Dear colleagues,

I have the pleasure of sharing this CFP with you (with apologies for
cross-posting). The one-day conference 'Urban Nostalgia: The Musical City
in the 19th and 20th Centuries' will take place at the École des hautes
études en sciences sociales (EHESS, 105 Bd. Raspail, Salle 13, Paris,
France) on July 3, 2020, with a keynote by Richard Elliott (Newcastle

The aim of this event is to explore space through music, approaching the
history of the city via the notion of nostalgia. Often described as a form
of homesickness, nostalgia is, by definition, the feeling that makes us
wish to repossess or reoccupy a space. Such spaces appear to us as both
near and distant, tangible and remote, and it seems that attempts at
reclaiming them are frequently musical in nature. We know, for instance,
that particular compositions have played important roles in helping people
to navigate or mitigate a sense of displacement. In these circumstances,
affective experiences may be bound up with trauma or joy, as is the case of
song during wartime or musical imaginaries among migrants. Under other
conditions, we might identify a ‘second-hand nostalgia’ in the guise of a
musically-inflected tourism that seeks to reactivate (for pleasure and/or
profit) the historical aura of an urban site. What are we to make of the
abundance of personal, interpersonal, and propositional episodes that posit
music as some kind of a bridge to the urban past?

Full CFP: 

Please note the quick turnaround for this call: abstracts of no more than
250 words are to be sent to musical.cities.2020 -at- no later
than 6 April 2020. Accepted proposals will be announced on 17 April 2020.
Please, include a short biography of no more than 100 words and your
institutional affiliation. Proposals in both English and French will be

Scientific committee: Esteban Buch (CRAL / EHESS, Paris); Jonathan Hicks
(University of Aberdeen); Gascia Ouzounian (University of Oxford); Lola San
Martín Arbide (CRAL / EHESS, Paris); Christabel Sterling (University of
Westminster); Justinien Tribillon (Theatrum Mundi).

With many thanks,
Dr. Lola San Martín Arbide


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