Submissions are invited for a proposed themed issue for Nineteenth-Century Music Review (General Editor: Bennett Zon), entitled ‘Clara Schumann’s Legacies’, guest-edited by Joe Davies and Nicole Grimes. 

Recent scholarship has done much to move away from the ‘great (male) composer’ model that has loomed large in histories of European music towards a more diverse and gender-aware approach that is sympathetic to different kinds of musicianship. This special issue, revolving around the theme of ‘legacies’, aims to contribute to these developments in two particular respects: first, by re-evaluating the biographical and historiographical traditions that have underpinned Clara Schumann’s reception history; and secondly, by developing new approaches to female authorship in connection with technological developments throughout the nineteenth century – an area in which women’s contributions have been largely overlooked. Central research questions include: to what extent did technology – whether in terms of instruments, publishing, or the press – play a role in Clara Schumann’s self-fashioning? How might we understand Clara Schumann’s pianism in connection with the body and discourses on touch and sensation? What do artistic and filmic representations of Clara Schumann reveal about popular conceptions of nineteenth-century female creativity, and how might their assumptions be effectively challenged or nuanced? In exploring these questions, the issue seeks not only to provide new perspectives on the rich yet under-explored terrain of reception and legacy in Clara Schumann studies, but also to establish a model for future research on women’s legacies across a range of chronological and geographical remits.

Submissions should address any of the following broad themes: 

•	Clara Schumann and technology (the piano, music printing, and the press)
•	Clara Schumann and performance (issues of embodiment, technologies of touch)
•	Clara Schumann reception history (how Clara Schumann has been authored in the visual arts, film, and biographical traditions)
•	Clara Schumann and female authorship (including image and self-fashioning)

Contributions that engage with broader methodological developments in nineteenth-century studies, gender studies, and performance studies are particularly welcome. 

For guidelines and details on the peer-review process of NCMR, see
https://www.cambridge.org/core/journals/nineteenth-century-music-review/information/instructions-contributors

Timeline:

Please submit abstracts of 300 words (including name of contributor and title) to the guest-editors (joe.davies[at]music.ox.ac.uk and nicole.e.grimes[at]gmail.com) by 15 December 2019. Five authors will be invited to submit full articles (between 8,000 and 12,000 words, excluding footnotes). These articles will then go through the peer-review process outlined in the guidelines above. 

Deadline for submission of full articles to guest-editors: 30 June 2020.

The guest-editors plan to prepare the articles for publication between July and August 2020, submitting the full issue to the General Editor by September 2020.
 
Should you have any informal questions about this special issue of NCMR, please be in contact with Joe Davies (joe.davies[at]music.ox.ac.uk) and Nicole Grimes (nicole.e.grimes[at]gmail.com). 

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