CFP: The Enterprise of Musicology: Trends in our New Age, Hong Kong, Dec 2015

The East Asian Regional Association of the International Musicological
Society (IMS-EA) 2015 is pleased to announce a "Call for Papers" for a
conference to be held in Hong Kong from 4-6 December 2015. Please see below
the information for your reference:

The East Asian Regional Association of the International Musicological
Society (IMS-EA)

The Enterprise of Musicology: Trends in our New Age Hong Kong, 4-6 December
2015 CFP Deadline: 10 April 2015

Musical and musicological trends are ever changing with evolving
sociological, economic, and political climates; at the same time, trends
can also be geographic-specific. IMS East Asia 2015 sets out to examine
current trends of musicological thoughts, and in particular, 'Asian trends'
– if such a phenomenon could be discerned. Asian countries are some of the
fastest growing in the world: in technology, in science, in cultural
development, and in educational innovation. Are such elements influential
factors in musicological trends in Asia and world-wide?

Read More: http://www.imsea2015.org/
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[再投稿]国際学会 フランスにおける日本人音楽家:音楽界における日仏関係 Le musicien japonais en France ou les rapports France-Japon dans le monde musical


会場:パリ国立高等音楽院 (CNSMDP) 229 avenue Jean Jaurès, Paris 75019

 本プロジェクトでは、明治期から今日までのフランスの音楽界 (音楽機関、作曲家、演奏者) が日本人音楽家に与えた影響について、日仏間の音楽関係の歴史を構成する以下の4項目を中心テーマとし、議論を展開する。
• 作曲と音楽制作
• 演奏
• 音楽学
• 音楽教育
 第二回のコロキウムは日本での開催が予定されている(東京、国立音楽大学、2017年5月13、14日)。日本の作曲、演奏、教育および音楽生活に対する西洋文化のインパクトについてテーマを広げる。また、西洋人音楽家に対する日本文化のインパクトとその出会いについても論じる。 そして最終となる第三回コロキウムはカナダで開催し、20世紀および21世紀における日本と北米大陸の相互影響について議論を行う。




Comité scientifique :
Marc Battier, Université Paris-Sorbonne
Hui-Mei Chen, Université de Taïwan 
Inoué Satsuki, Aichi University of the Arts
Osamu Tomori, Kunitachi College of Music
Laurent Pottier, Université de Saint-Etienne
Yves Balmer, Ecole normale supérieure de Lyon, Conservatoire de Paris (CNSMDP)
Friedemann Sallis, Université de Calgary
Denis Huneau, Université catholique de l’Ouest
Fabrice Marandola, McGill University
Christopher Moore, Université d’Ottawa
Kevin Dahan, Université de Marne-La-Vallée
Pierre Couprie, Paris Sorbonne Université
Pascal Terrien, Aix-Marseille Université, Conservatoire de Paris (CNSMDP)
Nicolas Donin, IRCAM, Paris
James Giroudon, GRAME, Lyon

Bruno Mantovani, Compositeur & Directeur du Conservatoire de Paris
Daniel Teruggi, compositeur et directeur du l’INA-GRM
Hope Lee, Compositrice
David Eagle, compositeur
Susumu Yoshida, Compositeur
Misato Mochizuki, Compositrice
Malika Kishino, Compositrice
Claude Ledoux, Compositeur
Allain Gaussin, Compositeur

Alain Poirier, Conservatoire de Lyon (CNSMDL)
Emmanuel Ducreux, Conservatoire de Lyon (CNSMDL)
Serge Cyferstein, Conservatoire de Paris (CNSMDP)

Yuko Sonoda, Professeur de piano C.A.
Tamamo Nagai, Doctorante, Paris-Sorbonne
Nicolas Munck, Doctorant Université de Saint-Etienne
Florent Caron-Darras, CNSMD de Paris

Comité organisateur :
Pascal Terrien, Aix-Marseille Université (ADEF-EA4671), Conservatoire de Paris (CNSMDP)  : pascal.terrien@univ-amu.fr
Yuko Sonoda, Professeur de piano C.A.  : sonoda.yuko@gmail.com
Tamamo Nagai, Doctorante, Paris-Sorbonne : tamamo.n.m@gmail.com
Florent Caron-Darras, CNSMD de Paris : florent.caron@gmail.com
Nicolas Munck, Doctorant Université de Saint-Etienne, Conservatoire national supérieur de musique et de danse de Lyon : nicolas.munck@hotmail.fr

(東日本支部:慶應義塾大学・パリ第4大学博士課程 永井玉藻)
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Simpozij Zajc 2014 Pozivno Pismo Japan


日本では男声合唱曲として有名な「U boj」の作曲者Ivan Zajcをテーマとした国際学会が来年秋に計画されており(下記参照)、この合唱曲が日本で広く歌われ愛されるようになった過程などを扱った研究発表をしていただける研究者を探しておられるそうです。


THEME: Ivan Zajc (1832-1914): Musical Migrations and Cultural Transfers in the 'Long' 19th Century in Central Europe and Beyond
PLACE AND DATE: Zagreb, Croatia, October 16-18, 2014, the Palace of the Croatian Academy of Sciences and Arts, Zrinjski trg 11
ORGANIZERS: Croatian Musicological Society and the Department for History of Croatian Music of the Croatian Academy of Sciences and Arts

The Conference is organized on the occasion of the 100th anniversary of the death of Ivan Zajc (1832-1914), the key personality of Croatian music during the last third of the 19th century.
Zajc was trained in his home town of Rijeka and at the Conservatory in Milan (1850-55). He was active as a teacher and conductor in Rijeka (1855-62), as an operetta composer, pedagogue and conductor in Vienna (1862-70), and as the Director of the Croatian National Theatre Opera, and Director and teacher at the Croatian Music Institute School in Zagreb (1870-1908). Zajc left a huge opus of more than 1100 compositions in various areas of art music. He composed church music (19 Masses, c. 50 sacral and secular oratorios and cantatas), solo songs (c. 170 on Croatian, Italian and German texts), c. 300 choral works, c. 80 orchestral pieces, and about 100 chamber and piano works. Zajc remains most significant for his contributions to the musical stage: 19 operas, 26 operettas and 22 sets of incidental music.

The first proposed thematic area is the life, oeuvre and importance of Ivan Zajc. We welcome contributions which will analyze and elucidate aspects of Zajc's individual works and his oeuvre at large, as well as those which will deal with the range and scope of his activities within the 19th-century Croatian national movement. Zajc's varied career included composing the mythological-historical operatic trilogy (Mislav, Ban Leget, Nikola Šubić Zrinjski) and other important works for musical stage, and serving as the organizer of professional ensembles and as an innovator in teaching methods at the Croatian Music Institute School. Equally welcomed will be contributions dealing with Zajc's oeuvre and activities within the context of his time as well as the stricter national or broader central-European spaces.

The second proposed thematic area is the phenomenon of musical migrations, as is evident, for instance, in Zajc's own life itinerary (Rijeka-Milan-Rijeka-Vienna-Zagreb). Musical migrations include temporary or permanent migrations or settling down of musicians (composers, performers, musicologists and music writers, instrument builders, etc.) and the transfer of musical artifacts (music sheets, music books, music instruments, documents, etc.) and ideas on music (by way of schooling, personal encounters, correspondence, stylistic and genre influences, etc.). Migrations can occur between native places or places of artistic creation and other locations inside and/or outside local, regional and/or national areas. In the case of Zajc, these migrational phenomena are more strictly located in the central-European area, but – for example – the sporadic presence of his compositions in the USA and Japan in the 19th and 20th centuries expands the possibilities for research in this area. This in turn leads to an understanding and evaluation of the idea of musical migrations beyond Zajc's immediate geographic and temporal frames and determinants.

The third proposed thematic area concerns cultural transfer in the field of music, as well as in those areas of arts and culture which were traditionally connected with music, such as literature, theatre, visual arts, etc. As both in today's processes regarding the intensification of cultural interactions on a global scope, and – with various methods, with different accents and forms of realization – in Zajc's era during the second half of the 19th and the beginning of the 20th century, musico-cultural transfers encompass the influx and flow of information concerning general and individual art phenomena and facts. This also includes how such ideas are accepted, ignored, or rejected as well as their impact and dominance. In the case of Zajc a real whirlpool of such phenomena was created through the interaction and permeation of Verdian operatic concepts, Viennese operetta paradigms, fashionable flirtations with Orientalisms, ideas and emotions surrounding patriotic and national issues, direct social activities in the areas of music education and training, the building of national institutions such as national opera, the supporting of musical amateurism, etc.

Taking into account that Zajc's life and the end of the so-called belle époque coincide in their endings in 1914, the temporal frame of the conference subjects was largely determined with the end of the 'long' 19th century and the beginning of WWI, but in investigating and presenting the second and the third thematic areas the organizers are encouraging participants submitting free papers to not feel bound by any strictly prescribed temporal, spatial and/or cultural limitations.

Proposals should be submitted per e-mail or by regular post with an abstract in Croatian or English (300-400 words) at:
Croatian Musicological Society, Opatička 18, 10000 Zagreb, Croatia
Website address: HYPERLINK "http://www.hmd-music.hr" www.hmd-music.hr
The deadline is: February 15, 2014.
A certain number of participants from Croatia and abroad will be invited ad personam (up to 20). The number of free papers and participants is limited.

Official languages of the conference will be Croatian and English.

The organizers are offering free accommodation to all invited participants from outside of Zagreb. Invited participants do not pay the fee.
The organizers will provide midday meals during the conference for all participants.
It is expected that travel expenses to and from Zagreb will be covered by all participants themselves.

Dr. Vjera Katalinić, Department for History of Croatian Music of the Croatian Academy of Sciences and Arts
Dr. Koraljka Kos, Member of the Croatian Academy of Sciences and Arts
Dr. Sanja-Majer-Bobetko, Department for History of Croatian Music of the Croatian Academy of Sciences and Arts
Dr. Nada Bezić, Croatian Music Institute, Zagreb
Dr. Stanislav Tuksar, Department of Musicology, Academy of Music, University of Zagreb, Member of the Croatian Academy of Sciences and Arts

The organizers are planning to publish multi-linguistic Proceedings of the conference.

Please send all correspondence and queries to the official address or the website of the Croatian Musicological Society, as indicated above, or directly to the members of the Organizing Committee.
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明治学院大学文学部芸術学科・言語文化研究所共催 『ベートーヴェン 危機からの創造的飛躍』


『ベートーヴェン 危機からの創造的飛躍』

芸術と人生の関係を考えるとき、ベートーヴェンほど興味深い例はない。音楽家として致命的ともいえる難聴に苦しめられ、 「ハイリゲンシュタットの遺書」まで書いた彼だが、だからこそ作曲家としての孤独な道を歩み、ついには《第九》や《ミサ・ソレムニス》のような人類の遺産とも言うべき傑作を書くことができた。さらに出生の謎や、身分制社会における 不幸な恋など、あらゆるハンディキャップを乗り越える必要もあった。 ドイツの教育心理学者エリカ・シューハルト教授は「人生における危機の克服」の専門家だが、豊富な事例研究に基づいて ベートーヴェンの苦難に満ちた生涯を分析し、そこに「危機からの創造的飛躍」を見出している。この講演はベートーヴェン の人生と芸術についてのみならず、わたしたち人間一般にとっての「危機の対処法」をも教えてくれることだろう。 シューハルト教授は「チェルノブイリのこどもたち」の救済運動でドイツ社会に大きな感銘を与え、ドイツ連邦議会議員としても活躍された。アフリカの女性迫害や、福島原発問題など広く発言され、ドイツの良心を代表する知識人としても 知られている。

お問合せ先:明治学院大学言語文化研究所 03-5421-5213
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「五線譜に描いた夢 ─ 日本近代音楽の150年」


「五線譜に描いた夢 ─ 日本近代音楽の150年」
会期:2013年10月11日[金]─ 12月23日[月・祝]
開館時間:11:00 ─ 19:00 (金・土は20:00まで/最終入場は閉館の30分前まで)
休館日:月曜日 (祝日の場合は翌火曜日)
会場:東京オペラシティ アートギャラリー

☆ 展覧会図録(255頁、展示資料全295点カラー写真、年表、文献表、3000円+税)は
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洋楽文化史研究会第76回例会 公開研究発表会「近代東アジアにおける洋楽文化史」


音楽文化交流 去年の資料発見から2016年の歿後百年記念へ」




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Towards a global history of music −A Balzan Prize Research Programme in Musicology (Balzan Prize 2012 in Musicology)

Towards a global history of music
A Balzan Prize Research Programme in Musicology
(Balzan Prize 2012 in Musicology)

The Steering Committee announces
International research visitorships
(duration 4 - 12 weeks, awards from EUR 5.000,00 for research visits, plus expenses).

For mid-career music researchers studying
Intercontinental relationships in music and global music history, c. 300 -c. 2000.

The Music Departments of
Humboldt University, Berlin
The Hebrew University, Jerusalem
King’s College, University of London
University of Oxford
University of Vienna
University of Zurich
Reinhard Strohm, Programme Director

Deadline for applications: 25 June 2013.

See URL for details and application forms:

Balzan Programme Musicology 2012
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日時:2012年12月20日(木) 13:05〜14:35
会場:明治学院大学白金校舎 本館2F1253教室
主催・問い合わせ:明治学院大学芸術学科 03-5421-5380

 クラウス・エフナー博士は、元アイゼナッハ・バッハ博物館館長、アイゼナッハ市会議員を務められたドイツを代表 する音楽学者のひとりです。「アイゼナッハ・テレマン音楽祭」、「テューリンゲン・バッハ週間」を創立され、現在はテューリンゲン州音楽評議会の副理事長 を務められています。
 「バッハだけでなく――18世紀ドイツ・プロテスタントのカンタータ」と題されたエフナー博士の講演は、マルティン・ルターによって始められたルター派 プロテスタント教会音楽の歴史のなかでの教会カンタータの位置付けを明らかにされます。バッハの教会カンタータはもちろんその代表例ですが、当時のドイツ では、テレマンをはじめとした多数の作曲家が教会カンタータを作曲し、教会の聖歌隊が上演していたのです。まさにその中心地アイゼナッハに住んでおられる エフナー博士から、長年の研究と実践に基づいた生きたお話しが伺えます。
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Call for papers for the Journal of Music Research on Line - JMRO

Journal of Music Research on Line (JMRO)の事務局から

The Journal of Music Research Online (JMRO) is a freely accessible,
peer-reviewed journal for the publication of scholarly research in music.
It has a distinguished international editorial board, broad
scope and aims to publish research which is of the highest international standard.

JMRO offers authors:
・ short submission to publication time,
・ no page limits,
・ the inclusion of audio and video samples, high quality images and music scores where those items enhance the presentation of the research,
・ publicatio of articles a soon as they are ready.

JMRO is now calling for English language articles of the highest international scholorly standards in areas including, but not limited to, Composition, Early Music, Ethnomusicology, Gender Studies in Performance Practice and Popular Music. Articles in other areas considered to appropriate by the managing editor will also be published.

Visit JMRO at www.jmro.org.au to see the high quality papers and wide range of topics covered in the papers published so far.

JMRO is published by the Music Council of Australia www.mca.org.au.

For further information contact Jula Szuster, Managing Editor, JMRO.

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