Ab 2021 gilt Visumspflicht für EU-Künstler*innen auf UK-Tour

Künstler*innen, die im Vereinigten Königreich auf Konzerttour gehen wollen, müssen ab Januar 2021 bzw. sobald die Brexit-Umstellungen erfolgt sind, ein Visum beantragen. Das Visum wird wiederum nur unter bestimmten Bedingungen ausgestellt. So müssen etwa Musiker*innen, die für längere Zeit in der britischen Musikindustrie arbeiten wollen, ein Job-Angebot für eine Beschäftigung mit einem Jahresgehalt von mindestens £25,600 vorweisen.

27.04.2020

Musiker*innen für The Great Escape Festival gesucht

RockCity sucht gemeinsam mit dem The Great Escape Festival Bands und Musiker*innen aus Hamburg für das Festival-Line-up 2020. Das The Great Escape ist eines der bedeutendsten Showcase-Festivals in Europa und findet im Mai in Brighton (UK) statt. Noch bis zum 11. Februar 2020 könnt ihr auf direktem Weg über die „artist registration“ eure Bewerbung einreichen! Hier geht es zum Formular. Auch über RockCitys Hamburg MusicXport bekommt ihr regelmäßig die Möglichkeit eure internationalen Bühnenerfahrungen auszubauen, mehr Infos dazu gibt es hier.

09.12.2019

1. Women’s Handpan Gathering 31.08.-03.09.2018

Die Handpan-Spielerin Samantha Archer (Foto) hat das 1. Handpan-Festival für Frauen ins Leben gerufen. Das Festival findet vom 31.08.-03.09.2018 in einem alten Gutshaus in Dorchester/Großbritannien statt und schließt Workshops, Konzerte, leckere Verpflegung und einen Ausflug zum Weltnaturerbe Jurassic Coast ein. Anders als bei den gewöhnlichen Handpanfestivals, bei denen fast nur Männer auf der Bühne stehen, die meist ein starkes Interesse an Percussion und Geschwindigkeit haben, soll es beim Women’s Handpan Gathering mehr um melodisches und gefühlvolles Spiel und Spiritualität gehen. Außerdem gibt es Workshops in Yoga, Singen und mehr. Die Teilnahme kostet je nach Unterkunft zwischen 95 und 175 Pfund.

04.08.2018

CFP: OBERTO-Konferenz: „Opéra sans frontières: Music and migration in a globalised world“

„Opéra sans frontières? Musicians and migration in a globalised world“ heißt eine Konferenz, die am 12.09.2017 in der Oxford Brookes University in Oxford (GB) veranstaltet wird. Oberto ist die Abkürzung für „Oxford Brookes: Exploring Research Trends in Opera“ und bezeichnet eine Forschungs-Abteilung, die die Geschichte, Performance und Rezeption von Oper untersucht sowie ihre politischen, sozialen und kulturellen Kontexte und kritischen Debatten. Einmal im Jahr veranstaltet sie eine Konferenz, für die kommende werden noch Papers gesucht:

„From prima donnas of the past travelling with their favourite ‘suitcase arias’ to contemporary directors designing collaborative productions for multiple international opera houses, operatic personnel have always worked across territorial boundaries. Travel is an inherent part of the opera singer’s, composer’s or conductor’s lifestyle. Historically speaking, there have of course been frequent backlashes against such freedom of movement, stressing the uniqueness or superiority of homegrown traditions or campaigning for greater protectionism. These have typically pitted the national insider against a (threatening) foreign “other”, whether protests against the dominance of foreign singers at the Bayreuth Festivals in the 1890s or the successive attempts to establish a national English opera.

These debates have taken on added urgency in light of recent political developments, which have witnessed a resurgence of nationalist fervour that may herald a more difficult climate for the practitioners of an international artform such as opera. This conference will reflect on the transnational nature of the opera profession through presentations, round tables and free-ranging discussions. As with previous OBERTO conferences, we aim to bring together in fruitful debate academics, performers, conductors, directors, agents, opera company managers, journalists and any other stakeholders in the opera industry. We therefore invite papers addressing a wide variety of topics – both historical and contemporary – including (but by no means limited to):

Crossing borders – literally and figuratively / The international careers of composers, performers, conductors, directors and other operatic personnel, past and present / Protectionism and advocacy for native performers and national opera institutions / Potential challenges to the opera industry in post-Brexit Europe and worldwide / Critical and polemical debates about opera, nationalism and cosmopolitanism / Language, communication and a lingua franca in the opera industry / Opera singers and travel writing

Proposals of up to 250 words are invited for individual papers of 20 minutes duration. We also welcome suggestions for alternative format sessions and expressions of interest to participate in panel discussions or roundtables. These should be submitted by email to Dr Barbara Eichner (ku.ca1675302402.seko1675302402orb@r1675302402enhci1675302402e.ara1675302402brab1675302402) no later than 31st May 2017.

29.05.2017

Symposium „Music, Queer, Intersections“ in Liverpool (UK) 26.-27.05.2017

Die LGBTQ+ Study Group lädt vom 26.-27.05.2017 zum Symposium „Music, Queer, Intersections“ in die Edge Hill University in der Nähe von Liverpool (UK) ein. Zum Inhalt: „This symposium aims to support current and nurture future research on LGBTQ issues within music studies. On the one hand, it hopes to foster more activer exchange between the sub-disciplines of music studies in terms of theoretical and methodological approaches. On the other hand, it strives to bring musicology into greater dialogue with current pressing debates in queer studies, in particular with issues of affect theory, intersectionality and transnationalism. Through diverse formats – including a keynote lecture, roundtable discussions, reading workshops and presentations – this two-day event will gather music scholars interested in queer studies as well as LBGTQ identifying musicologists of all sub-disciplines from student up to professorial level“.

10.05.2017

Call For Papers: „Court and Spark: An international symposium Joni Mitchell“ July 2015, University of Lincoln (UK)

Joni Mitchell is widely recognised as an innovative, influential, much-loved and much-imitated artist. From her debut album Song to a Seagull to her most recent Shine, Mitchell’s music: her tunings, her lyrics, her scope has drawn critical and popular acclaim. And yet, scholarly attention to her work has been relatively limited. This symposium will attend to Mitchell as a figure worthy of sustained critical thought and appreciation.
The School of English and Journalism at the University of Lincoln invites you to join us in considering all things Mitchell. Academics, music critics, fans are encouraged to attend. Paper proposals that mix personal with critical, historical, musicological, or cultural-studies analyses are welcome.

Topics may include but are not limited to:
Considerations of the relationship between Mitchell’s visual art and her music.
Politics and political activism in Mitchell’s music [for example: Mitchell as reluctant feminist, Mitchell’s ecocriticism].
Race in Mitchell’s work.
Low affect in Mitchell’s work [disappointment, boredom, ennui, alienation].
High affect in Mitchell’s work [joy, desire, excitement, enchantment].
Commodification, stardom, the market and fame.
Cover versions and reworkings.
The politics of space and travel in Mitchell’s work.
Mitchell in popular culture.
Mitchell’s histories.
Queer Mitchell.
Please send paper proposals of 300 words, plus a short bio to Dr. Ruth Charnock at ku.ca1675302402.nloc1675302402nil@k1675302402conra1675302402hcr1675302402 by 14th January, 2015.

15.12.2014