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15th INTERNATIONAL MUSICOLOGICAL AND INTERDISCIPLINARY CONFERENCE OF THE<\/strong><\/p>\n CROATIAN MUSICOLOGICAL SOCIETY (www.hmd-music.org)<\/strong><\/p>\n ZAGREB, CROATIA<\/p>\n Theme: MUSICAL NETWORKING IN THE ‘LONG’ 19TH CENTURY<\/p>\n Place and date: ZAGREB, CROATIA, OCTOBER 15-17, 2020, THE LIBRARY OF<\/p>\n THE CROATIAN ACADEMY OF SCIENCES AND ARTS, STROSSMAYER SQUARE 14<\/p>\n Organizers: CROATIAN MUSICOLOGICAL SOCIETY, THE DEPARTMENT FOR THE HISTORY OF<\/p>\n CROATIAN MUSIC OF THE CROATIAN ACADEMY OF SCIENCES AND ARTS, THE CROATIAN<\/p>\n INSTITUTE OF HISTORY<\/p>\n A musician cannot prove him- or herself as an artist without an audience, without a<\/p>\n performance space, without the support of a benefactor, without an instrument builder to<\/p>\n create musical instruments \u2013 the musician\u2019s performing tools, without a reviewer who would<\/p>\n spread the musician\u2019s fame. He or she could probably have not become an artist without a<\/p>\n teacher, or music to be performed \u2013 either from memory, or from a manuscript or a print.<\/p>\n All these persons and artefacts make part of the infrastructure that enables The Artist to<\/p>\n realise his or her special gifts, and each of them is a part of or creates their own network.<\/p>\n As, for example, a musicological or a cultural project theme gathers people in a vertical<\/p>\n network in order to achieve a common goal, a musician creates various horizontal networks<\/p>\n in achieving their own goal, an event that would give the musician the opportunity to<\/p>\n present his or her artistic qualities in public (concerts, theatre performances) or in private<\/p>\n (salon).<\/p>\n A musical network analysis examines the structure of relationships between various<\/p>\n components, not all of them being (always) directly connected to music. They might be<\/p>\n individuals but also groups or institutions, even musical pieces or publications.<\/p>\n However, the aim of the conference is not to discuss the theory but to present case studies,<\/p>\n whose variety gives a vivid picture of the social history of music of the (very) \u2018long\u2019 19th<\/p>\n century. Not only musicologists but also historians and sociologists dealing with music are<\/p>\n welcome to contribute to that common goal.<\/p>\n Suggested themes include, but are not limited to:<\/p>\n The relationship between teacher(s) and pupil(s)<\/p>\n Musicians on tours<\/p>\n Theatre\/opera companies and their networks<\/p>\n Composers and publishers\/copyists<\/p>\n Musical salons<\/p>\n Music as a means\/medium of representation (political, social, etc.)<\/p>\n Benefactors, Patrons and their (musical) circles<\/p>\n The establishment of musical institutions and their networks<\/p>\n Music collections and their creators<\/p>\n Researchers in music and their networks<\/p>\n Interaction and overlapping of musical networks<\/p>\n Forms of communication in musical networking (postal service, roads and railways)<\/p>\n SUBMISSION OF PROPOSALS AND DEADLINES<\/p>\n