Posts Tagged ‘conferences’



The Ninth Biennial International Conference on Music Since 1900 (ICMSN) will take place at the University of Glasgow, School of Culture and Creative Arts, from Monday 7th September to Wednesday 9th September, 2015. We invite proposals for papers on any topic relating to 20th- and 21st-century music conceived in the broadest possible terms, including sound studies and inter-media arts. We welcome all methodological approaches, and particularly encourage submissions that question disciplinary boundaries and/or propose interdisciplinary perspectives.

*PLEASE NOTE: on Sept. 7, the ICMSN conference will coincide with the first ‘Workshop’ events of the RSE-funded initiative ‘Building a British Audiovisual Research Network (BARN)’, some of which will be open to conference attendees.
Proposals in the following categories will be considered:

• Papers: 20 minutes maximum, with 10 minutes for discussion. Please submit a 250-word (maximum) abstract.
• Paper sessions: 3 or 4 papers, each of 20 minutes maximum, with 10 minutes for discussion. Please submit a 250-word (maximum) summary of the session, plus a 250-word (maximum) abstract for each session participant.
• Lecture-recitals, including lectures illustrated by sound diffusions or audio-visual screenings. Please submit a 250-word (maximum) summary, plus participant CVs and recordings/scores/other details of works to be included in the event.

We will only accept one proposal of each type per applicant. Proposals should not duplicate presentations being given at other conferences or events close in time to ICMSN 2015.

Please send your proposal as a Word attachment to, indicating whether you need any AV equipment or a piano.

Successful applicants will be informed by 1 May 2015.

Programme committee: Dr Eva Moreda Rodriguez (University of Glasgow, Chair), Dr David Code (University of Glasgow), Dr Laura Hamer (Liverpool Hope University), Dr Philippa Lovatt (University of Stirling), Dr Christopher Mark (University of Surrey), Dr Mark Percival (Queen Margaret University)

Posted on 13th February 2015 by Shay Loya in CFPs, Music Analysis, Uncategorized No comments » Tags:

KeeleMAC 2015: Call for papers

The Keele Music Analysis Conference (Wednesday 8 to Friday 10 July 2015, Keele University, UK) welcomes proposals for papers on any aspect of theory, analysis and criticism relating to music and musical practices of any genre, style or period.

Proposals in the following categories will be considered:

- Papers (20 minutes maximum, with 10 minutes for discussion)
- Paper sessions (three or four papers, each of 20 minutes maximum, with 10 minutes per paper for discussion)
- Roundtable discussions (up to 6 participants, each giving a short position paper, followed by a general discussion, total running time of 90 or 120 minutes)
- Recitals, lecture-recitals and lectures illustrated by sound diffusions or audio-visual screenings (maximum duration 90 minutes)

Keynote speakers at KeeleMAC:

Professor Amanda Bayley (Bath Spa)
Professor James Hepokoski (Yale)
Professor David Neumeyer (Texas)

The conference will include a plenary roundtable ‘Women and Analysis’ with speakers including Professor Janet Schmalfeldt (Tufts), Dr Laurel Parsons (Victoria, Chair of the Society for Music Theory Committee on the Status of Women) and Professor Amanda Bayley.

The Editorial Board of Music Analysis will be pleased to discuss publication opportunities with speakers and delegates at the conference.

The conference is convened by Dr Nicholas Reyland (Keele University).

Proposal Instructions / Guidelines

Abstracts and proposals should be prepared as follows:

- For individual papers: up to 250 words
- For paper sessions: 250-word (maximum) summary and up to 200 words for each session participant
- For roundtable discussions: 250-word (maximum) and up to 150 words for each panel participant
- For recitals, lecture-recitals and lectures illustrated by sound diffusions or audio-visual screenings: 250 word (maximum) summary, plus participant CVs and recordings / scores / other details of works to be included in the event (contact organiser to discuss)

Further information for applicants:

- Only one proposal of each type is permitted per applicant
- Proposals should not substantially duplicate presentations being given at conferences or other events proximate in time or place to KeeleMAC
- All proposals must be sent by email as a MS Word or pdf attachment to
- Proposals need not be anonymised

Programme Committee:
Professor William Drabkin, Professor Julian Horton, Dr Anne Hyland, Professor Barbara Kelly, Dr Nicholas Reyland (Chair), Dr Kenneth Smith, Dr Edward Venn, Dr Alastair Williams


Applicants will be informed of the outcome of their proposal(s) by 9 February 2015

Posted on 15th October 2014 by Shay Loya in CFPs, Music Analysis, SMA No comments » Tags:

SMA Summer School: Call for Applicants

Keele University

6-7 July 2015 – preceding Keele Music Analysis Conference (8-10 July 2015)

Guest tutors:

Professor Amanda Bayley (Bath Spa)

Professor. James Hepokoski (Yale)

Professor David Neumeyer (Texas)

Building on the great success of its previous Summer Schools, the Society for Music Analysis is organising another summer school at Keele University, 6-7 July 2015. The residential course will be open to both national and international applicants, and will provide a unique forum for advanced study in theory and analysis in the UK. It will segue into the Keele Music Analysis Conference (KeeleMAC, 8-10 July2015), convened by Dr Nicholas Reyland (Keele), to which applicants are warmly invited to submit paper proposals.

Designed as an intensive programme run in small seminar and tutorial groups, the 2015 Summer School will be taught by international experts in performance studies, sonata theory and screen music – the three topics that will be the focus of its seminars and tutorials.

Attendance will be capped at c. 20 students. To be considered for a place, please submit a two-page CV including details of your academic qualifications and publications (if any), plus a short statement (up to 250 words) concerning your current work and how a place on the Summer School would assist it, to by 5 January 2015. Documents should be sent in Word or .pdf format. The Summer School is open to current masters and doctoral students, and to scholars within two years of completing a doctorate. Applicants will be informed of their proposal’s outcome by 9 February 2015.

The Editorial Board of Music Analysis has provided a subvention that will offer successful music students free accommodation and meals at the Summer School: participants need only cover the cost of their travel to Keele. If they intend to stay for KeeleMAC, Summer School participants will have to register and pay for the conference (student rate) separately.

Feedback on previous SMA Summer Schools:

‘Classes were intensive and interactive, taking the form of small seminar groups rather than lectures, and encouraged an equal exchange of ideas, transcending the usual tutor/student hierarchy. The SMA merits our gratitude and praise for spearheading such a valuable initiative, and one which is set to evolve and (one hopes) to become a permanent fixture in its calendar of events.’ (Dr Anne Hyland, Manchester University).

Posted on 15th October 2014 by Shay Loya in Music Analysis, SMA, Uncategorized No comments » Tags:

Analysis of World Music Interest Group events at the SMT/AMS conference

We are pleased to announce two upcoming activities sponsored by the Analysis of World Music Interest Group at the SMT/AMS conference in Milwaukee. The first consists of the special panel session “Cycles in World Music” sponsored by SMT Analysis of World Music Interest Group. The second involves a symposium on theme Global Hip-Hop.


Analytical Approaches to Time Cycles in World Music, Nov. 7th Friday 9:30-11:00 pm (H:Mitchell)

Chair: Lawrence Shuster (College of Saint Rose)

  • John Roeder and Michael Tenzer (University of British Columbia), “Large-Scale Formative Processes in Ostinato Music”
    ·         Kofi Agawu (Princeton University), “The Metrical Underpinnings of African Time-Line Patterns”

*Please find abstract of this event at SMT/AMS program.


Global Hip-Hop, Nov. 8th Saturday 12:15-1:45 pm (H: Walker)

Chair: Ya-Hui Cheng (Fort Valley State University)

  • Michael Berry (University of Washington), “Understanding Improvisation in Early Hip-Hop”
  • Eric Charry (Wesleyan University), “Making Hip Hop African”
  • Ellie Hisama (Columbia University), TBA


* Understanding Improvisation in Early Hip-Hop

Michael Berry, University of Washington

At its inception, hip-hop culture was a fusion of writing (graffiti), breakdancing, DJing, and MCing. Each element was improvised, typically in response to one of the other elements. Schema theory provides a useful framework for studying and comparing improvisatory practices both within and across elements. The critical apparatus developed by Henry Louis Gates in The Signifying Monkey (1988) functions as a bridge between the work of scholars such as Walter Ong, Ian MacKenzie, and Alison Wray, and the more specific cultural practices of hip-hop.

In the first part of this essay, I use schema theory to examine improvisation in each of the four elements. The focus of this section is on a collection of live performances by Chief Rocker Busy Bee Starski, a well-known party MC. Busy Bee’s live performances consist of stock phrases and more abstract outlines that are organized according to the specific performance context. The second part of the essay examines the impact of commercialization on the four elements. Recording and broadcasting split up the four elements and initiated a shift from improvisation to more fixed, homogenous forms that are separate from their time and place of production (Rose 1994, 58).

* Making Hip Hop African

Eric Charry, Wesleyan University

Hip hop from the US has been embraced and transformed throughout Africa to such an extent that it could be considered as an African (or Senegalese, Ghanaian, etc.) cultural style there, or perhaps an African tributary of a global current. This is but the latest in a very long lineage of global cultural transformations in Africa. Islam and Christianity have long impacted musical practice in Africa, being reshaped in the process. More recent currents, such as Cuban son/rumba in the 1940s and 50s, US rock and soul in the 1960s and 70s, and Jamaican reggae and ragga in the 1970s and 80s have also stimulated innovative artistic production. The processes of transformation that African hip hop has undergone in the past few decades bear striking similarities and differences with those that unfolded about the time of decolonization and political independence in the 1950s and 60s. Indeed, hip hop draws on some of these earlier hybrid styles to gain local relevancy and authenticity. In this paper I examine the process of making hip hop African, paying special attention to the language, musical accompaniment, sampling strategies, and flow. Examples will be drawn from Senegal, France, and elsewhere in Africa.


To know more about our group (Analysis of World Music), events and journals, please visit:

Looking forward to seeing everyone in Milwaukee this November.


Lawrence Shuster and Ya-Hui Cheng,

Co-Chairs, SMT Analysis of World Music

Posted on 10th October 2014 by Shay Loya in Music Analysis, Sister Organizations No comments » Tags:

Last chance to register for EuroMAC

Dear colleagues,

The Eight EuroMAC conference starts in less than 20 days. The full program is now available on our website (see ). Please consult these pages to convince yourself to join the conference, and to outline your own personal schedule.

Looking forward to welcome you in Leuven,

Pieter Bergé

Posted on 30th August 2014 by Shay Loya in Music Analysis, SMA, Sister Organizations No comments » Tags:

TAGS 2014 Roundtable

Anne Hyland, Julian Horton and the TAGS mascot

Facing the audience, with a bottle of wine and a mascot squirrel between them, SMA President Julian Horton and conference organizer Anne Hyland began a roundtable on the ‘future of music analysis’. This took place at Royal Holloway, on the very last session of TAGS 2014, on 3rd March. Continuing some of his arguments from the keynote address of the previous day, Professor Horton stated that he believes music theory and analysis should become core subjects in music studies in the UK, and that students should also be aware of the ethical dimensions of the discipline. The problem, of course, is how we go about achieving this. The ensuing discussion focused at first on the ethics of theory and analysis, but soon turned to the more urgent issue of the survival and growth of the discipline itself in academia. The lowering of technical proficiency requirements at A-level were identified as one central problem. However, Julian argued that (as he learned in a national meeting with teachers and civil servants) raising A-level standards would diminish the number of students studying music as an academic subject at secondary schools, and therefore the number of those applying for music courses at university. Damned if we do or if we don’t, it seems.

dscf1675So the question went back to how we may raise music literacy in primary and secondary schools. After playing a simple example of invertible counterpoint on the piano, Julian turned to us with this question: why do we not teach such basic counterpoint to 12-year-olds who are perfectly capable of absorbing mathematics at a comparable level? Well, insofar as we should, the question was rhetorical. But it was both sobering and depressing to mull over the non-academic reasons for this. A point was raised about a cultural-political agenda that unfortunately identifies technical proficiency with social elitism (somehow math is exempt from the same association). And David Bretherton has argued that Music is the only A-level subject where private instrumental-vocal tuition is built-in by default, which means that most music undergraduates almost invariably come these days from better-off families, reinforcing the image of elitism. In other words, there is an expectation that private tuition will fill the gap, and this certainly applies to counterpoint, harmony and musicianship in general. The only thing that may break this vicious circle of social elitism and educational deficiency is a fundamental change in the perception of what music skills are for, which music skills should and can be acquired, and at what age.

All we need to do now is convince the government. Good luck, everyone.

Perhaps we can try and change things in our own patch first. At present there are hardly any designated jobs for analysts, so most of us get into university positions by being able to do other things. This is fine as far as getting a foothold in academia, and as Anne reminded us (and I can concur), once one is part of an institution there is some scope to expand analysis in the curriculum, slowly but surely. But growth by stealth may not be enough. Towards the end of the discussion, Horton raised the prospect of adopting here the American model of institutionalized music theory. The argument for this is that the discipline will be protected, it will create jobs, produce students, raise the overall level, create its own prestige (which hopefully will trickle down to secondary and primary education)—and so on. Putting aside how this can be actually done in practical terms, there was some skepticism from the audience (as well as Horton himself) about this idea in principle. After all, some of our colleagues in the US routinely lament the level of undergraduate literacy. So irrespective of innovation at the highest levels, it seems that the trickling down is not working terribly well on the other side of the pond. Moreover, others have noted that institutional music theory results in more formalist and conformist work that often propagates central theories rather than critiques them.

So once again we were left with no clear answers and as much as I wished for a happy ending, the meeting and conference cadenced on a troubling note. If anyone has further thoughts about any of these issues please feel free to join the conversation and respond to this blog.

Shay Loya

Posted on 10th May 2014 by Shay Loya in Music Analysis, Reviews, SMA No comments » Tags:

Call for Papers: TAGS Conference 2014

Royal Holloway, University of London
Friday 2nd to Saturday 3rd May, 2014
Deadline for proposals: 21st March 2014
Keynote Speaker: Julian Horton (Durham University)
Student travel bursaries available

The SMA’s annual Theory and Analysis Graduate Students (TAGS) Conference will be hosted by the Department of Music, Royal Holloway, University of London (RHUL) on Friday 2nd and Saturday 3rd of May, 2014. The event provides a supportive and friendly environment in which postgraduates can gain experience in presenting their work and meet fellow researchers. Participants who do not wish to give a paper are also very welcome. Our keynote speaker will be the SMA’s new President, Professor Julian Horton (Durham University), who will give a paper entitled ‘In Defence of Musical Analysis’.

Proposals are invited from postgraduate students for 20-minute papers, themed sessions and lecture recitals addressing any analytical, critical or theoretical subject and in relation to any style of music. We also welcome submissions in the following areas:

• Analysing a-/microtonal Music;
• Analysing non-Western Musics;
• Performance as Analysis / Analysis as Performance;
• Analysis, Philosophy, and Critical Theory;
• Intersections between History, Theory, and Analysis;
• Analysing Popular Music and Improvisation;
• Music Perception and Cognition;
• Empirical Approaches to Music.

Themed sessions focusing on the analysis of a particular work(s), or on specific arrangements or transcriptions are also welcomed.

For 20-minute paper proposals, abstracts of no more than 250 words should be sent by email to Katie Cattell at (email size limit = 5MB). Please include name, affiliation, postal address, email address, and AV requirements on a separate cover sheet (Ms Word or PDF). Organisers of themed sessions should submit a brief overview together with the individual abstracts. Proposals for lecture recitals should include full details of the proposed performance and any relevant requirements in their cover sheet.

The closing date for receipt of proposals is 21st March 2014. All those submitting proposals will be notified of the outcome by the end of March 2014. Delegates will be invited to register from lunchtime on Friday 2nd May, and the conference will run until Saturday afternoon, 3rd May. Royal Holloway is located just 20 miles West of Central London, and is easily accessed by train. Informal enquiries may be sent via email to Dr Anne Hyland at

If you are presenting a paper you will be eligible to apply for an SMA Student Travel Bursary to help cover the costs of travel and accommodation (B&B accommodation will be available near campus). Further details can be found here; please note that the deadline for applications for bursaries is Wednesday, 2 April, 2014.

Posted on 8th February 2014 by Shay Loya in CFPs, SMA, Uncategorized No comments » Tags:

CFP: Shifting Perspectives: Approaches to Music Performance Research

A postgraduate research conference on ‘Shifting Perspectives: Approaches to Music Performance Research’, will be hosted by the Royal Welsh College of Music and Drama on Friday 9 May 2014.

The aim of the conference is to provide opportunities for postgraduate students to present their research at various stages of development, and to create a meeting place for students from different institutions to discuss their projects and ideas. The event will include keynote addresses, 20-minute paper presentations and lecture recitals.
Proposals are invited on topics that address changing attitudes to performers and performance practice. Possible themes might include, but are not limited to:

• Methodological innovation in relation to music performance research
• Changing relationships between composition, performance and the creative process
• Changes in ensembles, repertoires and audiences
• Development of instruments and the impact on performance practice and repertoire
• Changing social roles of performers
• Changing approaches to performance analysis

Potential contributors are invited to submit abstracts for:

i) Individual paper presentations (20 minutes, plus 10 minutes question time)
ii) Collaborative papers (30 minutes, plus 10 minutes question time)
iii) Lecture recitals (40 minutes to 50 minutes maximum, including question time)

Abstracts should address the conference theme and state the aims and methodological approach of the proposed paper(s). Abstracts will be published in the conference programme, and should be no longer than 300 words for individual papers and lecture recitals, and up to 500 words for collaborative papers. They should include the following information:

i) Title of paper
ii) Author(s) name(s)
iii) Institutional affiliation
iv) Email address(es)
v) Abstract

The deadline for the submission of abstracts is Friday 14 February 2014. Successful contributors will be notified via email by the end of February 2014. The conference programme will be advertised in March 2014.

Abstracts should be submitted via email (preferably as plain text – only attachments in .rtf format will be accepted) to Dr Eva Mantzourani at:

Posted on 5th February 2014 by Shay Loya in CFPs, Uncategorized No comments » Tags:

Protest Music in the Twentieth Century (15-17 Nov 2013)

The conference ‘Protest Music in the Twentieth Century’ was held in the Complesso monumentale di San Micheletto in Lucca, Italy, from the 15th to the 17th November 2013. The conference attracted some fifty delegates from countries as far afield as Australia and the United States and offered those attending the opportunity to hear papers that encompassed a multiplicity of topics within the overriding theme. » Read more: Protest Music in the Twentieth Century (15-17 Nov 2013)

Posted on 27th December 2013 by Shay Loya in Reviews, Uncategorized No comments » Tags:



Click here for the CFP on this website.

The deadline for proposals is January 15, 2014. Informal consultations are possible until December 15, 2013 (Pieter.berge at

Posted on 15th November 2013 by Shay Loya in Music Analysis, SMA, Sister Organizations, Uncategorized No comments » Tags: