American Musicological Society (Call for Papers, 4–7 November 2021, Chicago)

The 2021 Annual Meeting of the American Musicological Society (AMS) will be held in Chicago, IL, at the Palmer House Hilton Hotel. This meeting is the 87th Annual Meeting of the AMS and will feature a diverse selection of papers, presentations, workshops, and more. Join us!

Proposals due 16 February 2020

Link al sito ufficiale AMS, dove sarà possibile leggere tutte le linee guida alle call: https://amschicago2021.dryfta.com/

 

ESCOM Winter School on Musical Ability (Register before 16 Dec)

ESCOM is organising a winter school that explores multidisciplinary perspectives on ‘Musical Ability’. Participation is free, but pre-registration is required. The school takes place online from 1-5 February (between 2 to 4 hours per day). 
The school features presentations from invited speakers and school organisers, and workshops in which participants will work in groups on partially pre-defined research projects. Topics of presentations and group projects will relate to: variations in understanding and beliefs about musical ability (depending on cultural and educational contexts), measurement and observation of musical ability in research and education, and musical ability as embodied, affective and multisensory. 
Details can be found on the website, as well as a link to register your interest to participate. 

Kind regards,Organising committee: Suvi Saarikallio, Marc Thompson, Geoff Luck, Henna-Rikka Peltola (Jyvaskyla), Maria Chelkowska-Zacharewicz (Katowice), Renee Timmers (Sheffield), Anna-Rita Addessi and Nicola Di Stefano (Venice/Rome/Bologna). 

“Re-envisaging Music: Listening in the Visual Age” (1-12 dicembre 2020, Chigiana 2020, Convegno, online)

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Pubblicazione Bando Scuola di specializzazione Beni musicali

E’ stato pubblicato il bando di concorso per l’ammissione alla Scuola di Specializzazione in Beni Musicali a.a. 2020-21

Le domande di ammissione devono essere presentate entro il 9 novembre 2020 alle ore 16.30.

Il bando è interamente consultabile presso il sito dell’Università Alma Mater Studiorum di Bologna.

Archivi musicali del Novecento e nuove tecnologie: custodire il passato, formare al futuro (Tavola rotonda, 25 Settembre, Meeting di Pedagogia e Didattica della musica del SagGEM)

Tavola rotonda: Archivi musicali del Novecento e nuove tecnologie: custodire il passato, formare al futuro

A c. di P. Somigli; con G. Borio, R. Calabretto, M. Novati, A.C. Pellegrini, F. Sallis & J. Boyd (relatori); e G. Chiriacò, G. Gabrielli, M. Ruffini, G. Sarno, V. Vecchiarelli (respondent)

Descrizione
“La tavola rotonda punta su un interrogativo di fondo: quale impatto esercitano le nuove tecnologie sugli archivi musicali dediti in particolare alla musica del Novecento? Le tecnologie hanno profondamente inciso sull’organizzazione e il funzionamento degli archivi in genere, ma nel contempo hanno mutato la tipologia stessa degli ‘oggetti’ da archiviare: e questa evoluzione comporta un generale un ripensamento del concetto stesso di ‘archivio’. Un ulteriore aspetto giova considerare: l’influenza che le nuove tecnologie esercitano sullo sviluppo delle attività di formazione del pubblico e di terza missione”.

L’evento che si terrà il 25 settembre su Zoom, ore 15-19, nel quadro del Meeting di Pedagogia e Didattica della musica del SagGEM.

Info:
https://www.saggiatoremusicale.it/MEETING-DI-PEDAGOGIA-E-DIDATTICA-DELLA-MUSICA-2020/  

https://site.unibo.it/damslab/it/eventi/meeting-di-pedagogia-e-didattica-della-musica

Music and Power in the Long Nineteenth Century (Siena – Accademia Musicale Chigiana, 2-4 Dicembre 2021)

The use of the arts, including music, as an instrument of representation and exercise of power, is widely debated within the context of the society of the ancien régime and the twentieth century, with frequent emphasis on absolutism and dictatorships. This conference aims to investigate this issue in the “long nineteenth century” (c. 1789-1914): the age of the Industrial Revolution, liberalism and social conflicts, nationalism and colonialism.

The geographical scope considered is the Western world (Europe and the Americas), including those extra-European territories subject to or influenced by colonial rule. The entire field of musical experience will be considered, without limitations on genre, from sacred to instrumental music, from musical theater to song and beyond.

“Power” is understood not only in a strictly political sense, such as state power, or as the domination of one nation or ethnic group over others; instead, in light of contemporary and emerging historiographical and philosophical debates, the scope of the concept extends broadly to all aspects of social life in which relations of dominion/submission are significant. By way of example, the following types of relationships might be considered: those between social classes, between economic powers, between religious affiliations, between genders, within the family, and others, in all possible combinations and permutations.

Proposals to further broaden the field of investigation are welcome; preference will be given to those that combine a breadth of conceptual horizons with a rigorous presentation of unpublished sources.

Possible topics for consideration include, but are not limited to, the following:

• Musicians and power
• Musical practices as instruments of power and organizations of consent
• The language of power in musical material
• The use of music and entertainment in celebration
• Symbolic representations of power relationships in opera
• Sacred music as an expression of power
• Song and choral music as a means of exercising and negotiating power
• Folk, popular, and dance music within an increasingly powerful music industry
• Negotiations of power in discourses about music
• Domain relationships in musical education

The official languages of the conference are English and Italian. A selection of the conference papers will be published in the 2022 volume of Chigiana. Journal of Musicological Studies (https://journal.chigiana.org/).

Please send proposal to chigiana.journal@chigiana.org by 30 November 2020. Proposals should include:

– Title of paper

– Name of speaker(s)

– A proposal of c. 300 words

The papers should not exceed 30 minutes in duration.

We are aware that the current scenario presents many uncertainties; we are constantly monitoring the situation and the measures that the Italian and other governments have put in place and we hope that by December 2021 it will be possible to travel, so that the conference may go ahead as planned and we can meet in Siena. However, if necessary, we will be running the conference online.

Scientific Committee:

Esteban Buch, Fabrizio Della Seta, Markus Engelhardt, Axel Körner, Massimiliano Locanto, Fiamma Nicolodi, Antonio Rostagno, Carlotta Sorba

Organising Committee:

Susanna Pasticci, Stefano Jacoviello, Anna Passerini, Nicola Sani

4th Transnational Opera Studies Conference (Call for papers, University of Bayreuth, 24-26 Giugno 2021)

The submission deadline is the 30^th September 2020.
Call for papers – download PDF

Suoni della pandemia/Sounds of the Pandemic (Call for papers, Università di Firenze, 16 dicembre 2020)

Conferenza internazionale online, 16 dicembre 2020
International online conference, December 16th, 2020

Maggiori informazioni

Soft Machine, Robert Wyatt et la scène de Canterbury: un regard différent sur le rock dans les années 1960 et 1970 (Call for papers, Université de Strasbourg, 19-20 Novembre, 2020)

Maggiori informazioni

Perspectives on Sylvano Bussotti (Call for papers, Justus-Liebig Universität Gießen, 29 Settembre-1 Ottobre, 2021)

International Conference on the Occasion of Sylvano Bussotti’s 90th Birthday

In the 1950s, with his graphic scores, the composer Sylvano Bussotti (*1931) was significantly involved in the critical deconstruction of standardised notation. During the Darmstadt Summer Courses of 1958– 61, he shocked his peer composers not least with his open homosexuality. With the ‘mystère de chambre’ La Passion selon Sade (1965), he presented a work that was characterised to a previously unknown extent by an erotic physicality. And in the decades to come, within the exceptional personal union of composer, director, actor, stage and costume designer, he consistently explored the boundaries between different genres (music theatre, ballet, instrumental music) and medially differentiated art forms (e.g. between music and visual art).

Yet, in the research discourses on 20th-century music and music theatre, Bussotti’s oeuvre has a very limited presence; a detailed study of the majority of his works is still pending, and the hitherto available archival material has been examined only partially. These diagnoses are in striking disproportion to the historical importance of the Italian composer. The envisaged conference responds to this desideratum and takes the composer’s 90th birthday as an opportunity to bundle recent approaches and break new ground in research on Bussotti, and to stimulate a broader debate on his oeuvre and aesthetics. We also hope that the conference’s output will foster an increased practical engagement with Bussotti’s rarely performed pieces.

Furthermore, a focused view and collaborative reflection on the composer’s in many respects extraordinary artistic work promises new insights and impulses for current interdisciplinary debates, especially in the research on writing, gender, intermediality and gestures. We encourage papers from a range of disciplines including musicology, performance practice, theatre and linguistic studies, philosophy, media aesthetics, philology or cultural studies.

Topics may include, but are not limited to:

• Bussotti’s procedures of musical writing and drawing; his deliberately ambivalent forms of notation (as a productive challenge for current approaches to the theory of writing)
• body images in Bussotti’s oeuvre as visualisation and negotiation of gender identity
• Bussotti’s compositional use of language and texts; Bussotti as a lied composer
• interpretation and contextualisation of previously unknown archival material on Bussotti and his artistic output
• analytical considerations on selected (and less known) pieces by Bussotti
• Bussotti’s musico-theatrical work between bel canto and new music theatre
• How can we theoretically grasp the inherent physicality and gestural character of Bussotti’s compositions?
• collage as a form concept and mode of expression
• the role of Bussotti’s music in private space, in conjunction with the continuity of the tradition of décadence
• Bussotti in his works

• performance history and practice of Bussotti’s oeuvre
• Bussotti in his historical and cultural context
• Bussotti as a poet, director, actor, stage and costume designer
  
  The conference language is English.
  Presentation format: individual 30-minute paper (followed by 15-minute discussion)
  
  Abstracts of 250–300 words should be sent as an attachment (pdf, docx) to julia.freund[at]musik.uni- giessen.de and federica.marsico[at]unive.it by 15 October 2020, and must include the following information: title, author, affiliation, email address, short biography (max 150 words), and technical requirements.
  
  Decisions on the acceptance of abstracts are expected to be communicated by 15 November 2020. Attendance of the meeting will be free of charge. We are striving to cover the accommodation and travel expenses.
  
  Organisation and scientific committee: Julia Freund (JLU, Gießen), Federica Marsico (Ca’ Foscari, Venice), Matteo Nanni (JLU, Gießen)
  
  Conference website: https://bussotti2021.wordpress.com
  
  We are aware of the current uncertainties with regard to public events and international travel. We will monitor the situation carefully, and in the case that delegates will be unable to travel next year, we shall make the necessary arrangements for a virtual delivery of the conference.