Semana da Composição // ESML

Escola Superior de Música de Lisboa
Investigação ESML/IPL – Pólo do CESEM

14 a 20 de Maio na ESML

Concertos // Debates // Conferências

sica de:

semanacomposicao2018.jpgAndré Lisboa, André Mota, André Simões, António Pinho Vargas, Arvo Pärt, Carlos Caires, Courtney Miller, Diogo C. Ferreira, Eduardo Marques, Érica Liane, Francisco Tavares, Giovanni Zaniol, György Ligeti, Hugo Reis, Inês Lopes, Inês Matos, João Carlos Pinto, João Damas, Jorge Ramos, José Luís Ferreira, Jug Markovic, Karlheinz Stockhausen, Luigi Abbate, Luís Mandacaru, Luís Soldado, Manuel Beirão, Mariana Vieira, Pedro Beirão, Pedro Latas, Rodrigo Cardoso, Sérgio Azevedo, Sérgio Lopes, Simão Bárcia.

Evento integrado no projecto de investigação  “Criação, Circulação, Registo e Edição de obras de

Música Portuguesa Contemporânea”, CCRE-MPC, apoiado pela FCT e FEDER no âmbito do PT2020

ESML 2018

Programa aqui!!

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Contemporaneidades: Forthcoming session

…with Carlos Rocha

Ansiedade da performance musical: The anxiety and music performance pedagogy: the case of the violinist

03 may 2018, at Lisbon
FCSH, Torre B, Auditório 2;  18:00

more information here

…with Mauricio Carrasco

Hysteria and trauma as constitutive elements in contemporary monodrama: an artistic research on music theater

17 may 2018, at Lisbon
FCSH, Torre B, Auditório 2;  18:00

more information here

NCMM — Nova Contemporary Music Meeting

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Call For Papers New Deadline

April 15, midnight.

Nova Contemporary Music Meeting (NCMM) is a biennial, 3-day international conference launched by the Contemporary Music Research Group (GIMC) of CESEM (Centre for the Study of Sociology and Musical Aesthetics at Nova University, Lisbon) and focused on a variety of questions relating to music since the beginning of the 20th century.

NCMM Website

Call for papers

NCMM 2018 Main Topic

Composing Music Today

Music today is more diverse than it has ever been. The variety of genres, practices, techniques, technologies, systems of dissemination and forms of reception has changed the way in which music is composed. Music is now almost omnipresent in our society, from the concert hall to the museum, from the media to public spaces, to private listening with headphones. For each of these situations, and many others, someone composed the music, created the sound, and organized the musical discourse that will be present in the listening space. This music was created using a diversity of techniques, knowledge and technologies that should be considered, because each of these resources used in musical creation influenced the final result.

In this context it is pertinent to ask: what is composing music today? What is the role of the composer in today’s musical world? Can we continue to talk about “composing music” in any situation of music creation? Or should we consider the use of other expressions? What is the role of musical creation in the context of a museum exhibition, or in installations? Can a sound artist be considered a music composer?

Is sound art a form of musical composition? Can real-time coding or free improvisation be considered forms of musical composition? What is the difference between real-time composition and a computer music performance? In a world where the technological means seem to make musical creation accessible to anyone, what is the place of the “traditional composer”?
It is within the context of this complex problem that we encourage composers, musicologists, performers, teachers, philosophers and other interested researchers to contribute to proposals covering the whole range of questions involved in this subject. Students, postdoctoral and early-career researchers are particularly encouraged.

NCMM Themes:

The conference is also open to other topics related to contemporary music studies and practices. 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 and cultural issues.

  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

To see the complete description of the NCMM themes, click here, or download the call for papers

 

Dois acontecidos happenings & outras performatividades

O que propomos no primeiro encontro deste ciclo cujo título faz referência ao texto de Ernesto de Melo e Castro “Dois acontecidos happenings” é não só fazer uma retrospetiva desses dois eventos experimentais portugueses “Concerto e Audição Pictórica” (1965, Galeria Divulgação) e “Conferência Objecto” (1967, Galeria Quadrante), mas a partir deles desenvolver uma análise do papel da música nas suas diversas dimensões e relações (sonoridades, performatividades, registos e hibridizações com outras artes). A partir desses “Dois acontecidos happenings” procura-se abrir um diálogo transversal com alguns dos seus referentes, como John Cage, e com algumas das suas derivas, como os pianos preparados de Jorge Peixinho, a música experimental de Jorge Lima Barreto, a composição de Clotilde Rosa, ou o piano a arder de João Onofre. Do Brasil, chegam-nos ainda, entre outros, os exemplos de Márcia X e Alex Hamburguer na sua Tricyc(l)age.

Mais informações aqui.

Old is New — Call for papers: new deadline 2 April

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 Old is New: The Presence of the Past in the Music of the Present

24, 25, 26 November 2016 – Lisbon

With high level papers presentations, debates and concerts.

Any creative activity must pay dedicated attention to the information transfer that occurs between different periods. One never starts from zero, no matter what the activity is, and this is also true for music. We talk about the way the past is considered in each historical moment, extracting from it as much as one can for the understanding of the present.

Starting from the point of view of composition – which also facilitates extending the discussion into the areas of performance, teaching, and analysis, for example – this conference will bring together a wide range of perspectives about how the musical past is always a subject for consideration in recent music, even when the present seems highly innovative and different from everything that came from other historical periods.

This consideration might be expressed in many different ways, from the “neo-” movements, considered in a simplistic or sophisticated way, investing in the reformulation of past methodologies, to the most innovative and eccentric trends that base their departure from the centre on the use of the past as sustenance for their praxis, such as, for example, some retro-futuristic movements.

For detailed information please consult the document in attachment or visit our website at: https://oldisnew2016.wordpress.com

Find the call for papers here.