Sunday, 22 November 2009

Composition Competition: Eighth International Competition for Composers (Udine, Italy)



Art. 1 TEM - Taukay Edizioni Musicali and Delta Produzioni Associazione Culturale, with the participation of the Presidente della Repubblica, and the support of the Ministero per i Beni e le Attivita' Culturali, the Italian National UNESCO Commission, the Comune di Udine and the Universita' degli Studi di Udine, hereby open
the Eighth International Competition for Composers "Citta' di Udine".

Art. 2 The competition is divided in two sections:
- instrumental compositions for chamber orchestra
- electro-acoustic music.

Art. 3 The competition will accept unpublished compositions by musicians of any nationality and of any age. Previously performed compositions will be accepted. Compositions must be sent anonymously as explained below.

Art. 4 Section for compositions for chamber orchestra.
Pieces should not exceed eight minutes in length, however consideration will be given to compositions which exceed this length if, in the opinion of the jury, they are of particular artistic merit. The jury's decision on this matter is final.

The instrumental group is made up of:
- a string quartet (2 violins, viola and cello)
- piano
- flute (piccolo, alto flute, and bass flute) / one performer
- clarinet (clarinet in E flat, clarinet in B flat, clarinet in A and bass clarinet) / one performer
- percussion instruments from the following list: vibraphone, glockenspiel, tom toms (max 5 pieces) suspended cymbals, tam tam, templeblocks, small percussion instruments such as triangle, wood blocks, maracas etc. / one performer
- instruments listed above may be used in any combination
- if desired, just one instrument may be used
- it is possible to use a stereo audio track on DAT or CD in the performance of the chamber orchestra
- six copies of each score must be sent for the section of compositions for the chamber orchestra
- each of the six copies must contain the title of the composition,but must not contain the name of the composer
- information regarding the name of the composer must be placed in a sealed envelope and placed in a folder together with the scores
- should the score be selected for performance, the composer must supply separate scores for individual instruments
- scores will not be returned
- should works contain unknown symbols or marks, the composer must provide explanatory notes in order that the work can be understood correctly.

Art. 5 Electro-acoustic music section
Electro-acoustic musical compositions must have a duration of less than ten minutes and must be presented in stereo on DAT or compact disc. Any multi-channel versions of the composition should be sent along with the stereo version.
- only one copy of each composition need be sent for the Electro-acoustic music section.
- the DAT or CD being entered must contain the title of the composition, but must not contain the name of the composer
- information regarding the name of the composer must be placed in a sealed envelope and placed in a folder together with the composition being entered.

Art. 6 More than one composition may be submitted.

Art. 7 The Jury will select the winners from a shortlist of finalists
and will award the following prizes:
- Best composition in the section "Instrumental compositions for chamber orchestra": one thousand Euro (1000 Euro).
- Best composition in the section "Electro- acoustic music": one thousand Euro (1000 Euro).
- Special prize "Piero Pezze'" (founded by his heirs in memory of the Friulano composer who passed away in 1980): seven hundred Euro (700 Euro).
- Special mention with the awarding of the medal offered by the Presidente della Repubblica Italiana for this edition of the event.
- Public performance of 6-8 of the best compositions entered (Udine,October 2010).
- Production of a CD of the concert in October and inclusion of this in the TEM - Taukay Edizioni Musicali catalogue.
The two winning compositions will be broadcast by RAI Radio as part of the national programming of the RAI Radiotre Suite dedicated to contemporary music.
TEM - Taukay Edizioni Musicali, following the indications of the Jury and in agreement with the composer, offers to include and make available the most interesting compositions as part of their electronic catalogue of New Music.

Art. 8 Submitted works which include an audio recording of the composition may be included in the programming of Taukay Web Radio. The choice of compositions to be broadcast will be decided in accordance with the editorial direction of the broadcaster (

Art. 9 Works should be posted to the competition secretary at:
TEM - Taukay Edizioni Musicali - via del Torre 57/5 - 33047
Remanzacco (Ud) - ITALY
The closing date is 30 April 2010. The postmark will be deemed to be the date of submission. The final decision of the jury will be made public by 31st July 2010.

Art. 10 The jury reserves the right to refuse any entry which does not fulfil the indicated requirements.

Art. 11 Each individual composition in each section must be sent together with the receipt for the payment of the entry fee of thirty euros (euros 30). If multiple compositions are sent, a single payment may be made for the total of the combined entry fees. The fee should be paid in the following ways:

From Italy:
- vaglia postale paid to: Taukay Edizioni Musicali - via del Torre
57/5 - 33047 Remanzacco (UD) - ITALIA
- by credit card using the following link:
- by bank transfer using the following banking coordinates: IT 81 P
02008 12325 000040780136
UNICREDIT BANCA - Agenzia Udine del Ledra

From outside Italy:
- by credit card using the following link:
- by bank transfer using the following international banking
International bank account: IT 81 P 02008 12325 000040780136
UNICREDIT BANCA - Agenzia Udine del Ledra
- for information about other payment methods please e-mail:
Where possible, the "reason for payment" should indicate: Ottavo Concorso "Citta' di Udine".

Art. 12 The file containing the composition must include a sealed envelope containing the following personal information (a printable entry form can be downloaded at:
- name, surname, date and place of birth, sex, nationality, address, telephone number, e-mail address, section being entered, title, date and length of composition.
- a statement certifying that the submitted composition is unpublished
- a statement agreeing to permit the performance of the composition to be broadcast or telecast and archived without compensation
- a statement agreeing to the treatment of personal information in accordance with Italian privacy laws. (D. Lgs. 196/03 - Codice in materia di Privacy).
The following material must also be included:
- curriculum vitae and studiorum
- photocopy of identification document of the composer
- recent photograph of the composer
- receipt for the entry fee of 30 Euro

Art. 13 The Jury's decision is final.

Art. 14 By entering the competition and submitting the composition, the composer accepts all the above terms and conditions. Failing to follow the above terms and conditions will result in the forfeiting of any rights deriving from participation in the competition.

Art. 15 The competent court for any dispute is the Court of Udine.
For further information, please visit the TEM - Taukay Edizioni Musicali website at:
Or email us at:

Saturday, 17 October 2009

Job Posting: Chair in Music (University of Durham)


Salary will be by negotiation within the Professorial range

The Department of Music is seeking to appoint a Chair in Music to provide leadership in research, teaching and administration. The successful applicant will also be expected to take on the role of Head of Department for a period of 3 years from 1 August 2010. Applicants should have a proven track record of research at an internationally excellent level in the field of Music Aesthetics, Cultural Theory, Philosophy, Psychology or Theory and Analysis.

Sunday, 11 October 2009

CFP: Music and Minorities - 6th Symposium of the ICTM Study Group (Vietnam)

19 - 30 JULY 2010

Perhaps for the first time in the history of the International Council for Traditional Music, two study groups are joining forces in organizing their respective symposia. This scholarly event will be hosted in Hanoi, Vietnam, by the Vietnamese Institute for Musicology (VIM) and its director Dr. Le Van Toan, who also will chair the local organizing committee. At VIM, the Study Group on Music and Minorities will meet from 19-24 July. The Study Group on Applied Ethnomusicology will meet from 27-30 July. A joint session is planned on the World Heritage site Halong Bay for 25-26 July 2010.

Each symposium will feature three main themes and have its own program committee. Scholars are invited to send proposals for one of the symposia and are offered the opportunity to attend both, thereby contributing to the success of the whole event. Contributions are especially welcome from the Asia-Pacific region, and on the overarching themes of ethnomusicological practices of community engagement, dialogue, advocacy and sustainability.

*Music and Minorities*
*1. **Music and minorities in education *
Education is widely recognized as a key tool in society building processes. This theme refers to both formal and informal education, past and present, in relation to the performing arts of minority populations. What are the experiences and potentials of educational dialogues between majorities and minorities, in various socio-cultural contexts?

*2. **“Other minorities”: challenges and discourses *
Broad definition of minorities within the study group, well-reflected in papers presented within the first decade of its existence, encompasses “groups of people distinguishable from the dominant group for cultural, ethnic, social, religious, or economic reasons.” This theme’s intention is to point to specific challenges and discourses that link music and minorities that are defined on the basis of gender, age, and health status.

*3. **The role of music in sustaining minority communities*
Case studies from around the world have demonstrated that music and other performing arts can help to maintain minority cultures. How may the complex notion of “sustainability” be applied to the study of music and minorities?

*Applied Ethnomusicology*
*1. **History and the workings of applied ethnomusicology*
This theme invites contributions on definitions and approaches to applied work stemming from ethnomusicological research, the characteristics of applied ethnomusicology (including those that predate the term), ethics, and the selection and training of applied ethnomusicologists.

*2. **Performing arts and ecology*
This theme is meant to provoke broad explorations of the proactive roles that ethnomusicology can play in contributing to the sustainability of performing arts and musical cultures: through archiving, disseminating, contributing to policies, understanding socio-economic factors, developing audiences and markets, and empowering communities to forge their own futures.

*3. **Performing arts in dialogue, advocacy, and education*
This theme includes the use of performing arts in building peace, negotiating power relationships, strengthening identities, and recontextualising music, dance and other performing arts through formal and informal education. Non-ethnic minorities of gender, age, and health status will receive detailed consideration.

The Vietnamese Institute for Musicology (VIM) is part of the Hanoi National Academy of Music, and is housed in a brand new and very spacious, five-storey facility in the My Dinh Urban Area. My Dinh is about 10 km away from the vibrant Hoan Kiem city centre of Hanoi. VIM houses an archive, a large recording studio, and a concert hall (under construction) with 300 seats. There are ample meeting and lecture demonstration rooms for up to 100 people, as well as break out rooms for smaller discussions.

For accommodation, there are two options. For delegates, it is most attractive to reside in the vibrant city centre, around Hoan Kiem Lake. There are many hotels, shops and restaurants in this area. Hotels are reasonably priced ($20-50 USD per night). A drawback of this option is that delegates will need to be bussed to the conference venue (30-40 minutes after rush hour ends at 9 am). An alternative is accommodation at walking distance (or a five minute taxi ride) from VIM, in a new, faux-French residential development that lacks much of the atmosphere of central Hanoi.

The program committee for Music and Minorities consists of Ursula Hemetek, Chair (Austria), Svanibor Pettan, Vice Chair (Slovenia), Adelaida Reyes, Secretary (USA), Le Van Toan (Vietnam), Larry Francis Hilarian (Singapore),and Kjell Skyllstad (Norway).

The program committee for Applied Ethnomusicology consists of Svanibor Pettan, Chair (Slovenia), Klisala Harrison, Vice Chair (Canada), Eric Usner, Secretary (USA), Tran Quang Hai (France), Tan Sooi Beng (Malaysia), and Huib Schippers (Australia).

We invite proposals for presentations in four basic formats, not excluding others. These are: individual papers, organized sessions, lecture demonstrations, and films.

Please submit an abstract of 250 words maximum and a short CV (in English language) to (Music and Minorities) or (Applied Ethnomusicology) by 10 November 2009, in order to enable peer review by 15 December 2009.

CFP: Beyond Notes: Improvisation in Western Music in the Eighteenth and Nineteenth Centuries (La Spezia, Italy)

LA SPEZIA, ITALY - CAMeC (Centre for Modern and Contemporary Art)
15 - 17 JULY 2010

ORGANISED BY: Società dei Concerti, La Spezia; Centro Studi Opera Omnia Luigi Boccherini, Lucca

The SOCIETA' DEI CONCERTI of La Spezia, Italy ( and the CENTRO STUDI OPERA OMNIA LUIGI BOCCHERINI of Lucca (, in association with MUSICALWORDS.IT (, on the occasion of the 9th edition of the FESTIVAL PAGANINIANO of Carro are pleased to invite submissions from scholars of proposals for the symposium on "Beyond Notes: Improvisation in Western Music in the Eighteenth and Nineteenth Century", to be held in La Spezia, CAMeC, from Thursday 15 to Saturday 17 July 2010. The Symposium aims to investigate musical improvisation in the XVIII and XIX centuries.
The programme committee encourages submissions within the following areas, although other topics are welcome:
* Musical improvisation in contemporaneous treatises and philosophy
* New perspectives on improvisation in classical music
* Improvisation and popular music in the Eighteenth and Nineteenth Centuries
* Improvisation in different musical genres and languages
* The relationship of improvisation to composition
* Musical improvisation and related arts
* Improvisation in the music of Nicolò Paganini

Andrea Barizza, Lorenzo Frassà, Roberto Illiano, Fulvia Morabito, Luca Sala, and Massimiliano Sala

Prof. Vincenzo Caporaletti (University of Macerata)
Prof. Rudolf Rasch (Utrecht University)

The official languages of the conference are English and Italian. Papers selected at the conference will be published in a volume of proceedings. Papers are limited to twenty minutes in length, allowing time for questions and discussion. Please submit an abstract of no more than 300 words and one page of biography. All proposals should be submitted by email no later than Sunday 28 February 2010 to Dr. Lorenzo Frassà (operaomnia [AT]

Please include with your proposal your name, contact details (postal address, e-mail and telephone) and (if applicable) your ffiliation.

The committee will make its final decision on the abstracts by the end of March 2010 and contributors will be informed immediately thereafter. Further information about the programme, registration, travel and accommodation will be announced by the 15th of April 2010.

For further question, please contact:
Dr Lorenzo Frassà
Via delle Ville, trav. II/73
San Marco contr.
I-55100 Lucca
tel: +39/339.2967826

Dr. Roberto Illiano, Presidente Edizione Nazionale Muzio Clementi
Segretario Generale Centro Studi Opera omnia Luigi Boccherini-Onlus
Via Lorenzo Nottolini, 162
S. Concordio contrada
I-55100 Lucca

CFP: Music for Stringed Instruments - Music Archives and the Materials of Musicological Research in the 19th and Early 20th Centuries (Cardiff Univ)

23 - 24 JUNE 2010

The call for papers can be read in full at the conference web page, URL:

Broad topics for papers may include, but are not limited to:
* 19th- and early 20th-century music publishing history
* Plate number chronologies
* Creation and significance of digital resources for research in the field
* Comparative studies: editions and performance practices
* Manuscripts
* Editions with significant MS annotation
* Music archives
* Studies of individual editor-performers
* The use of early recordings
* Illustrated papers exploring the practical application of this research

The conference will include a performance given by the LUCHIP ensemble (Leeds University Centre for Historically Informed Performance), followed by a round table discussion. It is hoped to provide assistance for postgraduate students to attend.

Please email proposals for papers to Dr. George Kennaway, at g.w.kennaway at, no later than March 15th 2010.

CFP: Women in Music in Ireland Conference (National University of Ireland)

17 APRIL 2010

In association with *The Society for Musicology in Ireland* and *An Foras Feasa*

Women’s involvement in music in Ireland has been evident since the eighteenth century but their contribution has often been neglected or forgotten. This Conference hopes to begin to highlight their involvement across the centuries in all genres of music in Ireland. The Conference will also include two concerts featuring music by female composers from the nineteenth-, twentieth- and twenty-first centuries. The keynote
address will be given by Dr. Ita Beausang.

Proposals for papers exploring all areas of women in music in Ireland are welcomed and suggested topics include, but are not limited to:

- Female singers in the eighteenth century
- Women and domestic music-making throughout the centuries
- Female contributions to pedagogy and performance in Ireland
- The treatment of female composers
- Women and gender studies
- Women and traditional music
- Women and the Irish Harp
- Women and the promotion of Irish music
- Irish women working in music internationally

Proposals of 200 words are invited for presentations of 20 minutes maximum. Submission: by email to the Conference organizer, Jennifer O’Connor, jenny.m.oconnor [AT] , by the 31 October 2009.

The editorial board of the *Journal of the Society for Musicology in Ireland (JSMI*) has expressed an interest in the publication of papers presented at this Conference subject to its normal peer-review process.

Abstracts should include the following information:
- Name and Title
- Institutional Affiliation
- Contact details
- Any special technical requirements (piano, OHP, PowerPoint, audio/visual, etc)

All queries should be emailed to jenny.m.oconnor [AT]

Those making successful proposals will be notified by the end of November and the draft programme will be available from mid-December. Information on registration and accommodation will be available on the SMI website and the NUI Maynooth Music Department website in early January 2010.

CFP: Temporality in Contemporary Music (AC Institute)


The AC Institute is currently accepting papers for an upcoming edition that seeks to take up the issue of temporality as an integral element in contemporary music and the visual arts.Critical writing that addresses this concept from all disciplines will be considered and we encourage the submission of articles that cross disciplinary boundaries. Articles that discuss the temporal relationships between art and music are especially welcome. Please send complete papers (with an abstract) and a brief biography (up to 250 words) by January 10, 2010.

The AC Institute’s mission is to advance the understanding of the arts through investigation, research and education. It is a lab and forum for experimentation and critical discussion. We support and develop projects that explore a performative exchange across visual, sonic,verbal and experiential disciplines. We encourage critical writing that challenges conventional expectations of meaning and objectivity as well as the boundaries between the rational and subjective. For more information on the AC Institute please visit our website at

Tuesday, 6 October 2009

CFP: 40th Ballad Conference (Netherlands)

5 - 10 JULY 2010

The 40th International Ballad Conference of the Kommission für Volksdichtung is to be held in Amsterdam and Terschelling (Netherlands). The conference is being hosted by the Meertens Institute, Amsterdam.

Ballad conferences are open to ethnologists, (ethno-)musicologists, literary historians and other scholars. The main theme of this conference is WATER. We welcome papers on maritime, coastal and insular music cultures, shanties and other songs of sailors and fishermen, ballads about the sea, lakes, rivers, waterfalls, sources and fountains, rain and draught, beaches, banks and bridges, swimming, shipwrecks, drowning, floods, fishes, sea monsters, mermaids etc. Other possible issues include performance, literacy vs. orality, language and identity, and ballad history, preferably in connection with the main theme.

Papers will be limited to 20 minutes. Abstracts of up to 300 words, together with requests for technical equipment, should be submitted by 4 JANUARY 2010 to prof. dr Louis Peter Grijp. The author’s address, affiliation and contact details should be clearly stated, together with a brief account of the author’s career and research interests.

For further information, contact the Conference Organisers:
prof. dr Louis Peter Grijp (+ 31 20 4628536, louis.grijp at, drs Martine de Bruin (+31 20 4628513, and Marieke Lefeber MA (+31 20 4628579, marieke.lefeber at
P.O. Box 94264, NL-1090 GG Amsterdam, Fax + 31 20 4628555
Joan Muyskenweg 25, NL-1096 CJ Amsterdam

Monday, 5 October 2009

CFP: The British Organ in the 20th Century and Beyond (Oxford University)

15 - 18 APRIL 2010

The Betts Fund of the University of Oxford, and the British Institute of Organ Studies are pleased to announce the last conference of a four-year sequence entitled 'The Organ in England: Its Music, Technology, and Role through the Second Millennium'. This year, the Royal College of Organists will be holding its spring meeting in Oxford at the same time and some joint events will be included in the Programme.

The conference will take place from 15 to 18 April 2010 at Merton College, Oxford, and will cover the organ and its music in the present era and into the future. The title for the conference is 'The British Organ in the Twentieth Century and Beyond.'

300-word proposals for 20-minute papers and lecture-recitals are welcome on any and all relevant topics. The following broad areas are given as suggestions for possible lines of enquiry, and are not meant to be limiting:

The organ in musical and artistic culture
* The changing sound of the organ from Edwardian to neo-baroque to modern
* The rediscovery of the organ case its form and function
* The interest in new organs in historic styles
* The presentation of the organ in audio and visual media
* Historically informed performance and the organ

Organ Builders
* The decline of nineteenth-century factory builders and the rise of a new generation
* The impact of electrical and electronic technology for organ control and sound
* The rediscovery of classical principles
* Changing attitudes to conserving and treating old organs
* The impact of imported organs in the UK
* Future clients for future organs
* Specific builders

Composers, Performers, and Teachers
* Who wrote for the organ and what did they write?
* Who performed it?
* Who were the prominent teachers, and what was their impact?

Organ builders and organists in association
* The emergence of amateur and professional associations for organists and organ builders, and their impact

Twentieth-century icons
* Organs, organists or advisers who reshaped organ culture in the UK

Abstracts will be due by 11 December, with responses from the panel of readers by 18 January.

For more information, please contact:
Dr Katharine Pardee
Betts Scholar in Organ Studies
Director of Chapel Music
Wadham College
University of Oxford
kfpardee [at]

CFP: Sights & Sounds (University of Salford)

4 - 5 JULY 2010

In the fall of 1894, W. K.L. Dickson assisted Thomas Edison in his experimentation with sound film. He shot a sequence in which one man plays a violin before the recording phonograph horn while two others dance. Might this be the first music documentary?

In the years since, numerous works have been produced that consist of narrative formulations of musical history; portraits of individuals or groups; replications of musical events; meditations on musical genres or transformative occasions. A number of these works have become renowned in their own right, such as D.A. Pennebaker’s Don’t Look Back (1967) or the Maysles Brothers Gimme Shelter (1970). Others have become as famous as the events they depict, including Steve Binder’s The T.A.M.I. Show (1964) Michael Wadleigh’s Woodstock (1970). Still more have placed a name and a face to previously unknown musicians, as did Paul Justman’s Standing in the Shadow of Love (2002) with Motown Records’ Funk Brothers. Some have provoked controversy as much as they have drawn audiences, like Ken Burns’ PBS series Jazz (2001). Some have attached a conceptual framework to a genre and a group and incorporated an argument about that material, including Julian Temple’s The Filth and the Fury (2000).

The conference will interrogate this body of film and welcomes submissions on works in any media: radio, television or film. We are interested in issues that include but are not limited to narrative strategy, visual articulation, ideological analysis, star imagery, gender dynamics, race, We are particularly interested in studies that challenge normative story-telling strategies, familiar and hence deflated visual approaches, or wish to topple canonic formations of musical production that have been perpetuated through their presentation in various media.

The conference will feature appearances by filmmakers (to be announced) and showings at the Cornerhouse Theatre, located in Manchester. We hope as well to commission selected papers from the conference for publication in a volume, the first such anthology of approaches to the genre of music documentary.

Deadline for submissions: December 14, 2009

Announcement of program: January 4, 2010

Please send proposals of no more than 500 words by e-mail to both of the following addresses

d.sanjek at b.halligan at

Conference Chairs:
David Sanjek, Professor of Music Ben Halligan. Senior Lecturer
Director, Popular Music Research Centre School of Performance
School of Music
University of Salford

CFP: The Piano Trio: History, Technique, Performance (IMR, University of London)

12 - 13 NOVEMBER 2010

The piano trio is a relatively late arrival on the scene in the history of chamber music. When in the late eighteenth century, the first piano trios as we now understand them – with emancipated string parts that are assigned near-equal partnership with the keyboard – appeared, the string quartet was already well established as a genre. The development of the piano trio has been contingent upon the ways in which changes to the construction of keyboard instruments affected the nature of the inter-relationships between instruments and composers' responses. This conference aims to bring together researchers working on the historical, technical and performative aspects of the piano trio genre.

The keynote presentation will be given by David Owen Norris.

Proposals (250 words) for individual papers (20 minutes, with 10 minutes discussion), lecture-recitals and performances /demonstrations (30 minutes maximum, with 15 minutes discussion) or panels (three of four papers, each to be 20 minutes maximum, with 10 minutes discussion) are invited.

DEADLINE for proposals: 5pm (GMT), Monday 1 March 2010

Notification of acceptance and preliminary programme: 15 April 2010
Final programme issued: 15 July 2010
Registration opens: 1 August 2010

Please submit by email, in an attachment including your full name and contact details, to the IMR Administrator Mrs Valerie James, at <>.

Proposals will be judged anonymously. Paper proposals from students are especially encouraged.

Conference Committee:
Mine Dogantan Dack (Chair – Middlesex University)
John Irving (Director of the Institute of Musical Research)
Peter Fribbins (Middlesex University)
Mieko Kanno (Durham University; Orpheus Institute)
Ferenc Szücs (Irish World Academy of Music and Dance)
Marianne Tyler Brown (Middlesex University)

Friday, 2 October 2009

CFP: From Stage to Screen: Musical Films in Europe and United States (Arezzo, Italy)

16 - 18 SEPTEMBER 2010

The Centro Studi Opera Omnia Luigi Boccherini of Lucca (, under the auspices of the Culture Department of the Municipality of Monte San Savino and in collaboration with MAGADIS International Music Agency, is pleased to invite submissions of proposals for the symposium on "From Stage to Screen: Musical Films in Europe and United States (1927-1961)", to be held in Monte San Savino (Arezzo, Italy), from Thursday 16 to Saturday 18 September 2010. The Symposium aims to investigate the variety of sonic and musical practices of early musicals, their relationships with musical comedy and the progression from stage to screen in Europe and United States (1927-1961). The programme committee encourages submissions within the following areas, although other topics are welcome:

* Music in black-and-white films in Europe and USA
* From musical comedy to musical: textual, material, technological sources
* Composers, singers and performers
* Broadway and Hollywood: music, play and dance topics
* Musical films and jazz
* Musical Practices and Techniques
* Musical and gender matters

Francesco Attesti, Lorenzo Frassà, Roberto Illiano, Alika Maffezzoli, Fulvia Morabito, Luca Sala, Massimiliano Sala

Prof. Raymond Knapp (University of California at Los Angeles) Prof. Sergio Miceli (University of Florence and University of Rome ‘La Sapienza’)

The official languages of the conference are English and Italian. Papers selected at the conference will be published in a volume of proceedings by Brepols Publishers ( Papers are limited to twenty minutes in length, allowing time for questions and discussion. Please submit an abstract of no more than 300 words and one page of biography. All proposals should be submitted by email no later than Wednesday 31 March 2010 to Dr. Massimiliano Sala . Please include with your proposal your name, contact details (postal address, e-mail and telephone) and (if applicable) your affiliation. The committee will make its final decision on the abstracts by the end of April 2010, and contributors will be informed immediately thereafter. Further information about the programme, registration, travel and accommodation will be announced by the end of May 2010. For additional information about the conference, see

For further questions, please contact:
Dr. Massimiliano Sala
Vicepresidente Centro Studi Opera omnia Luigi Boccherini
Via Antonio Puccinelli, 27
I-51100 Pistoia

CFP: Stanford Forum on Opera (Stanford University)

27 - 28 FEBRUARY 2010

Graduate students from all disciplines are encouraged to propose a paper on a topic related to opera from 1600 to the present. Please submit an abstract of no more than 300 words outlining the project by January 3, 2010. Applicants will be notified of the conference program by January 11. Papers will be allotted 30 minutes for presentation and 15 minutes for discussion.

Please send abstract as a pdf, doc, or docx file along with any other inquiries to: lmayne at

Keynote address to be given by Karol Berger on the works of Richard Wagner.

Join our Facebook group at:

Website coming soon.

Sunday, 27 September 2009

CFP: Musicology in the 3rd Millennium (Sibelius Academy)

17 - 19 MARCH 2010

An interdisciplinary and international symposium organized by Sibelius Academy, Department of Folk Music, The Doctoral School of Music, Theatre and Dance, and University Consortium of Seinäjoki in collaboration with The Finnish Musicological Society and The Finnish Society for Ethnomusicology, 17th–19th of March 2010, in Sokos Hotel Lakeus,Seinäjoki, Finland.

Call for Papers and Presentations

Musicology in the 3rd Millennium is an international symposium whose focus is on the recent and future technological, economical, legal and aesthetic changes embedded in the production and consumption of music, as well as on the challenges these changes bring on to musicology.

At the closing decades of the 20th century, the intellectual and cultural current we’ve come to call “postmodernism”, seemed to offer a whole new way of looking at society, culture and history around us.

The supposedly major epistemological and ontological break between modernism and postmodernism has played itself out as a series of simultaneous and rapid changes in technology, economy and culture. These changes have, in some instances, been tangible and far-reaching: Sony Walkman, for instance, did not immediately bring on a change to the whole variety of ways in which we consume music, but nevertheless we cannot overlook the extent to which more and more music is being listened to through portable media in our times.

The social status in different musics has become problematic. Highbrow and lowbrow, once clear and unproblematic aesthetic categories of music, have recently become empty concepts referring to social distinctions in music that are now obsolete. Technology involved in the production of music has changed; personal computers have made new types of music production possible. Distribution of music over the internet has posed a difficult challenge to copyright legislation.

These cultural, political and economic changes have had consequences also to how we study music and its mediation in society. The main purpose of the symposium, in short, is to explore what particular issues scholars are face-to-face with in our times in their study of music.

The main themes addressed in the symposium are the following:
* Technical mediation of music (internet, portable media)
* Mediation of musical meanings (critics, education)
* Playlists (in radio, media players, Spotify)
* Legal issues involved in the electronic mediation of music
* Highbrow/Lowbrow in music today

Proposal Information
Proposal submissions should consist of a 300-word abstract addressing the focus areas of the symposium. A diversity of presentation formats is welcome. These could include paper presentation, lecture demonstration, panel and roundtable discussions. Standard presentations are generally 20 minutes in length, followed by 10 minutes reserved for discussion and questions. If the substance of the presentation requires more time in the program, this should be mentioned in the proposal. The specific technical equipment needed for the presentation should be mentioned in the proposal. Selected presentations will be published in the Proceedings of the symposium

The working language in the symposium is english.

Poster Sessions

The symposium offers a poster session opportunity to share current research and/or practice with colleagues and others interested in the subject area of the symposium. Those interested in submitting a poster,should list the following in their proposal: the wall space required for the poster, technical equipment for sound demos, a stand for handouts, etc.

Submission Information
The deadline for submissions is December 1, 2009. Proposals may be submitted by mail or email. Please indicate your institutional affiliation and email address with your submission. Indicate clearly whether your submission is to be considered for paper/presentation or poster session. Send submissions to:

3rd Millennium -Symposium
Saijaleena Rantanen
Sibelius Academy
Vaasantie 11, 60101 Seinäjoki

Submissions by email should be sent to: 3rdmillennium2010 [at]

For inquiries, contact:
Prof. Vesa Kurkela
Tel: +358 (0)50 387 7308

Saijaleena Rantanen
Tel: +358 (0)40 710 4200

The symposium also has a website where you can find additional information concerning the symposium:

Program Committee: Prof. Vesa Kurkela (University of Tampere, Sibelius Academy), Dr. Markus Mantere (Doctoral School of Music, Theatre and Dance), Dr Heikki Uimonen (University of Tampere), Dr Kaarina Kilpiö (University of Helsinki), Olli Heikkinen (University of Tampere), Terhi Skaniakos (University of Jyväskylä) and Saijaleena Rantanen (Sibelius Academy)

Invited Keynotes
Dr. Georgina Born, Emmanuel College, Cambridge, UK

Georgina Born is Professor of Sociology, Anthropology and Music in the Faculty of Social and Political Sciences at the Cambridge University. She trained in Anthropology at University College London and uses ethnography to study cultural production, particularly television, music and IT, and knowledge systems. Her most recent ESRC-funded research, ‘Interdisciplinarity and Society: A Critical Comparative Study’ (2004-6,with Andrew Barry, Geography, Oxford, and Marilyn Strathern, Social Anthropology, Cambridge), analyses the nature of interdisciplinary collaborations bridging the natural sciences and engineering, on the one hand, and the arts and social sciences, on the other. For a summary of this research see:

Other ongoing research interests include a book in progress on cultural production, which brings into dialogue the anthropology and sociology of art, music and media; the normative dimensions of public service broadcasting, with a focus on how theories of democracy and difference can be brought to the analysis of the future of public media systems; how broadcast media are changing with digitization; music, mediation, technology and ontology, and the evolving modes of creativity attendant on music’s changing mediations; and music, sound, and the reconfiguration of public and private space.

Dr. Franco Fabbri, Universitá degli Studi di Torino
Fabbri has published on the rapport between music and technology (/Elettronica e musica)/; on confrontation of musical cultures in contemporary world (/L’ascolto tabù/) and on the intricate fabric of influences and coincidences in the history of popular music (/Around the clock/). His most read book (/Il suono in cui viviamo/, 3 editions) contains articles including genres, analysis of popular music and aesthetics of sound.

Dr. Marc Perlman, Brown University, USA
Marc Perlman, ethnomusicologist, received his Ph.D. from Wesleyan University. Before joining Brown University, he spent a year as a Fellow of the Society for the Humanities at Cornell University. He has also taught at Tufts University, and in Indonesia, where he was founding editor of the Journal of the Indonesian Musicological Society. His scholarly writings have appeared in the journals Ethnomusicology, Asian Music, Musical Quarterly, Postmodern Culture, Music Perception, Indonesia, Social Studies of Science, and in the revised edition of the New Grove Dictionary of Music and Musicians. He has also published in Rhythm Music Magazine and the New York Times. He is a past president of the Northeast Chapter of the Society for Ethnomusicology.

Dr. Perlman’s research interests range widely both in geography and disciplinary affiliation. He specializes in the musical traditions of Indonesia, but has also extensive experience with the gamelan music of Central Java, music of Bali and North Sumatra, music of Ireland, India,and Burma (Myanmar), as well as American popular music. Dr. Perlman’s research in these areas is variously informed by anthropology, sociology, history, post-colonial studies, cultural studies, music theory, cognitive psychology, science and technology studies, and legal theory.

Saturday, 26 September 2009

CFP: Music and the Written Word (University of California, Santa Barbara)

16 - 17 JANUARY 2010

The UCSB Center for the Interdisciplinary Study of Music (CISM) is seeking submissions for the 2010 “Music and the Written Word” Graduate Conference to be held at the University of California, Santa Barbara, on 16-17 January 2010. Run by and geared towards graduate students, this interdisciplinary conference will focus on music, the written word, and their convergence. We welcome submissions covering the full spectrum of methodologies, disciplinary approaches, and all genres of music.

Possible topics could include, but are not limited to:
--Relationship between music and text
--Text setting
--Musical criticism
--Representations of music in literature and poetry
--Notation and transcription
--Music inspired by literature or poetry
--Music in print media
--Musical poetics
--Music as language/language as music
--Rhetoric and musical practice
--Musical analogy
--Music and grammar
--Music and worship/liturgy
--Language in performance practice
--Concrete words, “ineffable” music
--Music and political speech
--Music and code (C Sound, etc.)

Please send a 200-300-word abstract of your paper to no later than 9 October 2010. Include the abstract as both a file attachment and in the email text. Paper presentations will be allotted twenty minutes, with ten additional minutes for questions and answers.

Details regarding travel, accommodations, and the keynote address will be forthcoming. Updated information will be posted on our website:

For questions, suggestions, or other communication, please write to: musicandthewrittenword at

Tuesday, 22 September 2009

CFP: Music, Indigeneity and Digital Media Symposium (Royal Holloway)

15 - 16 APRIL 2010

This symposium will focus on the role of digital media in the musical practices of indigenous peoples and in musical representations of indigeneity. It builds on the expanding scholarship on music and technology, music and the politics of indigeneity, and the impact and role of the Internet in musical and indigenous communities. Key questions that it hopes to address include:

• How significant is digital media to indigenous musical practices?
• How do musicians balance new technologies with traditional practice?
• How do digital media offer musical encounters, negotiations and critiques of (post)modernity?
• Do digital media support or hinder the musical indigenous movement?

Other themes that may be explored include the impact of digital media on:
• representation and self determination through music
• musical constructions of place
• cultural revival and cultural repatriation
• musical production, mediation and consumption
• global musical communities and networks
• ethnographic methods, representing musical practices and ethics

For enquiries about the symposium please contact any of the organisers:
Thomas Hilder.
Henry Stobart
Shzr Ee Tan

CFP: Music and Philosophy: A Royal Musical Association Study Day (King's College, London)

20 FEBRUARY 2010

Keynote speakers:
Prof Mark Evan Bonds (University of North Carolina at Chapel Hill)
Prof Andrew Bowie (Royal Holloway, University of London)
Prof Julian Dodd (University of Manchester)

This study day will offer a chance for musicologists and philosophers to share and discuss work in the hope of fostering a dialogue between the two disciplines. Proposals of up to 500 words are invited for individual papers (20 minutes) and collaborative papers (up to 30 minutes). Collaboration between persons from different disciplines would be especially welcomed. Topics of interest might include (but are not limited to):

- interactions between music and philosophy (including historical connections)
- ontology and music
- music, meaning, and language
- perception and expression
- performance, authenticity, and interpretation

Please send proposals by e-mail to Tomas McAuley (tomas.mcauley at or Dr Víctor Durà-Vilà (victor.dura_vila at Postgraduate students are particularly encouraged to submit. The deadline for proposals is Friday 4th December 2009.

Friday, 18 September 2009

CFP: Music, Law and Business (Helsinki)

24 - 27 NOVEMBER 2010

The field of music production is in a state of uncertainty, if not even in an outright crisis of reproduction. Because of recent and relatively rapid changes in communication technology, old conglomerate models and structures of production, dissemination and consumption of music are arguably subject to change. This has also created pressure towards legislative changes, especially in relation to copyright issues. In general, the increased importance of immaterial property rights, as opposed to selling physical records, has been acknowledged within the music industries.

In order to address these shifting conditions of music production and consumption, IASPM-Norden (the Nordic Branch of the International Association for the Study of Popular Music; invites scholars and other interested parties to share their ideas in the "Music, Law and Business" conference. The aim of the conference is to provide a forum in which industry professionals, officials, scholars and other agents can engage in a mutually beneficiary dialogue. The goal is furthermore explicitly multidisciplinary, as the purpose is to bring together experts not only from the conventional areas of music research dominated by humanities and social sciences but also from economics and legal studies.

The programme of the conference consists of keynote lectures, plenary roundtables, thematic workshops, individual presentations and poster presentations. Individual presentations and entire workshops may be built for example on the following topics:

• music and global/national/regional economy
• export ventures of music
• economic dimensions of music copyright, including sampling and licensing
• synergy/cross‐marketing
• economic impacts of music technology
• restructuring of music industry
• music cluster in terms of economy and legal issues
• music and market censorship
• music and public subvention
• music and fair use
• music piracy
• legal and economic ethics of music
• musical expression, genres and styles in terms of law and business
• the aesthetic and legal criteria of musical works
• the impact of fan communities and social media
• legal and economic implications of music education

Proposals for presentations (20 mins) or workshops (90 mins) should be sent to the conference organisers no later than 15 December 2009, preferably as an email attachment (rtf/pdf/doc) to iaspmnorden [at] The proposal should include the following information:

Summary (200 words, explicating the background, approach and central arguments)
Keywords (max. five)
Technical equipment required (PC/DVD/CD/data projector/over-head projector/etc.)

Please label your attachment with your last name and first initial (eg. beathoven-l.rtf), not the title.

The official language of the conference is English. Notifications of acceptance will be sent no later than 15 January 2010.

Confirmed guest speakers of the conference include Adj.Prof. Tarja Rautiainen-Keskustalo (Department of Music Anthropology, University of Tampere, Finland) and Dr Patrik Wikström (Media Management and Transformation Centre, Jönköping International Business School, Sweden).

The conference is organized by the Nordic Branch of the International Association for the Study of Popular Music with the Finnish Society for Ethnomusicology, University of Helsinki (Musicology), Aalto University (School of Economics/Best Practices of Globalization in Finnish Rock Exports research project), Sibelius Academy and Music Export Finland, in co-operation with the IPR University Center, International Institute of Popular Culture and Statistics Finland.

Should you need more information about the conference, please visit IASPM-Norden website ( or contact IASPM-Norden chair Antti-Ville Kärjä personally (

Tuesday, 15 September 2009

CFP: Symposium on British Museum Citole - New Perspectives (British Museum)


The British Museum is pleased to host a symposium to highlight recent research related to the medieval citole in its collection. This is the first international symposium on this unique instrument, and celebrates recent work done by scientists at the British Museum as well as significant new research by scholars in many fields.

The British Museum citole (formerly known as the ‘Warwick Castle gittern’) is one of a small handful of medieval stringed musical instruments to have survived, providing an invaluable link between iconography and reality. Equally, it is important as one of the most extraordinary examples of craftsmanship and decorative arts from the fourteenth century, prominently displayed in the newly renovated medieval gallery of the Museum.

A rich post-medieval existence is indicated by an engraved silver plate which links the instrument to Queen Elizabeth I and her favourite, Robert Dudley. The instrument was modified into a violin, receiving a new soundboard, fingerboard, tailpiece, peg arrangement, and other fittings. The history of these later accretions yield valuable insights into the violin and violin making in Britain.

By taking as its focus the single extant instrument, it is hoped that this symposium will promote research and discussion about a number of diverse topics. We invite participants to submit paper proposals relating to any aspect of the British Museum citole. The following list of topics, which is neither prescriptive nor exhaustive, may serve as an inspiration:
  • Iconography and morphology of citoles
  • Citoles in documents and literature
  • Citole performance practices
  • The artwork on the British Museum citole
  • The craft of the medieval instrument builder
  • Stringed instruments in the medieval period: performers, producers, and patrons
  • The violin fittings on the British Museum citole
  • Music and musical instruments of Elizabeth I

Papers should be 20 minutes in length, and the symposium will feature time for questions as well as roundtable discussions with researchers, makers, and players of this instrument type. It is intended that the conference proceedings will be published.

Abstracts of 300-400 words and a brief CV should be submitted by 15 January 2010, as Word attachments to an email to the address below. For further information, please contact Naomi Speakman, Project Curator of Medieval Collections, Department of Prehistory and Europe, British Museum, London, WC1B 3DG, 44-(0)20-7323-8467 (phone), 44-(0)20-7323-8496 (fax) or email: nspeakman at

CFP: The Choir­Artistic, Pedagogical and Scholarly Perspectives (Sibelius Academy, Helsinki)

20 - 22 MAY 2010

An interdisciplinary symposium organized by Sibelius Academy, The Doctoral School of Music, Theatre and Dance, and Finnish Musicological Society, 20th- 22nd of May 2010. Helsinki, Finland.

The Choir is an international symposium whose focus is on the particular meanings and practices embedded in the choir throughout history, as reflected in various forms of art and strands of research. The symposium is open to both scholarly presentations and demonstrations grounded in artistic, as well as pedagogical practice.

The main themes addressed in the symposium are the following:
  • Meanings and functions allotted to the choir in different phases of history
  • Multi-faceted ontology of ”the choir” as situated between art, on the one hand, and society and religion on the other
  • Politics of the choir
  • What hypothesis – or conclusions – are there to be drawn from the particularly flexible nature of the choir, its fascinating and often simultaneous permanence and change?
  • What is the position and meaning of the choir in today’s art forms?
  • Choir as a cultural domain
  • Choir as a musical medium
  • Choirs on/as stage
  • Re-inventing choir?
  • Choir and creative practice
  • Choir and professionals

The deadline for submissions is October 15, 2009.

For inquiries, contact:
Prof. Anne Sivuoja-Gunaratnam
Tel: +358 40 7104287
Dr. Markus Mantere
Tel: +358 40 7104339

Full details:

Saturday, 12 September 2009

CFP: Collaborative Processes in Music Making: Pedagogy and Practice (University of Surrey)

11 NOVEMBER 2009

A study day bringing together people working in higher education, practitioners and academics interested in collaborative processes in music making.

Its focus is collaborative processes in music making, their role in creative practice and in teaching, and the links between. The day aims to provide an opportunity to reflect upon aspects of the music making process that have in the past received little critical attention.

Keynotes from Peter Wiegold and Paul Whitty

Presentations are currently invited (from teaching and creative practice contexts, and across them) that through examples of collaboration explore the following themes:
- Contexts for collaborative process;
- Characteristics of and procedures for collaborative process;
- The benefits and challenges (weaknesses?) of collaborative work.

The day is also interested to recognise and incorporate the richness and complexities of how particular traditions (e.g. Post-atonal, Experimental, Free and/or Idiomatic Improvisation, Post-Vernacular, etc.) relate to, describe and understand collaborative process.

Please contact Ralph Brown at by Wednesday 30
September 2009 with proposals for a short paper/presentation of about 30
minutes duration (including time for questions).

Date: 11 Nov 09
Venue: Studio 1, Performing Arts Technology Studios Building
Department of Music & Sound Recording, University of Surrey
Email bookings to: Barbara Hargreaves 01524 592614
Cost: Attendance at this event is free for colleagues in UK higher education. For people outside UK HE there is a charge of £50, though priority will be given to HE colleagues.

Further information:

Monday, 7 September 2009

CFP: Region State, Nation, Community - New Research in Scandanavian and Baltic Studies (Seattle, Washington)

22 - 24 APRIL 2010

The 22nd Conference of the Association for the Advancement of Baltic Studies (AABS) will take place from April 22-24, 2010 in Seattle, Washington. The conference will be particularly innovative in being the first joint conference with the Society for the Advancement of Scandinavian Study (SASS).

AABS welcomes papers, panels, and roundtable presentations for the first joint conference of Scandinavian and Baltic Studies in the United States. The conference aims to highlight and foster academic inquiry that draws comparisons between Scandinavia (Iceland, Denmark, Norway, Sweden, and Finland) and the Baltic states (Estonia, Latvia, and Lithuania). Papers that examine stateless peoples and those left outside of the Scandinavian/Baltic approach, but sharing the same geographic space, are equally welcome. Papers and panels devoted to individual states are also welcome. Contributions are encouraged from disciplines including (but not limited to): anthropology, architecture, communication, cultural studies, demography, economics, education, environment, ethnic relations, film studies, fine arts, gender studies, geography, history, international relations, law, linguistics, literature, memory, political science, psychology, public health, religion, sociology, tourism, and advancing Baltic and Scandinavian studies. Presentations are not to exceed 20 minutes in length.

Proposals from Ph.D. students will be considered for a Presidents’ Panel on Scandinavian and Baltic Studies that recognizes the most accomplished and innovative work of new scholars.

Paper and panel proposals must include an abstract (no more than 250 words) and a one to two-page curriculum vitae. Send this material embedded in the body of an e-mail (no attachments) to Aldis Purs at (aldisp at by December 11, 2009. Paper submissions can be mailed to:

22nd AABS Conference Chair
University of Washington,
Box 353420
Seattle, WA 98195-3420

Conference Website:

Tuesday, 1 September 2009

CFP: Readings of Diffcult Freedom (Toulouse, France)

5 - 9 JULY 2010

First published in 1963, with a second edition in 1976, /Difficile Liberté/, /Essais sur le judaïsme/ is considered Levinas' most accessible book and an excellent introduction to his work. This collection of essays, which appeared in a variety of journals (/L'arche, Information juive, L'esprit, Evidences/, etc.) reflects the society, culture and philosophy of France from the 1950s to the 1970s. While closely linked to this era (end of World War II, the discovery of the horror of the concentration camps, Stalinism, the founding of the State of Israel) /Difficile Liberté/ is by no means a collection of circumstantial writings.

In /Difficile Liberté/ Levinas defines post-Holocaust Judaism, and sets out the requirements and need for Jewish thought and education in an authentic but critical dialogue with modern society. These considerations are frequently interspersed with references to writers and thinkers who influenced Levinas such as Claudel, Heidegger, Hegel, Spinoza, S. Weil, Gordin and Rosenzweig, but more often to sacred texts, the Bible and the words of the Sages of Israel which Levinas continually emphasized the need to study. Does Levinas' /modernity /paradoxically lie in his appeal to Jews to return to these old "worm-eaten tractates" ("the Jew of the Talmud should take precedence over the Jew of the Psalms")? These articles are still innovative, sharp, concise and overarching; the style is sometimes lyrical – Levinas rarely wrote in such a strident, argumentative way, blending conviction and stupefaction. The key to what unites Levinas' work – the link between his philosophical writings and his specifically Jewish dimension – may just be found in /Difficile Liberté./

Beyond the obligatory analysis of the title (taken from the last few words of the article "Education and Prayer") this conference aims not only to place the essays in /Difficult Freedom/ in their historical context and within the trajectory of Levinas' thought, but more importantly to examine them afresh – with the wonderment and questions they still elicit today. Diachronic and synchronic analyses of the articles in /Difficle Liberté /will help situate them with respect to Levinas' other works. Issues such as the following could be explored:

Phenomenology, ethics, the Holocaust, Israel, the Talmudic Readings, Levinas' views of science and technology, his relationship to Heidegger, Rozensweig, Bergson, French philosophers and writers, Levinas' relationship to Christianity, Levinas the educator, etc...*

This international conference is an initiative of the Société internationale de Recherches Emmanuel Levinas (SIREL, Paris,, and the North American Levinas Society (Purdue, USA, The conference will host participants from all over the world, with 120 projected presentations.

Priority will be given to students and young researchers. The proceedings will be published (articles selected by the editorial committee). If funding permits, some financial aid may be made available, in particular to young researchers.

1. *On or before September 30, 2009:* submission of a 500-word abstract (talks will be 20 minutes, in French or in English)and a short bio-bibliography of the author (s).
2. *On or before November 15, 2009*: notification, based on the decision of the scientific committee.
3. *February 2010*: publication of conference program.

All submissions (preferably as Microsoft Word files) and questions concerning the conference should be sent electronically to: dlib2010[at]

CFC: Choral Theatre Public Art Commission (Roscommon, Ireland)


Arising from Local Authority Capital Developments in the region, Roscommon County Council, as commissioning client, invites submissions from an artist or artists comprising the skills of Composer & Playwright for the development of a new work of choral theatre for future production with Suaimhneas Choral Singers and Riverside Chorus and a cast of professional actors.

The maximum budget for the commission will be €40,000.00 inclusive of all artists’ fees, costs, expenses, VAT, insurance and any other charges associated with the development of the new work.

The aims of the commission are to -
- engage a professional artist or team of artists encompassing the skills of composer and playwright to develop an original piece of choral theatre.

- provide new opportunities for Suaimhneas Choral Singers and Riverside Chorus to go beyond their regular performance practice.

- bring professional theatre and choral work together in an experimental and innovative process.

- develop new audiences for professional choral and theatre work in the region.

Stage 1 proposals submitted - Thurs. 1st Oct. 2009
Stage 1 Selection - Tues. 5th Oct. 2009
Site visit for shortlisted applicants - Tues. 19th Oct. 2009
Stage 2 proposals submitted - Thurs. 18th Nov. 2009
Interview of shortlisted applicants - Thurs. 25th Nov. 2009
Project commencement - Before 31st Dec. 2009
Project completion - Before 31st Dec. 2010

Full Project Brief and further information is available from –

Contact: artsoffice [at]

Thursday, 27 August 2009

Job Posting: Lecturer/Sr Lecturer (2 posts) Department of Music (City University)

SALARY: £33K - £55K

The Department of Music offers students a uniquely rich and diverse musical life at the heart of one of the world's great cultural hubs. The department incorporates first class facilities including a new performance space, digital sound studios, ensemble room and gamelan room, and was placed in the top 15 UK music departments in the 2008 Research Assessment Exercise.

As both our undergraduate and postgraduate programmes move into an exciting period of further expansion and development the Department of Music wishes to appoint two new posts.

We would welcome applicants with expertise in one or more subject areas drawn from film music composition; film music studies; music and media; popular music; and historical performance practice. For one post we are especially interested in someone whose areas of expertise include exceptional skills in digital audio and media.

One role (which can be either post) will also be very important in nurturing the department's existing relationship with the Guildhall School of Music and Drama, and in particular our thriving DMA programme.

For both posts a PhD (or near completion) is essential, ideally with a good track record of research or research potential, and of successful applications for external research funding. You will need to be a versatile team player, willing and able to contribute to our core curriculum and to supervise at postgraduate level. Anticipated starting date is January 2010.

For more information please visit

Closing date: Tuesday 10th September 2009 at 5pm.

Interviews to be held 22nd and 23rd September 2009.

CFP: 29th Intl Society for Music Education World Conference (Shanghai, China)

27 - 30 JULY 2010

The Musician in Creative and Educational Spaces of the 21st Century
Submissions are invited on the following sub-themes:

* The role of conservatoires in the 21st century: institutional priorities, leadership, pedagogies, curricula, and assessment in different cultural and multicultural settings;

* Music careers in a contemporary global context: implications for training and professional development;

* Musicians’ wellbeing;

* Technology in music and music education: multimedia, interdisciplinarity, information and social media literacy, flexible learning delivery;

* Practice-based research in music and music education: design, methods, partnerships, the teaching/research nexus, and publication outcomes.

The deadline for papers is 1 November 2009. Papers should be a maximum of 3,000 words, and should be submitted online at

CFP: Red Strains - Music and Communism Outside the Communist Bloc, 1945-1990 (British Academy)

13 - 15 JANUARY 2011

This is advance notice of an international conference to be held at the British Academy in London in January 2011, in conjunction with the University of Nottingham.

The relationship between state communism and music behind the Iron Curtain has been the subject of much scholarly interest. The importance of communism for musicians outside the communist bloc, by contrast, has received little sustained attention. This conference aims to examine:

* the nature and extent of individual musicians' involvement with communist organisations and parties;
* the appeal and reach of different strands of communist thought (e.g. Trotskyist; Cuban; Maoist);
* the significance of music for communist parties and groups (e.g. groups' cultural policies; use of music in rallies and meetings);
* the consequences of communist involvement for composition and music-making;
* how this involvement affected musicians' careers and performance opportunities in different countries.

Keynote speakers will include Professor Anne Shreffler (Harvard University) and Professor Gianmario Borio (University of Pavia). A round-table of key protagonists will include Henry Flynt and Konrad Boehmer. A concert of related music will be presented by the ensemble Apartment House.

A call for papers will be released in the autumn. Further details may be found at the conference website:

Dr Robert Adlington (Conference Organiser)
Department of Music
University of Nottingham
University Park
Nottingham NG7 2RD
United Kingdom
Robert.Adlington [AT]

Monday, 24 August 2009

CFC: Grazyna Bacewicz International Composer Competition for Orchestra (Lodz, Poland)


1. The competition is open to composers of all nationalities and all ages.
2. More than one score per composer is permitted.
3. All works submitted must be unpublished and cannot have been performed. Works that have won other awards are ineligible.
4. The Jury will choose from the submitted works pieces for the final performance.

1. Only compositions for orchestra will be considered (maximum: 4 Flutes (including Piccolo), 4 Oboes (including English Horn), 4 Clarinets (including Bass Clarinet), 4 Bassoons (including Contrabassoon), 6 Horns, 4 Trumpets, 4 Trombones, Tuba, Percussion (4 performers), Harp, 14 Violins I, 12 Violins II, 10 Violas, 8 Cellos, 6 Contrabasses (+ Piano, Accordion).
2. Use of live electronics and recordings is not permitted.
3. Duration (given in the score): from 15 to 30 minutes.

– 3 money prizes funded by the Ministry of Culture and National Heritage and the City Council of Lodz,
– Professional performance of the compositions selected for the final of the Competition by Artur Rubinstein Philharmonic Orchestra of Lodz(in December 2009),
– CD recording of the prize-winning compositions,
– Extra awards funded by donors.

The international Jury chaired by Zygmunt Krauze will choose the pieces for the final performance and will make decisions about the awards.

The decisions of the Jury are final.

1. The awarded compositions will be performed by the Artur Rubinstein Philharmonic Orchestra of Lodz in December 2009. After the concert the Jury will take final decisions and the prizes will be awarded.

2. The composers of awarded works must provide all the materials for a single performance at their own expense.

1. The score should be submitted anonymously and marked with an emblem.

2. The payment receipt should be enclosed with the submitted score.

Sealed envelope marked with the same emblem should include the following data:
a) composer’s full name
b) date and place of birth
c) nationality
d) address, telephone, e-mail address.

3. The entries should be sent at the following address:

Akademia Muzyczna
im. GraŜyny i Kiejstuta Bacewiczów w Łodzi,
ul. Gdańska 32, 90-716 Łódź,
Konkurs Kompozytorski / Composers’ Competition.

4. The deadline for the scores to be sent in is 15th September 2009. The date on the post stamp is a decisive factor.

1. Entry fee for participants is 40 EUR for each score.

2. The money should be transferred to the following account (bank charges are at sender’s expense):

Akademia Muzyczna
im. GraŜyny i Kiejstuta Bacewiczów w Łodzi,
Bank PEKAO S.A. O/Łódź
IBAN PL 97 12403028 1111 0000 2822 1999

3. Cheques will not be accepted.

4. The entry fee is not refundable.

1. Entering the Competition is synonymous with acceptance of the Rules.
2. Compositions not meeting the requirements stated in the above Rules will not be admitted to the Competition.
3. The submitted scores will be returned only when clearly requested and sent cash on

Grant/Fellowship: Audio-Visual Grant Opportunity (Society for American Music)


The Society for American Music invites applications for a grant to support publication of non-print materials dealing with American music. Projects should further the Society’s goals which are “to stimulate the appreciation, performance, creation and study of American musics of all eras and in all their diversity, including the full range of activities and institutions associated with these musics throughout the world.” Projects supported in the past have included CDs (both standalone and accompanying a book), a website and a film, but may also include DVDs, radio programs, or other audio-visual projects.

Grants are announced at the society’s conference in the spring, the next being March 2010, and are generally for a maximum of $700-$800. The deadline for applications for the 2010 award is November 15, 2009.

Applications may be made by performers, editors or producers, and should include the following:
1. Full contact information.
2. An abstract of no more than 500 words describing the project and its contribution to American music.
3. A brief statement about publication and distribution plans.
4. A financial statement explaining the expenses to which the grant would be applied.
5. A brief resume or curriculum vitae.
6. DO NOT send a sound recording or sample video with the initial application.

More information may be found at the society’s website,

Applications should be sent to:
Tim Brooks
Chair, Sight & Sound Subvention Committee, Society for American Music
tim at or P.O. Box 31041, Glenville Stn., Greenwich, CT 06831
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