«Music, Information and Symmetry»

  • 15.01.2015

The International Society for Information Studies (ISIS) holds an international conference «ISIS Summit Vienna 2015» (Vienna University of Technology, Vienna, Austria, June 3-7, 2015). All information about this event is given at websites http://summit.is4is.org/about and http://summit.is4is.org/calls/call-for-participation.

The Moscow P. I. Tchaikovsky Conservatory - in co-operation with the International Symmetry Association - organizes a special session «Music, Information and Symmetry» in the frame of this Conference.

The aim of the Section is to bring together musicians, musicologists, computer scientists, mathematicians, biologists and other specialists to develop theoretical and practical tasks in the field of musical culture using achievements of information sciences and theory of symmetry. One of the main tasks of the section will be a discussion of the role of contemporary music as reflection to the dangers and hopes of our times, and  how we can influence social progress by means of music. Methods and achievements of computer sciences and symmetrology give many new approaches and opportunities to enhance social and cultural influences of music including the field of musical therapy. These new possibilities together with historical data from the field of musical culture should be considered in the session.

We kindly invite you to participate in the work of this session. All information about submission of your paper, registration fees, accomodation, etc. for all sessions (including our musical session) is disposed at websites of the conference http://summit.is4is.org/submission, http://summit.is4is.org/registration/fees, http://summit.is4is.org/registration/accommodation, http://summit.is4is.org/registration/travel and others.

The official language of the conference is English. Those who would like to participate in the session should submit an extended abstract of their presentation to the organizing committee of the conference in Vienna, as described on the website http://summit.is4is.org/submission. One should indicate that this abstract is submitted into the session «Music, Informatics and Symmetry". Deadline for submission of abstracts - February 27, 2015.

Submitted abstracts will be reviewed, after which the organizing committee will determine which of the submitted presentations will be included in the program of the session in the form of oral or poster presentations  (each author may disclose in advance her/his wishes about a form of her/his presentation).

Music of War and Peace in the 20th Century

  • 13.01.2015

The 70th Anniversary of the Victory in the Great Patriotic War

The International Conference
“Music of War and Peace in the 20th Century”

The conference will take place at Tchaikovsky Moscow State Conservatory during 21–24 April 2015. Its aim is to introduce new data and the results of recent researches to musicology. It is supposed that young scholars, both graduate and post-graduate students, will take their active participation in a separate section of the conference.

Musicological researches of the war topic in music have established a solid tradition, on whose background the novelty of the coming conference shall involve, firstly, the widest and the most complex scope of the material (Russia and the West, genres of academic and popular music) and, secondly, participation of musicologists with their spectrum of majors of the same width (music theorists, historians, sociologists and aestheticians). A discourse combining various approaches related to musical content, structure language and technique, is offered.

Following is the list of possible topics:
· the World Wars in the twentieth-century music;
· musical life in the USSR during the Great Patriotic War;
· Moscow Conservatory during the years of the War;
· the War in documents and literature;
· music of resistance in the USSR and abroad;
· the great premieres of the War and the Victory;
· musical avant-garde in the context of the world wars and revolutions;
· the war topic in the mass music culture;
· aggression in music: its ethical and aesthetical meanings;
· the topicality of relations between Time and the artist;
· the influence of the war discourse over concrete artistic achievements;
· the research of principles of the implementation of social mandate in the course of apprehension of the war topics in times of peace and of the peace topics in wartime;
· documents whose content makes customary historical positions changed and supplemented.

It is suggested that music by Myaskovsky, Prokofiev, Shostakovich, Schnittke, Debussy, Ravel, Bartók, Britten, Schönberg, Berg, Honegger, Messiaen, Nono, Berio, Penderecki, Stockhausen and many other twentieth-century composers, as well as various phenomena of popular, film, rock and other kinds of contemporary non-academic music, be researched from new perspectives.

We ask for applications containing the topic and theses of the paper (up to 500 words), as well as the author’s personal information (place of study or work, job position, science degree and academic title), by 1 March 2015.

An issue concerning the coverage of the travel and accommodation expenses of the participants from other cities in Moscow during the conference will be solved by the Organizing Committee.

“Organized Time”

  • 11.01.2015

Call for Papers

“Organized Time”

Fifteenth Annual Congress of the Gesellschaft für Musiktheorie (GMTH)

October 1–4, 2015, Universität der Künste Berlin Hochschule für Musik „Hanns Eisler“

Coinciding with the 25th anniversary of German reunification, the fifteenth Annual Congress of the Gesellschaft für Musiktheorie will deal with the temporal dimension of music and music theory.  The structuring of musical time occurs on all hierarchical levels.  It is a fundamental aspect of music perception; furthermore, it relates to musical compositions as well as to theories and conceptions of music in historical contexts.  The complex relationships among compositional history, history of music theory, and cultural/social history are an object of music-theoretical reflection, whereby the significance of historicity itself is subjected to historical change.  Dealing with a multiplicity of time levels characterizes musical life and teaching.  The practices, concepts, and theories of different time periods thereby come into relationship with the present.

The three sections of the congress are devoted to the overall topic “Organized Time.“

Section 1:  Revolution and evolution in music
Change can happen suddenly and radically while discarding the past, or it can happen gradually while preserving it.  Looking back on characteristic innovations leads to the organization of music-historical time into epochs and to the classification of works as anachronistic or “unmodern.“  The history of music theory has also experienced gradual developments as well as sudden Copernican shifts.  

Possible topics:
– Music and music theory during and after the bipartition of Germany
– Societal upheavals and their mirroring in music
– Radical evolution, peaceful revolution?
– Unsuccessful revolutions and “dead ends“
– Different conceptualizations of emulation and reference

Section 2:  Rhythm, Meter, Form
The organizing of time in music is a music-theoretical subject that bears on all stages of training, from elementary instruction to the individual analysis of musical works. Whereas the teaching of form—and thus the teaching of musically organized time on higher hierarchical levels—is widely valued, rhythm and meter receive less attention.

Possible topics:
– Interdisciplinary implications of rhythm as a concept
– Rhythmic notation:  history and new challenges
– Is there such a thing as unorganized musical time?
– Psychological representations of temporal structure in music.

Section 3: The simultaneity of the non-simultaneous (Die Gleichzeitigkeit des Ungleichzeitigen)
Music theory and musical practice always occur on multiple historical time levels.  This “simultaneity of the non-simultaneous“ is characteristic of contemporary musical culture.     The attempt to analyze works with the terminology of the era in which they were composed, as well as historically informed performance practice, attests to the desire to synchronize time levels.  

Possible topics:
– Historically informed performance practice and its relationship to new music
– Historical approaches in music theory teaching   
– Music theories in teaching and their historical context

Section 4:  Free section

Proposals for papers related to the general conference topic or free papers. The duration of the papers is 20 minutes.
Proposals for workshops related to the general conference topic or to a free topic. Please indicate the proposed length of the workshop (up to 2 hours) and working methods.
Proposals for themed sessions with a number of individual papers (duration of the whole session up to 2 hours). Please submit the proposals for the individual papers together with an explanatory text for the whole session.
Proposals for book presentations. Please submit the exact title of the book and a short abstract. If possible we ask you to also submit a copy of the book.

The length of proposals for individual papers, workshops and book presentations must not exceed 350 words (plus bibliography). For proposals for themed sessions the limit applies to each individual paper as well as to the explaining text for the whole session.

Please submit your proposal (individual papers and workshops) by May 15th 2015 on the website of the GMTH: http://www.gmth.de/veranstaltungen/jahreskongress/beitragsanmeldung.aspx