jeudi 30 août 2018 —— La rédaction.

Principles of Music Composing: Links between Audiation and Composing

November 13th-15th 2018, Vilnius, Lithuania

18th International Music Theory Conference : Retrospective of the Century ; Lithuanian Composers’ Union ; Lithuanian Academy of Music and Theatre.

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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 deadline for proposal submissions is August 26th 2018.

The participation fee is 20 Euros.

Considering audiation and composing together is not prevalent in existing research, and thus provides a thought provoking intention in the field of music theory. Integrating them into a common discourse is expected to foster an intellectual field embracing both composing dilemmas as well as educational issues.

SUBTOPICS:

1) Audiation, aural perception/reception, inner hearing, ear training in the context of composing practices. Theoretical, typological, historical outlook.

2) Different audiative approaches (tonal, sonorous, intensity, rhythmic, etc.) as a premise for emergence of new composing techniques or trends in the retrospective of the century.

3) Composing as a result of audiation activity or conscious rejection (or restriction) of aural conducting in the composing process. (Auto)analysis of composer’s creative process.

4) Audiation aspects in accordance with creative evolution and style of a composer in oeuvre of Debussy (commemorating the 100th anniversary of composer’s death), his contemporaries and later composers.

5) Audiation tendencies and their manifestation in Lithuanian composers' music following Čiurlionis (celebrating the centenary of independence of Lithuania).

6) Audiation strategies as creative stimuli in relation with other areas (literature, painting, motion, spirituality, etc.) and interrelationship between different senses (aural, visual, touch, etc.). Interdisciplinary approach to Debussy, Čiurlionis’ and later composers' creative work.

7) Aural training possibilities and perspectives in regard with new composing demands emerged in the previous century.