turning point in the interpretation and
reception of opera in contemporary culture, but also had a radical impact on all the other
arts, from literature to cinema, and from the visual arts to all kinds of performance.
• Adopting a broadly multidisciplinary perspective, the conference will focus on a
professional career that spanned several decades of the last century, leaving an indelibe
mark on opera; at the same time, it will also explore the singer’s influence on broader
social and cultural discourses, both in Italy and abroad, within which she performed –
and continues to perform – a crucial role.
• In addition to reconsidering the fundamental part that Callas played in the historical and
artistic context in which she lived, the conference also aims to emphasise her legacy
and the ongoing relevance of her myth.
• From fashion to cinema, from pop music to TV series, from graphic novels to
numerous biographies, Callas’ memory lives on in the present through countless
tributes, reframes and remediations, as witnessed, for instance, by Marina
Abramović’s operaproject 7 Deaths of Maria Callas, which will open the conference
as a video installation.

2
The conference will be held in Italian and English. Those who would like to participate
are invited to submit a proposal in the language of their choice to
This email address is being protected from spambots. You need JavaScript enabled to view it., including an abstract (max 2000 characters / 250 words)
and a short bio (max 500 characters / 100 words).
Proposals from young scholars are particularly welcome.
Submission deadline: 30 June 2023
Notification of abstract acceptance: 20 July 2023
There is no registration fee for participation in the conference.

INTERNATIONAL WORKSHOP IN THEORY AND SOUND    II

Mediterranean (post)colonialisms

28-30 August, 2023

The University of Thessaly Conference and Cultural Center, Μoni Paou, Pelio, Greece

theoretical ↔ artistic workshop

Co-organized by the “Mobility Studies” postgraduate programme (department of History, Archaeology and Social Anthropology) and the department of Culture, Creative Media and Industries, University of Thessaly.

The International Sound and Theory Workshop is a combined theoretical/artistic workshop exploring and potentially questioning and unsettling the modern “theory/practice” conceptual divide, while creating a participatory, cross-disciplinary platform of scholarly/artistic exchanges and convergences.

The theory workshop is organized in three sessions creating and probing shared knowledge environments among all participants for co-crafting ideas, questions and concepts in alignment with the artistic workshop.

The artistic workshop is designed as a cross-artistic regime of knowing with audiovisual media. It aims at motivating the production of a project in dialogue with the theoretical workshop, inviting at the same time the making, re-distribution, creative un-doing, or recharging of theoretical knowledge across the artistic process.

Guest speakers:

Martha Feldman (Univ. Of Chicago)

Martin Stokes (King’s College, London)  

Peter McMurray (Univ. Of Cambridge)

The workshop seeks to rethink the “Mediterranean” as a relational and elusive musical place emerging through its multiple, unfinished trajectories and temporalities, as well as a multivalent discursive/sonic field for a radical critique of modernity activating contingencies for unlearning history. Drawing upon paradigms from the Mediterranean “East”, it is motivated by the reconsideration of the Mediterranean less in terms of a fixed, spatial category and more as a musical idea: to re-imagine and  listen to the Mediterranean as an unruly, incomplete archive of sounds and as a “boundless sea” of genres and voices to be performed, of sonic odysseys to be (re-)mapped, of connectivities and disconnections to be (re-)appraised. Inevitably, such sensibilities of the “Mediterranean” urge for alternative, situated performativities of its knowledge subverting imperial epistemological and cultural logics casting their shadows over the present. This postcolonial adventure of knowledge is interested in probing wider and comparative vistas questioning normative imaginaries and critically re-scaling audibilities of the Mediterranean, its ruins, noises, rhythms and silences. It presupposes the retraining of our historiographic/artistic/ethnographic ear and a way of listening to the (Eastern) “Mediterranean” floating laboratory of history also as a challenge for a postcolonial epistemological re-positioning: of reflexively making sense of the ways our scholarly selves are variously entangled within the coloniality of knowledge and its imperialist orthodoxies and agendas. Such a postcolonial listening to the ceaselessly becoming world of the Mediterranean archive can set the stage for re-routing our auditory imagination contingently texturing and expanding our intelligibilities of the political, while taking the responsibility for what remains unheard and what it means to know it.

Artistic workshop: Curating the Mediterranean Sonic Archive

Eligible applicants are doctoral/postdoctoral students and researchers active in the fields of arts, humanities and social sciences.

Applications deadline: June 28, 2023.

For information about the workshop, the programme, the location and the application procedure see https://soundandtheoryworkshop.weebly.com/

For any additional information feel free to contact us at soundandtheoryworkshop@gmail.com

Bando per l'accesso al 39° ciclo di dottorato di ricerca AA 2023/2024.

Il progetto formativo del corso, incentrato sulle discipline del cinema, dei media, della musica, del teatro e della danza, prevede un innovativo dialogo tra le teorie e le pratiche dell'audiovisivo e dello spettacolo dal vivo, sia sul piano degli oggetti e delle metodologie della ricerca, sia su quello delle rispettive competenze istituzionali degli enti associati al dottorato. Al corso partecipano infatti, per la prima volta in forma associata, due università (Roma Tre e Teramo) e tre istituzioni AFAM (Conservatorio Santa Cecilia, Accademia Nazionale di Danza di Roma, Accademia di Belle Arti di Roma), rappresentative di tre importanti aree dell'alta formazione artistico-musicale. Una delle caratteristiche specifiche del corso è dunque rappresentata dall’intersezione degli studi umanistici con gli ambiti delle tecnologie dell’audiovisivo e delle pratiche musicali e performative. A partire dai principali settori disciplinari di riferimento (L-ART/05 Discipline dello spettacolo, L-ART/06 Cinema, fotografia e televisione, L-ART/07 Musicologia e storia della musica, SPS/08 Sociologia dei processi culturali e comunicativi), il corso di dottorato rivolge particolare attenzione alle dimensioni storico-critiche, teorico-analitiche, tecnologiche e socio-culturali dei temi collegati agli ambiti dello spettacolo, in linea con gli scenari internazionali della ricerca accademica contemporanea e con un'apertura interdisciplinare ai tessuti complessi di tecniche e di saperi che contraddistinguono da un lato le produzioni artistiche e i relativi contesti mediali, dall'altro le rifrazioni fisiche e ambientali degli studi sul suono e sulle immagini. La multidisciplinarità e il carattere innovativo delle linee di ricerca permettono di superare i limiti della settorialità dei singoli ambiti, anche attraverso una innovazione culturale e tecnologica diretta a favorire la comprensione delle specificità e delle complessità del patrimonio culturale, con particolare riferimento al rapporto tra patrimonio materiale e patrimonio immateriale e alle relative pratiche di archiviazione e documentazione digitale.

Appel à communications : colloque : De l’exclusion à la réconciliation ? La réintégration comme dimension régulatrice des institutions, de l’Antiquité à nos jours

Présentation

De l’exclusion à la réconciliation ? La réintégration comme dimension régulatrice des institutions, de l’Antiquité à nos jours

Le colloque de l’axe PIC (Pouvoirs, institutions, conflits) du laboratoire Criham des universités de Limoges et de Poitiers souhaite mettre au centre des réflexions, dans une approche de longue durée, ces processus qui mènent, au sein des institutions régulatrices, de l’exclusion à la réintégration.

Le colloque ne vise pas à l’analyse de l’exclusion dans sa dimension sociale globale, dimension la plus prégnante dans la pensée contemporaine du social et objet, au cours des dernières décennies, de multiples analyses sociologiques, anthropologiques et historiques. Le propos sera ici de penser des pratiques dans le cadre d’institutions, créations concertées, cadres contraignants, de portions plus ou moins vastes de la société. Surtout, l’attention sera portée, davantage que sur l’exclusion en elle-même, sur la capacité des institutions à réintégrer les sujets mis à l’écart.

L’analyse précise des procédés de la réintégration, de leur justification aux détails de leur mise en pratique dans les contextes historiques les plus divers sera le cœur de la problématique du colloque. Dans ce cadre, on s’intéressera en particulier aux formes, discrètes ou ostentatoires, ritualisées ou plus ou moins improvisées, de la réintégration. On étudiera comment ces modes opératoires en rappellent d’autres, plus anciens ou repris à d’autres champs du social, à d’autres institutions ; bref, on appréciera quelle culture mais aussi quels rapports de force sociaux s’expriment à travers l’outillage symbolique de ces pratiques.
On s’interrogera sur ce que les anciennes et anciens exclu⋅es apportent à l’institution qu’elles et ils réintègrent : constituent-ils des acteurs de second plan, restent-ils sur des marges des institutions réintégrées, portent-ils les stigmates de l’exclusion passée (combien de temps ou jusqu’à quel événement probateur ?), sont-ils des vecteurs de désordre, de désintégration des institutions, ou de transformations, d’adaptation des institutions auxquelles ils viennent apporter des expériences nouvelles ? On s’interrogera sur la participation de la réintégration à la solidité, à la longévité des institutions, au positif, par les apports extérieurs véhiculés par les réintégrés, mais aussi, au négatif, si l’on peut dire, au sens où la réintégration peut contribuer à éviter la constitution de groupes critiques, susceptibles de s’institutionnaliser et de venir concurrencer l’institution existante ? Pour dire cela de façon abrupte, l’institution est-elle gagnante à la réintégration ? Et les personnes réintégré.es, que gagnent-elles réellement à leur réintégration ? Les conséquences de la réintégration sont-elles les mêmes en fonction du genre, de l’origine sociale, géographique, de l’âge des individus ou de la structure des groupes
concernés ?

Les analyses pourront également s’inscrire dans des problématiques comme celles de l’oubli et de la mémoire collective, notamment mémoire au sein des institutions, des groupes sociaux, mémoire de l’exclusion comme de la réintégration. Les institutions religieuses s’imposent comme instances créatrices de règles, tout à la fois des plus puissantes et des plus diversifiées. Les multiples institutions de l’Église catholique, par exemple, ne cessent de menacer d’exclusion, notamment par cette forme que l’on peut
considérer comme ultime, l’excommunication, mais elles s’efforcent tout aussi obstinément de remettre dans le droit chemin des brebis égarées. Toutes les institutions religieuses sont pourvoyeuses de pardon, de possibilités de réintégration et de mise en œuvre de ces réintégrations. L’étude de leur aptitude à réintégrer sera un axe structurant du colloque. Cependant, ne serait-ce qu’à titre comparatif, d’autres institutions sont tout autant à envisager. On pensera, bien sûr, à l’État, grand créateur d’institutions dans tous les domaines de la vie sociale. On pensera en particulier à l’Armée. Elle aussi institue des règles, réputées strictes, et prévoit l’existence de déviances, de refus des règles. Elle aussi fait parfois le choix de l’exclusion, plutôt que la punition. Connaît-elle aussi des procédés de la réintégration et selon quelles règles fonctionnent-ils ? Enfin, on pourra s’interroger aussi sur les fonctionnements collectifs de multiples groupes constitués qui ont leurs règlements, ou leurs fonctionnements entés dans des traditions, et leurs exclus. Ces groupes ne sont pourtant pas à proprement parler des institutions : ainsi des confréries, des fraternités universitaires, des clubs, des « sociétés » du XVIII^e siècle, dans un horizon du travail plus proche, les jurandes, les sociétés de secours mutuel du XIX^e siècle, plus près de nous, les syndicats, les partis politiques et tout le monde des associations ; dans le domaine artistique, ateliers, académies, écoles, conservatoires…

Le colloque cherchera à aborder ce terrain d’analyse dans la longue durée, en rendant compte de la diversité des situations et des lieux, depuis l’Antiquité jusqu’au XX^e siècle, à travers les sources les plus variées, qu’elles permettent des études de cas précis ou des approches plus globales. Se voulant une contribution interdisciplinaire à l’anthropologie historique de l’exclusion, l’interrogation est ouverte à d’autres disciplines, au-delà de celles réunies au sein du Criham.

Comité d’organisation

– Albrecht Burkardt, histoire moderne, Université de Limoges
– Anne Jollet, histoire moderne, Université de Poitiers
– Cécile Auzolle, musicologie, Université de Poitiers
– Alexis Avdeeff, anthropologie, Université de Poitiers
– Alexandra Beauchamp, histoire médiévale, Université de Limoges
– François Brizay histoire moderne, Université de Poitiers
– Virgile Cirefice, histoire contemporaine, Université de Limoges
– Jérôme Grévy, histoire contemporaine, Université de Poitiers
– Daniel-Odon Hurel, histoire moderne, Directeur de recherche au CNRS, membre associé au Criham
– Pauline Lafille, histoire de l’art, Université de Limoges
– Fanny Le Bonhomme, histoire contemporaine, Université de Poitiers
– Anne Massoni, histoire médiévale, Université de Limoges
– Nathan Rera, histoire de l’art, Université de Poitiers

Propositions de communications

Les organisateurs souhaitent recevoir vos propositions avant le 20 juin 2023.
Les propositions devront comporter au maximum 500 mots. Nous vous remercions de les accompagner d’un court curriculum vitae.

Les propositions sont à envoyer par mail aux organisateur et organisatrice du colloque :
Albrecht Burkardt – This email address is being protected from spambots. You need JavaScript enabled to view it.
Anne Jollet – This email address is being protected from spambots. You need JavaScript enabled to view it.

Les retours sur les propositions seront faits avant le 10 juillet 2023.

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, This email address is being protected from spambots. You need JavaScript enabled to view it.<mailto:dThis email address is being protected from spambots. You need JavaScript enabled to view it.>.
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)

The University of Glasgow is seeking a Lecturer in Musicology within the School of Culture & Creative Arts.

The postholder will undertake research of international excellence and contribute to knowledge exchange activities relative to the discipline, contribute to learning and teaching on agreed programmes and undertake administration and service activities in line with the School/College’s strategic objectives.

This post is full time (35 hrs per week) and open ended.

Informal enquiries should be directed to Dr Eva Moreda Rodriguez, This email address is being protected from spambots. You need JavaScript enabled to view it..uk

Visit our website for further information about the University of Glasgow and the School of Culture & Creative Arts: https://www.gla.ac.uk/schools/cca/

For more information and to apply online: https://my.corehr.com/pls/uogrecruit/erq_jobspec_version_4.jobspec?p_id=111930           

Closing date: 14 June 2023

Selezione pubblica, per titoli e discussione pubblica, a n. 1 posto di ricercatore a tempo determinato, mediante stipula di contratto di lavoro subordinato della durata di 3 anni, ai sensi dell’art. 24, comma 3, lett. b), Legge 240/10, per lo svolgimento di attività di ricerca e di didattica, di didattica integrativa e di servizio agli studenti.

Procedura selettiva (RISERVATA ai sensi dell'art. 18 co. 4 della Legge 240/2010) per n. 1 posto di professore di II fascia

Pour toute demande de renseignement complémentaire, vous pouvez envoyer un message à l'adresse suivante : elise.petit@univ-grenoble-alpes.fr

Call for papers per la conferenza

Il Teatro Sant’Angelo al tempo di Vivaldi (1700-1740)

(Fondazione Giorgio Cini, 16 al 18 novembre 2023)

L’Istituto Italiano Antonio Vivaldi e il gruppo di ricerca «La drammaturgia musicale a Venezia (1678-1792)» della Fondazione Ugo e Olga Levi presentano  la Call for Papers per partecipare alla conferenzaLe drammaturgie musicali al Teatro Sant’Angelo (1700-1740) che si terrà dal 16 al 18 novembre 2023.

Proposte entro 1 giugno 2023

Per info This email address is being protected from spambots. You need JavaScript enabled to view it.

OBERTO conference 2023

‘AN EXCLUSIVE AND EXPENSIVE ARTICLE?’ OPERA AND MONEY

Tuesday 12 September 2023 - Oxford Brookes University

Opera has a reputation as the most extravagant of art forms. Even modestly
staged productions require vast sums of money to pay for sets, costumes and
the huge numbers of personnel involved in bringing opera to the stage. Over
opera’s long history, many different models to finance opera have been
tried: almost all have led to controversy and many have failed. Attitudes
towards state subsidy have varied historically according to country and
political regime: often the topic is bound up with deep-rooted ideas about
national values and identity. Today these arguments rage more loudly than
ever, exemplified particularly painfully in the recent funding cuts
inflicted upon most of the UK’s leading opera companies by Arts Council
England, an organisation that, at the time of its foundation, saw opera as
central to the reinvigorated postwar British arts scene.

This conference, organised by the OBERTO opera research unit at Oxford
Brookes University, aims to examine the close relationship between opera
and money from both historical and contemporary perspectives. Together with
reflections on patronage, philanthropy, ticket pricing, marketing,
fundraising and the perennial problem of state subsidy, we hope that the
conference will cover broader issues to do with opera and money. These
might include the widespread perception of audiences as wealthy (and
historical/current case studies that confirm or disprove the stereotype),
access schemes, whether opera can ever be staged on a budget, and the
depiction of wealth and poverty on the operatic stage.

We invite proposals for individual 20-minute presentations, panel
discussions and alternative-format sessions such as lecture-recitals or
poster presentations on any aspect of the connection between opera and
money. We welcome contributions from academics as well as from opera
industry or media professionals. Past OBERTO conferences have facilitated
lively debates between academics, performers, directors, critics, opera
administrators and members of the general public, and we would like to
continue this tradition.

Topics might include, but are not limited to:

State funding for opera and the politics of subsidy
Patronage and philanthropy
Staging opera on a budget
Sponsorship, fundraising and marketing
Corporate entertainment in the opera house
Access schemes
The cost of operatic venues
Perceptions of opera as expensive and luxurious
Audiences rich and poor
Money and the opera-elitism debate
Singers and (perceptions of) wealth
Wealth / poverty as represented on the operatic stage
Please send abstracts of no more than 250 words and any enquiries to
This email address is being protected from spambots. You need JavaScript enabled to view it. by 1 June 2023. We will endeavour to notify
contributors later that month and publicise the full programme in July.

La Società Italiana di Analisi e Teoria Musicale - GATM aps, in collaborazione con il Conservatorio “G. Martucci” di Salerno, organizza il XX Convegno Internazionale di Teoria e Analisi Musicale. Il convegno si terrà in presenza dal 19 al 22 ottobre 2023 presso il Conservatorio G. Martucci di Salerno. Qualora la situazione sanitaria lo rendesse necessario, si attiveranno modalità di  partecipazione miste e/o online.

Si invitano gli studiosi a presentare proposte su tematiche correlate alla teoria e all’analisi della musica. Il Convegno sarà aperto a tutti i generi musicali, i periodi storici e le aree geografiche. Le proposte potranno essere di tipo analitico, teorico e/o empirico-sperimentale.

Oltre alle proposte di argomento libero, il Convegno intende sollecitare, in occasione della sua ventesima ricorrenza, una riflessione sul percorso storico e sul futuro delle discipline analitiche. Saranno quindi benvenute relazioni che affrontino, con uno sguardo volto al futuro, temi e approcci metodologici che sono stati protagonisti o, al contrario, trascurati negli ultimi decenni. Al contempo, considerando attuale e tutt’altro che esaurito il filo rosso avviato nelle scorse edizioni del Convegno, si incoraggiano proposte sul rapporto tra analisi e performance, in particolare:

a) sui rapporti tra i parametri performativi e quelli strutturali,
b) su come la performance contribuisce al significato di un brano;
c) sui rapporti tra l'analisi e gli aspetti pre-linguistici e non discorsivi della performance.

Il Convegno proporrà inoltre due tavole rotonde: una dedicata al meeting delle Società musicologiche che nel 1989 hanno fondato il GATM, con il fine di riflettere sulla storia, il ruolo e le prospettive della ricerca analitica in Italia, e una seconda focalizzata sulla Ricerca Artistica. Infine, saranno proposti tre eventi speciali:

• una sessione tematica, organizzata secondo il DM n. 752 del 30/06/2021, incentrata sullo studio di musiciste, analiste, compositrici e interpreti femminili, iniziativa importante perché arriva in un momento in cui l’analisi musicale è ancora indietro rispetto al resto del mondo musicologico in termini di inclusione di studiose donne;

• un incontro di studi in memoria di Azio Corghi;

• la seconda edizione del Forum dei Licei Musicali su argomenti teorici, analitici e performativi.

Keynote speakers

Il Convegno ospiterà interventi di L. Poundie Burstein (CUNY), Yoel Greenberg (Bar-Ilan University) e Fred Lerdahl (Columbia University).

Con la partecipazione di...

AIMI (Associazione Informatica Musicale Italiana)
ESCOM Italy (European Society for the Cognitive Science of Music – Italy) SIdM (Società Italiana di Musicologia)
SIEM (Società Italiana di Educazione Musicale)

Date chiave

31 maggio 2023: Termine per la presentazione delle proposte
10 luglio 2023: Apertura della registrazione al Convegno
3 agosto 2023: Termine per la presentazione degli Abstract brevi e, per i soli candidati alle Borse di Studio, degli articoli completi

1 settembre 2023: Termine ultimo per la registrazione anticipata (quote ridotte)

Regolamento

Termine per l’invio delle proposte

Il termine per l’invio delle proposte è il 31 maggio 2023.

Tipologie di presentazione:

1. Relazioni individuali o con più autori (durata 20’ più 10’ di discussione)
2. Sessioni tematiche (da tre a quattro relazioni, ciascuna di 20’ più 10’ di discussione);
3. Analisi-concerto (20 minuti di relazione, 20’ di recital, 10’ di discussione, per complessivi 50’ di durata).

Linee guida per la redazione delle proposte sono consultabili a questo link.

Lingue ufficiali del Convegno

Le lingue ufficiali del Convegno sono l’italiano e l’inglese. Le proposte possono essere presentate in una delle due lingue ufficiali. Al fine di massimizzare la fruibilità degli interventi nel contesto internazionale del Convegno, si chiede ai relatori che sceglieranno di esporre la propria relazione in lingua italiana di predisporre le proprie slides in lingua inglese.

Istruzioni per la presentazione delle proposte

Le proposte dovranno essere inviate tramite il Google Form

https://forms.gle/Cr3kNNvBD8D7qMZV7

Sarà necessario accedere con un proprio account gmail, se lo si possiede, o, in caso contrario, crearne uno per l’occasione (“Crea un account”). Qualunque richiesta sulla presentazione delle proposte può essere rivolta all’indirizzo This email address is being protected from spambots. You need JavaScript enabled to view it..

Per ogni relazione proposta, si dovranno predisporre:

• -  Un documento PDF anonimo contenente (1) il titolo della proposta, (2) un abstract di 500-700 parole, più un massimo di due pagine di esempi e figure dove appropriato, (3) una bibliografia di massimo 5 titoli, (4) 5 parole chiave.

         - Un documento PDF contenente il nome, l'affiliazione, e un breve CV (massimo 200 parole)    per ogni autore coinvolto nella proposta.

Per una sessione preorganizzata, i proponenti dovranno predisporre gli abstract di ogni singola relazione in file distinti, e redigere separatamente una presentazione della sessione nel suo insieme (250 parole).
Per i concerti-analisi, dovranno essere altresì fornite una partitura o altra rappresentazione del brano, e un link (ad es., YouTube, WeTransfer, ...) a una registrazione video di una propria performance del brano.

Il Convegno con e per gli studenti

Studenti di Conservatori e Università sono particolarmente incoraggiati a presentare argomenti di tesi e lavori di ricerca originali, indicando il proprio status di studente al momento dell’invio della proposta. I giovani studiosi che parteciperanno al Convegno per presentare una propria relazione potranno fare richiesta per l’assegnazione di una delle borse di studio messe a disposizione dalla Società Italiana di Analisi e Teoria Musicale - GATM (si veda regolamento in calce).

Valutazione e comunicazione dei risultati

Le proposte saranno sottoposte a doppia valutazione anonima. Ogni proposta di relazione inclusa in una Sessione tematica sarà valutata separatamente e la Sessione sarà confermata solo se almeno tre proposte saranno accettate. In caso contrario, il Comitato scientifico potrà accogliere le sole proposte accettate come Relazioni individuali.

I risultati della peer review saranno comunicati ai proponenti entro il giorno 3 luglio 2023.

Abstract book

Gli autori delle proposte accettate dovranno inviare entro il giorno 3 agosto 2023 un abstract di non più di 300 parole (in formato .doc oppure .odt) privo di esempi, tavole e figure, che sarà pubblicato nel booklet del Convegno. Al fine di massimizzare la fruibilità degli interventi nel contesto internazionale del Convegno, si chiede ai relatori che sceglieranno di esporre la propria relazione in lingua italiana di inviare anche una versione estesa del proprio abstract (500-700 parole) in lingua inglese. Questa sarà resa disponibile come allegato digitale all'Abstract Book del Convegno.

Quote di iscrizione per relatori e partecipanti

Le iscrizioni al Convegno saranno aperte a partire dal 10 luglio 2023 e si potranno effettuare sul sito https://www.gatm.it

L’ADUIM, Associazione fra Docenti Universitari Italiani di Musica, bandisce un premio annuale come riconoscimento per la migliore produzione musicale (spettacolo dal vivo, incisione discografica o video) realizzata in Italia o all’estero nell’anno solare 2022 che sia frutto di una ricerca musicologica o etnomusicologica

Entro il 30 maggio 2023, i soci dell’ADUIM sono invitati a inviare all’indirizzo This email address is being protected from spambots. You need JavaScript enabled to view it. segnalazioni dettagliate, documentate ed eventualmente corredate da link a materiali audiovisivi, acccompagnate da un breve giudizio critico delle produzioni musicali, che nell’anno solare precedente, si siano distinte per l’efficacia dell’operazione nonché per la rilevanza della ricerca musicologica che ne è alla base.

Ciascun socio può inviare anche più di una segnalazione. Le segnalazioni nominali che la commissione valuterà saranno disponibili nell’apposita sezione del sito ADUIM.

Entro il 30 luglio 2023 la giuria di sette soci nominata nel corso dell’Assemblea annuale 2023 renderà nota sull’apposita sezione del sito ADUIM una rosa di candidature, fino a cinque, che saranno poi valutate sulla base dell’acquisizione di ulteriore documentazione audiovisiva e cartacea, qualora non sia già disponibile.

La proclamazione avrà luogo nel corso dell’assemblea annuale dell’ADUIM del 2024 in presenza, come invitati, di rappresentanti della produzione premiata.

Bologna 9 marzo 2023

Scarica il regolamento del Premio ADUIM

Componenti della Giuria per il Premio ADUIM 2023

Marco Bizzarrini      This email address is being protected from spambots. You need JavaScript enabled to view it.;
Fulvia Caruso          This email address is being protected from spambots. You need JavaScript enabled to view it.;
Antonella D’Ovidio This email address is being protected from spambots. You need JavaScript enabled to view it.;
Dinko Fabris            This email address is being protected from spambots. You need JavaScript enabled to view it.;
Andrea Malvano     This email address is being protected from spambots. You need JavaScript enabled to view it.;
Gianluigi Mattietti  This email address is being protected from spambots. You need JavaScript enabled to view it.;
Susanna Pasticci   This email address is being protected from spambots. You need JavaScript enabled to view it.

È indetta, ai sensi dell’art. 18, comma 4, della Legge n. 240/2010, una procedura selettiva di chiamata per n. 1 posto di Professore di ruolo di seconda fascia presso il Dipartimento di Lettere e Culture Moderne - Facoltà di Lettere e Filosofia: Dipartimento di Lettere e Culture moderne Facoltà di Lettere e Filosofia N. 1 posizione di professore di II fascia per il GSD/Settore Concorsuale 10/C1 – Settore scientifico disciplinare L-ART/07

Sede di servizio: Dipartimento di Lettere e Culture moderne

Attività di ricerca prevista: Le attività di ricerca attengono alla musicologia con adeguata considerazione delle sue connessioni interdisciplinari.

In particolare, la ricerca si svolgerà soprattutto negli ambiti: Musica del Novecento, Musiche contemporanee, Drammaturgia musicale, Filologia e analisi musicale. Impegno didattico e relativa sede previsti: Min. 120 ore nei corsi di laurea LMS (Letteratura musica spettacolo, laurea triennale), Musicologia (laurea magistrale), presso il Dipartimento di Lettere e Culture moderne

Attività di Terza Missione prevista: Attività in collaborazione con istituzioni musicali romane, quali Accademia Nazionale di Santa Cecilia, Teatro dell’Opera di Roma, Accademia Filarmonica Romana, IUC-Istituzione Universitaria dei Concerti, Fondazione Musica per Roma, l'Istituto Centrale per i Beni Sonori e Audiovisivi, e altre eventuali

Numero massimo di pubblicazioni selezionabili per la valutazione di merito: non superiore a 10 (in ottemperanza al DM 7 giugno 2016, n. 120, allegato B, per i settori dell’area CUN 10). L’arco temporale, in conformità all’allegato D, è di 5 anni per articoli su riviste e contributi in volume; di 10 anni per articoli su riviste di classe A; di 10 anni per i libri (anni antecedenti al bando con decorrenza dal 1° gennaio). Resta fermo l’obbligo di presentare, a pena di esclusione dalla procedura, anche pubblicazioni relative agli ultimi 5 anni, a partire dal 1° gennaio del quinto anno anteriore all’anno di pubblicazione del bando. 

Bando: https://web.uniroma1.it/trasparenza/sites/default/files/bando%202023PAE002-L-ART07_dm%20445_web.pdf

organized by

Centro Studi Opera Omnia Luigi Boccherini, Lucca

IAM – Italian Institute for Applied Musicology

Istituto Italiano di Musica Antica

Palma Choralis^® Research Group

Virtual Conference
8-10 December 2023

CALL FOR PAPERS

• Embodied music cognition
• The role of the body in the conceptualization of music
• Embodied music cognition and digital media
• Embodied responses to music
• The role of the body in sound and music perception, psychoacoustics, and musical acoustics
• Embodied understanding of performing practices
• Analysis of body movement in music performance
• Music-dance relationships in an embodied perspective
• The role of the body in music improvisation and composition
• Bodily conceptual metaphors in music criticism and music analysis
• Music analysis and the body
• Music creativity and bodily disability
• Body and embodiment in the music by composers of various epochs

Programme Committee:

• Roberto Illiano (Centro Studi Opera Omnia Luigi Boccherini)
• Marcello Mazzetti (University of Huddersfield UK, Istituto Italiano di Musica Antica, Palma Choralis)
• Fulvia Morabito (Centro Studi Opera Omnia Luigi Boccherini)
• Massimiliano Sala (Centro Studi Opera Omnia Luigi Boccherini)
• Massimiliano Locanto (Università di Salerno)
• Livio Ticli (University of Huddersfield UK, Istituto Italiano di Musica Antica, Palma Choralis)

Keynote Speakers:

• Arnie Cox (Oberlin College & Conservatory, OH)
• Rolf Inge Godøy (University of Oslo)

The official languages of the conference are English, French, Italian, and Spanish. 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.

All proposals should be submitted by email no later than ***Sunday, 23 April 2023*** to <This email address is being protected from spambots. You need JavaScript enabled to view it.>. Please include your name, contact details (postal address, e-mail and telephone number) and (if applicable) your affiliation with your proposal.

The committee will make its final decision on the abstracts by the end of May 2023, and contributors will be informed immediately thereafter. Further information about the programme and registration will be announced after that date.

For any additional information, please contact:

Dr. Massimiliano Sala
This email address is being protected from spambots. You need JavaScript enabled to view it.
www.luigiboccherini.org

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: This email address is being protected from spambots. You need JavaScript enabled to view it. <mailto:This email address is being protected from spambots. You need JavaScript enabled to view it.>

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: This email address is being protected from spambots. You need JavaScript enabled to view it. <mailto:This email address is being protected from spambots. You need JavaScript enabled to view it.>

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.


This email address is being protected from spambots. You need JavaScript enabled to view it. <mailto:This email address is being protected from spambots. You need JavaScript enabled to view it.>

10/C1 - TEATRO, MUSICA, CINEMA, TELEVISIONE E MEDIA AUDIOVISIVI

L-ART/07 - MUSICOLOGIA E STORIA DELLA MUSICA

ATTIVITA’ OGGETTO DEL CONTRATTO:
il ricercatore svolgerà compiti didattici riferiti al SSD L-ART/07 nei corsi di studio Laurea Triennale in Musicologia e Laurea Magistrale in Musicologia e nel Dottorato di Ricerca in scienze del testo letterario e musicale. Il ricercatore svolgerà attività di ricerca coerente e congruente con le tematiche del SSD e, in via esemplificativa e non esaustiva, relativa alla produzione audiovisiva con particolare attenzione al rapporto tra generi cinematografici e colonna sonora, ai sistemi produttivi, alle tecnologie e alle teorie dei media.
OBIETTIVI DI PRODUTTIVITA’ SCIENTIFICA:
realizzazione di ricerche nell’ambito del SSD L-ART/07 – Musicologia e storia della musica, produzione di articoli su riviste indicizzate; presentazione di lavori a congressi scientifici internazionali.

Sono ammessi a partecipare alla procedura di selezione i candidati italiani e stranieri in possesso del titolo di Dottore di ricerca o titolo equivalente conseguito in Italia o all’estero ovvero del Diploma di specializzazione medica.
I candidati in possesso del titolo di Dottore di ricerca o titolo equivalente conseguito in Italia o all’estero devono altresì soddisfare almeno uno dei seguenti requisiti:

a) essere in possesso dell’abilitazione scientifica nazionale alle funzioni di prima o di seconda fascia di cui all’art. 16 della Legge 30 dicembre 2010, n. 240;
b) aver usufruito di contratti “junior” di cui all’art. 24, comma 3 lettera a) della Legge 240/2010;
c) aver usufruito, per almeno tre anni, anche non consecutivi, di assegni di ricerca conferiti ai sensi dell’art. 51, comma 6, della Legge 449/1997 e s.m.i. o di borse post-dottorato ai sensi dell’art. 4 della Legge 398/1989 ovvero di analoghi contratti, assegni o borse in atenei stranieri.
Ai sensi dell’art. 1, comma 10 octies, del decreto legge 30 dicembre 2015, n.210 convertito, con modificazioni, dalla Legge 25 febbraio 2016, n. 21, gli assegni di ricerca di cui all’articolo 22 della Legge 240/2010, sono equipollenti a quelli erogati ai sensi della previgente disciplina di cui all’articolo 51, comma 6, della Legge 27 dicembre 1997, n. 449;
d) aver usufruito per almeno tre anni di contratti stipulati ai sensi dell’art. 1, comma 14, della Legge 230/2005.

Ai fini della maturazione del triennio per la partecipazione alla presente procedura, i periodi svolti nelle tipologie di cui alle lettere b), c) e d) sono cumulabili.

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 This email address is being protected from spambots. You need JavaScript enabled to view it.<mailto:This email address is being protected from spambots. You need JavaScript enabled to view it.<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 :
This email address is being protected from spambots. You need JavaScript enabled to view it..

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 : This email address is being protected from spambots. You need JavaScript enabled to view it.
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: This email address is being protected from spambots. You need JavaScript enabled to view it.

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 This email address is being protected from spambots. You need JavaScript enabled to view it. by June, 30th, 2023.
Deadline for submissions: June 30, 2023
Registration fee for participants: €60 / Ph.D. students: €30
Contact email: This email address is being protected from spambots. You need JavaScript enabled to view it.
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 This email address is being protected from spambots. You need JavaScript enabled to view it. 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 This email address is being protected from spambots. You need JavaScript enabled to view it..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
Réponses à adresser à : This email address is being protected from spambots. You need JavaScript enabled to view it.

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 This email address is being protected from spambots. You need JavaScript enabled to view it.. 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 This email address is being protected from spambots. You need JavaScript enabled to view it.<mailto:This email address is being protected from spambots. You need JavaScript enabled to view it.>.
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 (This email address is being protected from spambots. You need JavaScript enabled to view it.)

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 (This email address is being protected from spambots. You need JavaScript enabled to view it. ; This email address is being protected from spambots. You need JavaScript enabled to view it.). 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 This email address is being protected from spambots. You need JavaScript enabled to view it. 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: This email address is being protected from spambots. You need JavaScript enabled to view it.

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: This email address is being protected from spambots. You need JavaScript enabled to view it.<mailto:This email address is being protected from spambots. You need JavaScript enabled to view it.>

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 This email address is being protected from spambots. You need JavaScript enabled to view it. <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 This email address is being protected from spambots. You need JavaScript enabled to view it. <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 This email address is being protected from spambots. You need JavaScript enabled to view it..

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
This email address is being protected from spambots. You need JavaScript enabled to view it.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 This email address is being protected from spambots. You need JavaScript enabled to view it., 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: This email address is being protected from spambots. You need JavaScript enabled to view it. <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 (This email address is being protected from spambots. You need JavaScript enabled to view it.).

“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: This email address is being protected from spambots. You need JavaScript enabled to view it.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.musiThis email address is being protected from spambots. You need JavaScript enabled to view it.>.

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

This email address is being protected from spambots. You need JavaScript enabled to view it.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 This email address is being protected from spambots. You need JavaScript enabled to view it..

Applicants should submit the description, curriculum vitae, and budget by e-mail attachment (in PDF format) to This email address is being protected from spambots. You need JavaScript enabled to view it..

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 This email address is being protected from spambots. You need JavaScript enabled to view it.. 

"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 This email address is being protected from spambots. You need JavaScript enabled to view it. <mailto:This email address is being protected from spambots. You need JavaScript enabled to view it..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, This email address is being protected from spambots. You need JavaScript enabled to view it. <mailto:This email address is being protected from spambots. You need JavaScript enabled to view it..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: This email address is being protected from spambots. You need JavaScript enabled to view it.<mailto:This email address is being protected from spambots. You need JavaScript enabled to view it.>. 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: This email address is being protected from spambots. You need JavaScript enabled to view it., This email address is being protected from spambots. You need JavaScript enabled to view it., This email address is being protected from spambots. You need JavaScript enabled to view it.

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

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

[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

___________________________________________________________

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