Job Posting: INESC PORTO: Palco 3.0 (Portugal)

JOB POSTING: INESC PORTO

"PALCO 3.0"

 (http://www.inescporto.pt/) is accepting applications to work in the research project "Palco 3.0" in the area of Software development for music audio analysis modules.

Candidates should hold a Masters in Computer Science, Electrical Engineering or similar area. we give preference to candidates with knowledge of C++ (MARSYAS being a clear plus), Matlab, experience withmachine learning frameworks and audio analysis.

Application period: from 2009-02-26 to 2009-03-19

Duration of the grant: from 2009-04-01 to 2010-03-31 ( 12 months /renewable)

More information on the grant and modalities for application can be

found here: http://www2.inescporto.pt/ip-en/work-with-us/edital90006_en.pdf

CFP: 2009 Art of Record Production: Producing Recorded Performances: Capture or Design (Glamorgan, Cardiff)

FIFTH ANNUAL ART OF RECORD PRODUCTION CONFERENCE
UNIVERSITY OF GLAMORGAN, CARDIFF, SOUTH WALES
13 - 15 NOVEMBER 2009
CALL FOR PAPERS

Producing Recorded Performances: Capture or Design?
The conference organizers invite submissions for papers on the following themes and any other related topics:

1. Performance and Record Production.
The evolving process of record production has altered performance practice in a variety of ways and across the whole range of musical styles. In turn these new developments have themselves driven the development of new musical styles. This stream will examine these issues and also how changes in the creative decision making process have affected the traditional roles of performer, composer, arranger and producer. Leiber and Stoller are often quoted as having said “we don’t write songs, we write records” and this recording based approach to creativity has many implications for the role of performers. How do performers and producers negotiate this creative balancing act? Indeed, how do all the participants in the production process communicate and interact? The stream invites submissions dealing with all aspects of performance in the recording studio.

2. Capturing Environments, Designing Space.
For many recording professionals the idea of ‘capturing’ the character of a specific space is central to their practice. For others the artificial construction of perceived ambience is equally crucial. The ‘sonic environment’ of recorded music can strongly affect the perceived meaning for a listener but the sound the performer hears during the recording process is also an important factor. This stream seeks to examine both how the artificial design of space has been incorporated into the production and compositional process as well as how techniques
that are specific to the recording of classical, jazz, acoustic, folk and traditional music forms utilise the sound of recorded space. Phrases such as hyper realism and “electronic fakery” illustrate the increased public awareness of the creative impact of technological mediation. We would therefore also like to encourage studies and discussions of related issues such as the aesthetics and psychoacoustics of place and proximity, the perception of technological mediation, authenticity and transparency.

3. Independent Production and Distribution
There is a long history of independent and entrepreneurial producers stretching from pioneers such as Sam Phillips and Joe Meek to contemporary artists such as Linda Perry and Steve Albini. There are also a variety of business models and working practices through which independent record producers and independent forms of distribution can be connected. Record production on the small scale impacts on the final sound in a variety of ways but particular business models and audience preferences in niche markets can also influence creative decisions in the production process. How might the model of ‘pay per listen’ as opposed to the ‘traditional’ product / ownership forms of income stream affect the production of recorded music? There are also perceptions amongst both audiences and artists about the relationship of independence and creativity and independence and credibility. This stream invites submissions relating to any of the above points and also those dealing with emerging business models related to independent and /or small scale production and the way they fit into the wider market place.

4. Five Years On: The Musicology of Record Production
Five years after the ‘Towards a Musicology of Record Production’ stream at the first ARP conference, how has this field of study moved on? At that conference Professor Allan Moore argued “that the major context for production decisions is the other musical decisions which go into the making of a track” and that, as such, a musicology of record production only makes sense as a component in the wider study of music. A growing number of academics are seeking ways in which the study of recording practice can be integrated into the study of music. What difference does it make when that study is in the western art tradition of musicology, ethnomusicology or popular music studies? What are the methodologies and approaches being utilised in this area and how do they fit together? What should a musicology of record production study and why?

We welcome work from any relevant academic perspective, including but not limited to popular music studies, ethnomusicology, the study of performance practice, communication studies, historical musicology, the history of technology, ergonomics, acoustics and psychoacoustics, music theory, music cognition, music and music technology education, and the philosophies of music, mediation and technology. Please include a note on methodology where appropriate.

Papers or demonstrations that require recording / studio / 5.1 playback facilities are also encouraged but selection will be subject to a feasibility study by the hosts at Glamorgan.

Proposals for individual papers and poster presentations should not exceed 500 words and should be in Word Document, Rich Text File or Text file formats (doc, docx, rtf or txt files). Submissions by email to simonzt@artofrecordproduction.com

Papers will be accepted in either English or Welsh.

The deadline for proposals is the Monday 20th April 2009.

CFP: Music Analysis Today: Crisis, or (R)evolution? (Strasbourg)

MUSIC ANALYSIS TODAY: CRISIS, OR (R)EVOLUTION ?
INTERNATIONAL CONFERENCE, STRASBOURG
19 - 21 NOVEMBER 2009
CALL FOR PAPERS

Université de Strasbourg Research Group ‘Approches contemporaines de la Création et de la Réflexion artistiques’ Société française d’Analyse musicale

With the support of Institut d’Esthétique des arts et technologies (Université de Paris-1/CNRS), IRCAM (Paris), & GATM (Gruppo Analisi et Teoria musicale, Bologna, Italy)

Musical research in general has undergone considerable transformation in the last decades, as concerns both its object and its methods. The respective breaking up of these, together with the calling into question of traditional approaches in the historical as well as in the theoretical domains have led to a situation amounting, for certain thinkers, to a crisis. However, it may be that beyond this ‘Babelization’ of music studies, a broader disciplinary field is emerging, at once more international and transdisciplinary, the diversity of which reflects an ongoing reconstruction and a transformation of epistemological status. Are we witnessing a global and lasting weakening of all norms, or, on the contrary, a change in dominant ideas and paradigms—but also biases?

This conference proposes to examine some of the orientations which have thus significantly modified analytical practice together with its theoretical foundations, taking as a symbolic reference point the 1989 European Congress in Colmar which sought to map the landscape of music analysis. Since that date, it may be considered that the geography of music analysis has been altered at least in a threefold way by: (i) the emergence of new corpuses, (ii) transformations in modelling, and (iii) the shifting of disciplinary boundaries.

Papers, in English or in French, of 30’ duration each, should develop one or more of the above themes through a non-exclusive, critical approach. Reflexion should be backed up with concrete analytical examples.

Topics may be chosen from the following, although other suggestions will be considered:
– new analytical methods (systematic or mathematic approaches, neo-Riemannian theory, transformational theory, computational musicology, computer-assisted analysis, etc.),
– new corpuses for analysis (improvised, traditional—notably non-Western—music, pop-rock, electro-acoustic music, etc.),
– new domains (performance practice, reception, etc.),
– new supports (visual representations, sound recording, digital support systems, etc.)
– the epistemology of analytical research (history of music analysis, the analysis of analysis, relation of analysis to other musicological approaches or to other disciplines, etc.).

Proposals for individual papers, of no more than 700 words, together with a short CV, should be emailed simultaneously to Mondher Ayari and Xavier Hascher.

The deadline for the submission of proposals is 3 April 2009.

Notification of acceptance will be sent by the end of April. It is intended that the proceedings of the conference shall be published.

CFP: Renaissance Society of America 2010 (Venice)

RENAISSANCE SOCIETY OF AMERICA
FONDAZIONE CINI, VENICE
8 - 10 APRIL 2010
CALL FOR PROPOSALS

The Renaissance Society of America will hold its annual meeting in Los Angeles, March 19-21, 2009. This year's meeting contains an abundance of music presentations, in both music-only sessions and especially in interdisciplinary panels. For details, see the Society's website:
http://www.rsa.org/meetings/index.php .

I'd also like to draw your attention to next year's meeting, which will take place in Venice at the Fondazione Cini on 8-10 April 2010. This will be a particularly good opportunity to get together with international as well as US colleagues, and I encourage as many AMS members as possible to submit proposals for papers or panels. The RSA's chronological span is quite broad, and papers on anything from 1400-1700 are welcome, as are those on contemporary approaches to the Renaissance (whether in the classroom or in more general culture).

As RSA representative for Music, it's my job to field a certain number of panels for the Venice meeting, which don't need to be exclusively devoted to music but should have at least one music paper. If you would like to submit a proposal or panel through me, or would like help assembling a panel, please let me know - I'm happy to help. Panels work best with 3 papers (not 4 as at AMS), but you can also construct a double panel of 6 papers if that's preferable. There is a 150 word limit for abstracts.

If you'd like me to submit your proposal, I need to have your materials before 15 May. Final deadline for proposals through the RSA website is 24 May (for details see http://www.rsa.org/meetings/conference_start.php

Jeanice Brooks
RSA Discipline Representative for Music

Interdisciplinary PhD Studentships in Music (Open University)

INTERDISCIPLINARY PHD STUDENTSHIPS IN MUSIC
OPEN UNIVERSITY, MILTON KEYNES

The Open University offers up to four full-time, 3 year PhD studentships (to start 1 October 2009)

Music-related research at the OU encompasses a wide range of approaches (including historical, social, empirical and technological methods) with a distinctive emphasis on innovation and interdisciplinary research. We welcome applications for PhD studentships in any of our areas of
strength, which include
* Social and cultural theory and analysis (including ethnomusicology, sociology, social psychology, human geography)
* Historical study (including documentary and archival research)
* Empirical investigation of performance
* Music computing (including Music Computing and Pervasive Interaction; the design and evaluation of new tools for performance, composition, analysis and education)
* Musical acoustics
* Music education and pedagogy

Projects which will benefit from supervision across traditional disciplinary boundaries (e.g. ethnomusicology and psychology, acoustics and historical musicology, or music computing or sociology) are particularly encouraged. Also encouraged are proposals with links to one of our existing research groups or collaborative projects (for details of these, and of our research facilities, go to the web address below).

Potential candidates are urged to make contact as soon as possible, in order to discuss and develop a project with support from potential supervisors prior to submission. Informal enquiries are encouraged to
Prof. Martin Clayton, Director of Music Research
(m.r.l.clayton@open.ac.uk)

For detailed information and to apply email s.a.parsons@open.ac.uk or telephone 01908 653280.
Further details of music-related research at the OU can be found at
http://www.open.ac.uk/Arts/music/research/

Closing date: 3 April 2009

Equal Opportunity is University Policy

CFP: 5th Conference on Interdisciplinary Musicology (Paris)

FIFTH CONFERENCE ON INTERDISCIPLINARY MUSICOLOGY
PARIS, FRANCE
26 - 29 OCTOBER 2009
CALL FOR PAPERS

http://cim09.lam.jussieu.fr

Abstract submission deadline March 27, 2009

• PRESENTATION
The Conference on Interdisciplinary Musicology is a forum for constructive interaction among all musically and musicologically relevant disciplines, including acoustics, aesthetics, anthropology, archeology, art history and theory, biology, composition, computing, cultural studies, education,
ethnology, history, linguistics, literary studies, mathematics, medicine, music theory and analysis, perception, performance, philosophy, physiology, prehistory, psychoacoustics, psychology, semiotics, sociology, statistics, and therapy. CIM especially promotes collaborations between sciences and humanities, between theory and practice, as well as interdisciplinary combinations that are new, unusual, creative, or otherwise especially promising.

• THEME FOR CIM09 MUSIC AND ITS INSTRUMENTS
CIM09 – will focus on relationships between music and the instruments used for its production.
How is the music of a given culture determined or influenced by the nature of its musical instruments? How do instruments influence repertoires? How are instruments that have been developed in the context of given musical styles used in new styles? Conversely, what issues arise when old instruments are revived, or new instruments adapted, for the performance
of early music?

• HOST INSTITUTIONS
Lutheries, Acoustique, Musique (LAM- IJLRA) - CNRS - Université Pierre et Marie Curie
Centre de recherche Langages Musicaux (CRLM) et Musicologie, informatique et nouvelles technologies (MINT) - Université Paris Sorbonne – Paris IV Cité de la Musique (Musée de la Musique) Musée du Quai Branly (Département de la Recherche et de l’Enseignement)
With the collaboration of Société Française d’Acoustique (SFA).

• ABSTRACT SUBMISSION
The abstract submission deadline for CIM09 is March 27, 2009. Submissions must be sent to : morange-cim09 at lam.jussieu.fr
All submissions to CIM09 must have at least two authors who represent two of the following three groups of disciplines: humanities, sciences, musical practice. Submissions must address a musical research question. See website for instructions.

CFP: Musica Scotica 2009 (RSAMD, Glasgow)

MUSICA SCOTICA 2009
ROYAL SCOTTISH ACADEMY OF MUSIC AND DRAMA, GLASGOW
26 APRIL 2009
CALL FOR PAPERS

Musica Scotica 2009 will take place on Saturday 25th April 2009 from 10am - 6pm in the Royal Scottish Academy of Music and Drama, Glasgow.* At previous meetings papers have been given on a wide variety of topics, ranging from chant to James MacMillan, and fiddle manuscripts to bagpipe music. We look forward to another successful day, bringing together researchers working in different areas of Scottish music.

The registration form is now available on the Musica Scotica website.
http://www.musicascotica.org.uk/news.htm

Abstracts of no more than 250 words are invited for 20 minute papers.
They should be sent to Professor Graham Hair (conference2009@musicascotica.org.uk) no later than 28 February 2009.

All general enquiries should be sent to me, Jane Mallinson, at this e-mail address: MusicaScotica2008@yahoo.co.uk (yes MusicaScotica2008 is correct!).

Dr Jane Mallinson
15 Rowallan Gardens
Glasgow
G11 7LH

*The RSAMD is situated at the corner of Hope Street and Renfrew Street, which runs parallel to Glasgow's famous Sauchiehall Street. It is a 10-15 minutes walk from Glasgow's two main train stations, Queen Street and Glasgow Central. The RSAMD is easily accessible from all major approach roads and Glasgow International Airport is a 20 minute journey by taxi or bus.

Postgraduate Studentships (Cardiff School of Music)

2009-2010 POSTGRADUATE STUDENTSHIPS
CARDIFF SCHOOL OF MUSIC

The Cardiff School of Music is delighted to announce that it will fund up to 10 full and fees-only postgraduate studentships to be taken up in 2009-10. This is the largest single investment the School has made in its provision for postgraduate study and it benefits all of its research (PhD) and taught (MA/MMus) programmes.

Please visit the Cardiff School of Music’s website for further details:
http://www.cardiff.ac.uk/music/degreeprogrammes/postgraduate/funding/index.html

The closing date for all application is 1 June 2009.

The wide range of experience and expertise amongst the staff ensures that the School offers leading-edge teaching and research in numerous areas of the discipline.

PhD Research Programmes

• Composition
• Performance
• Thesis

Taught MA and MMus Programmes

• MA in Ethnomusicology
• MA in Music, Culture and Politics
• MA in Musicology
• MA in Performance Studies
• MMus in Composition

The places are competitive, so if you are interested please contact the Postgraduate Secretary:
Ms Elizabeth Pengilly

Email: pengillySE1@cardiff.ac.uk
Phone: +44 (0) 29 2087 4816
Postgraduate Secretary
School of Music
33 Corbett Road
Cardiff
CF10 3EB

CFP: Drawing on the Musical Past: Music Iconology, Instrument Making and Experimental Playing in Music Archaeology (CUNY)

DRAWING ON THE MUSICAL PAST: MUSIC ICONOLOGY, INSTRUMENT MAKING, AND EXPERIMENTAL PLAYING IN MUSIC ARCHAEOLOGY
CITY UNIVERSITY OF NEW YORK
23 - 25 SEPTEMBER 2009
CALL FOR PAPERS

Third conference of the ICTM Study Group for Music Archaeology and Twelfth conference of the Research Center for Music Iconography
City University of New York, The Graduate Center
New York, 23–25 September 2009

Research in music archaeology has become attractive not only among specialized archaeologists and musicologists, but also among instrument makers and musicians. Music iconology, apart from the study of excavated musical instruments, often forms a crucial part in the interpretation of the social contexts and meanings of past music, but also in the study of organological forms and their individual history, materials of manufacture, playing postures, playing techniques, and other aspects. A glance into the rich universe of past music cultures seems to be possible and even reasonable, to a certain degree. This conference aims to present aspects of the advantages, risks, and limits of music iconology, instrument making, and experimental playing in music archaeology.

Abstracts of 200–300 words may be submitted before 1 May 2009 to:

Arnd Adje Both
ICTM Study Group for Music Archaeology, Chair
Reiss-Engelhorn-Museen
C5 Zeughaus
68159 Mannheim
adje at zedat.fu-berlin.de

Zdravko Blazekovic
Research Center for Music Iconography
City University of New York,
The Graduate Center
365 Fifth Avenue
New York, NY 10016-4309
zblazekovic at gc.cuny.edu

Selected papers presented at the conference will be published in the journal Music in Art http://web.gc.cuny.edu/rcmi/musicinart.htm

Further information will be posted at
http://web.gc.cuny.edu/rcmi/12thConferenceInfo.html and
http://www.ictmusic.org/ICTM/beta/stg/index.php?lcode=11

CFP: Filigrane. Musique, Esthétique, Sciences, Société (journal)

FILIGRANE. MUSIQUE, ESTHÉTIQUE, SCIENCES, SOCIÉTÉ

CALL FOR PAPERS

N°11. New Musicology. Critical Perspectives / N°11. New Musicology. Perspectives critiques

(bilingual issue English-French edited by Makis Solomos)

English: http://revuefiligrane.free.fr/numeros/revue11/call.htm 

Français: http://revuefiligrane.free.fr/numeros/revue11/appel.htm

N°12. Music and Place / N°12. Musique et lieu

(edited by Jean-Marc Chouvel and Laurence Bouckaert)

English: http://revuefiligrane.free.fr/numeros/revue12/call.htm

Français: http://revuefiligrane.free.fr/numeros/revue12/appel.htm

CFP: Beyond The Centres - Musical Avant Gardes since 1950 (Greece)

BEYOND THE CENTRES: MUSICAL AVANT GARDES SINCE 1950

IN MEMORIAM YANNIS ANDREOU PAPAIOANNOU (1910-1989)

ARISTOTLE UNIVERSITY OF THESSALONIKI, DEPARTMENT OF MUSIC STUDIES,

THESSALONIKI, GREECE

1 - 5 JULY 2010

CALL FOR PAPERS

The approach of this International Conference, as inferred from the first part of its title ('Beyond the Centres') can be perceived either with regard to places, times and individuals (i.e. beyond the places, times and individuals that have defined the starting points of musical avant gardes), or with regard to dominant categorizations (i.e., beyond the dominant, centric, perceptions of the avant-garde irrespective of places, times or individuals).

Thus the aim of the Conference is twofold:

1) To gather together research on widely unknown musical realizations of the notion of the avant-garde since 1950, and encourage the examination of multiple, heterogeneous currents built around the ideas of innovation and / or radicalism.

2) To stimulate theoretical critical discussion on how the notion of the avant garde can be assessed today 'from outside' (beyond the centric generic ideas of the time of its formation) and embrace problematisation of the very premise of a unified term for the avant garde. In other words, to motivate the critical appraisal of the function, reception, realization and dissemination of what was or is considered avant-garde in different geographical and cultural contexts. In this respect, the examination of the pedagogic methods that were developed by institutions or individuals for the establishment and dissemination of avant-garde techniques is within the scope of the Conference.

Historical, analytical, ideological, political, sociological, cultural, interdisciplinary, anthropological and other approaches are all welcome. The broad thematic categories of the Conference can be

summarized as follows:

- Avant-garde techniques and aesthetics.

- Avant garde and politics / ideology.

- Compositional instruction, music theory & analysis, and the avant gardes.

The Conference is organized by the Department of Music Studies, Aristotle University of Thessaloniki. The official language of the Conference is English.

Abstract submission deadline: 30 November 2009.

For the full CFP and related information, please visit the conference website at http://web.auth.gr/btc. Details of submission deadlines, registration, reviewing procedures and other updates will shortly become available online. For any further information not available on

the website, please contact Kostas Chardas (kchardas at mus.auth.gr) or Danae Stefanou (dstefano at mus.auth.gr).

Scholarship: American Brahms Society Twentieth Annual Geiringer Scholarship

AMERICAN BRAHMS SOCIETY
TWENTIETH ANNUAL GEIRINGER SCHOLARSHIP
DEADLINE: 1 MAY 2009

The American Brahms Society is seeking applicants for its Karl Geiringer Scholarship in Brahms Studies, which is awarded annually from the Society’s Karl Geiringer Fund in Brahms Studies, as meritorious candidates present themselves. The competition is open to students in the final stages of preparing a doctoral dissertation at a university in North America. Work relating to Brahms should form a significant thread within the dissertation, but it need not be the only one. The Selection Committee welcomes applications from students whose research might be concentrated instead on music by members of Brahms’s circle, on musical life in later nineteenth-century Vienna, and so forth. Only projects that demonstrate significant original thought and research will be deemed competitive. The decision to award the scholarship, which carries a stipend of $2,000, rests with the Board of Directors; the winner will be announced in November 2009, following the regular annual meeting of the Board.

Completed applications will consist of 1) a cover letter, including the applicant’s address, phone number, e-mail address, and institutional affiliation; 2) a concise description of the project (no more than 500 words), in which the applicant’s methods and conclusions are stated clearly; and 3) a brief account (no more than 250 words) detailing the aspect of the project to be completed with assistance from the Karl Geiringer Scholarship, including travel plans, if appropriate. These materials should be submitted, in triplicate, to:

Prof. David Brodbeck
Chair, Geiringer Scholarship Committee
Department of Music, Claire Trevor School of Arts
University of California, Irvine
Irvine, CA 92697

and must be postmarked no later than 1 May 2009.

The application must be supported by two confidential letters of recommendation, including one from the dissertation advisor; these should be sent directly to the Chair of the Geiringer Scholarship Committee and must also be postmarked by 1 May. Finalists in the competition will be notified by 15 May and will be asked to submit a sample chapter from their dissertation.

A listing of all previous Geiringer Scholars is available online at
http://brahms.unh.edu/recipients.html#recipients

CFP: 2nd International Conference of the American Society of Byzantine Music and Hymnology (Greece)

SECOND INTERNATIONAL CONFERENCE OF THE AMERICAN SOCIETY OF BYZANTINE MUSIC AND HYMNOLOGY
ATHENS, GREECE
10 - 14 JUNE 2009
CALL FOR ABSTRACTS

The American Society of Byzantine Music and Hymnology (www.asbmh.pitt.edu) is an international organization devoted to the scholarly study of music and ecclesiastic hymnographic literature of the Byzantine empire and the post-Byzantine period.

In collaboration with the Byzantine Studies Initiative of the University of Pittsburgh and with the organizational collaboration and support of the European Arts Center (EUARCE), we announce the Second International Conference of the Society entitled BYZANTINE MUSICAL CULTURE to be held in Athens, Greece between the 10-14th of June, 2009.

For full details and to participate: http://www.asbmh.pitt.edu/page13/page13.html

The Conference is dedicated, in memoriam, to Alexandros Moraitidis, 80 years since his passing.

Athens is the main attraction in the prefecture of Attica and serving as Greece's historical center offers a unique setting for the scholar and musicologist including numerous sites of archaeological interest, museums, libraries and ecclesiastic locations.

On-line abstract submission deadline is May 15th, 2009.

On-line registration deadline is June 1st, 2009 for reduced rate and June 1st, 2009 for full rate.

CFP: Sounding Funny: Music, Sound and Comedy Cinema (publication)

SOUNDING FUNNY: MUSIC, SOUND AND COMEDY CINEMA
EDITED BY MARK EVANS
TO BE PUBLISHED BY EQUINOX (UK) AS PART OF THE SERIES, GENRE, MUSIC SOUND (SERIES EDITOR: MARK EVANS)
CALL FOR PAPERS

This volume will deal with all aspects of sound (including dialogue) and music as they have been utilised in comedy film. Authors are invited to write on any subset of the comedy film from the post-War period, including black comedy, romantic comedy, slapstick, dialogue comedy, parody and spoofs. Essays will explore the way in which music and sound articulate humour, create comedic situations and direct comedic identifications for viewer/listeners. Chapters dealing with theoretical concerns, historical studies, non-Western film or ‘sound auteurs’ are also most welcome.

We invite proposals of up to 300 words for chapters of between 5,000 and 8,000 words. Proposals should be sent to Mark Evans at mark.evans at mq.edu.au by 1 March 2009. Completed chapters will be requested by 1 November 2009. Please note that acceptance of the proposal does not guarantee publication and all chapters will be subject to normal processes of peer review.

Job Posting: Post-Doc Research Associate - Indigeneity in the Contemporary World: Performance, Politics, Belonging (Royal Holloway)

JOB POSTING: POST-DOCTORAL RESEARCH ASSOCIATE
INDIGENEITY IN THE CONTEMPORARY WORLD: PERFORMANCE, POLITICS, BELONGING
ROYAL HOLLOWAY, UK

A unique opportunity exists for an outstanding Post-doctoral Research Associate to contribute to a new interdisciplinary research project that will examine how Indigeneity is expressed and understood in our complex, globalising world. With funding of €2.36M over five years from the European Research Council, this frontier research, led by Professor Helen Gilbert at Royal Holloway (University of London), will develop along four broad conceptual themes: ‘Commodity and Spectacle’, ‘Heritage and Material Culture’, ‘Reconciliation and Social Cohesion’ and ‘Mobility and Belonging’. Applicants will be considered from across a range of disciplines including, but not limited to, the following: theatre/performance studies, film, cultural geography, anthropology, history, indigenous studies, sociology, politics, dance, ethnomusicology, international relations.

Full details are available at http://www.rhul.ac.uk/Personnel/Ads/Y0209-5242.html

Salary: £31,838 per year plus relocation allowance and yearly travel fund

Starting date: As soon as possible after 1 May 2009 (post funded until 2014)

Applications close: Friday 13 March (expected interview date 3 April)

Contact: helen.gilbert at rhul.ac.uk

CFP: Opera and Politics in the Ancien Régime (UCLA)

OPERA AND POLITICS IN THE ANCIEN RÉGIME
UNIVERISTY OF CALIFORNIA, LOS ANGELES
27 - 28 FEBRUARY 2009
CALL FOR PAPERS

This conference highlights current research on the politics of French opera, from its beginnings under the Sun King through the middle years of Louis XV’s reign. Historians of music, literature, and the performing arts have long explored the absolutist politics of opera in France, especially in relation to the tragédies en musique of Quinault and Lully. Yet historians’ understanding of the ancien régime and its politics has shifted in recent years, with many questioning the earlier emphasis on the centralizing monarchical state and drawing attention to other aspects of French governmentality and political life. Cultural historians have likewise reconsidered the earlier focus on absolutist representation, recognizing the importance of other modes of French political culture, even in royal performances. At the same time, scholars have devoted more attention to comic opera, opera-ballet, and operatic parodies, which mediated the political perspectives of a wider social register.

In the early eighteenth century, French opera also became more cosmopolitan, as is clear from the popularity of operatic subjects, styles, and performers imported from Italy, the colonies, and other foreign locales. This cosmopolitanism begged the question of what precisely was “French” about French opera, a problem that became more urgent and more difficult to resolve as the century progressed. Philosophes, critics, and musical amateurs reflected extensively on such questions in the period’s many querelles, suggesting that part of opera’s attraction was as an occasion to imagine new forms of political community, in addition to its long-standing role in conserving the old.

Scheduled speakers include John Powell, Rose Pruiksma, Charles Dill, William Weber, Geoffrey Burgess, Olivia Bloechl, Raphaëlle Legrand, Downing Thomas, Don Fader, and Georgia Cowart.

Full description, program, and registration information are available at:
http://www.humnet.ucla.edu/c1718cs/opera08.htm

Digitised Mendlessohn (Breitkopf & Härtel Edition) works on line!

Opening bars of Felix Mendelssohn's Overture to the Hebrides (op. 26) © Bayerische Staatsbibliothek: http://daten.digitale-sammlungen.de/~db/0002/bsb00026504/images/index.html?seite=3

The Munich Digitisation Centre in cooperation with the music department of the Bavarian State Library has added the first edition of the works of Felix Mendelssohn Bartholdy to its digital collections on the occasion of Mendelssohn’s 200th birthday on February 03, 2009. Our collection of historical editions of the work of famous composers is being continued after a Händel- and a Liszt-edition with Mendelssohn’s work as edited by Breitkopf & Härtel in 157 volumes.

This edition is divided into 19 series (work groups) and was compiled by the musician and friend of Mendelssohn Julius Rietz (1812-1877) during 1874-1877. It includes around 5900 pages and contains all known works of Mendelssohn at that time. Some early works and alternative versions have only been discovered decades later and are not contained in Rietz’ edition. Nevertheless, the work of this great German composer is represented here in its vast spectrum, including the symphonic work, the chamber music, oratories, operas, music for spectacles, sacred music, and Lieder.

The digitised Mendelssohn-edition can also be found on the ViFaMusik web pages (www.vifamusik.de) where a lot of sheet music and books on music from the music department of the Bavarian State Library are presented.

Link to the Mendelssohn-edition:
http://www.muenchener-digitalisierungszentrum.de/index.html?c=kurzauswahl&adr=mdz1.bib-bvb.de/~db/ausgaben/uni_ausgabe.html?projekt=1216809160

Link to the digitisations within the ViFaMusik:
http://mdzx.bib-bvb.de/vifamusik_e/index.php?pcontent=digitalisierungen

Jürgen Diet
Bavarian State Library
Digital Library Department
Ludwigstr. 16
D-80539 München
Germany
Tel. ++49-89-28638-2768
Fax ++49-89-28638-2672
email: juergen.diet [at] bsb-muenchen.de

CFP: Haydn and Landon: Perspectives on Haydn Scholarship in Celebration of H. C. Robbins Landon (Boston University)

HAYDN AND LANDON: PERSPECTIVES ON HAYDN SCHOLARSHIP IN CELEBRATION OF H.C. ROBBINS LANDON
BOSTON UNIVERSITY
1 - 2 OCTOBER 2009
CALL FOR PAPERS

To celebrate the bicentenary of Joseph Haydn (1732-1809) and to honor H. C. Robbins Landon’s extensive and pioneering work on the composer, the Department of Musicology at Boston University in collaboration with the Howard Gotlieb Archival Research Center will hold an international conference from 1-2 October 2009 on the campus of Boston University. In addition to papers and a keynote address by Dr. Otto Biba of the Gesellschaft der Musikfreunde in Vienna, the conference will include performances of works by Haydn that are associated with the editorial work of Landon, as well as an exhibit drawn from the extensive collection of Haydn prints, manuscripts, and archival material recently donated by Landon to his alma mater, Boston University.

The focus of the conference will be to examine the scholarly legacy of H.C Robbins Landon, with a specific focus on his contributions to Haydn research and biography. Topics for proposals might include, but are not limited to, analytical, historical or philosophical perspectives of Haydn’s biography, the changing construction of Haydn, editorial work and source studies, Landon’s extensive “outreach” work on Haydn, etc. In addition, papers dealing with new research on Haydn that use Landon’s work as a point de départ are particularly encouraged.

Proposals for papers should be in the form of a 250-500-word abstract and should be sent electronically (subject heading: “Haydn/Landon”) by 1 April 2009 to Luke Berryman, Conference Administrator berryman at bu.edu

All questions should be directed to the conference director, Prof. Victor Coelho
blues at bu.edu

Organizing Committee: Victor Coelho (Boston University) • Joshua Rifkin (Boston University) •
Jeremy Yudkin (Boston University) • Luke Berryman, Administrator (Boston University)

CFP: Gender and Musical Performance Conference (Teesside)

GENDER AND MUSICAL PERFORMANCE CONFERENCE
UNIVERSITY OF TEESSIDE
24 JUNE 2009
CALL FOR PAPERS

We invite proposals addressing any aspect of gender and musical performance in the formats of spoken papers (20 minutes plus questions), recitals (30 minutes) and round table discussions (1 hour). Contributions from any discipline are welcomed, although work using a psychological approach is particularly encouraged. Please send abstracts for proposals (200 words max.)
including your AV needs to Noola Griffiths.

Abstracts must be received by 03 April 2009.
Feedback will be given by 20 April 2009.

Further information will be available in due course from: http://www.scm.tees.ac.uk/n.griffiths/gender

Noola Griffiths (n.griffiths@tees.ac.uk)
School of Computing
University of Teesside
Borough Road
Middlesbrough
TS1 5BA

CFP: Second Viennese School and Early Music: International Symposium (Vienna)

SECOND VIENNESE SCHOOL AND EARLY MUSIC: INTERNATIONAL SYMPOSIUM
ARNOLD SCHÖNBERG CENTRE, VIENNA
8 - 10 OCTOBER 2009
CALL FOR PAPERS

If “early music revival” and “Second Viennese School” have any relation to each other at all, it seems to be a marginal one that will just scarcely come to mind. Yet there are several interrelations, which up to now have been examined sketchily at best. Examples include the contacts between Schönberg’s circle and Viennese Musicology as represented by Guido Adler and the well-known key-position of Bach’s music in the Second Viennese School’s theory and practice. It is thus the aim of this symposium to take a first step towards a systematic evaluation and contextualization of the role, music from up to Haydn’s time played within the Second Viennese School.

Thereby some general questions arise in the first place:

Did the Viennese School adhere to a (speficic) concept of “early music?” - Who were the protagonists involved in the rediscovery of “early music“, for what reasons, motives and in which guises? Did the approach to “early music” differ from that to music seen as part of the traditional canon? – What is the difference between the Viennese School and other groups/movements in terms of their involvement with “early music”?

Papers submitted to this symposium should not ignore the broader contexts to enable an approach as fundamental as possible even when dealing with case studies or specialized topics.

Aspects which could be taken under consideration are :

--the notion of history in the “Second Viennese School”
--elements of early music in compositional thought and practice
--the Viennese School and contemporary early music-activities
--the Viennese School and Viennese Musicology
--“the case of Bach”
--the Viennese School and traditional/popular music (insofar as this was considered equivalent to “early music”)
--early music in theory and practice of composition
--early music as a (special) part of theory and practice of musical performance

Please send your submission (title and abstract) no later than April 30, 2009 to: grassl at mdw.ac.at or szabo-knotik at mdw.ac.at

The conference is organized in cooperation with the International Arnold Schoenberg Centre Vienna by:
Markus Grassl, Reinhard Kapp, Cornelia Szabó-Knotik
Institut für Analyse, Theorie und Geschichte der Musik
Universität für Musik und darstellende Kunst Wien
1030 Wien, Anton-von-Webern Platz 1

CFP: The Growth of the Art of Music in Greece of Europe (Greece)

MAY OF MUSICAL METHEXIS 2009: THE GROWTH OF THE ART OF MUSIC IN GREECE OF EUROPE
UNIVERSITY OF MACEDONIA, THESSALONIKI, GREECE
29 - 31 MAY 2009
CALL FOR PAPERS

Deadline for electronic submission of proposals: MARCH 1, 2009

The Department of Music Science and Art of the University of Macedonia, Thessaloniki, Greece, is pleased to announce the International Conference "The growth of the art of music in Greece of Europe", which will take place in the context of May of Musical Methexis 2009. The conference will be held on May 29-31, 2009 in the Concert & Ceremony Hall of the University of Macedonia in Thessaloniki, Greece. Distinguished personalities of international status have been invited as main speakers.

The aim of the International Conference is to contribute to the broader discussion currently developing in Greece and abroad on the study of music in higher education. The conference will explore the ways in which musical research and performance can be combined and further developed at the undergraduate and postgraduate levels, so as to ensure a proficient and high-level training for musicians. Moreover, the conference will investigate the systematization of traditional music studies in terms of structure, content and goals.

The CALL FOR PAPERS and detailed information on all aspects of the conference are available at the official website of May of Musical Methexis, http://www.methexis.uom.gr.

CFP: Faust - Call for Chapter Proposals

FAUST: CALL FOR CHAPTER PROPOSALS

Chapter proposals for an international collection of essays on the Faust theme in music are currently being considered. Submit a 500-word proposal and publication profile to lfitzsimmons@csudh.edu

Lorna Fitzsimmons’ publications include INTERNATIONAL FAUST STUDIES: ADAPTATION, RECEPTION, TRANSLATION (Continuum).


Lorna Fitzsimmons, Ph.D.
Coordinator, Humanities Program
California State University, Dominguez Hills
LCHA338
1000 East Victoria Street
Carson, CA 90747-0005
USA
310-243-3036

Nothing New: Understanding Newness in Medieval and Contemporary Music (Huddersfield)

NOTHING NEW: UNDERSTANDING NEWNESS IN MEDIEVAL AND CONTEMPORARY MUSIC
UNIVERSITY OF HUDDERSFIELD
24 - 25 APRIL 2009
REGISTRATION OPEN

Registration is now open for this two-day conference, held 24 - 25 April 2009 at the University of Huddersfield in association with the Plainsong and Medieval Music Society and the Royal Musical Association

Registration forms, accommodation information and a provisional programme can be found at:

http://www.plainsong.org.uk/conference2009.php

The conference will include two concerts (Edges Ensemble and Le Basile), a keynote address by Magnus Williamson and Bennett Hogg, workshops for composers, the award of the Plainsong and Medieval Music Society Composition Prize and papers by speakers from the UK and abroad.

A concessionary rate is available to members of the RMA, PMMS, University of Huddersfield and to students who register in advance of 1 April 2009.

CFP: Liszt and France Interdisciplinary Conference (Villecroze and Paris)

LISZT AND FRANCE: INTERNATIONAL INTERDISCIPLINARY CONFERENCE
VILLECROZE (PROVENCE) AND PARIS
15 - 19 MARCH 2011
CALL FOR PAPERS

Organized by the Académie musicale de Villecroze (Provence) and the Cité de la Musique (Paris) for the bicentenary of Liszt's birth

Conference coordinators: Nicolas Dufetel, Malou Haine and Orhan Memed

From 1823 to 1844, Franz Liszt stayed mainly in France, despite his European concert tours that began in the late 1830's. Thereafter, many ties bound him to France, even if his career drove him far from the country. While it is important to recall the various evidences of Liszt's attachment to most European nations, France played a key role in his education, in his oeuvre, and in the development of his international career.

Liszt's relations with France have never been studied in a systematic and epistemological manner. Whether at historical, musical or aesthetic levels, many shadows remain. Several areas of research are waiting to be investigated and others are still to be uncovered. Liszt's relations with personalities and French current events should be examined further since this subject has often been limited to superficial documentary studies. We must enhance our perception of Liszt's relationship with French personalities and deepen our understanding of social networks (artists, politics, piano makers, publishers, etc.). It is also necessary to think through what the music of Liszt owes to France or to the "French spirit" as seen from the country, or from abroad, whether concerning musical language, or musical forms, aesthetics, etc.

This call for papers is intended to seek studies meeting two fundamental criteria, both deeply connected to each other: research that breaks new ground and source material. The papers, in French or English, should be motivated by those two issues and focused on topics in relation to France. They aim to open up widely on other subjects: literature, history of arts, aesthetics, political and social sciences, history of ideas, etc.

Proposals for papers will be anonymously submitted to the Scientific Committee, composed of specialists from several countries, who will judge them on the basis of fulfillment with all criteria specified above. The applications must be returned by June, 1st, 2009 (see the complete version of the call for papers: http://www.academie-villecroze.com/). The selection notice will be sent to the selected speakers on 15 October 2009.

The cost of round trip between the lecturer's residence and the conference centre will be paid by the organizers, provided that the speaker agrees to submit by 30 June 2011 the text of his paper for the publication of the proceedings.

Complete version of the call for papers: http://www.academie-villecroze.com/

Contact information: dufetel.nicolas at wanadoo.fr

CFP: Alfred Schnittke: Between Two Worlds (Goldsmiths, London)

ALFRED SCHNITTKE: BETWEEN TWO WORLDS
INTERNATIONAL SYMPOSIUM
GOLDSMITHS, UNIVERSITY OF LONDON
21 - 22 NOVEMBER 2009
CALL FOR PAPERS

International Symposium presented by the Centre for Russian Music, the Alfred Schnittke Archive ( Goldsmiths, University of London) , in association with London Philharmonic Orchestra and Southbank Centre, London.

Saturday 21 November 2009 – Deptford Town Hall, London
Sunday 22 November 2009 - Purcell Room, Southbank Centre , London

Proposals are invited for papers (20 minutes) on any topic related to Schnittke and his work in its broadest context.

Suggested themed sessions:

--Schnittke, Soviet and Post-Soviet culture/Politics
--Shostakovich and Schnittke
--Schnittke and German culture
--Schnittke and Western post-modernism
--Schnittke , film industry and pop music
--Schnittke and music theory and analysis

Abstracts of up to 250 words for papers in English should be sent to Alexander Ivashkin (a.ivashkin@gold.ac.uk) The deadline for receipt of abstracts is 10 April, 2009. Abstracts may be sent as attachments (in Word documents in or in Rich Text Format) but please back up the attachment with a plain-text version in the main e-mail. They should be accompanied by information about the author under the following headings:

Name
Institution
Address of Institution
Position
100-word CV
Postal Address
Phone, Fax, E-Mail

The final decision on abstracts will be made by 11 May, 2009, and contributors will be informed very soon thereafter.

Selected papers will be published.

CFP: The Society for Ethnomusicology (Mexico City)

SOCIETY FOR ETHNOMUSICOLOGY
MEXICO CITY, MEXICO
19 - 22 NOVEMBER 2009
CALL FOR PAPERS

The Society for Ethnomusicology will hold its 54th annual meeting on November 19-22, 2009, in Mexico City, hosted by Centro Nacional de Investigación, Documentación e Información Musical Carlos Chavez del Instituto Nacional de los Artes; Escuela Nacional de Música, Universidad Autónoma de México; Escuela Superior de Música, Instituto Nacional de los Artes; Museo Nacional de Culturas Populares de la Dirección General de Culturas Populares; Escuela Nacional de Conservación, Restauración y Museografía of the Instituto Nacional de Antropología; Comisión de los Pueblos Indios; Fonoteca del Centro Nacional de las Artes of the Consejo Nacional para la Cultura y las Artes; and the Secretaría de Cultura del Departamento del Distrito Federal.

The conference theme for the 2009 meeting will be “Borderless Ethnomusicologies.” Topics will include: 1) Cultural Policy, Cultural Property, and Intangible Heritage; 2) Instruments and Organologies; 3) Ethnomusicology in the Megalopolis; 4) Musical Borderlands; 5) Social Dimensions of New Media; 6) Ethnomusicology of/in Mexico/Latin America. Proposals on any other topics relevant to the field of ethnomusicology are welcome. Also encouraged are workshops on the following topics: Professional Development, Copyright, Multiculturalist Pedagogies, Multimedia Scholarship, and other practical applications.

For a full version of the Call for Proposals (including submission guidelines) and preliminary conference information, please visit www.ethnomusicology.org and select “Conferences.” The deadline for submission of proposals is March 16, 2009.

In conjunction with the 2009 meeting, there will be a pre-conference symposium, “Music Research in Mexico,” on November 18, 2009. Information about the symposium will be posted at www.ethnomusicology.org.

Job Posting: Director of Institute of Musical Research (SAS)

JOB POSTING
DIRECTOR, INSTITUTE OF MUSICAL RESEARCH
SCHOOL OF ADVANCED STUDY, UNIVERSITY OF LONDON
DEADLINE: 12 noon Monday, 2 MARCH 2009

The School of Advanced Study (SAS) invites applications for the post of Director of its Institute of Musical Research. The Institute, in operation since 2006, is a national centre for the promotion and facilitation of research in Music. Based in Senate House, University of London, it serves a wide-ranging research community via a lively programme of collaborative events, online resources, facilities for hosting research groups and visiting scholars, research support and
training, and the Senate House Library Music collection.

The School seeks a person of high academic standing and proven administrative ability, with the strategic vision to lead an important national resource, and the willingness and aptitude both to promote the full range of musical research in the UK and to represent the Institute within the UK and abroad.

The post is full-time on the professorial scale and will be available, either as a self-standing appointment or by agreement as an academic secondment, from 1st August 2009.

For further information about the role, including details of method of application, please see
http://music.sas.ac.uk/about/appointment-of-a-director.html#c1422 where you can download the Further Particulars. To apply, please complete the Personal details/Equal Opportunities form, send your CV and a covering letter which details your interest in and suitability for the post to Ulrecruit@lon.ac.uk quoting reference 008/09-WI.

The closing date for receipt of completed applications is 12 noon on Monday, 2nd March 2009. Interviews are scheduled to take place on Wednesday, 8th April 2009.

The University offers a final salary pension scheme. Pursuing equal opportunities and excellence in education. www.london.ac.uk.

Prof. Katharine Ellis' secondment comes to an end on 31 July 2009, and the procedure has been put in place to appoint her successor. The advertisement below will go out on www.jobs.ac.uk imminently. Please do circulate to anyone whom you think might be interested in applying. As
stated in the last IMR newsletter, Katharine will not take part in the selection process, but will be very pleased to talk to anyone who wishes to know more about the job. If you would like to contact her then please do so via katharine.ellis@sas.ac.uk

Open University Funded PhD Studentships

OPEN UNIVERSITY
FULLY FUNDED FULL TIME PHD STUDENTSHIPS
OCTOBER 2009

The Open University has competitive funded Full-Time PhD studentships available from Oct 09.

For more information visit:
http://www3.open.ac.uk/employment/job-details.asp?id=4231&ref=ext

Applications for Music Computing projects are welcome. Specific areas include:

--Computer Analysis and Generation
--Music Search Techniques
--Human-Machine Collaborative Creativity
--Data Mining for Music
--Cellular Automata
--Music e-learning

However, other areas of Music Computing are also likely to be of interest.
The places are competitive, so if you are interested please contact me at an early stage to discuss a suitable proposal. I am also interested in strong applicants for part-time study (unfunded).

Robin Laney,
Senior Lecturer,
Computing Dept,
Open University (UK)
r.c.laney@open.ac.uk
tel: +44(0)1908 654342

Dutch-Flemish Society for Music Theory International Conf (Leuven)

11TH INTERNATIONAL CONFERENCE
DUTCH-FLEMISH SOCIETY FOR MUSIC THEORY (LEUVEN)
20 - 22 FEBRUARY 2009

The Dutch-Flemish Society for Music Theory is proud to announce its Eleventh International Conference, which will take place in Leuven, February 20-22, 2009. The conference program, hotel information and a registration form can be found on the Society's website http://www.vvm.ahk.nl/.

Women in Ottocento Italy: New Perspectives (Clare College, Cambridge) (Upcoming symposium)

'WOMEN IN OTTOCENTO ITALY: NEW PERSPECTIVES'. A ONE-DAY SYMPOSIUM

SATURDAY 7 MARCH 2009, 930 - 1730

CLARE COLLEGE, CAMBRIDGE (LATIMER ROOM)

Organisers: Dr Kate Mitchell (Lucy Cavendish, Cambridge; Department of Italian; email: khm28@cam.ac.uk) and Dr Helena Sanson (Clare College, Cambridge; Department of Italian; email: hls37@cam.ac.uk)

The event is sponsored by the Department of Italian and by the Society for Italian Studies. http://www.mml.cam.ac.uk/italian/news/Symposium_2009.html

All are welcome to attend. There is a registration fee of £12 (£8.00 for postgraduates), which includes a buffet lunch and refreshments. Please register your interest by downloading the registration form from our webpage and sending it, together with your payment, to the Italian

Department Senior Secretary, Mrs Nan Taplin (email: nt272@cam.ac.uk), at the following address:

Mrs Nan Taplin

Department of Italian

Faculty of Modern and Medieval Languages

Sidgwick Site

Cambridge CB3 9DA

The organisers can offer a small contribution towards postgraduates' travel expenses. The amount will depend on the number of postgraduates attending.

Please register by 27 February 2009 at the latest, as there is a cap on numbers.

The feminist movement of the 1970s, the drive towards interdisciplinarity and the rise of new disciplines have had a marked impact on Italian Studies. This one-day symposium focuses on the contribution made by women to nineteenth-century culture in Italy and the forging of the nation state. It brings together specialists in the field to discuss new developments in light of recent scholarship. They will look at a range of artistic practices that includes women writers, actors, artists, journalists and musicians, and at the role of women as readers, spectators and consumers of contemporary culture. Drawing on, among others, women's studies, gender studies, cultural studies, history of the book, linguistics and historiography, the symposium sets out to determine what new perspectives, if any, can be brought to bear on work carried out so far.

WOMEN IN OTTOCENTO ITALY: NEW PERSPECTIVES

9.30 Coffee and registration

9.50 Welcome

WOMEN OF THE THEATRE

10.00-10.30 Julie Dashwood (Lucy Cavendish, Cambridge) 'Actress-Managers in Ottocento Italy: the Case of Adelaide Ristori'

10.30-11.00 Susan Rutherford (University of Manchester) 'Body, Sex and Opera: Verdi's Rigoletto'

11.00-11.30 Coffee/tea

WATCHING WOMEN

11.30-12.00 Kate Mitchell (Lucy Cavendish, Cambridge) 'Fare le italiane: The Female Gaze in Nineteenth-Century Italy'

12.00-12.30 Penny Wickson (University of Birmingham) "Fra quadri e Statue": Odoardo Borrani's Una visita al mio studio (1872)'

12.30-14.00 Lunch (Thirkill Room) and garden visit (weather permitting)

WOMEN WRITERS

14.00-14.30 Ann Hallamore Caesar (University of Warwick) 'Revisiting the Alternative Canon. Different Approaches to Women and the Post-Unification Novel'

14.30-15.00 Ursula Fanning (University College Dublin) 'Maternal Descriptions and Prescriptions in Late Nineteenth-Century Italy'

15.00-15.30 Sharon Wood (University of Leicester) 'A Nomad in the East: the Writing of Cristina di Belgioioso'

15.30-16.00 Coffee/tea

WOMEN AND LANGUAGE

16.00-16.30 Laura Lepschy (University College London and University of Cambridge) 'Carolina Invernizio and Self-Translation: Ij delit d'na bela fia and Storia d'una sartina'

16.30-17.00 Helena Sanson (Clare College, Cambridge) 'Some

Considerations on Women and the "Questione della Lingua" in Post-Unification Italy'

17.00-17.30 General discussion and close

2008 ARSC Conference Recordings Available

ASSOCIATION FOR RECORDED SOUND COLLECTIONS (ARSC) 2008 CONFERENCE RECORDINGS

NOW AVAILABLE FREE ONLINE

The Outreach Committee of the Association for Recorded Sound Collections (ARSC) announces that the recordings from the ARSC 2008 Conference are available free online.

Audio recordings of all presentations made during the 2008 ARSC Conference at Stanford University are freely available online in MP3 format at:

http://www.arsc-audio.org/conference/audio2008/

In some cases, PowerPoint slides and other supplementary materials are included.

For those who joined us in Palo Alto, we hope you'll enjoy this chance to relive the memories, and to catch up on the sessions you missed. For anyone who has yet to attend an ARSC conference, here's a good opportunity to find out some of what you're missing.

Questions about the recordings should be addressed to ARSC Program Chair David Giovannoni at: dgio-arsc@comcast.net

The Association for Recorded Sound Collections is a nonprofit organization dedicated to the preservation and study of sound recordings -- in all genres of music and speech, in all formats, and from all periods. ARSC is unique in bringing together private individuals and institutional professionals --everyone with a serious interest in recorded sound.

CFP: Music and Media IMS Pre-Conference (Amsterdam)

IMS PRE-CONFERENCE: LAUNCHING OF THE STUDY GROUP MaM (MUSIC AND MEDIA)
ORGAN PARK, AMSTERDAM
4 - 5 JULY 2009
CALL FOR PAPERS

Music and Media will be launched as an interdisciplinary and multidisciplinary IMS Study Group in a pre-conference preceding the joint IAML-IMS conference in Amsterdam, the Netherlands. The Study Group seeks to examine and explore diverse aspects relevant to the theme of ‘mediatizing music’. We are looking for perspectives from scholars engaged in the fields of musicology, media studies, film studies, theatre etc.

Papers, reports and works-in-progress are now invited for submission on issues related, but not limited to any of the following themes:

* the implications of mediatizing music for performance practice
* the implications of mediatizing music in terms of ´liveness´
* the way media have changed the compositional process
* the economics behind the mediatization of music
* (the functioning of) music in television and film
* (the functioning of) music in virtual worlds and games.

Papers will also be considered on any subject related to the above. Abstracts (of 300 words max.) should be submitted by Sunday 1st March 2009.

Abstracts in Word or RTF formats should be send to Emile Wennekes as follows:

-author(s), academic affiliation, e-mail address, title of the abstract, the abstract, technical requirements (piano, overhead, power point, etc).

The Organ Park, ‘Orgelpark’, is provided with modern audio/visual equipment and has a variety of musical instruments that can be used, including a grand piano.

Publication of the contributions in book form is under consideration.

ORGANIZING CHAIR:

Prof. Dr. Emile Wennekes, Department of Media and Culture Studies, Utrecht University, The Netherlands, emile.wennekes[at] let.uu.nl

INTRODUCTION:

Music plays an important role in media, both in old and certainly in new media: commercials, games, films, ring tones and the like. The other way around, media play an increasing role in music. They have changed the compositional process and characteristics of style; media severely influences performances, composing techniques, the way of recording and visualizing music. What are the theoretical and philosophical consequences of mediatized music? What are the economics behind these processes of mediatization? What role does the process of ‘remediation’(Bolter & Grusin, 2000), from LP to MP3 and 4, play? How has mediatization influenced performance practice, what was the ‘phonograph effect?’ (Katz, 1999). What do processes of mediatizing music mean in terms of ‘liveness’ (Auslander, 1999), ‘animated liveness’ (Wennekes, 2009) and/or ‘immersion’ (Grau, 2003)?


-Auslander, Philip, Liveness: Performance in a mediatized culture. (New York: Routledge, 1999).
-Bolter, Jay David & Grusin, Richard, Remediating: Understanding New Media (Cambridge: MIT Press 2000).
-Grau, Oliver, Virtual art: From Illusion to Immersion. (Cambridge: MIT Press, 2003)
-Katz, Mark, The Phonograph Effect: The Influence of Recording on Listener, Performer, Composer, 1900-1940. PhD Thesis University of Michigan, 1999.
-Wennekes, Emile, ‘Brief encounters of a third kind: First Life live concerts in Second Life concert venues’. In: Thea Brejzek, Wolfgang Greisenegger and Lawrence Wallen (eds.), Monitoring Scenography 2: Space and Truth / Raum und Wahrheit. Institute for Design and Technology (idt) Zurich: Zurich University of the Arts, October 2009.

CFP: Music in Context

INTERSICIPLINARY HUMANITIES
SPECIAL ISSUE: MUSIC IN CONTEXT
Published by the Humanities Education Research Association
CALL FOR PAPERS

(Scheduled Publication: Fall, 2009)
SECOND ROUND DEADLINE, March 1, 2009

Interdisciplinary Humanities is pleased to announce a special issue entitled, “Music in Context” with Stephen Husarik as guest editor. The journal is seeking papers that present music in an interdisciplinary context with topics such as Music and Nature, Music in Compound Art Forms (e.g., opera and film), or Music and Culture. Papers that illustrate the relationships or dependency between music and other art forms and/ or studies of musical iconography are especially encouraged."

Please email articles of approximately 15 to 25 pages in length, double-spaced, in Microsoft Word or rich text format to Stephen Husarik (479-788-7555, shusarik at uafortsmith.edu ) or Lee Ann Westman (915-747-5028, lewestman at utep.edu) by March 1, 2009.

The author’s full name, mailing address and email address should appear only in a brief cover letter and all identifiable references should be removed from notes, references, or running heads to ensure anonymity during the review process