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Rethinking Musical Transcription and Arrangement

19th May 2018, Cambridge
University Centre, Cambridge, United Kingdom
CFP deadline: 28th February 2018


Arrangement and related practices (including transcription, orchestration, adaptation, reworking, translation, and completion) are musically ubiquitous, reinscribing pre-existing musical material(s) into fresh historical, cultural, and aesthetic contexts. However, the study of musical arrangement and transcription has been neglected within musicology, owing in part both to the lack of suitable theoretical and analytical methodologies for dealing with their processes and products, and to entrenched ideologies which privilege ‘originality’ and ‘authenticity’. This conference aims to bring together critical perspectives on these multifarious practices from within musicology and beyond.

We invite proposals for 20-minute papers on any related topic. We especially encourage paper proposals that consider broader implications of such practices for musical meaning, ontology, situation, authorship, and interpretation, as well as the social dimensions and mediations of musical transcription and arrangement, in the hope of drawing out theoretical underpinnings common to these diverse practices. We also welcome practice-based proposals from performers and composers. For the full version of the CFP, including some suggested themes, please refer to the conference webpage linked above.

Please send abstracts (250 words) to "tarotmusicology -at-" by 28th February, along with a short biography (100 words), contact details, institutional affiliation, and technical requirements listed on a separate page. Decisions will be communicated by mid-March. We may be able to offer some financial assistance towards expenses for students — please indicate if you would like to be considered for a bursary.

This conference is organised by a London-based study group on musical transcription and arrangement, ‘TAROT’ ( Committee: Peter Asimov (University of Cambridge); Frankie Perry (Royal Holloway, University of London); William Drummond (University of Oxford).


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