Musical Performance as creation
The main theme is to discuss the musical performance in our days. From the concert hall to the streaming systems, from the street to the television, from live to recordings, the performance act is a creative one that transposes the creator’s musical ideas and moods to the audience. Regardless of the multiplicity of genres, media and contexts, including unexpected and terribly challenging situation like the current pandemic context, discuss performance is essential. Moreover, discussing musical performance as a creative act includes considering its interpretation, the diversity of techniques and skills, the technologies involved, the performance spaces, the auditory contexts, the public's willingness and accessibility to it, and many other determining variables.
Considering the above-mentioned, it is pertinent to ask: what means performing music today and in what sense or way it can be seen as a creative act? What is the role of the performer in today’s musical world? Can we continue to talk about “performing music”? Or should we consider using other expressions according to each particular situation? What is the role of musical performance in the context of a museum exhibition, sound art event or even in installations? Can a sound artist be considered a music performer? Can real-time coding or free improvisation be considered as forms of musical performance? Can the creativity embodied in musical performance influence the development of the community and society? How can musical performance be relevant in situations of social crisis and depression?
It is within the context of this complex problem that we encourage composers, musicologists, performers, teachers, philosophers and other researchers to present proposals covering the whole range of questions involved in this subject. Students, post-doctoral, and early-career researchers are particularly encouraged.
NCMM permanent subjct:
The conference is also open to other topics related to contemporary music studies and practices.
1. Musical composition practices, performance and reception:
2. Music history, theory and analysis:
3. Philosophy of music and aesthetics:
4. Musicology, intertextuality and authenticity:
5. Auditory perception and cognition:
6. Musical sound transcription, representation and music notation:
7. Sound technologies and the music industry:
8. Music and image:
9. Sound art, installations and exhibitions:
10. Soundscape, sound ecology:
11. Documentation and preservation of musical heritage:
12. Music and emergent cultures and societies, cultural heritage and inclusive societies:
For more details see : http://fabricadesites.fcsh.unl.pt/ncmm/call-for-papers/
Thus, we encourage the submission of papers related to any aspects of the field, including, but not limited to, composition, music and technology, auditory perception, music history, analysis and theory, musical genres and practices, as well as cultural issues.
Guidelines for Submission
The deadline for submission of paper proposals is Friday, 27 December 2020 midnight EST. Notification of acceptance will be emailed to applicants by 15 February 2021.
A submission should consist of a zipped folder containing:
• The paper abstract in English (500 words maximum, including 2 to 3 keywords), headed by the author’s name(s), organizational affiliation (if any), contact address, telephone, and email address, in PDF;
• A short CV (2 pages max.)
• A list of main publications (up to 10 entries), in PDF.
• A short biography (up to 150 words), in PDF;
Submission are to be made directly by email to: ncmm.contemporarymusic[at]gmail.com
Please send a copy (cc) to: imp[at]fcsh.unl.pt
The abstract as well as the short biography should be ready for publication if the paper is accepted. A programme containing the paper abstracts and biographies will be published on the NCMM website <http://fabricadesites.fcsh.unl.pt/ncmm/> and made available at the conference.
Submissions from students and early-career postdoctoral researchers are particularly encouraged.