CFP: Revisiting the Past, Recasting the Present: The Reception of Greek Antiquity in Music, 19th Cent to the Present (Athens, Greece)

REVISITING THE PAST, RECASTING THE PRESENT: THE RECEPTION OF GREEK ANTIQUITY IN MUSIC, 19TH CENTURY TO THE PRESENT
MICHAEL CACOYANNIS FOUNDATION, ATHENS
1 - 3 JULY 2011
CALL FOR PAPERS

Sponsored by the BASEES Study Group for Russian and Eastern European Music, Polyphonia Journal and the Hellenic Music Centre
Conference website: http://athensconf2011.gateweb.gr


Greek antiquity has proved an inexhaustible source of inspiration throughout the history of Western ‘art’ music, endowing composers with a plethora of themes from its mythology and literary tradition; at the same time it has had a distinct impact on musical creativity itself through its cultural products:ancient Greek tragedy, poetry, as well as ancient Greek music itself (mainly,but not exclusively, through the study and use of its modes). The engagement with and interpretation of elements of ancient Greek culture in and through music reflect the specific historical, cultural and social context in which they have taken place; thus these mechanisms enable us to decode the particular relationships between the receiving audiences (artists, critics, listeners),their times and Greek antiquity.

In this respect, the period stretching from the beginning of the nineteenth century to the present is a most inviting case study, encompassing extensive historical, socio-political and cultural developments. During a period extending roughly from the Renaissance through to the Enlightenment, neo-classical themes had played a decisive role in the formation of modern European culture. However, the advent of Romanticism, with its apparent emphasis on vernacular themes, radically reframed the classical legacy. The beginning of the nineteenth century marked a new phase in Western perceptions of Greek antiquity, shaped by a number of historical, ideological and artistic factors, such as: the intensification of philhellenism in the wake of the Greek struggle for independence against the Turks; radical developments in archaeology, philology and the study of ancient history; the growing philhellenism in arts and literature; and the evocation of Greece in the narratives of national self-determination.

Likewise, the twentieth century has looked on the classical past with different eyes, whether through modernism’s search for the universal, post-modernism’s complex attitude to tradition and the inherited narratives of canonicity, or post-colonialism’s critique of myths about national identity and origins. The reception of the ancient Greek world has undoubtedly not been homogeneous throughout the centuries under consideration. This conference aims to explore the complex set of processes by which ancient Greek culture has been approached, (re)discoved and (re)interpreted in and through music, from the early nineteenth century to the present day. The conference invites the widest possible range of musicological approaches (including ethnomusicological and anthropological ones).

Interdisciplinary papers – which may refer to literature, the arts, cinema, theatre, and so on – are especially encouraged. Although the conference addresses the reception of Greek, rather than Roman, antiquity, we welcome papers that would highlight the connection and dialogue between these two cultures, as well as between ancient Greek and other cultures. Similarly, papers that involve ancient Greek music should contribute to the exploration of the conference’s focus on modes of reception. We particularly encourage proposals on Greek music since the nineteenth century, and papers exploring the reception of Greek antiquity in Russian and Eastern European music. Nineteenth-century Russian theories of music that referred to ancient Greek modes, Symbolism, neo-classicism, as well as the employment of ancient Greek themes by composers such as Taneyev, Szymanowski and Enescu are only a few examples of the points of contact between Russian and Eastern European music with ancient Greek culture.

Proposals may address (but do not need to be limited to) the following aspects of the conference’s general theme:

- The study and reception of Greek antiquity by composers, musicians, music theorists, artists in general, critics, audiences, institutions
- Historical, social, cultural, political, ideological, religious and artistic
factors that have shaped various cases of reception of Greek antiquity
- Mythological references, their symbolisms and interpretations
- The role of tradition and innovation in the reception of Greek antiquity
- Nostalgia in the reception of Greek antiquity
- Exoticism in the reception of Greek antiquity
- Issues of identity construction (national, Greek, European, Western, Eastern)
- Devotion to or imitation of Greek antiquity and classical ideals associated with ancient Greece (‘Hellenism’) but also criticism or the rejection of the ancient Greek past
- The reception of Greek antiquity with reference to philosophy (e.g. Nietzsche, the Apollonian, the Dionysian elements)
- Greek antiquity on stage and screen: the ballet, opera, musical theatre, film
- The reception of Greek antiquity in theories of music
- Archaisms in compositional practice (e.g. modality)
- The reception of Greek antiquity with reference to traditional and popular music
- Issues of sexuality pertaining to the study of Greek antiquity and its reflection in music

The conference’s official language is English. Proposals for 20-minute papers (of no more than 300 words) and short biographical notes (of up to 200 words) should be sent to athensconf2011[at]gateweb.gr by 1 September 2010 (receipt of proposals will be acknowledged by e-mail). Abstracts will be reviewed and results will be announced by 30 October 2010. A selection of papers will be considered for publication in a book form. Conference fee: 50 Euros (Students are exempted. Efforts will be made by the conference organisers to secure funding that will allow us to waive the fee).

Keynote speakers:
Prof. Jonathan Cross (University of Oxford)
Dr Marina Frolova-Walker (University of Cambridge)

Confirmed speakers:
Prof. Jim Samson (Royal Holloway, University of London)
Prof. Ion Zotos (University of Athens)

Conference Committee:
Dr Rosamund Bartlett
Dr Philip Bullock
Dr Katerina Levidou
Prof. Katy Romanou
Yannis Sabrovalakis
Dr George Vlastos

CFP: International Conference Franz Liszt 2011 (Universities of Rennes, Dijon, Strasbourg, France)

INTERNATIONAL CONFERENCE FRANZ LISZT 2011
FRANZ LISZT: MIRROR OF A EUROPEAN SOCIETY IN EVOLUTION
UNIVERSITIES OF RENNES, DIJON AND STRASBOURG, FRANCE
20 - 27 SEPTEMBER 2011
CALL FOR PAPERS
DEADLINE: 1 JULY 2010

As part of the bicentenary celebrations of Liszt’s birth, the universities of Rennes, Dijon and Strasbourg organize a tribute to the most representative European composer of the nineteenth century. Three symposia in three different cities will give new insight into three different aspects of Liszt’s artistic, literary and political personality and seek to (re)define his status in the cultural world of his time.

Congress dates:

Rennes - Liszt: A Musician in Society
Tuesday 20 – Wednesday 21 September 2011

Dijon - Liszt: Readings and Writings
Friday 23 – Saturday 24 September 2011

Strasbourg - 19th-century Topoi and the Music of Liszt
Monday 26 – Tuesday 27 September 2011


Honorary Committee

- Detlef Altenburg (Germany)
- Serge Gut (France)
- Leslie Howard (GB)
- Charles Rosen (USA)
- Alan Walker (USA)

Organizing Committee

- Florence Fix (University of Burgundy)
- Márta Grabócz (University of Strasbourg)
- Laurence Le Diagon-Jacquin (University of Rennes II)
- Georges Zaragoza (University of Burgundy)
Congress N°1 - University of Rennes 2 (September 20-21, 2011)

Scientific Committee:
- Rossana Dalmonte (Institute Franz Liszt, Italy)
- James Deaville (Carleton University in Ottawa, Canada)
- Zsuzsanna Domokos (Liszt Ferenc Memorial Museum and Research Center, Hungary)
- Cornelia Szabó-Knotik (Institute for Analysis, Theory and History of Music, Vienna, Austria)
- Michael Saffle (Virginia Tech.,USA)

LISZT, A MUSICIAN IN SOCIETY
Liszt was a polyglot and a cosmopolitan citizen travelling throughout Europe and expressing his ideas on the progress of nations, political systems and social change... Liszt, a European in a Europe under construction is the main focus of this symposium which sets out to analyse the connections between his music and the religious, political and aesthetic transformations of his time (in continuity with the colloquium in Bellagio ). In a political and religious sense he did indeed meet the important people of his world, the monarchs and princes, the revolutionaries, the pope and the clerics at odds with the dogma of the day. In addition to considerations about Liszt himself—not only as a virtuoso piano player, composer, teacher and also as a man of his society—an examination of the characteristics of his music as it has evolved over time (for instance at anniversaries or on stage and on screen) might prove a promising approach. The relations between Liszt’s music and society (religion, politics, history...) represent a whole socio-musicological field of research for the symposium in Rennes.


Congress N°2 University of Burgundy, September 23-24, 2011

Scientific Committee:
- Jacqueline Bellas (University of Toulouse)
- Maria Eckhardt (Liszt Ferenc Memorial Museum and Research Center,Hungary)
- Jean-Jacques Eigeldinger (Switzerland)
- Claude Knepper (CNRS, Paris)
- Danièle Pistone (Paris IV – Sorbonne)
- Alban Ramaut (University of Saint-Etienne)


LISZT, READINGS AND WRITINGS
As a music, literary and art critic, and a reader and an observer of his time, Liszt also wrote many letters. These are widely studied today and indeed one of the main avenues of research of this symposium will be to examine the limits and mechanisms of Liszt’s writing, as a musician who also marked his contemporaries by what he wrote.

Liszt is also the subject matter of various writings, biographies and novels alike. As a character of fiction, of romanticized biographies, of imaginings that transpose him into other realms representing him, say, as a painter, Liszt is at the heart of a literary activity that sees him as both subject matter and acting subject. The self-portrait that emanates from his correspondence is also an interesting composition and the concepts of self-figuration and self-fiction will be covered. By comparing and contrasting all these fictional constructions the hope is to arrive at a true typology of the literary characters inspired by Liszt.

And considerations of Liszt as a “reader” are welcome too. The material from his Weimar library depicts him as a scrupulous reader, annotating and commenting on his readings. This material needs to be examined to see what Liszt gleaned from it for his own musical compositions.

It is this triple portrait, then, of Liszt as a writer, character and reader that we look to address in the literary part of the Dijon symposium.



Congress N°3 University of Strasbourg, September 26-27, 2011

Scientific Committee:
- Béatrice Didier (ENS, Paris)
- Françoise Escal (EHESS, Paris)
- Adrienne Kaczmarczyk (Liszt Ferenc Memorial Museum and Research Center, Budapest)
- Bertrand Ott (Angers)
- Mathieu Schneider (University of Strasbourg)

19TH CENTURY TOPOI AND THE MUSIC OF FRANZ LISZT
Interest in the study of literary and musical topoï has been steadily growing since the 1990s. Several scholarly societies and international research groups are working on developing a methodology based on the presentation of “commonplaces”, either in the sense of “models or repertoires of general arguments” in rhetoric, or of the conventional round of ideas and thoughts within a given time period. The literary and “narrative topos” as a recurring narrative configuration of thematically or formally relevant elements is defined on the website of SATOR (Society of Analysis of the Novelistic Topoi ).
In the field of musicology, the international research group on Musical Signification (see ICMS publications) and American scholars have initiated studies on topics and narratives. According to Leonard Ratner, the musical topics are characteristic figures which can become subjects for musical discourse. In classical music, topics appear as styles or as types. More recently R. Monelle (2006) and K. Agawu (2009) have proposed other definitions of the musical topos.
Research in 19th-century literature and semiotics has already brought to light a great number of topics [topoi] of the Romantic period. In this respect, the SATOR database (www.satorbase.org) and the works of Béatrice Didier are fundamental (1966, 1985, 2006). As to the book of E.R. Curtius (1947, 1956), it is the seminal milestone in the history of topos studies.
In the chapter “Indications” [= Index rerum] of his novel Oberman (1804), Senancour lists the major Romantic themes of his generation : friendship; love; the pastoral world; climate; spleen; Man (“romantic” or that “of society”); ideals; religion; etc.
We see this forthcoming congress – which will focus on Franz Liszt’s ideas and music - as an exceptional opportunity to broaden the scope of an increasingly popular field of research.

References:
K. Agawu : Music as Discourse. Semiotic Adventures in Romantic Music, Oxford, New York, Oxford University Press, 2009.
E. R. Curtius, La Littérature européenne et le Moyen Age latin, Paris, PUF, 1956. (in German : 1947).
B. Didier [Béatrice Le Gall], L’Imaginaire chez Senancour, 2 volumes, Paris, José Corti, 1966.
B. Didier, Senancour romancier. Oberman, Aldomen, Isabelle, Paris, Sedes, 1985.
F. Bercegol and B. Didier (éd.), Oberman ou le sublime négatif, (Paris, Editions de l’ENS rue d’Ulm, 2006).
M. Guérin, Nihilisme et modernité. Essai sur la sensibilité des époques modernes de Diderot à Duchamp, Nîmes, Ed. Jacquline Chambon, 2004.
J. Hermann, M. Weill and P. Rodrigez, définitions du topos sur le site SATOR (Société d’Analyse des Topiques romanesques) www.satorbase.org
R. Monelle, The Musical Topic. Hunt, Military, and Pastoral, Bloomington, Indiana University Press, 2006.
L. Ratner : Classic Music. Expression, Form, and Style, London, Schirmer Books.
E. P. Senancour, Oberman, édition établie, présentée, commentée et annotée par Béatrice Didier, Paris, Le Livre de Poche, 1984.


Deadline for submission of paper proposals: (20’ presentation + 10’ discussion): July 1st, 2010. Please send abstract (max. 1500 characters) together with a short Résumé for Strasbourg (CV).
The list of accepted submissions will be released in October 2010.

Papers will be given in: French, English, German
Languages of publication: French and English.
Depending on your chosen theme, please send your submissions to one of the following addresses:

1/ Congress in Rennes: à Laurence Le Diagon - laurence.lediagon[at]wanadoo.fr
2/ Congress in Strasbourg: à Márta Grabócz – grabocz[at]club-internet.fr
3/ Congress in Dijon: florence.fix[at]gmail.com

Papers will be published in the Conference Proceedings.
Deadline for submission of papers for publication: November 1st, 2011. To ensure publication, make sure your full texts reach us before that date.

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

MUSIC FOR STRINGED INSTRUMENTS - MUSIC ARCHIVES AND THE MATERIALS OF MUSICOLOGICAL RESEARCH IN THE 19TH CENTURY AND EARLY 20TH CENTURIES
CARDIFF UNIVERSITY
23 - 24 JUNE 2010
CALL FOR PAPERS


The call for papers can be read in full at the conference web page, URL:
http://stringeditions.leeds.ac.uk/news.htm

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 leeds.ac.uk, no later than March 15th 2010.

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.

CFP: CHOMBEC4: Worlds to Conquer: The travelling Virtuoso in the the 19th Century (Univ of Bristol)

FOURTH CHOMBEC (CENTRE FOR THE HISTORY OF MUSIC IN BRITAIN, THE EMPIRE AND THE COMMONWEALTH) CONFERENCE
WORLDS TO CONQUER: THE TRAVELLING VIRTUOSO IN THE LONG 19TH CENTURY
UNIVERSITY OF BRISTOL
5 - 7 JULY 2010
CALL FOR PAPERS

An Italian troupe arrives in Macao from Chile in 1833 and mounts seven Rossini operas over the summer before moving on to Calcutta; a renowned French harpist, bigamist and forger, dies in Sydney in 1856 after a reunion with a musical fellow-criminal from his London days; a Canadian diva sings 'Home, sweet home' to British sailors in the middle of The Barber of Seville at her debut in Malta, while nearly a hundred years earlier another young singer loses her life, her daughter and her fabulous Indian fortune on the voyage home. Many other musicians, remembered or forgotten, move around the world, often unconcerned with national spheres of influence, amassing debts or fortunes and acquiring or abandoning spouses as careers and reputations are made, lost or reinvented.

Stories of such musical adventurers abound, especially from the 19th century in the era of steamships and gold rushes, and for every colourful rogue or genius such as Richard Wagner and Franz Liszt who conquered Europe there was another who travelled the world. The glamour and the tedium, journeys and repertoires, tribulations and triumphs, stamina and stardom pertaining to such characters can be savoured for their own sake or framed within the contexts of travel literature. Yet they can also be invoked to challenge the musical histories in which they have all too seldom appeared.

Why did they go? How did they or their agents manage their tours? Was their repertoire tailored to national communities; was it old or new? Were touring networks and remittances a crucial part of the international musical economy? How do we assess the standard of performance in peripheral contexts (and when were they peripheral)? What were the patronage networks and the national distinctions and tensions? What was the significance of the virtuoso group, the virtuoso family? How and why were institutional careers overseas sought, sustained, endured? Was the visiting examiner a new type of virtuoso?

The posing or--even better--the answering of these and related research questions in 30-minute slots is invited and encouraged. Emphasis is on the world beyond Europe, on translocality and transnationality, on musical provision and consumption, on case studies involving individuals, groups, genres, places, institutions and repertoires, and on the interrelationships between music and politics, geography, economics, technology and material culture in the 'long' 19th century, a portion of whose global musical history we may thereby begin writing. It is hoped that an edited book will be based on selected conference proceedings.

Proposals for a paper or a panel with an abstract of not more than 200 words should be sent to Stephen Banfield (s.d.banfield [AT]bristol.ac.uk)by 15 October 2009.

Programme Committee: Benjamin Walton (University of Cambridge),Esmeralda Rocha (student member, University of Western Australia),Kerry Murphy (University of Melbourne), Stephen Banfield (University of Bristol).

CFP: 16th Biennial Conference on Nineteenth-Century Music (Southampton)

16th BIENNIAL CONFERENCE ON NINETEENTH CENTURY MUSIC
UNIVERSITY OF SOUTHAMPTON
8 - 11 JULY 2010
CALL FOR PAPERS

The Programme Committee:
Michael Beckerman (New York University)
Rachel Cowgill (University of Leeds / Liverpool Hope University)
Mark Everist (University of Southampton; chair)
Bryan Gilliam (Duke University)
Francesco Izzo (University of Southampton)

is pleased to issue a formal call for papers, performances and complete sessions on any aspect of music and related fields during the long nineteenth century (c1789-c1914). We are not identifying any specific themes, but welcome proposals for individual papers and also invite possible session convenors (see below) to contact the chair of the Programme Committee with a view to submitting a proposal for a complete themed session.

Papers should be between 20 and 30 minutes long, and should be designed to fit into a 45-minute slot, including questions and turnaround. Complete sessions should consist of four papers of the same dimensions with a nominated convenor.

Abstracts for papers, proposals and descriptions of performances should consist of no more than one side of A4 / US letter with font size no smaller than 11, and should include the name, institutional affiliation, mailing address and email address of the individual concerned.

Descriptions of possible performances should make reference to the availability of sound files, and include them if necessary. Proposals for complete sessions should consist of four such abstracts with a rationale from the convenor (no longer than a single abstract). Abstracts and proposals for sessions should be sent by email as attachments (either *.doc or *.pdf) to Francesco Izzo at the University of Southampton. f.izzo[at] soton.ac.uk

Deadline for submissions is 2 November 2009 @ 5.00 p.m. UTC/GMT
The subsequent schedule for the conference is planned as follows:
Notification of submission outcomes: c 27 November 2009
Publication of Draft Programme and opening of website: 11 January 2010
Registration opens: 1 February 2010
Early registration deadline: 1 July 2010
Conference: 8-11 July 2010

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

MUSIC FOR STRINGED INSTRUMENTS: MUSIC ARCHIVES AND THE MATERIALS OF MUSICOLOGICAL RESEARCH IN THE 19TH AND EARLY 20TH CENTURIES

SCHOOL OF MUSIC, UNIVERSITY OF CARDIFF

23 - 24 JUNE 2010

PRELIMINARY ANNOUNCEMENT

This conference will take place as part of a 4-year AHRC-funded research project focusing on 19th- and early 20th-century performing editions of string chamber music - texts which are invaluable sources for empirical evidence about performance practices during that period. The topics this conference is expected to address will include 19th- and early 20th-century publishing history, comparative studies of editions, performing editions and performance practices, and musical archival studies. 

A formal call for papers will be circulated in October 2009.

For further information, contact: 

George Kennaway, School of Music, University of Leeds, Leeds LS2 9JT, England, U.K.

Email: g.w.kennaway@leeds.ac.uk

Tel: (+44)/(0) 113 3438218

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: The Influence of Louis Spohr on the music of his time (Kassel)

THE INFLUENCE OF LOUIS SPOHR ON THE MUSIC OF HIS TIME

UNIVERSITY OF KASSEL, GERMANY
24 OCTOBER 2009
CALL FOR PAPERS

The International Louis Spohr Society in association with the Music Department of the University of Kassel on the occasion of the reopening of the Kassel Louis Spohr Museum are

pleased to invite submissions of proposals for the symposium on "The Influence of Louis
Spohr on the Music of his Time", to be held in Kassel on saturday 24 October 2009.

Sessions for individual papers are expected to develop the following themes, although other
proposals in other relevant areas will also be welcome:

* Spohr´s influence on other composers,
* Spohr and his student´s compositions,
* Spohr and the 19th century school of violin technique,
* the reception of Spohr´s music.

The official language of the conference is German. Papers are limited to 20 minutes in
length, with time following for discussion. Please send a proposal and a short curriculum
vitae to louis.spohr at web.de.

Submission deadline: 5 May 2009

CFP: 16th Biennial Conference on 19th Century Music (Southampton)

16th BIENNIAL CONFERENCE ON NINETEENTH-CENTURY MUSIC

UNIVERSITY OF SOUTHAMPTON

8 - 11 JULY 2010

CALL FOR PAPERS

The Programme Committee:
Michael Beckerman (New York University)
Rachel Cowgill (University of Leeds / Liverpool Hope University)
Mark Everist (University of Southampton; chair)
Bryan Gilliam (Duke University)
Francesco Izzo (University of Southampton)

The Programme Committee is pleased to issue a formal call for papers, performances and complete sessions on any aspect of music and related fields during the long nineteenth century (c1789-c1914). We are not identifying any specific themes, but welcome proposals for individual papers and also invite possible session convenors (see below) to contact the chair of the Programme Committee with a view to submitting a proposal for a complete themed session.

Papers should be between 20 and 30 minutes long, and should be designed to fit into a 45-minute slot, including questions and turnaround. Complete sessions should consist of four papers of the same dimensions with a nominated convenor. Abstracts for papers, proposals and descriptions of performances should consist of no more than one side of A4 / US letter with font size no smaller than 11, and should include the name, institutional affiliation, mailing address and email address of the individual concerned. Descriptions of possible performances should make reference to the availability of sound files, and include them if necessary. Proposals for complete sessions should consist of four such abstracts with a rationale from the convenor (no longer than a single abstract). Abstracts and proposals for sessions should be sent by email as attachments (either *.doc or *.pdf) to Francesco Izzo at the University of Southampton. [f.izzo at soton.ac.uk ]
Deadline for submissions is 2 November 2009 @ 5.00 p.m. UTC/GMT
The subsequent schedule for the conference is planned as follows:
Notification of submission outcomes: c 27 November 2009
Publication of Draft Programme and opening of website: 11 January 2010
Registration opens: 1 February 2010
Early registration deadline: 1 July 2010
Conference: 8-11 July 2010
We look forward to receiving your abstracts and proposals for sessions and to welcoming you to Southampton in July 2010

AHRC Doctoral Award - (University of Southampton)

AHRC COLLABORATIVE DOCTORAL AWARD
UNIVERSITY OF SOUTHAMPTON: DEPARTMENT OF MUSIC

AHRC Collaborative Doctoral Award for the FICTOS (Franco-Italian Culture Transfer in Opera and Song, 1800-1850) in musicology, offered in conjunction with Opera Rara. This studentship will cover full fees for up to three years for a candidate proposing a dissertation in the field of Franco-Italian cultural transfer in nineteenth-century music. Home students will be eligible to receive a stipend of £12,940 p.a. for full-time study and £8,960 for part-time study (2008-2009 figures). Download the full details from
http://www.soton.ac.uk/music/postgrad/postgraduatestudentships.html

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: Chopin 1810-2010: Ideas, Interpretations and Influence (Warsaw)

CHOPIN 1810–2010, IDEAS, INTERPRETATIONS AND INFLUENCE
THIRD INTERNATIONAL CONGRESS
FRYDERYK CHOPIN INSTITUTE, WARSAW
25 FEBRUARY - 1 MARCH 2010
CALL FOR PAPERS

Under the patronage of the Polish Minister of Culture and National Heritage, Mr Bogdan Zdrojewski, from 25 February to 1 March 2010 the Fryderyk Chopin Institute in Warsaw will be hosting the Third International Congress CHOPIN 1810–2010, IDEAS, INTERPRETATIONS AND INFLUENCE, commemorating the 200th anniversary of the birth of Fryderyk Chopin.

Paper proposals in the form of abstracts of approx. 500 words in length can be submitted and papers may be read in English, French or German.

Nearly 200 years have elapsed since the birth of Fryderyk Chopin in 1810. In honour of this event and to recognize the importance that Chopin and his music have had throughout the past two centuries, the Fryderyk Chopin Institute in Warsaw will promote a major celebration entitled ‘Chopin 2010', featuring performances of his music, competitions and festivals, as well as the Third International Congress devoted to the composer and his oeuvre.

The first Congress took place in Warsaw in 1960 under the aegis of the Institute of Musicology at the University of Warsaw, while the Second Congress, organized in 1999 by the ‘Polish Chopin Academy', was devoted to ‘Chopin and his Work in the Context of Culture'.

The Third International Congress will encompass a broad thematic spectrum, focusing
in particular on the ideas that inspired Chopin's oeuvre, interpretative responses to it, and the influences that it has had on the music of other composers as well as on other forms of artistic endeavour and human activity.

The following areas are particularly relevant:

1. Chopin's personality, heritage and milieu

• biography

• historical contexts surrounding Chopin's creative output

• contemporary aesthetics and their influence on Chopin

2. Interpretations of Chopin's music

• sources (including but not limited to performances)

• methodologies

• historical and current performance traditions and styles analyses (broadly defined)

3. The influence of Chopin and his music

• on the music of other composers

• on literature and art­

• in terms of historical and sociological repercussions.

In addition to the formal conference program, concerts will be held and the new Fryderyk Chopin Museum will be opened in the Ostrogski Castle.

Proposals are invited for 30-minute papers and 15-minute research reports in the above categories. There is also limited scope for free papers of the same durations. Proposals may also be submitted for ‘special sessions', i.e. round tables, panel discussions or workshops up to 90 minutes in length. Finally, abstracts are invited for posters, to be featured in poster sessions held throughout the conference. The Fryderyk Chopin Institute will provide those presenting full papers, research reports, or ‘special sessions' with hotel accommodation. Where relevant, a stipend will be paid to speakers for the right to print their papers in the conference proceedings.

Applications and queries should be sent by email to congress@nifc.pl by no later than 31 March 2009. Late submissions will not be accepted.

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

Women in Ottocento Italy: New Perspectives (Clare College, Cambridge) (Upcoming symposium)

'WOMEN IN OTTOCENTO ITALY: NEW PERSPECTIVES'. A ONE-DAY SYMPOSIUM

SATURDAY 7 MARCH 2009, 930 - 1730

CLARE COLLEGE, CAMBRIDGE (LATIMER ROOM)

Organisers: Dr Kate Mitchell (Lucy Cavendish, Cambridge; Department of Italian; email: khm28@cam.ac.uk) and Dr Helena Sanson (Clare College, Cambridge; Department of Italian; email: hls37@cam.ac.uk)

The event is sponsored by the Department of Italian and by the Society for Italian Studies. http://www.mml.cam.ac.uk/italian/news/Symposium_2009.html

All are welcome to attend. There is a registration fee of £12 (£8.00 for postgraduates), which includes a buffet lunch and refreshments. Please register your interest by downloading the registration form from our webpage and sending it, together with your payment, to the Italian

Department Senior Secretary, Mrs Nan Taplin (email: nt272@cam.ac.uk), at the following address:

Mrs Nan Taplin

Department of Italian

Faculty of Modern and Medieval Languages

Sidgwick Site

Cambridge CB3 9DA

The organisers can offer a small contribution towards postgraduates' travel expenses. The amount will depend on the number of postgraduates attending.

Please register by 27 February 2009 at the latest, as there is a cap on numbers.

The feminist movement of the 1970s, the drive towards interdisciplinarity and the rise of new disciplines have had a marked impact on Italian Studies. This one-day symposium focuses on the contribution made by women to nineteenth-century culture in Italy and the forging of the nation state. It brings together specialists in the field to discuss new developments in light of recent scholarship. They will look at a range of artistic practices that includes women writers, actors, artists, journalists and musicians, and at the role of women as readers, spectators and consumers of contemporary culture. Drawing on, among others, women's studies, gender studies, cultural studies, history of the book, linguistics and historiography, the symposium sets out to determine what new perspectives, if any, can be brought to bear on work carried out so far.

WOMEN IN OTTOCENTO ITALY: NEW PERSPECTIVES

9.30 Coffee and registration

9.50 Welcome

WOMEN OF THE THEATRE

10.00-10.30 Julie Dashwood (Lucy Cavendish, Cambridge) 'Actress-Managers in Ottocento Italy: the Case of Adelaide Ristori'

10.30-11.00 Susan Rutherford (University of Manchester) 'Body, Sex and Opera: Verdi's Rigoletto'

11.00-11.30 Coffee/tea

WATCHING WOMEN

11.30-12.00 Kate Mitchell (Lucy Cavendish, Cambridge) 'Fare le italiane: The Female Gaze in Nineteenth-Century Italy'

12.00-12.30 Penny Wickson (University of Birmingham) "Fra quadri e Statue": Odoardo Borrani's Una visita al mio studio (1872)'

12.30-14.00 Lunch (Thirkill Room) and garden visit (weather permitting)

WOMEN WRITERS

14.00-14.30 Ann Hallamore Caesar (University of Warwick) 'Revisiting the Alternative Canon. Different Approaches to Women and the Post-Unification Novel'

14.30-15.00 Ursula Fanning (University College Dublin) 'Maternal Descriptions and Prescriptions in Late Nineteenth-Century Italy'

15.00-15.30 Sharon Wood (University of Leicester) 'A Nomad in the East: the Writing of Cristina di Belgioioso'

15.30-16.00 Coffee/tea

WOMEN AND LANGUAGE

16.00-16.30 Laura Lepschy (University College London and University of Cambridge) 'Carolina Invernizio and Self-Translation: Ij delit d'na bela fia and Storia d'una sartina'

16.30-17.00 Helena Sanson (Clare College, Cambridge) 'Some

Considerations on Women and the "Questione della Lingua" in Post-Unification Italy'

17.00-17.30 General discussion and close

Updates to DDM-Online and Hofmeister XIX now available

DDM-ONLINE
The current update of DDM-Online has now been completed and is available for your use at http://www.chmtl.indiana.edu/ddm/ . This update includes forty-four new or revised records (received as of 22 November 2008) and brings the total size of the database to 13,930 records.

As part of our ongoing revision of older records, this update also includes the addition of hundreds of new index numbers (for ProQuest/Dissertation Abstracts, ProQuest/UMI, RILM Abstracts, and British Library Document Supply) to the records for completed dissertations in the "General-Miscellaneous," "Antiquity," "Middle Ages," "Renaissance," and "Baroque" sections of DDM-Online. Similar numbers were added to the "Romantic" and the first half of the "Twentieth Century" sections in previous updates. In the next update, we will add the index numbers for the "Classical" and the second half of the "Twentieth Century" sections.

We continue to rely on each of you as individual authors to register your dissertation topics with us as you begin work and then to register the dissertations themselves anew as they are completed. Online registration is available through a link on the DDM-Online home page, but we are always glad to send our conventional registration postcard upon request.

Please check your record in DDM-Online, and if it needs updating from a topic to a completed dissertation (or if it is not present at all), please do register your work with us.

In addition, we always appreciate hearing from individuals who can supply information on musicologically related dissertations that have not been registered with DDM-Online for one reason or another.

Finally, we would be very grateful if dissertation advisors and Directors of Graduate Study would periodically review the in-progress sections of DDM-Online and notify us of any projects they know to have been abandoned (or completed). Quite naturally, authors sometimes neglect to notify us if they withdraw from a program, and in the absence of specific notice from an author or advisor, it is nearly impossible to identify an abandoned project, especially since some dissertations are indeed "in progress" for many years.


VERSION 1.0 OF HOFMEISTER XIX NOW AVAILABLE

Hofmeister XIX is the on-line, searchable version of the Hofmeister Monatsberichte for the years 1829-1900. Containing some 330,000 records of music publications, it is the most extensive resource for establishing what was published where and when during that period. Records are linked to facsimile images of the Monatsberichte on the Österreichische Nationalbibliothek (Austrian National Library) website.

The beta version of Hofmeister XIX was released in 2007. Version 1.0 incorporates corrections, many improvements, and additional facilities. Like the beta version it is accessible free of charge at www.hofmeister.rhul.ac.uk

Hofmeister XIX is a Royal Holloway project, funded by the AHRC and programmed by CCH (King's College, London), with project management by Elizabeth Robinson.

Nicholas Cook (project director)
Director, AHRC Research Centre for the History and Analysis of Recorded Music Professorial Research Fellow, Royal Holloway, University of London From April 2009: Professor of Music, University of Cambridge nicholas.cook at rhul.ac.uk

Upcoming CFP in Musicology (October II)

TIME, TEMPORALITY & PROPORTIONS
CALL FOR PAPERS
11^TH INTERNATIONAL CONFERENCE OF THE DUTH-FLEMISH SOCIETY FOR MUSIC THEORY
UNIVERSITY OF LEUVEN, BELGIUM
20 – 22 FEBRUARY 2009

All contributions are welcome, but submissions on the following topics are especially encouraged:
-- Time, temporality & proportionality as theoretical and analytical concepts
-- Perception of time and proportions
-- Composition technique(s) and the organisation of time
-- The importance of tempo
Abstracts (max. 400 words) can be submitted until 12 December 2008 and should be sent to:
pieter.berge at arts.kuleuven.be
markus.neuwirth at arts.kuleuven.be

Lectures (in English, German or Dutch) should not exceed 20' (+ 5' of discussion time). The full programme will be published by January 13th. The last day of the conference is conceived as a celebration in honour of the honorary members of the Society: Michiel Schuijer, Clemens Kemme, Barbara Bleij and Henk Borgdorff.

A selection of (reworked) papers will be published in a special issue of the Dutch Journal for Music Theory in February 2010.

Keynote lectures will be held by:
Gianmario Borio (Università di Pavia)
James Hepokoski (Yale University)
Dorit Tanay (Tel Aviv University)
Joseph N. Straus (City University of New York)
The conference is organised in collaboration with the Department of Musicology of the University of Leuven.

Disclaimer: http://www.kuleuven.be/cwis/email_disclaimer.htm for more information.


THE GREEN NINETEENTH CENTURY
30^TH ANNUAL CONFERENCE OF THE NINETEENTH CENTURY STUDIES ASSOCIATION
MILWAUKEE, WISCONSIN
26 – 28 MARCH 2009

We welcome paper and panel proposals concerning any aspect of “green” studies in the long nineteenth century, including, but not limited to “ecocriticism” in nineteenth-century studies; understandings and/or constructions of the “natural” and “unnatural”; “green” program music and tone poems; musical evocations of nature; music and landscape; evolutionary sciences; history of ecological science, environmental ethics, and environmentalist activism; nineteenth-century studies and animal welfare; ecofeminist philosophy and gender politics; contemporary discourses on nature; nineteenth-century ecotourism; Romantic “ecopoetics” and the politics of nature; sustainability, including sustainable architecture and interior design; landscape painting; dramatic scenery; gardening and farming; conservation movements; and the idea of the “natural” or “unnatural.”

Equally welcome are proposals for papers and panels on Irish studies, earth-centered religions, the idea of the “new,” and other understandings of “green” studies in the nineteenth century.

Abstracts (no longer than 250 words) for 20-minute papers that provide author's name and paper title in heading, as well as a one-page c.v., due by Oct.15, 2008 to

Christine Roth, Program Chair
University of Wisconsin Oshkosh
roth at uwosh.edu

Graduate students whose proposals are accepted can, at that point, submit a full-length version of the paper in competition for a travel grant to help cover transportation and lodging expenses.

Bringing people together for conferences can impact the environment through the smog and greenhouse gas emissions associated with air and ground travel, as well as the paper, plastic, and food waste associated with the event. For this reason, the 30th annual meeting of the Nineteenth Century Studies Association will also incorporate as many “green” options and resources as possible to reduce the conference-related environmental impact.

SOUND AND MUSIC COMPUTING CONFERENCE
23 – 25 JULY 2009
CASA DA MUSICA, PORTO, PORTUGAL
CALL FOR PARTICIPATION
http://smc2009.smcnetwork.org/

SMC is a privileged forum in Europe for the promotion of international exchanges around Sound and Music Computing topics. SMC 2009 will feature papers, posters, music works, tutorials and special sessions.

. Special session proposal deadline: Friday 6 March 2009
. Paper and Music submission deadline: Friday 17 April 2009
. Notification of acceptance (Paper and Music): Friday 15 May 2009
. Camera-ready submissions: Friday 29 May 2009
. Tutorial proposal deadline: Friday 29 May 2009
. Deadline for participation to special sessions: Monday 8 June 2009
. Programme online: Monday 22 June 2009
. Tutorials: Wednesday 22 July 2009
. Conference: Thursday 23 – Saturday 25 July 2009

Sound and Music Computing is an interdisciplinary field that approaches the whole sound and music communication chain from a multidisciplinary point of view. By combining scientific, technological and artistic methodologies it aims at understanding, modeling and generating sound and music through computational approaches. Its core academic subjects relate to musicology, physics (acoustics),engineering (including computer science, signal processing and electronics), psychology (including psychoacoustics, experimental psychology and neurosciences) and music composition.

Topics will include:
. Automatic music generation/accompaniment systems
. Computer environments for sound/music processing/composition
. Networked music generation
. Physical modeling for sound generation
. Sound/music signal processing algorithms
. Digital Audio Effects
. Musical sound source separation and recognition
. Automatic music transcription
. Music information retrieval
. Musical pattern recognition/modeling
. Music and robotics
. Computational musicology
. Sonic interaction design
. 3D sound/music
. Data sonification
. Visualization of sound/music data
. Interfaces for music creation and fruition
. Interactive performance systems
. Musical performance modeling
. Gesture controlled audio systems
. Sound/music perception and cognition
. Sound/music and Neuroscience
. Music and emotions
. Multimodality in sound and music computing
. Web 2.0 and music
. Mobile music
. Technologies for the preservation, access and modelling of musical heritage

All accepted papers and posters will be published in the conference Proceedings, which will account for an ISBN. Furthermore, a special issue of the Computer Music Journal will be devoted to articles based on selected items from the conference. Not only will the best conference papers be considered for publication in extended form in the Journal, but also posters, tutorials, and reports of special sessions.

Note on Special Sessions:
SMC 2009 will feature special sessions on "hot" topics relevant to Sound and Music Computing research, where a special focus will be put on interaction between participants and the audience (members of the scientific and music communities, and the general public at large). We welcome (until Friday 6 March 2009) special session proposals. These proposals will be evaluated on the basis of originality, forward-thinking
and potential to generate interesting and controversial discussions. Check guidelines on:
http://smc2009.smcnetwork.org/call-for-participation/special-sessions.html

Note on Tutorials:
The day prior to the conference (22 July 2009) will consist of tutorials, focusing on a single topic presented either at an introductory level or in depth, lasting about 3 hours (including a break).
You are welcome to propose tutorial along the guidelines detailed on
http://smc2009.smcnetwork.org/call-for-participation/call-for-tutorials.html

. RSS feed: http://smc2009.smcnetwork.org/news/news/RSS
. Facebook group: http://www.new.facebook.com/group.php?gid=42958077160
. Twitter: http://twitter.com/smc2009

III INTERNATIONAL CONGRESS
CHOPIN 1810-2010: IDEAS, INTERPRETATIONS, INFLUENCE
WARSAW
25 FEBRUARY – 1 MARCH 2010
The Fryderyk Chopin Institute in Warsaw will hold a Third International Congress to mark the 200th anniversary of Chopin's birth

A Call for Papers will be issued in October 2008, with a submission
deadline of 31 March 2009

Program Committee:
Jean-Jacques Eigeldinger, Irena Poniatowska, John Rink (Chairs)
Zofia Chechlińska, Maciej Gołąb, Jeffrey Kallberg, Wojciech Nowik, Jim
Samson, Zbigniew Skowron, Artur Szklener, Mieczysław Tomaszewski


dr Artur Szklener
Koordynator Programu Naukowego
Dział ds. Nauki i Wydawnictw
Narodowy Instytut Fryderyka Chopina

Research Program Coordinator
Research and Publishing Department
The Fryderyk Chopin Institute

Plac Piłsudskiego 9
00-078 Warszawa
POLAND

tel.: (+48) 694 470 380
tel. biuro: (+48 22) 8275471, 8275472
faks. (+48 22) 8279599
mailto:aszklener@nifc.pl

CALL FOR PAPERS
INTERNATIONAL CONFERENCE ON MUSIC AND EMOTION
UNIVERSITY OF DURHAM
31 AUGUST – 3 SEPTEMBER 2009

The conference is conceived around four key-note panels representing the disciplines of music theory, philosophy, psychology and sonic arts. In addition, we invite papers on any aspect of emotion research, including:
* new tools for analysing emotion in musical structure
* theories of expression, arousal, contagion, and representation
* categorical, dimensional, circumplex, and prototype models
* aesthetic psychology and the role of empirical evidence
* statistical and probabilistic models, including theories of expectation and markedness
* measuring physiological change, brain imaging, and analysis of gesture and whole-body movement
* mechanisms of induction, transmission, and evaluation
* cross-modality and metaphor
* labelling versus dynamic modelling
* cross-cultural and trans-historical differences and universals
* musical emotion in social context
* classical versus evolutionary perspectives
* rhetoric, figurality, and the passions
* how emotion is mediated through musical form, material, timbre, and voice

Proposals (up to 200 words) for papers of around 20 minutes' duration should be sent by email to Jo Buckley (jo.buckley@durham.ac.uk) by 1^st March 2009. Further details can be found at www.dur.ac.uk/music.emotion/.

19^TH CENTURY MUSIC CONFERENCE
UNIVERSITY OF KANSAS
16 – 18 JULY 2009

Scholars of 19th century music are invited to submit proposals for papers to be presented at a symposium taking place from Thursday, July 16 through Saturday, July 18, 2009 at the University of Kansas. In addition to the exchange of ideas and papers, this event is being sponsored to explore possible interest in the formation of society in North America specializing in this area of research. The Department of Music and Dance of the University of Kansas is pleased to host this event and looks forward to welcoming interested scholars from around the world.

Proposals for individual papers, lecture-recitals and panels on all topics relating to the history, analysis and reception of nineteenth century music will be considered. Papers on the following topics or themes are suggested:

* The life and works of Felix Mendelssohn, in celebration of the 200th anniversary of his birth;
* The life and works of Louis Spohr, in celebration of the 150th anniversary of his death;
* The life and works of Edward MacDowell, commemorating the 100th anniversary of his death in 1908 and the 150th anniversary of his birth in 1860;
* Notable American composers and performers of the nineteenth century;
* Haydn's influence and reputation in the nineteenth century;
* The organ in the nineteenth century;

Contributors may be able to incorporate in their presentations the extraordinary 45-stop mechanical action organ built by Hellmuth Wolff & Associates present in the Bales Organ Recital Hall on the University of Kansas campus.

Proposals for individual papers and lecture-recitals should include all of the following:
1) an abstract of 250 words or less;
2) a brief biography of the presenter/author (50 - 100 words)
3) institutional affiliation and contact information for the presenter/author

Proposals for panels should include brief biographies, institutional affiliation and contact information for each member of the panel, as well as the abstract for the panel.

All presentations will be allotted forty minutes, including questions and discussion; therefore, presentations should be kept to 25 minutes. Lecture recitals will be allotted up to 60 minutes.

Please submit proposals by email only no later than December 15, 2008 to Jamée Ard (jard at juilliard.edu). The committee will make final decisions on proposals by the middle of January 2009 and contributors will be informed by the end of January 2009.

CALL FOR PAPERS

ALFRED SCHNITTKE: ANALYSE, INTERPRETATION, REZEPTION. Auffsätze zu Leben und Werk
Edited by Amrei Flechsig and Christian Storch on behalf of the Deutsche Alfred-Schnittke-Gesellschaft e.V.


On 24 November 2009, Alfred Schnittke, the most prominent Russian composer in the second half of the 20th century, would have celebrated his 75th birthday. To mark this memorable date, the Deutsche Alfred-Schnittke-Gesellschaft e.V. (DASG), founded in 2007 in Hamburg, the place where Schnittke spent the last eight years of his life, is going to publish an essay collection in memory of Alfred Schnittke's life and work.

For this purpose the DASG is announcing a Call for Papers. Abstracts of ca 250 words are welcome. Topics include, but are not limited to, the following subjects:

-Biography
-Creative periods and styles
-Schnittke as a film composer
-Schnittke as a theorist and music philosopher
-The reception of Schnittke's music in the Soviet Union, the East and the West
-Interdisciplinary aspects (e.g. sociology of music, philosophy of music etc.)
-Schnittke in the context of his contemporaries in the East and the West
-Schnittke's legacy and his music in Russia and beyond

Any other contributions to Alfred Schnittke's person and music are welcome. Furthermore, we emphatically encourage young scholars to submit their abstracts. Contributions written by PhD students and/or post-docs are most welcome.

The deadline for the submission of abstracts is 1 November 2008. After reviewing the abstracts we will contact the authors by e-mail. The final due date is 15 February 2009.

Abstracts as well as articles must be written in German.

Please send your abtract as a word document to the following e-mail address: Christian Storch: christian.storch at mail.com

If you have any further enquiries, please feel free to contact us. We look forward to receiving your abtract!

Deutsche Alfred-Schnittke-Gesellschaft e.V.
Max-Brauer-Allee 24
22765 Hamburg
Germany
www.schnittke-gesellschaft.de

SOUND AND SILENCE IN THE SPACE BETWEEN (1914-1945)
UNIVERSITY OF NOTRE DAME
JUNE 2009

Submissions requested for the 11th annual conference of The Space Between Society: Literature and Culture, 1914-1945, to be held at the University of Notre Dame, Notre Dame, Indiana, June 11-13, 2009 (see also
http://www.spacebetweensociety.org/SBSConference.html).

From the growl of automobile and airplane engines and the whir of electric appliances to fascism's oppressive silences, the years between 1914 and 1945 witnessed a variety of new sounds and silences. This interdisciplinary conference invites historians and critics of literature, art, music, film, dance, and popular culture to explore the myriad sounds and silences of the interwar period. Possible topics include: The impact of the telegraph, telephone, radio, and sound film on modern subjectivity and expression. The new sounds of technology and war. The enforced silencing of political and cultural critique. The sounds of political and social protest . Silence as spirituality, as resistance, as consent. The sounds of previously marginalized or disenfranchised voices . The incorporation of sound and noise into literature and art . The rising awareness of sound in shaping
everyday experience . The breakdown of classical tonality and the rise of new tonal structures.

Please send 300-word abstract and one-page CV to Erika Doss (doss.2 at nd.edu).
Deadline for submission: December 15, 2008.

ORTHODOX CHURCH MUSIC CONFERENCE “CHURCH, STATE AND NATION IN ORTHODOX CHURCH MUSIC”
UNIVERSITY OF JOENSUU, FINLAND
8 – 14 JUNE 2009
CALL FOR PAPERS

Papers should be no longer than 20 minutes in duration. Please send proposals to Rev. Dr Ivan Moody at ivan.moody@joensuu.fi or Maria Takala-Roszczenko at mtakala@cc.joensuu.fi by 1st February 2009. Abstracts should be delivered by the beginning of March 2009. Papers will be published as the Proceedings of the Conference.

The Conference takes place at the University of Joensuu, Finland. The programme will include at least one concert, and an excursion to the monasteries of New Valaam and Lintula.

Speakers at the first two conferences included:
Ardian Ahmedaja (Albania/Austria), Nektarios Antoniou (Greece), Ioannis Arvanitis (Greece), Dimitry Bolgarsky (Ukraine), Achillefs Chaldaiakis (Greece), James Chater (UK/Netherlands), Tarja von Creutlein (Finland), Christiana Demetriou (Cyprus), Dimitar Dimitrov (Bulgaria), Bogdan Djakovic (Serbia), Alexandru-Marius Dumitrescu (Romania), Jeffers Englehardt (USA), Nicolae Gheorghita (Romania), John Graham (USA), Stefan Harkov (Bulgaria), Jopi Harri (Finland), Alexei Jaropolov (Russia), Oleksandr Kozarenko (Ukraine), Albina Kruchinina (Russia), Alexander Lingas (USA/UK), Melitina Makarovskaya (Russia), Ivan Moody (UK/Portugal), Petri Nykänen (Finland), Gabriela Ocneanu (Romania), Traian Ocneanu (Romania), Jaakko Olkinuora (Finland), Sara Peno (Serbia), Danica Petrovic (Serbia), Svetlana Poliakova (Russia/Portugal), Timo Ruottinen (Finland), Hilkka Seppala (Finland), Nikita Simmons (USA), Maria Takala-Roszczenko (Finland), Wilhelmiina Viirolainen (Finland) and Tatiana Vladishevskaya (Russia)

More information will be posted on the ISOCM website (http://www.isocm.com <http://www.isocm.com/> ) as it becomes available.

ADDITIONAL INFORMATION:

LANGUAGES
The language of the conference will be English.
Simultaneous translation into English will be provided for papers presented in Russian or Ukrainian.
Translation into Russian or Ukrainian will be provided if needed, but must be organized in advance.

PARTICIPATION FEE
The participation fee for the conference, which includes accommodation and participation in the programme, meals and refreshments is EUR250. The registered members of ISOCM will get a discount price of EUR150. Participants with limited income may apply for a bursary; students should supply a recommendation from their university.

REGISTRATION
If you wish to participate in the conference, either by reading a paper or simply attending, or if you have any queries or need further information, please contact Ivan Moody at: ivan.moody@joensuu.fi or Maria Takala-Roszczenko at mtakala@cc.joensuu.fi, or write to:

Maria Takala-Roszczenko / ISOCM,
Faculty of Theology,
University of Joensuu,
PL 111,
80101 Joensuu,
Finland

FURTHER INFORMATION
In addition to e-mail you may contact Ivan Moody by telephone (+351 91 943 7357)
http://www.isocm.com <http://www.isocm.com/>

The web page of the Department of the Orthodox Theology at the University of Joensuu is found at: http://www.joensuu.fi/teoltdk/ortteol/

INTERNATIONAL BACH-SYMPOSIUM
LEUVEN, BELGIUM
4 – 5 DECEMBER 2008

Organised by the Lemmensinstituut and the Katholieke Universiteit Leuven: “Renewing insights on historically documented performances of J.S. Bach’s music. Symposium and research project with reference to the honorary doctorate awarded to Sigiswald Kuijken by the Katholieke Universiteit Leuven.”

With lectures by amongst others; Andrew Parrott, Andreas Glöckner, Frieder Bernius, Marc Vanscheeuwijck and Karel Moens, concerts by La Petite Bande -direction Sigiswald Kuijken, Currende -direction Erik Van Nevel and recitals by Roel Dieltiens on baroque cello, Sigiswald Kuijken on violoncello da spalla and Jean-François Madeuf on natural trumpet.

You will find the complete program and registration form on the website of the Bach symposium:

http://associatie.kuleuven.be/ivok/bachsymposiumenglish

For further information, please contact:

Stijn Vervliet
Lemmensinstituut
Associatie Katholieke Universiteit Leuven
Herestraat 53
3000 Leuven
Belgium
E-mail: stijn.vervliet@lemmens.wenk.be