Friday, 31 October 2008

CFP: Screen Sounds Conference 2009 (KCL)

14 APRIL 2009

Papers are invited on any aspect of sound in French cinema. Since the 1980s, the study of sound has been opened up by scholars including Michel Chion (1994, 1999), Rick Altman (1980), Claudia Gorbman (1987), and Caryl Flinn (1992, 2004), who have explored aspects of sound in film from the voice and soundtrack to music. Such studies have been influential in shifting the emphasis in film studies away from the purely visual, and towards the conceptualisation of film ‘viewing’ as a multi-sensory experience. The study of sound can help our understanding of a wide range of issues in film studies, including questions of identity, performance, film form and the relation between the visual and the aural.

Topics may include (but are not limited to):
· Music and film
· Sound in the silent cinema
· The transition to sound cinema
· Soundtrack
· Dialogue
· The voice

Papers must be submitted in written form by 15 March 2009 for pre-circulation to delegates. Participants will be invited to speak for 10 minutes, highlighting the key points of their paper and indicating areas for discussion. Proposals of 200-300 words should be submitted by December 31 to Sarah Leahy ( ).

Women in Music Conference (upcoming) (London)

2.00 - 6.00 PM

The Regent Hall, 275 Oxford Street, London W1C 2DJ

Women in Music UK is celebrating its 21st Birthday by collaborating with the 11th London New Wind Festival. As well as the conference, there will be a talk by composer and inspirational speaker Errollyn Wallen, MBE, followed by a panel discussion on the education of composers. The evening concert includes many exciting works by women composers.

1- 1.40pm Women in Music AGM.
2- 4pm Conference
4.30pm Guest speaker, Errollyn Wallen, MBE - Composer
5- 6pm Panel discussion; The Education of Composers
7- 9.30 pm Concert, New London Wind Festival

Conference "100 years of the women in music movement in the UK"
Chaired by Dr Margaret Lucy Wilkins. 2-4pm

Research Papers:

Laura Seddon.PhD student, City University, London.
Breaking Insuperable Barriers: The Women and the Ideology of the Society of Women Musicians.

Jennifer Kelly. Asst. professor of Music, Lafayette College, Easton, PA, USA.
Hilary Tann: Welsh composer living in America.

Rev. Professor June Boyce Tillman, MBE, Professor of Applied Music, University of Winchester
Women in Liturgical Music

4.30pm. Guest Speaker

Errollyn Wallen, MBE, Visiting Composer-in-Residence, Birmingham Conservatoire.
"Educating Composers"

Panel discussion
The Panel will discuss various models for educating composers.

Panel Members
Prof Rhian Samuel., City University/ Composer/ Editor, Grove Dictionary of Women in Music (1995)
Dr. Mary Bellamy, University of Huddersfield/ Composer
Dr. Margaret Lucy Wilkins, Composer/ University of Huddersfield (retired)/ Creative Music Composition: the Young Composer's Voice (Routledge, London & New York, 2006)

11th London New Wind Festival Concert

Catherine Pluygers Oboe Solo
Ruth Gipps - The Piper of Dreams Op 12(B)
Jane Serter - End Games
Orie Sato - Hotaru for Solo Oboe

Nancy Ruffer Flutes
Sadie E Harrison - Three Expositions (solo flute)
Betsy Jolas - Episode 1
Shulamit Ran - East Wind
Sally Beamish - Max's Pibroch (piccolo)
Ruth Duckworth - Blue Sky Thinking (piccolo) (World Premier)

Henryk Sienkiewicz Horn and Stephen Beville Piano
Thea Musgrave - Music for Horn and Piano
Tansie Davies - Spindle

Christopher Bush (USA) Clarinets and Carol Minor (USA) Piano
Joan Tower - Fantasy....."Those Harbor Lights"
Yumi Hara Cawkwell - Six Flowers UK PREMIER

Psallite Choir - Director Nancy Hadden Spells
Music (Three Spells) by Judith Cloud (especially written for the Psallite Choir)
Poetry by Kathleen Rayne
1 Spell against Sorrow
2 Love Spell
3 Spell of Creation

For further information see

Combined tickets for the conference and concert will be available on the door, from 12.50pm. £20, £15 concessions. (WiM members are welcome to attend the AGM for free)

CFP: The Musical Body: Gesture, representation and ergonomics in performance (IMR)

22 - 24 APRIL 2009

Institute of Musical Research, in association with the Open University, the University of Durham and the Orpheus Instituut, Gent, the University of Sussex, the Royal College of Music and the IMR Music & Science group

London: Senate House, and the Royal College of Music, 22-24 April 2009

The aim of this interdisciplinary conference is to bring together researchers from widely divergent fields to share perspectives on the physicality of performance, and its visual representation, in musics of all kinds. From connections between musical performance and health, and musical performance as dance, to representations of the ‘ideal’ posture in historical treatises and the lampooning of soloists in caricature, the conference will explore the ways in which music and the body interact, both with ease (such as where composition or improvisation are explicitly ergonomic) and in tension (where physical strain is etched into a musical composition or acts as a marker of authenticity in a performance style). Finally, it is pertinent to consider those areas in which physical ease in performance is either obstructed (eg. via performance anxiety) or results from the creative adaptation of standard practices (eg. as a response to disability).

Sessions will be built around themes, with presentations grouped as far as possible in ways that bring together a variety of historical and generic areas of study. The following list of themes and topics is indicative only:

* Music and health
* Iconographical representation
* History of performance style
* Organology
* Dance and theatricality
* The boundaries of the idiomatic and the ergonomic in composition
* Entrainment, ensembles and community
* Gesture and embodied cognition
* Stage presence and performance anxiety

Keynote speakers will include Rolf Inge Godøy (Director of the Musical Gestures Project, University of Oslo) and Richard Leppert (Regents Professor, Department of Cultural Studies & Comparative Literature, University of Minnesota)

Proposals are invited for the following:
20-minute papers
30-minute lecture-recitals

For either category, please submit a 300-word abstract (authors of successful abstracts will be given an opportunity to edit their work before publication in the programme booket). Please submit by email, in an attachment including your full name and contact details, to the IMR Administrator Mrs Valerie James, at Proposals will be anonymised before consideration by the Programme Committee. Deadline: 30 November 2008

Results will be announced in late December, with a provisional programme available from January 2009.

Programme committee:
Katharine Ellis (IMR)
Martin Clayton (Open University)
Mieko Kanno (Durham University; Orpheus Instituut, Gent)
Nicholas Till (University of Sussex)
Aaron Williamon (Royal College of Music; IMR Music & Science Group)

Analysing the Musically Sensuous (Study Day) (Liverpool)


A Study Day sponsored by the Society for Music Analysis and the University of Liverpool, including a keynote address by Steve Goodman.

A full programme for this one-day conference has just been announced and is
available at:

The day is free to current, paid-up members of the Society for Music Analysis, and staff and students of the University of Liverpool. For all others who wish to attend the cost will be:
£10 for students
£20 for non-students

This includes SMA membership until the end of 2009.

Buffet lunch is included for all delegates who confirm their attendance in advance (please mention any dietary requirements when booking).

To confirm your attendance or request further information please email Mirjam Jooss:

A limited number of bursaries are available to assist with travel expenses; please see for more details

CFP: SMA Theory and Analysis Study Days (Durham)


The SMA's annual Theory and Analysis Graduate Students (TAGS) Days will be hosted by the Department of Music at the University of Durham, for the first time over two days, on Friday 1 and Saturday 2 May 2009. Delegates will be invited to arrive by lunchtime on Friday and sessions will finish by late afternoon on Saturday. The extended duration will allow delegates from further afield to attend, while also allowing time for a greater number of papers, following the success of TAGS events in recent years.

The event aims to provide a supportive and friendly environment in which postgraduates can gain experience in presenting their work and meet fellow researchers. Participants who do not wish to present are also very welcome. We are delighted to announce that Robert Gjerdingen (Northwestern University) and Rudolph Lutz (Schola Cantorum Basiliensis) will present a
key-note address and recital workshop on the theme of ‘extemporizing partimenti’ on the evening of Friday 1 May.

Proposals are invited from postgraduate students for 20-minute papers addressing any analytical or theoretical subject, although key themes for this year’s event will be improvisation and performance theory, and contributions are welcomed from performers as well as traditional analysts. Proposals for themed sessions containing two or three papers on related topics are also welcomed. Abstracts of no more than 250 words should be sent by email to Jo Buckley at Please include name, affiliation, postal address, email address and AV requirements on a separate cover sheet. Organisers of themed sessions should submit a brief overview together with the individual abstracts.

The closing date for receipt of proposals is 1 FEBRUARY 2009. All those submitting proposals will be notified by 1 March 2009. Society for Music Analysis

CFP: Dictatorship and State Music Conference (Paris)

15 - 16 MAY 2009

Long time considered a propaganda tool, the music of dictatorial regimes might reveal important aspects in the relationship between art and politics. Recent works have underlined the complex ways in which musicians engaged with power under dictatorships, deemed as monolithic. Thus, the description of censorship, allegiance and dissension mechanisms, and of the breaks and continuities produced between regimes, will show the multiplicity of negotiation and consensus-seeking processes. In the absence of political freedom, these processes guaranteed the continuity of an often intense and creative musical life. Even in the darkest hours of 20th century history, music never ceased to sound.

This conference will focus on the works inspired and promoted by dictatorial state apparatuses. Even when not imposing aesthetic standards, dictatorships favoured certain kinds of music: occasional commemorative or celebrative works, patriotic or militant hymns, military marches, etc. In addition, modern dictatorial states have devised and implemented prize-awarding and commissioning policies aimed at consolidating the status of certain genres as institutionalised forms of political and social order.

Leaning on specific case studies, we will also discuss different approaches to this repertoire: can we broadly label it "State music"? Are there any similarities or constants in music production across different dictatorships? What have been the discourses and practices implemented and how did listeners react to them? Can we agree a set of stylistic features, or are they context-contingent?

The conference will encourage multidisciplinary approaches (cultural history, sociology of music, music analysis) and comparative research, and will welcome contributions on diverse historical and geographical locales, particularly Interwar Europe, Eastern bloc and Maoist China, or Latin American dictatorships of the 60s and 70s.

Papers (in French or in English) should last 20 minutes. Abstracts (300 words) and CVs must be submitted by 31 January 2009.

Contacts: Esteban Buch (buch at, Igor Contreras (contrerasigor at, Manuel Deniz Silva (manuel_denizsilva at

Centre de Recherches sur les Arts et le Langage (CRAL)
96 bd Raspail
75006 Paris

CFP: BBC Radiophonic Workshop (Northampton)

3 JULY 2009

This conference aims to explore the work of the BBC Radiophonic Workshop and its legacy since its closure.

The intention is to provide a forum that brings together the range of research currently being undertaken by different disciplines in this area, including media studies, music, media history, performance and studies of popular culture.

The conference will provide presentation of papers, sound installations and screenings and potential topics could include but are not limited to:
• The influence of the Workshop on popular music
• The work of its members, including Delia Derbyshire, Daphne Oram and Desmond Briscoe
• The development of synthetic sound design
• The Radiophonic workshop and cultural history
• The technical development of electronic music (eg Musique concrete, tape recorders, synthesisers)
• Sound and music effects in broadcast drama
• Cultural significance of the Dr Who theme

Please send proposals of no more than 300 words for 20-30 minute papers, together with your designation to no later than 31st March 2008. Proposals for panels of up to three speakers are also welcome

Celestial Harmonies (upcoming workshop - KCL)

a workshop on the Byzantine liturgy and its historic setting

The Weston Room
The Maughan Library, Chancery Lane, London EC2

11.00 welcome Judith Herrin (King¹s College London) and Alexander Lingas (City University London)

Christian Hannick (Würzburg) The development of the kontakion

Leslie Brubaker (Birmingham) Icons and sacred space


12.30-13.30 lunch (sandwiches tea and coffee will be provided)

13.30-15.30 Mary Cunningham (Nottingham) Inspiration or education? The place of homilies in the Byzantine liturgy

Béatrice Caseau (Paris) Around the altar

Marlia Mundell Mango (Oxford) Silver plate used in the Byzantine liturgy


15.30-16.00 tea/coffee

16.00-17.30 Introduction to the new musical setting of the Byzantine
Divine Liturgy in English, including live performance of major excerpts and discussion of the received traditions of Byzantine singing and their adaptation to English

Alexander Lingas; John M. Boyer, Protopsaltis of the Greek Orthodox Metropolis of San Francisco; Themistoklis Prodromakis, Protopsaltis of the Greek Orthodox Cathedral of Hagia Sophia, London, and Corrigan Research Fellow, Bionics, Imperial College, London; James Heywood and George Zacharias, Cantors, Cathedral of Hagia Sophia, London

Conclusion (all speakers with Judith Herrin and Alexander Lingas)

NB On Saturday 8 November the Lord Mayor¹s Parade will effectively block Fleet Street and the Strand, so access to the Maughan Library by car will be difficult (Chancery Lane is one-way going north). It will be easier to approach from High Holborn (underground station Chancery Lane) and walk south.

Tickets can be booked online at

This event is part of the Byzantium Comes to Britain program is sponsored by the London Centre for Arts and Cultural Enterprise, on the occasion of the Royal Academy exhibition, Byzantium 330-1453

Verdi Forum Call for Submissions (journal)

The Verdi Forum invites the submission of articles on all aspects of music and culture related to the life and works of Giuseppe Verdi and his sphere. The editor welcomes not only traditional source, analytical, and performance practice studies but also interdisciplinary contributions.

Under the sponsorship of the American Institute for Verdi Studies, the Verdi Forum has published essays, documents, and conference proceedings, which have contributed meaningfully to the scholarly literature on Verdi. The journal is a peer-reviewed publication, edited by Roberta Montemorra Marvin, with associate editors Andreas Giger and Steven Huebner and assistant editor Francesco Izzo, as well as an editorial board of international scholars who, along with external readers, review articles under consideration. The contents of the previous two double issues are listed below; the next double issue is scheduled for publication in mid-2009.

Submissions to Verdi Forum may be made electronically (as an e-mail attachment in a word-processing file readable by Microsoft Word for Windows) or (if necessary) in paper copy (three copies); if the proposed article contains musical examples, diagrams, or other visual material, these are to be sent in paper copies. Bibliographic citations should follow the Chicago Manual of Style, 14th ed. All submissions should include full contact information, including an e-mail address. The editor will also be happy to receive offers to review books, editions, and recordings of exceptional historic or aesthetic interest. Questions may be directed to the editor: Roberta Marvin (roberta-marvin at The address for paper submissions is Roberta M. Marvin, University of Iowa, Obermann Center, Oakdale Hall N130, Iowa City, Iowa 52242. For information about subscribing, visit the AIVS website:

Verdi Forum No. 32-33 (2005-2006)
David B. Rosen, "'Gonfio di gioia ho il core (piange)': Verdi's Deception Scenes"
Agostino Ziino, "Federico Ricci, Bellini, and a Presumed Verdian Plagiarism"
Joseph LaRosa, "Formal Convention in Verdi's Falstaff"
Alessandra Campana, Review of Mary Ann Smart, Mimomania: Music and Gesture in Nineteenth-Century Opera

Bologna Process in European Musicology (upcoming conf)

6 - 8 NOVEMBER 2008

From 6 to 8 November 2008 an international conference on “The Bologna process in European musicology – experiences and new perspectives” will take place at Saarland University, Saarbrücken. The conference is hosted by the Kommission Auslandsstudien of the German Musicological Society (Gesellschaft für Musikforschung). Other European societies and the International Musicological Society will be represented.

Saarbrücken is easy reach from Paris-Est (1:50 h), Frankfurt/Main (2 h) or (with Ryanair) via Zweibrücken (30 km) or Frankfurt-Hahn (2 h bus transfer).

Attendance is free.

Thursday, 6 November 2008
Universität des Saarlandes, Campus, Musiksaal (Gebäude C5_1 )
9.00 Opening and Introduction
10.30–13.00 European BA/MA study plans I

Universität des Saarlandes, Institut für Musikwissenschaft (Gebäude C5_2 , EG), room 1
15.00–18.00 International study plans
Musicology in the “Grande région”: Nancy-Metz-Liège-Saarbrücken

Friday, 7 November
Universität des Saarlandes, Institut für Musikwissenschaft, room 1
9.00–12.00 European BA/MA study plans II
14.00–17.00 Meeting of represants of the IMS with represants from national societies

Saturday, 8 November
Hochschule für Musik Saar, Bismarckstraße 1, Walter-Gieseking-Saal
9.00–12.00 Uhr Roundtable

For further information please contact:

Prof. Dr. Rainer Kleinertz
Lehrstuhl für Musikwissenschaft der Universität des Saarlandes
Postfach 15 11 50
D-66041 Saarbrücken
Tel. 0681/302-3660 (-2318 Sekr.)
Fax 0681/302-2851
privat: Kobenhüttenweg 20, D-66123 Saarbrücken, Tel. 0681/9380627

CFP: Eduard Hanslick: Aesthetic, Critical, and Cultural Contexts (UC Dublin)

24 - 25 JUNE 2009

On 24 and 25 June 2009, the first international conference on Eduard Hanslick will take place at University College Dublin. This is being hosted by the UCD School of Music, in association with the School of Music and Sonic Arts (Queen’s University Belfast), Conservatory of Music and Drama (Dublin Institute of Technology) and German Studies, UCD School of Languages and Literatures. It will explore the work and legacy of Eduard Hanslick, the most influential critic in the Austro-Germanic sphere of the late-nineteenth century. The conference has the following aims: to analyse Hanslick’s writings and discuss their importance for musicology, and the study of aesthetics and cultural issues; to scrutinise the structure of Hanslick’s critical thinking
and aesthetic theories; and to present and develop new research on Hanslick.

The keynote speaker is Professor James Deaville (Carleton University)

Sessions for individual papers, as well as panels and round tables, are expected to develop the following themes, although other proposals in other relevant areas will also be welcome:


--The relationship between Hanslick’s aesthetic theory and critical output;

--The appropriation of the writings of German philosophers in Hanslick’s aesthetic theory;

--Hanslick and the ‘Neudeutsche Schule’;

--The influence of Hanslick’s writings on composition in the twentieth century;

--Musical expressiveness;

--Issues of formalism.

--The relationship between Hanslick’s writings and those of contemporary aestheticians and critics;

--Historicism and musical consumption;

The treatment of genres and the reappraisal of forgotten works;

--Concert programming;

--Hanslick’s journalistic style;

--The treatment of contemporary performing artists.

--German national identity;

--Hanslick’s Jewish heritage and religious contexts;

--The treatment of musical hermeneutics;

--The treatment of nationalism in music;

--Hanslick’s literary interests;


Proposals for individual papers should be no more than 300 words. Abstracts for sessions/panels/roundtables should be no more than 800 words. Please indicate the number and title of each individual paper with its abstract. All proposals must be sent to by 9 January 2009.

For further information please see the conference website
or contact the conference organiser, Dr Nicole Grimes, at

Submission deadline: 9 January 2009
Proposals will be selected by the end of February 2008.
The full programme will be announced by mid March 2009.

The conference committee plans to publish a refereed volume of selected conference contributions.

Conference committee:
Dr Nicole Grimes (Queen’s University Belfast)
Dr Kerry Houston (Dublin Institute of Technology, Conservatory of Music and Drama)
Dr Wolfgang Marx (University College Dublin)
Dr Siobahán Donovan (University College Dublin)

Thursday, 30 October 2008

CFP: ICAD 2009 - Timeless Sound (Copenhagen)

18 - 22 MAY 2009

Conference Homepage:

Forum for digital arts, Aalborg University (Esbjerg, Denmark), LMA-CNRS (Marseille, France) and INCM-CNRS (Marseille, France) are pleased to present the 15th International Conference on Auditory Display (ICAD), which is to take place in Copenhagen, Denmark, May 18-22, 2009. The conference will address all aspects related to the design of sounds, either conceptual or technical. Besides traditionally addressed by ICAD topics, we would like to take the opportunity of ICAD being organized by Re:New to highlight the ICAD 2009 theme "Timeless Sound" including the universal aspect of sounds as well as the influence of time in the perception of sounds.

In addition, we are pleased to announce that the 6th International Symposium on Computer Music Modeling and Retrieval (CMMR2009) will take place jointly with ICAD 2009. This will offer a great opportunity to discuss the links between auditory display, sound modeling and music information retrieval. As for the previous CMMR meetings, we plan to edit selected ICAD/CMMR papers as a post symposium proceeding published by Springer Verlag in its famous Lecture Notes in Computer Science (LNCS) series.

ICAD 2009 encourages submissions within any aspect of auditory display, including scientific work related to artistic work as there will also be possibilities of presenting art-works during the conference week. This includes music, cross-modal performances, installations, and similar forms. ICAD 2009 will address the following topics (but is not limited to):

• Accessibility

• Applications (fundamental, industrial, artistic, …)

• Design theory and methods

• Evaluation and usability

• Human Factors

• Mappings from data to sound

• Philosophy and culture of auditory displays

• Psychology and Cognition

• Perception and Psychoacoustics

• Synaesthetic representations

• Analysis and Synthesis of Environmental Sounds

• Auditory-Haptic Interaction in Information Display

• Effective Auditory Displays, Listening Abilities, and Learning

• Auditory Display and Interdisciplinarity

• Sounds of objects and events: Perception, Production, and Use in auditory displays

• Sound Design tools & technologies

• Listening behavior and how to improve the attention of listening

• Auditory Warnings: towards a new design and a better understanding

• Aesthetics of sound objects

• Interacting with sound in VR or AR - Interaction paradigms - Cognitive aspects

• 3D audio technology for auditory display

• Audio Only Gaming

• Sonification of information relationship

• Soundmapping the Genes

• Browsing with sounds

• Auditory display, sound modeling and music information retrieval

Call for papers, posters, and demonstrations: deadline January 15th, 2009
Call for panels, workshops and special events: deadline January 15th, 2009
Competition for artistic and scientific sonification: deadline April 30th, 2009
Call for artworks: deadline January 15th, 2009

For further information please visit the website

CFP: Geometer (journal)

Geometer is a new cultural magazine dedicated to publishing interesting work in any format, including essay, poetry, prose, fiction, critique and profile, art, photography and music.

Geometer seeks writers of all disciplines interested in articulating their speciality for a broad but intelligent audience. We welcome historians interrogating the forgotten or obscured, biologists and neuroscientists with an eye for the cultural ramifications of their fields, architects and planners, geologists, musicians, film makers and artists of all kinds.

Our aim is to create a place for cultural and intellectual life outside of academia, outside of the commercial, and outside of the ever-proliferating range of narrow specialisations in the arts and sciences.

Named for the geometer moth* whose caterpillar, lacking the means to crawl appears to measure the world by the iterations of its forward movement, we take our direction from our namesake and from the many other associations of our name. We value subjective precision, earthbound ambition, and an empiricism grounded in the surfaces of contact between ourselves and the world.

Current and forthcoming articles include:

* James Byrne (editor of The Wolf) talks about the state of contemporary poetry in Britain and beyond
* Glenn Gould and the Idea of North
* Peter Philpot profiles the poet Paul Holman
* Zero Sum: How We Came to Distrust the Modern
* 'Tears in a Monsoon': Lil Wayne, Girl Talk and the Paradox of Choice
* A profile of musician, producer and sound artist Will Turner Duffin

Geometer is an independent and non-commercial enterprise.

*Over 300 varieties of geometer moth occur in the British Isles, 26,000 worldwide. The family name geometer, meaning literally 'earth-measurer', refers to the method of locomotion of its caterpillars, which lack the means to crawl. Instead the geometer caterpillar grasps the ground ahead with its forelegs, and by drawing up its hind end and arching its body, grips an adjacent point with its hind legs before propelling itself forward, reaching out to clasp a more distant point. In this way it appears that the caterpillar measures the earth by iterations of this same movement, using the length of its own body as its basic unit of measurement.

Geometer invites submissions of creative work and essays. Send an outline of your idea to

Subscribe to our Newsletter:

Wednesday, 29 October 2008

Sister Awake! (Upcoming concert - IMR)

An evening of poetry and lute song depicting women’s lives in Tudor and Stuart England

Jeni Melia (soprano)

Kathryn Hamilton-Hall (reader, ballad singer)

Christopher Goodwin (lute, baritone)

Tuesday 11 November 2008 at 6pm

Large Common Room, London House, Goodenough College, Mecklenburgh Square

A John Coffin Memorial Fund Recital in association with Goodenough College and the Lute Society

Free of charge, but booking essential. Please email to reserve a place

Tuesday, 28 October 2008

Documenting Practices (Upcoming exhibiton - CSSD)

6 - 7 NOVEMBER 2008

Documenting Practices is an exhibition sampling different approaches to documenting theatre and diverse models of documenting. An afternoon of round table discussions addresses issues and practices.

The exhibition features four broad thematic areas.

- Archiving the performance

Includes materials from the Cameron Mackintosh archive, the LIFT Living Archive, the National Theatre digital archive, the Rambert archive and the V&A’s National Video Archive of Performance

- Documentation by theatre practitioners in the process of making productions

Includes drawings by Rae Smith for War Horse, video design storyboards by mesmer, sound design documentation by Gareth Fry, and benesh movement notation from early Rambert productions

- Documentation by way of artistic interpretation

Includes drawings by Quentin Blake and Jane Heather, books by Ernst Fischer, photographs by Manuel Vason

- Diverse modes of documenting new theatre

Includes examples that document experimental pieces by Central practitioners

A symposium on the afternoon of Thursday 6 November at 3.00pm addresses the following topics:

Documenting and archiving theatre in the digital age

Panellists include representatives from the Theatre Collections (V&A), National Theatre Archive, Royal Opera House New Media Department, Musicians’ Union and arts & media lawyer Sean Egan. The panel will address the range of digital forms of documentation and their related costs; the growing interest in streaming performances online and the use of podcasts and clips; and issues of intellectual property and copyright.

Theatre practitioners on documenting practices

Panellists include Rae Smith (designer), Mervyn Millar (associate director/writer), Gareth Fry (sound designer), Sven Ortel (video designer and co-director of mesmer) and David Harradine (designer/director). The panel will address how and why they document, the problems they face, solutions they find and costs they encounter.

Thur 6 Nov (exhibition, symposium, reception), 1.30-8.00pm
Fri 7 Nov (exhibition only), 10.00am-7.00pm
Admission is free. To reserve a place at the symposium, contact (020 7449 1571)

CFS: Music Research Forum (journal)


Music Research Forum is currently accepting submissions from outstanding graduate students and young professionals. The postmark deadline for submissions for Volume 24 (Summer 2009) is 16 January 2009.

Music Research Forum is a peer-reviewed journal published annually by the Graduate Student Association of the University of Cincinnati College-Conservatory of Music. Articles will be considered in any area of music scholarship, including musicology, theory, performance practice, ethnomusicology, music and culture, and criticism. Faculty are encouraged to pass this information along to their students and recent graduates.

Authors must submit three hard copies of each article to:

Brad Smith, Editor
Music Research Forum
College-Conservatory of Music
University of Cincinnati
P.O. Box 210003
Cincinnati OH 45221-0003

A cover sheet listing the author's name, address, telephone number, email address, and academic affiliation (if applicable) must precede articles. Articles should be between twelve and thirty pages, word-processed on 8.5x11-inch paper. All materials, including example captions, should be double-spaced and conform to the footnote guidelines found in The Chicago Manual of Style.

For additional information: Visit us online at

Transnational East Asian Cinema (Upcoming symposium) (Southampton)


A one day symposium sponsored by Screen, hosted by the University of Southampton with Goldsmiths, University of London and the University of Hong Kong

The symposium will explore the relationship between cinematic representations and transnational cultural exchange, centred on one of the most active areas of cinematic activity over the past decade - East Asian cinema. It encompasses a broad range of topics that reflect upon how academia, filmmakers and the film industry have responded to the effects of globalisation, and the ways in which representations are read through the differing transnational contexts that exist between Asia and the West. Beyond cinema, our event will create a significant dialogue whose relevance relates to important issues surrounding globalisation and intercultural communication between East and West, as well as the status and function of Film Studies in different cultural contexts.

Confirmed Speakers: Prof. Tim Bergfelder (University of Southampton); Prof. Chris Berry (Goldsmiths College, London); Dr. Esther Cheung (University of Hong Kong); Dr. Gina Marchetti (University of Hong Kong); Dr. Julian Stringer (University of Nottingham); Dr. Isolde Standish (SOAS, University of London); Dr. Rayna Denison (University of East Anglia); Dr. Mark Morris (University of Cambridge).

Attendance: We are currently seeking expressions of interest from those wishing to attend this student-organised symposium, due to be held at the University of Southampton on Saturday 06th December 2008. Expressions should be made to Daniel Hickin at by Friday 31st October 2008. Those received after the deadline will not be guaranteed a place. Please note: there is no fee for attending this event.

Transnational East Asian Cinema since 1997 is sponsored by Screen as one of its 50th Anniversary events, and supported by the Department of Comparative Literature and the Centre for the Study of Globalization and Cultures at the University of Hong Kong. The events are hosted by the Department of Film Studies at the University of Southampton, in association with Goldsmiths University of London and the University of Hong Kong. For further information
please contact: Richard Donne (, Daniel Hickin ( and Aramchan Lee (

Thursday, 23 October 2008

Flickr, Creative Commons and Copyright 2.0

Flickr is a fabulous resource. Not only can you share your photos with others, it serves as a large repository for stock photos which can be used for academic presentations, etc. In terms of licensed academic resources there is ArtStor, but having digested the license for ease of re-use, 2 words come to mind: not friendly. There are other sites which have stock photos (Phil Bradley has a summary of these.) I've experimented with a bunch of these sites testing keywords and usability and range of stock and bookmarked my favourites under the 'stock_photos' tag in my Delicious feed.

In particular, Flickr epitomises the spirit of Web 2.0 and how copyright (and inherent intellectual property) has evolved for the web. In addition to social networking by sharing your creative ideas, endeavours, Flickr also allows you to share your content with as many or as few restrictions as possible via a Creative Commons license. (Another aspect of Web 2.0 is that you can follow the addition of new content and developments uploaded (by individual) via RSS feeds at the bottom of that individual's page.)

From the main page (above) click on search, then click through to the Advanced search button.

Scroll on down until you see the following filters:

From this point, you can restrict your search to photos whose owners will allow re-use or adaptability of content (most just asking for a citation back to the original on Flickr), some allowing adaptability but for non-commercial purposes. It is this variance which allows a Creative Commons license to sit in the middle of a continuum ranging from copyright (where permission must be sought for any modifications) to public domain (do with it what you will).

At a time when MEPs are debating extension to existing copyright laws, creativity in this new medium will be stifled as the editors of the Guardian eloquently put yesterday in their tribute to Creative Commons co-founder Lawrence Lessig.
"[Lessig] regards extension of copyright as anathema to the YouTube generation and a brake on economic growth. He also thinks it is against the US constitution, which states that copyright should be "limited". The original limit has been extended from 14 to 70 years after the death of the creator, and Prof Lessig points out that one of the main corporations that lobbied for this, Disney, cut its creative teeth by raiding the public domain for works from Snow White to the Hunchback of Notre Dame. If the current term for copyright had existed then, it might have suffocated Mickey Mouse at birth."
Speaking of Disney, it is only apropos that I highlight the following Youtube clip which covers issues of copyright, in particular, the fair use (US) / fair dealing (UK) doctrine using snippets of Disney's own cartoon characters.

Whilst this clip is very entertaining and outlines the general principle of fair use, there are some differences with fair dealing (UK) albeit both operate from a common ideology which balances the market value (i.e. what an author could potentially lose) against a reasonable amount of time for the author to enjoy those royalties. (To this end, I think it's about time Steamboat Willie passed into public domain! I'm not including the famous Mickey Mouse clip which first synchronised sound with animation in this posting but here is the link to the 1928 clip.) To learn a bit more about Creative Commons licensing and how you can use it and adapt materials for your research, this clip is a nice introduction. (Because it is hosted on Revver, small annoying text ads appear like super-titles, once they appear they can be immediately minimised which I HIGHLY recommend!)

With all of the discussion on copyright I would be remiss if I did not mention Eduserv's new Copyright Tutorial which was brought to my attention in a recent posting by Sheila Webber. Although I am not a (big) fan of Eduserv, I give credit where credit is due and they've done a good job here. The Copyright Toolkit ( is a good resource with a UK focus for those wishing to ensure compliance. It has exercises to work through different scenarios and will serve as a nice reference as it contains relevant bits of case law to illustrate their points.

Wednesday, 22 October 2008

CFP: Postmodernism beyond the "Iron Curtain"

20 - 22 NOVEMBER 2009 OR 27 - 29 NOVEMBER 2009

A co-operation between the Hanover University of Music and Drama, the German Alfred Schnittke Society (Hamburg) and the Society for Contemporary Music Hanover

In November 2009, on the occasion of Alfred Schnittke s 75th birthday, the University of Music and Drama Hanover (Germany) will host an international symposium on the emergence of postmodern tendencies in the former "Eastern Bloc" States. Within the context of Soviet musical history Alfred Schnittke plays a central role: his polystylistic idiom can be perceived as mirror of the Soviet reality, as well as of that of the 20th century in general. On the surface his technique seems to be an ideal implementation of postmodern ideas into music. It is to be questioned, however, to which extent it actually depends on these ideas, as Schnittke in the Soviet Union of the 1960s had to cope with completely different musico-aesthetic premises (Socialist Realism) than western composers. Furthermore, the symposium asks whether and how similar ideas permeate the composers repertoire in other countries beyond the Iron Curtain and which controversies this music has caused, especially in German-speaking countries.

The programme committee cordially invites scholars to submit 250-word abstracts for papers of 20 minutes, which are related to one or more of the following issues:

A. (Musical) postmodernism in East and West: basics, varieties, similarities
B. Schnittke s musical poetics: papers on single works and work groups
C. Reflections of Schnittke behind the Iron Curtain: perspectives on GDR, Poland, Hungary, Czechoslovakia, and other composers in the Soviet Union
D. Reception of Schnittke and his contemporaries in Germany (including GDR)

The deadline for the submission of abstracts (with CV) is November 30, 2008. Please send your abstract as a word document to the following e-mail addresses: stefan.weiss at and AmreiFlechsig at

CFP: Music and Morality (IMR, London)



16 - 17 JUNE 2009


Keynote speakers: George Benjamin, John Deathridge, Deirdre Gribbin, Jerrold Levinson, Susan McClary, Roger Scruton

Convenor: Guy Dammann, Institute of Musical Research

Music has commonly been considered the most elusive of art-forms and yet throughout history there have been frequent assertions of its strong links with our moral sensibilities. While this situation may suggest a contradiction between shifting views and expectations of art and music, it may also point to some deeper questions about the nature of music and morality.

In the context of increased academic and practical interest in the question of music’s moral value and potential, we are seeking contributions from academic and practical musicians, philosophers, psychologists and historians of ideas, offering critical reflections on questions or cases that touch on the theme of music and morality.

Interested contributors should send, in a first instance, a 300 word abstract for a proposed paper of not more than 20 minutes reading time to Valerie James, Institute of Musical Research, by the deadline of 31 January 2009. Notice of acceptances of submissions will be announced within one month of this deadline.

General questions of interest include but are not limited to the following:
--Can music yield moral knowledge or understanding?
--Must good music have a moral value?
--Is there such a thing as immoral music?
--Is the idea of morality in music compatible with aesthetic formalism?

Musical experience plays a prominent and important part in our lives. While our musical tastes seem to attach themselves strongly to our individual sense of identity (to a greater degree, even, than in other artforms), our musical encounters also appear greatly to deepen our emotional relationship with others. However, the question of whether our musical experience bears relation to our existence as moral agents, and to our conception of morality more broadly, remains wide open. Should - and perhaps must - musical experience have a moral dimension?

Within Western traditions of thinking about music and art during the last century or so, the answer to this question was by and large a strongly negative one. For much of Western history, however, the link between morality and the arts was widely construed as strong, and, at times, even as necessary. Eighteenth-century thinkers and philosophers, such as Kant, Schiller and Rousseau conceived of powerful links between beauty, aesthetic value in general, and the moral sphere. Moreover, in the classical world, not only was a strong connection between the arts and morality widely assumed, but of all the arts, music was held to be the most morally powerfully of all.

During recent years the relation between art and morality has again come under critical and philosophical scrutiny, perhaps in answer to a pervasive social re-evaluation of the meaning of artistic experience and practice. But while musicology has seen a huge increase in emphasis on the social and cultural aspects of music and its making, and philosophers have reassessed notions of the moral content of the literary and pictorial arts, the precise question of music’s moral value has yet to be adequately posed.

The proposed conference intends to offer a comparative examination of this subject by bringing together academics and scholars from within musicology, philosophy, and neighbouring disciplines to explore the relation between music and morality, from a variety of historical, interpretative and analytical perspectives.

Let Beauty Awake: Elgar and Vaughan Williams Symposium (Upcoming Conf: British Library)

22 - 23 NOVEMBER 2008

A symposium to consider the influences of literature and poetry on Sir Edward Elgar and Ralph Vaughan Williams. Speakers will include Byron Adams, Hugh Cobbe, Alain Frogley, Richard Hickox, Stephen Johnson, Michael Kennedy, Philip Lancaster, Andrew Neill, David Owen Norris and Roger Savage. The programme will also include a song recital performed by Roderick Williams (baritone), Juliette Pochin (mezzo soprano) and Iain Burnside (piano), and a screening of John Bridcut’s BBC film on Vaughan Williams.

This event is presented in association with the Elgar Society and the Ralph Vaughan Williams Society, as part of the commemorations to mark the 50th anniversary of the death of Vaughan Williams in 1958.

Further programme details are available here:

Tickets: £60 (both days); £40 (Saturday only, including recital); £30 (Sunday only, including film)

British Library Box Office: 01937 546 546

CFP: Playing for Laughs 2009 (De Montfort)


Following our inaugural comedy conference earlier this year, we are pleased to announce Playing for Laughs 2009, a one-day symposium on comedy and performance.

Playing for Laughs 2009 will be framed by arguments of ownership and permission. In addressing what and how things make us laugh we inevitably have to question our 'right' to laugh when the lines between taste and decency, humour and offence are blurred by arguments of context and experience. Is it enough, still, to say 'it's only a joke'?

Panels of papers will be based on the following topics and issues: gender; race and ethnicity; religion; geography and class; disability; sexuality; age.

We invite papers for these panels that address comedy in performance, from stand-up to music hall, from play-writing to sketch shows, from slapstick to satire, that address issues of morality, ethical responsibility, comic frames and the boundaries and limits of humour.

Proposals (of no more than 250 words) should be sent to by 5 December 2008. Informal enquiries or expressions of interest can also be sent to the conference convenors.

Roger Clegg ( and Tracy Cruickshank (

This symposium is hosted in association with Leicester Comedy Festival, 6th-15th February 2009 ( <> )

Tuesday, 21 October 2008

Blog Upgrade 1.1

When I started this blog I knew there was a need to pull together information which has been floating around in the ether. That was one of the main reasons for embarking upon this Web 2.0 venture. By adding RSS into the mix and having the data picked up by various meta-sites its re-distribution has increased its exposure and benefit.

After a couple of months in and some initial analysis of the data and how it is being used, I've decided to reconfigure how the conference and call for papers information is posted. This will enable more targeted searching and retrieval. Thank you to the hundreds of readers who have been using the site, I hope it is a useful tool for your work now and in future!

Drop a line/comment if you are happy or sad!

Exploring National Identity in Music: Postgraduate Study Day (Goldsmiths)


The theme of the day is Exploring National Identity
in Music, and speakers will present a wide range of approaches to the topic.

The study day will take place from 10.00-17.00 in the Small Hall/Cinema in the Richard Hoggart Building, Goldsmiths College. For details of how to get to Goldsmiths, please see Posters will direct you from the main entrance to the Small Hall.

There is no fee for the day. Please email if you plan to attend.

Keynote speaker: Dr Barbara Eichner.

For full details of the programme for the day, please see

You can also check out the event listing on Facebook

For further information please contact conference organiser Jenny Brand (

CFP: IAMHIST-Social Fears and Moral Panics (Aberystwyth)

8 - 11 JULY 2009

The International Association for Media and History (IAMHIST) announces a second call for papers for the XXIII biennial IAMHIST conference, incorporating the 3rd Gregynog Media History Conference, on the theme Social Fears and Moral Panics.

The aim of the conference is to explore both the role of the media in addressing, highlighting or perpetuating social fears, and the mass media itself as a perceived moral agent and/or threat. Topics to address might thus include questions of media content and/or language; concerns about public intrusion; censorship and the freedom of information; the reporting of crimes or disasters; invasion and security fears in times of peace or war; religious, cultural and/or linguistic fears; fears relating to youth or children, or to minority groups; fears relating to particular behaviours, pursuits or leisure activities; ‘golden ageism’.

Confirmed speakers include Chas Crichter, Julian Petley, Martin Barker, Steve Chibnell, Virginia Berridge, Aled Jones, Jason McElligott, and Sir Quentin Thomas (President, British Board of Film Classification)

We welcome paper proposals that address the theme in both contemporary and/or historical perspective; proposals which engage with the theme comparatively (both geographically and temporally); and proposals which engage with theoretical approaches, including the social theory of moral panic.

We also welcome proposals on their work in progress from postgraduate and early-career scholars in the field of media history, including on topics that may not be on the conference theme.

Proposals for complete panels (three themed papers) are welcome, as well as individual paper submissions. Papers presented at the conference should be 25-30 minutes in length and should use illustrative material (for instance film clips) wherever possible.

Abstracts of no more than 300 words per paper should be sent to Dr Sian Nicholas at c/o Department of History and Welsh History, Aberystwyth University, Penglais, Aberystwyth, Ceredigion SY23 3DY, Wales UK, by 14 November 2008.

The conference is being organised by IAMHIST, in association with the Centre for Media History and Departments of History and Welsh History, and Theatre, Film and Television, Aberystwyth University, the Department of Media and Communications, Swansea University, and the journals Historical Journal of Film, Radio and Television and Media History, with the support of the National Screen and Sound Archive of Wales, National Library of Wales, Aberystwyth.

For further details and updates, see

CFP: Richard Hoggart: Culture and Critique (Leeds)

An international conference hosted by
10 - 12 JULY 2009

Since the publication of The Uses of Literacy in 1957, Richard Hoggart has been one of Britain’s foremost public intellectuals and cultural critics. His work challenges entrenched disciplinary and social boundaries, addressing a wide range of subjects including literature, popular culture and the development of public policy.

His reputation for being both a critical and practical intellectual is evident in the way that he worked tirelessly within and without the world of academe for much of his career, working as an extra-mural lecturer at the University of Hull, Senior Lecturer in English at the University of Leicester, Professor of English and founding Director for the Centre for Contemporary Cultural Studies at the University of Birmingham, Assistant Director-General of UNESCO and Warden of Goldsmiths College, University of London. He has also been a key member of numerous other public bodies and committees, including the Albermarle Committee on Youth Services, the Pilkington Committee on Broadcasting, the Arts Council of Great Britain, the Royal Shakespeare Theatre, the Advisory Council for Adult and Continuing Education and the
Broadcasting Research Unit.

During this time he has published over thirty books and contributed to numerous policy documents, the sum of which represents an extensive and entirely consistent engagement with normative questions and public discourses that continue to inform contemporary debates about culture, literacy, educated citizenship and social democracy.

Invited keynote speakers include Alan Bennett, Melvyn Bragg, Tony Harrison, Peter Bailey, Ros Brunt, Sue Owen, Jim McGuighan, Mac Daly, Jeremy Seabrook, John Corner, among others. Papers are invited on any aspect of the work or influence of Richard Hoggart, but are particularly encouraged on the following themes:

• Cultural Studies: Then & Now
• Uses of Literature
• Cultural & Social History
• Adult Education
• Media, Culture & Society
• Cultural Policy
• Gender, Sexuality & Race

Conference papers will be organized into panel sessions of 90 minutes, each comprising three 20-minute papers and time for discussion. Proposals may be submitted either for individual papers or for organized panel sessions of three papers and a chair.

Abstracts of papers (200 words) should be sent by 31st January 2009 to Pat Cook/Jean Brownridge. Email: Telephone: +44 (0) 113 812 3120

Further details will be posted on the School of Cultural Studies website in due course:

Beyond the Screen: Transformations of Literary Structures, Interfaces and Genres (Upcoming Conf)

20 - 21 NOVEMBER 2008

PANELS: Performance and the Emergence of Meaning :: Literature between Virtual, Physical, and Symbolic Space :: Beyond Genre: Transformations of Narrative, Poetic, and Dramatic Structures :: Preservation, Archiving and Editing.

Using electronic and networked media has resulted in such serious changes in the relationship between “author”, “work,” and “reader” that it seems necessary to make revisions in the traditional models analyzing literary communication. The Siegen conference on The Aesthetics of Net Literature: Writing, Reading and Playing in Programmable Media (Nov 25-27, 2004) had already made clear that this triad has to be extended into the technical aspects of media: Literary processes emerge from techno-social networks, i.e. they materialize in the interplay between human and electronic “actants.” If in the past discussions centered mostly on those projects that were perceived by looking at the computer screen or that were controlled via keyboard and mouse, now man-machine interactions are organized by considerably more complex interfaces. The specific attention of this follow-up conference therefore will be focusing on the aesthetic processes of AI-controlled environments that occur in the physical realm between the interfaces of technical sensors or effectors and the human body. Electronic media take “body language” to a new level as well since more and more the whole body is involved in the media activity. Increasingly complex sensors (integrated into vehicles, clothes and environments) “realize”—hear, see, feel, in other words: measure—the movements of the body, its mimics and gestures. This “multimodal” body itself then also exchanges in-formation with the “products” of this kind of technology. Such medial couplings and framings enable the co-operation of non-symbolic activities, symbolic language activities and algorithmic processes of computer systems. If it is true that semantics is always the result of intermedial transcriptions between media then this development affects all human behavior concerning linguistic signs and therefore also the aesthetic processes of perception and self-perception. In this context the contributions to this conference will refer to literary communication and strategies thereby interrogating how literary structures, interfaces and genres change regarding:

Locative Narratives, i.e. environmental, neighborhood and city projects with GPS-based media following literary patterns (e.g. travel- and adventure-narratives or detective stories like J.-P. Balpe’s Fictions d’Issy; S. Schemat’s Augmented Real-ity Fictions; Inter Urban by 34 North 118 West or S. Berkenheger/G. Müller’s Worldwatchers).

Immersive Environments (Cave or interactive camera-projection systems) in which reception does not only take place through the eyes alone but rather in which the whole body is “reading” and thereby recomposing already saved meanings or those that still have to be constructed (e.g. N. Wardrip-Fruin’s Screen; J. Cayley’s Lens; C. Utterback’s Text Rain or D.Small/T. White’s Stream of Consciousness).

Stagings of inner realms and environments in which real characters (from simple users to trained actors) and artificial ones (from avatars, software agents etc. to complex AI-programs) following quite classical dramatic patterns of activity are involved in dialogues (e.g. M. Mateas/A. Stern AR Façade).

Regarding the aesthetics of net literature therefore the question has to be asked whether we can continue talking of a specific migration of traditional literary forms into computer-based and networked media. Can we continue analyzing such examples as “literature”? In what way can the semantics of literary terminology, concepts and systems be retained or does it have to be revised? Can we still correlate the examples mentioned above with the three traditional genres?

Apart from this the performative projects mentioned above intensify the already difficult problem of the documentation / archiving of as well as the access to processes of electronic literature. Lastly, the conference also will address the problem of archiving and editing the rather transitory electronic literature, thereby attempting to advance the co-operation of current and planned databases, archives and editions.

Conference information can be found at:

Monday, 20 October 2008

CFP: Mathematics and computation in Music 2009 (Yale)

19-22 JUNE 2009

January 30, 2009 Submission of papers, tutorials and panels
March 12, 2009 Notification of acceptance
March 27, 2009 Camera-ready submissions
June 19-22, 2008 MCM 2009 / John Clough Memorial Conference

The joint Second International Conference on Mathematics and Computation in Music (MCM 2009) and the John Clough Memorial Conference will take place June 19-22, 2009 (Friday through Monday) at Yale University in New Haven, Connecticut, USA.

The International Conference on Mathematics and Computation in Music, MCM, is the flagship conference of the Society for Mathematics and Computation in Music. The inaugural conference of the society took place in 2007 in Berlin. The study of mathematics and music dates back to the time of the ancient Greeks. The rise of computing and the digital age has added computation to this august tradition. MCM aims to provide a dedicated platform for the communication and exchange of ideas amongst researchers in mathematics, informatics, music theory, composition, musicology, and related disciplines.

The John Clough Memorial Conference honors a mathematical music theorist whose research modeled the virtues of collaborative work across the disciplines, and who generously fostered a cooperative attitude with and among younger researchers. The quadrennial conferences that Clough first organized at Buffalo in 1993 positioned neo-Riemannian theory on the map of musical scholarship. The John Clough Memorial Conference carries the spirit of those sessions beyond his passing in 2003, while embracing the entire domain of mathematical music theory.

We welcome original and high quality contributions – including research papers, invited sessions or panels, tutorials, and exhibits – in all areas related to the mission of the society. To promote objectivity and fairness in judging research paper contributions, the peer review process will be double-blind.

As part of the conference, the Beinecke Rare Book and Manuscript Library at Yale University will mount a special display of music and mathematics material from their collection. Submissions on the history of mathematical music theory are particularly encouraged, especially if they engage with Beinecke holdings.

The proceedings of the conference will be published by the new Springer series on Computational Music Science.

*** Submission Guidelines ***

Please read the paper submission guidelines carefully, as these instructions combine practices in the humanities and science/engineering traditions.

1. Papers

Submissions are to come in the form of complete papers, rather than proposals for work to be completed later. All papers will be judged according to their novelty, content, presentation, and contribution to the field. Paper submissions should satisfy the following conditions:

• submission must consist of original contributions not previously published, and not currently being considered for publication elsewhere
• formatting must comply with guidelines and templates available on the conference webpage (
• maximum length of the paper is 3,000 words
• graphics, if any, should preferably be embedded in the text; they may also be appended at the end on supplementary pages
• papers should be prefaced by a 150 to 200-word abstract; this is not included in the word count for the submission

All submissions will be subject to double-blind peer review. Submitters may be asked to respond to initial reviews during the last week of February. Authors of accepted papers will be notified no later than March 12, and must submit final revisions, camera ready, by March 27.

Presentations based on the papers will be 20 minutes long, with 10 minutes for questions and discussion.

Authors should bring their own laptops and other appropriate equipment for presentations of accepted papers.

At least one author must register for the conference before submitting the camera-ready version.

2. Panels

Panels should offer lively and provocative discussions on topics of particular interest to the community. Rather than offering a series of paper presentations, panel sessions should be structured so as to engage the audience in thoughtful and constructive dialogue with the panelists. Submissions should be emailed to as pdf files containing a 1-2 page abstract providing the following details:

• the topic and issues to be discussed,
• short biographies of the moderator and panelists, and
• any special requirements.

3. Tutorials

Tutorials should concentrating on a single topic, and last approximately 3 hours, including a break. Submissions should be emailed to as pdf files containing a 1-2 page abstract with the following details:

• an outline of the tutorial topic,
• the intended and expected audience,
• short biography of the presenter(s), and
• any special requirements.

4. Exhibits

Throughout MCM 2009, space will be available for publishers, software companies, booksellers, service providers, system vendors, and other businesses interested in exhibiting their MCM-related products. They are invited to contact the program committee via email to regarding exhibition space.

We look forward to seeing you in New Haven,

MCM 2009 / JCM General Chairs:
Richard Cohn, Yale University
Ian Quinn, Yale University

MCM 2009 / JCM Program Chairs:
Elaine Chew, University of Southern California
Adrian Childs, University of Georgia

Call for Contributions: DMRN+3: Digital Music Research Network One-day Workshop 2008 (Queen Mary)

16 DECEMBER 2008

Digital music is an important and fast-moving research area. Sophisticated digital tools for the creation, generation and dissemination of music have established clear synergies between music and leisure industries, the use of technology within art, the creative industries and the creative economy. Digital music research is emerging as a "transdiscipline" across the usual academic boundaries of computer science, electronic engineering and music.

The Digital Music Researh Network (DMRN) aims to promote research in the area of Digital Music, by bringing together researchers from UK universities and industry in electronic engineering, computer science, and music.

DMRN will be holding its next 1-day workshop on Tuesday 16 December 2008.

The workshop will include invited and contributed talks, and posters will be on display during the day, including during the lunch and coffee breaks.

The workshop will be an ideal opportunity for networking with other people working in the area. There will also be an opportunity to continue discussions after the Workshop in a nearby Pub/Restaurant.

* Keynote

The Keynote Speaker will be: TBD

* Call for Contributions

You are invited to submit a proposal for a talk and/or a poster to be presented at this event.

TALKS may range from the latest research, through research overviews or surveys, to opinion pieces or position statements, particularly those likely to be of interest to an interdisciplinary audience. Most talks will be 20 to 30 minutes, although there may be some flexibility to accommodate other lengths depending on the number of submissions. Short announcements about other items of interest (e.g. future events or other networks) are also welcome.

POSTERS can be on any research topic of interest to the members of the network. Posters (A0 portrait) will be on display through the day, including lunch break and coffee breaks.

The abstracts of presentations will be collated into a digest and distributed on the day, and authors will be encouraged to submit an electronic versions of posters (e.g. in PDF format) to allow the posters to be viewed after the event.

* Submission
Please submit your talk or poster proposal in the form of an abstract (maximum 1 page of A4) in an email to giving the following information about your presentation:
* Authors
* Title
* Abstract
* Preference for talk or poster (or "no preference").

Abstract submission deadline: 14 November 2008.

* Deadlines

* 14 Nov 2008: Abstract submission deadline
* 21 Nov 2008: Notification of acceptance
* 10 Dec 2008: Registration Deadline (12:00 noon GMT+0)
* 16 Dec 2008: DMRN+3 Workshop

Registration cost will be kept to a minimum to enable the maximum number of people to attend.

For further information, visit:

CFP: Medieval-Renaissance Music Conference (Utrecht)

1-4 JULY 2009

The program committee of the 2009 Medieval-Renaissance Music Conference, to be held at Utrecht University from 1-4 July, invites proposals for papers on any and all aspects of Medieval and Renaissance music. As usual, there is no overriding central theme to the conference, and interdisciplinary contributions are very welcome, as are proposals for multi-speaker panel sessions.

Proposal deadline: 15 February 2009

Scholarly committee: Marnix van Berchum, Jacques Boogaart, Theodor Dumitrescu, Ulrike Hascher-Burger, Eric Jas, Karl Kügle, Ike de Loos, Rudolf Rasch

Abstracts of no more than 250 words for 20-minute papers, or 1000 words for panel sessions (including abstracts of individual contributions), should include title, author names, and affiliations/locations. Please submit by one of the following methods (email preferred):

theodor.dumitrescu at

+31 (0)30 253 6167

Dr. Theodor Dumitrescu
Universiteit Utrecht
Kromme Nieuwegracht 29
3512HD Utrecht
The Netherlands

CFP/CFC: RMA Research Students’ Conference 2009 (KCL)

8 - 10 JANUARY 2009

The next RMA Research Students’ Conference is due to be held at King’s College, London, on 8-10 January 2009.

The conference will feature a mixture of student papers, round-tables, invited speakers, a concert of student compositions, and social events.

Keynote papers will be delivered by Georgina Born, Professor of Sociology, Anthropology and Music at CambridgeUniversity, and Julian Anderson, composer and Professor of Composition at Guildhall School of Music & Drama.

Confirmed round-table participants include Andrew Bowie (RHUL), Katherine Brown (Leeds/KCL), Timothy Day (KCL), John Deathridge (KCL), Katherine Ellis (IMR), Amanda Glauert (RAM), Matthew Head (KCL), Nick Kenyon (Barbican), Daniel Leech-Wilkinson (KCL), Roger Parker (KCL), Robert Philip (OU), Jonathan Stock (Sheffield), and Bettina Varwig (Oxford/KCL).

While welcoming papers from all areas of research, we are keen to encourage a debate about musicology’s relationship to the cultural and social world at large. We are particularly interested in the challenge of interdisciplinarity; the relationship between performance, composition and musicology; and the interaction between academia and the public sphere.

Postgraduate students are invited to submit proposals for papers (20 minutes) and lecture-recitals (30 minutes) on any area of musical research, including research into composition.

Proposals should not exceed 200 words in length. Deadline for paper submissions: Friday November 14th, 2008.

Please send submissions via email to:

Amy Carruthers and Carlo Cenciarelli
RMA Research Students' Conference Organisers
For the latest information see:


Compositions are invited for violin and piano duo, to be performed by members of the contemporary music groupLontano. The London-based group has performed and recorded works by composers including Judith Weir, Sir Harrison Birtwistle, Brian Ferneyhough and Steve Reich.

Works should last 2-4 minutes. (Longer pieces, and compositions for solo violin may, as an exception, be considered).

Five full scores and two copies of the violin part, and a programme note (of not more than 100 words) should be included.

Scores should be neatly hand-written or computer printed and designed to a professional standard. Parts should be written or printed on 10- stave paper with adequate spaces between staves and printed double- sided. They should be preferably enlarged to size B4, which is half way between A4 and A3. The pianist will use one of the full score, which should preferably not be bound (the other four scores may be bound). Please include a recording of the work if available.

Selected compositions will be rehearsed in a workshop and then performed at an evening concert on Thursday, January 8th, 2008.

Deadline for compositions: Monday December 1st, 2008.

When sending compositions by post please also send an e-mail to inform us of your submission. Please send composition submissions via post to:

Amy Carruthers and Carlo Cenciarelli
RMA Research Students' Conference Organisers
Music Department
King’s College, London

Please direct enquiries to:

Amy Carruthers and Carlo Cenciarelli
RMA Research Students' Conference Organisers
For the latest information see:
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Interesting Music Stuff (IMS) is licensed under a Creative Commons Licence. Any redistribution of content contained herein must be properly attributed with a hyperlink back to the source.
Click on the time link at the bottom of the post for the direct URL
and cite Colin J.P. Homiski, Interesting Music Stuff.