On 18 July 2024, Bernard Lortat-Jacob, one of the most renowned and authoritative voices in ethnomusicology, a first-rate researcher and scholar, passed away at the age of 83.

ESEM owes a great deal to Bernard, who, among other things, was one of the fourteen founding members of the ESEM in Strasbourg on September 4, 1982, and was entrusted with the role of chairing one of the sessions of the seminar dedicated to improvisation. http://esem-music.eu/wp-content/uploads/2018/07/ESEMpoint-1.pdf

It is impossible to summarise Bernard Lortat-Jacob’s work. It is diverse, wide-ranging and of great scientific in-depth. Drawing on his musical and ethnological training, Bernard began researching and recording in the 1960s for the Musée des Arts et traditions populaires.

In 1977, he started teaching at Paris X-Nanterre. In 1984, he was on the Patrimoine ethnologique commission. That same year, he founded the Société française d’ethnomusicologie and was its president from 1985 to 1992 and again from 2005 to 2006. He was also a research director at the CNRS and director of the Laboratoire d’ethnomusicologie [CNRS] du Musée de l’Homme from 1990 to 2003.

His rigorous research began with short journeys to various French regions, including Aubrac, Berry, Île d’Yeu, and Corsica. From 1969 to 1981, he undertook approximately two months of research per year in the Berber communities of Morocco, specifically in the High and Middle Atlas. Since the late 1970s onwards, he conducted in-depth study of multipart singing in various villages across central and northern Sardinia. In parallel, between 1980 and 1998, Bernard conducted research in Romania, Transylvania and the Pays de l’Oach in collaboration with Jacques Bouët and Speranta Raculescu. This research focused on improvisation between musicians with specialized skills in festive settings. Subsequently, in 2002, he conducted research in southern Albania.

From 1987 to 2008, Bernard Lortat-Jacob was director of the doctoral programme in ethnomusicology at the University of Paris X-Nanterre-La Défense. He has published extensively on a range of topics in general anthropology and musicology, contributing to interdisciplinary dialogue with fields such as acoustics, linguistics and music cognitivism. 

It is clear that Sardinia was also Bernard’s a favorite field of activity for Bernard on a personal level, in terms of his relations with singers and the local people. In this regard, it is noteworthy that he opted to be interred in Castelsardo, where he conducted an extensive investigation into the multipart practices of the local Confraternity. His findings illustrate how the act of singing with multiple voices fosters a profound interpersonal connection, imparting a quality of tangible presence within the musical experience. 

To find out more about Bernard Lortat-Jacob’s themes, methodological approaches and scientific production, visit the blog https://www.lortajablog.fr .

(Ignazio Macchiarella)

Themes
1. Excluded Musics

Throughout its history, ethnomusicology collected, archived and interpreted numerous musical practices creating subsequent representative academic knowledge. Inevitably, some practices have been excluded. Beyond mere pragmatic reasons, the processes of selection of particular music and dance styles to be studied and/or performed have regularly been immersed in current politics. These selections also influenced the future understandings of (national) cultures, as well as affected different communities and their identity formations. The selection processes were again repeated by the state cultural politics, school curricula and heritagization processes. 

Could inclusion or emphasis on certain “unwanted” musics shift our perception of particular cultural practices, communities or the general role of music and sound in society? As ethnomusicologists, what can we do to recognize the hegemonic policies of omission in our discipline and work against them? Can these excluded musics be reached, researched and reintegrated into the canon today? Or how can they help us unlearn the notion of the canon and its interpretational and representational hegemony altogether? What music and dance practices are being excluded right now and what does it tell us about them and those who exclude them? Aside from our research, in our teaching, what can we do to avoid repeating these omissions? 

Within this thematic stream, we are looking for examples of different “unwanted” or excluded music and dance styles and repertoires, the specificities of their contexts, changes in paradigms or cultural politics that resulted in shifts between wanted and unwanted musics and opening of the discussion on how to work on selection without creating hegemonic structures. We invite scholars to present on topics such as:

Canon formation and canon critique in ethnomusicology

Traditional and folk music and dance and its relation to nationalism and processes of “national culture” formation 

Heritagization and Intangible Cultural Heritage policies 

Selection processes in music and dance research and artistic practice (repertoire in stage ensembles, repertoire in traditional music education, teaching canon in ethnomusicology, habits in research topic choices) 

Choice-making in field recording and archiving 

2. Sounds of Confinement and Isolation 

The Covid-19 pandemic urged the ethnomusicologists world-over to reexamine their understandings of complex conditions of physical and social isolation and reflect on the role music and dance played as one of the mechanisms of navigating the everyday experience of imposed confinement and isolation. We were able to observe firsthand the myriad of creative ways people used music and dance to cope with mobility restrictions, while at the same time we witnessed music-making activities being forced to move online or stop altogether because they were deemed to be one of the most “dangerous” forms of social gathering. As we are slowly moving back to “business-as-usual” we are inviting participants to (re)consider other (past and present) instances in which music and sound are deeply ingrained in the experiences of confinement and to reflect on the ways that thinking through music and sound can help us to arrive at more nuanced understanding of different forms of forced and/or self-imposed isolation. 

Most obvious spaces to think through about the topic of music, confinement and isolation are undoubtedly different places of forced confinement. Difficult to access and intentionally removed from the flows of everyday life, these spaces are often characterized by specific sound regimes and controlled conditions in which music is allowed to appear. Isolation, however, could also be understood in terms of geographically isolated spaces—in particular islands and other insularised spaces—in which the sense of isolation is at times strongly felt and as such potentially reflected in music. Despite numerous instances in which it is forced upon individuals not in position to resist the oppressive conditions of confinement, isolation is also increasingly becoming a tool of self-care and a sort of a “luxury” form of distancing from the accelerated pace of everyday life in societies consumed by speed, profit, information-overload and dictate of being “always-on”. In such instances of self-imposed isolation music and sound very often have a special role to play. 

We invite scholars and practitioners to contribute their works that concern sounds and music in relation to confinement and isolation through (but not limited to) the following topics: 

• Experience of isolation and music-making in island communities and other insularised spaces, including linguistic enclaves and other secluded minority settings 
• Music and sound regimes in spaces of forced confinement (such as prisons, detention centres, closed hospital wards) 
• Music and experience of confinement in cities/areas under siege in armed conflict 
• Music and experiences of isolation/non-belonging in the context of contemporary migratory  movements 
• Music as a technology of self-imposedisolation(self-distancing,self-seclusion,self-retreat)
• Music and solitude 
• Methodological challenges of research on music and confinement 

3. Free papers 

Even though proposals related to the Seminar’s themes will be prioritised, submissions about other topics of interest for ESEM will be also considered. 

abstract submission deadline: 

1 April 2024  extended until April 15

conference venue: 

University of Zagreb Academy of Music Trg Republike Hrvatske 12 Zagreb, Croatia 

Modes of Presentation

A variety of presentation modes are possible and applicants are encouraged to carefully consider which mode of presentation might work best to present their research. You may only present once during the seminar.

Individual Paper: The length of an individual paper presentation will be 20 minutes, with 10 minutes discussion time. Co-authorship is allowed and encouraged.

Film Screening: Film presentations aim at screening your own work, followed by a discussion of the presented film. Please submit a written abstract of the content including general data about the film and its length for the program committee’s consideration.

Panel (90 minutes) is planned, coordinated, and prepared by a group of people, one of whom is the responsible coordinator. Proposals may be submitted for panels consisting of three or more presenters and the structure is at the discretion of the coordinator. The proposal should indicate the overall purpose and the role of the individual participants. Each panel proposal will be accepted or rejected as a whole. Please note that you have to submit only one abstract for the whole panel. All the individual abstracts will be required for the book of abstracts at a later stage if the panel is accepted.

Roundtable (90 minutes) is planned, coordinated, and prepared by a group of people, one of whom is the responsible coordinator. The aim is to generate discussion between members of the roundtable, each of whom presents questions, issues, and/or material for 3-5 minutes on the preselected unifying theme of the roundtable. The following discussion may open into more general discussion with the audience. The proposal explains the overall purpose and the role of the individual participants. Each roundtable proposal will be accepted or rejected as a whole.

Language

English is the official language of the Seminar.

Submission

Deadline for proposals is 15 April 2024. Please submit your proposals via Google Form available at this link.

Evaluation of proposals will be done anonymously, and presenters will be notified of the program committee’s decision by mid-April 2024.

Symposium Registration Fee

Early Bird Registration (Deadline: 31 July 2024) • regular 50 € — reduced 30 €
Registration (Deadline: 1 September 2024)
• regular 70 € — reduced 40 €

The registration form will be available online starting May 2024.

…

Tuesday, September 19

8:30 Arrival and registration

9:00 Opening greetings

• Massimo Midiri (Rector of the University of Palermo)
• Francesca Piazza (Director of the Department of Humanities, University of Palermo)
• Rosario Perricone (Director of the Pasqualino Museum)
• Ewa Dahlig-Turek (President of the ESEM)

John Blacking Memorial Lecture

Salwa El-Shawan Castelo-Branco

I. Ethnomusicologists today: new challenges in research, methods, and communication

Session 1 – Ewa Dahlig-Turek (Chair)

10:30 Rytis Ambrazevičius (Lithuanian Academy of Music and Theatre, Vilnius, Lithuania), Ukrainian-Lithuanian ethnomusicological connections and the war

11:00 Tessa Balser-Schuhmann (mdw–Universität für Musik und darstellende Kunst, Wien), A challenge of class? Musical diversity in Western art music concert halls. An example from Vienna. 

11:30 Coffee break

Session 2 – Nico Staiti (Chair)

11:50 Fulvia Caruso (University of Pavia, Italy), “Culture in dialogo”. Making a website together as a mean of recalibrating our ethnography and make it more accessible

12:20 Ignazio Macchiarella (University of Cagliari, Italy), Ethnomusicology into question. The case of “a tenore” singing in Sardinia after the Unesco proclamation

12:50 Klisala Harrison (Aarhus University, Denmark) and Pirkko Moisala (Helsinki University, Finland), Approaches to “qilaat” in Greenland: heorizing positionality in ethnomusicology

13:20 Lunch

Session 3 – Ana Hofman (Chair)

15:00 Karin Larsson Eriksson (Linnæus university, Växjö, Sweden), “This collection will be a true representation of folk music from Södermanland”: the publishing of traditional music

15:30 Dan Lundberg (Stockholm University, Sweden), So that this song shall not die

16:00 Thomas Solomon (University of Bergen, Norway), Music and displacement: making sense of a terminological “mess”

16:30 Samuel Weigel (Hannover University of Music Drama and Media, Germany), Digital minyanim: Jewish musical heritage in transeuropean contexts

17:00 Felix Morgenstern (Kunstuniversität Graz, Austria), Performing Irishness in German-speaking Europe: intercultural transactions, nationalism, and “the music itself”

17:30 Coffee break

Session 4 – Ardian Ahmedaja (Chair)

17:50 Mojca Piškor (University of Zagreb, Croatia), Listening at/to the border: on the ethnomusicology of not knowing 

18:20 Oldřich Poděbradský (Charles University, Prague, Czech Republic), From fantasy to fantastic folklore: new shifts of Moravian folklore music. The case of Jeden Kmen Collective 

18:50 Stefano Portelli (University of Leicester, UK) and Hélène Sechehaye (Université Libre de Bruxelles/Université Jean Monnet, Saint-Etienne), The “Gnawa Rumi” album: researching Moroccan ritual music in Italy through a collaborative recording

19:30 Sicilian Puppet Show

Compagnia Opera di Pupi Brigliadoro

The siege of Paris

Wednesday, September 20

II. Music, technology, digital revolution

Session 5 – Giovanni Giuriati (Chair)

09:00 Anna Rezaei (University of Music and Performing Arts, Graz, Austria), Stories of resistance: toward a political and cultural ambiguity in the social production of space 

09:30 Claudio Rizzoni (Soprintendenza ABAP Genova-La Spezia, Italy) and Elena Musumeci (Istituto Centrale per il Catalogo e la Documentazione, Roma, Italy), Historical bells heritage between tangible and intangibile

10:00 Ardian Ahmedaja (Universität für Musik und darstellende Kunst, Wien), “O Salutaris Hostia”: music traditions in religious contexts among Albanians of Roman Catholic faith in Montenegro

10:30 Stéphane Aubinet (Postdoctoral fellow, University of Oslo), Lullabies in the digital era: anthropological perspectives

11:00 Francesca Billeri (SOAS University of London, UK), Mediatization and remediation of Khmer Lakhon Bassac Theatre on television and social media

11:30 Coffee break

Session 6 –  (Chair)

11:50 Shan Du (University of Bologna, Italy), The “Nava Durgā” on social media: auto-representation of the identity through the mediatization of performance

12:10 Marko Kölbl (University of Music and Performing Arts Vienna, Austria), Nothing about us without us building a virtual community archive

12:40 Abigail C. Lindo (University of Florida, USA), Sonic junk and techno trash: how performances with recycled objects further collective environmental ethos

13:10 Nico Mangifesta (University of Pavia, Italy), Reconsidering the boundaries of sonic dialogue between gamelan and computer music in Monk (2019) by Yan Priya Kumara Janardhana

13:40 Lunch

15:00 PANEL 1

Exiled and re-exiled performance practices from African communities

Coordinator/participant: Gisa Jähnichen (Shanghai Conservatory of Music, China). Participants: Chinthaka P. Meddegoda(University of the Visual and Perfomring Arts, Colombo, Sri Lanka), Rastko Jakovljevic (New York Institute of Social Sciences and the Humanities, USA), and Lin Zhi (Putra University, Serdang, Malaysia)

16:40 Coffee break

17:00 PANEL 2

(Not only) For the pandemic. Solutions for the advanced use of traditional music resources

Coordinator/participant: Ewa Dahlig-Turek (Polish Academy of Sciences). Participants: Arleta Nawrocka-Wysocka (Polish Academy of Sciences), Jacek Jackowski (Polish Academy of Sciences), and Ewa Łukasik (Poznań University of Technology)

18:40 ESEM General Assembly

Thursday, September 21

9:00 Guided Tour through Palermo 

19:00 Workshop on Sicilian traditional instruments

20:00 Sicilian traditional supper at the Museum

Friday, September 22

III. Free papers 

Session 7 – Ignazio Macchiarella (Chair)

09:00 Ilaria Meloni (University of Rome La Sapienza, Italy), “Wayang #dirumahsaja”: new digital scenarios of Javanese shadow puppet theatre and the urgency of updating research methodologies

09:30 Christopher L. Ballengee (John Paul II Catholic University of Lublin, Poland), Choorile and kantráki: Indian Caribbean music in the secondary diaspora in Europe

10:00 Laura Ellestad (University of South-Eastern Norway, Kongsberg), Performing Norwegian American: the construction of identity through interplay with music subcultures and global cultural flows in the Upper Midwest

10:30 Karin Eriksson (University of South-Eastern Norway), Embodying traditions: exploring gendered spaces in traditional dance and music in Norway and Sweden 

11:00 Mats Johansson (University of South-Eastern Norway, Kongsberg), Intonation practices in Scandinavian traditional music: towards an alternative analytical model

11:30 Coffee break

Session 8 – Sergio Bonanzinga (Chair)

11:50 Ian Russell (University of Aberdeen, UK), Humble harmonicas and homely spaces: understanding the performance role of mouth organs, jews harps, and melodeons in North-East Scotland

12:20 Zuzana Jurková (Charles University, Prague, Czech Republic), «Leperiben! / Remembering!» Romani musical remembering in today’s Prague 

12:50 Shireen Nabatian (Graduate Student, University of California, Santa Cruz, USA), Translocal networks of Iranian musicians in Istanbul

13:20 Andrew Snyder (Universidade Nova, Lisbon, Portugal), Postcolonial intimacies and citations in the Brazil’s Street Carnival of Lisbon

13:50 Lunch

15:00 PANEL 3

Ethnomusicology in the crossfire: navigating political conflict in ethnomusicological minority research 

Coordinator/participant: Isabel Frey (University of Music and Performing Arts, Vienna, Austria). Participants: Benjy Fox-Rosen, Ursula Hemetek, and Kai Tang (University of Music and Performing Arts, Vienna)

16:30 Coffee break

16:50 PANEL 4

Womens agency through music: three case studies

Coordinator/participant: Blanche Lacoste (University of Saint-Etienne, France). Participants: Thea Tiramani (University of Pavia, Italy) and Sara Antonini (University of Rome La Sapienza, Italy)

18:00 Films screening

– Hopa lide: an ethnomusicological documentary on (and with) Slovak Romani musicians (50 min extract from original 90 min, 2020) by Petr Nuska (Slovak Academy of Sciences, Borsov and Vltavou)

– Mussem (50 min extract from original 88 min, 2021) by Antonio Baldassarre (Independent researcher, Italy)

Saturday, September 23

9:30 PANEL 5

“What’s the purpose of it?”: locating the ethnomusicologist as a promoter and producer of socio-cultural values and applicability in times of change

Coordinators/participants: Serena Facci and Giuseppe Giordano. Participants: Alberto Annarilli, Eleonora Betti, Francesca Cireddu, Simona D’Agostino, Luciana Manca, and Eustache Ntambwe Makoyo (University of Rome Tor Vergata)

11:15 Coffee break

11:35 PANEL 6

Networking, sharing knowledge, and singing together. Notes from the “Network of UNESCO Cultural Spaces” Erasmus+ Project

Coordinator/participant: Velika Stojkova Serafimovska (Institute for folklore “Marko Cepenkov”, Skopje, Macedonia). Participants: Joško Ćaleta (Institute of Ethnology and Folklore Research, Zagreb, Croatia), Marco Lutzu (University of Cagliari, Italy), and Diego Pani (Istituto Superiore Regionale Etnografico, Nuoro, Italy)

13:15 Lunch

15:00 Roundtable

«ECHOFRIENDLY»: developing acoustemological models and ICT tools for soundscape preservation and ecoacoustic quality assessmentCoordinator/participant: Domenico Staiti. Participants: Silvia Bruni, Lorenzo Chiarofonte, and Nicola Renzi (University of Bologna); Ilario Meandri and Camila Degen (University of Turin)

16:30 Film screening

«Solčence zahaja» [The Sun is Setting] (58 min, 2019) by Ana Hofman (Research Centre of Slovenian Academy of Sciences and Arts, Ljubljana, Slovenia)

17:30 Coffee break

17:50 Film screening

Forging the music: from Ancient World to contemporary Sicilian blacksmiths (about 40 min, 2023) by Sergio Bonanzinga (University of Palermo, Italy)

18:30 Concert

Sound of Sicily

The XXXVIII European Seminar in Ethnomusicology will take place in Palermo, Italy,  Antonio Pasqualino International Puppet Museum.

Themes 

1. Ethnomusicologists today: new challenges in research, methods, and communication

Europe is going through very challenging times, shaped, for instance, by the inability to manage migratory flows across the continent in a humane manner, the climate and energy crisis, the pandemic, and, more recently, the war in Ukraine. In this framework of profound uncertainty, finding new ways to ‘resist’, recalibrating our professional responsibilities inside and outside of the academic context, should be a priority for everyone. How do we see and understand our profession in the third decade of the third millennium? Towards which themes do we direct our investigations and how do we orient our gaze on the phenomena we study? How do we act to make the results of our work more accessible? Starting from these three questions, there are many reflections to be made, discussing how sound-music-dance practices, mainly derived from orality, can play a role in today’s dynamics of cultural contact, agency, ecology, and hospitality. We believe it can be useful to compare ideas and positions on these issues: we welcome alternative methods of presentation, such as roundtables, panels, posters, films, etc.

2. Music, Technology, Digital Revolution 

Technology is increasingly conditioning every sphere of musicianship, including traditional practices, both in terms of producing and listening to music. Local actors are using technology to consciously influence their own sound, to listen repeatedly and deeply, the results of which are (re)proposed in the act of performance, to “create” new sonic results, to transmit musical knowledge, to shape new dimensions of aurality, and so on.  In other contexts, sound technology forms the basis for activities concerning the phenomenon of heritagization, including the creation of sound archives, repertoires, forms of transmission, and so on. As ethnomusicologists, our discipline was strongly influenced by  the development of sound recording/reproduction technology, and we constantly refer to technology at every stage of our work. Thus, in recent years, the digital revolution and the emergence of new media have triggered unprecedented musical scenarios, new phenomena of musical creativity and diversity, a flood of innovative phenomena often largely undefined and incomprehensible, and so on. Increasing and diversifying thought in this field is now more urgent and necessary than ever: and this is what we invite you to reflect on, starting with concrete case studies. 

3. Free papers 

Even though proposals related to the Seminar’s theme will be prioritised, submissions about other topics of interest for ESEM will be also considered.

Submission

Deadline for proposals is 26 February 2023. Please submit your proposals via mail at this address:

sergio.bonanzinga@gmail.com

For the submission, you will be asked to provide: 

1) Personal Data 

2) Selected mode of presentation and theme

3) Proposal consisting of title and abstract (200-300 words) 

4) Keywords 

Evaluation of proposals will be done anonymously, and presenters will be notified of the program committee’s decision by 15 March 2023. The program committee might suggest alternative modes of presentation to accommodate as many submissions and contributions as possible.

Modes of Presentation A variety of presentation modes are possible and applicants are encouraged to carefully consider which mode of presentation might work best to present their research. You may only present once during the seminar. 

Individual Paper The length of an individual paper presentation will be 20 minutes, with 10 minutes discussion time. Co-authorship is allowed and encouraged. 

Student Paper: Students are invited to present their current research topics. Student paper presentations have a length of 10 minutes. Student researchers can also join organized panels and roundtables, and are encouraged to submit poster presentations. 

Film Screening: Film presentations aim at screening your own work, followed by a discussion of the presented film. Please submit a written abstract of the content including general data about the film and its length for the program committee’s consideration.

Panel (90 minutes) are planned, coordinated, and prepared by a group of people, one of whom is the responsible coordinator. Proposals may be submitted for panels consisting of three or more presenters and the structure is at the discretion of the coordinator. The proposal should indicate the overall purpose and the role of the individual participants. Each panel proposal will be accepted or rejected as a whole. Please note that you have to submit only one abstract for the whole panel. All the individual abstracts will be required for the book of abstracts at a later stage if the panel is accepted. 

Roundtable (90 minutes) are planned, coordinated, and prepared by a group of people, one of whom is the responsible coordinator. The aim is to generate discussion between members of the roundtable, each of whom presents questions, issues, and/or material for 3-5 minutes on the preselected unifying theme of the roundtable. The following discussion may open into more general discussion with the audience. The proposal explains the overall purpose and the role of the individual participants. Each roundtable proposal will be accepted or rejected as a whole.

Poster format is open to any researcher whose material is best suited for this format. In the poster session, the moderator will introduce the presenters (online and onsite) at the beginning of the session and each presenter will give a brief introduction to their poster topic. An opportunity to examine the posters and interact with the presenters will follow. All posters will be displayed onsite and made available online throughout the symposium.

Language. English is the official language of the Symposium.

Symposium Registration Fee 

Early Bird Registration (Deadline: 31 July 2023) 

– regular 50 €  – reduced 30 € 

Registration (Deadline: 10 September 2023) 

– regular 70 €  – reduced 40 € 

The registration form will be available online starting May 2023. Please see the symposium website for further information (https://www.museodellemarionette.it/en/).

The Symposium registration fee includes.  Onsite participation; Symposium packet (including electronic Book of Abstracts / Symposium Program); Coffee breaks; A catered receptions; Concerts; Music workshop; Guided tour through Palermo 

Proceedings.The ESEM does not publish proceedings of their meetings. However, a peer-reviewed publication based on selected presentations will be a tangible outcome of the meeting. 

Contact Information about accommodation options, travel information, registration, and other details can be found at https://www.museodellemarionette.it/en/.

If you have any further questions regarding accommodation, registration, travel, etc. please do not hesitate to contact the Local Arrangements Committee: 

Maria Fasino (mimap@museomarionettepalermo.it)

Questions regarding the program can be addressed to any member of the Programme Committee:  Sergio Bonanzinga (sergio.bonanzinga@unipa.it ); Ignazio Macchiarella (macchiarella@unica.it); Giovanni Giuriati  (giovanni.giuriati@uniroma1.it ); Ana Hofman (hofman.ana@gmail.com)

Questions related to ESEM membership should be directed to the ESEM president Ewa Dahlig-Turek (edahlig@gmail.com)  and ESEM Secretary General Ignazio Macchiarella (macchiarella@unica.it)

The XXXVII European Seminar in Ethnomusicology will take place in Graz, Austria, University of Music and Performing Arts, from 12 to 16 September 2022.

The theme of the seminar is Joint knowledge production and collaboration in research 

The Program full version here

The Program short version here

Program Committee: 

Kendra Stepputat (chair) kendra-iris.stepputat@kug.ac.at 
Rafael Caro Repetto rafael.caro-repetto@kug.ac.at 
Karin Eriksson eriksson.karin@gmail.com 
Lea Hagmann lea.hagmann@musik.unibe.ch 
Mattia Scassellati mattia.scassellati@student.kug.ac.at 

Please see the symposium website for further information

https://ethnomusikologie.kug.ac.at/en/events/symposia-meetings-conferences/37esem/.

In the face of Russia’s military assault on Ukraine, the ESEM community strongly condemns the brutal violation of international agreements and the standards of social and political integrity in this world.

War means human tragedies and the annihilation of invaluable cultural heritage, archival collections, monuments and other cultural and scientific resources.

We join the demands for an immediate end to the aggression and withdrawal from the internationally recognized borders of Ukraine. 

We express our deep solidarity with the entire Ukrainian people.

To our colleagues, Ukrainian ethnomusicologists, we wish to say:

WE ARE WITH YOU!

The European Seminar in Ethnomusicology in 2022 will be hosted by the Institute for Ethnomusicology, University of Music and Performing Arts Graz

https://ethnomusikologie.kug.ac.at/en/events/symposia-meetings-conferences/37esem/

 Theme 

Joint knowledge production and collaboration in research 

The topic aims at exploring possible collaborations in research processes. This can include cooperation with expert individuals or communities of practice (online and onsite, local and translocal), as well as academic collaborations with any other field oriented towards inter- and transdisciplinary research. The aim is to cast light on new potentials and expanded possibilities, but also to identify possible challenges and disadvantages that might result from such approaches. Presentations can also address questions regarding alternatives to historically transmitted methods of knowledge gathering that provide for the establishment of joint, collaborative modes of knowledge production, storage, communication, and publication. 

Even though proposals related to the Seminar’s theme will be preferred, submissions about other topics of interest for ESEM will be also considered.

Submission 

Deadline for proposals is 1 March 2022.  Please submit your proposals via Easychair at https://easychair.org/my/conference?conf=37esem (you need to create an account first, then submit your presentation). 
For the online submission, you will be asked to provide: 
1) Personal Data
2) Selected mode of presentation 
3) Proposal consisting of title and abstract (200-300 words) 
4) Keywords 

Evaluation of proposals will be done anonymously, and presenters will be notified of the programme committee’s decision by 30 March 2022. The programme committee might suggest alternative modes of presentation to accommodate as many submissions and contributions as possible. 

Modes of Presentation 
A variety of presentation modes are possible and applicants are encouraged to carefully consider which mode of presentation might work best to present their research. You may only present once during the seminar. 

Individual Paper 
The length of an individual paper presentation will be 20 minutes, with 10 minutes discussion time. Co-authorship is allowed and encouraged. 

Student Paper 
Students are invited to present their current research topics. Student paper presentations have a length of 10 minutes. Student researchers can also join organized panels and roundtables, and are encouraged to submit poster presentations. 

Film Screening 
Film presentations aim at screening your own work, followed by a discussion of the presented film. Please submit a written abstract of the content including general data about the film and its length for the programme committee’s consideration. 

Panel 
Panels (90 minutes) are planned, coordinated, and prepared by a group of people, one of whom is the responsible coordinator. Proposals may be submitted for panels consisting of three or more presenters and the structure is at the discretion of the coordinator. The proposal should indicate the overall purpose and the role of the individual participants. Each panel proposal will be accepted or rejected as a whole. Please note that you have to submit only one abstract for the whole panel, and add all presenters as co-authors on Easychair. All panel presenters’ individual abstracts will be required for the book of abstracts at a later stage if the panel has been accepted. 

Roundtable 
Roundtables (90 minutes) are planned, coordinated, and prepared by a group of people, one of whom is the responsible coordinator. The aim is to generate discussion between members of the roundtable, each of whom presents questions, issues, and/or material for 3-5 minutes on the preselected unifying theme of the roundtable. The following discussion may open into more general discussion with the audience. The proposal explains the overall purpose and the role of the individual participants. Each roundtable proposal will be accepted or rejected as a whole. 

Poster 
The poster format is open to any researcher whose material is best suited for this format. In the poster session, the moderator will introduce the presenters (online and onsite) at the beginning of the session and each presenter will give a brief introduction to their poster topic. An opportunity to examine the posters and interact with the presenters will follow. All posters will be displayed onsite and made available online as well throughout the symposium. 

Online and Onsite Participation 
Online presenters will be asked to pre-record their presentations and transfer the recording by 5th September 2022. Equally, poster presenters are asked to submit a digital version of their posters, film presenters submit their film material by 5th September 2022. Online presenters are asked to be present virtually for the questions following their presentation. The programme committee will do their best to schedule presentation times in accordance with online presenters’ local time zones. 

Language 
English is the official language of the Symposium. However, we would like to make the call for papers entirely inclusive. For anyone who feels their English is not as confident as they would like, we offer the following: 
It will be possible to submit an abstract in your native language if you would prefer to do this. Please send an English translation as well. The abstract will be read by a native speaker prior to being assessed by the committee. Participants not familiar with English may present the paper in any other language. The presenter is asked to provide a translation of the full paper in English at the symposium for the sake of wider understanding. 

Symposium Registration Fee  (Deadline: 10 September 2022) 
– regular (online or onsite) 70 € 
– reduced (online or onsite) 40 € 

Online registration:
https://forms.gle/SxorxiKVWtiM4UkS6

Please see the symposium website for further information

https://ethnomusikologie.kug.ac.at/en/events/symposia-meetings-conferences/37esem/. 

The Symposium registration fee includes: 
– online or onsite participation 
– symposium packet (including electronic Book of Abstracts / Symposium Program) 
– technical arrangements to facilitate the hybrid format 
– coffee breaks 
– two catered receptions 
– concert (streamed) 
– music workshop 
– guided tour through Graz 

Proceedings 
The ESEM does not publish proceedings of their meetings. However, a peer-reviewed publication based on selected presentations will be a tangible outcome of the meeting. 

Contact 
Information about accommodation options, travel information, registration, and other details can be found at https://ethnomusikologie.kug.ac.at/veranstaltungen/37esem/ 

If you have any further questions regarding accommodation, registration, travel, etc. please do not hesitate to contact the Local Arrangements Committee: 

Kendra Stepputat (chair) kendra-iris.stepputat@kug.ac.at
Mattia Scassellati mattia.scassellati@kug.ac.at
Felix Morgenstern felix.morgenstern@kug.ac.at
Magdalena Maria Wolf magdalena-maria.wolf@student.kug.ac.at 

Questions regarding the program can be addressed to any member of the Programme Committee: 

Kendra Stepputat (chair) kendra-iris.stepputat@kug.ac.at 
Rafael Caro Repetto rafael.caro-repetto@kug.ac.at 
Karin Eriksson eriksson.karin@gmail.com 
Lea Hagmann lea.hagmann@musik.unibe.ch 
Mattia Scassellati mattia.scassellati@student.kug.ac.at 

Questions related to ESEM membership should be directed to the

ESEM president Ewa Dahlig-Turek edahlig@gmail.com

ESEM secretary general Ignazio Macchiarella i.macchiarella@yahoo.it 

The XXXVI European Seminar in Ethnomusicology will take place in Valladolid, Spain, from 13 to 18 September 2021.

The theme of the seminar is “Ethnomusicology and Intangible Cultural Heritage in the 21st Century”.

The Preliminary Programme is available here.

For any information, please contact Susana Moreno at susana.moreno@uva.es

Seminar Chairs: Susana Moreno and Enrique Camara
Programme committee: Enrique Camara, Marko Kölbl, Susana Moreno and Laura Leante

Due to the ongoing Covid-19 pandemic and to the uncertainties surrounding the developments of the current international health crisis, the organisers of the Valladolid seminar – in consultation with CORD – have come to the decision to postpone our annual meeting. 

Therefore, ESEM XXXVI will take place in Valladolid in September 2021. The exact dates will be announced in due course. The topic will remain the same: applicants have already been informed of the outcome of their proposals and accepted papers will be expected to be presented one year later than originally planned.

As a consequence of this situation, the Plenary Meeting and annual elections are postponed too: as indicated in the ESEM Constitution (section 4.3.5): “all members of the CORD, including any members of the Secretariat whose term of office should conclude in that year, shall remain in office until the next Plenary Meeting”.

ESEM members, however, will still be updated on the running of the society via the annual issue of the ESEMpoint bulletin, which will be circulated in the coming months.

The XXXV European Seminar in Ethnomusicology will take place in Valladolid, Spain, from 14 to 19 September 2020.

The theme of the seminar is “Ethnomusicology and Intangible Cultural Heritage in the 21st Century”.

The Call for Papers is available here: ESEM 2020 Call for papers. The deadline for submission of proposals is 10 February 2020.

Seminar Chairs: Susana Moreno and Enrique Camara
Programme committee: Enrique Camara, Marko Kölbl, Susana Moreno and Laura Leante