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CfP - Strategies 2017 conference Porto-Portugal

Monday, March 6, 2017   (0 Comments)
Posted by: Marysol Quevedo
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STRATEGIES 2017 – Call for Papers

Sound and Musical Instrument Studies

6th International Scientific Meeting – Organological Congress 2017


DATES: 24-27 August 2017

LOCATION: Porto, Portugal

PRIORITY SUBMISSION: please send your proposal by the 30th of April

WEBSITE: link [ https://congressorganimusic.wixsite.com/porto2017 ]

THEME: Strategies for the future of scientific and cultural knowledge and expression [sustainability – heritage – technology – education]

Our special world, individual or collective, is far from simple - it is rather difficult in its holistic diverse complexity. The unproblematic availability of resources has created a deluge of apparent easiness and distressing passiveness. Life changes of all shapes and modes have been faster than ever thought possible, creating abysses in a fragmented society. We propose a pause, to think and to share concerns and solutions for the sake of sustainability in its multi-forms - directing our attention to musical instruments and music making.

Among the variety of relevant organological issues that are being currently the study object especially of scholars (organologists, engineers, musicologists, etc.), makers, collectors, museologists and musicians (teachers and students), here are some suggestions of topics for reflection:

-The making of the known and the unknown – how archaeology and musicology has contributed for the understanding of the development of musical instruments and their use in society.

-Watching the present: how can tradition and novelty in sound production be used to help us in our music world? And how is the current society being involved?

-Evolving technologies for the virtual instrument (electronics), and for product making (new or reproductions), namely with 3D drawing and printing.

-The point of making bridges to antiquity or to sound tools that are less common, and the experimentation process.

-Open access and society: forward-leaning approaches to musical didactics focused on the musical instrument’s characteristics.

-Which are the best methodologies for the improvement of the musician’s posture in dealing with the musical instrument? So to say, how did, and still do, inventors and makers help in the ergonomic characteristics of sound tools?

-«Better to play than to hear…» referred amusingly Dr Jean Louchet one day. Some music is not so interesting to listen to in a concert but it is great for the pleasure of just playing, namely with friends in an ensemble – that is, the very act of producing particular sounds and music creation is analysed from the viewpoints of the organologists and musicians together.

-Treasure hunting: in search of lost instruments and lost cultures.

-Gender strategies: the possible and impossible for women in music instrument making and in performance.

-Impartiality and inclusiveness: the different perspectives of less favoured and disabled people towards organology.

-Ethics in Organology: topics may include the secrets of the ‘know-how’, brand imitations and law protection, museum’s rights and obligations, ‘to play or not to play’…

We encourage reflections on musical instruments and their function in the sustainability of music, both in cultural heritage and at the forefront of technological benefits. This year's special Focus on Education is coordinated by our partner GEFAM (Switzerland); we promote the inclusiveness of performance issues and singing, and the modern challenges of a serious and profound education which has been forced to run... to catch the running time. ANIMUSIC and partners welcome all to participate in a unique meeting which gathers partakers involved in the present and future of science and art, interested in knowledge exchange and open regarding different perspectives about the creative sound.


We welcome proposals for papers (15+5mn for questions and handover), panels (one hour), and posters, as well as demonstrations, videos, lecture-recitals (30 to 40 minutes) and full concerts (between one hour and one and a half hour). In addition, participants, namely inventors, makers and collectors, have the possibility to show a selection of their musical instruments or designs at the Exhibition. The ENCONTROIM is a special showcase offered by ANIMUSIC and the hosts, with no charge (the access is open and free to the general public). There is also a specific display area for books, scores, and other items, available during the conference days.

The common language for presentations is English. Papers may be read in Portuguese, Spanish, French or Italian, provided the PowerPoint projection is in English. We also provide direct translation from other languages if necessary and possible - please contact us if you need help.


We look forward to abstracts that describe original and technically excellent research from various perspectives. The title, abstract (in English or bilingual, of up to 300 words), and a biographical note (up to 100 words) should be received by email on or before the 30th of April of 2017. The results shall be communicated individually by middle May after being peer-reviewed by the Scientific Committee. Papers presented at the Organological Congresses may be submitted for publication in the conference proceedings (books collection ‘Liranimus’ and online).

Please send proposals to:


For further and updated information please check the OC2017’s website (at the header above) or our archive website [www.animusic-portugal.org] or contact us directly at the email above.

If you don’t receive an answer, please send again with Cc to: 



Given our extraordinary research area, we are very fortunate to be able to encourage practical demonstrations - we are indeed honoured and thankful to the generous offers of recitals, concerts and impromptus by the great musicians who have so much contributed to the natural involvement of our “always unique” meetings.

For the OC2017, we gratefully acknowledge our gracious hosts, the ‘Fundação Maria Isabel Guerra Junqueiro e Luís Pinto de Mesquita Carvalho’ and the Municipality of Porto, and the generous financial contributions from Dr Eng Giulio Salvadori and the Fundação para a Ciência e a Tecnologia, Portugal, as well as all our other partners and supporters.

ANIMUSIC - Portugal

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