RMA Jerome Roche Prize - Deadline 15 May 9

JEROME ROCHE PRIZE
ROYAL MUSICAL ASSOCIATION

The Jerome Roche Prize is awarded annually for a distinguished article by a scholar in the early stages of his or her career. Articles considered for the prize are in English and published in the previous calendar year. Articles may be considered from journals, edited volumes, or books of conference proceedings. Nomination may be made by any RMA member; the recipient need not be a member. Nominations and supporting documentation must be received by the Chair of Awards Committee, Dr Susan Wollenberg, by 15 May 2009.

Full details: http://www.rma.ac.uk/conferences/event.asp?id=228

CFP: A Mark, a Yen, a Buck, or a Pound: Money and the Stage Musical at the Millennium" (A Special Issue of Studies in Musical Theatre) (Journal)

A MARK, A YEN, A BUCK, OR A POUND: MONEY AND THE STAGE MUSICAL AT THE MILLENNIUM
(A SPECIAL ISSUE OF STUDIES IN MUSICAL THEATRE)
CALL FOR SUBMISSIONS

While the musical theater has always been a commercial enterprise, the amount of money needed to produce a musical has risen steadily since the onset of the Depression, and especially since the last decades of the 20th century. The cost of production, coupled with the introduction of numerous cheaper, more widely accessible entertainment forms, has forced the musical to struggle financially and aesthetically at various periods during the late 20th and early 21st centuries. Broadway musicals suffered along with the rest of the US during the economic recession and skyrocketing inflation that plagued much of the 1970s, for example.

Inflation affects the criteria for hit status: since the 1970s, shows must run for increasingly long stretches to profit. Thus, while musicals that ran for more than a few years were comparatively rare in the 1940s, it is now common for musicals to run several years before recouping, which
has led to new emphasis on advertising and marketing strategies, and, some would argue, a diminishing role for critics.

The longer average run of stage musicals depends in part on an increasingly global audience, which is seen as transitory and ever-renewing. Modern musicals court audiences from around the country and around the world by employing strategies that include new approaches to subject matter and musical style; ever-changing approaches to spectacle; increasingly sophisticated marketing; and more dependence on and careful emulation of the mass media.

This is especially true since Times Square was renovated at the end of the 20th century. During the booming 1990s, the musical grew larger, more internationally appealing, and more
spectacular than ever, but with what critics argued were serious aesthetic consequences. Now in the early 21st century, the global recession has again begun to affect the musical theater economically and aesthetically. But how?

As guest editors for a special edition of Studies in Musical Theatre to be published in 2010, we would like to propose a multidisciplinary approach to the relationship between commerce and art as applied to the stage musical since the late 1980s, and especially since the turn of the century. We welcome proposals for articles that explore the stage musical from a wide variety of perspectives. Topics might include but are not limited to:

• International stage musical economics
• Advertising and marketing
• Criticism, gender representation, or race representation as related to the economy
• Style, content, consumption, cost, or longevity as related to the economy
• Tourism and audience demographics as related to the economy

Submissions, in the form of abstracts that do not exceed 500 words, should be sent by email before Thursday, April 30, 2009, to guest editors Elizabeth Wollman (elizabeth.wollman@baruch.cuny.edu) and Jessica Sternfeld (jsternfeld@hotmail.com).
Potential contributors will be notified by late May 2009. Completed articles will be expected in late January 2010; all revisions will be due in late August 2010.

Studies in Musical Theatre is a fully refereed international journal published by Intellect. For further information, please visit the website: http://www.intellectbooks.co.uk/journals.php?issn=17503159

CFP: Post-Punk Performance: the alternative 80s in Britain (Leeds)

POST-PUNK PERFORMANCE: THE ALTERNATIVE 80s IN BRITAIN
A ONE DAY CONFERENCE
SCHOOL OF PERFORMANCE AND CULTURAL INDUSTRIES, UNIVERSITY OF LEEDS
9 SEPTEMBER 2009
CALL FOR PAPERS

The School of Performance and Cultural Industries is pleased to be hosting a one-day conference event called “Post-Punk Performance: the alternative 80s in Britain”.

Contrary to popular mythology, youth culture during the 1980s meant rather more than Spandau Ballet, Rick Astley, and Madonna. A quickly burgeoning ‘indie’ scene, born of the ruins of punk, set itself against the banality of the mainstream. Centred on music and synonymous with identity and self-expression, it offered a complex and layered network of alternatives for an increasingly politicised and self-aware generation of young people.

The purpose of this conference is to explore notions of ‘alternative’ music and performance in the post-punk era, circa 1978 – 1989. The ‘indie’ music scene of this period will serve as a lens through which to view core themes of liveness, fashion and visual identities, iconography, youth cultures and the socio-political context. The event will assess post-punk’s continuing and
profound influence on the current scene, both in musical and performative terms. It will explore how post-punk is absorbed into the present and will be projected into the future.

In addition to contributions from academics and scholars, the event will invite label partners, musicians and influential journalists to exchange views and perspectives on the post-punk era and beyond. This framework offers unique opportunities to bring together the academy and industry, and to facilitate networking and discussion across these spheres.

A live performance event featuring poetry, comedy and music will follow the daytime proceedings. Acts to be announced.

Proposals might address one or more of the following themes:

• The frequency and velocity of musical genre development
• Liveness: performance authenticities
• Performance of style
• Visual identities: fashion’s relation to music and vice versa
• Transatlantic influence and exchange
• Alternative music, party politics and gender politics
• The past reconfigured for the present
• Song writing: structure and theme
• Media representation and music reportage
• Local scenes
• Record labels and musical identity
• Punk and post-punk: musical legacies and trajectories

The conference will be interdisciplinary. Therefore, we welcome contributions from a range of disciplines, including Music, Performance, Fashion and Textiles, Photography, Cultural Studies, Sociology, Film and Television Studies, Philosophy and Journalism.

Proposals should be submitted as a Word Document and should contain the following information:

Name of Presenter
Title of Paper
Institutional Affiliation
150 word biography
500 word abstract

Please send your proposal electronically, together with a completed registration form, to Dr Philip Kiszely (P.Kiszely@leeds.ac.uk) by Friday 26th June, 2009. Acceptance will be confirmed by the end of July.

Cost: £125 (Includes conference proceedings, day conference, entry to evening event)


CONFIRMED SPEAKERS:
Paul Morley
Paul Morley wrote for the NME from 1977 to 1983. A leading figure in critical, journalistic and industry terms, he formed ZTT, helped guide Frankie Goes to Hollywood to pop stardom, and enjoyed considerable commercial success and critical acclaim in his own right through Art of Noise. His television work is extensive, and includes appearances on the Late Show, Whistle Test, and the recent Top Ten series on Channel 4. He now writes for Arena and Esquire, and
his books Nothing and Words and Music are as essential as they are challenging reading.

Dave Haslam
Dave Haslam was DJ at the legendary Hacienda nightclub during the heady days of ‘Madchester’. His book Madchester, England not only captures the spirit of that remarkable era but also offers a penetrating cultural commentary on time and place. A subsequent book on the music and politics of the 1970s titled Not Abba: the Real Story of the 1970s suggests the breadth of his musical interest. Founder of Debris fanzine, he has written for a variety of publications including The NME, The Times, and The Guardian. He teaches music journalism at the University of Salford and the history and culture of Manchester at Manchester Metropolitan University.

CONFERENCE ORGANISERS: Dr Philip Kiszely (P.Kiszely@leeds.ac.uk), Alice Bayliss (A.Bayliss@leeds.ac.uk) and Michael Rose

For any further information, please contact Alice Bayliss on 0113 343 8715

Post-Doc Opportunity: Musicology of Contemporary Techniques (IRCAM)

POST-DOCTORAL APPOINTMENT: MUSICOLOGY OF CONTEMPORARY COMPOSITIONAL TECHNIQUES
IRCAM-CNRS, PARIS
DEADLINE 31 MAY 2009

The Analysis of Musical Practices Research Group, IRCAM-CNRS, is pleased to announce a 18-months ANR Post-Doctoral Fellowship, to begin in September 2009. We seek scholars in the early stages of their academic careers whose research will contribute to our multidisciplinary project « Musicology of Contemporary Compositional Techniques », led by IRCAM in collaboration with University of Lille-3, Technological University of Troyes and the Geneva Conservatory.

PROJECT
The researcher will be involved in a collective work program which aims at a better understanding of the techniques, methods or logic of composition at stake in art music from the last 50 years. S/he will be based at IRCAM, APM (see http://apm.ircam.fr/).

His/her twofold contribution will be: (1) an in-depth study of the creative process of a significant new music composer between the years 1948-78, based on a corpus which includes sketches, manuscripts, correspondence and/or any other traces of the activity of composition; 2) participation in a study led by a member of APM about an ongoing creative process, based on interviews with the composer.

As regards (1), the researcher will propose one (or more) plausible material(s) to investigate, be it or not as a pursuit of her/his past research. The creative process at stake should become part of the whole project that integrates various other studies (see http://apm.ircam.fr/mutec/), each of these dealing with a creative process that implements a specific technique, technology or constraint in addition to the standard tools and resources used by the composer considered. Method of data analysis might take inspiration from "genetic criticism" (sketch studies), music analysis, human sciences, social sciences.

The researcher will contribute internal seminars as well as a symposium during the Fellowship. Two articles will be submitted to peer-reviewed journals at the final stage of the Fellowship. The researcher may contribute the final publication gathering every major output of the whole project.

PROFILE
Musical and musicological skills are required (historical musicology and/or ethnomusicology and/or music theory & analysis).
Experience in (musical) sketch studies is highly valued. Experience in sketch studies from other fields would be taken in consideration.
Experience in psychological and/or ethnological and/or sociological research would be valued.
Skills in computer music and/or multimedia technologies would be appreciated.

Although French-speaking ability might certainly prove necessary in the course of the work, it is not a sine qua non requirement for this application. Others languages involved in the project-not to mention English-are Italian and German.

APPLICATION
The Fellowship will bring a salary of E 2379 per month.

A letter of application should be accompanied by:
(1) A statement of research for the Fellowship period (up to 1500 words)
(2) A curriculum vitae
(3) One sample of work (an article, a book, a dissertation chapter, or so)

After initial review, the committee may request further written material from applicants.

Applications must be received by 31 May 2009. Send applications to:
Nicolas Donin
I.R.C.A.M.
1, pl. Igor-Stravinsky
F-75004 PARIS

CFP: Regulated Liberties: Negotiating Freedom in Art, Culture and Media (Turku, Finland)

REGULATED LIBERTIES: NEGOTIATING FREEDOM IN ART, CULTURE AND MEDIA
RETHINKING ART STUDIES (REARS) CONFERENCE, UNIVERSITY OF TURKU, FINLAND
20 - 22 AUGUST 2009
CALL FOR PAPERS AND PANELS

Freedom is a heavily charged notion with a vast conceptual width. Yet, the question of freedom and its regulation remains inadequately studied in the field of art, culture and media. Research has often relied conceptually on dichotomies and concentrated on revealing different kinds of power structures and forms of oppression, which tends to simplify the complex nature of Freedom and constraint. The conference is dedicated to rethinking cultural power in new inventive ways not based on a dichotomous logic of domination and resistance. The concept of "regulated liberties" denotes a more complex relationship of negotiation between the dominant and its subjects.

The aim of the conference is to relate art, culture and media to questions concerning freedom, emancipation and resistance. The overall conference topic disperses on the theoretical fields of subjectivity, social structures, and representation. The conference provides a forum for the development of innovative and creative research concerning temporal/spatial dimensions, genres and identity production in art, culture and media.

It is with great regret that we have to inform you of the recent passing of one of our keynote speakers, Professor Eve Kosofsky Sedgwick. Professor Sedgwick passed away on April 12th in New York. In the wake of this loss we have the honour of welcoming two replacing keynote speakers, philosopher and political theorist Brian Massumi and artist, theorist and psychoanalyst Bracha L. Ettinger. In light of these changes, we are extending our call for papers to enable the
participation of those researchers who are inspired by the new keynote speakers. There is room for a limited number of new papers and panels.

*Keynote speakers:*

* Angela McRobbie (The Department of Media and Communications, Goldsmiths, University of London, UK)
* Brian Massumi (Department of Communication, University of Montréal, Canada)
* Bracha L. Ettinger (Media & Communications, European Graduate School, Switzerland)
* Colin B. Grant (The Department of Sociology, University of Surrey, UK)
* Marianne Liljeström (The School of Art Studies, University of Turku, Finland)
* Altti Kuusamo (The School of Art Studies, University of Turku, Finland)

*Proposals for panels and individual papers:*

The conference organizing committee invites proposals for panels and individual papers. Possible topics may include (but are not limited to) the following:

* How have the concepts of freedom and emancipation been employed in the context of art, culture and media?
* In what ways do culture and art regulate conduct in (neo)liberal regimes and vice versa?
* How do culturally sanctioned representations impose hegemonic identities?
* In what ways should genres be (re)thought in art? Are they regulating regimes?
* Under what circumstances does resistance take place, and is it necessarily conscious and intentional?
* In what ways are subjects produced both as objects of regulatory norms and as agents capable of resisting these norms?
* How does embodiment work as a corporeal nexus for several axis of power, as a gendered, racialised, and sexualised signifier of multiple regulatory norms?
* How could the role of institutions and economy be conceptualised in new and productive ways?

Abstracts should be sent in the following format:
(1) Title
(2) Presenter(s)
(3) Institutional affiliation
(4) Email
(5) Abstract.

Panel proposals should include:
(1) Title of the panel
(2) Name and contact information of the chair
(3) Abstracts of the presenters.

Please use your surname as the document title. Abstracts (200–300 words) for twenty-minute papers as well as proposals for 2 hour panels should be submitted as an email attachment to reglib(a)utu.fi by *May 14th 2009*. Presenters will be notified of acceptance by the end of
May 2009.

The preliminary conference programme, including already accepted papers and panels, is available: www.hum.utu.fi/regulated_liberties/ For more information, contact us at reglib(at)utu.fi.

The School of Art Studies, University of Turku, Finland, organizes the conference.

CFP: Music History Pedagogy (New Journal)

MUSIC HISTORY PEDAGOGY

CALL FOR PAPERS

Scholarly contributions are invited for a proposed journal focusing on the pedagogy of music history. Possible topics might include (but are not limited to): teaching philosophy, pedagogical theory, study approaches to specific works or topics, the development of specific courses (undergraduate, graduate, or general studies), and reviews of textbooks, teaching ancillaries, and other pedagogical materials. Selected essays will be collected as the inaugural volume of the journal, tentatively titled The Journal of Music History Pedagogy, to be submitted to potential publishers in the Spring of 2010. The first edition of the journal is projected to be published by Fall 2010.

DEADLINE
Review of submitted articles will begin on October 1, 2009.

FORMAT AND STYLE GUIDE
Please provide a cover letter with your name and the article’s title in addition to an anonymous copy of the paper with only the title. The journal will use The Chicago Manual of Style, 15th edition (Chicago and London: University of Chicago Press, 2003) as its style guide.

SUBMISSION
Electronic submission preferred to: balensue at depauw.edu

Printed submissions to:
Dr. Matthew Balensuela
DePauw University School of Music
Green Center for the Performing Arts #1105
605 South College Ave
Greencastle IN 46135

Editorial Board of the proposed journal currently includes:
Dr. Matthew Balensuela, DePauw University
Dr. José Antonio Bowen, Southern Methodist University
Dr. James Briscoe, Butler University
Dr. Jessie Fillerup, University of Mary Washington
Dr. Carol Hess, Michigan State University
Ms. Constance Meyer, University of Maryland
Dr. Mary Natvig, Bowling Green State University
Dr. Patrick Warfield, Georgetown University

CFP: Song, Stage and Screen IV: Interdisciplinary Approaches to the Musical Stage (Univ of Maryland)

SONG, STAGE & SCREEN IV
INTERDISCIPLINARY APPROACHES TO THE MUSICAL STAGE

UNIVERSITY OF MARYLAND, COLLEGE PARK

3 - 5 DECEMBER 2009

CALL FOR PAPERS

The Maryland Institute for Technology in the Humanities and the Department of Theater at the University of Maryland, College Park invite submissions for the fourth annual international and interdisciplinary conference on musical and music theatre. Papers on any topic relating to the intersection of music and theatre or film are welcomed. Suggested topics include:

--Collaboration and the creation of the musical
--Musical theatre texts
--Musical theatre archives
--Teaching the musical
--Representations of race and gender in the musical
--Critical and audience reception of the musical

Please send abstracts of no more than 200 words to Doug Reside [dreside at umd.edu] by June 15.

Conference Website:http://mith.info/sss4/

Song, Stage and Screen is the annual conference of the academic journal, Studies in Musical Theatre, which is published by Intellect Press. Previous Song, Stage and Screen conferences have been held at the University of Portsmouth, UK (2006), University of Leeds, UK(2007), and the Graduate Center of City University of New York (2008). It is expected that a selection of papers from this joint conference will be invited for submission to the journal and publication. This year's conference is organized by Doug Reside (University of Maryland), Laura Pollard (University of East Anglia), and Tracey Chessum (University of Maryland).

CFP: Present Perspectives on Tonality Assessment and Prospects (Tour, France)

PRESENT PERSPECTIVES ON TONALITY ASSESSMENT AND PROSPECTS

UNIVERSITÉ FRANÇOIS-RABELAIS, TOUR

26 - 28 NOVEMBER 2009

CALL FOR PAPERS

Université François-Rabelais
U.F.R Arts et Sciences Humaines
Département de Musique et Musicologie
5 rue François-Clouet
37000 Tours
Convenor: Henri Gonnard
Research Team ‘Lieux et enjeux des modernités musicales’

The aim of this conference is to survey the current state of research on the question of tonality. Epistemological issues are immediately raised as this question cannot be envisaged without specifying the distinction between ‘tonality’ as a phenomenon and ‘tonal system’ as a theoretical construction. Generally, the former is considered as having been gradually set up and, thereafter, established during the late Baroque era, expanded and destabilized from the 19th century, to be finally defeated by the appearance of atonality in the 20th century. The latter is represented through the system of major/minor opposites and in the structuring of harmonic progressions, as they are approached from a synchronic/diachronic point of view. Moreover, theory and analysis meet up in the relationship which occurs between the object under analysis and the analyst, between the observer and the object that is observed.

Thus, as its leading theme the conference will focus on the interaction between:

1. the theory and the analysis of tonal music,
2. theory or analysis and the objects to which apply.

Papers may wish to concentrate on either aspect from an epistemological, historical, or methodological point of view.

Proposal for papers (of no more than 20 lines) with a short CV should be sent to henri.gonnard at univ.tours.fr before 15 May 2009. Travel expenses are to be met by the participants or their institution of affiliation. The proceedings of the conference will be published. Information: +33 247 36 7727, or the above email address.

CFP: 1948 and All That: Music, Ideology and Power in the Soviet Union (Cambridge)

1948 AND ALL THAT: MUSIC, IDEOLOGY AND POWER IN THE SOVIET UNION

UNIVERSITY OF CAMBRIDGE

27 - 28 NOVEMBER 2009

CALL FOR PAPERS

Supported by CRASSH (Centre for Research in the Arts, Social Sciences and Humanities)

Abstracts are invited for a two-day conference on any aspect of the interaction between music and politics in the former USSR. Papers need not focus exclusively on the events of 1948 and may address the pre- or post-Stalin period.

Abstracts of approx. 500 words should be sent by 1 June to Marina Frolova-Walker and Pauline Fairclough: mf263 at cam.ac.uk AND Pauline.Fairclough at bristol.ac.uk

CFP: Symposium on Spanish Keyboard Music "Diego Fernandez" (Almeria, Spain)

10th INTERNATIONAL SYMPOSIUM ON SPANISH KEYBOARD MUSIC "Diego Fernández”
PARADOR DE MOJACAR, ALMERIA
8 - 10 OCTOBER 2010
CALL FOR PAPERS
KEYBOARD MUSIC AND INSTRUMENTS IN THE SPANISH EMPIRE (16th - 17th centuries)

Chairs: John Koster (National Music Museum, Vermillion, USA)
Francesco Nocerino, (Naturalmente Musica, Naples)
Luisa Morales (FIMTE, Almería)

Commemorating the 500th anniversary of Antonio de Cabezón’s birth, the 10th International Symposium on Spanish Keyboard Music “Diego Fernández” will be held in the Parador of Mojácar, Almería, Andalusia, from 8th through 10th October 2010, as part of FIMTE 2010: the 10th International Festival of Spanish Keyboard Music. The festival shall feature both mainstream and fringe concerts as well as various courses and exhibitions.

Proposals for papers are particularly encouraged in the following areas:

-Antonio de Cabezón and his contemporaries
-The circulation of performance practices and repertoire in the Spanish territories
-The circulation of musiciens
-Keyboard instruments: their construction, influences, trade…
-Iconography

We welcome 200-250 word abstracts for 20-minute papers, as well as proposals for lecture-concerts (30-minute). Abstracts should be signed at the bottom with the author's name, institutional affiliation or city of residence and full return address, including e-mail address and fax number where possible.

Official languages: English and Spanish.
Symposium fee (including Symposium dinner) EUR 125
Deadline for Abstracts: 31st December 2009
For further information, please contact:

Luisa Morales
FIMTE
Apdo. 212 Garrucha 04630
Almería ESPAÑA
Tel: +34 950132285
fimte at fimte.org
fimteinfo at gmail.com

www.fimte.org

CFP: State Music and Dictatorship (Paris)

STATE MUSIC AND DICTATORSHIP - INTERNATIONAL CONFERENCE
ECOLE DES HAUTES ETUDES EN SCIENCES SOCIALES, PARIS
14 - 16 MAY 2009
CALL FOR PAPERS

Organisé par le Centre de Recherches sur les Arts et le Langage (CRAL - EHESS / CNRS)
sous la responsabilité d’Esteban Buch, Igor Contreras et Manuel Silva

Under the dictatorships of the twentieth century, music never ceased to sound. Even when they did not impose aesthetic standards, these regimes tended to favour certain kinds of music: occasional works for commemorations or celebrations, patriotic or militant hymns, military marches, etc. They created specific ways to select and promote music production, through prizes or commissions, thus validating or institutionalizing some compositions as the emanation of the State. Also, composers who were more or less close to power often wrote pieces of music on their own initiative to support the political order by way of an aesthetics or a program.

This conference will focus on musical works inspired and promoted by the apparatus of such regimes as Nazi Germany, Fascist Italy, the USSR and its satellites, Franco’s Spain and Salazar’s Portugal, France under Vichy, and Latin-American dictatorships of the 1970s. It will also address theoretical issues long neglected by musicologists and historians who tended to view them simply as propaganda tools. Are there similarities between musical productions in every dictatorship? Which discourses and practices were implemented and how did the listeners react to them? Can we locate any common stylistic features among them, or did they resemble one another chiefly in their contexts and media of circulation? Can we speak confidently about "State music"?

Plus d’informations prochainement sur http://musique.ehess.fr

CFP: Kiss Me Again: Mapping the Life and Legacy of Arthur Russell (NYU)

KISS ME AGAIN: MAPPING THE LIFE AND LEGACY OF ARTHUR RUSSELL
NEW YORK UNIVERSITY, NYC
10 OCTOBER 2009
CALL FOR PAPERS

The composer and musician Arthur Russell lived and worked in New York between 1973 and 1992. During his time in the city he performed and recorded compositional music, pop music, disco, new wave, songs for the cello, and hip-hop-inflected electronic pop. As any listener of his music will know, he also liked to blur the boundaries of genre as he went about his work. Russell's open-mindedness and antipathy to being marketed contributed to his lack of recognition, and his music went relatively unheard outside of aficionado dance circles after his passing. But beginning with the simultaneous release of Calling Out of Context and The World of Arthur Russell in 2004, and culminating with the release of the documentary film Wild Combination in 2008, Russell's work has gained a new lease of life.

Acknowledging the newfound interest in Arthur Russell, New York University, the Centre for Cultural Studies Research at University of East London and Bloomfield College are organising an Arthur Russell conference that will take place at NYU on 10 October. The all-day event will be organised around four panels, two featuring invited speakers, two featuring speakers who respond to this call for papers. The conference will also feature a screening of Wild Combination, with director Matt Wolf answering questions, and (it is hoped) rare Arthur Russell footage shot by Phill Niblock and Alan Abrams. The evening event will feature musicians who worked with Arthur Russell. Tim Lawrence's biography of Arthur Russell, Hold On to Your Dreams, will be launched during the event. Attendance is free.

Suitable themes for papers include but are by no means restricted to Arthur Russell and his collaborators; Arthur Russell and the downtown scene; Arthur Russell and composition; Arthur Russell and genre; Arthur Russell, sexuality, race and sound; Arthur Russell and performance; and Arthur Russell and the contemporary music market. Papers might also consider specific recordings, including "Kiss Me Again" by Dinosaur, Arthur Russell's first record release, which came out on Sire Records in 1978. Papers should last for 20 minutes.

Abstracts of 250 words should be submitted to one of the organisers by 15 July. Decisions will be circulated by 31 July.

Organisers:
Sukhdev Sandhu (NYU): ss162 at nyu.edu
Tim Lawrence (UEL): tlawrence1 at mac.com
Peter Gordon (Bloomfield): petergordonmusic at mac.com

Wiley Housewright Dissertation Award (Society for American Music)

2009 WILEY HOUSEWRIGHT DISSERTATION AWARD
SOCIETY FOR AMERICAN MUSIC
DEADLINE: 1 MAY 2009

The Society for American Music announces the 2009 competition for a dissertation on any topic relating to American music.

American music is interpreted in all its historical and contemporary styles and contexts, including, but not limited to art and popular musics, the musics of ethnic groups and minorities, and the full range of activities associated with music. "America" is understood here to embrace North America (Canada, The United States, and Mexico), including Central America and the Caribbean, and aspects of its cultures elsewhere in the world.

Eligibility
The dissertation must be in English, and must be for a degree awarded in calendar year 2008. Authors who entered the competition in a previous year may not enter again.

Application
Candidates should send the following:
The title page and abstract of your dissertation
The table of contents
Preface or Introduction
One sample chapter

All submission materials must be in PDF format, and submitted electronically. Please email materials to: Glenn Pillsbury, 2009 committee chair, at gpillsbury at pacific.edu

DMA and other terminal degree documents will be considered as long as the entire piece of scholarship is included in a written document (i.e., musical compositions or other materials will not be considered).

Applicants should include a full mailing address, phone number, and email address (where an acknowledgment will be sent), the title of the work, university, department, date of degree, and name primary advisor (or co-advisors). Please do not mail the complete dissertation at this time.

Entry Deadline: 11:59 PM (PDT) May 1, 2009

Berea College Appalachian Sound Archives Fellowships 2010 (Kentucky)

BEREA COLLEGE APPALACHIAN SOUND ARCHIVES FELLOWSHIPS 2010
BEREA COLLEGE, KENTUCKY

The purpose of the Berea College Sound Archives Fellowship Program (formerly Music Archives Fellowship) is to encourage scholarly use of Berea's non-commercial audio collections that document Appalachian history and culture.

These recordings are especially strong in the areas of traditional music, religious expression, spoken lore and radio programs. They include extensive documentation of fiddle and banjo tunes; ballads and songs; Old Regular Baptist singing and preaching; folktales and legends; and related interviews with musicians, preachers, and storytellers, 1950 to the present. Radio material heard in the region for the years 1936 to the mid 1950s, documents a wide range of Kentucky, national, and world political figures and events. Entertainment programs include country music, soap operas, musical variety shows and sporting events.

Fellowship awards are made for a period of one to three months in support of research projects that will contribute to the preservation or promotion of these resources.
The fellowships must be taken up between July 2009 and June 2010. Fellows are expected to be in residence during the term of the fellowship and are encouraged to participate in campus and community activities. Stipend: $3000/month.
Deadline for proposals: June 1, 2009 for July through December 2009. December 1 for January through June 2010.

There is no application form. Applicants are asked to submit a proposal that addresses (1) their interest in the particular subject area, (2) description of the project specifying which Berea collections will be made use of, (3) anticipated research outcomes (e.g., print publications, audio / video documentaries, tune transcriptions, lesson plans, public performances, web based resources), (4) the length of time needed for the project (one month minimum, three months maximum), and (5) preferred dates of residence. Also required are three letters of recommendation from colleagues familiar with the applicant's work. For graduate degree candidates, the recommendations must include those of the professor directing the applicant's research. Applicants are responsible for contacting all persons providing recommendations.
For information about Berea's Sound Archives and other traditional music collections, see www.berea.edu/hutchinslibrary/specialcollections/specialsound.asp
Proposals or inquires should be sent to

Harry Rice
Special Collections & Archives
Berea College
Berea, KY 40404
harry_rice@berea.edu
For additional information:
Berea's Appalachian Music Fellowship Web Page: http://www.berea.edu/hutchinslibrary/specialcollections/amfp.asp
Proposals or inquiries: harry_rice@berea.edu

CFP: The Influence of Louis Spohr on the music of his time (Kassel)

THE INFLUENCE OF LOUIS SPOHR ON THE MUSIC OF HIS TIME

UNIVERSITY OF KASSEL, GERMANY
24 OCTOBER 2009
CALL FOR PAPERS

The International Louis Spohr Society in association with the Music Department of the University of Kassel on the occasion of the reopening of the Kassel Louis Spohr Museum are

pleased to invite submissions of proposals for the symposium on "The Influence of Louis
Spohr on the Music of his Time", to be held in Kassel on saturday 24 October 2009.

Sessions for individual papers are expected to develop the following themes, although other
proposals in other relevant areas will also be welcome:

* Spohr´s influence on other composers,
* Spohr and his student´s compositions,
* Spohr and the 19th century school of violin technique,
* the reception of Spohr´s music.

The official language of the conference is German. Papers are limited to 20 minutes in
length, with time following for discussion. Please send a proposal and a short curriculum
vitae to louis.spohr at web.de.

Submission deadline: 5 May 2009

CFP: 16th Biennial Conference on 19th Century Music (Southampton)

16th BIENNIAL CONFERENCE ON NINETEENTH-CENTURY MUSIC

UNIVERSITY OF SOUTHAMPTON

8 - 11 JULY 2010

CALL FOR PAPERS

The Programme Committee:
Michael Beckerman (New York University)
Rachel Cowgill (University of Leeds / Liverpool Hope University)
Mark Everist (University of Southampton; chair)
Bryan Gilliam (Duke University)
Francesco Izzo (University of Southampton)

The Programme Committee is pleased to issue a formal call for papers, performances and complete sessions on any aspect of music and related fields during the long nineteenth century (c1789-c1914). We are not identifying any specific themes, but welcome proposals for individual papers and also invite possible session convenors (see below) to contact the chair of the Programme Committee with a view to submitting a proposal for a complete themed session.

Papers should be between 20 and 30 minutes long, and should be designed to fit into a 45-minute slot, including questions and turnaround. Complete sessions should consist of four papers of the same dimensions with a nominated convenor. Abstracts for papers, proposals and descriptions of performances should consist of no more than one side of A4 / US letter with font size no smaller than 11, and should include the name, institutional affiliation, mailing address and email address of the individual concerned. Descriptions of possible performances should make reference to the availability of sound files, and include them if necessary. Proposals for complete sessions should consist of four such abstracts with a rationale from the convenor (no longer than a single abstract). Abstracts and proposals for sessions should be sent by email as attachments (either *.doc or *.pdf) to Francesco Izzo at the University of Southampton. [f.izzo at soton.ac.uk ]
Deadline for submissions is 2 November 2009 @ 5.00 p.m. UTC/GMT
The subsequent schedule for the conference is planned as follows:
Notification of submission outcomes: c 27 November 2009
Publication of Draft Programme and opening of website: 11 January 2010
Registration opens: 1 February 2010
Early registration deadline: 1 July 2010
Conference: 8-11 July 2010
We look forward to receiving your abstracts and proposals for sessions and to welcoming you to Southampton in July 2010

Ethnomusicological Research Today – An International Doctoral Workshop (Hanover)

ETHNOMUSICOLOGICAL RESEARCH TODAY - AN INTERNATIONAL DOCTORAL WORKSHOP

ETHNOMUSICOLOGY DEPARTMENT OF THE UNIVERSITY FOR MUSIC AND DRAMA, HANOVER, GERMANY

24 - 28 JUNE 2009

CALL FOR PAPERS

The Ethnomusicology Department of the University for Music and Drama at Hanover, Germany, is organising an international workshop for Ph.D. candidates in ethnomusicology and its sister disciplines. The workshop will be directed by Prof. Dr. Raimund Vogels (Hanover) and Prof. Dr. Philip V. Bohlman (Chicago/Hanover).

The aims of the workshop are to promote exchange on ethnomusicological Ph.D. projects throughout Europe and to further critical debate on recent research in the discipline. The first two days of the workshop (25 & 26 June) are devoted to the presentation of papers by the participants. The third day (27 June) will be devoted to critical discussion of recent ethnomusicological publications. Arrival will be on June 24th, departure on June 28th. The workshop language – presentations and discussion – will be English.

The organizers inivite applications from Ph.D. candidates researching their dissertations in ethnomusicology or one of its sister disciplines (e.g., musical anthropology). There are no restrictions concerning the current stage of Ph.D. research, the region of study, or the thematic focus. Participants are required to read the following publications selected for discussion by the time the workshop takes place:

* Nettl, Bruno: The Study of Ethnomusicology. Thirty-One Issues and Concepts.New Edition. Urbana, University of Illinois Press 2005.

* Stobart, Henry (Hg.): The New (Ethno)Musicologies.Lanham, Scarecrow Press 2008.

* Barz, Gregory, und Timothy Cooley (Hg.): Shadows in the Field. New Perspectives for Fieldwork in Ethnomusicology.Second Edition. New York, Oxford University Press 2008.

* Bohlman, Philip V.: World Music. A Very Short Introduction.Oxford, Oxford University Press 2002.

* Feld, Steven: Sound and Sentiment. Birds, Weeping, Poetics, and Song in Kaluli Expression.Philadelphia, University of Pennsylvania Press 1982.

* Stokes, Martin: The Arabesk Debate. Music and Musicians in Modern Turkey.Oxford, Oxford University Press 1992.

* Vogels, Raimund: The Big Drum was Beaten and the Force Moved East. Islamic Court Music in Northeast Nigeria.In Print. Manuscript will be sent to participants.

* Rommen, Timothy. „Mek Some Noise”. Gospel Music and the Ethics of Style in Trinidad.Berkeley, University of California Press 2007.

* Hahn, Tomie: Sensational Knowledge. Embodying Culture through Japanese Dance.Middletown, Wesleyan University Press 2007.

* Hesselink, Nathan: P’ungmul.. South Korean Drumming and Dance.Chicago, University of Chicago Press 2006..

The University for Music and Drama will cover room and board, and will attempt to contribute toward travel expenses if needed. Funding details will be negotiated
individually.

Ethnomusicology Ph.D. students interested in participating should send an abstract of 250 words, a CV, and a preliminary estimate of travel costs. The application deadline is 5 May 2009.

The number of participants is limited to sixteen. If you wish to take part in the workshop as an auditor without a presentation, you are welcome to do so, but are requested to notify the organizers by 5 May 2009. For auditors, travel, room, and board will be at their own expense.

Please forward this call to anyone interested and send your applications or any questions by e-mail to Kerstin Klenke:

Kerstin Klenke MA
University for Music and Drama
Emmichplatz 1
30175 Hanover
kerstin.klenke@hmt-hannover.de
Tel.: +49 (0)511 31007632
Fax: +49 (0)511 31007642

Prof. Dr. Raimund Vogels
University for Music and Drama Hanover
Emmichplatz 1
30175 Hanover
raimund.vogels@hmt-hannover.de
Tel.: +49 (0)511 31007631
Fax: +49 (0)511 31007642

Prof. Dr. Philip V. Bohlman
Department of Music
The University of Chicago
1010 E. 59th Street
Chicago, Illinois
60637
USA
boh6@uchicago.edu
Tel.: +1 (773)
702-0514
Fax: +1 (773) 753-0558

Fully Funded Visiting Research Studentships Available (Open University)

VISITING RESEARCH STUDENTSHIPS
MUSIC COMPUTING LAB, OPEN UNIVERSITY
COMMENCING: 1 MAY 2009

Four fully funded places for three-month Visiting Research Studentships, available immediately at the Music Computing Lab at the Open University.

Up to four fully funded places for three-month Visiting Research Students are immediately available at the Music Computing Lab at the Open University. The projects will be undertaken in collaboration with the Pervasive Interaction Lab. You must be an EU or UK National. Prospective students could be excellent final year undergraduates, Masters students, or PhD students, or could have recently completed any of these awards.

You must be available to start in May 2009. Broadly, we are interested in candidates with experience in HCI, Pervasive Interaction, Music Computing or Haptics.

We welcome recommendations for likely candidates from researchers or teachers from relevant disciplines in university departments. Students or recent students are equally welcome to apply on their own behalf.

Visiting students will work on predefined research projects as summarized below.

The studentships are available to start from 1st May (with a small amount of flexibility). The studentships will run until 31st July, although in an exceptional case a studentship might be extended by a few weeks.

Students will be based at the Open University Campus in Milton Keynes. We will pay for accommodation in Milton Keynes plus living expenses. We can also cover reasonable travel expenses at the start and finish of the studentship.

Project Area 1
Music Computing and Pervasive Interaction: Implementation

1.1 Multi-touch shared tabletop interaction in Music Computing
1.2 Haptics and force feedback in Music Computing
1.3 Expressive, interactive animated graphics for Music Computing tools
1.4 Tangible, embedded, and whole body Music Computing
1.5 New tools for supporting beginning String Players

Project Area 2
Music Computing and Pervasive Interaction: Evaluation
The purpose of this family of projects is to assist in carrying out user studies and other
kinds of evaluation of new tools for music performance, composition and education.

Project Area 3
Exploratory Music programming for the iPhone.

Project Area 4
Collaborative creativity between professional musician(s), and the general public
This project involves assisting in the design, implementation and evaluation of tools to
support collaborative creativity between professional musician(s), and the general public.
This work is likely to involve a Multi-touch shared tabletop interface.

For full details and more information on the projects, contact mcs-computing-secretaries@open.ac.uk. Applications should also be sent to this address. Informal enquiries for projects 1-3 should be sent to s.holland (insert here) open.ac.uk. For details of projects 1 and 2 also contact j.vanderlinden. For project 3, also contact r.w.griffiths. The contact for project 4 is r.c.laney. (All addresses are open.ac.uk.)

Applications should include a CV and covering note that summarizes
• evidence of appropriate knowledge, skills and experience for the specific studentship,
• why you want to undertake this particular studentship,
• why you think you would be a good candidate,
• telephone, email and postal contact details for two referees, at least one of whom must be able to comment on subject discipline specifics.

This is an opportunity to gain experience on practical projects run in collaboration between the Music Computing Lab and the Pervasive Interaction Lab. Each project is intended to lead to a publication with the student as co-author.

Dr. Simon Holland
Director of Music Computing Lab
Department of Computing
Faculty of Mathematics and Computing
The Open University
Milton Keynes
UK
MK7 6AA

AHRC Doctoral Award - (University of Southampton)

AHRC COLLABORATIVE DOCTORAL AWARD
UNIVERSITY OF SOUTHAMPTON: DEPARTMENT OF MUSIC

AHRC Collaborative Doctoral Award for the FICTOS (Franco-Italian Culture Transfer in Opera and Song, 1800-1850) in musicology, offered in conjunction with Opera Rara. This studentship will cover full fees for up to three years for a candidate proposing a dissertation in the field of Franco-Italian cultural transfer in nineteenth-century music. Home students will be eligible to receive a stipend of £12,940 p.a. for full-time study and £8,960 for part-time study (2008-2009 figures). Download the full details from
http://www.soton.ac.uk/music/postgrad/postgraduatestudentships.html

Upcoming Research Training Roadshow - Studying Music through Science and Technology (IMR)

RESEARCH TRAINING ROADSHOW: STUDYING MUSIC THROUGH SCIENCE AND TECHNOLOGY
INSTITUTE OF MUSICAL RESEARCH, SCHOOL OF ADVANCED STUDY
11 AND 12 MAY 2009 - 10.30 - 18.00


MONDAY 11 MAY
Research Training Roadshow Studying Music through Science and Technology (Senate House, Room NG16), 10.30 am – 6 pm

In association with Lancaster University, Queen Mary University of London, and Goldsmiths College

Speakers: Alan Marsden (Lancaster), Ian Knopke (Computing, Goldsmiths), and Dan Tidhar (Electrical Engineering, QMUL)

Free of charge. Advance registration required. To register, email music@sas.ac.uk.


TUESDAY 12 MAY
Research Training Roadshow Studying Music through Science and Technology (Lancaster Institute for the Contemporary Arts, Lecture Theatre/Recital Room, Lancaster University)*, 10.30 am – 6 pm

In association with Lancaster University, Queen Mary University of London, and Goldsmiths College

Speakers: Alan Marsden (Lancaster), Ian Knopke (Computing, Goldsmiths), and Dan Tidhar (Electrical Engineering, QMUL)

Free of charge. Advance registration required. To register, email music@sas.ac.uk.

*NB room change: this seminar will take place in Meeting Room 2 of the Institute of Advanced Studies, Lancaster University

ABSTRACT
Modern culture, in music research as in other fields, tends to divide science from art despite a strong strand of scientific music research dating back to the time of Pythagoras. This division is increasingly untenable in the light of the recent growth in 'Empirical Musicology' and developments in new technology. We aim in this study day to show how bridging this divide and applying scientific method and computing technology can help to address typical problems in musicology in general, and analysis in particular. Sessions will include material on Schenker and Palestrina; another focus will be applications of the software arising from the large-scale OMRAS 2 project of Goldsmiths' and Queen Mary Universities of London. Jargon and arcane technicalities will be avoided.

CFP: London International Conference on Education

LONDON INTERNATIONAL CONFERENCE ON EDUATION - LICE 2009
LONDON
9 - 12 NOVEMBER 2009
CALL FOR PAPERS
(www.liceducation.org)

The London International Conference on Education (LICE) is an international refereed conference dedicated to the advancement of the theory and practices in education. The LICE promotes collaborative excellence between academicians and professionals from Education.

The aim of LICE is to provide an opportunity for academicians and professionals from various educational fields with cross-disciplinary interests to bridge the knowledge gap, promote research esteem and the evolution of pedagogy. The LICE-2009 invites research papers that encompass conceptual analysis, design implementation and performance evaluation. All the accepted papers will appear in the proceedings and modified version of selected papers will be published in special issues peer reviewed journals.

The topics in LICE-2009 include but are not confined to the following areas:

*Academic Advising and Counselling
*Art Education
*Adult Education
*Business Education
*Counsellor Education
*Curriculum, Research and Development
*Distance Education
*Early Childhood Education
*Educational Administration
*Educational Foundations
*Educational Psychology
*Educational Technology
*Education Policy and Leadership
*Elementary Education
*E-Learning
*ESL/TESL
*Health Education
*Higher Education
*History
*Human Resource Development
*Indigenous Education
*ICT Education
*Kinesiology & Leisure Science
*K12
*Language Education
*Mathematics Education
*Music Education
*Pedagogy
*Physical Education
*Research Assessment Exercise (RAE)
*Reading Education
*Rural Education
*Science Education
*Secondary Education
*Second life Educators
*Social Studies Education
*Special Education
*Student Affairs
*Teacher Education
*Cross-disciplinary areas of Education
*E-Society
*Other Areas of Education

IMPORTANT DATES:

Extended Abstract Submission Date:June 30, 2009
Paper Submission Date: July 15, 2009
Proposal for Workshops: May 15, 2009
Notification of Workshop Acceptance: May 31, 2009
Proposal for Academic Presentation: April 30, 2009
Notification of Extended Abstract Acceptance/Rejection:July 31, 2009
Notification of Academic Presentation Acceptance: May 15, 2009
Notification of Paper Acceptance/Rejection: August 15, 2009
Camera Ready Paper Due: September 01, 2009
Author Registration: September 15, 2009
Early Bird Attendee registration: October 01, 2009
Conference Dates: November 09-12, 2009

For further information please visit LICE-2009 at www.liceducation.org

RMA Study Day: Music and Modernism (Courtauld Institute)

RMA STUDY DAY: MUSIC AND MODERNISM

KENNETH CLARK LECTURE THEATRE

COURTAULD INSTITUTE OF ART, LONDON

15 - 16 MAY 2009

14.45 - 18.30, Friday 15 May (with registration from 14.15)

10.00 - 18.00, Saturday 16 May (with registration from 09.30)

Exploring Kandinsky's contention that the 'various arts are drawing together [...] finding in music the best teacher,' Music and Modernism will re-evaluate the significant connections between the disciplines of music and fine art in the period covering the emergence and flowering of Modernism, c. 1849 - 1950. During this time both music and fine art were concerned with issues of equality, equivalence, relativity and subjectivity - themes that have since been taken as key to the definition of Modernism. Composers and artists repeatedly borrowed from one another, yet their motives have seldom been explored. Did such quotation amount to a conscious statement of their modernity, or was this merely a symptom of shared interests? This study day will question not only what it was music gave to fine art, or fine art music, but will ask whether we can in fact think in terms of two opposing directions of influence in this period at all.

To book a place: £25 (£15 students, Courtauld staff and RMA members) Please send a cheque made payable to 'Courtauld Institute of Art' to: Research Forum Events Co-ordinator, Courtauld Institute of Art Research Forum, Somerset House, Strand, London WC2R 0RN, clearly stating that you wish to book for the 'Music and Modernism study day'. For credit card bookings call 020 7848 2785/2909. For further information, send an e-mail to ResearchForumEvents@courtauld.ac.uk .

PROGRAMME

Friday, 15 May

14.15 - 14.45 - Registration

14.45 - 15.00 - Welcome

15.00 - 17.00 - SESSION 1 - Towards New Truth? German Aesthetics and the Claims of Gesamtkunstwerk

Robert Williams Music and Kunstwissenschaft, University of California, Santa Barbara

Diane Silverthorne (Birkbeck College and the Royal College of Art, London), Music, Modernism and the Vienna Secession: Musical Form in Ver Sacrum (1898-1903)

Petritakis Spyridon (University of Crete), Arnold Böcklin and Music: a Case Revisited

Isabel Wünsche (Jacobs University, Bremen), Seeing Sound - Hearing Colour: Synesthetic Considerations in the Russian Avant-garde

17.00 - 17.30 - TEA/COFFEE BREAK

17.30 - 18.30 - KEYNOTE: Professor Peter Vergo (University of Essex). How to Paint a Fugue (and why should anyone want to)?

18.30 - 19.30 - RECEPTION

Saturday, 16 May

09.30 - 10.00 - Registration

10.00 - 11.30 - SESSION 2: Correspondences: Musical-Visual Language in Late Nineteenth Century France

James Rubin (State University of New York), Courbet, Wagner and the Total Work of Art

Michelle Foa (Tulane University), The State of the Arts in Zola's L'Oeuvre

Corrinne Chong (University of Edinburgh), The Transposition of the Vague: Theme and Variations by Fantin-Latour

11.30 - 12.00 - COFFEE/TEA BREAK

12.00 - 13.00 - SESSION 3: Spiritual Harmony? Modernism and the Anglican Church

Ayla Lepine (Courtauld Institute of Art), Sacred Performance: G. F. Bodley's Design for All Saints, Jesus Lane, Cambridge

Douglas Stevens (University of Bristol), The Status and Reception of Musical Modernism in the Commissions of the Mid Twentieth Century Anglican Church

13.00 - 14.00 - BREAK FOR LUNCH

14.00 - 16.00 - SESSION 4: Music and Modern Life

James Mansell (University of Manchester), Music as a Religion of the Future: Ricciotto Canudo, the Musicalists and the Politics of Modernity

Michael Berkowitz (University College, London), Mannes, Godowsky, and Modernism(s): from Music to Photography and Film

Malcolm Cook (Birkbeck Collge, London), Visual Music in Film, 1921-1924: Richter, Eggeling, Ruttman

Jody Patterson (Smithsonian American Art Museum), 'It don't mean a thing, if it ain't got that swing': Stuart Davis and the Fine Art of Jazz

16.00 - 16.30 - TEA/COFFEE BREAK

SESSION 5: Framing the Modern: Retrospect?

Melissa Warak (University of Texas at Austin), Zen and the Art of La Monte Young

Olga Touloumi (Harvard University), The UPIC: Towards the Synaesthetic Promise

17.30 -18.30 - Plenary Discussion: to include John Deathridge and Simon Shaw-Miller

18.30 - CLOSE

Organised by Charlotte de Mille

Fellowship - Institute for Advanced Study (Princeton University)

INSTITUTE FOR ADVANCED STUDY

SCHOOL OF HISTORICAL STUDIES, PRINCETON UNIVERSITY

OPPORTUNITIES FOR SCHOLARS 2010-2011

The Institute is an independent private institution founded in 1930 to create a community of scholars focused on intellectual inquiry, free from teaching and other university obligations.  The program is open to all fields of historical research, and the School offers the Edward T. Cone Membership in Music Studies, particularly for music historians.  Scholars from around the world come to the Institute to pursue their own research.  Those chosen are offered membership and a stipend for up to a year.  The Institute provides access to extensive resources including offices, libraries, subsidized restaurant and housing facilities, and some secretarial services.  Candidates of any nationality may apply for a single term or a full academic year.  Residence in Princeton during term time is required.  The only other obligation of Members is to pursue their own research.  The Ph.D. (or equivalent) and substantial publications are required.

Information and application forms may be found on the School's web site, www.hs.ias.edu, or contact the School of Historical Studies, Institute for Advanced Study, Einstein Dr., Princeton, N.J. 08540 (E-mail address: mzelazny at ias.edu).

Deadline: November 1 2009.

CFP: Correspondances: Exchanges and Tensions Between Art, Theatre and Opera in France (London)

CORRESPONDANCES: EXCHANGES AND TENSIONS BETWEEN ART, THEATRE AND OPERA IN FRANCE, C.1750-1850

NATIONAL GALLERY, LONDON (IN COLLABORATION WITH THE UNIVERSITY OF NOTTINGHAM)

26 - 27 MARCH 2010

CALL FOR PAPERS

This conference will explore a rich field of interdisciplinary research, that of the relation between art, theatre and opera in France from the later 18C to the mid 19C. As key elements in Parisian cultural life, art, theatre and opera all underwent extensive changes during this period, adapting and responding to profound socio-political disruption and transformation from the Revolution to the Second Republic.

We aim:

* to map interchanges between stage(s) and canvas, and the role of imagery in stage productions;

* to identify intermediaries in transmitting design to and from the stage and painting;

* to analyse attitudes and assumptions regarding interplay between media in theoretical and critical writing;

* to assess the recoverability of the visual components of theatre and opera.

Major themes which unite the two art forms include:

* the representation of history

* the nature of spectacle and illusion

* narrative and temporality

* the role of criticism

Invited speakers include:

* Prof Stephen Bann, University of Bristol (also a curator of the exhibition)

* Prof Beth Wright, University of Texas at Arlington

* Prof Tom Grey, Stanford University

* Prof David Charlton, Royal Holloway, University of London

We welcome proposals for papers (30 mins). Abstracts of c.250 words should be sent to both conference organisers, and by **1 September 2009**.

Programme and full conference details will be available at:

www.nottingham.ac.uk/moss and www.nottingham.ac.uk/nirv

Sacred Music in the Habsburg Empire 1619–1740 and Its Contexts (Utrecht)

SACRED MUSIC IN THE HABSBURG EMPIRE 1619-1740 AND ITS CONTEXTS

ROOSEVELT ACADEMY, UNIVERSITY OF UTRECHT

MIDDELBURG, 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

Link: http://www.roac.nl/roac/habsburgmusic.phtml

Deadline: 15 Apr 2009

CFP: Consequences of Wagner (Portugal)

CONSEQUENCES OF WAGNER
CENTRO DE ESTUDOS DE SOCIOLOGIA E ÉSTETICA MUSICAL
LISBON, PORTUGAL
27 - 28 NOVEMBER 2009
CALL FOR PAPERS

Keynote speakers to include:
John Deathridge, King’s College, London
William Weber, California State University

CESEM (the Centro de Estudos de Sociologia e Estética Musical, http://www2.fcsh.unl.pt/cesem/), a research unit at the Universidade Nova de Lisboa (Portugal), is to host an international Conference on the theme ‘Consequences of Wagner’, to mark the 100th anniversary of the first staging of Wagner’s Ring in Portugal. The Conference venue will be the very theatre where these historical performances took place: the Teatro Nacional de S. Carlos (Lisbon Opera House).

The Conference forms part of an ongoing research project funded by the FCT (Portuguese Foundation for Science and Technology), and its focus, as implied in the title, is the overall impact of Richard Wagner’s works and ideas on Western culture, with a particular emphasis on the movements and phenomena (the ‘consequences’) that could be said to have been triggered off by Wagner even though they might not necessarily fall under the heading of ‘Wagner reception studies’ in the strict sense.

We are particularly (but not exclusively) interested in topics such as the theory, aesthetics and history of opera staging and performance, the status of music and music drama in fin-de-siècle culture, Wagner and modernism, eroticism and sexuality, post-Wagnerian compositional techniques and musical styles, the appropriation of Wagner by artists from different media and nationalities, the repercussions of ‘the case of Wagner’ in historiography, philosophy, politics and popular culture, Wagner as myth and the wider implications of Wagnerism and anti-Wagnerism.

The official language of the Conference will be English. A selection of papers will be considered for publication in book form.

We invite scholars from various disciplines to contribute to this international Conference. Please send abstracts (max. 300 words) for 20-minute papers (to be followed by 10 minutes’ discussion), in English, plus a short biographical note, to the Conference organizers no later than 30 June 2009:

Paulo F. de Castro: pf.castro at fcsh.unl.pt
Gabriela Cruz: ggcruz at fcsh.unl.pt
David Cranmer: cranmer at netcabo.pt

Notification of acceptance will be given by 20 July 2009. The Organization is unable to cover any expenses, but it may be able to help with finding accommodation at special rates.

For further information, please contact: pf.castro at fcsh.unl.pt