Research in Musicology
On the occasion of the eleventh edition of the Festival Paganiniano of Carro the Società dei Concerti of La Spezia (Liguria, Italy) and the Centro Studi Opera Omnia Luigi Boccherini of Lucca (<http://www.luigiboccherini.org>), in association with Palazzetto Bru Zane-Centre de musique romantique française of Venice (<http://www.bru-zane.com>) and Musicalwords.it, are pleased to invite submissions of proposals for the symposium «The 'Franco-Belgian Violin School' from G.B. Viotti to E. Ysaÿe», to be held in La Spezia, CAMeC, from Monday 9 to Wednesday 11 July 2012.
The programme committee encourages submissions within the following areas, although other topics are also welcome:
* The existance of a Franco-Belgian Violin School and Tradition
* The French Violin School before Paganini
* Violin Techniques of the Franco-Belgian School
* French Treatises and Methods of Violin Playing in the XVIII and XIX Centuries
* Nicolò Paganini and the Franco-Belgian School: Influences, Styles and Reception
* The Bravura Tradition from G.B. Viotti to E. Ysaÿe
* New and Unpublished Sources of the Franco-Belgian School
* The Franco-Belgian School influence on European and Overseas Violinism
* Composers, Virtuosos, Violin Makers and Market
The Centro Studi Opera Omnia Luigi Boccherini of Lucca/Pistoia (http://www.luigiboccherini.org) and the Association "Amici di Groppoli" of Pistoia, in association with the University of Granada (I+D+I HAR2010-17968. Ministerio de Ciencia e Innovacion de España), is pleased to invite submissions of proposals for the symposium "Music and Propaganda in the Short Twentieth Century", to be held in Pistoia, Palazzo dei Vescovi, from Friday 18 until Sunday 20 May 2012. This project aims to study the relationships between music and propaganda in twentieth-century Europe, devoting particular attention to Germany, the Iberian Peninsula and Italy. The conference will examine the points of intersection between music and the political sphere within both institutional and non-institutional contexts.
Why music and propaganda? Music has often been exploited by regimes and governments, thanks to its great evocative power, and it can be used to attribute and to ascribe multivalent meanings. Does music contain the traces of propaganda? That is the central question to be posed by this conference. Much has been written about the relationship between music and propaganda between the two world wars. What is now needed are explorations of this topic during the post-war period.The programme committee encourages submissions within the following areas, although other topics are also welcome:
* Twentieth-Century Music and Propaganda: Historical, Aesthetic, Philosophical and Sociological Aspects
* Political-Economical Implications behind Musical Propaganda
* Music and Propaganda after the World War II
* Propaganda and Musical Institutions
* Propaganda in music for screen and other media
* Music, Propaganda and Other Arts
* Popular music and Jazz: Nationalism, Ideology, Identity and Entertainment
* Musicology and Propaganda
The University of Salerno (Dipartimento di Scienze del Patrimonio Culturale) and the Centro Studi Opera Omnia Luigi Boccherini of Lucca/Pistoia (<http://www.luigiboccherini.org>), in association with the Observatoire interdisciplinaire de création et de recherche en musique (Montréal), the Fondazione Marino Marini (Pistoia) and the Fondazione Filiberto Menna (Salerno), is pleased to invite submissions of proposals for the International Conference «Rethinking Stravinsky: Sounds and Gestures of Modernism» to be held in Fisciano (SA) and Salerno, Campus Universitario and Fondazione Filiberto Menna, from Wednesday, from Wednesday 26 until Friday 28 September 2012.
The conference aims to articulate the present stage reached in both theoretical and historical research on Stravinsky, and to contextualise Stravinsky’s work within the debate surrounding Modernism, from an interdisciplinary perspective.
Why “Sounds and Gestures”? In recent years, Stravinsky’s music has increasingly been approached from historical and cultural perspectives. Some attempts have also been made to investigate its gestural and bodily dimensions, and its embodied cognitive aspects. The concept of musical gesture has received progressively greater attention in analysis, for instance.
The main objective of the conference, therefore, is to create paths of interaction between new trends in systematic musicology, music analysis and historical and cultural approaches. The programme committee encourages submissions within the following areas, although other topics are also welcome:
Stravinsky’s music in cultural and historical context: East and West, then and now;
Sound, gesture and visual in Stravinsky’s music for theatre and other media;
Musical gestures and embodied music cognition in Stravinsky’s musical thought;
Negotiating Stravinsky’s modernism: critics and composers;
Stravinsky’s musical legacy;
Stravinsky’s writings;
Stravinsky’s works: analysis, new sources, sketch studies, compositional process.
Central European Musicians and the Birth of French Piano Virtuosity
The Centro Studi Opera Omnia Luigi Boccherini of Lucca/Pistoia, the Istituto Storico Austriaco of Rome and the Académie de France à Rome, in association with the Palazzetto Bru Zane - Centre de musique romantique française of Venice, is pleased to invite submissions of proposals for the symposium "Central European Musicians and the Birth of French Piano Virtuosity", to be held in Rome, Istituto Storico Austriaco and Villa Medici, from Thursday 11 until Saturday 13 October 2012.
The Symposium aims to investigate the world of the piano and piano music in France, and the evolution of this instrument between the ancien régime and the Restoration. On the occasion of the 200° anniversary of the death of Jan Ladislav Dussek (1760-1812), the conference will explore the circulation of European pianists within Parisian musical life at the turn of the nineteenth century; the piano industry in France and its impact on the development of French musical taste; issues of performance practice and the bravura tradition; publishers and composers active between the French Revolution and the first Industrial Revolution.
The programme committee encourages submissions within the following areas, although other topics are also welcome:
- The existance of a French Piano School and Tradition;
- Parisian Musical Life from the ancien régime to the Restoration:
Patrons, Concerts and Musical Institutions in the Public and Private Spheres;
- Migration of European Composers to France;
- French Composers/Pianists (1750-1830);
- Approaches to the virtuoso concerto by Paris-based Composers of the Early Nineteenth Century;
- Composers, Philosophers, Treatises and the Development of French Musical Taste;
- Piano Methods, Performing Style and Virtuosity;
- French Publishers and Piano Industry;
- Operatic Variation, Musical Genres and New Sources.
The Centro Studi Opera Omnia Luigi Boccherini, Lucca (<http://www.luigiboccherini.org>), in association with the Palazzetto Bru Zane - Centre de musique romantique française de Venise (<http://www.bru-zane.com>) and the Observatoire interdisciplinaire de création et de recherche en musique de l’Université de Montréal (<http://www.oicrm.org>), is pleased to invite submissions of proposals for the International Conference “Massenet and the Mediterranean World,” to be held in Lucca from Friday, 30 November until Sunday, 2 December 2012.
Organized in conjunction with the centenary of the death of Massenet (1842-1912), the conference proposes to highlight various aspects of the composer’s life and works, both within the musical context of fin-de-siècle Europe and from the point of view of the reception of his operas. In the last fifteen years, several elements of Massenet’s oeuvre have received renewed critical attention. This conference intends to focus on the close rapport that Massenet cultivated, at different stages of his career, with the various countries around the Mediterranean basin, both as sources of inspiration for new works and concerning his relations with other composers as well as performers.
The conference is open to all innovative paper proposals, but the scientific committee would particularly welcome studies of the following:
The dissemination and reception of Massenet’s works in Mediterranean countries
Paths of mutual influence between Massenet and Mediterranean composers
Massenet and musical Hispanism
Massenet and his publishers outside France
Massenet and the ancient world (Biblical topics, Egypt, Rome...)
Massenet’s period in Rome
Massenet’s trip to Spain and his period there
Massenet’s interpreters in the Mediterranean World (Cavalieri, Bellincioni, Battistini, Gayarre…)
Massenet and Transalpine conductors
The European Sound in the Era of Liszt: Musical Tour in Nineteenth Century
The Centro Studi Opera Omnia Luigi Boccherini of Lucca and Villa Medici Giulini, in association with Palazzetto Bru Zane-Centre de musique romantique française of Venice, and under the auspices of the Fondazione Istituto Liszt of Bologna, have organised the symposium «The European Sound in the Era of Liszt: The Musical Tour in the Nineteenth Century», held in Villa Medici Giulini, Briosco (MB), from Friday 30th September until Sunday 2nd October 2011. The Symposium aimed to investigate different facets of the musical tour in Europe as a phenomenon of the nineteenth century. Taking as its point of departure Franz Liszt’s career as a touring piano virtuoso, composer, conductor and teacher, the conference will explore various composers’ and performers’s European tours; these tours’ relationships with the most important musical centres during the period; the influence of various instrumental approaches and their impact on the development of taste, and Liszt’s own performing style, together with his role as a teacher and as a conductor.
The Centro Studi Opera Omnia Luigi Boccherini of Lucca (<http://www.luigiboccherini.org>), under the auspices of the Municipality of Pistoia, has organised the symposium on VIVA V.E.R.D.I.: Music from Risorgimento to the Unification of Italy, held in Pistoia, Biblioteca San Giorgio, from Thursday 15 until Saturday 17 September 2011. On the occasion of the 150th anniversary of the unification of Italy, the Symposium aimed to investigate the musical landscape of the Italian peninsula from Risorgimento to the formation of the unitary State. A particular aim of the conference is to explore the relationship between music and national identity, including both great musical characters and popular music; Italian musical institutions of the mid-nineteenth century, and the relation between artistic output and the historical, political and social dynamics which culminated in the unification of Italy.
On the occasion of the tenth edition of the Festival Paganiniano of Carro the Società dei Concerti of La Spezia (Liguria, Italy) and the Centro Studi Opera Omnia Luigi Boccherini of Lucca (<http://www.luigiboccherini.org>), in association with Palazzetto Bru Zane-Centre de musique romantique française of Venice (<http://www.bru-zane.com>) and Musicalwords.it, have organised the symposium «Orchestral Conducting in the Nineteenth Century», held in La Spezia, CAMeC, from Thursday 14 to Saturday 16 July 2011.
The Centro Studi Opera Omnia Luigi Boccherini of Lucca, under the auspices of the Municipality, the Province of Lucca, the Association angevine Franz Liszt and the Fondazione Istituto Liszt of Bologna, have organised the symposium on Chopin e Liszt: due compositori a confronto nell’universo musicale parigino /Chopin and Liszt: Two Composers and their Relation to the Parisian Musical Scene held in the Palazzo Ducale, Lucca, from Thursday 2 until Saturday 4 December 2010. The Symposium aimed to investigate different facets of the life and works of the two composers, in the context of the Parisian scene during the nineteenth century.
The Centro Studi Opera Omnia Luigi Boccherini of Lucca, under the auspices of the Department of Culture of the Municipality of Monte San Savino, in collaboration with MAGADIS International Music Agency, has organised the symposium on From Stage to Screen: Musical Films in Europe and United States (1927-1961), held in Monte San Savino (Arezzo, Italy), from Thursday 16 to Saturday 18 September 2010. The Symposium aimed to investigate the variety of sonic and musical practices of early musicals, their relationships with musical comedy and the progression from stage to screen in Europe and United States (1927-1961).
The Società dei Concerti of La Spezia (Liguria, Italy) and the Centro Studi Opera Omnia Luigi Boccherini of Lucca, in association with MusicalWords.it, on the occasion of the 9th edition of the Festival Paganiniano of Carro have organised the symposium on «Beyond Notes: Improvisation in Western Music in the Eighteenth and Nineteenth Centuries», held in La Spezia, CAMeC, from Thursday 15 to Saturday 17 July 2010. The Symposium aimed to investigate musical improvisation in the XVIII and XIX centuries.
The Società dei Concerti of La Spezia (Liguria, Italy) and the Centro Studi Opera Omnia Luigi Boccherini of Lucca, in association with MusicalWords.it , on the occasion of the 8th edition of the Festival Paganiniano of Carro have organised the symposium on NICCOLÒ PAGANINI: DIABOLUS IN MUSICA, to be held in La Spezia, Sala Dante, from Thursday 16 to Saturday 18 July 2009. The Symposium aimed to investigate different aspects of the life and works of Niccolò Paganini.
The editors of Ad Parnassum. A Journal of Eighteenth- and Nineteenth-Century Instrumental Music, in association with the Fondazione-Stichting P.A. Locatelli, have organised the symposium on Instrumental Music and the Industrial Revolution, to be held in Cremona from Friday 1 to Sunday 3 July 2006. The Symposium aimed to investigate different aspects of the relationship between the Industrial Revolution, with its peculiar ideological and political values and social needs, and the aesthetic-musical sphere. An awareness of this relationship in specific cases could greatly assist the stylistic and comparative scrutiny of composers like Haydn, Boccherini, Clementi and Viotti, and perhaps might even generate some welcome de-mystifying repercussions concerning the legitimacy of certain primacies of dubious acquisition.