Music and the Arts in England
27th − 29th June 2019
Universität Hamburg, Institut für Historische Musikwissenschaft
Call for papers (deadline: 15th September 2018)
There were various discussions on, and re-evaluations of, the interrelations of the arts in the 17th and 18th centuries.
The origins of these disputes were multi-layered and deeply rooted in fundamental social changes which led to new conditions for the creation
and reception of art, permitting new configurations for the professionalization of artists and the legitimation of the arts. England and especially
its metropolis London was one of the centres for strengthening professionalism in the arts granting stages for all kinds of novelties as well as
providing for a print media with unparalleled dissemination to influence the reception and perception of art. The international and interdisciplinary
conference aims to define, on the one hand, unique features of the reception and perception of the arts in England. On the other hand, it strives to
evaluate English influences on, and exchange processes with, the European continent. Its specific focus lies on the re-evaluation of the arts’
significance and meaning in interrelation with music.
Music was often part of mixed media venture. Opera is the most obvious example, but there are numerous other instances: theatre was unthinkable
without symphonies, interludes and songs; printed music often had title pages depicting music making; music was a theme in painting; musical
instruments were designed in significant artful ways etc. While the interrelations between text and music have gained scholarly attention within
the field of vocal music, their foundation within a broader hierarchy of the arts within English culture in the second half of the 17th and first
half of the 18th centuries is still little researched. Indeed many music histories ignore the discipline’s relations to painting altogether.
One of the reasons why there is little scholarly work on art interrelations within this time span might be the fact that the rise of print
media as a main protagonist of public opinion offered divergent possibilities of expression to the different arts. At the same time, print was the
main medium in which new ideas about sensual perception relevant to art perception were disseminated. National and international reception of 'enlightened'
bodies of thought, from John Locke’s Essay Concerning Human Understanding (London 1690) to Joseph Addison’s and Richard Steele’s moral weeklies, seems to be
well known. However, their influence (along with that of other media) on art reception is worth a closer look: even more so, as their effect might be
crucial to uncover unique English features in the discussion of the hierarchy of the arts.
Our conference aims to fill some of the gaps by focussing on the interrelations between music and the arts within the social and cultural context
of England, c. 1670–1750. The goal is to define unique features as well as international exchange processes. Accordingly, we welcome papers on
such topics as:
The conference will be held in both English and German. We strive to reimburse travelling and accommodation costs but cannot
guarantee this at this point. Selected conference proceeding will be published (peer-reviewed).
We encourage scholars from musicology, English studies, art history, history, cultural history, theatre history, social history and
philosophy to send paper proposals (30 minutes; abstract max.300 words) and short vitas (max. 100 words) to email@example.com by
15th September 2018.
For any questions please contact Dr. Ina Knoth: firstname.lastname@example.org
The Popularity of Words and Music
22–24 November 2018
Haus der Universität at Heinrich-Heine-University in Düsseldorf, Germany
The Forum of the International Association for Word and Music Studies (WMAF) will explore the ‘popular’ in words and music for its 5th Biennial Conference. Popularity and the ‘popular’ are phenomena of vast societal, political, and (inter-)medial proportions. From early approaches such as Adorno’s and Horkheimer’s heteronomous capitalist criticism to the less consumer- and more ‘prosumer’-orientated perspectives proposed by John Fiske and Henry Jenkins during the 1980s, the popular remains an ambivalent topic. Niklas Luhmann’s theorems that came to be used widely in the ‘pop theory’ of the 1990s re-emphasized the study of the popular as a key field of inquiry in critical discourse. bell hooks’s work in cultural studies during the 2000s opened the field of popular culture anew, analyzing it as a politically charged ‘powerful site for intervention, challenge and change’.
Studies in intermediality and Word and Music Studies have also proven to offer productive ‘popular’ approaches to musico-literary experimentation. Continuing in this vein, our conference asks: What is the ‘popular’ and what role(s) does music inhabit in its construction? What is the function of the popular, and is ‘pop’ a system? How can popularity be explained in certain historical and political contexts, including how race, class, gender, and ethnicity impact an understanding of the ‘popular’? What of the popularity of words? How do they interact with music at particular times and throughout various media? Keeping in mind the diverse WMAF membership and scholarship we are also interested in approaches that consider popular culture within the framework of race, class, gender, and ethnicity.
We invite early researchers to submit proposals for presentations and/or panels that engage with the popular, using a variety of methodologies and perspectives on words and music. These may include but are not strictly limited to:
Please send abstracts of no longer than 250 words, preferably with the subject "WMAF 2018" to:
Individual paper presentations will be 20 minutes long to be followed by 10 minutes of discussion. The conference language will be English. More information about the Word and Music Association Forum and about this conference will be posted on the organization website:
Deadline for receiving abstracts: 31 May 2018 (acceptance letters: 31 July 2018)
Any questions should be directed to the local Academic Committee:
Thomas Gurke & Susan Winnett at email@example.com
Call for Papers:
Edited by Pim Verhulst (University of Antwerp)
and Jarmila Mildorf (University of Paderborn)
Radio drama has been around since the development of the medium in the 1920s, roughly
coinciding with the birth of film. Unlike that culturally dominant visual medium, however,
the acoustic art form of the radio play has received much less critical attention. In addition
to voice and sound effects, one important aural feature that characterizes the radio play is music.
In contrast to the field of film narratology, where the narrative functions of music have long
been mapped and studied, radio drama still awaits such a systematic approach regarding the
interconnections between word and music, especially in the absence of visual stimuli. The present
volume aims to be a first step in that direction, bringing together scholars from the disciplines
of radio drama and modernism, audio- and transmedial narratology, as well as music and sound studies.
In doing so, the purpose of this collection is to offer a broad cross-section of national literatures and
broadcasting traditions, building on existing research while reassessing the role of music as a (non-)
narrative element in radio plays. Contributions may focus on one or multiple authors and works, but also on
composers, sound engineers, producers, directors or broadcasting services and networks, from the 1920s
to the present day. In addition to case studies or comparative analyses, we also invite contributions
on more theoretical, conceptual and methodological issues. Papers could engage with, but need not be
limited to, the following questions:
Papers are certainly not limited to radio drama in English but will have to provide
translations for non-English radio plays. The language of the volume will be English. We
explicitly ask that all work be original, so proposals for contributions that have been
previously published elsewhere, in whatever form, cannot be considered.
Selected submissions will be included in a proposal for the ‘Word and Music Studies’
series published by Brill (general series editors: Walter Bernhart, Michael Halliwell,
Lawrence Kramer, Steven Paul Scher and Werner Wolf). Publication will depend on the outcome
of the peer review process.
Please send a 400-500 word abstract, with a title and brief bio (affiliation, career
and recent publications) to firstname.lastname@example.org
by 30 June 2018. Finalized contributions
will be expected by 14 December 2018, for an estimated publication in late 2019 or early 2020.
For more information, see the website of the International Association for Word and Music Studies
or the Word and Music Studies series page on the Brill website.