Rethinking Musical Transcription and Arrangement
19th May 2018
University Centre, Cambridge, United Kingdom

[CFP deadline: 28th February 2018]

Arrangement and related practices (including transcription,
orchestration, adaptation, reworking, translation, and completion) are
musically ubiquitous, reinscribing pre-existing musical material(s)
into fresh historical, cultural, and aesthetic contexts. However, the
study of musical arrangement and transcription has been neglected
within musicology, owing in part both to the lack of suitable
theoretical and analytical methodologies for dealing with their
processes and products, and to entrenched ideologies which privilege
‘originality’ and ‘authenticity’. This conference aims to bring
together critical perspectives on these multifarious practices from
within musicology and beyond.

We invite proposals for 20-minute papers on any related topic. We
especially encourage paper proposals that consider broader
implications of such practices for musical meaning, ontology,
situation, authorship, and interpretation, as well as the social
dimensions and mediations of musical transcription and arrangement, in
the hope of drawing out theoretical underpinnings common to these
diverse practices. We also welcome practice-based proposals from
performers and composers. For the full version of the CFP, including
some suggested themes, please refer to the conference webpage linked

Please send abstracts (250 words) to "tarotmusicology -at-"
by 28th February, along with a short biography (100 words), contact
details, institutional affiliation, and technical requirements listed
on a separate page. Decisions will be communicated by mid-March. We
may be able to offer some financial assistance towards expenses for
students — please indicate if you would like to be considered for a

This conference is organised by a London-based study group on musical
transcription and arrangement, ‘TAROT’
( Committee: Peter Asimov (University
of Cambridge); Frankie Perry (Royal Holloway, University of London);
William Drummond (University of Oxford).


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