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18-19 June 2020, University of HuddersfieldPresentationThis event aims to innovatively question how musical practices formed ways of imagining democracy in the democratic transitions&#160;that took place after Portugal&#8217;s &#8216;Carnation Revolution&#8217; in 1974 &#8211;&#160;what Huntington (1991) called the &#8216;third wave&#8217; of democratisation, which involves&#160;more than 60 countries throughout Europe, Latin America, Asia, and Africa.&#160;Rather than studying&#160;music&#8217;s diverse deployments within these political&#160;contexts&#160;(music &#8216;in&#8217; transitions to democracy),&#160;these study days&#160;place the emphasis upon ways in which music embodies&#160;democratisation&#160;processes and&#160;participates in the wider social struggle to define freedom and equality for the post-authoritarian era&#160;(hence the &#8216;and&#8217;&#160;in the title of the event).As political science has shown, democracy is a highly contested category, one that has been imagined in many different ways, and any particular realisation of which carries costs as well as benefits.&#160;According to the historian of democracy Pierre Rosanvallon, the rise of democracy has historically represented both a promise and a problem for a society:&#160;&#8216;a promise insofar as democracy reflected the needs of societies founded on the dual imperative of equality and autonomy; and a problem, insofar as these noble ideals were a long way from being realized&#8217; (2008:2).&#160;These complex facets of democracy became especially apparent in the political context of transition to democracy after an authoritarian regime, leading to a struggle between different &#8216;ideas&#8217; of democracy (Albertus and Menaldo, 2018).Thus, these study days also seek to engage in a comparative discussion of how music framed different ideas of democracy in post-authoritarian transitions during the 1970s, 80s, and 90s.&#160;How did musical practices instantiate ideas of democracy in these political contexts? Inversely,&#160;how did such democratic values inform musical practice? How did musicians negotiate between creative autonomy and social responsibility? And more broadly, what is the role of culture in a transition to democracy?Submission GuidelinesWe invite proposals from scholars working in any discipline for papers exploring these and related questions in relation to any musical practice. Papers will be 30-minutes in length followed by 15 minutes of discussion time, to enable the fullest exchange. Please submit proposals (250-300 words) to&#160;I.ContrerasZubillaga@hud.ac.uk&#160;by the deadline&#160;Friday 31 January 2020 The programme will be announced in early March.&#160;Convened by Igor Contreras Zubillaga (British Academy Postdoctoral Fellow, University of Huddersfield) Robert Adlington (University of Huddersfield)Keynote speaker Marina Frolova-Walker (University of Cambridge)https://musicdemocracystudydays.wordpress.com/cfp-study-days-2020/