The Interdisciplinary Voice 2026

The Interdisciplinary Voice 2026
From Motor Control to Identity

https://sites.google.com/york.ac.uk/interdisciplinary-voice-2026/about

Attendees at the Interdisciplinary Voice Workshop 2025, Newnham College, Cambridge. Photo credit: Abbie Bradshaw.

A two-day meeting exploring the voice at the Guildhall, University of York
2-3 July 2026
We warmly invite you to the third Interdisciplinary Voice Workshop! Following on from the inspiring meetings in 2024 and 2025, the meeting moves to York for the first time.

Voice studies is an emerging area of research with numerous opportunities for cross- and interdisciplinary collaboration. Its areas of focus range from basic questions in auditory perception and motor control, to disability and identity, to the aesthetics and politics of vocality, and to advances in technological applications, such as automatic speech recognition. As we learn more about the lives and ecological contexts of non-human animals, it becomes increasingly clear that rich, complex, and varied vocal communication behaviours are far from limited to human speech.

Given the breadth and diversity of research taking place in this rapidly developing field, there is an exciting opportunity to form a cohesive community with shared interest in the voice and vocality, within and across species.

To encourage participation across career levels and background, we have established a tiered registration fee system.

We look forward to welcoming you to York,

Dr Amelia Gully, Dr Sophie Meekings and Dr Vincent Hughes (co-organisers), in collaboration with Dr Abbie Bradshaw and Dr Alexis Deighton MacIntyre

Fwd: [MUSICOLOGY-ALL] SOAS Public Music Research Seminar, Wednesday 4 March, 5–7pm

*With apologies for cross-posting*

SOAS Public Music Research Seminar
Semester 2


Wednesday 4 March, 5–7pm
SOAS Main Building, Room G52
Zoom (ID: 987 3135 9111 Password: MgmE808yH5)


Andrew J. Green (King's College, London)
Hearing Travel: Sonic Pathways through the Bosque del Agua, Mexico


Abstract
Many popular songs describe journeys to and through the Bosque del Agua, a forested mountainous region just south of Mexico City. The clean air and water produced by this region's forests are so vital to life in Mexico's capital that it is colloquially described as the city's 'lungs'. Songs about the Bosque del Agua sentimentally extol the region's colours and natural abundance, and describe journeys through this region. Indeed, their connection to place is so close that songs are frequently described as 'maps' or 'guides'. Yet these songs-as-maps are not merely representational: in a fast-changing region, they also produce the pathways that they describe. In this presentation, I explore songs-as-maps as palimpsestic, over-layered compositions of matter, meaning and sonority on the pathways traversed through this zone.

Speaker
Andrew J. Green is an anthropologist of music and sound, and Lecturer in the Anthropology of Music at King's College London. His work explores acoustic engagements with activism and the natural environment in Mexico City and southern Mexico. He has published work in peer-reviewed journals including Cultural Anthropology, Ethnomusicology, Cultural Sociology, Cultural Studies, Twentieth-Century Music, Media, Culture and Society, and Ethnomusicology Forum, and is the author of Making Mexican Rock: Censorship, Journalism, and Popular Music After Avándaro (Vanderbilt University Press, 2024).
—
Dr Tom Peterson (he/him)
Postdoctoral Researcher
MANTRAMS, University of Tübingen

Honorary Postdoctoral Research Associate
Department of Music
SOAS, University of London
https://www.soas.ac.uk/about/tom-peterson

Fwd: [MUSICOLOGY-ALL] Call for Submissions – Journal of Black Opera and Music Theatre (Issue 2, 2026

Dear all,

The Black Opera Research Network is pleased to announce that the call for submissions for the second issue of our Open Access Journal of Black Opera and Music Theatre (JBOM) is now open. Authors wishing to be considered for the 2026 issue should submit their work by 15 March 2026.
We welcome submissions on opera and other forms of music theatre that centre Blackness—as a subject, methodology, site of identity formation, or critical lens. JBOM seeks to represent the voices of scholars and practitioners at all career stages and accepts contributions across three sections:

  *
Peer-reviewed articles (8,000–12,000 words)
  *
Artist interviews (5,000–10,000 words)
  *
Topical statements

Submission guidelines and details are available here: https://bop.unibe.ch/J-Bom/about/submissions
All the best,
Lena van der Hoven and the JBOM Editorial Team
--

Ass.-Prof. Dr. Lena van der Hoven (she/her)
Musikwissenschaft / Musiktheater

Universität Bern

Institut für Musikwissenschaft
Mittelstrasse 43
CH-3012 Bern

Fwd: [MUSICOLOGY-ALL] CFP - WOMEN IN MUSIC International Conference

CALL FOR PAPERS
WOMEN IN MUSIC
International Conference
23-25 September 2026
Department of Music Studies, National and Kapodistrian University of Athens
In collaboration with the Royal Musical Association
'Music of Eastern Europe and Eurasia' Study Group
Venue: Ioannis Drakopoulos Amphitheatre

The Department of Music Studies of the National and Kapodistrian University of Athens, in collaboration with the Royal Musical Association 'Music of Eastern Europe and Eurasia' Study Group are organising a conference on the theme of 'Women in Music.

The role played by women in various aspects of musical life has gained increasing attention since the emergence of feminist approaches to musicology in the 1980s, thanks to the application of feminist theories in various humanistic disciplines slightly earlier, as well a broader revisionist turn in Music Studies at the time, usually referred to as New Musicology. In the course of the past four decades significant efforts have been made to bring to the fore and explore, on the one hand significant aspects of the hitherto undervalued presence and contribution of women in (among others) musical creation, performance, music consumption, music scholarship, music education, and, on the other hand, to address the necessity for revisionist approaches to musicological scholarship. Nevertheless, the field of musicology is still a long way from achieving balanced accounts of gender participation in music making. At the same time, recent scholarship has increasingly foregrounded gender as a relational, historically contingent, and culturally situated category, inviting critical reflection on the very terms through which 'women in music' have been conceptualised and studied.

The conference 'Women in Music' aims to help remedy this gender imbalance in Music Studies by shedding additional light on women's involvement in various aspects of musical life since the early 20th century. Specifically, it aims to focus on a wide variety of historical and cultural contexts, with an emphasis on the geographical areas of Eastern Europe and Eurasia, while at the same time covering a wide spectrum of sub-disciplinary areas in the field of Music Studies.
Papers could address, but do not need to be limited to, some of the following aspects:

  *
women as performers
  *
the role of women in musical creation both in and beyond art musical traditions (i.e. in various cultural contexts)
  *
the role of women in music education
  *
women as cultural consumers/listeners
  *
women as scholars, researchers and music critics
  *
the role of women in leadership positions, promoting music making either as agents in cultural institutions or on account of their particular position in various cultural contexts


The conference encourages the representation of as many areas of music making and musical cultures as possible, aiming at a comparative perspective that will make a new contribution to the state of the art. Consequently, we encourage submissions associated with (among others) the sub-disciplines of Historical Musicology, Aesthetics, Music Analysis, Ethnomusicology, Popular Music Studies, Music Pedagogy.
The conference places particular emphasis on women's musical activities in Eastern Europe and Eurasia, with a primary focus on the period from 1900 onwards. Submissions engaging with these geographical and temporal frameworks will be prioritised.

The conference official language is English.
Paper proposals of no more than 250 words and short biographical notes of approximately 100 words should be submitted by 20 April 2026 to the following email address: womeninmusicconference@gmail.com.

Organising Committee
Eleni Kallimopoulou, Magdalini Kalopana, Katerina Levidou, Nick Poulakis, Angeliki Triantafyllaki, Markos Tsetsos

Scientific Committee
Pauline Fairclough, Eleni Kallimopoulou, Magdalini Kalopana, Elaine Kelly, Katerina Levidou, Ivana Medić, Nick Poulakis, Angeliki Triantafyllaki, Markos Tsetsos


https://www.music.uoa.gr/anthropino_dynamiko/meli_dep/aikaterini_lebidoy/
https://uoa.academia.edu/KaterinaLevidou

Fwd: [DMRN-LIST] PhD Position at KCL (Oct 2026 entry)

Dear all,

We have a funded PhD position at KCL as follows:

• "RAIDIAL": supporting Responsible AI through rich Data, Intricately Annotated and Linked
• King's College London
• King's Prize Doctoral Programme in Safe, Trusted and Responsible Artificial Intelligence
• Academic supervisors: Dr Mark Gotham, Dr Albert Meroño-Peñuela
• See also the industry note below
• Deadline to apply: Monday, March 02, 2026
• Start date: October 2026
• Competition Funded PhD Project (UK Students Only)

More details here:

https://www.findaphd.com/phds/project/raidial-supporting-responsible-ai-through-rich-data-intricately-annotated-and-linked/?p193643

What the advert doesn't say is that … 

we are in discussion with a major music label to make this is a joint academia-industry project.

So much the better!

Prospective applicants are welcome to write to me with any further questions.

Thanks again and best wishes,
Mark

 

-- 

Mark Gotham

https://markgotham.github.io/

 

Fwd: [MUSICOLOGY-ALL] job

Dear all,

The Purcell School is seeking to appoint a new Teacher of Academic Music
and Musicianship (commercial and jazz specialism). The successful candidate
will contribute to the delivery of music history, analysis, composition and
general musicianship programmes, largely in relation to this specialism.
Please visit this link for more information:
https://www.purcell-school.org/about-us/vacancies/ . If you have any
inquiries about the position, please contact the Head of Academic Music,
Andrew Williams: a.williams@purcell-school.org.
Unfortunately, this position is open only to candidates with the right to
work in the UK.

Best regards,

*Dr Alberto Martín Entrialgo *
Teacher of Academic Music & Musicianship
The Purcell School, Aldenham Road, Bushey, Herts. WD23 2TS
RCMJD Musicianship Teacher
Royal College of Music

Fwd: [MUSICOLOGY-ALL] REGISTRATION OPEN: Sounds of Climate Justice Study Day

REGISTRATION OPEN (FINAL PROGRAMME BELOW)
REGISTER HERE<https://forms.cloud.microsoft/e/L8GDFi96bX> by Friday 20 February to confirm in-person attendance (MS Form direct link: Sounds of Climate Justice Study Day Registration Form – Fill out form<https://forms.cloud.microsoft/e/L8GDFi96bX>)

The Southampton Centre for Music Education and Social Justice<https://www.southampton.ac.uk/research/institutes-centres/centre-for-music-education-social-justice> (CMESJ) is pleased to announce our Study Day on 'Sounds of Climate Justice' on Tuesday 24 February 2026. We have invited submissions for provocations of c.10 minutes relating to any intersectional reflections about / musical responses to the challenges of the climate crisis, and interventions that music studies can make in the pursuit of climate justice. This will be an in-person study day, although virtual or pre-recorded presentations will be accommodated.

The Keynote will be a performance of an interactive piece composed by Jenny Guilford and Ellan A. Lincoln-Hyde. Climate of the Bells is an outdoor, site-responsive keynote composition that traces a 'year of birdsong' from Southampton, performed through artefacts drawn from university, public, and private collections, including hand bells and repurposed industrial materials. As the piece unfolds, audiences move through the space, encountering seasonal songs and maritime resonances in a multispecies soundscape. The work foregrounds ecological rhythms, collective care, and interspecies attunement, transforming listening into an immersive, participatory experience.  Composers: Jenny Guilford and Ellan A. Lincoln-Hyde, jointly The (In)Equal Temperament Project<https://inequaltemperament.wordpress.com/>.

Contact: Erin Johnson-Williams at e.johnson-williams@soton.ac.uk<mailto:e.johnson-williams@soton.ac.uk>

Organising Commitee
Erin Johnson-Williams (University of Southampton)
Chi Ying Lam (University of Southampton)
Ellan A. Lincoln-Hyde (SOAS University of London)
Lawrence Davies (University of Huddersfield)
Amy Williamson (University of Southampton)



Study Day SCHEDULE

9:00: Coffee and welcome

9:30–11:30 Session A (Chair: Lawrence Davies)

Simon Waite, 'Beloveds'

Angela Rawlings / Snæfellsjökul fyrir forseta (Glacier for President), 'Glacial Withness: Listening at the Edge of Planetary Boundaries'

Andrew Lansley, 'Party in the Polycrisis! How Music Can (Actually) Save the World'

Ross Purves, 'Rethinking 21st century musicianship – a provocation'

Bridget Whyte, 'This is Not a Rehearsal: Embedding Sustainability into Music Organisations'

11:30 – 12:00 BREAK

12:00 – 12:45 – KEYNOTE

13:15 – 14:15 – LUNCH

14:15 – 16:15 – SESSION B (Chair: Benjamin Oliver)

                  Dikshant Uprety, 'What Does it Mean to Compose Music for Climate Change?'

                  Heather Mease, 'Melodic Landscapes and Erasure'

Dr L. Gre, 'Witness'

16:15 – 16:45 – BREAK

 16:45 – 17:30 – Closing plenary / manifesto brainstorm (Chair: Erin Johnson-Williams)

17:30 – Close



REGISTER HERE<https://forms.cloud.microsoft/e/L8GDFi96bX> by Friday 20 February to confirm in-person attendance (MS Form direct link: Sounds of Climate Justice Study Day Registration Form – Fill out form<https://forms.cloud.microsoft/e/L8GDFi96bX>)

Fwd: [MUSICOLOGY-ALL] New Digital Resource: Diccionario de la Zarzuela

Dear colleagues,

We are pleased to share the release of the digital edition of the Diccionario de la Zarzuela: https://diccionariodelazarzuela.es/dz

This new platform offers a rigorously curated reference tool that preserves, organises and makes accessible a unique cultural heritage, which is now available to researchers, performing arts professionals and anyone interested in the history of Hispanic musical culture.

Led by the Instituto Complutense de Ciencias Musicales, the project is the result of decades of scholarship and four years of dedicated digital editorial work. It was carried out with the support of the Instituto Nacional de las Artes Escénicas y de la Música (INAEM) and was funded through the European Union's NextGeneration programme.

The Instituto Complutense de Ciencias Musicales (https://iccmu.es) is a center devoted to scholarly research, and the recovery of Hispanic musical heritage.

Laura Planagumà.
Editorial team.
Instituto Complutense de Ciencias Musicales

Fwd: [MUSICOLOGY-ALL] The Guitar in Popular Music Conference (8th – 10th July 2026)

The Guitar in Popular Music Conference (8th – 10th July 2026)

The Guitar in Popular Music conference will be co-hosted by Canterbury Christ Church University and the Academy of Contemporary Music, in collaboration with the International Guitar Research Centre (University of Surrey). Proposals are invited for presentations as follows:

- Individual papers – 25 minutes plus 10 minutes for questions
- Individual papers which include live performance elements – 25 minutes plus 10 minutes for questions
- Lecture recital – 35 minutes plus 10 minutes for questions

Papers and presentations can focus on any aspect relevant to the conference's overarching theme: the guitar's role and use in popular music (including jazz). Any type of guitar (e.g. acoustic, electric, bass, hybrid etc.) may be considered, as can any (or any combination of) the following perspectives: historical, contextual, analytical, pedagogical, technological, compositional or performance-based. In recognition of the fact that 2026 marks 60 years since Jimi Hendrix's first performance in the UK we especially welcome papers that discuss Hendrix's legacy and contribution as a guitarist, or lecture recitals that focus on reinterpretations and arrangements of Hendrix's work.   

We are particularly interested in papers which relate to the following themes:

- Guitar Creativity and Technique
- Guitar Soloing and Tonal Improvisation
- Guitar as Rhythm and Texture
- Guitar Design and Technology
- Guitar Culture
- Case Studies of the Guitar Technique of Established Players in Popular Music

Please send proposals to guitarconference@canterbury.ac.uk in the following format:

- Individual Papers: abstract up to 300 words and biography up to 100 words. Please also provide a website link about you and your work if you have one.
- Individual papers which include live performance elements and Lecture Recitals: abstract up to 300 words, biography up to 100 words, and sample recording or video (e.g. via YouTube/SoundCloud link etc.). Please also provide a website link about you and your work if you have one.

The deadline for submissions is 15th March 2026. A draft conference programme will be published in April 2026.   

Registration details and conference bookings will open mid-April following the selection of papers.

We are delighted that Professor Milton Mermikides (Professor of Music at the University of Surrey and Gresham Professor or Music) will be presenting the keynote lecture at Canterbury Christ Church University, entitled I Just Want to Talk to You: The Musical Language of Jimi Hendrix.

This keynote paper illuminates the psychological, neurological, linguistic and zygonic mechanisms that help shape Jimi Hendrix's extraordinary musical language. These 'axes of expression' include vocal imitation, fretboard navigation, time-feel and groove, harmony and modality, and technological transformation. It argues that Hendrix's music persistently challenges the conventional separation and discrete categorisation of pitch, rhythm, and timbre. And that musical expression – as well as effective musical analysis – emerges from the dynamic, liminal interplay between these domains.

Conference Panel: 
Dr James Dean (Chair, Canterbury Christ Church University)
Professor Rich Perks (Deputy Chair, Academy of Contemporary Music)
Professor Milton Mermikides (University of Surrey/Gresham College)
Professor Murray Smith (University of Kent)
Dr Kate Lewis (Brunel University London) 

Acceptance of proposals will be at the discretion of the conference panel.

Please provide your abstracts as a WORD doc, preceded by information under the following headings:

Name
Institution (as appropriate)
Postal address
Phone
Email Address
Presentation type (paper or paper including live performance demonstrations)
Title

The conference will be held at Canterbury Christ Church University on 8th and 9th July and at the Academy of Contemporary Music (London campus) on 10th July. All papers will be presented in person. 

Enquiries: guitarconference@canterbury.ac.uk
Webpage: www.canterbury.ac.uk/events/2026/the-guitar-in-popular-music

Fwd: [MUSICOLOGY-ALL] Research Training: Online Presentation Skills for Researchers, 12th February 2pm

School of Advanced Study • University of London

Online Presentation Skills for Researchers
Research Training
Thursday 12th February 2026, 14:00 - 15:00 GMT (UK Time)
Online live via Zoom
Register here: https://www.sas.ac.uk/news-events/events/online-presentation-skills-researchers

Session Leader: Rosie Baber (University of London Careers Service)

The session focuses on:

  *   Understanding the key principles of effective online presentations
  *   Tailoring content and delivery for academic and research audiences
  *   Using visuals and interactive tools to enhance engagement
  *   Managing nerves and building confidence when presenting remotely

Relevant to all stages of postgraduate study.

––––
Kremena Velinova
Head of Research Training
School of Advanced Study<http://www.sas.ac.uk/> | University of London
Room 212 | Senate House | Malet Street | London WC1E 7HU
kremena.velinova@sas.ac.uk