Category Convegni e Call for papers

XXIV Incontro dei Dottorati di ricerca in discipline musicali promosso dal “Saggiatore musicale”

Venerdì 26 giugno, dalle 14:00 alle 19:00, si terrà in rete (tramite piattaforma ZOOM) il XXIV Incontro dei Dottorati di ricerca in discipline musicali promosso dal “Saggiatore musicale” con la collaborazione del Dipartimento delle Arti dell’Università di Bologna.
Coordineranno i lavori Giovanni Giuriati e Donatella Restani.

Nel sito del “Saggiatore musicale”, e nella pagina Facebook del “Saggiatore musicale” gli interessati trovano:

– il programma dell’Incontro;

– l’indirizzo e-mail al quale richiedere il link per connettersi alla piattaforma ZOOM (; da richiedere entro lunedì 22 giugno).

Re-envisaging Music: Listening in the Visual Age – Convegno internazionale (Accademia Musicale Chigiana, Siena, 10-12 dicembre 2020)

Re-envisaging Music: Listening in the Visual Age Siena – Accademia Musicale Chigiana

10-12 December 2020

Keynote Speaker: Prof. Leslie Korrick
School of the Arts, Media, Performance & Design, York University, Toronto “Listening in the Age of Sound Art”


Music and images, seeing and hearing have always been inextricably linked. Even when more autonomous concepts of music developed at various times through the centuries, they arguably served to keep at bay the ever-present visual dimensions of the act of listening. When we listen to music, do we just listen? When we see a painting, or anything else, do we just watch?

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Urban Nostalgia: The Musical City in the 19th and 20th Centuries (Parigi, 3 Luglio, 2020)

The aim of this workshop is to explore space through music, approaching the history of the city via the notion of nostalgia. Often described as a form of homesickness, nostalgia is, by definition, the feeling that makes us wish to repossess or reoccupy a space. Such spaces appear to us as both near and distant, tangible and remote, and it seems that attempts at reclaiming them are frequently musical in nature. We know, for instance, that particular compositions have played important roles in helping people to navigate or mitigate a sense of displacement. In these circumstances, affective experiences may be bound up with trauma or joy, as is the case of song during wartime or musical imaginaries among migrants. Under other conditions, we might identify a ‘second-hand nostalgia’ in the guise of a musically- inflected tourism that seeks to reactivate (for pleasure and/or profit) the historical aura of an urban site. What are we to make of the abundance of personal, inter- personal, and propositional episodes that posit music as some kind of a bridge to the urban past?

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Terrains communs: ethnomusicologie et popular music studies (Vitré, 5-7 Giugno, 2020)

L’étude des musiques traditionnelles et celle des musiques actuelles se sont d’abord développées séparément, du fait de l’hétérogénéité de leurs objets, mais aussi de leurs méthodes et problématiques. D’une part l’ethnomusicologie, riche d’une histoire qui rassemble plusieurs courants en son sein, a longtemps débattu la question de savoir si elle se définissait par un objet – les musiques de tradition orale, voire plus généralement traditionnelles, ou encore extra-européennes – ou par une méthode, l’enquête. Depuis les années 1950, elle promeut un double paradigme de recherche qui conjugue de diverses façons la méthode ethnographique et l’analyse formelle. C’est dans les années 1980 que l’ethnomusicologie s’est affirmée en tant que discipline à part entière dans les universités françaises, notamment dans les départements de musicologie (Bachir-Loopuyt et Belly 2018). La fondation de la Société française d’ethnomusicologie (1983) et la création à Genève de la revue Cahiers de musiques traditionnelles en 1988 (devenue depuis 2007 Cahiers d’ethnomusicologie) ont contribué à une plus grande autonomie de cette discipline dans l’espace francophone. Certaines frontières se sont durcies alors entre le périmètre des «musiques traditionnelles », considérées comme l’objet privilégié de l’ethnomusicologie, et celui des «musiques populaires modernes », sur lesquelles les recherches se sont développées essentiellement au sein d’une sphère anglophone dans un premier temps.

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The Sounds of the Beyond: The Mysteries of Ancient Greek and Roman Music (Strasburgo, 29 Giugno-1 Luglio, 2020)

Although the etymology of mystêrion is not entirely clear, scholars have traditionally thought it to be derived from the Greek μύω, meaning “to close” or “to shut.” The word may thus refer to shutting not only the eyes (during the initiation ritual), but also the mouth, since initiates were not allowed to reveal what happened in the ritual. Nevertheless, the mysteries were probably not as esoteric as scholars have thought (see R. Turcan and W. Burkert).

While scholars have, in the past, treated a variety of cults as mysteries, nowadays they operate with a stricter definition of the term. “Mysteries” designate, first, ancient Greek mysteries (the Eleusinian, the Dionysian and the Orphic-Bacchic Mysteries) and, secondly, new mystery cults worshipping divinities that Greeks and Romans adopted gradually from other cultures (Cybele, Isis and Mithra). Mysteries supplemented civil religion rather than competed with it: they had the same goal of creating an individual relationship to deities through votive offerings. Any individual could easily observe the rites of the state religion, be an initiate in one or more mysteries (whatever her/his status might be), and at the same time adhere to a certain philosophical school.

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Ciclo “Byzantine Musical Heritage” (Bologna, 10-12 Febbraio, 2020)

Emmanouil Giannopoulos (Aristotle University of Thessaloniki, Music Studies Department) terrà da Lunedì 10 a Mercoledì 12 Febbraio 2020 al Dipartimento di Beni Culturali dell’Università di Bologna, per il ciclo “Byzantine Musical Heritage”.

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Lost voices. The reconstruction of incomplete polyphonic masterpieces between theory and methodology (Padova, 12 febbraio, 2020)

Mercoledì 12 febbraio 2020 dalle ore 9.00 alle ore 18.30 presso la Sala Consiglio del Palazzo Liviano, Piazza Capitaniato 7, Padova si terrà la prima giornata del Convegno Internazionale: Lost voices. The reconstruction of incomplete polyphonic masterpieces between theory and methodology (direzione scientifica: Marina Toffetti, Università di Padova; Niels Berentsen, Haute École de Musique de Genève).

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“Music – Musicology – Interpretation”. XV International Conference of the Department of Musicology (Belgrado, 22-24 ottobre, 2020)

The Department of Musicology of the Faculty of Music, University of Arts in Belgrade, is pleased to announce its Fifteenth International Conference on the topic Music– Musicology–Interpretation.

The subject of the conference Music-Musicology-Interpretation focuses on the complex and multifaceted relationships between the constituent concepts. It proposes to re- examine these multiple relations by thematizing, from the point of view of interpretation, music as language, discourse, work of art and text, the performance of music and the discourse on music – musicology itself.

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Through the Prism of Chopin: Reimagining the 19th Century. International Chopinological Congress (Call for Papers, Warsaw, 1–4 dicembre, 2020)

On the threshold of the nineteenth century, the hierarchy of the aims of music and the means employed to attain them changed, thereby affecting the relationships among musical works, their composers and their listeners. Our understanding of this new and complex situation of the musical work is enhanced by grounding the objects of interest in relevant contexts, not only comparing them with other works of the same type and genre, but also taking account of the specificities of the times, social practices, intellectual currents, reception history, and so on.

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Musical Networking in the “long” 19th century (Call for Papers, Zagreb, 15-17 ottobre, 2020)

A musician cannot prove him- or herself as an artist without an audience, without a performance space, without the support of a benefactor, without an instrument builder to create musical instruments – the musician’s performing tools, without a reviewer who would spread the musician’s fame. He or she could probably have not become an artist without a teacher, or music to be performed – either from memory, or from a manuscript or a print. All these persons and artefacts make part of the infrastructure that enables The Artist to realise his or her special gifts, and each of them is a part of or creates their own network.
As, for example, a musicological or a cultural project theme gathers people in a vertical network in order to achieve a common goal, a musician creates various horizontal networks in achieving their own goal, an event that would give the musician the opportunity to present his or her artistic qualities in public (concerts, theatre performances) or in private (salon).

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