music, communication and performance 2024
The AEMC organizes the 5th Academic Conference on “Music, Communication and Performance”. The conference promotes interdisciplinary research and encourages innovative approaches within a diverse spectrum of academic disciplines, including musicology, communication studies, philosophy, literature, and various artistic performance domains that intersect with music. Our overarching goal is to transcend the confines of conventional positivist musicology, embarking on a quest for novel avenues that can enrich the landscape of music scholarship and interpretation. The conference mission extends to creating an inclusive space where scholars and artists converge, fostering meaningful dialogues and collaborations that transcend disciplinary boundaries. We believe in the invaluable exchange of ideas, experiences, and perspectives among the diverse community of scholars and artists The special focus of this edition is "Musical Metamorphoses from Premodernity to Postmodernity"
The AEMC conference is designed for a limited number of participants in order to ensure our customary levels of collegiality and scholarly and artistic excellence. We invite those interested to explore exclusive early-bird advantages as outlined in our comprehensive Registration Form Document. Don't miss out on the benefits awaiting those who register early!
Abstracts of max 150 words must be sent to firstname.lastname@example.org
Subject of the email: “CONFERENCE SUBMISSION of [name]”; body of the message: (1) TITLE of the submission; (2) specification of whether your intended contribution is in the form of an academic paper or a performance; (3) NAMES and AFFILIATIONS (if available) of all authors/performers; (4) the EMAIL ADDRESS of the contact author/performer; (5) up to four KEYWORDS classifying the paper topic or performance field
The final deadline for all submissions is 15 April 2024
The final deadline for registration is 15 May 2024
5th Academic Conference on Music, Communication and Performance:
Musical Metamorphoses from Premodernity to Postmodernity
Scholars and performers are invited to apply with papers or performance proposals on any topic and any music, as customary at the AEMC conferences. Every year, though, the AEMC conference focuses on a main theme. The theme of the next edition of the AEMC annual Conference on Music, Communication and Performance is "Musical Metamorphoses from Premodernity to Postmodernity". The keynote speech will be given by Professor Wendy Heller (Princeton University); the keynote performance will feature Professor Alberto Nones ("G. Rossini" State Conservatory of Music in Pesaro).
This year we will go back to the format of the conference physically held in Montecassiano. The AEMC conference is one of a kind. The AEMC headquarter is located in Montecassiano, one of "Italy's most beautiful villages", at the noble level of a neoclassical palace with frescoed celings. A wonderful Baroque church serves as the AEMC auditorium.
Montecassiano offers the total peace of a medieval village surrounded by city walls, but is just a few kilometers from the lively town of Macerata, with its university and theaters (like the Sferisterio Opera Festival), and thirty minutes from the Adriatic sea, with the pristine beaches of Mount Conero. One can also take the opportunity to visit religious and cultural centers of primary importance, such as the Loreto Basilica or poet Giacomo Leopardi's birthplace in Recanati, where Beniamino Gigli too was born. Conference participants are usually accommodated at Villa Quiete, a boutique hotel located in a mansion of Montecassiano where Gioachino Rossini sojourned.
Formats: 20-minute Academic Presentations (+ 10 minutes of discussion) and Artistic Performances (max 45 minutes); poster presentations, round-tables, panels, and other innovative forms of presentation may also be considered.
The conference language is English throughout.
Please note that in all previous editions of the AEMC conference, Artistic Performances have traditionally been featured on a CD included in the conference proceedings volume. In addition to the chance to showcase one's work before a distinguished international community of scholars and artists, this presents a valuable opportunity to preserve one's commitment to live performances on a CD.
The covers of the book+CD which resulted from the 1st, 2nd and 3rd editions. Here is the link to our latest publication.
Updated REGISTRATION FORM WITH ALL INFO. Have you got any questions? Write us, email@example.com
A volume+CD with ISBN number, containing papers and recordings selected/approved by the Editors, and whose authors/performers have given consent to publication and signed a copyright release, is expected as a result of the conference, but not guaranteed, as all AEMC publications undergo an independent peer review process. No additional fee will be charged for inclusion in the eventual publication stemming from the conference. Please note that in all previous editions of the AEMC conference, also artistic performances (of the artists willing to have their performances appear) have been published, likewise at no additional cost, on a CD included in the conference proceedings volumes.
Alberto Nones, Pianist, Music Historian and Philosopher, is Full Professor of the History of Music at the "G. Rossini" State Conservatory of Music in Pesaro. He graduated in Piano from the Conservatory of Trento, in Philosophy from the University of Bologna, and holds an M.Sc. in Political Theory from the London School of Economics and a Ph.D. in International Studies from the University of Trento. A former Marie Curie visiting fellow at Cambridge and Fulbright and Post-Doc at Princeton, he previously taught in the humanities and social sciences at the universities of Trento, Lugano, and the United Arab Emirates University, and piano and history of music at the conservatories of Como, Gallarate, Matera and Perugia. Professor Nones is also a "Honorary Visiting Teacher" at the Edward Said National Conservatory of Music in Palestine. He is the author of four books, three edited volumes, articles, reviews and translations. Nones's recordings include the complete Mazurkas by Chopin (Continuo Records, 2016, 2CDs), Brahms's Sonatas for Piano and Violin (with violinist Franco Mezzena), Arts Songs by Pietro Cimara (with soprano Nunzia Santodirocco), another Chopin recording released in June 2022 by Convivium Records, and a special album, featuring music by living Ukrainian composer Silvestrov and Russian composer Rachmaninov, the revenues of which go entirely to an Italian-Moroccan human rights activist who aids refugees from all wars. He is currently working on several new albums. Professor Nones is regularly invited as a concert artist and speaker throughout Europe.
Professor ALBERTO NONES
Professor MONIKA FINK
(University of Innsbruck)
Dr. MICHAEL KLEIN (Temple University)
Professor LAWRENCE KRAMER
Dr. MICHAEL MAUL
Dr. LETIZIA MICHIELON
(Conservatory of Venezia)
Dr. HAMISH ROBB
(New Zealand School of Music
Victoria University of Wellington)
Monika Fink (Austria), 2018
Michael Maul (Germany), 2019
Lawrence Kramer (USA), 2020
Michael Klein (USA), 2021
2022 and 2023 - pause
Martin Muench (Germany), 2018
Gianluca Luisi (Italy), 2019
Eurasia Quartet (The Netherlands), 2020
Mosertrio (Austria), 2021
2022 and 2023- pause
KEYNOTE SPEAKER 2024
Recognized as one of the leading scholars of baroque music, Professor Wendy Heller, is the Scheide Professor of Music and Director of the Program in Italian Studies at Princeton. Heller, who served as the Music Department Chair from 2015-2022, has published widely on 17th- and 18th-century opera from interdisciplinary perspectives, with emphasis on gender and sexuality, art history, Italian literature, dance history and the classical tradition. Author of the award-winning Emblems of Eloquence: Opera and Women’s Voices in Seventeenth-Century Venice Heller‘s publications include the innovative textbook Music in the Baroque and its companion “Anthology of Music in the Baroque.” She was also a co-editor for Staging History: Historical Drama in Britain and America, 1780–1860 and the volume Performing Homer: The Journey from Epic to Opera.” Recently published articles include “Listening to Baroque Music History” in the award-winning Norton Guide to Teaching Music History, “Bach and the Soprano Voice” in the volume Rethinking Bach (Oxford University Press, 2021), and “‘Una Lingua Sciolta’: Listening to the Voice of Anna Renzi,” in Claudio Monteverdi’s Venetian Operas: Sources, Performance, Interpretation (Routledge, 2022).
Heller, who also trained as a professional singer, maintains a strong interest in performance, promoting collaborations between scholars and performers, and has been a driving force in the production of baroque operas at Princeton and most recently was dramaturg for Princeton’s groundbreaking virtual production of Cavalli’s La Calisto in 2019. Heller is a member of the editorial board for Francesco Cavalli’s “Opere” (Bären-reiter); her edition of Cavalli’s Veremonda, L’amazzone di Aragona (1652), produced at the 2016 Schwetzingen Festival, will be published in 2023. A member of the board of the American Handel Society, Heller is also editing Handel’s Admeto for Bärenreiter. For the past few years, she has also been a faculty participant in the Peking Opera Immersion program, in collaboration with the Program in East Asian Studies.
Heller’s current projects include the monograph Animating Ovid: Opera and the Metamorphoses of Antiquity in Early Modern Italy for University of California Press and is coediting Barbara Strozzi: In Context with Beth Glixon for Cambridge University Press.
Winner of the Rome Prize in Post-Classical Humanist Studies, Heller has also been a Mellon Fellow at the Society of Fellows at Columbia University, a visiting fellow at New College, Oxford, and an appointee at Villa I Tatti, Harvard University Center for Renaissance Studies.
Professor Heller joined Princeton’s faculty in 1998. She holds a bachelor’s degree in vocal performance and a master’s degree in musicology from the New England Conservatory of Music, and a PhD from Brandeis University.
KEYNOTE PERFORMANCE 2024
Asked about this title, ChatGPT answers: "The title 'Chopin Metamorphosed' suggests that this classical music performance will feature compositions by Frédéric Chopin that have undergone some form of transformation or reinterpretation. The term 'metamorphosed' implies a change or evolution, indicating that the pieces might be presented in a different light, perhaps through arrangements, variations, or adaptations by the performers. It could also suggest a creative exploration of Chopin's music, incorporating unique stylistic elements or blending it with other genres. Overall, such a title hints at a concert where the classical works of Chopin will be approached with a fresh perspective, offering the audience a new and distinctive musical experience". Androids and humans, we'll see!
SATURDAY, JUNE 29, 2024
SUNDAY, JUNE 30, 2024
9:00 - 11:00
11:15 - 13:15
Registration and Welcome
14:00 - 16:00
16:00 - 18:00
16:30 - 18:30
19:00 - 20:30
21:00 - 22:00
Alberto Nones, "Chopin metamorphosed"
ABOUT THIS VENUE:
Host of the Conference is the headquarter of the AEMC at "Palazzo Ferri" in Montecassiano