Featuring Sidney Marquez Boquiren and Carolyn Chen (Guest Composers)

June 15–17, 2018

Embedded within the 2018 Nief-Norf Summer Festival, the Research Summit is a three-day research conference that includes performances by the fellows and faculty of the festival, and research presentations by fourteen scholars from around the world. The concerts during the Research Summit feature music by Sidney Marquez Boquiren, Carolyn Chen, selected winners of the 2018 and 2017 Calls for Scores Juro Kim Feliz, Jinhee Han and Viet Cuong, and rarely-performed large ensemble works by Evan Ziporyn and Christopher Adler with instruments from Bali and Thailand.


Registration for the New Asia Nief-Norf Research Summit costs $100 for non-students / $50 for students and may be paid via Paypal or on-site at the conference. Registration includes attendance to all presentations and concerts on June 15-17, as well as a catered lunch on June 16. Whether you plan to pay online or in-person, please fill out our registration form beforehand.


To attend individual concerts during the New Asia Research Summit without registering for the full conference, tickets will be available on-line (coming soon) and at the door for $15 general / $10 students. 



Hilton Garden Inn Knoxville/University

The Hilton Garden Inn is the closest accommodation option to the Natalie L. Haslam Music Center (where all conference papers will take place). Walking from this hotel to the music school takes approximately 5-7 minutes (walking slightly uphill past an excellent coffee shop, The Golden Roast).

More information about the Hilton Garden Inn Knoxville/University.




Participants should plan to arrive on Friday, June 15. The Research Summit begins with an opening concert beginning at 7:30 p.m. in the Natalie L. Haslam Music Center. The conference concludes at noon on Sunday, June 17. 


If you are planning to fly, book a flight into McGhee Tyson Airport (TYS), located about 20 minutes south of Knoxville. From there, you can find taxis (as well as ride share options) to get to campus.


The University of Tennessee-Knoxville is located along the Tennessee River just off the intersection of I-40 and I-75.Click here for a google map of campus


All conference papers will take place at the Natalie L. Haslam Music Center, located at:

The University of Tennessee
School of Music
117 Natalie L. Haslam Music Center
1741 Volunteer Blvd.
Knoxville, TN 37996-2600


The deadline for submission has already passed. Participants will be notified of their status in March. 

Nief-Norf Research Summit 2018: New Asia

Through the 20th century, composers of contemporary concert music drew upon Asian traditions, including pioneers like Toru Takemitsu, Jose Maceda, Isang Yun, Chou-wen Chung, and Lou Harrison, and those of a younger generation such as Tan Dun, Bright Sheng and Younghi Pagh-Paan. Emerging composer-ethnomusicologists in North America such as Michael Tenzer and Evan Ziporyn engaged in fieldwork, abroad and in diasporic communities leading to the creation of cross-cultural works rich in signification within multiple musical traditions. Their cross-cultural compositions have been framed by critical interrogations of colonial histories, cultural appropriation, Orientalism, representation, cosmopolitanism and globalization, as well as by more celebratory discourses of hybridity, multiculturalism, post-modern identity formation, intercultural exchange and community-building through music (Everett and Lau, 2004; Born and Hesmondhalgh, 2007).

As globalization accelerates, support for new music is increasingly decentralized and internationalized, and composers are increasingly cosmopolitan, producing and consuming within a diverse, multi-local, internet-mediated community of like-minded practitioners of contemporary concert music around the world. The classical music tradition has shifted towards Asia, with musicians of Asian heritage now comprising a significant faction of leading performers around the world, and classical music widely embraced and productive of new, locally-situated meanings in many Asian countries (Yang, 2014).

We seek to explore the geo-cultural conditions of new music as a musically-imagined community, a construction of identity experienced primarily through a collective musical imaginary in which music itself produces the affinities that engender community (Born & Hesmondhalgh, 2007), even as the tradition of new music is heterogeneous and perpetually in transformation.

We welcome submission of papers that address the following and related areas:

  • The place of Asia and Asian musical traditions in the tradition of new music composition and performance
  • The geo-cultural situation of new music as a musically imagined community
  • The application of discourses of colonialism, post-colonialism, decolonization, hybridity, inter- and cross-culturalism, globalization, identity, appropriation, representation, and Orientalism to new music, historically and in the present
  • New music in Asia today
  • The scope, history, present and future of new music / contemporary music / modern music

We invite proposals for individual papers or presentations (20 minutes + 10 minutes questions).

Abstracts should be no more than 300 words. In your submission email, include your name, affiliation, and any technical requirements. Please do not include your name in your abstract.

Submit abstracts as PDFs to by February 15, 2018. Notifications will be sent out in March.


Georgina Born and David Hesmondhalgh, Western Music and its Others: Difference, Representation and Appropriation in Music (Berkeley: University of California, 2007).

Yayoi Uno Everett and Frederick Lau, Locating East Asia in Western Art Music (Middletown: Wesleyan University, 2004).

Mina Yang, Planet Beethoven: Classical Music at the Turn of the Millennium (Middletown: Wesleyan, 2014).