\documentclass[a4paper,11pt]{article}
%\usepackage[utf8]{inputenc} 
%\usepackage[T1]{fontenc} 
\usepackage[english]{babel} % Changed from French to English
\usepackage{lmodern}
\usepackage{geometry}
\geometry{a4paper, margin=3.18cm}
\usepackage{hyperref}
\usepackage{graphicx}
\usepackage{parskip}
\usepackage{setspace}
\usepackage[most]{tcolorbox}
\usepackage{xcolor}
\usepackage{microtype}
\onehalfspacing
\usepackage{xparse}
\usepackage{marginnote}
%

% Define a logoCell command with two optional parameters:
% 1. Scale factor (default 1)
% 2. Cropping factor in mm (default 0)
\NewDocumentCommand{\logoCell}{ O{1} O{0} m }{%
	\scalebox{#1}{%
		\begin{minipage}[c][2.5cm][t]{0.5cm}%
			\centerline{%
				\includegraphics[height=2cm,keepaspectratio,%
				trim={#2mm #2mm #2mm #2mm},clip]{#3}%
			}%
		\end{minipage}%
	}%
}

\usepackage{fontspec} % Requires XeLaTeX or LuaLaTeX
\setmainfont{Hoefler Text}

\usepackage{setspace}
\onehalfspacing % 1.5 line spacing
\setlength{\parskip}{1em} % Extra space between paragraphs

\usepackage{fourier-orns}
\usepackage{pgfornament}

\widowpenalty=10000
\clubpenalty=10000 

\usepackage{fancyhdr}
\pagestyle{fancy}
\fancyhf{} % Clear default headers and footers
\fancyhead[L]{{\small 3\textsuperscript{rd} Congress of the French Musicological Association (SFM 2025})} % Translated
\fancyhead[R]{{\small Aix-Marseille University}} % Translated
\fancyfoot[C]{\thepage}

\title{\bfseries 3\textsuperscript{rd} Biennial Congress \\
	of the French Musicological Association  \\[1em] 
	\huge \textcolor{red!50!black}{SFM 2025}\\[0.8em]
	\large October 23–25, 2025, in Aix-en-Provence \\ 
	\textcolor{red!50!black}{Call for Papers and Contributions}\\
	\normalsize \href{https://sfm2025.sciencesconf.org/?forward-action=index&forward-controller=index&lang=en}{sfm2025.sciencesconf.org}} % Translated

\date{\vspace{-4.0em}}  

\usepackage[absolute,overlay]{textpos}
% textpos defaults to measuring positions from the top-left corner
% We'll define a page grid in centimeters:
\setlength{\TPHorizModule}{1cm}
\setlength{\TPVertModule}{1cm}

\newcommand{\colophonbottom}{%
	% We'll guess a Y-position near the bottom of an A4 page.
	% Adjust as needed to avoid overlapping the footer.
	\begin{textblock*}{\linewidth}(3.18cm,28.4cm)  
		% 25.7cm from the top might place us just below your page number,
		% but you may need to tweak this number depending on your layout.
		% The first argument to textblock* is the box width -- \linewidth is safe.
		\centering
		\color{gray!50}\tiny
		Typeset in \textit{Hoefler Text} with \LaTeX\ and \texttt{microtype}.\\
		Ch. de Paiva \& V. Tiffon, 2025.
	\end{textblock*}%
}


\begin{document}


\maketitle
%\rule{\linewidth}{0.4pt}
%\decofourleft \quad \decofourright

\begin{center}
	\pgfornament[width=3cm]{89}
\end{center}

\thispagestyle{empty}

\section*{Congress Presentation}

To provide new momentum to the French musicological network, the French Musicological Association  (\textit{Société Française de Musicologie}--SFM) launched in 2021 a privileged forum for exchange in the form of a biennial international congress.

After a first edition in Lyon, the second edition was hosted in 2023 in Angers by the Faculty of Humanities at the Université Catholique de l'Ouest (UCO) and the Department of Philosophy at Nantes Université.

The 3\textsuperscript{rd} edition is scheduled from October 23 to 25, 2025, in Aix-en-Provence, bringing together four laboratories: PRISM (Perception, Representations, Image, Sound, Music --- UMR 7061), LESA (Laboratory for Studies in Art Sciences --- UR 3274), ADEF (Learning, Didactics, Evaluation, Training --- UR 4671), IDEAS (Institute of Ethnology and Social Anthropology --- UMR 7307); two institutes, one multidisciplinary, InCIAM (Institute for Creativity and Innovation), and the other, the higher music education center IESM (\textit{Institut Supérieur d’Enseignement de la Musique Europe et Méditerranée}); and a federative structure (SFERE --- Federative Structure for Studies and Research in Education of Provence FED 4238). The SFM2025 congress will be hosted at the \textit{Conservatoire à Rayonnement Régional d’Aix-en-Provence}.

As a traveling event, the SFM Congress aims to highlight the different locations where musicology is present across the national territory, while also serving as a meeting space open to all specialties within the discipline. This is why this call for papers, open to all researchers, including early-career scholars, features two categories:

\begin{tcolorbox}[colback=yellow!20, colframe=red!50!black, title=Categories of Call for Papers, fonttitle=\bfseries, enlarge top by=1mm, enlarge bottom by=1mm]
	\large
	\begin{itemize}
		\item \textbf{Open Call for Papers:} For presentations without thematic constraints.
		\item \textbf{Thematic Session Contributions:} For presentations aligning with themes defined in collaboration with SFM and local partners.
	\end{itemize}
\end{tcolorbox}

	\section*{Sessions thématiques}

\setcounter{subsection}{0}           % Reset the subsection counter
\renewcommand{\thesubsection}{\arabic{subsection}}

\subsection{Risset \& beyond}


Jean-Claude Risset is one of the leading figures in the invention and development of a new discipline that emerged in the 1960s: computer music, positioned at the intersection of fundamental computing, musical creation, studies on sound perception, and the musicological challenges of the time. Jean-Claude Risset’s multifaceted activity as a researcher in sound perception, a developer of creative tools through sound synthesis, and a composer of mixed music makes him one of the key actors in the interdisciplinary field of \textit{AST} (arts, science, and technology). In this context, the \textit{PRISM} laboratory is finalizing the digitization and online publication of Jean-Claude Risset’s scientific and artistic paper archives.

In 2025, more than 60 years after his pioneering work, what is Jean-Claude Risset’s legacy in the fields of sound synthesis, mixed composition, and the use of the disklavier for musical creation in the era of AI, streaming listening practices, and non-standardized electronic instruments? Is the notion of “creating the sound itself” still relevant in the first quarter of the \textsc{XXI}\textsuperscript{st} century, when synthesis and processing technologies are becoming increasingly intertwined? How are the issues of mixed composition, central to Jean-Claude Risset’s concerns, being renewed by the acceleration of AI-based tools for generating materials and forms? What is the modernity of Jean-Claude Risset’s work in an environment of constant technological innovation? Can we speak of a lineage of composer-programmers in the vein of Risset–Stroppa–Blondeau?

\subsection{Music and Cinema}

\renewcommand{\thesubsubsection}{\thesubsection.\alph{subsubsection}}

\subsubsection{Experimental music and cinema: multisensory and multimodal approaches}

From the advent of visual music by Hans Richter or Viking Eggeling to the most contemporary hybrid films, passing through practices such as found footage and structural cinema, the encounter between cinema, documentary, and experimental sound forms has redefined traditional frameworks of audiovisual narration. By integrating atypical sound textures, nonlinear structures, and spaces of indeterminacy, these intersecting practices question the relationships between sound and image, alter audience perception, and propose new artistic forms of expression.

What mutual influences exist between fictional cinema, documentaries, and experimental sound forms? In what ways have experimental musics transformed cinematic practices? To what extent do these unconventional sonorities influence the perception of time and duration in cinema? Are we witnessing a genuine co-creation of sound and image in films adopting or generating so-called experimental music?

\subsubsection{Archiving and heritage of film music}

Film music has only relatively recently garnered musicological interest. Over the last few decades, this domain has experienced significant growth as a field of study, particularly in France, where it is subject to varied and continuously evolving methodological approaches (Huvet, 2016). However, a recurring issue persists in film music research: archives, both in the symbolic (scores) and audio (recording rushes) domains, often remain difficult to access. These obstacles have led, in recent years, to initiatives aimed at protecting, preserving, and progressively making accessible resources essential for studying the musical history of film music. Among such projects, we can mention the Archives Misraki platform (AMU CNRS / SATT Sud-Est / IDEAS / PRISM / PASSAGE \textsc{XX}-\textsc{XXI} Lyon 2), the Maurice Jarre Archives (Jean Vilard Association / Wyoming University), and the Marcel Pagnol Endowment Fund (IDEAS / CNRS / SATT Sud-Est). In this context, musicology, through its analytical tools, offers a unique approach to cinematic production (Rossi, 2021). This discipline also benefits from advances in digital technologies, which facilitate data identification and analysis. The interdisciplinary collaboration between arts and sciences, particularly between musicology and sound sciences, undoubtedly offers novel and promising perspectives for the study of these corpora.

Communication proposals within this framework may include presentations of specific archival collections, exploration of archival techniques, or musical and multimodal analyses (for instance, through artificial intelligence or innovative analytical approaches — Couprie, 2018). It is also possible to address the core issue of the creative process through comparative studies of notation and recording practices (Rossi, 2021). Finally, topics addressing issues of interpretation and the reconstruction of musical corpora are also welcome.

\subsection{Song and Modern Popular Music}

Situated at the crossroads of technique, aesthetics, and market-driven logic, the study of modern popular music inherits a dual epistemological lineage: on one hand from popular studies, largely sociological and cultural, and on the other from sound studies, emphasizing the analysis of timbre and conditions of sound production. Long overlooked in Francophone musicology, non-art music has, over the past two decades, become recognized as an essential repertoire within the discipline, highlighted through encyclopedic publications (Jean-Jacques Nattiez, 2003) and anthological collections (Guibert \& Heuguet, 2022).

Aix-Marseille University has been central to these discussions since 2015, with the creation of the interdisciplinary network \textit{les Ondes du monde}, which brings together research in France and Europe on song through biennials and seminars. To enhance the disciplinary contributions of the various musicological traditions on this subject, proposals should primarily address the musical dimension of song and modern popular music from the 20th and 21st centuries. Submissions may include harmonic or melodic analysis, historical genre studies, relationships between text and music, the role of technology, or the contributions of performers.

\subsection{Anthropology and Ethnomusicology}

\subsubsection*{Musical territories: dynamics and boundaries}

Music—however we choose to define or embody it—is inherently plural. Musical territories are shaped by their geographic and social diversity, their diachronic and synchronic dimensions, and their material and symbolic expressions. Ethnomusicologists recognize the complexity and fragility of these musical ecosystems. Performers, listeners, and analysts all engage within a continually questioned, transcended, and renewed creativity. Building upon initial discussions held at IDEAS on this topic (2024), this session aims to further explore and deepen our understanding of the dynamics and boundaries of these musical territories.

\subsection{The Three Bs (Boulez, Berio, Boucourechliev)}

\subsubsection{Pierre Boulez as conductor}

Pierre Boulez is undeniably one of the most influential figures in modern music. His profound and enduring impact spans numerous domains, including composition, conducting, writing, administration, and public engagement.

On the occasion of his centenary, and with the aim of both honoring and reassessing his legacy in the new millennium, we propose the following themes:

\begin{itemize}
	\item What are Pierre Boulez’s principal contributions as a conductor?
	\item What characterizes his conducting technique and his analytical approach, rehearsal methods, and interpretations of 20th-century and contemporary repertoire (for example Bartók, the Second Viennese School, Varèse, Debussy)?
	\item What approaches did Boulez employ when conducting his own works and those of his contemporaries?
	\item How did the recording processes and technical aspects of Boulez’s numerous recordings as a conductor unfold? Did he collaborate closely with sound engineers?
	\item What type of relationships did Boulez develop with orchestral musicians?
\end{itemize}

\subsubsection{Boulez as a composer of the 21st century}

Many academic studies and historical accounts on his music focus on works from the period considered to be the most innovative and radical, works such as \textit{Structures, Books I and II for piano}, \textit{Le Marteau sans Maître}, \textit{Pli selon Pli}, or his \textit{Piano Sonatas}. However, Boulez’s career as a composer extends across multiple decades, marked by continuous evolution—an evolution that itself constituted a central principle of his artistic process, constantly revising, editing, and expanding his earlier works.

Specifically, Boulez’s final generation of compositions deeply integrates and explores major elements of the late 20th- and early 21st-century musical landscape: real-time electronic technology (\textit{Répons, ...explosante-fixe..., Anthèmes 2}), the concept of musical processes (also found, for instance, in post-spectral music, e.g., \textit{Dérive 1, Sur Incises}), technomorphism (adapting electronic studio techniques to instrumental writing, e.g., \textit{Messagesquisse}), computer-assisted composition (\textit{Dérive 2}), citation, and intertextuality (\textit{Dialogue de l’ombre double, Anthèmes}), etc.

We invite reflection around the following core questions:

\begin{itemize}
	\item What are the primary compositional strategies of Boulez’s late works?
	\item How do his compositional techniques differ from or resemble those of his youth?
	\item What new paths was Boulez exploring in his final compositions?
	\item Which composition projects did he leave unfinished or in progress?
	\item How did he incorporate elements derived from younger composers?
	\item What significant changes can be observed in his compositional approach over his career?
	\item Why and how did Boulez repeatedly use the motif derived from the name SACHER (E$\flat$ – A – C – B – E – D) as a recurrent element of his musical language, even beyond explicit homage? What aesthetic and compositional issues are behind this commitment?
\end{itemize}

\subsubsection{Open and mobile works: questioning modernity}

Boulez, with his serial thinking and concept of \textit{open form}, questions the possibility of a continuously transforming music, where structures are not fixed but adaptable. Has the concept of indeterminacy influenced today's young creators? Does it still embody modernity?

Berio, for his part, explores the fusion of musical languages and their interactions with other art forms. His work \textit{Sinfonia} demonstrates the coexistence of tradition and modernity. Is this a reflection of today’s postmodern condition?

Finally, Boucourechliev introduces \textit{mobile forms}, allowing performers to become true co-creators. This freedom opened novel perspectives on the role of performance and the concept of the work as a process. In the age of artificial intelligence, has such experimental thinking become the norm?

\subsubsection{The legacy of composers born in 1925}

On the occasion of their centenaries, we invite proposals exploring the enduring legacies, diverse contributions, and ongoing significance of composers born in 1925:

André Boucourechliev, Luciano Berio, Pierre Boulez, Aldo Clementi, B.B. King, Georges Delerue, Ivo Malec, Mikis Theodorakis, Daphne Oram, Oscar Peterson, Michel Philippot.

\section*{Submission Guidelines}

Paper and contribution proposals should be submitted in either French or English as text documents (\texttt{.doc, .docx, .rtf, .odt}) and must include:

\begin{itemize}
	\item A title and abstract of the proposal (300 words);
	\item Author’s name, email contact information, and a short biography including institutional affiliation if applicable (100 words).
\end{itemize}
\medskip

\begin{tcolorbox}[colback=yellow!20, colframe=red!50!black, title=Important Dates, fonttitle=\bfseries, enlarge top by=1mm, enlarge bottom by=1mm]
	\large
	\textbf{Submission Deadline:} May 18, 2025, at midnight\\[1ex]
	\textbf{Notification of Acceptance:} July 1, 2025\\[1ex]
	\textbf{Proposals should be sent to:} \href{mailto:sfm25@prism.cnrs.fr}{sfm25@prism.cnrs.fr}
\end{tcolorbox}


\section*{Institutionnal Partners}

\begin{itemize}
	\item Aix-Marseille Université (AMU)
	
	\item Laboratoire PRISM\\
	\emph{Perception, Représentations, Image, Son, Musique} – UMR 7061
	
	\item Laboratoire LESA\\
	\emph{Laboratoire d’Études en Sciences des Arts} – EA 3274
	
	\item Laboratoire ADEF\\
	\emph{Apprentissage, Didactique, Évaluation, Formation} – UR 4671
	
	\item Laboratoire IDEAS\\
	\emph{Institut d’Ethnologie et d’Anthropologie Sociale} – UMR 7307
	
	\item Institut InCIAM\\
	\emph{Institut de Créativité et d’Innovation d’Aix-Marseille}
	
	\item IESM\\
	\emph{Institut Supérieur d’Enseignement de la Musique Europe et Méditerranée}
	
	\item Structure Fédérative SFERE\\
	\emph{Structure Fédérative d’Études et de Recherches en Éducation de Provence} – FED 4238
	
	\item CRR d’Aix-en-Provence\\
	\emph{Conservatoire à Rayonnement Régional}
\end{itemize}

\section*{Organizing Committee}
\begin{itemize}
	\item Vincent Tiffon (PRISM/AMU/CNRS)
	\item Florent Boffard (IESM)
	\item Yves Balmer (SFM)
	\item Catherine Deutsch (Univ. Lorraine/SFM)
	\item Julien Ferrando (IDEAS/AMU/CNRS)
	\item Javier Gimeno (PRISM/AMU/CNRS)
	\item Etienne Kippelen (LESA/AMU)
	\item Charles de Paiva Santana (PRISM/AMU/CNRS)
	\item Joséphine Simonnot (PRISM/CNRS)
	\item Thierry Stiegler (IESM)
	\item Pascal Terrien (ADEF/SFERE-Provence/AMU)
\end{itemize}

\section*{Scientific Committee}
\begin{itemize}
	\item Rosalba Agresta (BnF)
	\item Talia Bachir-Loopuyt (HEM Genève)
	\item Yves Balmer (CNSDMP/SFM)
	\item Anne-Sylvie Barthel-Calvet (Université de Strasbourg)
	\item Vanessa Blay-Tremblay (Université du Québec à Montréal)
	\item Florent Boffard (IESM)
	\item Céline Carenco (Université Lumière Lyon 2/IHRIM)
	\item Achille Davy-Rigaux (IReMus/CNRS)
	\item Marie Demeilliez (Université Grenoble Alpes/LUHCIE)
	\item Catherine Deutsch (Université de Lorraine/CRULH)
	\item Christine Esclapez (PRISM/AMU/CNRS)
	\item Julien Ferrando (IDEAS/AMU/CNRS)
	\item Séverine Gabry-Thienpont (IDEAS/AMU)
	\item Javier Gimeno (PRISM/AMU/CNRS)
	\item Jean-Christophe Branger (Université Lumière Lyon 2/IHRIM)
	\item Etienne Kippelen (LESA/AMU)
	\item Charles de Paiva Santana (PRISM/AMU/CNRS)
	\item Jann Pasler (University of California, San Diego)
	\item Anne Piéjus (IReMus/CNRS)
	\item Théodora Psychoyou (Sorbonne Université)
	\item Jérôme Rossi (Université Lumière Lyon 2/Passages \textsc{XX}-\textsc{XXI})
	\item Clair Rowden (Cardiff University)
	\item Gaël Saint-Cricq (Université Lumière Lyon 2/IHRIM)
	\item Thierry Stiegler (IESM)
	\item Inès Taillandier-Guittard (Université d'Évry-Val-d'Essonne)
	\item Pascal Terrien (ADEF/SFERE/AMU)
	\item Vincent Tiffon (PRISM/AMU/CNRS)
	\item Olivier Tourny (IDEAS/CNRS)
\end{itemize}

%	\section*{Co-organisateurs des sessions thématiques}
%	\begin{itemize}
	%		\item Vincent Tiffon (PRISM/AMU/CNRS) --- session « Risset and Beyond »
	%		\item Julien Ferrando (IDEAS/AMU/CNRS) / Javier Gimeno (PRISM/AMU/CNRS) --- session musique et cinéma
	%		\item Thierry Stiegler (IESM) / Pascal Terrien (ADEF/AMU) --- session musique, enseignement, pédagogie et didactique
	%		\item Etienne Kippelen (LESA/AMU) --- session Chanson et musiques populaires modernes
	%		\item Olivier Tourny et Séverine Gabry-Thienpont (IDEAS/CNRS) --- Anthropologie et ethnomusicologie
	%		\item Charles de Paiva-Santana (PRISM/AMU/CNRS) --- session Boulez-Berio-Boucourechliev
	%		\item Jérôme Rossi (Université de Lyon 2), Groupe SFM « ELMEC » (Étude des langages musico-sonores à l’écran)
	%		\item Gaël Saint-Cricq (Université Lyon 2), Groupe SFM « Musique des médiévistes »
	%	\end{itemize}


\section*{Thematic Sessions Convenors}
\begin{itemize}
	\item Vincent Tiffon (PRISM/AMU/CNRS)\\
	\emph{Session “Risset and Beyond”}
	\item Julien Ferrando (IDEAS/AMU/CNRS) \\ Javier Elipe Gimeno (PRISM/AMU/CNRS)\\
	\emph{Session “Music and Cinema”}
	\item Thierry Stiegler (IESM)  \\ Pascal Terrien (ADEF/AMU)\\
	\emph{Session “Music, Education, Pedagogy and Didactics”}
	\item Etienne Kippelen (LESA/AMU)\\
	\emph{Session “Song and Modern Popular Music”}
	\item Olivier Tourny (IDEAS/CNRS) \\  Séverine Gabry-Thienpont (IDEAS/CNRS)\\
	\emph{Anthropology and Ethnomusicology}
	\item Charles de Paiva-Santana (PRISM/AMU/CNRS)\\
	\emph{Session “Boulez–Berio–Boucourechliev”}
	\item Jérôme Rossi (Université Lumière Lyon 2), SFM Group “ELMEC”\\
	\emph{Study of Musical and Sound Languages on Screen}
	\item Gaël Saint-Cricq (Université Lumière Lyon 2/IHRIM), \\ “SFM Medievalists Group”
\end{itemize}

%\vspace*{\fill} % Push logos to the bottom of the page



%\vspace*{-4cm}

\begin{center}
	\scalebox{0.8}{
		\begin{tabular}{c}
			\logoCell[1.6][16]{logo1.jpeg} \\[-4.5ex]
			\logoCell[1]{logo2.png} \\[4ex]
			\logoCell[1.1]{logo3.jpg} \\[5ex]
			\logoCell[1.3]{logo5.png} \\[2ex]
			\logoCell[1]{logo6.png} \\[2ex]
			\logoCell[1.2]{logo10.png} \\[2ex]
			\logoCell[1]{logo4.png} \\[2ex]
			\logoCell[1]{logo7.jpeg} \\[2ex]
			\logoCell[0.9]{logo8.png} \\[2ex]
			\logoCell[1.3]{logo9.png} 
		\end{tabular}
	}
\end{center}

\colophonbottom



\end{document}