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The 20th International Music Theory Conference
PRINCIPLES OF MUSIC COMPOSING: PHENOMENON OF TELEOLOGY

Conference dates: November 18 – 20, 2020.
Conference venue: Lithuanian Academy of Music and Theatre (Vilnius,
Lithuania).
Deadline for proposal submissions: September 1, 2020.
Homepage:
https://urldefense.proofpoint.com/v2/url?u=https-3A__lmta.lt_en_20-2Doji-2Dtarptautine-2Dmuzikos-2Dteorijos-2Dkonferencija-2Dmuzikos-2Dkomponavimo-2Dprincipai_&d=DwIFaQ&c=Cu5g146wZdoqVuKpTNsYHeFX_rg6kWhlkLF8Eft-wwo&r=PHu0YcldevQqIedM86l0iexbqE-AeZLl-lupNToNx6I&m=hjyJ5NG9OR4W-tqbfphAxCwXLS3UuJs8Ppc96DRB4NI&s=W_b07Bvqsag9_YCDTGh-KqAvZmALkNX7HDWexU8wqiM&e= 

Selected papers of the conference will be published in the annual peer
reviewed scientific journal ‘Principles of Music Composing’.

Paper proposals (abstract and a short biography) should be sent by email:
pmc.lmta -at- gmail.com. The abstract must not exceed 500 words. The
duration of full presentation is limited to 20–25 minutes.
The main language of the conference is English.

Sub-topics:
I. Theoretical and historical perspectives.
1. Inter-scholarly (philosophical, psychoanalytic, psychophysiological,
metaphysical, etc.) and musicological (Schenkerian, Post-Schenkerian, etc.)
approach to teleology.
2. Historical perspective of teleological phenomena.
3. Links between teleology and the related concepts (dramaturgy,
development, narrativity, directionality, orientation, expectation,
temporality). Types of teleological strategies (culmination, reprise,
balancing, elision, etc.).
4. Teleology as an inherent phenomenon of a musical work itself or as a
mode of listening (objective vs. subjective perspective).

II. Teleological issues in contemporary contexts.
5. Teleological strategies and alternatives in contexts of contemporary
composition.
6. Different teleological prerogatives in regard of distinct musical
parameters (pitch, rhythm, timbre, the vertical, the horizontal, the
diagonal, etc.) and various types of form.
7. Teleological applications in regard of particular compositional
techniques (modes, series, minimalism, aleatoric principles, sonorism,
sound-based morphologies, electronics, etc.).
8. Communication issues and challenges regarding the (non-)teleological
approaches of the innovative compositional practices (instant, static,
monolithic, meditative, electronic music, etc.).

III. Interdisciplinary and intercultural aspects.
9. Teleological potentialities in contexts of collaboration and
interrelation between different artistic fields.
10. Cultural plurality as a source for possible teleological alternatives.


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