The call for papers is now closed. All abstracts have been reviewed and applicants informed of the outcome of their submission.


Abstracts of c. 200 words are invited for consideration as papers to be presented on Day One: Tradition and Change. This strand encourages delegates individually to offer examinations of the past two decades’ developments in folk and traditional music education at their national level, thereby allowing delegates collectively to build a mutually clear portrait of the changing nature of the scene at the international level. This ”˜where we are now’ approach serves as a foundation to understand and further explore subsequent issues.

Contributions are particularly welcomed with regard to the following:

  • Commercial developments
  • Educational developments
  • Artistic developments
  • European (and other) folk/trad music education policies
  • Hypertextuality and mediation of folk/trad music in our digital age
  • Constructing authenticity
  • The politics and porosity of folk/trad music → de-territorialisation in a globalised world ← re-territorialisation and the closing of borders
  • Artification and the impacts of the conservatoire setting
  • Inclusion and transition: widening participation to folk/trad music in higher education, employment and graduate destinations for folk/trad graduates
  • What does the future hold?

Please email abstract submissions to

Deadline: 31 July 2017

Call for Participation

We encourage any and all delegates to contribute actively to Day Two: Learning and Teaching. This strand encourages delegates to exchange brief, descriptive case studies of their own institutions’ pedagogies and practices in service to their programmes’ stated learning outcomes. This involves perspectives on the roles of a wide range of subject areas important to folk and traditional music in higher education and how these subject areas have changed over time. This strand provides a forum to share opinions and ideas, and make connections in the spirit of collegiate professional development: how learning aims and outcomes differ between programmes, institutions and cultures; what works in service to those aims and outcomes; what doesn’t; and the many factors that have to date determined one or the other.

Case study presentations of c. 15 minutes’ duration are particularly welcomed with regard to the following:

  • Performance (soloist / ensemble / big band)
  • Language and song
  • Dance
  • History
  • Folklore
  • Artistic research: role, methods, outcomes
  • Creativity and composition
  • Innovation and improvisation
  • Vocationalism in a higher education context
  • Paradigms of tradition, transmission and creativity: the horizontal and the vertical


Please email note of interest and case study topic(s) to

Deadline: 31 July 2017


To Grade or Not to Grade

The final strand of the conference takes place on Day Three: Assessment and Feedback. This strand invites delegates to take part in a structured but open forum environment discussing the latest theories and practices with regard to assessment’s dual role measuring student achievement and supporting student learning in higher education, how this is applied efficaciously in a folk and traditional music context, and thereby what delegates can learn from each other in the development of future practices. This includes the question of pass/fail versus grading, issues surrounding mutually constructed evaluation in a peer-artist context and the insights of students themselves.



The conference will take place in Glasgow, a UNESCO City of Music and home to the world-famous Celtic Connections Festival. In addition to the Festival’s myriad folk club opportunities taking place, conference proceedings will feature public performances by Royal Conservatoire of Scotland’s Traditional Music Department staff and students, a Creative Conversation with traditional music industry leaders and a Conference Ceilidh hosted at the The National Piping Centre in which delegates will be invited to perform with and for each other in a spirit of confluence and musical dialogue.