Links to events relating to 18th-century music (will open new browser windows). Links to past events can be found here.



Annual Meeting of the American Society for Eighteenth-Century Studies
Minneapolis, MN, March 30–April 2, 2017
CFP deadline: Friday, September 15, 2016

The Society for Eighteenth-Century Music (SECM) session at the annual conference of the American Society for Eighteenth-Century Studies (ASECS) will have as its topic, “Rethinking Difference in Eighteenth-Century Music” (session chairs: Melanie Lowe, Vanderbilt University, and Olivia Bloechl, UCLA).

In the wake of the recent collection, Rethinking Difference in Music Scholarship (eds. Bloechl, Lowe, and Kallberg, Cambridge University Press, 2015), this session invites papers that explore reconfigurations of difference within the discipline of musicology. What impact can such reconfigurations have on eighteenth-century musical scholarship? Why might differences and similarities among people matter for music and musical thought? How do ideas of recognition, redistribution, freedom, and sameness, alongside more widely embraced constructions of race, gender, and sexuality, enhance our understanding of music and musical thought in the eighteenth century?

Three presenters will be selected to deliver papers of twenty minutes each. The program committee welcomes proposals for individual papers or unified sessions. All presenters and participants are required to be members of ASECS or a constituent society of ISECS at the time of the conference.

Please include your name, institutional affiliation (if applicable), contact information, audio-visual needs, and the title of your paper in the body of an email. Abstracts of no more than 350 words should include the title of the paper and represent the presentation as fully as possible. Please send abstracts as .doc or .pdf attachments to bloechl@humnet.ucla.edu by September 15, 2016.



A conference of the Haydn Society of North America (HSNA) will take place Wednesday, November 2 and Thursday morning, November 3, at the Vancouver Sheraton Wall Center Hotel, prior to the meeting of the American Musicological Society / Society for Music Theory. We are seeking proposals concerning any work regarding Joseph Haydn and his circle. We also anticipate a joint session with the American Beethoven Society and invite proposals for this session linking the two composers. Presentations accepted for the AMS/SMT conference itself may not be read at this conference. Papers read at the conference may be solicited for publication in HAYDN: Online Journal of the Haydn Society of North America (haydnjournal.org).

Scholars are invited to submit proposals for individual papers or lecture/performances. Papers and presentations should not exceed 30 minutes. Additionally, ten minutes will be allotted for discussion. Proposals should indicate the type of presentation (paper or lecture/performance) and include the presenter’s institutional affiliation or place of residence, equipment and technical requirements, and an abstract of no more than 400 words. Abstracts should articulate the most important aspects of the research, discuss the relationship of the work to previous scholarship, and describe the significance and potential future usefulness of the findings.

Please submit complete proposals as an attachment in Word or PDF to Michael Ruhling (Michael.Ruhling@rit.edu) by July 15. Presenters are expected to be members of HSNA at the time of the conference.



Panel session theme: “Mozart’s Operatic Poets”
Organization: Mozart Society of America (MSA)
CFP deadline: 31 May 2016
Conference date: 7 August 2016, 3:00-4:30 p.m.
Conference venue: Mostly Mozart Festival, Lincoln Center, New York

“It will cost him much running around and arguing until he gets the libretto into the shape that he desires for his purpose.” Thus wrote Leopold Mozart to his daughter Maria Anna (Nannerl) on 11 November 1785, concerning her brother Wolfgang’s work on Le nozze di Figaro, highlighting the fact that the seemingly miraculous perfection of that opera did not come about without the composer’s direct intervention in the drafting of its text. In keeping with the performances at Mostly Mozart this year of both Idomeneo and Così fan tutte, the MSA Program Committee invites proposals for short papers (20 minutes) that address the theme of “Mozart’s Operatic Poets,” treating such issues as: Mozart’s manner of setting operatic texts (whether in individual works or more generally), the collaborative process between librettist and poet, the careers of librettists who worked directly with the composer or whose works he set, Mozart’s views on operatic poetry and stagecraft, the interactions of stage directions and the sung text, the literary sources of Mozart’s operas, and the critical reception of texts set by Mozart.

Topics should be proposed in abstracts of up to 300 words and sent to Bruce Alan Brown at brucebro(at)usc.edu by 31 May 2016. One need not be an MSA member in order to submit a proposal, but all speakers chosen must be members of the Society by the time the session takes place. The panel will include three papers and there will be time at the end for questions from the audience.



Conference, The Universe of Gennaro Magri: Dance, Music, and Opera in Naples during the Enlightenment

CFP deadline: 31 March 2016 (send to magri.project@gmail.com ) Conference dates: 6-8 October 2016 Venue: Teatro San Carlo, Naples, Italy Conference languages: Italian, French, English Contact: Arianna Fabbricatore ( arianna.fabbricatore@gmail.com )

This international and interdisciplinary conference aims to use the work of Gennaro Magri (ca. 1735–1780), choreographer at the Teatro San Carlo and author of the Trattato teorico-prattico del Ballo (1779), as a springboard for examining the role of comic and grotesque dance in his home city of Naples and more broadly across all parts of Europe touched by Italian dancing and Italian theatrical practices, including opera. Magri’s own international career, placed alongside his writings, invites reflections on the aesthetic and technical distinctions among the different styles of dancing in his day and their relationship to music, pantomime, theatre, and opera. A partial list of potential topics includes theatrical dance in Naples in the 18th century (repertoire, styles, performers, dramaturgy, music); Gennaro Magri as author and choreographer (his career, the contents and interpretation of his treatise, his relationships with reformers such as Noverre and Le Picq); source studies (libretti, scores, iconography, theoretical writings, archival documents); practices on stage (dance in and alongside opera, choreographic conventions, movement vocabulary, dance-music relationships); stylistic dialogues (noble style vs. comic and grotesque dance, French vs. Italian styles, the development of pantomime ballet, the relationship of comic dance to the commedia dell’arte, aesthetic controversies). The program committee welcomes a variety of formats: individual papers; themed sessions; round tables; lecture-demonstrations; workshops. Proposals should include a title, an abstract (one page maximum), a statement of the chosen format, and a brief biography of the participant(s) (10 lines). Proposals should be sent to magri.project@gmail.com no later than 31 March 2016; notification will be provided by the end of April.

Program committee: Francesco Cotticelli, Seconda Università di Napoli
Arianna Fabbricatore, Université Paris-Sorbonne
Rebecca Harris-Warrick, Cornell University, Ithaca, New York
Paologiovanni Maione, Conservatorio San Pietro a Maiella
Marie-Thérèse Mourey, Université Paris-Sorbonne
José Sasportes, Universidade Nova de Lisboa






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