CFP: Journal of the Alamire Foundation

JOURNAL OF THE ALAMIRE FOUNDATION

CALL FOR SUBMISSIONS

The Alamire Foundation is proud to announce the launch of a new journal, the Journal of the Alamire Foundation. The Journal aims to provide a critical forum for the most recent and outstanding research on music in or related to the Low Countries up to the end of the Ancien Régime. It will appear twice a year, as well as in electronic form. The first volume is scheduled for October 2009. The journal will be published by Brepols.

Contributions are invited in any area of musicological research, including analysis, music theory, palaeography and notation, source studies, archival research, music and institutions, and aesthetics. Interdisciplinary research, in fields such as music and iconography, literature, theology, politics, art history, emblematics, or philosophy is also particularly welcomed. The standard article length is around 5000 words, including footnotes and other supplementary materials, although both longer and shorter contributions will be considered.

In fulfilment of the Foundation’s mission to promote dialogue between the worlds of performance and scholarship, a section of each issue will be devoted to scholarly discussion of a recent performance event, production (such as a CD, DVD, concert, or festival), edition, book, or current burning issue. Proposals and contributions (of around 2500 words) to this section are also warmly invited.

The principal language of the Journal is English, but contributions are also possible in any commonly understood scholarly language. Articles may be submitted at any time, via email, at: jaf at alamirefoundation.be. Questions may also be sent to the same address. Further information, including the Journal’s style-sheet, will become available shortly at:http://www.arts.kuleuven.be/alamire/.

General editors:

David Burn – Katelijne Schiltz

Editorial board:

Barbara Haggh – Christian Leitmeir – Pedro Memelsdorff – Klaus Pietschmann – Dorit Tanay – Giovanni Zanovello

Advisory board:

Bonnie J. Blackburn – Jennifer Bloxam – Anna Maria Busse-Berger – Sean Gallagher – David Hiley – Andrew Kirkman – Karl Kügle – John Milsom – Emilio Ros-Fabregas – Rudolf Rasch – Thomas Schmidt-Beste – Eugeen Schreurs – Reinhard Strohm – Philippe Vendrix – Rob Wegman

CFP: Music Education in the Caribbean and Latin America (book)

MUSIC EDUCATION IN THE CARIBBEAN AND LATIN AMERICA: A COMPREHENSIVE GUIDE

CALL FOR CHAPTERS

Raymond Torres-Santos, Ph.D., General Editor

Professor of Music

William Paterson University

New Jersey, USA

OBJECTIVE OF THIS BOOK

The music of the Caribbean and Latin America has thrived for over five hundred years. While influential worldwide, this music has also been open to influence over time by pre-Columbian, European, African, and other techniques, approaches, and materials. Latin American and Caribbean countries share some musical characteristics, but there are many styles, musical systems, instruments, and forms unique to individual countries.

Music education also shares common characteristics worldwide, yet music education systems, whether formal or informal, are unique from place to place around the world. Music Education in the Caribbean and Latin America will feature music education in fifteen Caribbean islands and Latin American countries. The islands and countries represented will be: Central America - San Salvador, Costa Rica, Guatemala, and Mexico South America: Venezuela, Colombia, Ecuador, Peru, Brazil, Chile, Uruguay, and Argentina Caribbean - Cuba, Dominican Republic and Puerto Rico The book is scheduled to be published by MENC: The National Association for Music Education, USA (www.menc.org) in 2010.

AT THIS POINT WE ARE ONLY ACCEPTING THE FOLLOWING COUNTRIES AND ISLANDS:

Central America - San Salvador, Costa Rica and Mexico

South America - Venezuela, Ecuador, Peru Chile and Uruguay

Caribbean - Cuba

TARGET AUDIENCE

The target audience for this book includes professors, educators, researchers, and students of music education. It will be marketed to academic libraries, multicultural educators, and music education departments and societies in the United States, as well as similar organizations in South America, the Caribbean, and throughout the world.

POSSIBLE TOPICS TO ADDRESSED IN THE CHAPTER

Topics to be addressed in each chapter may include: the early days, music education in Roman Catholic education/convents, Protestant education, public school/music in the schools, cultural life, music in the community, teacher training, private teaching, conservatory, and other institutions, music in university/higher education, instrumental and vocal music, festivals and competitions, teacher education and curriculum development, and professional organizations.

Submission Requirements

• 18-24 double-spaced, typewritten pages approximately 4500-6000 words maximum

• MS Word, Times Roman, 12-pt.

• Publishers’ formatting guidelines to be provided

• MSWord files as attachments or on CD

• Separate files for proposed graphs or tables

• Manuscript may be written in Spanish, translation into English may be provided, although preference will be given to chapters in English.

Note: If your manuscript comes in too long, you will be asked to cut it down in order to balance with the other chapters. As general editor, Dr. Torres-Santos will ensure the chapters are based on sound scholarship written in a style accessible to upper-level music education students and other educated adults, including native Spanish-speakers who have English as a second language.

Manuscript Review & Submission

Inquiries accepted until: Feb 1, 2009

Proposals (2-3 pages clearly explaining the chapters mission and concerns) accepted until: March 1, 2009

Manuscript deadline: April 1, 2009

Acceptance notifications sent: May 1, 2009

Production Schedule

First draft deadline: April 1, 2008

Review deadline: June 1, 2009

Final chapters due: July 1, 2009

Publication expected: 2010

Please direct inquiries to:

Raymond Torres-Santos, Ph. D.

Dean

College of the Arts and Communication

William Paterson University

300 Pompton Road, Wayne, New Jersey 07470-2103

Tel. (973) 720-2232 / Fax (973) 720-2936

torressantosr@wpunj.edu

CFP: The Musician’s Act of Creation (Ghent, Belgium)

SEMINAR ON THE MUSICIAN'S ACT OF CREATION

ORPHEUS INSTITUTE, GHENT

23 - 24 APRIL 2009

CALL FOR PAPERS

Seminar on The Musician’s Act of Creation – Orpheus Research Centre in Music

Korte Meer 12 ,9000 Ghent, Belgium

Although creativity of some kind is present in even the most mundane situations (such as shopping, cooking, plumbing ...), more sophisticated expressions of it are often associated with the fields of art and literature. Within these fields, creativity has acquired the status of an enigmatic, unknowable process that ultimately leads to innovation and creation of valuable works of art.

The TWO-DAY INTERNATIONAL SEMINAR on the MUSICIAN'S ACT OF CREATION is organised by the ORPHEUS RESEARCH CENTRE in MUSIC. The seminar has the aim to map musical creativity as a space having its own set of characteristics within a broader and more general field of creativity. We will zoom in on moments of musical creation, invention, discovery, conception, constructs, imagination, etc. 

Particular interests include: -the different modes of creative expression in music (ranging from interpretation to composition and improvisation) -creative strategies in musical practice (innovative strategies but also the documentation and elucidation of historical ones) -creativity as a tool in artistic research projects (research as an ‘original’ contribution to knowledge and understanding) -different fields of creative action in music (sound, body, form, etc.) -artistic projects that focus on creativity as a field of action. 

CALL FOR PRESENTATIONS 

Themes relating to all aspects of the seminar topic are welcome. Deadline for PROPOSALS is MARCH 6, 2009 

Download the call for presentations through Orpheus Institute’s website: http://www.orpheusinstituut.be/en/research-centre/activities 

PRACTICAL INFORMATION

The seminar will be relevant for scholar-musicians and graduate students working in all areas of research linked to musical practice. The seminar takes place at Orpheus Institute Ghent, Belgium and starts on Thursday April 23, 2009 12h, and closes on Friday April 24, 2009 16h. 

REGISTRATION as a participant is possible until APRIL 16, 2009 

Registration fee: €50 

Full-time Students: €25 

The fee includes morning and afternoon teas, Thursday seminar dinner, Friday lunch and a seminar satchel.  Note: presenters do not pay the admission fee! 

TRAVEL & ACCOMMODATION 

Participants should arrange their own travel arrangements and accommodation. 

CONTACT

Register or send us your proposal through info@orpheusinstituut.be 

For practical information concerning this seminar you may contact the Orpheus Institute’s Activities & Communication Manager: joyce.desmet@orpheusinstituut.be 

Organising Committee Kathleen Coessens, Darla Crispin, Hendrik Vanden Abeele and Joost Vanmaele Orpheus Research Centre in Music (ORCiM) 

Orpheus Institute 

Korte Meer 12 

B-9000 Ghent Belgium +32 9 330 40 81 

info@orpheusinstituut.be 

www.orpheusinstituut.be

CFP: First International Conference on Irish Music and Musicians (Durham)

FIRST INTERNATIONAL CONFERENCE ON IRISH MUSIC & MUSICIANS

UNIVERSITY OF DURHAM, UK

12 - 15 JULY 2010

CALL FOR PAPERS

From Monday 12 July to Thursday 15 July 2010, the Music Department at the University of Durham in Great Britain will host the First International Conference on Irish Music and Musicians. 

Over last two decades there has been a steady growth of scholarship on Irish music, and especially on Ireland's tradition of western art music. This will be the first international conference devoted exclusively to the subject of Irish music and musicians and will present a unique opportunity for researchers in the field to meet at an international scholarly forum. The keynote speakers will include Nicholas Temperley, Professor Emeritus of Musicology at the University of Illinois, and Harry White, Professor of Music at University College, Dublin

Proposals are invited for individual papers, lecture-recitals and panels on topics pertaining to Irish music and musicians of all historical periods from prehistory to the present. 

While the primary focus of the conference will naturally be on the development of music in Ireland, important subsidiary themes will include:

* the contribution of Irish musicians to musical life in Britain and elsewhere

* the contribution of foreign musicians to the development of musical life in Ireland

* foreign musicians (such as Arnold Bax, E. J. Moeran or Patrick Hadley) who had close links with Ireland. 

The conference will also feature a special session commemorating the eminent Irish composer, musicologist and educator Aloys Fleischmann (1910-1992), marking the centenary of his birth in 1910. 

Proposals should be submitted in the form of an abstract of 250 words or less, accompanied by the following:

--a professional résumé of approximately 100 words

--information concerning institutional affiliation

--contact details

All proposals should be submitted no later than 1 December 2009 by email to Dr Patrick Zuk (patrick.zuk at durham.ac.uk), who will also be happy to assist with informal enquiries. Applicants will be notified of the conference committee's decision concerning the final selection of papers in mid-January 2010. 

Further details can be found on the conference website at http://www.dur.ac.uk/music/irishmusicconference/.

CFP: Bach and his German Contemporaries (Wisconsin)

BIENNIAL MEETING OF THE AMERICAN BACH SOCIETY

"BACH AND HIS GERMAN CONTEMPORARIES"

MADISON, WISCONSIN

7 - 9 MAY 2010

CALL FOR PAPERS & PERFORMANCES

Proposals for papers are invited for the meeting of the American Bach Society to be held at the University of Wisconsin, Madison, May 7-9, 2010. Paper proposals focusing on the conference topic, “Bach and his German contemporaries,” will be given preference, but submissions on any aspect of Bach studies will be considered. The conference will include papers and performances, including a Tafelmusik evening, as well as an optional excursion to Frank Lloyd Wright’s Taliesin.

Proposals (250 words) should be sent by 1 October 2009 to Lynn Edwards Butler, 3352 Point Grey Road, Vancouver, B.C. V6R1A3, Canada; e-mail: edwardsbutler at telus.net. Electronic submissions as attachments in Microsoft Word are preferred.

PERFORMANCES: 

Proposals for performances are invited for the meeting of the American Bach Society to be held at the University of Wisconsin, Madison, May 7-9, 2010. Performance proposals should relate to the conference topic, “Bach and his German contemporaries.” Brief musical performances to introduce a paper session or to be included in a Tafelmusik evening are especially welcome, as are proposals for lecture-recitals.

Deadline for receipt of proposals is 1 October 2009; the committee’s decisions will be announced by the middle of November.

See the ABS Web site, http://www.americanbachsociety.org/ , for full details.

CFP: Music and Aesthetics Conference (Ottawa, Canada)

MUSIC AND AESTHETICS

CANADIAN SOCIETY FOR AESTHETICS & CANDAIAN UNIVERSITY MUSIC SOCIETY

OTTAWA, CANADA

29 MAY 2009

CALL FOR PAPERS

The Canadian Society for Aesthetics and the Canadian University Music Society are hosting a joint paper session at their annual meetings, both held under the auspices of the annual Congress of the Humanities and Social Sciences, in Ottawa in late May 2009. The joint session is currently scheduled for May 29th.

Paper proposals on any philosophical or theoretical topic in music and aesthetics are welcome, in English or French.

The deadline for submissions is February 16, 2009.

Details of the conference and complete calls for papers are at the following addresses:

http://www.cums-smuc.ca/en/conference/conference-2009

http://www.csa-sce.ca/en/index.htm

CFP: American Hungarian Educators’ Association Conference (Berkeley)

AMERICAN HUNGARIAN EDUCATORS' ASSOCIATION

34TH ANNUAL CONFERENCE

UNIVERSITY OF CALIFORNIA AT BERKELEY

BERKELEY, CALIFORNIA USA

14 -16 MAY 2009

CALL FOR PAPERS

The American Hungarian Educators’ Association (AHEA) will hold its 34th Annual Conference from May 14 – 16, 2009, at the Bechtel Engineering Center, University of California, Berkeley. We welcome participation by all scholars, educators, and graduate students, devoted to the teaching, research, and dissemination of Hungarian culture, history, folklore, literature, language, fine arts, and music. Presenters need not be members of AHEA.

The Program Committee invites proposals for papers, focusing on the presenters’ individual research and findings, connected with this year’s theme, “Hungarians in the New World”

Proposals should consist of an abstract of not more than 250 words; a brief scholarly biography, including degrees, scholarly fields (50-100 words); any audio-visual requirements; and full contact information. Proposals must be submitted as an email attachment (Word only) no later than March 9, 2009, to the Program Chairs. Please use your last name as the document title, as in Smith.doc. Only one submission per author will be considered. Individual paper presentations are limited to no more than twenty minutes to allow for ten minutes of discussion following the presentation. The primary language of the conference is English; some sessions may be conducted in Hungarian, depending on the agreement of the session attendees.

Full details: http://hungaria.org/uploaded/documents/call.for.papers%202009.pdf

CFP: Lyrcia Society for Word-Music Relations (Harvard University)

LYRICA SOCIETY FOR WORD-MUSIC RELATIONS
AMERICAN COMPARATIVE LITERATURE ASSOCIATION (ACLA) ANNUAL SEMINAR
26 - 29 MARCH 2009
HARVARD UNIVERSITY
CALL FOR PAPERS

Call for Papers: Lyrica at ACLA/Deadline extended: 7 FEBRUARY 2009

The Lyrica Society for Word-Music Relations is pleased to extend its original Call for Papers deadline for its annual seminar at the American Comparative Literature Association (www.acla.org) to February 7, 2009.

The conference's broad general theme is "Global Languages, Local Cultures" and Lyrica's Seminar is entitled "Revival and Surival: Opera, Song, Regionalism, Pluralism, Nationalism". Please check our posting among the many fascinating seminars proposed by our colleagues in Comparative Litrature:

http://www.acla.org/acla2009/?p=46

The ACLA's Seminars extend over three days and explore its chosen theme through a daily, two-to-three-hour session. A maximum of twelve papers will be accepted and each session will take the form of a round-table discussion where debates are encouraged. Lecture-recitals will also be considered. If submitted for publication in "Ars Lyrica", papers will be subject to the journal's peer-review process.

Interested musicologists and ethnomusicologists, scholars of literature and comparative literature should submit an abstract not to exceed 250 words to: lyricasociety at aol.com with ACLA in the subject line by 7 February 2009.

CFP: 2009 Biennial Euro-Mediterranean Music Conference

2009 BIENNIAL EURO-MEDITERRANEAN MUSIC CONFERENCE
18-20 SEPTEMBER 2009
UNIVERSITY OF NICOSIA, CYPRUS
CALL FOR PAPERS

The Cyprus Music Institute is pleased to announce this Call for Papers for its inaugural 2009 Biennial Euro-Mediterranean music conference. While many Mediterranean countries have active and well-established traditions of music scholarship, as yet there has been no attempt to bring scholars from across the Mediterranean region together under the auspices of a single conference. By providing a venue for intellectual exchange between academicians across the region, as well as scholars from any area whose research relates to Mediterranean musical traditions, the conference is intended to establish a forum that will engender a sense of shared academic community, facilitate the creation of personal and institutional networks, and generally promote intercultural exchange and peaceful dialogue.

Since the purpose of the conference is to bring together the whole range of music scholars from Mediterranean countries, as well as any scholars with an interest in the region’s musical traditions, it will not limit topics to any particular theme. However, all proposals should fall under at least one of the following thematic categories:
Musicology, broadly understood to encompass historical musicology, ethnomusicology, music theory and analysis, sociology of music, and musical aesthetics.

Music Education, broadly understood to encompass research in applied classroom teaching, instrumental and vocal pedagogy, and the philosophy and sociology of music education.

Mediterranean Music, understood to encompass any category of research relating to any Mediterranean music culture, past or present. Proposals addressing intercultural and region themes will be regarded especially favorably.

PROPOSALS:
Proposals of no more than 400 words should be sent as Microsoft Word attachments to Kenneth Smith, chair of the organizing committee: smith.k at unic.ac.cy

Presentations may take any of the following formats:

--20-minute papers
--Sessions of 3 thematically related 20-minute papers
--90-minute workshops

All proposals should include the name, affiliation, and contact information of the presenter(s). All personal information will be suppressed in the version distributed to the scientific committee.

Deadline: 10 April 2009. Applicants will receive a response no later than 30 May.

CFP: Migrating Music: Media, Politics and Style (SOAS)

MIGRATING MUSIC: MEDIA, POLITICS AND STYLE: AN INTERNATIONAL CONFERENCE
SCHOOL OF ORIENTAL AND AFRICAN STUDIES,
UNIVERSITY OF LONDON
10 - 11 JULY 2009
CALL FOR PAPERS

Over the last twenty years or so there has been much interest in music and diaspora, that is in migrating music. No doubt this interest is historically grounded. Movement of peoples and their music across the world has been occurring to an unprecedented extent and in novel ways. Researchers in a variety of disciplines have then responded by studying musical flows and the formation of hybrid styles, but also the way in which apparently similar music can mean quite different things in different contexts. We might sum up the overarching framework is one in which researchers focus on the (largely benign) diversification and pluralisation of musical meaning and experience.

We do not seek to overturn this framework. Quite simply, it taps an important part of the reality of migrating music in the contemporary period. But we do want to bring up a number of problems and issues, and call on colleagues to think about what these might mean.

Media. Mediation has been crucial to the global movement of musics, from the hymnal to the Web 2.0. Diasporas take recordings with them when they move; broadcasters and record companies cater to them in new lands; 'World Music' was launched as a marketing and media category. What, then, is the impact of mediation on migrating music, and are diasporas and host communities mere recipients, or rather active shapers of their musical diets?

Politics. The orthodoxy of today is that musical migration is predominantly a Good Thing, and that hybridity always has a progressive dimension. By the same token authenticity has become a straw target. But can the authentic be a significant value for musical cultures as they are relocated around the world? And were early commentators entirely wrong to worry about 'Americanisation' or 'Westernisation'? Indeed are there new models that take into account 'Bollywoodisation' and the effects of other international culture industries? Does a focus on hybridisation sometimes obscure larger relations of economic, cultural, and aesthetic domination?

Style. Hybridity is rarely used in verb form. But the processes of stylistic transformation wrought by musical migration are very much about action - making change across time, space, codes and cultures. What are these 'trans' processes? Do they always depend on mixing, or can new migrant styles emerge from endogenous reference back to home styles? And how far do music makers and audiences consciously strive to create the new.

We invite proposals for papers which address these and related questions from across the disciplines, including (ethno)musicology, cultural and media studies, sociology, anthropology, history and performance studies. The conference is part of the AHRC research project based at the Open University, Tuning In: Diasporic Contact Zones @ BBC World Service. So contributions which concern international broadcasting and/or the BBC are particularly welcome. We are also keen to receive proposals from practitioners - music makers, journalists and broadcasters.

Proposals for 20 minute papers should be between 150 and 200 words in length. Themed panels are welcome too. For panel proposals please submit 3 paper abstracts together with a panel title, a 50 word panel rationale, and the name of your panel convenor/chair.

Proposal forms are available from the Conference's web page on the Tuning In website. Please see link below: http://www.open.ac.uk/socialsciences/diasporas/events/migratingmusic.htm

Please send to Karen Ho at K.D.Ho@open.ac.uk. Closing date for submission is 22nd February, 2009.

KEYNOTE SPEAKERS:

Timothy Taylor - Professor of Ethnomusicology and Musicology, UCLA

Sara Cohen - Professor and Director of the Institute of Popular Music, University of Liverpool

Charlie Gillett - Journalist and award winning presenter of 'Charlie Gillett's World of Music', BBC World

Service in conversation with Kevin Robins, Visiting Professor, Istanbul Bilgi University

Martin Stokes - University Fellow in Music, St Johns College, Oxford University

Ruth Finnegan - Visiting Professor of Sociology, The Open University

CONFERENCE CONVENORS
Jason Toynbee and Byron Dueck, The Open University

CONFERENCE ADMINISTRATORS
Karen Ho and Josine Opmeer, CRESC (Open and Manchester Universities)

Extension to Copyright in the EU

EXTENSION TO COPYRIGHT ACROSS THE EU

[From the Open Rights Group:]
The European Parliament is set to vote on whether to double the term of copyright in sound recordings. Please register your concern at an event on the proposed Term Extension Directive, on Tuesday 27 January 2009 in the European Parliament in Brussels:

http://soundcopyright.eventbrite.com/

This flawed Directive has been unanimously condemned by Europe's leading intellectual property research centres. The European Parliament must address the mounting concerns of consumer groups and copyright users if they want a modern, workable copyright policy. Please, if you can, come to Brussels and register your concern.

If you can't make it, please forward this mail to your MEP (you can get their contact details here:
http://www.laquadrature.net/wiki/Political_Memory) and ask them to:

*Strongly oppose this legislation

*Attend the 27 January event on your behalf

*Sign the Sound Copyright petition (http://www.soundcopyright.eu/petition)

*Watch the Open Rights Groups' cartoon "How copyright term extension in Sound Recordings actually works" (http://www.youtube.com/watch?v=kijON_XODUk)




SPREAD THE WORD: HOW COPYRIGHT TERM EXTENSION IN SOUND RECORDINGS ACTUALLY WORKS:

The Open Rights Group and animators Eclectech, whose work has included pieces for Friends of the Earth and No2ID in the UK, have produced a short animation explaining "How copyright term extension in Sound Recordings actually works". Check it out at the link below and show your friends and your MEPs why term extension is a really bad idea.
http://www.youtube.com/watch?v=kijON_XODUk

ANDREW GOWERS HITS OUT AT "OUT OF TUNE" TERM EXTENSION:

The former editor of the Financial Times, Andrew Gowers, hit out at the UK Government's suggestion that they should consider a copyright extension as "out of tune with reality". Gowers original evidence-based review for the UK Government concluded against extending copyright.

http://www.ft.com/cms/s/0/ba280756-ca07-11dd-93e5-000077b07658.html?nclick_check=1


The ORG privacy policy is online at http://www.openrightsgroup.org/privacy-policy/

US RISM Music Incipt Searching Available Online

US-RISM MUSIC INCIPIT SEARCHES NOW AVAILABLE ONLINE

On November 7, 2008, the AMS/MLA Joint RISM Committee voted unanimously to allow the Center for Computer Assisted Research in the Humanities at Stanford University to use the data belonging to the US RISM Project at Harvard University for the purpose of developing and making freely accessible a website at which the US RISM data would be searchable with Themefinder, a web-based interface capable of searching music incipits that has been developed at the CCARH since 1996 under the direction of Professor Eleanor Selfridge-Field.

RISM websites in the United Kingdom, Switzerland, and Italy currently permit searches on their respective music data. More information about these RISM sites can be found on my Delicious feed: http://delicious.com/colin71/RISM. The AMS/MLA Joint RISM Committee members are pleased that this is now possible with the US RISM data in the United States, some 55,491 listings.

At the website, http://www.themefinder.org/help/rism.html, the US data can be searched by any of several dozen text fields, and the musical search boxes allow for fuzzy searching of music incipits. Fuzzy searching is useful for finding concordances in which key, details of meter or rhythm, and placement of rests may prevent identification in literal searches. Five levels of detail are supported.

For further information about the collaboration and website, or for suggestions or comments regarding the website, please contact Sarah Adams, Director, US RISM Project, Harvard University, at sjadams@fas.harvard.edu, and Eleanor Selfridge-Field, Director, Center for Computer Assisted Research in the Humanities (CCARH), Stanford University, esfield@stanford.edu

CFP: Acting with Facts: Actors Performing the Real in British Theatre and Television Since 1990 (Reading)

'ACTING WITH FACTS’: ACTORS PERFORMING THE REAL IN BRITISH THEATRE AND TELEVISION SINCE 1990
An Arts and Humanities Research Council research project.
UNIVERSITY OF READING, DEPARTMENT OF FILM, THEATRE AND TELEVISION
FRIDAY 8 MAY 2009
CALL FOR PAPERS

The ‘Acting with Facts’ project, which began in October 2007, is concerned with actors’ contributions to the burgeoning field of documentary drama. The project team have already interviewed over twenty actors directly concerned with theatre and screen docudrama, as well as a number of actor trainers, writers and directors. The project also participated in a National
Theatre ‘Platform’ event in May 2008.

At the half-way stage of our work, we will host a one-day symposium at the University of Reading further to explore research issues through debate and dialogue with interested academic colleagues, actor trainers and people with direct experience of staging and screening docudrama and drama ‘based on’ fact. The symposium therefore has several aims:

• to present some initial findings
• to gather together other researchers in the field
• to have plenary presentations from industry and actor-training personnel.

Two sessions will be available during the day for parallel panels to present papers. We invite proposals of 250-300 words on any aspect of the challenges that actors face when performing the real. Papers need not exclusively address the project’s research questions, but we present them here as a guideline to our own work so far:

• What specific demands does factual drama make on actors’ competencies?
• How do actors respond to these demands in specific theatre and television practice?
• What comparisons and correspondences exist for actors between docudrama and fictional drama in theatre and television, given their likely involvement in both media?
• How has the making of television docudrama responded to the 1990 Broadcasting Act, increased international co-production, the digital revolution and accelerated social and political change since 1990?
• How has social and political change (nationally and internationally) provoked change in documentary theatre since 1990?
• What impact do ethical, institutional and practical constraints in both media (e.g. legal restrictions, marketability, cost) have on docudrama, and with what aesthetic consequences?
• How do existing theories (of form, genre, format and audience address) and the production of docudrama in theatre and television interact?

Closing date for Proposals: Monday 16th March 2009

Address for proposals and further enquiries: h.a.sutherland@reading.ac.uk
or send to:
Dr Derek Paget, Principal Investigator: ‘Acting with Facts’, Department of Film,
Theatre & Television, University of Reading, Bulmershe Court, Reading RG6 1HY.

Music and Politics (new e-journal published)

MUSIC AND POLITICS
NEW MATERIAL PUBLISHED

Music and Politics, an on-line journal, http://www.music.ucsb.edu/projects/musicandpolitics/ has recently published its fourth issue, featuring the following articles and reviews:

--Michael Beckerman, "The Dark Blue Exile of Jaroslav Jezek"

--James Wierzbicki, "Hanns Eisler and the FBI"

--Brana Mijatovic, "'Throwing Stones at the System': Rock Music in Serbia during the 1990s"

--Damien Sagrillo, translated by Lee Rothfarb, "The Notion of Humankind According to the Music-pedagogical Conception of Former Socialist States, Exemplified in the Former German Democratic Republic"

--Dard Neuman, "Music & Politics in the Classroom: Music, Politics and Protest"

--Eunice Schroeder, "Recent Books on Music and Politics"

Music and Politics welcomes submissions of any length that explore the interaction of Music and Politics. Areas of interest include, but are not limited to, the impact of politics on the lives of musicians, music as a form of political discourse, and the influences of ideology on musical historiography. In addition, we seek articles that examine pedagogical issues and strategies pertaining to the study of Music and Politics in the undergraduate classroom. We also welcome suggestions and/or submissions of articles on Music and Politics that have already been published in another language and that would benefit from dissemination in English translation. Submissions are encouraged from both established scholars and graduate students. Because Music and Politics is an on-line journal, authors are welcome to take advantage of the media capabilities of the web (sound files, hyperlinks, color images, and video).

For other e-journals which are freely available over the internet, search across my Delicious tags: http://delicious.com/colin71/open_access+e-journals

CFP: Popular Music in the Mercer Era (Georgia State University)

POPULAR MUSIC IN THE MERCER ERA, 1910-1970
GEORGIA STATE UNIVERSITY LIBRARY, ATLANTA GA
12 - 14 NOVEMBER 2009
CALL FOR PAPERS

In recognition of the centennial of songwriter Johnny Mercer’s birth, Georgia State University Library’s Popular Music and Culture Archives invites submissions of papers for consideration to be presented at the two-day conference, “Popular Music in the Mercer Era, 1910-1970.”

Each of the four conference sessions focuses on a particular genre: blues, hillbilly (country), jazz, and rock ‘n’ roll. Papers proposed for the sessions are invited to explore elements of popular music composition and production, including but not limited to: influences; lyrics; regionalism; live or stage performance; the Southern and Jewish Diasporas; broadcast (radio and television); film music; Tin Pan Alley; and record companies and the music business. Special consideration will be given to studies that relate to Johnny Mercer and the popular music of his era.

Submission deadline is February 28, 2009. We seek papers from scholars and graduate students in all disciplines. There will be an award given for a graduate student paper, which will allow the student to attend the conference and present a paper. Participants will be required to submit
a final version of the paper prior to the conference. We intend to publish the conference proceedings in electronic form, and then at later date publish select papers in a printed volume.

Please submit a one-page abstract, a two-page curriculum vitae, and contact information including name, title, affiliation, address, e-mail, phone and fax numbers. Send inquiries and submissions to:

Georgia State University Library
Special Collections and Archives
ATTN: Kevin Fleming
100 Decatur Street, SE
Georgia State University
Atlanta, GA 30303-3202
kfleming@gsu.edu

Funding for the “Popular Music in the Mercer Era, 1910-1970” is provided through the Johnny Mercer Foundation.

About the Archives: The Popular Music and Culture Archives, within the Georgia State University Library Special Collections Department, collects and preserves unique and rare historical materials documenting 20th-century American Popular Music and Culture. Areas of focus include Johnny Mercer and music of his era; early county, bluegrass and gospel music; and radio broadcasting in Atlanta. The department promotes the use of these materials by the Georgia State University community, scholars and the public. The mission of the Archives is to advance scholarship and to further the educational, research and service missions of Georgia State University.

Latin American Choral Music Conference (University of Arizona)

LATIN AMERICAN CHORAL MUSIC: "EXPLORING EXCHANGE: CHURCH AND THEATRE, IBERIA AND THE AMERICA, PAST AND PRESENT"
UNIVERSITY OF ARIZONA
23 - 24 JANUARY 2009

KEYNOTE PRESENTATIONS & SPEAKERS

"Funesta by Marcela Rodriquez and the reinterpretation in contemporary Mexico of the cultural and religious icon Sor Juana Ines de la Cruz" - Luisa Villar Paya,
Dean, School of Social Sciences, Arts and Humanities of the Universidad de la Americas Puebla, Mexico

"The Choral Movement in Venezuela in the Twentieth Century" - Alejandro Planchart,
Professor Emeritus, University of California, Santa Barbara, USA

For more information on the conference programme:
http://www.u.arizona.edu/~sturman/CLAM/CLAMhome.html

CFP: Sacred Music in the Habsburg Empire 1619-1740 and Its Contexts, Middelburg (Utrecht)

SACRED MUSIC IN THE HABSBURG EMPIRE 1619-1740 AND ITS CONTEXTS
ROOSEVELT ACADEMY (UNIVERSITY OF UTRECHT), MIDDLEBURG, THE NETHERLANDS
5 - 8 NOVEMBER 2009
CALL FOR PAPERS

Sacred music at the Austrian Habsburg courts existed within a complex environment in which liturgy, theology, literature, art, architecture, and politics were tightly interwoven. Also as a cultural export product at the borders of the Empire, such as Bohemia, Moravia, Hungary and the Low Countries, this music interacted – positively or negatively – with local traditions. The symposium seeks to explore this cross-disciplinary interaction for the period from the beginning of the reign of Ferdinand II (1619) to the death of Charles VI (1740).

The sessions will be held over two days and will take place in the attractive surroundings of Middelburg’s late medieval town hall. Limited grants towards travel and subsistence may be available for younger scholars, those without university affiliation, and scholars from Central and Eastern Europe. Selected contributions will be published in a volume of proceedings.

Proposals are invited for:
- individual papers of 20 minutes duration (followed by 10 minutes for questions and discussion).
- round-table sessions of up to two hours (three or four papers) including discussion.

Individuals may submit one proposal in the form of:
- an abstract of not more than 250 words (individual papers).
- a summary of not more than 250 words and abstracts of up to 250 words for each participant (round-table sessions).

Abstracts and papers may be written/presented in English or German.

Acceptance of a proposal will be at the discretion of the programme committee. The abstract should be preceded by the name, institution, postal address, phone no., and email address of the author and may be submitted electronically (plain text, MS Word, RTF) to Tassilo Erhardt (t.erhardt at roac.nl).

The deadline for proposal submission is 15 April 2009.

Programme committee:
Herbert Seifert, Steven Saunders, Robert Rawson, Tassilo Erhardt

For further information please contact:
Dr. Tassilo Erhardt
Email: t.erhardt [at] roac.nl

CFP: Researching Music of the Cold War: Methodological Challenges and New Critical Approaches, AMS Cold War and Music Study Group, AMS Philadelphia

RESEARCHING MUSIC OF THE COLD WAR: METHDOLOGICAL CHALLENGES AND NEW CRITICAL APPROACHES

AMS, PHILADELPHIA, PA

CALL FOR PANEL PRESENTATIONS

Panel discussion to be sponsored by the Cold War and Music Study Group, American Musicological Society, 2009 annual meeting, Philadelphia, PA

Nearly two decades have passed since the fall of the Berlin Wall, the demise of communism in Eastern Europe, and the disintegration of the Soviet Union. In recent years, musicologists have enjoyed unprecedented access to archival materials and have demonstrated increasingly critical distance from the events of the Cold War era. Yet the relative recency of the Cold War poses both unique opportunities and challenges to the researcher. Although scholars have the privilege of working with living witnesses, they also face a number of moral and ethical demands, particularly when dealing with information that may be personally damaging or traumatic. Historiographical and political biases that developed during the Cold War still risk coloring present-day assessments of the period. While there has been a surge in scholarly publications on music of the Cold War, little has been said about the methodological, interpretative, and ethical challenges that confront musicologists. The purpose of this panel is to offer a forum to discuss these challenges. Panelists will be asked to draw from their own research experience and reflect on methodological approaches to studying music of the Cold War.

Possible themes might include the following:

- studying music of authoritarian regimes

- oral history and working with living sources

- aesthetic judgments and the musical canon

- multi-site research and globalization

- analyzing and interpreting archival sources

The session will include a series of 15-minute presentations from a range of methodological and generational perspectives, followed by a broader audience discussion. If you are interested in participating as a panelist, please send a proposal (ca. 300 words) to Laura Silverberg (ls2647 [at] columbia [dot] edu) by 1 March 2009.

CFP: Nota Bene Undergraduate Journal of Musicology

NOTA BENE UNDERGRADUATE JOURNAL OF MUSICOLOGY
UNIVERSITY OF WESTERN ONTARIO
CALL FOR PAPERS

The Don Wright Faculty of Music at the University of Western Ontario requests submissions for the 2009 issue of Nota Bene. Authors must submit papers electronically by February 15, 2009.

Nota Bene is a professor-reviewed journal for musicology created specifically for undergraduate students studying at institutions internationally. We invite papers in the fields of historical musicology, ethnomusicology, popular music studies, and music theory that meet a high critical and rhetorical standard. We encourage submissions in both English and French. Professors are encouraged to forward this message to students. Information for authors and previous issues are available at www.music.uwo.ca/notabene.html

Nota Bene’s mission is to offer undergraduate students an opportunity to participate in an international academic discussion and publication process. The journal seeks to establish a community of young scholars across North America, to expose them to the work of their peers, and thus to nurture a lively discourse encouraging students to pursue musicological graduate work. In this way we hope to expose young music students to the diversity of this field. A list of our review panel is available through our website. We aim to provide participating undergraduate students with feedback from our external reviewers, particularly for those students intending to submit papers for graduate school applications. Nota Bene is committed to representing all undergraduate levels and will provide every submission with feedback from the review panel.

The editors may be contacted at: notabene at uwo.ca

We sincerely hope you will encourage your students to participate in this exciting project.

Sincerely,
Katharina Clausius, Kristen Duerhammer, Veena Varghese
Student Editors-in-Chief

Prix du Québec (Fellowship)

PRIX DU QUEBEC

RESEARCH FELLOWSHIP

BRITISH ASSOCIATION FOR CANADIAN STUDIES

The Prix du Québec consists of two awards of £1,000 (each) offered by the Québec Government Office in London and administered by BACS. It is designed to assist researchers based in the UK to carry out research related to Québec in the areas of the humanities and social sciences by facilitating a research visit to Québec. Projects that incorporate Québec in a comparative approach (at least 50 % of the focus must be on Québec) are also eligible. All applications are welcome, including those from applicants unsuccessful in recent previous competitions. 

One award will be given in each of the following categories:

● Masters and doctoral students

● Researchers and academic staff (including postdoctoral researchers)

Please note that non-academic members of BACS and its specialist groups may also apply. The award is not intended to be used to cover tuition fees for postgraduate study. Applicants are expected to be members of the British Association for Canadian Studies (they may join at time of application).

The awards will be presented during the Annual Conference of the British Association for Canadian Studies in March, and successful applicants will be expected to present a paper on the outcome of their research at the next BACS annual conference. It is expected that the award will be acknowledged in any subsequent publication(s).

Application procedure

Applicants should provide a brief outline of their proposed research (including methodology, contextual background, plan and outcomes). Successful applications will have the following characteristics: 

(i) investigate issues concerning Quebec (includes comparative research where the focus on Quebec is at least 50%); 

(ii) constitute an excellent research proposal (originality, coherence of arguments and methodology); 

(iii) display applicant’s abilities to deliver research (previous relevant background, experience, publications, etc); 

(iv) is of value to potential users outside or within the research community. 

A brief (one-page max.) CV should be included.

Deadline: 15 February 2009 (decision within 28 days).

Maximum Length: 1000 words.

Two letters of recommendation from appropriate referees are also required and should be sent with the application. Referees should address the merits of the proposal and the ability of the applicant to successfully carry out the research.

Applications should be sent by email, please (including referees’ letters), to: canstuds@gmail.com

If further information is required, please contact Jodie Robson, Administrator, British Association for Canadian Studies, tel: 020 7862 8687

/ 01289 387331 / mobile 07967 374554; email: canstuds@gmail.com

Instruments of Passion: Music, Painting, and the Contest of the Arts (Upcoming symposium) (New York)

INSTRUMENTS OF PASSION: MUSIC, PAINTING, AND THE CONTEST OF THE ARTS: A SUMPOSIUM

THE METROPOLITAN MUSEUM OF ART / COLUMBIA UNIVERSITY

6 FEBRUARY 2009

NEW YORK, NY

Organized by Lydia Goehr and Klaus Krüger

The program is a collaboration among The Metropolitan Museum of Art, New York,

Columbia University, New York, and, Freie Universität, Berlin

TIMES AND PLACES

Friday, February 6, 2009

11:00 a.m.–4:45 p.m.

The Grace Rainey Rogers Auditorium,

The Metropolitan Museum of Art

1000 Fifth Avenue

New York

[Free with Museum admission; reservations and tickets are not required. For more information, please email lectures@metmuseum.org, consult the Met’s online Calendar at www.metmuseum.org, or call (212) 396-5460. ]

Saturday, February 7, 2009

9:00 a.m.–9:00 p.m.

Italian Academy for Advanced Studies in America,

Columbia University

1161 Amsterdam Avenue at 116th Street

New York

Free; for more information, please call (212) 854-3665.

THE PROGRAM

Friday, February 6: 11:00 a.m.–4:45 p.m.

11:00–11:15 a.m.

Opening Remarks

Lydia Goehr, Philosophy, Columbia University

Andrea Bayer, Department of European Paintings and interim head of Education, The Metropolitan Museum of Art

11:15 a.m.–12:15 p.m.

The End of the Contest: On Philosophy, Painting, and Photography in the History of Modernism, Arthur C. Danto, Philosophy, Columbia University

Introduced by Jonathan Gilmore, Philosophy, Yale University

12:15–1:15 p.m.

Watteau and the Contest between Melpomene and Thalia, Georgia J. Cowart, Music, Case Western Reserve University

Introduced by Ellen Rosand, Music, Yale University

break for lunch

2:30–3:30 p.m.

King David’s Harp, Beckmesser’s Lute: Musical Instruments and the Instrumentality of Painting, Lydia Goehr, Philosophy, Columbia University

Introduced by Christopher S. Wood, History of Art, Yale University

3:30–4:30 p.m.

“Most musical of mourners, weep again!”, David Rosand, Art History, Columbia University

Introduced by Alexander Nagel, Art History, New York University

Saturday, February 7: 9:00 a.m.–9:00 p.m.

9:30–10:30 a.m.

The Masked Singer: The Auditory Perception of Beauty in renaissance Italy, Giuseppe Gerbino, Music, Columbia University

Chair: Susan Boynton, Music, Columbia University

10:30–11:30 a.m.

Marsia’s Lament: Animating the Contest of Marsyas and Apollo in Barberini Rome, Wendy Heller, Music, Princeton University

Chair: Christoph Menke, Philosophy, Goethe Universität Frankfurt

break

12:00–1:00 p.m.

Athene and Marsyas: Two Bodies of Beauty and Music, Gertrud Koch, Film Studies, Freie Universität, Berlin

Chair: Gregg Horowitz, Philosophy, Vanderbilt University

break for lunch

2:00–3:00 p.m.

“Mi manca la voce”: Silent Music in Balzac’s Novellas, John T. Hamilton, Comparative Literature and German, New York University

Chair: Walter Frisch, Music, Columbia University

3:00–4:00 p.m.

“The Natural Instrument of the Voice”: Apollo, Marsyas, and Andrea Sacchi’s Portrait of the Soprano, Marc’Antonio Pasqualini, David E. Cohen, Music, Columbia University

Chair: Tim Barringer, History of Art, Yale University

break

4:30–5:30 p.m.

Painted Sounds—Imaginary Music (On Giorgione, Savoldo, and Caravaggio), Klaus Krüger, Art History, Freie Universität, Berlin

Chair: Lydia Goehr, Philosophy, Columbia University

7:00 p.m.

PERFORMANCE of J. S. BACH’S Cantata BWV 201 Geschwinde, ihr wirbelnden Winde. The Contest between Phoebus and Pan, with singers and instrumentalists associated with Columbia University. Introduced by Elaine Sisman, Music, Columbia University.

Italian Academy for Advanced Studies in America, Columbia University

1161 Amsterdam Avenue at 116th Street, New York

Entry to the concert is free for students with Columbia University ID; otherwise $10 or donation. Tickets are not required.

We are grateful to the following sponsors and supporters:

The Metropolitan Museum of Art, New York

Freie Universität, Berlin: “Languages of Emotion,” Cluster of Excellence

Columbia University: Arts Initiative, Department of Art History and Archaeology, Department of Music, Department of Philosophy, Italian Academy for Advanced Studies in America, Music Performance Program, School of the Arts

[Education, The Metropolitan Museum of Art Fifth Avenue at 82nd street New York, NY 10028-0198 www.metmuseum.org]

CFP: IASA 2009 (International Association of Sound and Audiovisual Archives, Greece)

INTERNATIONAL ASSOCIATION OF SOUND AND AUDIOVISUAL ARCHIVES (IASA)

20 - 25 SEPTEMBER 2009

ATHENS, GREECE

CALL FOR PAPERS

2009 IASA CONFERENCE: “Towards a new kind of Archive? The Digital Philosophy in Audiovisual Archives”

Submission Deadline: January 30th 2009

The Organising Committee of the IASA 2009 Annual Conference invites presentation proposals for the 40th IASA Annual Conference, to be held September 20-25, 2009, in Athens, Greece, hosted by the Hellenic National Audiovisual Archive.

Presentation proposals are due January 30th, 2009, on the following themes:

* Archives, Libraries and Museums. Moment of Truth - Time to Converge? 

* The disappearing Archive I: the loss of physical substance through digitisation 

* The disappearing Archive II: aging and physical deterioration of analogue media 

* The disappearing Archive III: obsolete carriers but no replay equipment 

* Born to die? Selection policies in the 21st century 

* Between archivists and users, taking advantage of the archive 

* Digital preservation and audiovisual preservation: Is there a divide? 

* 40 years of IASA 

* The role of the National Audiovisual Archives 

* Archiving the web and the new media audiovisual content 

* Ethics of digital archives 

Please find all conference information as well as the submission form on the conference website:

http://www.iasa2009.com

Presenters will be notified of acceptance by March 15, 2009.

IASA offers travel grants ( http://www.iasa-web.org/travel_grant.asp ), the chance of which increases if you present a paper! And even more if you or your institution is a IASA-member.

Many developping countries now qualify for half-price institutional membership in IASA! (see http://www.iasa-web.org/rates.asp for membership information)

CFP: ISMIR 2009 (International Society for Music Information Retrieval, Japan)

ISMIR 2009- TENTH INTERNATIONAL SOCIETY FOR MUSIC INFORMATION RETRIEVAL CONFERENCE

KOBE, HYOGO, JAPAN

26 - 30 OCTOBER 2009

CALL FOR PAPERS

http://ismir2009.ismir.net/

Important dates:

Submission of tutorial proposals: January 31, 2009

Submission of papers: May 8, 2009

Notification of paper acceptance: July 17, 2009

Camera-ready submissions: August 7, 2009

Submission of abstracts for late-breaking / demo: August 31, 2009

ISMIR 2009: October 26-30, 2009

The Tenth International Society for Music Information Retrieval Conference will take place October 26-30, 2009 (Monday through Friday), in Kobe, Japan. Looking at the recent rapid growth of ISMIR conferences since its inception in 2000 and the expansion of the music

information retrieval (MIR) community, MIR people may no longer consider acronym MIR as "music information retrieval" in the strict sense, but rather think that MIR essentially fits "music information research" in a broad sense. Correspondingly, MIR also draws considerable attention from other research/application fields. ISMIR therefore aims to open a new horizon of the exchange and discussion of ideas, issues, results, and perspectives for people of widespread areas, such as representatives of academia, industry, entertainment, and education, including researchers, developers, educators, librarians, students, and professional users. Alongside presentations of original theoretical research and practical work, ISMIR provides introductory and in-depth tutorials, and a venue for the showcase of current MIR-related products and systems.

To foster MIR, every time previous ISMIR was held, we have been making attempts and learning from experiences. New changes would be introduced to ISMIR 2009, while some effective part of ISMIR 2008 would be inherited with minor revisions. What are inherited from ISMIR 2008 include:

* Rebuttal phase during paper selection,

* Uniform paper status for all accepted submissions, and

* Late breaking / demo session.

The topic areas and the emphasis on higher quality and wider interdisciplinary research and scholarship in all aspects of MIR remain unchanged. Novel and previously unpublished submissions are solicited in areas including, but not limited to, the following:

* content-based querying and retrieval

* database systems, indexing, and query

* fingerprinting and digital rights management

* transcription and annotation

* music signal processing

* score following and audio alignment

* optical music recognition

* melody and motives

* rhythm, beat, tempo, and form

* harmony, chords, and tonality

* timbre, instrumentation and voice

* performance analysis

* modification and transformation of music data

* computational musicology

* perception and cognition

* emotion and aesthetics

* applications of MIR to the performing arts and multimedia

* automatic classification

* genre, style, and mood

* similarity metrics

* music summarization

* user interfaces and user models

* music recommendation and playlist generation

* text and web mining

* knowledge representation, social tags, and metadata

* libraries, archives and digital collections

* evaluation and annotation issues

* methodological and philosophical issues

* social, legal, ethical, and business issues

In addition to research papers, we also solicit late-breaking / demo submissions, and proposals for tutorials, and exhibits. More details on each category are provided below.

Contribution requirements and guidelines

1. Papers

All papers will be peer-reviewed according to their novelty, technical content, presentation, and contribution to the overall balance of topics and disciplines represented at ISMIR 2009. Papers that introduce new topics and methods to MIR research are particularly welcome. Paper submissions should satisfy the following conditions:

* Formatting must comply to the guidelines and templates that will be

available on the submission web page (http://ismir2009.ismir.net/submission/ will be open in early-January).

* Submitted papers must be between 4 and 6 pages long.

* Papers should include a 150-200 word abstract.

* Submission must consist of original contributions (not previously published and not currently being considered for publication elsewhere).

* There is no limitation on the number of submissions per author.

* The rebuttal phase will take place during June 26th - July 3rd.

* Accepted papers will be designated either as poster-only presentations, or as oral talks without poster presentations.

* Authors of accepted papers will be asked to provide camera-ready copies of their papers.

* If accepted, authors are encouraged to bring laptop computers or other appropriate equipment to supplement their presentations.

* For each accepted paper, at least one author must register for the ISMIR 2009 conference prior to submission of the camera-ready version.

* Uniform paper status:

There will be no submission categories of papers. Judgement of acceptance will be made based purely on the paper quality relative to the other papers; all accepted papers will be allotted up to six pages in the proceedings. Although authors can indicate preference for oral or poster presentation upon submission, the program committee will decide the most effective way of presenation (oral presentation or poster presentation) based on the nature of the paper and interest to the broader MIR community as well as scheduling constraints. The presentation format has no relation to the reviewer judgment of paper quality and will be determined after the acceptance judgement. Poster authors are expected to give a 30-second presentation of their work as part of the "madness" session before each poster session.

* Awards:

ISMIR 2009 will have the best paper award, the best student paper award, and the presentation award (new). The presentation award will have two subcategories, oral and poster, which will be selected by votes collected during the conference.

2. Late-breaking / demo submissions

A special session during the ISMIR 2009 schedule (Tentatively, the morning of October 30) will be dedicated to:

(i) the presentation of preliminary results and ideas that are not yet fully formed nor systematically evaluated; and

(ii) the demonstration of applications that are of interest to the MIR community.

These late-breaking / demo submissions will not be reviewed and will not have associated papers on the proceedings. They have been assigned a late deadline (August 31). Submissions should be emailed to:ismir2009-demos@ismir.net as a pdf file containing the title, author(s) and affiliation(s), and a 100-200 word abstract outlining the work to be presented. Abstracts will be published online. Should there be more submissions than allowed by the available presentation

space, presentations that contribute to a balanced session will be given priority.

3. Tutorials

The first day of the conference (October 26) will consist of a parallel session of tutorials each concentrating on a single topic presented either at an introductory level or in depth, lasting about

3 hours (including a break). Submissions should consist of a 1-4 page abstract including:

- Title

- Outline of the tutorial content

- Intended and expected audience

- Short biography of the presenter(s)

- Any special requirements

- Contact information

The document should be sent as a pdf attachment via email to ismir2009-tutorials@ismir.net by January 31, 2009.

Acceptance/rejection decisions will be made by the ISMIR 2009 Conference Committee. The decision will depend on the criteria including relevance, suitability, originality, and expertise of the presenter(s). Acceptance/rejection of a proposal will be noticed before February 28, 2009.

4. Exhibits and Bookstore

Throughout ISMIR 2009, space will be available for publishers, software companies, booksellers, service providers, system vendors, and any other businesses interested in exhibiting their MIR-related products. They are invited to contact the program committee via email to ismir2009-exhibits@ismir.net regarding the ISMIR bookstore and/or exhibition space before August 31.

General Chairs:

Masataka Goto, National Institute of Advanced Industrial Science and Technology

Ichiro Fujinaga, McGill University

Program Chairs:

George Tzanetakis, University of Victoria

Keiji Hirata, NTT Communication Science Laboratories