Thursday, 20 November 2008

CFP/CFC: Music and Memory (Univ Texas at Austin)

7 MARCH 2009

GAMMA-UT, the Graduate Association of Music and Musicians at UT, announces its ninth annual conference, “Music and Memory,” to be held on Saturday, March 7th, 2009 at The University of Texas at Austin. Graduate students from the areas of music theory, composition, musicology, ethnomusicology, and performance will meet to share their research and composers will present their works in a concert to be held that evening.

This year’s keynote speaker is Aaron Fox. Dr. Fox is an associate professor of ethnomusicology at Columbia University, where he is also chair of the Department of Music. His publications include the 2004 book Real Country: Music and Language in Working-Class Culture (Duke University Press) as well as articles on country music, music/language relationships, and working-class culture. Dr. Fox is currently working on a musical heritage repatriation project of field recordings with the Iñupiat community of Barrow, Alaska.

For more information, please visit our website at

Call for Papers

GAMMA-UT is soliciting student papers in the areas of music theory, musicology, and ethnomusicology. Papers may deal with any aspect of music research and analysis, particularly those topics that relate to the theme of “Music and Memory.” Prospective presenters should submit an abstract of 250 words or less to by Thursday, January 1st, 2009. Please include your name, email address, mailing address, institutional affiliation and student status. Papers are to be approximately twenty minutes in length and will be followed by a ten-minute question session. Applicants will be notified of the program committee’s decision via e-mail by Sunday, February 1st, 2009.

Questions can be directed to the conference chair Kim Kattari via email:

CFP: Musical Heritage: Movement and Contacts International Conference


The Laboratoire de recherche sur les musiques du monde (LRMM - OICCM) in association with the Canadian Society for Traditional Music (CSTM) invites you to its international conference, Musical Heritage: Movement and Contacts, in Montréal (Canada) from October 29th to November 1st 2009. Abstract submissions are now accepted.

Submission deadline: 2 Feb 2009

Full details: marie-helene.pichette at

Tuesday, 18 November 2008

RMA Dent Medal Study Day and AGM (Upcoming event)

10.00 - 17.30

Institute of Musical Research, Senate House, Malet Street, London, Room N336 (North Block, Third Floor) Directions at

Speakers: Georgina Born (Dent medallist, 2008), Rachel Beckles Willson, David Hesmondhalgh, Derek Scott, George E. Lewis, Martin Stokes

Full programme at

Advance registration essential if you require lunch: please email Valerie James by Wednesday 26 November.

If you intend to come but do not require lunch, advance registration will help us plan refreshments: please email as above.

Attendance and refreshments: RMA members free; non-members £10
Lunch: £10

All monies payable in cash on arrival.

Friday, 14 November 2008

CFP: International Conference on Music Performance Analysis (Lucerne)

1 - 2 JULY 2009

The Lucerne University of Applied Sciences and Arts organizes a conference in the field of music
performance analysis. The conference will take place during the annual meeting of the
“International Association of Schools of Jazz” in Lucerne, and it will attract a mixed audience of
jazz students/teachers and researchers in the field of performance. The conference consists of two symposia:

Symposium 1: Perspectives on ‘Body & Soul’
Wednesday, July 1, 2009, 13:30-18:30
‘Body & Soul’ (1930) is famed to be the most recorded American popular song of all time: In 1980, Gary Giddins counted nearly 3000 recorded versions of the song, and the three decades since then have added considerably to this impressive number. The attraction of this intricate melody with its harmonically surprising bridge doesn’t seem to fade away. The papers of the symposium analyse recorded performances of the tune; they describe individual responses of musicians and singers to the composition, the lyrics and to earlier renditions of ‘Body & Soul’.

Symposium 2: Methods of music performance analysis
Thursday, July 2, 2009, 09:00-16:30
The analysis of music performance is a relatively new field in music research, and the methods of
analysis are still in an experimental stage. The papers of this symposium present innovative
analytical procedures and demonstrate the scope and limit of these methods by applying them to
concrete musical examples of different genres (examples of both popular and classical music are

Call for papers
Researchers and musicians, who are interested to contribute a paper, send their abstract of approximately 400 words to Olivier Senn ( before December 14, 2008. The
presentations (30’ each) and discussions will be held in English. All presented papers will be
published within the conference proceedings.

CFP: American Independent Cinema: Past, Present, and Future (Liverpool)

8 - 10 MAY 2009

An international conference co-organised by Claire Molloy (Liverpool John Moores University) and Yannis Tzioumakis (University of Liverpool).

This is an updated call for papers. We are delighted to announce that the confirmed keynote speakers at this conference will be: Warren Buckland (Oxford Brookes University), Geoff King (Brunel University), Peter Kramer (University of East Anglia), Steve Neale (University of Exeter) Janet Staiger (University of Texas at Austin).

In recent years the field of American independent cinema has enjoyed particular critical attention. The publication of a number of studies on the subject and the development of courses that examine American independent cinema as a separate object of study from mainstream Hollywood cinema has demonstrated that American independent cinema is a distinct discursive category and therefore deserves to be explored in depth.

Despite the recent critical activity, however, there is still very little actual research undertaken in the field. To this day, most of the work on American independent cinema has focused on the period ranging from the 1960s to contemporary times while the lion's share of the critics' attention has gone to a relatively small number of canonical independent filmmakers or to certain paradigmatic independent films. Although the establishment of canons and paradigms in independent cinema has been extremely useful, especially because it identified the field as worthy of scholarly attention, it also delimited the field substantially.

This conference wants to rethink American cinema through the concept of 'independence' and the range of definitions that such a term encompasses. As such, this conference hopes to attract research in the field that extends far beyond conventional critical approaches that tend to focus on key filmmakers, often starting from Cassavetes and moving to more recent examples, and instead look at American cinema in general with a view of questioning particular practices while also offering a number of case studies from various historical moments. Topics might include but are certainly not limited to:

* cinema at Poverty Row
* independent filmmaking within the "confines" of the studio system
* exploitation filmmaking
* ethnic filmmaking
* independent producers/distributors
* classics divisions vs contemporary independents
* the impact of technological change on independent filmmaking
* independent film financing, marketing, advertising and publicity
* institutionalising independence

Whilst we will consider papers that deal with any aspect of independence, we particularly welcome papers that seek to revise existing histories of American cinema, especially by re-opening cases of films, filmmakers and companies that hitherto have been considered as part of an increasingly loosely defined mainstream Hollywood. One of the key aims of this conference is to chart the past, present and future modes of film practice in the independent sector and to account for the plurality of forms and guises in which independent filmmaking has manifested in the United States. In this respect we hope the conference will facilitate a much needed re-evaluation of American cinema under the rubric of independence.

Please send proposals of up to 300 words to both and

Deadline for submission of proposals is Friday 12 December 2008.

CFP: Acting out (Reading)

20 MARCH 2009

Acting Out - A symposium on Screen Performance, Inference and Interpretation

"Clearly films depend on a form of communication whereby meanings are acted out." (Naremore, Acting in the Cinema, p. 2)

"I would like to say that what I am doing in reading a film is performing it (if you wish, performing it inside myself)" (Cavell, Pursuits of Happiness, 1981, pp. 37-38.)

Keynote Speaker - Andrew Klevan, (St. Anne's College, University of Oxford) - Film Performance: From Achievement to Appreciation (Wallflower Press)

This one-day symposium seeks to provide a forum for scholars of screen acting to meet and progress the spate of recent work on performance on film. We would like to explore how we draw out performance through an interrogation of the relationship between performance, inference and interpretation, but will consider proposals on other screen performance related issues.

As viewers we frequently respond instinctively to the material and kinetic details of the performer within their fictional world. In consequence, the role of inference could be said to be indivisible from interpretation. But how important is that moment between engaging with a performance and analysing it? How do you find it and observe it?

The perceived problem of subjectivity is the ghost of film studies, haunting many analyses but rarely addressed directly. How do discourses around spectatorship effect discussion of performance? Could it be that the study of performance is uniquely disposed to alerting us to the complexity of engagement?

The broader implication of these thoughts is, how do YOU 'frame' performance? And how are different analytical frameworks (e.g. phenomenological, social role-play, practice-based approaches, close analysis) specifically equipped to conceptualise these processes?

Equally, what is the role of inference in the process and production of performance? What is left unsaid and/or assumed in performance?

Arguably, many performances communicate in non-verbal ways and leave a certain amount to the imagination but how does this vary between performance styles? More histrionic, melodramatic or ostensive performances are frequently thought of as offering more privileged access to thoughts and feelings or even a transparently clear communication of meaning. What
kinds of assumptions underpin this way of thinking about performance? And where does this leave more contained or repressive performances?

Deadline for Proposals - Monday 22 December 2008

Please contact Ceri Hovland and Lucy Fife Donaldson at with any questions or if you would like to discuss any initial proposal ideas.

CFP: Your Fans are Waiting: An Academic Volume on Idol (journal)


"You have just invented a new form of torture!"- Simon Cowell on an episode of American Idol.

We are currently soliciting chapter proposals for a volume on the phenomenon of Idol. Since the first series of Pop Idol was broadcasted in the UK in 2001, the television entertainment format has been produced in over fourty different countries. In every country the show has been locally appropriated resulting in local versions ranging from Pinoy Idol in the Philippines and Nouvelle Star in France to Ídolos Brazil in Brazil and Hay Superstar in Armenia. In some cases, the format was produced for entire geographic regions, such as Idols in the Anglophone West African countries with auditions in Botswana, Kenya, Malawi, Tanzania, Uganda, Zambia and Zimbabwe, or the Pan-Arab version Super Star, featuring contestants from a.o., Lebanon, Syria, Egypt, Saudi Arabia, Algeria, Tunisia, and Morocco. The show has proven to be one of the most popular and successful formats in recent television history.

So far, academic contributions on the television show are scarce. For this volume we welcome contributions from various disciplines that shed some more light on the immense popularity of the television format, the cultural meaning and/or any other aspect of the talent contest.

Possible topics include, but are not limited to:

* Idol as television entertainment format and/or genre
* The history of Idols and its’ precursors, i.e., earlier television talentshows
* X factor and other spin-offs
* Idol, fabricated talent and matters of authenticity
* Idol as a synergistic multimedia platform
* Globalization, localization, glocalization or cultural hybridity in Idol
* Idol as a form of career entry
* The politics of identity in Idol
* Social cohesion and expressions of nationality in Idol
* Idol Fan-cultures, including fanzines or fanwebsites

Those interested in submitting a paper are requested to firstly submit a brief proposal (250 words) by December 15, 2008 Please e-mail your proposal to:
Robert Burnett (Karlstad University, Sweden): and
Koos Zwaan (Utrecht University, The Netherlands):

Bach and the Chorale: Influence, Context and Legacy (Upcoming Study Day, QUB)


Bach's chorales have been widely regarded as the cornerstone of musical education in the West for more than two centuries; however, for many of reasons, they have not yet been thoroughly researched with respect to a number of issues: for example, how did Bach himself become familiar with them, how did he used them in his own teaching, and how did he compile those works which are now so engrained in the organist's canon? In an attempt to explore the composer's relationship with this genre, Queen's University Belfast is hosting a Study Day 'Bach and the chorale: influence, context and legacy'. Issues to be addressed include: (1) the hymnological sources and tradition which influenced and shaped Bach's compositional practices, (2) the development and expression of chorale related music in the hands of Bach, and (3) the wider implications of this music, including its influence and reception. The Study Day aims to integrate these independent strands and-in so doing-further illuminate our understanding of this important and oft-performed repertoire.


The Study Day is free of charge but registration is essential.

The registration from is available from the organiser Ian Mills or from the website:

CFP: Postcommunist Visual Culture and Cinema (St. Andrews)

20 - 21 MARCH 2009

This AHRC sponsored conference is organised jointly by the Centre for Film Studies and the Centre for Russian, Soviet and Eastern European Studies at the University of St. Andrews. It will bring together doctoral students from the United Kingdom and Europe, whose work is focused o the visual culture and cinema of the post-Communist period. The main objective is to launch a productive dialogue on methodological and practical issues affecting all those engaged in the study of the film and visual culture of the postcommunist period.

We invite participants from across Social Sciences and Humanities: Language, Literature, Culture, Law, International Relations, Politics, Media, Film and Television Studies, Art History, Architecture, Design, Museum Studies, Russian, German, East European languages and cultures, Law, Religious Studies, Philosophy, Publishing, and other disciplines.

Opening on Friday afternoon (5 pm) and continuing throughout the day on Saturday, the conference will feature thematic talks dedicated to the status of the field and the profession. Postgraduate participants will be able to present their work in the context of two sessions, at panels moderated by the featured speakers. You are welcome to discuss aspects of your work, and talk of its challenging and exciting moments.

We propose to structure the discussion in the context of the following questions:
· How are post-Cold War divisions reflected in cultural production in the former communist world?
· What are its specificities and what are the challenges for researching cultural production?
· How do the global and the local interplay in the region?
· Can the umbrella of "postcommunism" be explored as shared experience?

Confirmed speakers/convenors include:

*Prof. Ib Bondebjerg (Film and Media, University of Copenhagen)
*Prof. Ewa Mazierska (Film Studies, University of Central Lancashire)
*Prof. Brian McNair (Media Sociology, University of Strathclyde)

Conference opening

*Prof. Andrew Wachtel (Slavic and Cultural Sociology, Graduate Dean, Northwestern University, Chicago, USA)
*Prof. Dina Iordanova (Film Studies, University of St. Andrews)

Please send an abstract of 150 words outlining the theme of your intended presentation (about 15 min. length), together with your contact details and a brief biographical note to Lars Kristensen at

Ten bursaries of £50 will be awarded to selected participants (please indicate you would like to be considered for a bursary at the time you send in your abstract).

Closing date of abstract submission: 15 December 2008. Further information will be available at

Tuesday, 11 November 2008

CFP: International Symposium on Performance Science (New Zealand)

15 - 18 DECEMBER 2009

Convened by The National Institute of Creative Arts and Industries, The University of Auckland Centre for Performance Science and the Royal College of Music, London

Following a highly successful inaugural conference in Portugal in 2007, the next International Symposium on Performance Science will take place at The University of Auckland on 15-18 December 2009.

Submissions are invited for unpublished papers, posters, and symposia on research from across the arts which explores the theme Performing Excellence.

The conference will bring together performers and researchers, artists and scientists, teachers and students for an interdisciplinary exchange. For this reason, specific research topics, fields of study, and methodological approaches have been left open intentionally. Those whose primary interests lie outside of the arts, but whose work nonetheless offers implications for the performing arts and/or for performing artists, are also encouraged to attend.

Keynote Speakers
--Deidre Anderson, Chief Executive Officer of U@MQ, Macquarie University (Australia)
--Sylvie Fortin, Director of the Dance Health and Performance Center, University of Québec at Montreal (Canada)
--K. Anders Ericsson, Conradi Eminent Scholar and Professor of Psychology, Florida State University (USA)
--Lord Robert Winston Professor of Science and Society, Imperial College London (UK)

Submissions are invited for:
- Spoken papers
- Poster presentations
- Symposia, workshops, demonstrations

Detailed instructions for submissions are available via the conference website, . Submissions should be made electronically to by 1 April 2009.

Graduate Award Paper
The conference Organizers and Scientific Committee are keen to encourage the attendance of students, as well as established researchers and practitioners. Therefore, the ISPS 2009 Graduate Award will be offered to one graduate student to present a 30-minute keynote paper at the conference. The award will include all conference fees and accommodation.

Information on how to submit a proposal for the Graduate Award is available at the conference website. (Unsuccessful award submissions will be processed automatically as regular conference submissions.)

Review Process
Each submission will be reviewed anonymously by the Scientific Committee according to its originality, importance, clarity, and interdisciplinarity. Corresponding authors will be notified by email of the Committee's decision by 15 May 2009.

Conference Publication
Accepted paper, poster, and symposia submissions will be published as 6-page papers in the Proceedings of ISPS 2009 (complete with ISBN), available in hardcopy at the conference and subsequently downloadable via the conference website. Details of the procedure and format for submitting published papers will be provided when authors receive notification of acceptance. Final papers for publication will be due on 1 September 2009.

1 March 2009 Online registration opens
1 April 2009 Submission deadline for papers, posters, and symposia
15 May 2009 Notification of submission decision
31 July 2009 End of early registration
1 Sept 2009 Deadline for final papers for the Proceedings of ISPS 2009
15 Dec 2009 Start of ISPS 2009

Additional information on the conference programme, venue, and registration costs is available on the conference website, The official language of the conference is English.

CFP: Unlocking Audio 2: Connecting with Listeners (British Library)

16 - 17 MARCH 2009
Supported by the Joint Information Systems Committee

Unlocking Audio 2: Connecting with Listeners is a key event exploring the use of sounds online. The conference will focus on ways that researchers and other audiences expect to discover, browse, audition and analyse archival audio resources.

Reviewing existing and emerging practices and technologies, the conference will be of interest to:
· content owners
· academics
· service providers
· user groups
· resource managers
· system integrators
· designers and implementers of data mining, search & content analysis tools

Deadline for abstracts 12:00 hours GMT on 12 December 2008
Deadline for early registration 12:00 hours GMT on 19 December 2008
Deadline for late registration 12:00 hours GMT on 16 February 2009
Conference dates 16-17 March 2009

Contact details

Alison Faraday,
Unlocking Audio
The British Library
96 Euston Road
London NW1 2DB
United Kingdom

Fax: +44 (0)207 412 7441

Monday, 10 November 2008

CFP: German Palaeography Study Day (Queen's University, Belfast)


With a Special Focus on Music-related Documents Dr Dorothea McEwan (Warburg Institute)
Music Building, Queen's University Belfast

This is an interdisciplinary one-day training course with German Palaeography expert Dr Dorothea McEwan in two sessions. The morning session provides an introduction to the subject of German palaeography. This includes an overview of the different styles of writing found in a diverse range of handwritten documents, and practical assistance will be given in the reading and transliteration of German handwriting. The afternoon session will be much more interactive and tailored to the needs of individual participants, who are encouraged to bring along their own samples. A variety of sources from the seventeenth to nineteenth centuries will be examined, including catalogues, musical treatises and personal and official correspondence.

Postgraduate students, particularly PhD students in the field of Music, are encouraged to apply. Priority will be given to those students who can demonstrate that this course will facilitate their current research.

This course is primarily a reading course; therefore participants must have a good knowledge of the German language. Please note that a maximum of 12 places are available on this course. Places will be allocated on a first come first served basis, providing that applicants can demonstrate that their research would benefit from this course.

Participation in this event is free and lunch and refreshments will be provided.

Further information and application forms can be found on the QUB School of Music website: or by contacting the event organiser Alison Dunlop:

CFP: TRANS - Musics of the Mediterranean (journal)


TRANS- TRANS-Transcultural Music Review 14 (2010) is preparing a special issue on Musics of the Mediterranean for 2010, edited by Rubén Gómez Muns (Universitat Rovira i Virgili) and Fethi Salah (Ecole Normale Supérieure – Kouba – Argel). We are accepting original articles on this topic, which could complement those included in this number.

The Mediterranean Sea gives way to a rich, complex and diverse cultural area, marked by multiple and intertwined processes of interaction between Europe, the Maghreb, the Balkans and Turkey. These processes of cultural exchange have found in music one of its best carriers, embodying issues of hybridization, métissage and patrimonialization; postcolonial relationships, globalization, and also migrancy and diaspora movements.

This special issue pretends to gather original works about the cultural complexity of the Mediterranean through the lens of music and from a interdisciplinary perspective, which deals with traditional music, popular music, local music scenes, diasporas, musical practices, cultural industries, theory, etc.

We accept contributions in Spanish, English, French, Italian and Portuguese. The deadline for the submission of the articles is September 2009.

For information about the editorial norms follow the link:

CFP: Conversations in Music (Michigan)

13 -1 4 FEBRUARY 2009

The Michigan Interdisciplinary Music Society is proud to host its third annual Conversations in Music conference, to be held February 13-14, 2009, at the University of Michigan in Ann Arbor. The conference will feature a keynote address by Prof. Berthold Hoeckner (University of Chicago), as well as a graduate-student workshop led by a professor at the University of Michigan.

Paper topics in music theory, musicology, ethnomusicology, and related fields are welcome. Interdisciplinary work is especially encouraged. Presentations will last approximately 20 minutes, followed by a ten-minute discussion period. Complete proposal submissions will include:

1. An abstract of no more than 500 words. The abstract should not contain the author's name or affiliation. Supplementary materials, such as musical examples, diagrams, and bibliography, may accompany the abstract, but should not exceed two additional pages.

2. A cover letter that lists the author's name and email address, the paper title, and any equipment required for presentation (a piano, CD player, overhead projector, and so on).

Electronic submissions must be received by Friday, December 12, 2008. Include the cover letter in the body of the email, and attach the abstract and supplementary material to the message (.doc preferred, .pdf also acceptable). Be certain that the attached files will display and print clearly, and that they are free of any indication of authorship. Send electronic submissions to: conversations2009 at

Paper submissions must be received by Friday, December 12, 2008. Please send one copy of the cover letter, the abstract, and any supplementary material to:

University of Michigan
School of Music, Theater, and Dance
c/o Nathan Platte, MMTS
Earl V. Moore Building
1100 Baits Dr.
Ann Arbor, MI 48109-2085

We will notify you upon receipt of your submission. Notification of acceptance will be made via email in mid-January, at which time selected authors will be asked to submit a condensed abstract suitable for publication in the program booklet.

CFP: Queer Screen Cultures (Study Day, Nottingham)


Queer Screen Cultures is an interdisciplinary postgraduate study day to be held at the University of Nottingham on May 5th 2009 in association with the MeCCSA Postgraduate Network. It is devised with the aim of bringing together researchers from across the UK who deal with issues of queer visibility and representation, and so making links across the disciplines and across the academic spectrum.

There has been a perceptible alteration in media representations of queer sexualities since the 1990s, on a global scale. The cultural visibility of queers has increased exponentially, with lesbian, gay, bisexual and transgender characters now routinely populating film, television and other digital media, and the mainstream press frequently covering gay and lesbian stories as a matter of course. This interdisciplinary event seeks to explore representations and negotiations of queerness in contemporary screen cultures, as well as their determinants, in addition to interrogating recent queer readings and "reclamations" of earlier screen texts. Supporting scholars from film and media studies, sociology, politics and cultural studies among other disciplines, the event will cover a number of themes and issues pertaining to on screen queer visibility, including but not limited to:

- Cultural mainstreaming and the political contexts of queer visibility;
- Film-making and queer aesthetics;
- Queer audiences and participatory cultures: for example, L Word theme parties;
- On-screen intersections of queerness and other identities: gender, ethnicity, etc;
- Queer "reclamations" of ostensibly non-queer films, television programmes, and other texts;
- "Textual poaching," queer appropriations and slash fictions;
- Queer adaptations;
- Trans and genderqueer visibility: representations and marginalisation;
- National and regional queer identities in cinema and media;
- The impact of digitisation and the multi-platform environment on queer visibility;
- Network branding and queer narrowcasting, as in the here! and Logo channels;
- Internet technologies and queer self-fashioning: YouTube and other online broadcasting.

Gary Needham of Nottingham Trent University, author of the forthcoming Queer TV, and Dr Michele Aaron of the University of Birmingham, editor of New Queer Cinema, will be delivering plenary lectures. There will also be a roundtable discussion which will bring together both speakers and delegates to debate 'the cultural mainstreaming of queerness.'

We invite proposals for 20 minute papers from postgraduate research students on any aspect of contemporary queer screen culture. Abstracts of between 200-250 words and any other enquiries should be directed to Natalie Edwards at

EXTENDED Deadline for abstracts is 1 December 2008

CFP: New Review of Film and Television Studies (journal)


Perhaps no writer has had as much impact on cinema studies over the last twenty years as Gille Deleuze, whose Cinéma I: l'image-mouvement (1983) and Cinéma II: l'image-temps (1985) have left an indelible mark on recent configurations of film and media studies, philosophy, and history. However much Deleuze has been cited in Anglo-American discourse, his innovative approach did not burst forth from an intellectual vacuum, nor did his methodology conclude with his death. Jean Louis Schefer's 1980 work, L'Homme ordinaire du cinéma, offered a prelude to Deleuze's re-conceptualization of cinema's role in twentieth-century history, and Deleuze's radical work concerning modern constructions of subjectivity and the popular symbolic has been extended and reconfigured in Jacques Rancière's ongoing development of the philosophy of aesthetics. In each of these cases, and in other examples of what one might call "French Philosophy of Cinema," these writers have provided us with breakthroughs in understanding the role of cinema in the evolution of audio-visual media, the repercussions of cinema's widespread importance in the Twentieth Century, and the relationship between film form and narrative content.

In order to develop an understanding of the wider relevance of this movement, the New Review of Film and Television Studies invites 200-word abstracts for a special issue. Topics might include, but are not limited to:
--the role of cinema and the moving image in French philosophy and the role of philosophy in French film theory; --the legacy of French aesthetics in international moving image studies; --the application of French philosophy of cinema to other methodologies of cinema studies, such as: narrative cognition; apparatus theory; national cinema(s); digital media; genre and auteur
studies; problems of race, class, gender, and sexuality; theories of
affect and sensation....
--the use of cinema philosophy in order to bridge theoretical gaps between formalism and realism, semiotics and phenomenology, etc.
--French philosophy of cinema and the re-reading of cinema history, directors, and individual films, as well as possible applications of relevant concepts to contemporary cinema and film texts;

Please send 200-word abstracts no later than November 30, to Hunter Vaughan at, or contact me with any questions. Papers, not to exceed 9,000 words, will be due July 1 2009 and should be formatted according to our Chicago standards, as found at out 'instruction for authors' page:

CFP: Bach's Passions (SMA Study Day, Glasgow)

24 - 25 APRIL 2009

Keynote speakers: John Butt and Laurence Dreyfus

The Spring Study Day of the Society for Music Analysis will be hosted at the University of Glasgow on the subject of Bach's Passions. The conference is organised by John Butt, Gardiner Professor of Music at Glasgow, whose book, Bach's Dialogue with Modernity: Perspectives on the Passions will be published in 2009. He is also musical director of Scotland's Dunedin Consort, whose recording of the Matthew Passion was released in 2008; members of the consort will be heard during the conference. As well as offering a chance to exercise their post-Enlightenment analytical tools on some earlier repertoire, it is hoped that the occasion will give participants the opportunity to experience something of the richness of the city of Glasgow, perhaps combined with a trip further afield. A visit to a distillery is already rumoured. Proposals are invited for papers on a broad range of analytical topics, including (but not limited to):

* musical form and structure, including the analysis of individual numbers
* studies of compositional process (including different versions of the Passions)
* hermeneutic and philosophical approaches
* Bach and historical listening practice
* analytical reception studies
* the Passions and the musical work concept
* invention and performativity

Proposals (up to 200 words) for papers of c. 20 minutes duration should be sent by 1 February 2009 to John Butt ( All those submitting proposals will be notified by 1 March.

For more information please see

CFP: Sound Property? Investigating the Legal Status of Sound Recordings (Salford)

18 - 19 FEBRUARY 2009

This conference proposes to investigate the current U.S. and U.K. statutes that regulate the protection of sound recordings. It will inquire to what degree those laws secure the rights of both the owners and creators of the music contained on these products as well as determine their impact upon those who consume and comment upon this material. The pending efforts to universalize an extended term of copyright underscore the potential for even more draconian controls upon recorded music. Will the public, creators, and commentators continue to be able to acquire, appreciate and appropriate musical materials? Can some balance be found between the need for profit and the pursuit of pleasure? Is it possible in a civil society for music effectively to be silenced through constraints over its recorded legacy?

Proposals are solicited that address the current U.S. and U.K. statutes; the impact of these laws upon writing and teaching about music; the impact of these laws upon musical creators and consumers; and the relationship between legal controls over recorded sound and issues of public policy and the needs of a civil society.

Conference papers will be organized into panel sessions of 2 hours, each comprising three 25-minute presentations with time for discussion. Proposals may be submitted either for individual papers or for organized panel sessions of three papers and a chair.

Proposals are welcome and encouraged from a variety of disciplinary perspectives, (including but certainly not limited to law, economics, sociology, music, popular music studies, history, cultural studies, film and television studies etc.) and from those with professional perspectives related to the subject (performers, producers, composers, lawyers, executives etc.).

Efforts are being made to incorporate responses from the corporate sector in addition to that of commentators, both from the academy and the public arena. Also, final plans may well include both a concert by musicians whose work depends upon the manipulation of pre-existent recordings as well as showings of films about these issues and those that employ a cinematic re-mixing of visual and acoustic sources.

Proposals of at least 250 and no more than 500 words should be sent to David Sanjek before December 17th. Acceptance of papers and a final programme will be announced in late December.

David Sanjek
Professor of Music
Director, Popular Music Research Centre
University of Salford
Adelphi Building
Peru Street Greater Manchester
M3 6EQ U.K.
d.sanjek at

CFP: Sounds of Early Cinema in Britain (IMR & Barbican)


We invite papers from interested parties from all related disciplines to participate in this, the first of four events to establish and develop a research network concerned with the variety of sonic and musical practices of “silent” film exhibition in Britain, interpreted in the broadest possible sense. Explorations of “sources” – of whatever kind – are particularly welcome, as are presentations by archivists, curators, and performers.

Potential topics might include:

· Sonic and musical practices used alongside the exhibition of early film in Britain.

· The potential sources for understanding these practices. Their problems. How we might excavate them.

· The challenges that Britain faces in preserving the existing historical legacy of these sonic and musical practices, instruments, equipment, and spaces.

· Relationship between these practices and those of cinema’s antecedent forms in Britain.

· Distinctive musical practices pursued in Britain, compared to other countries.

· Perspectives from other disciplines, other countries

· Use of eye-witness memory.

Preference will be given to papers with a British focus, though we may be able to accommodate papers that explore the same issues in other national contexts.

Individual Papers: Abstracts of 250 words for individual papers of up to 25-30 minutes should be e-mailed, as a Word attachment, to Mrs Valerie James at We will also consider shorter presentations of around 15 minutes on specific issues relating to sources. Please include your name and title, institutional affiliation (if any), email address, and postal address.

Round tables: Round table organizers should provide an abstract of 700 words introducing the discussion topic for a 90 minute/2 hour presentation. All panel members must be listed (names and affiliations). The round table organizer is the chairperson and acts as moderator. Proposals should be e-mailed to Mrs Valerie James at as a Word attachment, along
with your name and title, institutional affiliation (if any), email address, and postal address.

The deadline for all proposals is 9th January 2009.

Postgraduate students working in this, and/or related areas may apply for one of two scholarships (to include basic travel and accommodation, and conference fee and refreshments). Applicants should send the following information to Mrs Valerie James name, institution where studying, and an outline of their (related) research project.

About the Network: “The Sounds of Early Cinema in Britain” (2009-10)
Four events over two years: two conferences and two workshops

· Conference two (in Spring/Summer 2010) will focus more strongly on questions of performance and reception

· Two workshops (Autumn 2009 and 2010): a) sound practices in the “silent” era, and b) live accompaniment, however conceived.

Principal investigator: Dr Julie Brown (, Royal Holloway, University of London, UK

Co-investigator: Dr Annette Davison (, University of Edinburgh, UK

For questions or further information about the conference or Network, please contact either Dr Julie Brown or Dr Annette Davison.

Friday, 7 November 2008

CFP: ICMS 2009 (International Computer Music Conference, Quebec)

16 - 21 AUGUST 2009

The Schulich School of Music of McGill University, in association with the Centre for Interdisciplinary Research in Music Media and Technology (CIRMMT), will host the International Computer Music Conference (ICMC) in Montreal (Quebec, Canada) from 16 – 21 August 2009. We invite the submission of papers examining aesthetic, compositional, educational, musicological, scientific, and technological aspects of computer music and digital audio. Further details are available below and at the conference website (

The online submission system will open on 5 January 2009.

Key Dates for Submissions:

- 5 January 2009: Paper Submission Site Open
- 30 January 2009: Full Paper Submission Deadline
- 15 April 2009: Paper Decision Notification
- 15 May 2009: Paper Camera Ready Deadline

Submission Types:

Please submit PDFs with all author information removed for blind review for the following presentation categories:

- Short Paper (4 pages maximum in Proceedings, 20 minutes lecture presentation)
- Long Paper (8 pages maximum in Proceedings, 30 minutes lecture presentation)
- Poster (4 pages maximum in Proceedings)
- Demonstration (4 pages maximum in Proceedings)

Papers selected for lecture presentation will be allotted either 20- or 30-minutes during single-track technical sessions. They should be of substantial contribution to the field and must be accompanied by a written paper submission, which may be up to 4 (short) or 8 (long) pages including images and references. Posters and demonstrations are a forum for discussion of work-in-progress and/or significant or important results that are better suited for more interactive presentation. They must be accompanied by a written paper submission of up to 4 pages in length including images and references. Posters will be presented on a single A0 size sheet during a poster session. Demonstrations will be presented in a classroom setting. All submissions will be subject to blind review by an international panel. One of the authors must present the work at the conference (and pay the registration fee) for it to appear in the proceedings. Papers should be prepared using the templates that will be provided in the near future.

Submission Topics:

General content areas include but are not limited to:

- Digital Audio Signal Processing
- Sound Synthesis and Analysis
- Music Analysis
- Music Information Retrieval
- Representation and Models for Computer Music
- Artificial Intelligence and Music
- Languages for Computer Music
- Printing and Optical Recognition of Music
- Mathematical Music Theory
- Psychoacoustics, Music Perception
- Acoustics of Music
- Aesthetics, Philosophy and Criticism of Music
- History of Electroacoustic Music
- Computer Systems in Music Education
- Composition Systems and Techniques
- Interactive Performance Systems
- Software and Hardware Systems
- General and Miscellaneous Issues in Computer Music
- Studio Reports

Monday, 3 November 2008

CFP: The Songs that Saved Your Life (Again) - Symposium on Morrissey (Limerick)

1 MAY 2009

The Department of Sociology and The Irish World Academy of Music and Dance at the University of Limerick are convening a second one-day symposium on Morrissey.

Theme: This is an open-call for papers. We invite scholars working across a range of disciplines (such as, cultural studies, gender studies, musicology, media studies, popular music studies and sociology) to propose papers concerning Morrissey’s work as a solo-artiste. Possible paper themes might include: Morrissey and masculinities; Morrissey’s use of sexual and other forms of ambiguity; Fandom and Morrissey – and the phenomenon of Latino fans in particular; Morrissey and (identity) politics; and Morrissey and song-writing.

Publication Plans: It is intended to publish an edited and refereed book based on a selection of the symposium’s papers.

Deadline: Abstracts of 250 words should be emailed to The closing date for abstracts is January 9th 2009.

Dr. Eoin Devereux,
Senior Lecturer & Head of Department,
Department of Sociology,
Faculty of Arts, Humanities & Social Sciences,
University of Limerick, Ireland.

CFP: Making the British Sound (London/Edinburgh)

Conference on Instrumental Music and British Traditions
7 - 11 JULY 2009

The Galpin Society and the Historic Brass Society joint meeting will include a conference in which members of both societies will present the results of their recent research, together with visits to important collections of musical instruments, concerts, and social events. This event will celebrate the 150th anniversary of the opening of the Reid Concert Hall Museum of Instruments. Details of the provisional programme can be viewed at: and this web page will be updated as further arrangements are confirmed. The conference is being organised by the Horniman Museum, London, and the Edinburgh University Collection of Historic Musical Instruments


The Papers Sessions are provisionally scheduled to take place in Edinburgh on Thursday July 9 and Friday July 10. Depending on the response, a further papers session may be held on Saturday morning July 11. The organizers invite papers, workshop symposia, round-table
discussions, and concert presentations that represent as wide a perspective on the conference theme as possible. Topics concerning developments within Britain as well as those in Europe and the USA that influenced British wind and other instrumental music, wind instrument design, use and performance practice will be sought. The following areas of discipline will be considered but others not listed might be viewed favourably as well:
--Instrument making
--Historical musicology
--Musical acoustics
--Economic and Social history
--Performance Practice
--Musical Archeology
--Music theory
--Military history
Intending participants are invited to offer papers based on original research and discoveries, and may be on any topic concerning or illuminating the history of orchestral, band and chamber musical instruments and instrumental performance in Britain, in particular aspects which were characteristically British.

It will not be necessary to submit the full text of papers, but suitable contributions may qualify for publication in the Galpin Society Journal or the Journal of the Historic Brass Society at the discretion of the respective editors and subject to the normal acceptance procedures (both are fully refereed journals). The language of the abstracts and presentations will be English. Papers should be delivered in person at the Conference by one of the named authors. It is intended that there will be no parallel sessions. There will be a small fee for participation in the Conference.

Abstracts of papers (400 words maximum) and a biography (no more than 75 words) together with a list of audio-visual equipment and time requirements should be sent to Arnold Myers by e-mail, preferably as plain text in the body of a message, to: by 15 January 2009. Submissions will be considered by the Programme Committee, which includes representatives of both societies. Acceptance of submissions will be notified by 15 February 2009. Accepted abstracts will be placed on the Galpin Society's website. For further information, please contact Arnold Myers by e-mail or post at: Reid Concert Hall, Bristo Square, Edinburgh EH8 9AG.
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