On behalf of Ivana Petković Lozo, we would like to bring to your attention the CFP for the international conference “Music beyond the Concert Hall,” which will be held in Belgrade (RS) from April 18 to 20, 2024.

The submission deadline is October 15, 2023.

The Department of Musicology of the Faculty of Music
of the University of Arts in Belgrade
is pleased to announce its
Sixteenth International Conference
on the topic
Music Beyond the Concert Hall
The Conference will take place in Belgrade
from 18 to 20 April 2024


The topic of the international conference Music Beyond the Concert Hall aims
at considering music as a practice that is created and presented not only in
public concerts, the traditional venue for making music. By “traditional venue”,
we mean not only the concrete locations of specific musical institutions, but also
all those mechanisms and systems of relations that define the phenomenon of
music, its values, and status. In that regard, we do not view this “venturing
beyond” traditional boundaries as an act of subversion (although one could also
read it like that), but also as an opportunity to think of music in “plural” and
beyond (or within broader conceptions of) the traditional concepts of
authorship, the work, and its autonomy, notation, performance, listeners/audience…


Music has always been thought/conceived of for a specific performance venue
or presentation framework as the spatial-discursive context that gives it
meaning, which is suggested by terms such as a cappella, sonata da chiesa, or
chamber music, before the 20th-century “explosion” of (neo-)avant-garde and
postmodernist music practices outside of traditional venues, as a bid to escape
the confines of the Western logocentric world, ranging from performance art,
action, and installation art to radiophony, soundwalks, and site-specific art. On
the other hand, if we take the concert hall in the broadest possible sense, as a
representation of the musical canon established in the 19th century, “venturing
beyond” would also entail reconsidering it in an age shaped and mediated by
technology, or in the age that saw the establishment of media culture.
Therefore, the title of the conference implies the need to view music in today’s
context, as a practice that entails various mechanisms of creation, presentation,
and distribution, different ontologies/phenomenalities, adjustments guided by
the “added value” principle (Chion 2016, 152), as well as a function that does
not exclusively relate to the conventions defined by concert practice, but is also
shaped by the standards of other arts and media. One could refer here to the turn
from “esthetic autonomy” to “a kind of music that fulfils its function in contexts
other than musical” (Adorno 1977, 39, 191), or, furthermore, to a turn leading to
an understanding of music as a product. Although these developments have
coalesced and manifested themselves in the context of socio-cultural patterns
established in the 20th and 21st century, one should stress that the issue of
music’s function and its applied value is certainly not a new one, but, rather, an
essential topic historically related to musical experiences as early as the first
civilizations, when music operated synthetically, in ritual, magical, religious,
and other contexts… Thus we intend this conference to focus on various musics
(past, present, and future) that (primarily) operate as segments of larger artistic,
media, and multimedia entities and formats, as well as beyond the “boundaries”
defined by the specificities of the concert podium as a symbolic venue of
traditional art music. However, that does not mean that “happenings” in the
concert hall are unwelcome as a topic of papers to be presented at the
conference since it is precisely the process of music’s remediation that enables
music that was not intended for concert performances to find its way onto the
concert podium.
Referring to the aforementioned findings, the following topics would be considered:
● music and sound for/on film/film music (feature films, documentaries, animation, the concept of soundtrack);
● music and sound for/on the radio/radiophony, Internet radio and music, jingles;
● music and sound for/in theatre (stage music);
● music on television/music television, music in television series and shows, television opera, and other television formats (opening credits, etc.);
● music and video (from experimental works to music videos);
● music and sound in video games;
● music and sound as part of multimedia works (performance, action, and installation art, ambiances, outdoor spectacles; immersive experiences, VR, AR, music in museums);
● music for commercial venues (muzak, music in commercials, music in shopping malls, stores… music from the background).


Please submit your paper topic (including the thematic area as listed above) at
email address: Tato e-mailová adresa je chráněna před spamboty. Pro její zobrazení musíte mít povolen Javascript.

The submission deadline is October 15, 2023. Please include your short
biography (up to 150 words) and an abstract of 250 words. You will be
notified by October 31, 2023 if your topic has been accepted.

The official language of the conference is English. It is possible to deliver
papers also in German, French and Serbian, but the authors are kindly requested
to provide a Power-Point presentation in English or the translation of their
papers in English. The time limit for the presentation and discussion of your
paper is set at 30 minutes in total. Selected papers presented at the conference
will be published in the proceedings.
Conference fee: Both participation at the Conference and the publication of a
text whose topic has been accepted by the Scientific Committee are conditional
upon the payment of the participation fee. The travel expenses, per diem
expenses and hotel accommodation are to be covered by the participants. The
fee can be paid on the spot or with PayPal (120€; early bird, deadline
February 1st, 2024: 100€; PhD candidates: 50€). Participants will be notified
about PayPal payments instructions.

Keynote Speakers:
Antonio Baldassarre, musicologist, Lucerne University of Applied Sciences, Switzerland
Paulo C. Chagas, composer and musicologist, University of California, Riverside, USA
Albrecht Riethmüller, musicologist, Freie Universität Berlin, Germany

Scientific and Programme Committee:
Prof. Dr. Antonio Baldassarre, Lucerne University of Applied Sciences, Switzerland
Prof. Dr. Paulo Ferreira de Castro, CESEM – Universidade Nova de Lisboa, FCSH, Portugal
Prof. Dr. Paulo C. Chagas, University of California, Riverside, USA
Prof. Dr. Anna Granat-Janki, The Karol Lipinski Academy of Music in Wrocław, Poland
Prof. Dr. Dragana Jeremić-Molnar, University of Arts in Belgrade, Serbia
Prof. Dr. Violetta Kostka, The Stanisław Moniuszko Academy of Music in Gdańsk, Poland
Prof. Dr. Marija Masnikosa, University of Arts in Belgrade, Serbia
Prof. Dr. Ivana Perković, University of Arts in Belgrade, Serbia
Prof. Dr. Tijana Popović Mladjenović, University of Arts in Belgrade, Serbia
Prof. Dr. Albrecht Riethmüller, Freie Universität Berlin, Germany
Prof. Dr. Leon Stefanija, University of Ljubljana, Slovenia
Prof. Dr. Ana Stefanović, University of Arts in Belgrade, Serbia
Prof. Dr. Dragana Stojanović-Novičić, University of Arts in Belgrade, Serbia
Prof. Dr. Mirjana Veselinović-Hofman, University of Arts in Belgrade, Serbia


Organizing Committee:
Assist. Prof. Dr. Stefan Cvetković, University of Arts in Belgrade, Serbia
Assist. Prof. Dr. Biljana Leković, University of Arts in Belgrade, Serbia
Assist. Prof. Dr. Marina Marković, University of Arts in Belgrade, Serbia
Assist. Prof. Dr. Ivana Miladinović Prica, University of Arts in Belgrade, Serbia
Assist. Prof. Dr. Radoš Mitrović, University of Arts in Belgrade, Serbia
Assist. Prof. Dr. Ivana Petković Lozo, University of Arts in Belgrade, Serbia
Research Assistant Neda Nestorović, PhD candidate, University of Arts in Belgrade, Serbia
Research Assistant Marija Simonović, PhD candidate, University of Arts in Belgrade, Serbia
Research Assistant Maša Spaić, PhD candidate, University of Arts in Belgrade, Serbia
Research Assistant Marija Tomić, PhD candidate, University of Arts in Belgrade, Serbia