Musical and theatrical circulation in Europe, ca. 1750 – ca. 1850

Call for papers – international colloquim
Musical and theatrical circulation in Europe, ca. 1750 – ca. 1850
Nice, November 20th to 22nd 2014

With the support of the Centre de la Méditerranée Moderne et Contemporaine – MSHS
Université Nice Sophia Antipolis,
Institut Universitaire de France,
Institut de Recherches sur l’Histoire du Septentrion
Université Charles de Gaulle Lille 3,
University of Helsinki

Organising committee:

Pierre-Yves Beaurepaire (Université Nice Sophia Antipolis – CMMC and Institut Universitaire de France), Rahul Markovits (École Normale Supérieure), Mélanie Traversier (Université Charles de Gaulle Lille 3, Institut de Recherches sur l’Histoire du Septentrion), Charlotta Wolff (University of Helsinki)

Background and scope:

Artistic mobility was an established fact in eighteenth-century Europe, where musical and theatrical milieus were strongly cosmopolitan. In a period when musical classicism, comedy of manners, buffa and opéra comique contributed to shaping taste, a dramatic and musical repertoire common to the diverse parts of Europe was emerging. From the artist’s or the connoisseur’s point of view, musical practice, like travelling, letter writing or literary sociability, had an educating and border-crossing dimension. Moreover, music itself seemed to appear as one of the universal idioms imagined by the philosophers. Music and drama were far from being pastimes only; they were also expressions of identity as well as objects of trade and investments.
The aim of this gathering is to study the circulation of musical and theatrical matters in the Europe of the second half of the eighteenth century, including the revolutionary period, from a perspective of cultural history. As the colloquium is interdisciplinary, possible topic may include, for instance:

  • the channels of musical and dramatic circulations, from the diffusion of scores to the mobility of the artists, as well as the networks and structures of mobility;
  • the types of works largely diffused (operas, opéras-comiques, comedies and vaudevilles) and having shaped the taste of European audiences;
  • the agents of transmission (diplomats, amateurs, impresarios, artists, translators) and the mechanisms of reception and appropriation;
  • adaptations and transformation of dramatic and musical themes, works and taste;
  • cosmopolitan and border-crossing aspects of musical and theatrical milieus and practices more generall

The languages of the colloquium are French and English.

Material organisation:

The organising committee will provide for accommodation for two nights as well as for the meals. Travels are at the participants’ expense. If a participant is unable to have her or his travel expenses covered by her or his institution of affiliation, the organisers can exceptionally consider refunding them on presentation of the tickets and receipts.


Please send your paper proposal of max. 2000 signs, accompanied by a short CV,
by May 10th 2014
Pierre-Yves Beaurepaire
Rahul Markovits
Mélanie Traversier
Charlotta Wolff

Cite this blog post
Martin Albrecht-Hohmaier (2014, April 24). Musical and theatrical circulation in Europe, ca. 1750 – ca. 1850. Music migrations. Retrieved June 20, 2024, from

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