In these turbulent and unpredictable times, the arts, music in particular, have never been more important for the preservation of positive human values. Language and music, two powerful instruments in this endeavor, possess their own structural hierarchies and systems of meaning yet they are so closely intertwined that cognitive science still cannot clearly determine where one ends and the other begins.
Across history, they have continuously nourished one another: operas such as Romeo et Juliette, War and Peace and La Traviata were inspired by the works of William Shakespeare, Leo Tolstoy and Alexandre Dumas; the music of Ludwig van Beethoven or The Beatles has inspired writers such as Thomas Mann and Haruki Murakami. George Bernard Shaw was a passionate music critic; James Joyce conceived of his prose in musical terms; and figures such as Leonard Cohen, Bob Dylan and Laurie Anderson embody the creative fusion of poetic and musical expression.
Today, both research and artistic practice increasingly move away from viewing works as static, isolated products and instead understand them as dynamic processes shaped by interaction, transformation and continuity across time. Texts, languages and musical compositions are no longer treated as fixed artifacts but as living forms that evolve through reinterpretation, translation, performance and reception.
Music is often called a universal language, but what makes lyrics, songs and melodies in a given language distinctive within the constellation of cultures? The universality of music is not merely a phrase referring to emotions and motifs; it also raises the question of how melodies and translation merge, crossing the barriers of different languages and cultures. At the same time, awareness of linguistic structure sharpens rhythmic and formal sensitivity, deepens interpretation and strengthens creative and pedagogical practice. Music also plays an indispensable role in language acquisition, whether as a source of lyrics, a form of motivational support or simply a pleasurable experience, reminding us that language learning should be engaging and enjoyable, just as art — especially music — thrives in dynamic, engaging experience.
Organised by the Faculty of Philology, English Department in association with the Academy of Arts, Music Department — University of Banja Luka
The conference welcomes contributions on topics including but not limited to:
The fee includes conference materials, coffee breaks and conference dinner.
Abstracts (maximum 300 words) should be submitted via the CELLS 7 Abstract Submission Form. Abstracts should clearly state the research question, methodology and expected contribution to the field. The conference format is hybrid — both in-person and online participation are welcome.
Upon notification of acceptance, participants proceed to full registration via the CELLS 7 Registration Form.
University of Banja Luka
Faculty of Philology
Bulevar vojvode Petra Bojovića 1A
78000 Banja Luka, Bosnia and Herzegovina
Banja Luka, the second-largest city in Bosnia and Herzegovina and capital of Republika Srpska, sits along the beautiful Vrbas River. Surprisingly green for its size, the city offers riverside parks, Ottoman and Austro-Hungarian heritage, vibrant café culture and the spectacular Vrbas canyon — making it a rewarding destination beyond the conference itself.