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

BEYOND NOTES: IMPROVISATION IN WESTERN MUSIC IN THE 18TH AND 19TH CENTURIES
9TH EDITION OF THE FESTIVAL PAGANINIANO OF CARRO
LA SPEZIA, ITALY - CAMeC (Centre for Modern and Contemporary Art)
15 - 17 JULY 2010
CALL FOR PAPERS

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

The SOCIETA' DEI CONCERTI of La Spezia, Italy (http://www.sdclaspezia.it/) and the CENTRO STUDI OPERA OMNIA LUIGI BOCCHERINI of Lucca (http://www.luigiboccherini.org/), in association with MUSICALWORDS.IT (http://www.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

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

KEYNOTE SPEAKERS:
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]luigiboccherini.org).

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
operaomnia@luigiboccherini.org
http://www.luigiboccherini.org/

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
rilliano@muzioclementi.com
ww.luigiboccherini.org
http://www.muzioclementi.org/

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

THE PIANO TRIO: HISTORY, TECHNIQUE, PERFORMANCE

SENATE HOUSE, UNIVERSITY OF LONDON

INSTITUTE OF MUSICAL RESEARCH

12 - 13 NOVEMBER 2010

CALL FOR PROPOSALS

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.

For details of the topics for which proposals are requested please see http://music.sas.ac.uk/imr-events/imr-conferences-colloquia-performance-events/the-piano-trio-history-technique-performance.html#c1446

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)

CFP: Stanford Forum on Opera (Stanford University)

STANFORD FORUM ON OPERA - GRADUATE STUDENT CONFERENCE

STANFORD UNIVERSITY

27 - 28 FEBRUARY 2010

CALL FOR PAPERS

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 stanford.edu

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

Join our Facebook group at:

http://www.facebook.com/group.php?gid=148509531716

Website coming soon.

CFE: Noise, Audition, Aurality: Histories of the Sonic World(s) of Europe, 1500-1945 (essays)

NOISE, AUDITION, AURALITY: HISTORIES OF THE SONIC WORLD(S) OF EUROPE, 1500-1945
DEADLINE: 30 NOVEMBER 2009
CALL FOR ESSAYS

Contributions are invited for a proposed collection of essays exploring the soundscapes of Europe from c.1500 to 1945. The collection seeks to open up new areas of interdisciplinary scholarship from a range of fields including (but not limited to) musicology, urban geography, history, literary studies, cultural studies, psychoanalysis, psychology and anthropology, and will build on existing work in acoustic ecology, the sociology of noise and histories and historiographies of noise, audition and aurality. We will favour contributions that deal with historically-informed topics in the following areas (although this is by no means an exclusive list):

. The noise-sound-music nexus
. Urban/rural soundscapes
. Public/private soundscapes
. The acoustic ecology of communities
. Legal histories of noise
. Noise, music and the body
. Listening and the erotic
. Political economies of noise
. Noise, music and landscape
. Theories of hearing and listening
. Historical acousmêtres
. Historiographies of noise, audition and aurality
. Technologies of sound reproduction and their histories

Prospective contributors should send a 250-word abstract and a short biography to Ian Biddle (i.d.biddle at ncl.ac.uk) by no later than November 30 2009. If your contribution is chosen, we will require your finished chapter by 19 April 2010.

If you have any queries please also contact Ian Biddle at the email address above.

CFP: Society for 18th Century Music 4th Biennial Conference (Brooklyn, NY)

SOCIETY FOR EIGHTEENTH-CENTURY MUSIC FOURTH BIENNIAL CONFERENCE
ST. FRANCIS COLLEGE - BROOKLYN, NEW YORK
8 - 11 APRIL 2010
CALL FOR PAPERS

Located in historic Brooklyn Heights, St. Francis College lies a short walk from the Promenade, an esplanade offering dramatic views of the Statue of Liberty, the Brooklyn and Manhattan Bridges, and the Manhattan skyline across the East River. The area is easily accessible to Midtown Manhattan and Lincoln Center for the Performing Arts. Featured events include a concert on period instruments at the Morris-Jumel Mansion; a concert by Brooklyn College musicians; a tour of downtown Manhattan with stops at the eighteenth-century Fraunces Tavern and other sites; and a visit to the Morgan Library.

We seek to incorporate a wide variety of presentation types, including papers, lecture recitals, panels, considerations of a specific work from different points of view by several speakers, and reports on ongoing projects. Proposals for papers or other activities on any topic relating to music of the eighteenth century are welcome. The SECM Student Paper Award will be given to a student member for the outstanding paper at the conference. Student members of the society who have not received the doctorate before the date of the conference are eligible for the award.

The conference will include a special "dissertations in progress" session for students working on dissertations on eighteenth-century topics who would like to receive feedback from members of the society. Students wishing to participate in this portion of the conference should submit the following items:

-a 250 word dissertation abstract that clarifies the thesis, nature of source material, format, methodology and scope of the project. The abstract must also include a specific statement of one particular aspect/problem/challenge the author is currently confronting as a focus for feedback.

-a table of contents

Abstracts of 250 words for all other proposals must be submitted by 15 October 2009 to Margaret Butler, Program Committee Chair, by email at: butlermr at ufl.edu. This date supersedes others previously announced. Only one submission per author will be considered, with preference given to authors who did not present at the 2008 conference in Claremont. Please provide a cover sheet and proposal in separate documents, in MS Word format. The cover sheet should include your name, address, email address, phone number, and proposal title. The proposal should include only the title, abstract, and audio-visual needs. Membership in SECM is encouraged of all participants.

Additional information on the conference will be available soon at: www.secm.org.

Fully Funded PhD Studentships: 'Music Collections, Music Rooms and Musical Practice in British Country Houses, 1780-1860' (Southampton)

FULLY FUNDED PHD STUDENTSTHIPS:
MUSIC COLLECTIONS, MUSIC ROOMS AND MUSICAL PRACTICE IN BRITISH COUNTRY HOUSES, 1780-1860
UNIVERSITY OF SOUTHAMPTON IN COLLABORATION WITH THE NATIONAL TRUST

The Department of Music at the University of Southampton, in collaboration with The National Trust, has been given two new fully-funded PhD studentships by the Arts and Humanities Research Council of Great Britain. The studentships are for the project 'Music Collections, Music Rooms and Musical Practice in British Country Houses, 1780-1860'. The project aims to expand understanding of domestic musical practice in British country houses of the late eighteenth and early nineteenth centuries, investigating the intersections of space, material musical culture, musical repertory and performance practice characteristic of this milieu. In addition to conducting their research, the students will create historically sensitive musical events and materials for dissemination through heritage bodies so that country house spaces 'sound' for contemporary visitors in informative and stimulating ways. The practical context for both studentships will be provided by the National Trust, principally through two major music collections still held in the houses in which they were first used, Tatton Park (Cheshire) and Killerton House (Devon). In addition to research in the collections, the students will have training in National Trust regional and national offices and a co-supervisor from the Trust in addition to academic supervision.

One studentship is for a dissertation on an aspect of domestic music-making in late eighteenth- and early nineteenth-century British country houses. The precise topic will emerge from negotiation with the student, but will be practically based in one or more music collections held by the National Trust. The holder of the second studentship will prepare a shorter thesis and a portfolio of recitals and other musical events for a performance-led research degree on musical repertory performed in country houses. The musical events will not only demonstrate aspects of historical performance practice but will be suitable for touring to historic properties as appropriate, and for filming and/or recording (including for example as podcasts or material for audio headsets) for use by the National Trust. Student 2 will probably be a first-study keyboard player, although appropriately-qualified singers will be considered for the studentship. The students will be required to act as a team, with the predominantly historical work of student 1 supporting the more practice-led research of student 2, and vice versa.

The studentships are available to UK residents and EU nationals. For more information and instructions on how to apply, see
http://www.soton.ac.uk/music/postgrad/postgraduatestudentships.html

The application deadline is 10 June 2009. Queries can be directed to JeaniceBrooks: ljb1 at soton.ac.uk.

CFP: Interdisciplinary Humanities (journal)

INTERDISCIPLINARY HUMANITIES
PUBLISHED BY THE HUMANITIES EDUCATION RESEARCH ASSOCIATION
SPECIAL ISSUE: MUSIC IN CONTEXT (REQUEST FOR READERS)
CALL FOR PAPERS

I am interested to locate readers for a special issue of Interdisciplinary Humanities entitled "Music in Context." Our scholarly journal is published twice each year and usually includes a special interest issue. Currently, we seek specialists to read a paper in the following areas of interest:

Hollywood Musicals
Film Music
Electro-Acoustic Music
Dance Hall Music
Music (Iconography) and Painting
17th Century France
19th Century Opera
18th Century Instrumentation
Chinese-Western Musical Relationships
20th Century Arts.

If you are interested to review a submission and recommend it, or not recommend it, for publication, please email me at your earliest convenience.

Regards,
Steve Husarik
shusarik at uafortsmith.edu

CFP: Correspondances: Exchanges and Tensions Between Art, Theatre and Opera in France (London)

CORRESPONDANCES: EXCHANGES AND TENSIONS BETWEEN ART, THEATRE AND OPERA IN FRANCE, C.1750-1850

NATIONAL GALLERY, LONDON (IN COLLABORATION WITH THE UNIVERSITY OF NOTTINGHAM)

26 - 27 MARCH 2010

CALL FOR PAPERS

This conference will explore a rich field of interdisciplinary research, that of the relation between art, theatre and opera in France from the later 18C to the mid 19C. As key elements in Parisian cultural life, art, theatre and opera all underwent extensive changes during this period, adapting and responding to profound socio-political disruption and transformation from the Revolution to the Second Republic.

We aim:

* to map interchanges between stage(s) and canvas, and the role of imagery in stage productions;

* to identify intermediaries in transmitting design to and from the stage and painting;

* to analyse attitudes and assumptions regarding interplay between media in theoretical and critical writing;

* to assess the recoverability of the visual components of theatre and opera.

Major themes which unite the two art forms include:

* the representation of history

* the nature of spectacle and illusion

* narrative and temporality

* the role of criticism

Invited speakers include:

* Prof Stephen Bann, University of Bristol (also a curator of the exhibition)

* Prof Beth Wright, University of Texas at Arlington

* Prof Tom Grey, Stanford University

* Prof David Charlton, Royal Holloway, University of London

We welcome proposals for papers (30 mins). Abstracts of c.250 words should be sent to both conference organisers, and by **1 September 2009**.

Programme and full conference details will be available at:

www.nottingham.ac.uk/moss and www.nottingham.ac.uk/nirv

CFP: Old Age and Late Works (15th-21st Centuries) (Poitiers, France)

OLD AGE AND LATE WORKS (15TH-21ST CENTURIES) INTERNATIONAL CONFERENCE
POITIERS, FRANCE
10 - 12 DECEMBER 2009
CALL FOR PAPERS

Sponsored by the Université de Poitiers, UFR Sciences Humaines et Arts, GERHICO

Artists’ longevity is a topic that raises question about biography’s impact on creation. Artistic production in old age often coincides with a drastic change of style, resulting from a reconsideration of preceding skills and positions, if not a return to basics. This final season of life has fed the romantic myth of the elderly genius’s absolute liberty of expression, reaching an
incomparable dramatic intensity, as a constant in major artists’ late production throughout history.

The old age of artists has been, however, a subject of debate since the Renaissance, when senility’s consequences on artistic creation were often denounced as a defect. Historiography has long fluctuated between these two interpretative positions, glorifying the liberty of expression of late works or denigrating the imperfections of their workmanship or conception.

Most recently, scholars have considered the status of late works in relation to the psychological, cultural and social conditions that the negative consideration of old age could have on senior artists’ production, independent of its quality. In spite of the attention paid to this topic, we still lack for a comprehensive view that considers late artistic creation over a long period and in different fields of expression, allowing us to question its specificity with respect to the wider spectrum of intellectual and scientific production by those of advanced age.

This conference’s purpose is therefore to treat the topic of old age and its late creations over an extended chronology – from the Renaissance to the modern era – in visual arts, music and literature, establishing a dialogue between those different disciplines.

For more information: http://www.mshs.univ-poitiers.fr/gerhico/accueil.html

Submissions dead-line : 31 march 2009 (text : at most 2.000 characters; curriculum vitae : at most 1 page) Contact : diane.bodart at univ-poitiers.fr

CFP: Music, Plantation and Migration International Symposium (Dublin)

MUSIC, PLANTATION AND MIGRATION
INTERDISCIPLINARY SYMPOSIUM
DIT, DUBLIN, IRELAND
25 APRIL 2009
CALL FOR PAPERS

DIT Conservatory of Music and Drama in association with The Department of Music, NUI Maynooth, UCD Mícheál Ó Cléirigh Institute and The Society for Musicology in Ireland

The legislation which resulted in the plantation of Ulster was passed in 1609 and this important event in Irish history is being marked by an exploration of the exchange of music and musicians between Ireland and Britain in the period 1600–1750 and how the story of plantation and migration has been recorded in Irish traditional music of this time and later periods.

The symposium will be held in DIT Kevin Street on Saturday 25 April 2009 and will be followed by the launch of the tenth volume of Irish Musical Studies: Music, Ireland and the Seventeenth Century (Barra Boydell & Kerry Houston editors).

We invite papers from writers reflecting on topics including:

• Irish and English musical culture of the time (including music at the Court of James I)
• Musical and cultural exchanges between Ireland and Scotland
• The recording of the events of plantation and migration in Irish traditional music
• The aftermath of the Plantation of Ulster and its impact on the musical and cultural life of seventeenth- and eighteenth-century Ireland
• Sacred music in Ireland and Scotland in the seventeenth and eighteenth centuries

Abstracts of around 300 words for papers of 20 minutes should be sent to Kerry Houston, DIT Conservatory of Music and Drama, Rathmines Road, Dublin 6 (kerry..houston@dit.ie) by Wednesday 11 March 2009. We will consider group proposals and lecture recital proposals.

Symposium committee: Barra Boydell (NUIM), David Connolly (DIT), Marian Deasy (DIT), Kerry Houston (DIT), Helen Lyons (DKIT/UCD), Adrian Scahill (NUIM) and Eamon Sweeney (DIT).