Prize/Competition: Philip Brett Award (AMS)

PHILIP BRETT AWARD

AMERICAN MUSICOLOGICAL SOCIETY

DEADLINE 1 JULY 2009

The Philip Brett Award, sponsored by the LGBTQ Study Group of the American Musicological Society, will honor each year exceptional musicological work in the field of gay, lesbian, bisexual, transgender/transsexual studies completed during the previous two academic years (ending June 30), in any country and in any language. By “work” is meant a published article, book, edition, annotated translation, a paper read at a conference, teaching materials (course descriptions and syllabi), and other scholarly work accepted by the award committee that best exemplifies the highest qualities of originality, interpretation, theory, and communication in this field of study.

The award consists of the sum of $500 and a certificate, and will be announced at the Annual Business Meeting and Awards Presentation of the Society and conferred at the annual meeting of the LGBTQ Study Group.The committee will entertain nominations from any individual, including eligible scholars who are encouraged to nominate their own work. Individuals may receive the award on more than one occasion.

Nominations should include the name of the scholar, a description of the work, and a statement to the effect that the work was completed during the previous two academic years. By “completion” is meant the publication or commitment to publish from an editor in the case of articles, books, editions, etc.; delivery at a conference or the like in the case of a paper. The committee will contact the nominee for additional material as needed. Self-nominations should include any unpublished material to be considered and a curriculum vitae. Nominations, with five sets of application materials, should be sent by July 1 to the chair of the Philip Brett Award Committee:

Judith Peraino
Department of Music
Cornell University
Ithaca, NY 14853

Announcement: Music for Stringed Instruments: Music Archives and the Materials of Musicological Research in the 19th and Early 20th Centuries (Cardiff

MUSIC FOR STRINGED INSTRUMENTS: MUSIC ARCHIVES AND THE MATERIALS OF MUSICOLOGICAL RESEARCH IN THE 19TH AND EARLY 20TH CENTURIES

SCHOOL OF MUSIC, UNIVERSITY OF CARDIFF

23 - 24 JUNE 2010

PRELIMINARY ANNOUNCEMENT

This conference will take place as part of a 4-year AHRC-funded research project focusing on 19th- and early 20th-century performing editions of string chamber music - texts which are invaluable sources for empirical evidence about performance practices during that period. The topics this conference is expected to address will include 19th- and early 20th-century publishing history, comparative studies of editions, performing editions and performance practices, and musical archival studies. 

A formal call for papers will be circulated in October 2009.

For further information, contact: 

George Kennaway, School of Music, University of Leeds, Leeds LS2 9JT, England, U.K.

Email: g.w.kennaway@leeds.ac.uk

Tel: (+44)/(0) 113 3438218

CFP: 20th Century Music and Politics (University of Bristol)

TWENTIETH-CENTURY MUSIC AND POLITICS

DEPARTMENT OF MUSIC, UNIVERISTY OF BRISTOL

14 - 16 APRIL 2010

CALL FOR PAPERS

Abstracts are invited for this three-day conference on 20th-century music and politics. Papers are welcome on all musics and all geographical areas. Current panel themes include: concert life and repertoire; emigration and musical identity; music as propaganda; wartime politics in Europe and America; music in totalitarian regimes. 

Please send abstracts of no more than 400 words to: Pauline.Fairclough at bristol.ac.uk 

The deadline for receipt of abstracts is 1 September 2009.

Job Posting: Music Research Laboratory Officer (Open University)

JOB POSTING: MUSIC RESEARCH LABORATORY OFFICER

FACULTY OF ARTS, THE OPEN UNIVERSITY

DEADLINE: 12 JUNE 2009

£29,704 - £35, 469, Ref: 5631

Based in Milton Keynes

2 year temporary contract available immediately

We wish to appoint a Laboratory Officer to support research and other work taking place in the University's Music Research Laboratory, incorporating facilities for the recording, editing and analysis of audio and video material.

You should have a degree in a relevant subject such as Music, Music Technology or Ethnomusicology, as well as relevant training and experience in the recording and editing of audio and video material. You will need to be well organised, and to show initiative and judgement in carrying out your tasks. You must also be a good team worker, with excellent communication and inter-personal skills.

For detailed information and how to apply go to www3.open.ac.uk/employment, call Donna Elstob on 01908 653370 (24 hour answerphone) or email Arts-recruit@open.ac.uk quoting the reference number. Closing date: 12 June 2009. Interview date: 8 July 2009.

Further particulars are available in large print, disk or audiotape (minicom 01908 654901).

We promote diversity in employment and welcome applications from all sections of the community.

Upcoming Conf: E-Science for Musicology (Edinburgh)

E-SCIENCE FOR MUSICOLOGY - WORKSHOP

E-SCIENCE INSTITUTE, EDINBURGH

1 - 2 JULY 2009

Organiser: Richard Lewis, Tobias Blanke, Tim Crawford and Stuart Dunn

This workshop is aimed at scholars working in musicological disciplines who are interested in applying e-Science methodologies to their own investigations. As such, we hope that it will provide a unique opportunity for those working on new methodologies and technologies for enabling and enhancing musical scholarship to engage with the target musicological community. Therefore, as well as comprising presentations and practical sessions, we hope to integrate some facility for participants to record their experiences in an online, collaborative and real-time manner, thus providing invaluable data for assessing the impact of new methodologies and technologies on the discipline.

Full details: http://www.nesc.ac.uk/esi/events/996/

Research Fellowships - Humanities (One-year) (Southampton)

RESEARCH FELLOWSHIPS - HUMANITIES (ONE-YEAR)

SCHOOL OF HUMANITIES, DEPARTMENT OF MUSIC, UNIVERSITY OF SOUTHAMPTON

DEADLINE: 5 JUNE 2009 (NOON BST)

£27,183 - £33,432 per annum ($42,819 - $52,662 per annum)

Up to five one-year Research Fellowships for the 2009-10 session.

In addition to Music, the fellowships are also available to candidates in Archaeology, English, Film, History, Philosophy and Modern Languages

Candidates are invited to put forward a project which links to the strategic research areas of the University.

The Fellowships are open to all candidates who are within three years of receiving their PhD.

For further information please visit:

http://www.jobs.ac.uk/jobs/FK100/Research_Fellowships_-_Humanities_One-year/

Following this link will take you to the online application form. Please quote reference number 3425-09-L in all correspondence.

The closing date for completed applications is 5 June 2009 at 12.00 noon (BST). Interviews will be held in late June/early July.

For informal discussion before application to the School of Humanities please contact Professor Mark Everist (m.everist@soton.ac.uk)

Upcoming Symposium: Acoustics and Music of British Prehistory (Cambridge)

ACOUSTICS AND MUSIC OF BRITISH PREHISTORY RESEARCH NETWORK FIRST SYMPOSIUM

UNIVERSITY OF CAMBRIDGE

19 JUNE 2009

The Acoustics and Music of British Prehistory is an interdisciplinary research cluster funded by the AHRC/EPSRC as part of the Science and Heritage programme. It aims to explore the intersections of music, archaeology, sound, acoustics, heritage, culture, modelling, VR, anthropology, ritual and other related topics, focusing on prehistory and British sites. It focuses (although not exclusively) on three main types of sites, open sites (such as landscapes or henges), semi-enclosed sites (such as stone circles) and enclosed sites (such as chamber tombs). Bringing together leading researchers in the field, the first public symposium is free and held in Cambridge. It aims to encourage listening as well as looking, and to explore this fascinating subject with rigour and depth.

Details at http://ambpnetwork.wordpress.com/

Pippard Lecture theatre, Cavendish Laboratory

J. J. Thomson Avenue, Cambridge, CB3 0HE

Directions at http://www.phy.cam.ac.uk/contact/directions.php

Those arriving by car can park on Clerk Maxwell Road and walk to the main building, or they can use the Madingley Road Park & Ride. The #4 bus from the park & ride stops directly in front of the Cavendish. Unfortunately on-site parking will not be available.

Timetable:

10am Arrival and Coffee

10:30 Presentations by Ian Cross - Lithophonics in Prehistory, University of Cambridge

Aaron Watson

Paul Devereux - Natural Sound Behaviour in Archaeological Contexts

Graeme Lawson - Evidenced Acoustical Behaviours and Acoustical Space: Re-integrating Sound-tools and Landscapes in Ancient Acoustics

Seb Jouan - Arup Acoustics Glasgow

Gry Baelum Nielsen - Odeon Software and Acoustics of Roman Theatres and Odea

Sarah May - English Heritage - Reverence and a Noisy Experiment at Silbury Hill

12.45 – 1.45 Lunch

1.45 - Arnd Adje Both - Chair of the ICTM Study Group for Music Archaeology

Research Questions in the Acoustics and Music of Prehistory: A Synthesis.

2.30 – Research Question Discussion

3.30 - 4.30 Round Table Discussion

4.30 Finish

Job Posting: MacOS X User Interface Developer (IRCAM)

JOB POSTING:MAC OS X USER INTERFACE DEVELOPER (C++/OBJECTIVE-C)

IRCAM, PARIS

IRCAM is a leading non-profit organization dedicated to musical production, R&D and education in acoustics and music. The organization is located in the center of Paris (France), next to the Pompidou Center. It hosts composers, researchers and students from many countries cooperating in contemporary music production, scientific and applied research. The main topics addressed in its R&D departement are acoustics, psychoacoustics, audio synthesis and processing, computer aided composition, user interfaces, real time systems. Detailed activities of IRCAM and its groups are presented on our WWW server, http://www.ircam.fr/recherche.html

The developpement position is immediately available in the analysis/synthesis team. The analysis/synthesis team is researching and developing new and advanced algorithms for sound signal analysis, synthesis and transformation.

JOB DESCRIPTION:

A full time position for the development of user interfaces for state of the art signal processing algorithms. The main target application is AudioSculpt (http://forumnet.ircam.fr/691.html) a graphical user interface for command line applications and signal processing libraries. The main task is the design and implementation of the user interfaces that provide ergonomic and intuitive access to state of the signal processing algorithms that are developed by the researchers of the team. The responsibilities include the communication with the user base at IRCAM and in the IRCAM Forum, the creative design of new approaches to sound manipulation and the integration of user feedback.

The target environment of the application is Mac OS X and the programming languages are C/C++ and objective-C.

DEVELOPMENT TASKS:

The candidate will perform the following tasks:

o design, implement and continually improve the graphical user interface for the signal processing algorithms

o integrate new algorithms into AudioSculpt and implement a new kernel interface

o continue the modernization of the internal code base

o communicate with users, propose creative solutions for sound design problems

o ensure communication with the researchers and Phd students and implement 

o set up automated testing procedures

o participate in the long term software planning process

o prepare software releases

REQUIRED EXPERIENCE AND COMPETENCE:

o Excellent knowledge of C++ and Objective C programming language.

o Excellent skills and several years of experience as MacOSX developer including graphical interfaces.

o Experience with design of user interfaces.

o Experience with STL.

o Basic understanding of digital signal processing algorithms.

o Interest for music.

o High productivity, methodical and autonomous work, creativity, good communication skills, and excellent programming style.

o knowledge of Max/MSP is desirable

AVAILABILITY:

 - The position is available in the "Analysis/Synthesis" team in the R&D department starting as soon as possible.

DURATION

The initial contract is for 1 year, an extension is intended.

LOCATION: 

IRCAM is located in the center of Paris, next to theBthe George Pompidou Museum for Modern Art at 1, pl. Igor-Stravinsky, 75004 Paris, France

EEC WORKING PAPERS:

- In order to start immediately, the candidate should preferably have EECBcitizenship or already own valid EEC working papers.

SALARY:

- According to background and experience.

TO APPLY:

- Please send your resume with qualifications and other pertinent information preferably by email to: Xavier.Rodet@ircam.fr (Xavier Rodet, head of the analysis synthesis team) and Axel.Roebel@ircam.fr

or by fax at: (33 1) 44 78 15 40, to Xavier Rodet

or by surface mail to: Xavier Rodet, Axel Roebel, IRCAM, 1 Place Stravinsky, 75004 Paris.

Job Posting: Lecturer/Senior Lecturer in Jazz Theory/Composition (NZ School of Music)

JOB POSTING: LECTURER/SNR LECTURER IN JAZZ THEORY/COMPOSITION

NEW ZEALAND SCHOOL OF MUSIC, KELBURN CAMPUS

DEADLINE: 3 JULY 2009

The New Zealand School of Music invites applications for a full time position at the rank of Lecturer/Senior Lecturer in Music beginning January 2010 if possible. The successful candidate will be a scholar and/or performer with expertise in jazz composition and arranging.

Responsibilities will include maintaining an international profile in jazz composition/arranging; undergraduate and graduate teaching in Jazz Composition and Jazz Arranging and Jazz Theory; and other duties as assigned. Doctorate in music preferred, master's degree or equivalent professional experience required.

The New Zealand School of Music is a joint initiative of Massey and Victoria Universities; the holder of this position will be an employee of Victoria University. The appointee to this position will be based in Wellington, the political and cultural capital of New Zealand.

Please send a letter expressing your interest and qualifications for this position, together with a curriculum vitae, and four sample compositions accompanied by CD recordings of each, to Ms Kushla Beacon: kushla.beacon at vuw.ac.nz. In addition, please arrange for three letters of reference to be sent/e-mailed under separate cover to Ms Kushla Beacon, to arrive by 30 June 2009.

Further information please contact the search committee chair, Nick Tipping nick.tipping at nzsm.ac.nz..

Reference A130-09Z

Applications close 3 July 2009 

For further information and to apply online visit http://vacancies.vuw.ac.nz

CFP: IX Congreso de la Rama Latinoamericana (Caracas)

IX CONGRESO DE LA RAMA LATIONAMERICANA DE LA ASOCIACIÓN INTERNACIONAL PARA EL ESTUDIO DE MÚSICA POPULAR, IASPM -AL
¿POPULAR, POP, POPULACHERA? EL DILEMA DE LAS MÚSICAS POPULARES EN AMERICA LATINA
UNIVERSIDAD CENTRAL DE VENEZUELA, CARACAS
1 - 5 JUNIO 2010
CALL FOR PAPERS

Con el objetivo de propiciar el encuentro entre los investigadores que desde distintas perspectivas disciplinarias y teóricas abordan el estudio de las músicas populares de América Latina y el Caribe, se convoca al IX Congreso IASPM-AL, que se realizará en la ciudad de
Caracas, Venezuela, del 1 al 4 de junio de 2010, en co-organización de IASPM-AL, el Capítulo Venezolano IASPM-AL/VE y la Universidad Central de Venezuela.

IASPM, International Association for the Study of Popular Music, es una asociación interdisciplinaria e interprofesional, que agrupa desde 1980 a estudiosos de las músicas populares del mundo, en sociedades mediatizadas e industrializadas. Entre sus actividades, promueve la realización de congresos mundiales y regionales y comunica sus resultados a una amplia red internacional de investigadores, a través de diferentes medios. La Rama Latinoamericana IASPM, fundada en 2000, cuenta con alrededor de trescientos miembros, repartidos en todo el continente americano y otros países del mundo. Se pueden consultar las
actas de los congresos IASPM-AL anteriores en www.hist.puc.cl/iaspm/actas.html

Estos congresos son bilingües: español/portugués.

El IX Congreso IASPM-AL propone cuatro áreas temáticas para la presentación de ponencias:

I Estudios de música popular en América Latina: genealogías, trayectorias y contextos. Interesa abordar los presupuestos intelectuales, epistemológicos y culturales que subyacen en el
desarrollo de los estudios sobre la música popular en América Latina desde de una diversidad de enfoques disciplinarios, como la historia, la antropología y la musicología, y sus relaciones con formaciones discursivas derivadas del nacionalismo, americanismo, colonialismo, indigenismo, etc. Se busca con ello indagar históricamente en torno a la definición de los campos de lo popular y masivo en relación a la música en la región, ya sea definiéndolos desde la oposición o integración a los conceptos de patrimonio, cultura local, pertenencia e identidad.

II Música popular, estética y posmodernidad en América Latina. El complejo universo musical en el que se encuentra sumergida la música popular en Latinoamérica, ha devenido en una multiplicidad de lenguajes y formas de producción, distribución, consumo y oferta, generándose así límites cada vez más imperceptibles de categorización como una forma de clasificar y definir lo que es género y estilo, en el continente. Todo esto ha trastocado la conceptualización que los
músicos e investigadores poseen sobre la producción de géneros y estilos en la región, llevándolos a vivir y crear más allá de los mismos, rebasando así las fronteras de la fusión y las músicas del
mundo como una nueva forma de definir lo que es identidad.

III Cover y versión El uso de conceptos anglosajones en los estudios de música popular, ha ayudado a establecer una lengua franca en el campo de la investigación en música popular. Sin embargo, también han dificultado el tratamiento de las particularidades de nuestras propias
músicas, cuyos procesos han debido ser adaptados a los conceptos en boga. ¿Cuáles son las particularidades del cover y la versión en la música popular latinoamericana? ¿Qué fricciones ofrecen nuestras músicas a estos conceptos?

IV Formación del músico popular. Considerando tanto ámbitos formales como informales de formación musical, interesa estimular la reflexión sobre las prácticas de transferencia de conocimientos, habilidades, teorías y estéticas explícitas o no en instancias como escuelas de
música popular; ensayos y performances; estudios de grabación; internet o producción intelectual en América Latina.

El Congreso se desarrollará en base a conferencias, sesiones plenarias, y mesas paralelas de trabajo en torno a los cuatro temas convocados. Así mismo, se ofrecerán conciertos, presentaciones de discos y publicaciones, así como actividades relacionadas con la música popular, principalmente venezolana.

Los interesados en participar como ponentes en el IX Congreso IASPM-AL deberán enviar lo siguiente hasta el 15 de noviembre de 2009:

1. Título y resumen de la ponencia en español o portugués de 300 palabras, más bibliografía.

2. Área temática en la que desea participar.

3. Nombre del autor, institución, profesión, dirección postal y electrónica y currículo de 200 palabras, destacando sus ponencias y publicaciones anteriores.

Los resúmenes deben ser enviados a comitedelectura@gmail.com Escriba su nombre y apellido en el Asunto del Mensaje.

El resultado de la evaluación del Comité de Lectura se informará a partir del 15 de enero de 2010.

El Comité de Lectura del IX Congreso IASPM-AL está integrado por:

Maria Amélia Garcia de Alencar, Universidade Federal de Goiás, Brasil
Wander Nunes Frota, Universidade Federal do Piauí, Brasil
Marita Fornaro, Universidad de la República, Uruguay
Juan Francisco Sans, Universidad Central de Venezuela
Javier Osorio, Pontificia Universidad Católica de Chile

Upcoming Conf: International Conference on Music Performance Analysis 2009 (Switzerland)

INTERNATIONAL CONFERENCE ON MUSIC PERFORMANCE ANALYSIS 2009
ICOMPA 2009
LUCERNE UNIVERSITY OF APPLIED SCIENCES AND ARTS, SWITZERLAND
1 - 2 JULY 2009

Lucerne University of Applied Sciences and Arts Musikpavillon, Obergrundstrasse 9, Luzern (Switzerland)

Symposium 1: Perspectives on 'Body and Soul' (July 1)

The symposium explores several recorded versions of Johnny Green's famous Broadway show tune 'Body and Soul' (1930). Speakers: Martin Pfleiderer (Hamburg), Cynthia Folio / Alexander Brinkman (Philadelphia), Olivier Senn (Luzern), John Gunther (Boulder), José Antonio Bowen (Austin).

Symposium 2: Methods of music performance analysis (July 2)

The symposium addresses methodological questions in the analysis of music performance. Speakers: Richard Turner (Saint Julien de Jonzy), Olaf Eggestad (Oslo), Matthias Arter (Bern), Elena Alessandri (Lugano), Marc-Antoine Camp / Lorenz Kilchenmann (Luzern), Jürg Huber (Luzern), Claudia Di Luzio (Berlin).

Detailed conference programme and registration: www.hslu.ch/icompa.

The conference is organized by Lucerne University of Applied Sciences and Arts in cooperation with the International Association of Schools of Jazz (IASJ).

CFP: CIM10 Nature versus Culture (Sheffield)

CIM10 NATURE VERSUS CULTURE
UNIVERSITY OF SHEFFIELD, UK
21 - 24 JULY 2010
CALL FOR PAPERS

The Conferences on Interdisciplinary Musicology promote collaborations between sciences and humanities, between theory and practice, as well as interdisciplinary combinations that are new, unusual, creative, or otherwise especially promising. CIM10 will focus on the relationship between nature and culture in musical behaviour, thinking and sound.

With the influence of evolutionary theory, and the interpenetration of the approaches and methods of the sciences and arts, researchers from many different fields have become interested in how culture and biology shape musical phenomena. To what extent is the music that gets made (its materials and structure) a direct product of physical and biological properties? How is the experience of music governed by biological mechanisms and cultural processes?

The conference aims to bring together representatives of the arts and humanities, the sciences, and musical practice who are involved in research on culture and nature in music. Researchers from all relevant disciplines are invited to contribute theoretical, empirical and computational studies.

The following topic areas illustrate the scope of the conference theme:

• Music’s evolutionary origins
• Cross-cultural comparison of musical phenomena
• Linguistic influences on music cognition
• How culture and biology shape the phenomenal experience of musical expectation
• Biological and cultural influences on the experience of emotions with music
• Relationship between emotional experience with music and emotions in daily life
• Development of musical skills
• Musical universals and musical specializations
• Cognitive and physical constraints shaping musical materials and compositional practices

Submissions are encouraged that are related to these sub-areas or the general theme of nature versus culture

Submission details:
In keeping with the aim of CIM to promote interaction between disciplines, each submission must have at least two authors who represent different disciplines. Extended abstracts should be structured in the following seven headlines:

1. Background in the first discipline
2. Background in the second discipline
3. Aims
4. Main Contribution
5. Implications for musical practice
6. Implications for musicological interdisciplinarity
7. References

In empirical and computational contributions, the “main contribution” should include a summary of method and results. Each submitted abstract should be followed by a short biography (CV) of the (first) two authors. The whole file should not exceed 1000 words, including all headings, names of authors, their affiliations, email addresses and biographies. The preferred format of the presentation (talk or poster) should also be indicated. All submissions must address the conference theme. Abstracts should be submitted in English either as plain text or in an attached
document (MS Word). They will be reviewed anonymously by a panel of international experts.

Deadline: 15th of September 2009

E-mail submissions to: CIM10@sheffield.ac.uk

Further information from: http://www.sheffield.ac.uk/cim10/index.html

CIM10 is directed by:
Dr Nicola Dibben, and Dr Renee Timmers, Department of Music, University of Sheffield, Sheffield, UK

CIM10 is presented in collaboration with the European Society for Cognitive Sciences of Music (ESCOM), and the Society for Education, Psychology and Music Research (SEMPRE). See: www.sheffield.ac.uk/cim10/

CFP: Music without Walls? Souce Studies in the 21st Century (Queen's University, Belfast)

INTERDISCIPLINARY SYMPOSIUM: MUSIC WITHOUT WALLS?

SOURCE STUDIES IN THE 21ST CENTURY

SCHOOL OF MUSIC AND SONIC ARTS, QUEEN'S UNIVERSITY, BELFAST

16 - 17 DECEMBER 2009

CALL FOR PAPERS

Website: http://www.symposiummusicwithoutwalls.co.uk

The symposium ‘Music without Walls?’ is being held to coincide with the twentieth anniversary of the fall of the Berlin Wall and to celebrate subsequent developments in music source studies. The aims of this interdisciplinary symposium are to present and contextualize recent findings and to discuss how new technologies may facilitate and enhance our understanding of these issues.

Proposals exploring any aspect of this theme are invited, although those relating to new discoveries, archival research in former ‘Eastern-Bloc’ countries, case studies of various geographical locales, the implications of technological developments and future directions in source studies, are particularly encouraged.

The symposium will open with a research seminar given by Dr Michael Maul (Bach-Archiv, Leipzig) Wednesday 16 December 2009, 1 pm.

Individuals may submit one proposal in the form of an abstract of not more than 300 words (individual papers), or not more than 400 words (round table sessions).

The abstract should be preceded by information under the following headings:

NAME, INSTITUTION, POSTAL ADDRESS, EMAIL ADDRESS.

Abstracts may be emailed to Alison Dunlop adunlop04@qub.ac.uk Attachments (in MS word file or .rtf format) are preferred for the text of abstracts, but all attachments should be backed up with a plain-text version in the main email.

Deadline for receipt of abstracts is 1 September 2009.

Alison Dunlop

School of Music and Sonic Arts (Music Building)

University Road

Belfast

Northern Ireland

BT7 1NN

Tel : +44 (0)28 9097 5337 (School Office)

http://www.symposiummusicwithoutwalls.co.uk/

Postdoctoral Associate (Duke University)

POSTDOCTORAL ASSOCIATE IN LATINO/A STUDIES

GLOBAL SOUTH AT DUKE UNIVERSITY

DEADLINE: 31 MAY 2009

The Program in Latino/a Studies in the Global South at Duke University (Latino/a Studies) invites applications for a one to two-year postdoctoral fellowship to begin in August 2009. Fellows will work under the mentorship of a Duke faculty member whose research and teaching focus on the field of Latino/a Studies, across any discipline of the Humanities and Social Sciences. The goal of the postdoctoral fellowship is to increase the field of scholars who have potential for becoming tenure track faculty teaching in Latino/a Studies at Duke University or peer institutions. Postdoctoral awardees will devote their efforts both to research and teaching.

Fellows will be expected to:

* Develop and carry out a research project under the guidance of a faculty mentor.

* Present the proposed research to at least one academic audience within Duke as well as at one conference or a seminar outside the University.

* Write up and submit for publication the results of research or scholarship during the period of the appointment.

* Design and teach a maximum of one course per semester, the course topic to be determined and developed in collaboration with the faculty mentor and Latino/a Studies director.

* Possibly collaborate with the Latino/a Studies director and staff in coordinating an on-site conference related to the role of Latino/a Studies in higher education, in lieu of teaching one course one semester.

* Conform to standards of responsible conduct in research and comply with all applicable University and departmental policies and procedures.

* Participate in open and timely discussion with the faculty mentor and program director regarding all facets of the fellow’s research and educational activities.

* Comply with the Duke University Postdoctoral Policy available at: http://postdoc.duke.edu/policies.html.

The fellow will be appointed as Postdoctoral Associate for one academic year, beginning in August 2009, with the possibility of extending the appointment for one additional year based upon evaluations of the appointee’s fit with the program’s needs. The fellow will receive an annual stipend of $45,000, plus the applicable institutional fringe benefit package, and an additional $3,500 in research funds. Research funds may be used for travel, registration and expenses associated with attending professional meetings or workshops, membership dues for professional societies, and journal subscriptions. Fellows will be provided shared office space and if needed, a laptop computer. Faculty mentors may supplement the Fellows’ research funds with additional funding for travel from their own grants. Applicants should communicate with potential mentors about this possibility before submitting an application.

ELIGIBILITY

Applicants must have completed a doctoral or professional degree between July 1, 2004 and July 1, 2009. The candidate’s dissertation topic must be within the field of Latino/a Studies. Fellows will be selected on the basis of academic excellence, prior record of accomplishments, teaching experience, potential to bring diverse ideas and energy to a new and growing program in Latino/a Studies, compatibility of research interests with a sponsoring mentor, and ability to interact successfully with a broad range of faculty members, students and staff. The fellowship is limited to US citizens and permanent residents.

APPLICATION AND SELECTION PROCESS

The application should be submitted through mail to the address listed below. Application materials will be reviewed by the program director and steering committee. Incomplete submissions will not be reviewed. Required application materials include:

* Cover letter to include: personal statement describing the applicant's interest and relevant training and experience in Latino/a Studies; a declaration that the applicant is a US citizen or permanent resident; the candidate's (anticipated) date of PhD; and name of Duke mentor(s)

* Curriculum vitae

* Official transcript of academic experience

* Statement of research plans and goals

* Description of courses taught in the past and a Latino/a Studies course proposed for teaching during the fellowship

* Sample publications and/or dissertation materials (40 pages maximum)

* Supporting letter from the proposed mentor at Duke University

* Two letters of recommendation. Recommendation letters may accompany the application in separate sealed envelopes, signed by the author of the letter, or may be mailed directly to us by the person recommending the candidate.

* Rolling review of applications will begin on April 30, and will continue through May 31, 2009. Early submissions are preferred. Awards will be announced by mid-June, 2009.

Mail Applications to:

Program in Latino/a Studies in the Global South

c/o Jenny Snead Williams, Executive Director

223 Friedl Bldg, East Campus, Box 90441

Duke University, Durham, NC 27708

Inquiries may be directed by e-mail to: jennysw@duke.edu

CFS: Miami ISCM World Music Days (Sydney)

MIAMI SECTION ISCM WORLD MUSIC DAYS

SYDNEY, AUSTRALIA

30 APRIL - 9 MAY 2010

CALL FOR SCORES

The Miami Section of the International Society for Contemporary Music  (ISCM) at Florida International University (FIU) is pleased to announce a call for scores for submission to the 2010 World Music Days being held in Sydney, Australia April 30 through May 9, 2010. As an Associated Section of the ISCM we will be submitting up to 6 works to represent the USA at the festival. Although the ultimate programming choices are made by the festival, in only our 7th year submitting works we are proud to be able to state that a number of works chosen by our panel and submitted to the WMD have been selected for inclusion in several of these important international festivals. Most recently music by William Kleinsasser, Aaron Cassidy, Dorothy Chang, Ashley Rose Fure, and Sam Pluta has been selected and presented at these events.

Please note that this call is for US composers only (i.e. citizens or permanent residents of the US). In addition as per WMD guidelines composers whose works were selected for submission by us in 2008 for Sweden and/or performed at the World Music Days in Lithuania in 2008 are not eligible.

Works for the following forces are being requested (please note specific details): All submissions must come from within these categories. No addition of extra instruments to categories is allowed. Works written for subsets of these categories are permitted. Submitted works must have been composed in 2004 or later.

1. Large chamber ensemble: 1.1.1.1 1.1.1.1 2Perc Pno Hp 2.1.1.1, woodwind with standard doublings, saxophone available; 2. Ensemble Offspring lineup: flute, 2 clarinets (both double on bass clarinet), piano, 2 perc, 2 violins, cello, optional didjeridu (n.b. the didjeridu is an improvising tradition); 3. Solos, duos, and trios from the Ensemble Offspring, lineup listed above, with electronics; 4. Young composer special entry section: Ensemble Offspring lineup (without

didjeridu) - open to composers aged 35 and under as of Thursday 6, May, 2010; 5. Topology lineup: soprano or alto sax, piano, vln, vla, db (all amplified, video playback available). Pieces with a political agenda or intent are especially welcome in this category; 6. String octet (4.2.2);

7. Big band; 8. Saxophones: solo and multiple saxophones (including saxophone orchestra); 9. Electric guitar, bass guitar (4 string fretless, 6 string or 8 string), drumkit (acoustic or v-drums,

double-kick welcome); 10. MATCH Percussion with Michael Duke lineup: 2 perc (economical setups welcome though not necessary), one saxophone; 11. Flute, bassoon, piano, harpsichord; 12. Cello and piano; 13. Solo piano or duo pianos (2 pianos or piano 4 hands); 14. Sydney Children's Choir lineup: SA, SSA, SSAA (further divisions possible); 15. Sydney Chamber Choir lineup: a capella choral music on a sacred theme (SATB, max divisi SSAATTBB, solos possible within the choir); 16. Sound sculptures and audio video installation art; 17. Radiophonic works

duration of up to 30 minutes, for broadcast on ABC Classic FM.

Up to 2 works may be submitted with a processing fee of $10 US for the first work and $5 US for the second. Please make checks payable to the FIU SCHOOL OF MUSIC – checks made out incorrectly will cause the submission to be returned/rejected (do not send cash). Credit card

payment is acceptable in which case you must include a signed statement authorizing the use of the card for the amount specified with the type of card, card number, and expiration date (credit card submissions with incomplete authorizations will not be accepted). Submissions without the

proper method of payment will be returned/rejected.

All submissions must be accompanied by the following materials and information:

a. Two copies of the score or two copies of audio / video material for non-notated works and projects.

b. A short biography of the composer in English (maximum 200 words in Word or RTF format saved onto a CD or USB flash drive).

c. A recent photo of the composer (TIFF or JPEG format saved onto a CD or USB flash drive).

d. Proof of composer’s nationality (passport preferred).

e. Mailing address and email address of the composer, with website of the composer or link to the publisher, if available.

f. A recording of the submitted work if possible (CD preferred or DVD for sound installations, MIDI recordings are fine).

g. Program notes of the submitted work in English (maximum 200 words in Word or RTF format saved onto a CD or USB flash drive).

h. The year of composition. It is required that the submitted works must be composed in or after 2004. Please specify if the work has not been premiered, or not performed in Australia.

i. An accurate estimate of the duration of the work. Duration of up to a maximum of 15 minutes for any submitted work is recommended. Shorter works are welcome.

j. Any other necessary information/documentation relevant for consideration by the Jury and organizers, apart from the recording or score (e.g., list of equipment and amplification etc.).

k. Notification of the category or categories into which this composition falls (1-17).

l. Declaration of authorship, including a declaration that the submitted work does not infringe upon the copyright of any other person or company in any way.

By submitting to the festival, the composer or publisher must provide all necessary performing materials (including scores and parts, special uncommon instrument(s), audio video materials, etc.) at a date specified by the festival, if selected.

Given the nature of the requirements from Sydney scores should not be submitted anonymously – however the identity of the composer will be masked from the jury during the selection process. All entries will be treated with great care however the ISCM and the organizer will not take responsibility for the loss or damage of scores, audio/video discs or any other submitted materials. Please send SASE if you wish that your materials be returned. Submissions received without SASE and not selected may be recycled.

All submissions must be postmarked by July 1, 2009. Selected works will be announced in August. Submissions that do not meet the conditions or deadlines specified will not be considered.

Please send all materials to:

Orlando Jacinto Garcia, ISCM Miami Section

Florida International University

School of Music WPAC 145B

Miami, Florida 33199 USA

For more information regarding the World Music Days please visit the

ISCM page at http://www.iscm.nl/

For more information about the Miami ISCM please visit our web page

located at http://www.orlandojacintogarcia.com/index.php/34

Job Posting: Assoc Prof/Sen Lec in Musicology (Nottingham)

JOB POSTING: ASSOCIATE PROFESSOR/SENIOR LECTURER IN MUSICOLOGY
UNIVERSITY OF NOTTINGHAM, UK
DEALINE: 26 MAY 2009

The Department of Music invites applications for the above post. Candidates should have a substantial record of internationally recognised research achievement, ability to recruit and successfully supervise research students, and clearly defined strategies for securing research grant income. A commitment to undergraduate and postgraduate teaching, and to Departmental administration, is essential.

Candidates are welcome from all areas of musicology, and are particularly welcome from those able to build upon existing areas of research strength in the Department.

Salary will be within the range £46,278 - £55,259 per annum, depending on qualifications and experience (salary can progress to £65,965 per annum, subject to performance). This post is available from 31 August 2009 or as soon as possible thereafter and will be offered on a permanent contract.

Informal enquiries may be addressed to Dr Robert Adlington, Head of Department, tel: +44 115 951 4765, Email: Robert.Adlington at nottingham.ac.uk.

For more details and/or to apply on-line please access: http://jobs.nottingham.ac.uk/CE30648A. If you are unable to apply on-line please contact the Human Resources Department, tel: +44 115 951 3262 or fax: +44 115 951 5205.

Closing date: 26 May 2009.

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

SOUND PROPERTY? INVESTIGATING THE LEGAL STATUS OF SOUND RECORDINGS
AN INTERDISCIPLINARY CONFERENCE ON MUSIC & COPYRIGHT
UNIVERSITY OF SALFORD
28 - 29 MAY 2009

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

Keynote Speakers Include:

Nicholas Cook, University of Cambridge. Music: A Very Short Introduction & Music, Imagination & Culture

Simon Frith, University of Edinburgh Taking Popular Music Seriously; Sound Effects; Editor, Music & Copyright

Kembrew McLeod, University of Iowa Freedom of Expression: Resistance & Repression in the Age of Intellectual Property; Owning Culture: Ownership, Authorship & Intellectual Property

Further details at:
http://www.adelphi.salford.ac.uk/adelphi/p/?s=23&pid=90

Job Posting: Deputy Keeper - Musical Instrument Collection - (Horniman Museum)

JOB POSTING: DEPUTY KEEPER - MUSICAL INSTRUMENT COLLECTION
HORNIMAN MUSEUM
PART TIME POST - 2 DAYS PER WEEK
DEADLINE: 10 JUNE 2009
Salary £31, 957 pro rata

The Horniman Museum is a registered charity funded by the Department for Culture, Media and Sport. Its collections encompass and illustrate the world we live in, and are reflected in the Museum's subject specialisms: Anthropology, Musical Instruments and Natural History. Since its foundation in 1901, the Museum has collected and documented instruments from across the world through fieldwork. It is also noted for its fine historical collections which are particularly
rich in material from Britain and continental Europe. Its musical instrument collection now numbers over 7,500 examples and has been awarded designated status.

We are looking for a part time curator with expert knowledge in a specific collecting area, and a willingness to broaden their knowledge of the field. This post offers an excellent opportunity for a person with a degree, and either a postgraduate qualification or extensive experience in a music related area. At least two year's experience of curatorial or other relevant work is required.

The person appointed will be responsible for developing and documenting areas of the collection interpreting the collection through exhibitions, publications and presentations, developing links
with external academic institutions and representing the Horniman with national/international bodies.

If you would like to obtain a Job Description and Application Form, then please visit our web site at: http://www.horniman.ac.uk/more/vacancies.php

The closing date for completed applications is: Wednesday 10th June 2009.

The Trust is committed to equality of opportunity and welcomes applicants from all sections of the community. Registered Charity in England and Wales No. 802725

CFP: AdMIRe: International Workshop on Advances in Music Information Research 2009 (San Diego)

AdMIRe: INTERNATIONAL WORKSHOP ON ADVANCES IN MUSIC INFORMATION RESEARCH 2009
SAN DIEGO, CALIFORNIA
14 -16 DECEMBER 2009
CALL FOR PAPERS

http://www.cp.jku.at/conferences/admire2009/
In Conjunction with the IEEE International Symposium on Multimedia 2009

The International Workshop on Advances in Music Information Research (AdMIRe) 2009 will serve as a forum for theoretical and practical discussions of cutting edge research in the fields of Web mining for music information extraction, retrieval, and recommendation as well as in mobile applications and services. Research on multimodal extraction, retrieval, and presentation with a focus on the music and audio domain is especially welcome.

So are submissions addressing concrete implementations of systems and services by both academic institutions and industrial companies. Workshop papers will be official publications of IEEE, which will be included in IEEEXplore and also be printed as part of the conference proceedings.


MOTIVATION:
Music information retrieval (MIR) as a subfield of multimedia information retrieval has been a fast growing field of research during the past decade. In traditional MIR research, music-related information were extracted from the audio signal using signal processing techniques. These methods, however, cannot capture semantic information that is not encoded in the audio signal, but nonetheless essential to many consumers, e.g., the meaning of the lyrics of a song or the political motivation or background of a singer.

In recent years, the emergence of various Web 2.0 platforms and services dedicated to the music and audio domain, like last.fm, MusicBrainz, or Discogs, has been providing novel and powerful, albeit noisy, sources for high level, semantic information on music artists, albums, songs, and others. The abundance of such information provided by the power of the crowd can therefore contribute to MIR research and development considerably. On the other hand, the wealth of newly available, semantically meaningful information offered on Web 2.0 platforms also poses new challenges, e.g., dealing with the huge amount and the noisiness of this kind of data, various user biases, hacking, or the cold start problem.

Another recent trend, not at last addressable to platforms like Apple's iPhone or Google's Android, are intelligent user interfaces to access the large amounts of music usually available on today's mobile music players and the corresponding services. Mobile devices that offer high speed Web access allow for even more music to be consumed via Web services. Dealing with these vast amounts of music requires intelligent services on mobile devices that provide, for example, personalized and context-aware music recommendations. The current emergence and confluence of these challenges make this an interesting field for researchers and industry practitioners alike.

TOPICS OF INTEREST:
Music Information Systems
Multimodal User Interfaces
Context-aware Music Applications
User Modeling and Personalization
Social Networks and Collaborative Tagging in the Music and Audio Domain
Web Mining and Information Extraction in the Music Domain
Combination of Web-based and Signal-based Information Extraction Methods
Music Recommendation
Semantic Web, Linking Open Data and Open Web Services for the Music and Audio Domain
Ontologies, Semantics and Reasoning in the Music and Audio Domain
Evaluation, Mining of Ground Truth and Data Collections
Music Indexing and Retrieval Techniques
Exploration and Discovery in Large Music Collections
Multimodal Semantic Content Analysis


ORGANIZERS:
Markus Schedl Department of Computational Perception,
Johannes Kepler University, Linz, Austria
Òscar Celma Barcelona Music and Audio Technologies,
Barcelona, Spain
Peter Knees Department of Computational Perception,
Johannes Kepler University, Linz, Austria
Tim Pohle Department of Computational Perception,
Johannes Kepler University, Linz, Austria

PROGRAM COMMITTEE:
Jean-Julien Aucouturier Temple University, Japan Campus, Tokyo, Japan
Luke Barrington University of California, San Diego, CA, USA
Stephan Baumann German Research Center for AI, Kaiserslautern, Germany
Gijs Geleijnse Philips Research Laboratories, Eindhoven, the Netherlands
Emilia Gómez Music Technology Group, Universitat Pompeu Fabra, Barcelona, Spain
Fabien Gouyon Institute for Systems and Computer
Engineering of Porto, Porto, Portugal
Paul Lamere the echonest, Davis Square, Somerville, MA, USA
Elias Pampalk last.fm, London, UK
Jeremy Pickens FX Palo Alto Laboratory, Palo Alto, CA, USA
Yves Raimond BBC Audio & Music Interactive, London, UK
Andreas Rauber Department of Software Technology and
Interactive Systems, Vienna University of Technology, Vienna, Austria
Dominik Schnitzer Austrian Research Institute for Artificial Intelligence, Vienna, Austria
Douglas Turnbull Department of Computer Science, Swarthmore College, Swarthmore, PA, USA
Gerhard Widmer Department of Computational Perception,
Johannes Kepler University, Linz, Austria

IMPORTANT DATES:
Full Paper Submission Deadline: July 20, 2009
Notification of Results: August 30, 2009
Camera Ready Submission: September 25, 2009

CFP: Listening to Music - The Anatomy of Listening (Glasgow)

LISTENING TO MUSIC: THE ANATOMY OF LISTENING

UNIVERSITY OF GLASGOW

13 - 14 JUNE 2009

CALL FOR PAPERS

Proposals are invited for presentations to a weekend Colloquium on the topic of Listening to Music: The Anatomy of Listening to be held at the Centre for Music Technology, University of Glasgow on June 13 and 14, 2009.

Presentations may be of up to 30 minutes (20 minutes plus 10 minutes for discussion) on any specific subject which falls within this field. Proposals from musicians, scholars or scientists (including postgraduate students) in any discipline are welcome. Please send proposals to Prof Graham Hair, Centre for Music Technology, Rankine Building, Glasgow University, Oakfield Avenue, Glasgow, G12 8LT or (preferably) email them to him at graham@n-ism.org by May 31st, 2009.

Contributors may address aspects of ‘listening to music’ from the perspective of their own disciplines, or propose dialogue with disciplines whose insights might provoke them to see their own work from new perspectives or in a broader context.

The Colloquium is funded by the Royal Society of Edinburgh, and the associated performances by the Performing Rights Society Foundation and the Scottish Arts Council. The weekend will include invited presentations from speakers and performers including:

• The Edinburgh Quartet

• Martin Jones (pianist)

• Jane Manning (singer)

• Aaron Williamon (Director, Centre for Performance Science, Royal College of Music)

• Ingrid Pearson (Graduate School, Royal College of Music)

• Amanda Bayley (University of Wolverhampton)

• Carola Boehm (Centre for Contemporary Arts, Manchester Metropolitan University)

• Prof Roger Watt (Stirling University)

• Sandra Quinn (Nottingham University)

• Prof Bruce Mahin (Radford University, Virginia)

Registration for the Colloquium is free. Travel and accommodation subsidies may be provided for selected delegates, especially graduate students. For details contact Professor Hair as above.

Announcement continued at http://www.n-ism.org/Papers/anatomy_of_listening_CFP.pdf

Further events and venue notified via http://www.n-ism.org/diary.php

CFP: American Music (journal)

AMERICAN MUSIC

CALL FOR PAPERS

American Music (1983–) invites submissions for possible publication. Authors are encouraged to visit the journal website at: http://www.press.uillinois.edu/journals/am.html

American Music was the first journal published devoted exclusively to American music and to music in America. Articles cover American composers, performers, publishers, institutions, events, and the music industry.

Recent article topics have included: Duke Ellington and early radio; John Cage’s HPSCHD; the WPA music copying project; defining the Easy Listening era; Milton Babbitt in academia; the soul roots of Bruce Springsteen; the benefit concerts of Jack Benny and Danny Kaye; and the boyhood of Henry Cowell. The journal also includes interviews with composers and reviews of

books, recordings, films, websites, and concerts.

Since its inception, American Music has been published by the University of Illinois Press, which was established in 1918 as a not-for-profit scholarly publisher at the University and is one of the founding members of the Association of American University Presses in 1937. UIP is ranked as one of the country's larger and more distinguished university presses and publishes works of high quality for scholars, students, and the citizens of the state and beyond.

SUBMISSION GUIDELINES:

Prospective articles—typically 20 to 70 pages, double spaced--should be submitted electronically to michael_hicks@byu.edu. or in hard copy to Michael Hicks, Editor, American Music, C-550 HFAC, Brigham Young University, Provo, UT 84602. (Please note that except for originals of illustrative materials, hard copy submissions are not returned to authors.) Electronic file attachments should be in Microsoft Word or rich text format.

The author's full name, mailing address, and e-mail address should appear only in the cover letter, as submissions are reviewed anonymously. Please ensure that your identity does not appear in running heads, references, or notes. Page numbers should appear at the top right of all pages after page 1. All parts of the article, including endnotes, quotations, song texts, bibliographies and discographies, appendices, and captions for illustrations, must be double spaced (and if in hard copy, printed on one side of the sheet only, on 8 ½ by 11" paper with 1" margins). Music examples, figures, tables, and illustrations must be numbered and presented

separate from the main body of the text, with the desired location clearly indicated in the text. Submissions not conforming with these instructions may be returned to the author for correction prior to consideration. American Music follows the guidelines in the 15th edition of The Chicago

Manual of Style.

Books, recordings, and multimedia items should be addressed to American Music, c/o University of Illinois Press, 1325 S. Oak St., Champaign, IL 61820.

American Music is available online to subscribers at http://am.press.uiuc.edu/.

Job Posting: Popular Music Studies (Queensland, Australia)

JOB POSTING: LECTURER, POPULAR MUSIC
QUEENSLAND CONSERVATORIUM GRIFFITH UNIVERSITY, AUSTRALIA
DEADLINE: 29 MAY 2009

Lecturer Popular Music *
*Level B, Continuing, Full Time, Gold Coast campus

Reference: QCM0206/09

Overview:*
The Queensland Conservatorium Griffith University wishes to appoint a highly motivated creative musician to the position of Lecturer in Popular Music. This is a teaching focussed position, with the expectation that the appointee will contribute to the research profile of the Conservatorium.

*The role:*
The role will be primarily responsible for teaching within the Bachelor of Popular Music programme, in areas such as sound / audio production, creative music technology, and ensemble work.

The position also entails opportunities for development in the applicant's area of expertise, and there is an expectation of ongoing contribution to the artistic life of the Conservatorium, particularly within the Gold Coast campus.

*The person*:
The successful applicant will have a strong record of achievement in the music industry as a professional performer / recording artist, composer/ songwriter / arranger, producer / entrepreneur, as well as prior tertiary teaching experience*.*

*Salary Range:*
$70,566 - $83,799 per annum. Salary package including 17% superannuation contribution: $82,563 - $98,046 per annum.

For application queries, contact Ms Sue Thorne, HR Officer on (07) 555 28151
For position queries, contact Dr Donna Weston on (07) 555 29007

*To apply:* check out the website Applications close: 29 May 2009

http://www.seek.com.au/users/apply/index.ascx?Sequence=94&PageNumber=1JobID=15367791

2 Job Postings: General Education in Music (Middle Tennessee State University)

JOB POSTINGS: FULL TIME TEMPORARY INSTRUCTOR/ASSISTANT PROFESSOR - GENERAL EDUCATION COURSES IN MUSIC

MIDDLE TENNESSEE STATE UNIVERSITY

First position:

The School of Music at Middle Tennessee State University seeks a Full-Time Temporary instructor or assistant professor to teach General Education courses in music. This is a one-year appointment, with the possibility of renewal. Teach undergraduate sections of the General Education course in music (Introduction to Music), and possibly other courses, depending on the strengths of the individual selected. Masters in music and college teaching experience required. Experience in teaching of large class sections desirable. Experience in online teaching or web-assisted delivery of class materials desirable.

Second position:

The School of Music at Middle Tennessee State University seeks a Full-Time Temporary instructor or assistant professor (Pos #, 131420) to teach General Education courses in music, with the possibility of teaching World Music or music history, depending on the qualifications of the selected faculty member. This is a one-year appointment, with the possibility of renewal. Teach undergraduate sections of the General Education course in music (Introduction to Music), possibly teach other courses, depending on the strengths of the individual selected. Masters in music and college teaching experience required, doctorate or ABD desirable. Experience in teaching of large class sections desirable. Experience in online teaching or web-assisted delivery of class materials desirable.

To apply for either position:

Go to http://mtsujobs.mtsu.edu and follow the instructions on how to complete an application, attach documents, and submit application online. If you have questions, please contact Dr. Hilary Stallings at 615-898-5986. Review of applications will begin on June 01, 2009 and continue until the position is filled. Rank and salary commensurate with education and experience. Proof of U.S. citizenship OR eligibility for U.S. employment will be required prior to employment (Immigration Control Act of 1986).

Job Posting: Curatorial Assistant and Research Assistant Positions (Phoenix)

JOB POSTINGS: CURATORIAL ASSISTANT AND RESEARCH ASSISTANT POSITIONS

MUSICAL INSTRUMENT MUSEUM, PHOENIX, ARIZONA

The Musical Instrument Museum (MIM) of Phoenix, Arizona is seeking a Curatorial Assistant for a full-time position providing clerical and research support for the Curatorial team.

Requirements include a minimum master’s degree or equivalent experience, preferably in music or a music-related field. Prior work in professional and office environments. Proficiency with word processing, spreadsheet and other computer programs, including Microsoft Office suite and databases. Experience working with photo files and other media. Experience with online searching and research. Museum or library experience is desirable. Ability to work independently as well as part of a team.

Job duties are to include assisting the curatorial team with clerical and research tasks related to: acquisitions and loans, collections records, research for exhibitions and publications, and general curatorial inquiries.

MIM is also seeking a Curatorial Research Assistant to do research related to music history, iconography, terminology, performance practice, organology and the cultural and social significance of musical instruments and traditions. The Research Assistant will also support communication between the Curatorial Department and other departments including Registration, Conservation, Exhibits and Multimedia.

Other information:

Both positions report to the Head of the Curatorial Team. As the museum evolves, some of the duties of this position may change. These are 1-year contract positions located in Phoenix, AZ. No relocation is provided.

Applications will be reviewed on an ongoing basis and will be accepted until the position is filled. More information regarding MIM is available on the website at www.themim.org.

Qualified candidates should submit a letter of interest, resume or CV, and three professional references to:

Human Resources – Curatorial Assistant or Research Assistant

Musical Instrument Museum (MIM) 

8550 S. Priest Drive

Tempe, AZ 85284

Research Festival (Orpheus Research Centre in Music, Belgium)

RESEARCH FESTIVAL

ORPHEUS RESEARCH CENTRE IN MUSIC [ORCIM], GHENT BELGIUM

16 - 18 SEPTEMBER 2009 

This festival is the culmination of over a year of intensive research in-and-through musical practice by ORCiM research fellows, a lot of them affiliated with other AEC or Partner (documa) Institutes. In a collaborative research environment and through performances, presentations, installations, discussions, ORCiM Research Fellows will share aspects of their insights into music with other fellow researchers.

Further more the Festival will also reveal future directions for ORCiM, as it disseminates the work of its researchers in Europe and around the world.

In occasion of the festival, the ORCiM will also present the first editions of its new publications series.

More information is available through 

http://www.orpheusinstituut.be/en/research-centre/activities

CFP: Taking Pleasure Seriously: Theorising Pleasure and Music -British Forum for Ethnomusicology (King's College, London)

TAKING PLEASURE SERIOUSLY: THEORISING PLEASURE AND MUSIC
BRITISH FORUM FOR ETHNOMUSICOLOGY - ONE DAY CONFERENCE
KING'S COLLEGE LONDON
7 NOVEMBER 2009
CALL FOR PAPERS
http://bfe2009.net/4.html

Taking pleasure in music is a cross-cultural phenomenon; indeed, it has a proven neurological basis. But these pleasures have also, in many cultures, long been subject to aesthetic discourses about the nature of music and its peculiar powers for good and for ill. They are often multiple: in the sociability of dance; in the seduction of love song; in ecstatic union with the Divine beloved. Pleasures are there too in analysing what makes music meaningful to people; in burying oneself in the notes; in finding an uncut diamond in the dust of the archive. Even the most extreme grindcore or the most taxing avant-garde composition affords its aficionados highly cultivated aesthetic, intellectual and social pleasures. Beneath and beyond music’s ritual functions, its significations, and its connections with wider society, the most fundamental reason we listen to and think about music is because it gives us pleasure..

And yet, many music scholars still seem uncomfortable about taking music’s pleasures seriously – about examining this most important of music’s affordances in its own right. There are, of course, illuminating exceptions. But music’s pleasures seem too often to be reduced to the erotic, or invoked as an ethnographic deity, or hedged around, or altogether absent. We seem to be hamstrung by two problems with the word pleasure itself: its post-Enlightenment associations with the trivial and optional, with “non-essential” leisure as opposed to “essential” work; and on the other hand, its recently intensified erotic connotations – after Sontag, Barthes, Lacan and Foucault, pleasure in the arts has ever more insistently been folded into the erotic, to the exclusion of other kinds of pleasures, and the continued severance of the realm of pleasure from the realm of so-called “serious” concerns.

Yet other cultures, at other times, have treated the domain of pleasure not as a pendant to the domain of work, but as its indispensable antithesis, essential to the functioning of good government: of the self, of social relations and of the state. A starting position for this conference might be the proposition that our understanding of any of the world’s musics, past or present, is weakened if we do not take all of music’s pleasures seriously, and consider their capacity to undertake serious work in human affairs. To do so, however, means thinking our way beyond the current dualism of work vs. leisure, transcendence vs. triviality; and beyond the honey-trap of music’s erotic pleasures, however important. Ideas for papers might include:

Examining current problems in theorising pleasure and music, e.g.:

• Have ethnomusicologists, faced with the West’s association of the “exotic” with sexuality, had to occlude music’s pleasures in favour of social function in order for non-Western musics to be taken seriously?
• Has musicology had to insist on the “seriousness” of art music to earn respect as a scholarly discipline?
• Do recent examinations of pleasure in popular music offer new paradigms for studying other kinds of music? Or are they still dependent upon a dualism that insists on the inconsequentiality of pleasure?
• Do studies in the area of music cognition offer ways forward?
• What might be the implications for music studies of foregrounding the pleasures of music?

Conceptualising alternative theoretical approaches to pleasure and music, e.g.:

• How do we begin to dismantle the trivial–transcendent dualism in music?
• What alternative frames do other cultures employ in thinking about and practicing pleasure in music?
• How do we move beyond the erotic without diminishing its importance in music? How do we conceptualise other pleasures in music, and the significant role they may have to play in human affairs?
• How can we begin to think and write about music’s pleasures in and of themselves? Or is it still necessary to read them as fundamentally connected to other human domains, e.g. politics, economics, society?
• What other discourses can we draw on to illuminate the relationships between music and its pleasures?
• What vital work do music’s pleasures perform in human societies?

If you have been thinking seriously about the relationship between pleasure and any of the world’s musics, we would welcome a proposal for a 20-minute paper from you.

Please send abstracts of 300 words, including AV requirements, by Monday 31 August to Dr Katherine Butler Brown, Department of Music, King’s College London, Strand, WC2R 2LS; email katherine.r.brown@kcl.ac.uk.

CFP: International Journal of Performance Arts and Digital Media (journal)

INTERNATIONAL JOURNAL OF PERFORMANCE ARTS AND DIGITAL MEDIA
DANCING ACROSS FILM, TELEVISION AND THE DIGITAL SCREEN
CALL FOR PAPERS

The contemporary visual landscape is littered with images of performing bodies located in multiple screen contexts, from dedicated art dance film festivals through to prime time reality television shows. The potential for dance to achieve n-screen viewing figures scarcely imaginable in comparison to theatre dance audiences is evidenced by the YouTube clip, Evolution of Dance, a whirlwind demonstration of popular dance through the decades, which received 76.7 million hits. This special edition of the International Journal of Performance Arts and Digital Media explores both contemporary and historical enquiry into the production and reception of performing bodies across the film, television and digital screen. Possible questions that might inform this critical discourse regarding screen dance research are:

* What is the relationship between economics and screen dance production and how does the performing body operate as a vehicle of commercialisation and promotion within these sites?

* To what extent is screen dance shaped by the politics and policy of commissioning editors and executive producers and what relationship do guerrilla filmmakers have to this official framework of production?

* How do the multiple contexts for screen performance inform the aesthetics of dance on screen and how do they create different spectatorship experiences?

* What is the impact of new and extant film-making technologies on the performing body and how has this changed understandings of dance-making?

* How is dance mediated and re-presented in order to achieve popular appeal and in what ways does this reproduce or challenge cultural assumptions about dance?

* Given the global circulation of screen dance images, how are these representations understood within localised contexts of reception?

IJPADM is an interdisciplinary, peer-reviewed journal drawing contributions from a wide range of researchers and practitioners who are placed at the rapidly developing interface of new technologies with performance arts. Given the interdisciplinary nature of screen dance practice, proposals are invited from artists, scholars and professionals working across the fields of dance and performance studies, film, television and media studies, cultural studies, history and other related disciplines.

All papers must be submitted by 1st July 2009
Intended publication date: December 2009.

Details for submissions and notes for contributors can be found at:
http://www.intellectbooks.co.uk/journals.php?issn=14794713

All papers are to be submitted to Dr Sherril Dodds, Guest Editor.
Dr Sherril Dodds, Department of Dance, Film and Theatre Studies, University of Surrey, Guildford, Surrey, GU2 7XH (s.dodds@surrey.ac.uk)

General enquiries can be addressed to Dave Collins, Editor.

Job Posting: Sr Lecturer/Assoc Prof/Prof School of Music and Conservatory, North-West University (Potchefstroom Campus), South Africa

JOB POSTING: SENIOR LECTURER/ASSOCIATE PROFESSOR/PROFESSOR
SCHOOL OF MUSIC AND CONSERVATORY, NORTH-WEST UNIVERSITY (POTCHEFSTROOM CAMPUS), SOUTH AFRICA
COMMENCEMENT: JANUARY 2010

Particulars of advertisement: The position will be advertised on 3 July 2009 in Rapport, City Press and the Sunday Times.

Particulars of position: The successfull applicant will have a proven track record as lecturer, researcher and/or performer in any recognised field of music. Expertise in music education specifically will be a strong recommendation.

The appointment is concomitant with the position of school director. The director is appointed for a period of three to six years after which the position is advertised again. The director may apply for reappointment or take up an academic position in the school.

The director heads a staff of approximately 17 full-time and 6 part-time lecturers, and 3 administrative staff. The school currently has approximately 120 undergraduate and 30 postgraduate students. The director reports to the Dean of Arts, and is responsible for managing all academic and community outreach programmes of the school.

For further particulars please contact:

Prof Jaco Kruger
School of Music
North-West University
Potchefstroom
+27 (0)18 299 1705/1692
Jaco.Kruger at nwu.ac.za
www.nwu.ac.za

Award: 2010 Carol June Bradley Award (MLA)

2010 CAROL JUNE BRADLEY AWARD
MUSIC LIBRARY ASSOCIATION
CALL FOR APPLICATIONS
DEADLINE: 15 JUNE 2009

At its 2003 annual meeting, the Music Library Association announced the establishment of the Carol June Bradley Award for Historical Research in Music Librarianship. Ms. Bradley is Librarian Emeritus at the State University of New York at Buffalo, and has been the foremost historian of music librarianship. This annual award, in the amount of $1,000, will be granted to support studies that involve the history of music libraries or special collections; biographies of music librarians; studies of specific aspects of music librarianship; and studies of music library
patrons' activities.

The grant will be awarded to support costs associated with the research process. These may include travel, lodging, meals, supplies, and digital, photocopy or microfilm reproduction of source material. There are no restrictions as to applicant's age, nationality, profession, or institutional affiliation. All proposals will be reviewed entirely on the basis of merit.

Applicants should submit the following documents:

1. A summary of the project, including planned results
2. A preliminary budget with justification for expenses
3. A current vita
4. The names of three references

Within one year of receiving the award, the recipient is required to submit a report on how the funds were spent, and on the progress of the work supported. Any publication of the recipient's work must state that this award helped to support the research process.

The deadline for receipt of applications is June 15, 2009. Applications received after that date will be considered for funding in 2010. Recipients will be notified by October 15, 2009 and announced at the MLA annual meeting in San Diego, California, which will be held from March 20 to 24, 2010. For more information, please contact the Bradley Award Committee chair via email: tdickma@siue.edu

Applications should be submitted to:

Therese Dickman
Lovejoy Library
30 Hairpin Drive
Southern Illinois University Edwardsville
Edwardsville, IL 62026-1063

CFP: Music Nationalism and Modernism in Russia and Eastern Euopre (Oxford University)

BASEES RUSSIAN AND EAST EUROPEAN MUSIC STUDY GROUP ANNUAL CONFERENCE
MUSIC NATIONALISM AND MODERNISM IN RUSSIA AND EASTERN EUROPE
OXFORD UNIVERSITY - FACULTY OF MUSIC (DENIS ARNOLD HALL)
17 OCTOBER 2009
CALL FOR PAPERS

Although nationalism and modernism have been loosely described as successive movements in musical history – the former linked to the concepts of tradition and national identity, the latter associated with cosmopolitanism and the ideal of progress – their relationship has been much more compound than chronological perspective suggests.

Some of the issues this conference wishes to examine are:
1) how musical nationalism and modernism have acted or have been perceived (by composers, critics and political authorities) as contrasting or complementary approaches in Russia and other East European countries
2) the interaction of nationalism and modernism in musical creation
3) the modernist underpinnings of some manifestations of musical nationalism
4) the impact of nationalism on certain expressions of musical modernism

Convenors: Katerina Levidou and Rosamund Bartlett.
Abstracts of no more than 400 words should be sent to reemstudygroup@googlemail.com by 31 May.