Links to events relating to 18th-century music (will open new browser windows). Links to past events can be found here.
“Mozart and Modernity”
Call for papers
The Mozart Society of America’s seventh biennial conference, “Mozart and Modernity,” will take place from Friday to Sunday, 20–22 October 2017 at the University of Western Ontario. The conference aims to address questions about the place of Mozart’s music in the modern world, whether as expressed in performance or in scholarship. Above all, it considers how an appreciation of Mozart’s music, which relies so heavily on the authority of beauty and the availability of convention, can be sustained in a modern critical climate where beauty and convention have lost some of their cultural command.
In addition to the slate of free papers, the conference will offer several special events. On the eve of the conference itself (Thursday 19 October), Robert B. Pippin, of the University of Chicago, will speak on Hitchcock and modernism. Later, a round-table will be convened on Wye Allanbrook’s Secular Commedia. Finally, we are fortunate to have two performances. One, by UWO’s resident piano quartet, Ensemble Made in Canada, will offer a program pairing the G-minor Piano Quartet with Jean Lesage’s 2006 piano trio, “Le projet Mozart.” The other is a theater production or reading, mounted by UWO’s Theatre Studies program, involving a play related to Mozart.
For individual papers and the Allanbrook round-table, please submit electronic abstracts of up to 300 words; for full or half-sessions, please follow AMS guidelines (a 300-word abstract for each individual paper as well as for the entire session). No individual may present more than once. All proposals should be sent to the program chair, Edmund Goehring (email@example.com), by 5 P.M, Monday 24 April 2017. Participants must be members of the Society at the time the conference is held.
Theater spaces for the music in 18th century Europe
Queluz National Palace, Portugal
30 June–2 July 2017)
Deadline for sending abstracts: April 1st 2017
Organizer: Divino Sospiro - Centro de Estudos Musicais Setecentistas de Portugal (DS-CEMSP)
Manuel Carlos de Brito, Paologiovanni Maione, Iskrena Yordanova, Francesco Cotticelli, Cristina Fernandes, Giuseppina Raggi
Keynote-speakers: Maria Ida Biggi (Fondazione Cini, Italy) Luis Soares Carneiro (Universidade do Porto, Portugal)
DS-CEMSP is organizing from June 30th through July 2nd 2017 an International Conference at the National Palace of Queluz (Portugal) dedicated to the Theater spaces for the music in 18th century Europe. The conference aims to further a multidisciplinary dialogue about the specificity and the heterogeneity of the spaces for the opera during the 18th century, inviting the participation of researchers of various areas who investigate this subject. Cases concerning the dense network of court and public theaters (including the ephemeral ones), the multiple aspects of theater presentations in different architectonic spaces, the contexts and the occasions of social life and representativity, are going to be admitted. Scholars are invited to submit individual proposals with the maximum length of 20 minutes per paper. Session proposals will be accepted as well: a maximum of three or four papers will be taken into consideration, and the session should not exceed 1h 30. Official languages of the conference are Portuguese, Italian, English and Spanish. Abstracts in Word format (.doc), should not exceed 300 words. Please enclose in the same file brief curriculum vitae of 150 words max. Please provide your name and surname, postal address, e-mail and telephone number, as well as you institutional affiliation.
Eighteenth-Century Flute Chamber Music International Study Day
Genoa, Conservatorio di musica “N. Paganini”
October, 28th 2017
Call for papers
In 2013, the German flautist and musicologist Nikolaus Delius donated his entire music collection to “N. Paganini” Conservatory of music of Genoa. The Dono Delius includes a sizeable body of materials, divided into different sections: essays, printed music, copies of manuscripts and ancient editions, study materials, and a collection of CDs. The Dono Delius catalogue can be accessed to the web page fondodelius.conservatoriopaganini.org. Recently, research activities based on the Dono Delius have progressively increased: the realization of several study days, seminars, workshops and concerts has fostered the creation of a Study Centre for students, flautists and musicologists, with the purpose to encourage a deeper understanding of several outstanding questions concerning the flute and its literature.
The 2017 Study Day focuses on exploring the role of the flute in eighteenth-century chamber music, with particular emphasis on the repertoire for trio, quartet and quintet, with strings or winds. The Study Day is supported by the Società Italiana di Musicologia.
We invite proposals for papers under the following and related themes:
– The flute in Italian and European eighteenth-century chamber music
– The instrumental music for flute trio/quartet/quintet, with strings or winds
– The chamber music with flute written by a specific composer
– Relationships/parallelisms between Italian and European chamber music with flute
– New information and investigations on the sources
Scholars who wish to consult the documents of Dono Delius are required to contact the curator Mara Luzzatto at the address firstname.lastname@example.org
The Study Day languages, as well as the languages for the abstracts, are Italian and English. Proposals for individual papers (20 minutes + 10 minutes for discussion), should be sent as abstracts to email@example.com
The proposal must be accompanied by
– Name, contact details (postal address, e-mail and telephone number) and (if applicable) affiliation of the author.
– Proposal title.
– Abstract of max. 500 words describing the content of the paper.
– A short CV (max. 15 lines)
– Equipment needed for presentations (data projector, CD player, DVD player, etc.)
The deadline for submitting the abstracts is June 30th 2017. Authors will be contacted by July 31th 2017 with the acceptance decisions. A selection of contributions will be developed for publication.
There is no fee for the participation to the Study Day. Participants should bear costs for travel and accommodation.
For further information contact firstname.lastname@example.org
Mara Luzzatto (Conservatorio di Genova, Curator of Dono Delius), Mariateresa Dellaborra (Conservatorio di Piacenza, Società Italiana di Musicologia), Luisa Curinga (Conservatorio di Fermo, Università degli Studi di Macerata)
Early Music Conference “Musicking: Improvisation, Ornamentation, and Variation”
CFP Deadline: November 1, 2016
Conference Dates: May 23-27, 2017
University of Oregon School of Music and Dance, Eugene, Oregon
The goal of the musicking conference is to stimulate student and community interest in early music and historical performance practice studies by offering five days of academic scholarship, educational performance classes, and a variety of performances that will be free and open to all students and community members. Paper sessions will be organized around five specific topics:
• “BEYOND THE NOTES” – CHALLENGING CURRENT IDEAS OF PERFORMANCE, IMPROVISATION, AND COMPOSITION
• “WITH VOICE & PEN” – IMPROVISATION VS. NOTATION
• RHETORICA – IMPROVISATION, ORNAMENTATION, AND VARIATION
• VARIATION: FROM MACHAUT TO MESSIAEN
• IMPROVISATION & AUTHORSHIP.
In addition to the five panel topics, the conference invites proposals for participation in a round-table discussion: FOLLOW THE MONEY: EARLY MUSIC, IMPROVISATION, AND CULTURAL HERITAGE.
This year, the musicking conference also invites proposals for LECTURE PERFORMANCES. Proposals should be for programs 30–45 minutes in length, and should be designed to engage audiences in an informal and intimate setting. Proposals should include a short concert/lecture description and music selection, and should include an mp3 audio file or youtube.com link displaying the performer's musical ability
Applicants are encouraged to blur the academic distinctions of musicology, ethnomusicology, music theory, education, modern performance practices, historical performance practice, and other academic fields, and consider the conference topics through a lens of musicking, in all its possible facets. All proposals should be sent by Tuesday, 1 November 2016 through the musicking website. Please visit http://blogs.uoregon.edu/musicking/call-for-papers/ for complete submission instructions.
For more information about the musicking conference, please visit http://blogs.uoregon.edu/musicking/
Annual Meeting of the American Society for Eighteenth-Century Studies
Minneapolis, MN, March 30–April 2, 2017
CFP deadline: Friday, September 15, 2016
The Society for Eighteenth-Century Music (SECM) session at the annual conference of the American Society for Eighteenth-Century Studies (ASECS) will have as its topic, “Rethinking Difference in Eighteenth-Century Music” (session chairs: Melanie Lowe, Vanderbilt University, and Olivia Bloechl, UCLA).
In the wake of the recent collection, Rethinking Difference in Music Scholarship (eds. Bloechl, Lowe, and Kallberg, Cambridge University Press, 2015), this session invites papers that explore reconfigurations of difference within the discipline of musicology. What impact can such reconfigurations have on eighteenth-century musical scholarship? Why might differences and similarities among people matter for music and musical thought? How do ideas of recognition, redistribution, freedom, and sameness, alongside more widely embraced constructions of race, gender, and sexuality, enhance our understanding of music and musical thought in the eighteenth century?
Three presenters will be selected to deliver papers of twenty minutes each. The program committee welcomes proposals for individual papers or unified sessions. All presenters and participants are required to be members of ASECS or a constituent society of ISECS at the time of the conference.
Please include your name, institutional affiliation (if applicable), contact information, audio-visual needs, and the title of your paper in the body of an email. Abstracts of no more than 350 words should include the title of the paper and represent the presentation as fully as possible. Please send abstracts as .doc or .pdf attachments to email@example.com by September 15, 2016.
A conference of the Haydn Society of North America (HSNA) will take place Wednesday, November 2 and Thursday morning, November 3, at the Vancouver Sheraton Wall Center Hotel, prior to the meeting of the American Musicological Society / Society for Music Theory. We are seeking proposals concerning any work regarding Joseph Haydn and his circle. We also anticipate a joint session with the American Beethoven Society and invite proposals for this session linking the two composers. Presentations accepted for the AMS/SMT conference itself may not be read at this conference. Papers read at the conference may be solicited for publication in HAYDN: Online Journal of the Haydn Society of North America (haydnjournal.org).
Scholars are invited to submit proposals for individual papers or lecture/performances. Papers and presentations should not exceed 30 minutes. Additionally, ten minutes will be allotted for discussion. Proposals should indicate the type of presentation (paper or lecture/performance) and include the presenter’s institutional affiliation or place of residence, equipment and technical requirements, and an abstract of no more than 400 words. Abstracts should articulate the most important aspects of the research, discuss the relationship of the work to previous scholarship, and describe the significance and potential future usefulness of the findings.
Please submit complete proposals as an attachment in Word or PDF to Michael Ruhling (Michael.Ruhling@rit.edu) by July 15. Presenters are expected to be members of HSNA at the time of the conference.
Conference, The Universe of Gennaro Magri: Dance, Music, and Opera in Naples during the Enlightenment
CFP deadline: 31 March 2016 (send to firstname.lastname@example.org ) Conference dates: 6-8 October 2016 Venue: Teatro San Carlo, Naples, Italy Conference languages: Italian, French, English Contact: Arianna Fabbricatore ( email@example.com )
This international and interdisciplinary conference aims to use the work of Gennaro Magri (ca. 1735–1780), choreographer at the Teatro San Carlo and author of the Trattato teorico-prattico del Ballo (1779), as a springboard for examining the role of comic and grotesque dance in his home city of Naples and more broadly across all parts of Europe touched by Italian dancing and Italian theatrical practices, including opera. Magri’s own international career, placed alongside his writings, invites reflections on the aesthetic and technical distinctions among the different styles of dancing in his day and their relationship to music, pantomime, theatre, and opera. A partial list of potential topics includes theatrical dance in Naples in the 18th century (repertoire, styles, performers, dramaturgy, music); Gennaro Magri as author and choreographer (his career, the contents and interpretation of his treatise, his relationships with reformers such as Noverre and Le Picq); source studies (libretti, scores, iconography, theoretical writings, archival documents); practices on stage (dance in and alongside opera, choreographic conventions, movement vocabulary, dance-music relationships); stylistic dialogues (noble style vs. comic and grotesque dance, French vs. Italian styles, the development of pantomime ballet, the relationship of comic dance to the commedia dell’arte, aesthetic controversies). The program committee welcomes a variety of formats: individual papers; themed sessions; round tables; lecture-demonstrations; workshops. Proposals should include a title, an abstract (one page maximum), a statement of the chosen format, and a brief biography of the participant(s) (10 lines). Proposals should be sent to firstname.lastname@example.org no later than 31 March 2016; notification will be provided by the end of April.
Program committee: Francesco Cotticelli, Seconda Università di Napoli
Arianna Fabbricatore, Université Paris-Sorbonne
Rebecca Harris-Warrick, Cornell University, Ithaca, New York
Paologiovanni Maione, Conservatorio San Pietro a Maiella
Marie-Thérèse Mourey, Université Paris-Sorbonne
José Sasportes, Universidade Nova de Lisboa