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International conference for PhD students “Musicology (in)action: Past musics, present practices, future prospects”

  • 24.03.2017

The Department of Music Studies of the Aristotle University of Thessaloniki and the Department of Music Science and Art of the University of Macedonia will host, under the aegis of the Hellenic Musicological Society, an international conference for PhD students entitled “Musicology (in)action: Past musics, present practices, future prospects” in Thessaloniki, Greece, from 9 to 11 of February 2018.

Call for papers deadline: May 30, 2017.

For more information please see here.

Musicology in the Age of (Post)Globalization

  • 09.03.2017

3–6 April 2018, New York City

In 2018 The Barry S. Brook Center for Music Research and Documentation celebrates the centennial of its founder, Barry S. Brook (1918–1997). A musicologist with a global vision who lived and worked both in  New York and in Paris, his scholarly interests were broad: His research covered secular music from the Renaissance, the 18th and the 19th century, as well as music iconography, the social history of music, and aesthetics. In later years he became fascinated with ethnomusicology. His interest in the control of music sources and resources together with his vision of a global research community and the use of computers for humanities research led him to found Répertoire International de Littérature Musicale (RILM) and to cofound the Répertoire International d’Iconographie Musicale (RIdIM), along with many other publications and series.

To celebrate his vision and accomplishments, The Brook Center is organizing an international conference on the topic of Musicology in the Age of (Post)Globalization, which will take place from Tuesday, 3 April to Friday, 6 April 2018, at The Graduate Center, The City University of New York, in New York City. We are inviting papers based on new research that address the multifaceted topics of music scholarship transcending national, cultural, and disciplinary boundaries. If music theorists, historical musicologists, and ethnomusicologists inhabit separate societies, publish in separate journals, and adhere to separate methodologies and literatures, this conference seeks to nourish a dialogue that looks at music research as a whole. After U.K.’s Brexit vote and the U.S. presidential election, which signal the end of an era and the emergence of a new world, a critical look at our discipline and its international position is ever more timely. With this in mind we are particularly seeking discussions on 21st-century musicology in the context of social, cultural, economic, and political structures, and the impact of 20th-century globalization or its perceived limits.

We seek to inspire papers and panels on the following themes:
Applied ethno/musicology
Breaking the musicology-ethnomusicology divide
Ethno/musicology and economics
Ethno/musicology and mobility
Ethno/musicology and political systems
Ethno/musicology and postcolonialism
Ethno/musicology outside the academy
Global issues Institutions and societies

Please submit a proposal, with title and an abstract of no more than 300 words, and include contact information (address, phone, and email) before 1 June 2017. Proposals for whole panels are welcome.

The Barry S. Brook Center
The Graduate Center, The City University of New York
365 Fifth Avenue
New York, NY 10016-4309
Attn: Tina Frühauf: TFruhauf at

International forum "Prokofiev. The 21st century"

  • 15.01.2016

The Ministry of Culture of the Russian Federation
The Glinka National Museum Consortium of Musical Culture

To the 125th anniversary of S. Prokofiev

International forum "Prokofiev. The 21st century"
1-3 December, 2016

Organizer: The Glinka National Museum Consortium of Musical Culture (Moscow), with the participation of the Moscow State P.I. Tchaikovsky Conservatory, the State Centre of Contemporary Arts, State Institute for Art Studies Idea and perspective
The forum is expected to discuss issues of novelty and relevance in arts, reception of Prokofiev’s music, and the wide range of diverse influences that the composer’s music has on contemporary culture, penetrating it and saturating it with new ideas.
The forum unites researchers, creators, and aficionados of music, cultural figures and arts of all genres.

Format of the event
The forum will be held in two formats:
Classical – international academic conference with the participation of leading exerts and young researchers. Forms of presentation: presentations, reports, debates, and discussions.
Modern – a practical part of the forum, oriented at a wide audience interested in music and creative projects at the junction of arts. Forms of conduct: presentations, panel discussions, interviews, master-classes, and workshops.

Main themes

  • Topical issues of studying the creative heritage of S.S. Prokofiev
  • New sources, revealing a new image of Prokofiev
  • Prokofiev’s heritage and contemporary composing school
  • Performance and theoretical interpretations of Prokofiev’s works
  • Prokofiev on the theater stage. View of the director, choreographer, set designer
  • Embodiment of Prokofiev’s music in contemporary art
  • New context of Prokofiev’s music in the cinema, TV, animation, and multimedia
  • Prokofiev’s music in contemporary interpretations: from jazz and rock, to remixes and remakes
  • Prokofiev and the space of academic electronic and electroacoustic music
  • Prokofiev’s music in the language of choreography. Dance, ballet, sports.
  • Musical museums: new concepts and projects for the museum space will be an additional part of the program.

Within the framework of the program, a final stage of competition for the academic and creative works dedicated to Prokofiev will be held, involving students of higher educational institutions in the sphere of arts and culture. The student works that are considered the best by the decision of the program committee will be included in the forum’s program.

Scientists, researchers, museum specialists, composers, artists, producers, set designers, performers, directors, music critics, lecturers, marketing experts, representatives of cultural and public organizations, and students.

Working languages of the forum – Russian and English

Preliminary program
Academic sessions (classical format events) are scheduled before noon, and in the afternoon the modern format events are scheduled. A diverse cultural program with the participation of contemporary artists and special presentations is envisioned.

Conditions of participation in the forum
All those who are interested may take part in the international forum! There is no registration fee. The start of registration will be announced. Travel costs, fares, and accommodation will be met out of the directing party’s costs.
If you wish to take part as a presenter in the classical format, please send us an abstract of your report * 1,000 characters in Word format, 14-point font, and your CV with a photo until 30 Jul 2016 via email:
*The reports and statements accepted for presentation shall be those which have not been submitted to earlier publications conforming to the announced thematic directions of the Forum, and containing new materials, scientific standpoints, and interpretations.
To take part in the modern format as a listener, it is sufficient to pass the registration procedure. Thus, to become an active participant, please send a brief description of your material, your CV with a photo, and a complete description of your activity until 30 Jul 2016 via e-mail:
!!! Please be advised that the program committee reserves the right to a competitive selection of sent materials.

The thirty-ninth Annual Meeting of the Society for Music Theory

  • 22.12.2015

The thirty-ninth Annual Meeting of the Society for Music Theory
November 3–6, 2016
Vancouver, British Columbia, USA

The SMT will meet jointly with the American Musicological Society (AMS). Submissions will be accepted until January 15. Please visit this page to submit a proposal:

Perspectives on Twentieth-Century Russian Theory

  • 16.03.2015

We are very pleased to announce the publication of Perspectives on Twentieth-Century Russian Theory in Music Theory Online, an open-access, peer-reviewed journal of the Society for Music Theory. The essays in this collection present a wide range of topics: mutability, modality, hemitonicism, expression parameters, counterpoint, and holistic analysis. Inessa Bazayev and Ellon Carpenter provide an introduction with background on the history of Russian theory and prior scholarship in the West. The authors are Ellen Bakulina (City University of New York), Inessa Bazayev (Louisiana State University), Zachary Cairns (University of Missouri – St. Louis), Philip Ewell (Hunter College), Christopher Segall (University of Cincinnati), and Daniil Zavlunov (Stetson University). It is our sincere hope that this publication will contribute to and facilitate ongoing dialogue between music theorists in Russia and America. 

Yonatan Malin and Nicole Biamonte 
Editors, Music Theory Online

«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 and

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,,, 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 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: