Thelen Prize 2010 (Dissertations in Wind Music Research)

THELEN PRIZE 2010

INTERNATIONAL SOCIETY FOR THE INVESTIGATION AND PROMOTION OF WIND MUSIC

DEADLINE: 23 OCTOBER 2009

CALL FOR NOMINATIONS

IGEB (the International Society for the Investigation and Promotion of Wind Music) issues a call for nominations for the 2010 Thelen Prize for dissertations in the field of wind music research.

Established to commemorate Fritz Thelen (1906–1993), one of IGEB’s co-founders, the Thelen Prize is awarded to the writer of an outstanding dissertation in the field of wind music research.

In addition to a plaque, the winner will be invited to present a paper at the next meeting of the Society, to be held in Oberschützen, Austria,July 22-27, 2010. The dissertation will also be considered for publication in IGEB’s Reprints und Manuscripts or the Alta Musica series. The titles and abstracts of all submitted dissertations will be announced in the Mitteilungsblatt, the Society’s Newsletter.

Nominations, including self-nominations, are invited for dissertations completed between 2007 (the last Thelen Prize) and October 2009. Dissertations may be on any subject concerning wind music, in any language, from any country, worldwide.

Nominations should include the following:

one paper copy

digital file – .pdf file

curriculum vita

NOTE: deadline October 23, 2009

Send to: IGEB

c/o. Doris Schweinzer

Leonhardstraße 15

A-8010 Graz

Austria

For further information see: www.igeb.net/Thelen-Preis

Phd Studentship: Tangible, Embedded, and Whole Body Music Computing (Open University)

PHD STUDENTSHIP: TANGIBLE, EMBEDDED AND WHOLE BODY MUSIC COMPUTING

OPEN UNIVERSITY

DEADLINE: 21 JULY 2009

A fully funded 3 year PhD studentship in Music Computing is available at the Open University to develop and study new technologies, and new kinds of interaction, to support Music Composition, Performance and Education, with particular reference to Tangible, Embedded, and Whole Body Music Computing. The project will use motion capture and vibrotactile devices to investigate how visual and haptic feedback can be used to help musical beginners develop musical skills, while helping experienced musicians to gain new insights. The initial focus will be on rhythm. Background information to the project can be found at http://www.esenseproject.org/ and

http://musiccomp2008.open.ac.uk/

Applicants should have, or expect to gain, a BSc (1st or 2.1 class) or preferably MSc in computing or other related discipline. Formal musical training is not required, but applicants should have musical skills and experience of playing an instrument. The research is interdisciplinary and experience or interest in any of the following areas would be advantageous: programming for pervasive, tangible or music computing, hardware prototyping, interaction design, and user studies.

We encourage you to informally discuss your interest with Dr Simon Holland (s.holland@open.ac.uk). Applications should contain an application form, a CV and a two-page research proposal outlining how you would tackle this project. Closing date for applications is 21st July 2009. The studentship will commence in October 2009.

For detailed information and to apply email s.a.parsons@open.ac.uk or telephone 01908

653280. Quote reference "Interdisciplinary PhD Studentships in Music"

Further details of music-related research at the OU can be found at

http://www.open.ac.uk/Arts/music/research/

CFP: Music and Familiarity (University of Hull)

MUSIC AND FAMILIARITY: ONE DAY CONFERENCE

UNIVERSITY OF HULL

SATURDAY 24 OCTOBER 2009

CALL FOR PAPERS

This one-day conference will include invited presentations and selected submissions from researchers on the theme of music and familiarity. Our engagement with and exposure to music constantly changes and develops,whether through creative pursuits -such as composing, performing and listening- or through particular contexts, including education and therapy. This conference seeks to explore these changes and developments, notably in the ways our attitudes towards music evolve, how our perceptions, understanding and appreciation of it alters, in the strategies we develop as practising musicians, and in the responses we experience when listening to or engaging with music.

Contributions are welcome from researchers at all levels and are especially encouraged from postgraduate students. Submissions should show how the topic relates to the conference theme. Please send abstracts for spoken presentations (200 words) and for posters (100 words) by email to Helen Daynes (contact details below) by 14 August 2009.

Postgraduate students should obtain details about the SEMPRE Student Study Day that will take place on Friday 23 October in conjunction with this event.

For further information, please contact:

Dr Helen Daynes

Conference Organiser

Department of Drama and Music

University of Hull

Hull HU6 7RX

Email: H.Daynes@hull.ac.uk

Dr Elaine King

SEMPRE Conference Secretary

Department of Drama & Music

University of Hull

Hull HU6 7RX

Email: E.C.King@hull.ac.uk

McCann Research Fellowship (Royal Academy of Music)

MCCANN RESEARCH FELLOWSHIP

ROYAL ACADEMY OF MUSIC, LONDON

£5000 P.A. ONE YEAR RESEARCH GRANT

The Royal Academy of Music in partnership with the Lucille Graham Trust is inviting applications for the following award, commencing Oct 2009 and tenable for one year. The Fellow will have the opportunity to base their research on material located in the McCann Collection at the Academy.

The McCann Collection at the Royal Academy of Music consists of letters and documents, photographic materials, ephemera, recordings, playbills and programmes from the 19th and 20th centuries. Particular strengths are material relating to British concert life and the availability of rare biographical and iconographical material from Eastern Europe. The collection is currently being catalogued. For more details and digitised images, see APOLLO (Academy Collections Online) www.ram.ac.uk/apollo .

The McCann Fellow will be expected to disseminate his or her research by publishing their findings via the Academy’s website and in an academic journal if possible, culminating in the presentation of a research event.

The applicant should be educated to music graduate or music research student standard. Experience of performance research and knowledge of foreign languages will be an advantage. All candidates are required to submit a short research proposal (1000-2000 words) with a covering letter for consideration. If you wish to view or discuss the collection before submitting your application then please make an appointment with Janet Snowman, Collections Registrar (j.snowman@ram.ac.uk). Further details regarding the McCann Fellowship at the Academy can be found on our website www.ram.ac.uk. Please direct all applications and any further queries to Fiona Hymns, Museum and Collections Administrator via email or post (f.hymns@ram.ac.uk , Royal Academy of Music, Marylebone Road, London, NW1 5HT)

Closing date: Friday 24th July 2009.

Michael Jackson: Some Observations

MICHAEL JACKSON: SOME OBSERVATIONS

Michael Jackson (1958-2009) passed away yesterday and I find myself in awe of the coverage devoted to the more esoteric parts of his life (e.g. hyperbaric chamber, conversations with Bubbles, dangling of a baby outside a window, his infamous trial). All of this seems to distract from his contribution to popular music of the late 20th century. In the interest of full disclosure, I've liked his music but have always found his little sister, Janet's music the more interesting. Prior to yesterday I haven't bought an album since I forked out the cash for a cassette of Thriller.

I happened to be in HMV on Oxford Street where hordes of shoppers were congregating around a front-end display of his CDs and DVDs whilst his Billie Jean blasted away through the sound system. HMV had entrepreniuerally created an end of aisle display strictly on his music alone. As I've said I haven't bought one of his albums for a couple decades and was caught up in the moment and bought his album the '#1s' which is a compilation of his hits which went to the top of the Billboard charts, so not everything but many of the classics.

Rather than purchase a CD, I opted for this DVD as it had the videos of those covers. By no means was this an act of nostalgia, but thinking about Jackson's contributions to pop culture, it was really these videos which influenced a generation of pop music. What would the dance moves of Justin Timberlake or Beyonce look like without a Michael Jackson? What about his synthesis of R&B which form the undercurrent sound of boy band groups like NSYNC, Backstreet Boys and Blue?

It is easy for the media to focus on lawsuits over control of assets let alone child custody, but in time these will be overshadowed by his artistic contributions. At the time MTV was a fledgling network devoted to Cyndi Lauper, Duran Duran, a younger Madonna and Culture Club. With the Thriller album's hits of Billie Jean and Thriller, Jackson's dance moves indelibly made their mark on our collective consciousness. These dance moves which are highlighted in almost all of his videos coupled with savvy Quincy Jones R&B infused tracks was a revolutionary fusion of musical styles for the 20th century. It would serve as a structural constant for popular music of the past 30 years even outliving its antithesis found in the grunge music of Seattle's Nirvana in the 90s. In terms of musical importance, one could liken it to the 19th century cross-cultural synthesis which brought together antiphonal 'hollers' of the African-American slaves, the creation of the blues and the evolution into jazz.

Listening to this compilation, I'm struck in particular by the video to Man in the Mirror. Even though it cites many of history's notable events it doesn't seem dated. One of the most fitting images relate to the death of another artist, John Lennon. (I remember that date but his passing affected in particular one of my cousins who could play almost all of his and the Beatles' tunes by memory on the piano. I'm pretty sure she could probably do the same for MJ.) As with Jackson's passing it is his musical contributions which stay in the memory. Back to the video: although the Berlin Wall has fallen and Poland has joined the EU, there is still gender/racial/sexual inequality, conflict in the Middle East, nuclear proliferation still haunts us as does poverty in the Third World. Will it seem dated in another 20 years? I'm not sure, but thanks to digital technology Michael Jackson's music and video will continue to exist. Perhaps his influence will even be discussed in textbooks as are the origins of the blues and jazz today.

Postgraduate: French-German Master in Musicology (Sorbonne / Saarbrücken)

FRENCH-GERMAN MASTER IN MUSICOLOGY

PARIS IV SORBONNE - SAARBRÜCKEN

DEADLINE: 17 JULY 2009

From September 2009 the University of Saarland at Saarbrücken offers an integrated French-German Master of Arts in musicology. The course is offered in cooperation with the Université de Paris-Sorbonne (Paris IV). Students spend the first year in Paris, the second together with their French fellow students in Saarbrücken. The master diploma is issued by both institutions and recognized in both countries. The course is research-oriented and includes a training period which allows contacts with research institutes and cultural institutions in Paris and Saarbrücken.

The course concentrates particularly on the characteristics of music history in Germany and France with a special focus on the process of cultural transfer. Due to the differences in teaching and research, the students are introduced to the cultural history and science culture of both countries. These experiences will augment students’ intercultural competence.

The course starts each winter. The master thesis may be written in French or German.

Through its geographical situation and history, the University of Saarland maintains close relations with France. Paris can be reached by train within less than two hours; flight connections exist from Saarbrücken and the nearby airports of Zweibrücken, Frankfurt-Hahn and Frankfurt/Main.

Financial support is possible. Applicants finishing their BA during the summer may enclose a certified overview of subjects and marks.

Deadline for applications to the address below is *17 July 2009*.

information: Institute of Musicology, phone +49-681/302-2318

homepage: http://www.uni-saarland.de

contact: Prof. Dr. Rainer Kleinertz, Postfach 15 11 50, D-66123 Saarbrücken, Germany,

phone +49-681/302-3660 rainer.kleinertz [at]mx.uni-saarland.de

CFP: 2010 Musical Research Residency Program (IRCAM)

2010 MUSICAL RESEARCH RESIDENCY PROGRAM

IRCAM, PARIS

DEALINE: 31 JULY 2009

CALL FOR PROJECTS

Ircam (Institute for Research and Coordination in Acoustics and Music, Paris, France) offers a unique experimental environment where composers can expand their musical experience through the concepts found in new technologies. These technologies are developed as a result of challenges posed both by new musical ideas and new domains investigated by scientific teams. At Ircam, this interactive process is called “musical research”.

Ircam is inviting artists to submit projects for the first musical research residency program in 2010. The musical research residency program is open to international artists, regardless of age or nationality, who wish to carry out their musical research using Ircam’s facilities and extensive research environment. Candidates will be nominated through a selection procedure involving international experts, based on research background and musical motivation, as well as the quality of the proposed project through the online call for proposals. Preference is given to new personalities to the Ircam artistic scene. Upon nomination, each candidate will be granted a residency at Ircam during a specific period (three or six months) and in association with a team/project at Ircam. In addition, laureates receive an equivalent of 1200 Euros per month to cover expenses in France.

For the year 2010, we invite projects on (but not limited to) the following research themes:

• Spatial sound composition

• Compositional and high-level control of sound synthesis

• New paradigms for the gestural control of computer music

• Novel compositional approaches to voice processing and/or synthesis

In addition to the proposed themes, we encourage applicants with novel and unexplored research ideas to apply within the “open call” category.

Submission Deadline: July 31, 2009

More Information and submission procedure: http://www.ircam.fr/875.html?L=1

Department of Musical and Scientific Research: http://www.ircam.fr/

CFP: Revista Transcultural de Música (journal)

REVISTA TRANSCULTURAL DE MÚSICA

SPECIAL ISSUE DEDICATED TO STUDIES, GENDER STUDIES, FEMINISM AND MUSIC

CALL FOR SUBMISSIONS

DEADLINE: SEPTEMBER 2010

TRANS-Transcultural Music Review 15 (2011)present a special issue dedicated to interdisciplinary research on Women and Music,coinciding with the 20th anniversary of the publication of Feminine Endings (1991) by Susan McClary, and Gender and Musical Canon (1993) by Marcia Citron. The dossier will be published in collaboration with the group on "Women's Studies, Gender, and Feminism in Music" (www.compositoras.acimus.org) of the Society for Ethnomusicology-SIBE, coordinated by Susan Campos Fonseca (Universidad Autónoma de Madrid-UAM).

We are accepting original articles on this topic following the research lines of: musical constructions of gender and sexuality, gender aspects of traditional music theory; gender and sexuality in the musical narrative; music as a discourse of gender; discourse strategies of the "women musicians"; canonical matters and practice of canon. Related works are also considered since the Cultural Studies and Historical Musicology.

Articles may be written in Spanish, English,French, Italian or Portuguese. Deadline for receipt of manuscripts: September 2010.

For information about the editorial norms follow the link:

http://www.sibetrans.com/trans/contributors.htm

Postgraduate Study Day: Research in Music Psychology and Education (Hull)

POSTGRADUATE STUDY DAY: RESEARCH IN MUSIC PSYCHOLOGY AND EDUCATION

UNIVERSITY OF HULL

FRIDAY 23 OCTOBER 2009

CALL FOR PAPERS

This SEMPRE Postgraduate Study Day will be hosted by the Department of Drama and Music, University of Hull, and will precede the SEMPRE conference on 'Music and Familiarity' to be held on Saturday 24 October. Students are warmly invited to attend both events. The aim of the Postgraduate Study Day is to provide opportunities for research students to present and discuss ideas in a friendly and supportive environment, as well as to create a meeting place for students from different institutions. The event will include spoken presentations (20 minutes each), a poster display, and open discussions about research in music psychology and education led by invited academics. We welcome submissions from part-time and full-time students who

are undertaking research in music psychology and education. Accepted submissions will be broadly organized into themes and presentations will be chaired by leading researchers. Please send abstracts for spoken presentations (200 words) and for posters (100 words) by email to Dr Elaine King (contact details below) by 14 August 2009.

For further information, please contact:

Dr Elaine King

SEMPRE Conference Secretary

Department of Drama & Music

University of Hull

Hull HU6 7RX

Email: E.C.King@hull.ac.uk

CFP: Beyond the Centres: Musical Avant Gardes since 1950 (Thessaloniki, Greece)

BEYOND THE CENTRES: MUSICAL AVANT GARDES SINCE 1950

ARISTOTLE UNIVERSITY OF THESSALONIKI, GREECE

DEPARTMENT OF MUSIC STUDIES

1 - 5 JULY 2010

CALL FOR PAPERS

In memoriam Yannis Andreou Papaioannou (1910 – 1989)

The notion of the avant garde in music has stereotypically been linked with the post-1950 internationalisation of early 20th-century modernist ideas, while the historical and aesthetic delimitation of boundaries between the musical avant garde and post-modernism is still under discussion. The ‘mainstream’ historiography attached to the avant garde quite expectedly focuses on the idea of innovation in the music and theoretical texts of specific pioneers, and on notions such as universality and the significance of time as parameters affecting the appraisal of the work of art.

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

Thus the aim of the Conference is twofold:

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

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

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

- Avant-garde techniques and aesthetics.

- Avant garde and politics / ideology.

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

More specifically, the following list of possible thematic areas is intended not to be restrictive, but informative of the priorities of the Conference:

- Definitions and musical realizations of the idea of the avant garde

- ideological expressions of the avant garde

- avant garde and institutions

- avant garde and cultural identity

- reception of the avant gardes

- avant-garde pedagogies

- utopias of the avant garde

- avant-garde instrumentation – notation

- avant garde and post-modernism

- avant garde and experimentalism

- avant garde and the perception of time / space

- organicism and / or fragmentation in avant gardes.

The Conference is dedicated to the memory of Yannis A. Papaioannou,celebrating the centenary of the birth of the most influential figure in the dissemination of avant-garde ideas in post-1950 Greece through his musical, educational and institutional activities. In addition to being a stimulus for further research on Papaioannou’s life, music and ideas, the present Conference is inspired by the universality of his approach to music and teaching, thus aiming at a universal critical appraisal of different expressions of the notion of the avant garde.

The Conference is organized by the Department of Music Studies, Aristotle University of Thessaloniki and will take place in Thessaloniki, Greece between 1 and 5 July 2010. The official language of the Conference is English.

Abstracts are invited for presentation in one of the following formats:

• Papers (20 minute presentations)

• Panels, of up to four individual papers (preferably with explicit reference to one of the three main thematic categories of the conference).

Abstracts must address the conference theme and clearly state the aims and methodological approach of the proposed paper(s). Abstracts for individual papers should be no longer than 300 words. Panel proposals should include a general 100-word description of the panel’s proposed theme, accompanied by individual 300-word abstracts for all paper contributions.

All abstracts should be submitted as e-mail attachments to Kostas Chardas (kchardas@mus.auth.gr) or Danae Stefanou (dstefano@mus.auth.gr), by the deadline οf 30 November 2009, accompanied by the following information:

• Name(s) and Institutional Affiliation(s) of Author(s)

• Title of Proposed Paper or Panel

• Proposed Format of Presentation (Paper or Panel)

• Indicative List of Bibliographic References

• Brief (100-word) CV of Main Author(s).

All submissions will be reviewed anonymously by a board of international reviewers. Papers will be published on the conference website and on CD-ROM, accompanying a printed book of abstracts.

Details of submission deadlines, registration, reviewing procedures and other updates will shortly become available on the conference website at http://web.auth.gr/btc.

Organising Committee

Demetre Yannou (chair). PhD. Professor, Department of Music Studies –Aristotle University of Thessaloniki.

Nikos Athineos. Conductor. Artistic Director of the Thessaloniki Concert Hall.

Kostas Chardas. PhD. Lecturer, Department of Music Studies –Aristotle University of Thessaloniki (appointment pending).

Michalis Lapidakis PhD. Associate Professor, Department of Music Studies – Aristotle University of Thessaloniki.

Evi Nika-Sampson. PhD. Associate Professor, Department of Music Studies – Aristotle University of Thessaloniki.

Danae Stefanou. PhD. Lecturer, Department of Music Studies –Aristotle University of Thessaloniki.

Costas Tsougras. PhD. Lecturer, Department of Music Studies –Aristotle University of Thessaloniki.

CFP: Civil Disobedience 2009 (Arizona State University)

CIVIL DISOBEDIENCE 2009

ARIZONA STATE UNIVERSITY

2 - 3 OCTOBER 2009

CALL FOR PAPERS AND PERFORMANCES

The School of Music at Arizona State University invites proposals for papers and performances related to the topics for “Civil Disobedience,2009” on October 2-3. Civil Disobedience is an interdisciplinary collaboration between hip hop artists, residents of Phoenix, Arizona,and the Herberger Institute for Design and the Arts at Arizona State University. This year’s topics include the following:

Hip Hop in the American Southwest

Immigration in Hip Hop Culture

Rap Music, Hip Hop, and Social Change

Hip Hop in the Academy

For more details on this conference, please visit

http://civildisobedience.asu.edu.

Guidelines

Performances and Lecture-performances should be no longer than forty minutes. Individual or joint papers should be no longer than thirty minutes. Proposals for other types of presentations or discussions are welcome.

Include the following for all submissions:

1. Proposer’s name, e-mail address, and institutional affiliation or city of residence

2. 250-word proposal

3. 100-word version of your proposal suitable for publication in the conference program (.txt or .rtf format) and website. Include proposer's name and email, and the proposal title in this file.

4. A list of audio / visual and special needs.

Materials should be sent to Dr. Richard Mook at Richard.mook [AT]asu.edu. All proposals should be received by August 15.

Zombomodernism: the Ends of Practice-as-research (CSSD, London)

ZOMBOMODERNISM: THE ENDS OF PRACTICE-AS-RESEARCH

CENTRAL SCHOOL OF SPEECH AND DRAMA, UNIVERSITY OF LONDON

26 SEPTEMBER 2009

CALL FOR PAPERS

DEADLINE EXTENDED: 6 JULY 2009

The figure of the zombie is the uncanny split par excellence: neither living nor dead, both familiar and unfamiliar. The zombie presents a unmeasurable proximal distance between the known and unknown. The zombie’s movements are human in resemblance (as is its physical form), and yet, in its single-minded determination, its constant pace, and its inability to manoeuvre around obstacles in its path, it is clearly inhuman.

Is not the condition of the zombie also the condition of the modern practice-as-research academic? That is, current PAR can be described as existing within a state of ‘Zombomodernity,’ that post-postmodern state in which the ideas are not dead, but nor are they truly alive. Practice-as-research features a similar uncanny split: is it research or is it art? And the spectacle of the modern practice-as-research academic is analogous to that of the zombie in many ways: we’re single-minded, move slowly and bang our heads against the wall over and over again.

Central School of Speech and Drama’s Research Degree students are pleased to announce a one-day interdisciplinary colloquium exploring practice-as-research from the perspective of its relationship to both professional practice and the institution, aimed at finding the antidote and liberating it from Zombomodernism or cutting its head off and putting it to rest forever. As an institution, CSSD is uniquely placed to explore these issues, being itself an uncanny hybrid of conservatoire and research institution, and this colloquium is part of the Festival of Emergent Art, a high-profile two week festival of new practice-as-research performances and presentations from PhD students, MA Performance Practices and Research students, staff and visiting artists.

We invite 20-minute papers and proposals for workshops that might interrogate the value of PAR and its contribution to new knowledge and professional practice.

What is the relationship between PaR and professional practice?

What is the relationship between PaR and the university?

Does PaR create new knowledge?

Is the university the best place to make experimental practice?

Can we imagine new ways of documenting experimental practice?

Can we imagine new ways of writing about practice?

Can we stop asking ourselves if it’s ok and just get on with it?

Submissions are invited from all researchers and postgraduate students working in theatre, drama, dance, film, puppetry and object-theatre, circus, installation, live art and visual culture. Interdisciplinary work is especially welcome, as well as submissions of experimental writing and documentation.

Please send a 250 word abstract (for papers) or proposal (for workshops)along with a brief biographical statement to colloquium organiser Broderick Chow at dick.chow@cssd.ac.uk by Monday, 6 July 2009. Please send large attachments tozombomodernism@googlemail.com Decisions will be made within three weeks. Any questions can also be directed to the colloquium organiser.

Borderless Ethnomusicologies - SEM 2009 (Mexico City)

BORDERLESS ETHNOMUSICOLOGIES

SEM 2009 ANNUAL MEETING

MEXICO CITY

19 - 22 NOVEMBER 2009

CALL FOR PAPERS

The Society for Ethnomusicology will hold its 54th annual meeting at the Meliã México Reforma Hotel in Mexico City on November 19-22, 2009. This year’s meeting, titled “Borderless Ethnomusicologies,” will feature more than 400 presentations, as well as a variety of concerts and other special events hosted by arts institutions in Mexico City.

In conjunction with the 2009 meeting, there will be a pre-conference symposium, “The Past, Present, and Future of Musical Research in Mexico,” on November 18 at the School of Music of the National Autonomous University of Mexico.

Visit www.ethnomusicology.org for more information about the meeting, hotel accommodations, and online registration.

PhD Studentships: Music Related Research (Open University)

INTERDISCIPLINARY PHD STUDENTSHIPS IN MUSIC

OPEN UNIVERSITY (MILTON KEYNES)

DEADLINE: 21 JULY 2009

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

Music-related research at the OU encompasses a wide range of approaches (including historical, social, empirical and technological methods) with a distinctive emphasis on innovation and interdisciplinary research. We welcome applications for PhD studentships in any of our areas of strength, which include

* Social and cultural theory and analysis (including ethnomusicology,sociology, social psychology, human geography)

* Historical study (including documentary and archival research)

* Empirical investigation of performance

* Music computing (including Music Computing and Pervasive Interaction; the design and evaluation of new tools for performance, composition, analysis &education)

* Musical acoustics

* Music education and pedagogy

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

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

For detailed information and to apply email s.a.parsons@open.ac.uk or telephone 01908 653280.

Further details of music-related research at the OU can be found at http://www.open.ac.uk/Arts/music/research/

Closing date: 21 July 2009

Equal Opportunity is University Policy

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

POST-PUNK PERFORMANCE: THE ALTERNATIVE 80S IN BRITAIN

SCHOOL OF PERFORMANCE AND CULTURAL INDUSTIRES, 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

CFP: N. A. Rimsky-Korsakov and his heritage in historical perspective (Russia)

N.A. RIMSKY-KORSAKOV AND HIS HERITAGE IN HISTORICAL PERSPECTIVE

ST. PETERSBURG, RUSSIA

19 - 20 MARCH 2010

CALL FOR PAPERS

The two-day international conference “N. A. Rimsky-Korsakov and his heritage in historical perspective” will take place in St Petersburg, at the Museum-flat of N. A. Rimsky-Korsakov, on March, 19–20 in 2010.

Working languages of the conference are Russian and English.

Please submit abstracts for papers of no less then 300 and no more than 500 words, which have to be sent by post, fax or e-mail.

The deadline for paper abstracts is 1 November 2009.

Papers and materials of the conference will be published in 2010. The notification of acceptance will be sent out at the end of December 2009 at the latest.

The museum-flat of Rimsky-Korsakov will not able to cover participants’ expenses.

For abstracts of papers and questions please contact:

N. A. Rimsky-Korsakov Museum-flat

Zagorodny pr., 28

Saint-Petersburg, Russia

191002

Tel.: 8 (812) 7133208

Fax: 8 (812) 7133208

Mob.: 8 911 7657640

E-mail to Lidia Ader – lidiader at gmail.com

Job Posting: Lecturership in Music (University of Hull)

JOB POSTING: LECTURERSHIP IN MUSIC

UNIVERSITY OF HULL

DEADLINE: 26 JUNE 2009

The Department of Drama and Music at the University of Hull wishes to appoint a Lecturer to contribute to the teaching of composition in the areas of jazz, popular or film music, at both undergraduate and postgraduate levels. S/he will have a commitment to research in one or more of these areas and should possess, or be near to completing, a PhD. The successful candidate will be expected to contribute to the Department's administration and reach-out activities.

Closing date for the receipt of applications is 26th June, 2009.

For more details: http://www.hull.ac.uk/jobs/job_vacancies/FA394/index.html

CFP: 12th Brazilian Symposium on Computer Music (Brazil)

12TH BRAZILIAN SYMPOSIUM ON COMPUTER MUSIC

PORTO DIGITAL, RECIFE, PE - BRAZIL

7 - 9 SEPTMEBER 2009

CALL FOR PAPERS

http://compmus.ime.usp.br/sbcm/2009/

The SBCM - Brazilian Symposium on Computer Music is a biannual event with international recognition in the field of computer music organized by NUCOM, the computer music interest group of the Brazilian Computer Society (SBC). This 12th edition will be held from September 7th to 9th, 2009, in Recife, capital of the state of Pernambuco, at the beautiful northeast Brazilian coast, and is specially dedicated to approaching the relentless universe of new paradigms for making music with computers and electronic gears, bringing up their essentials and trends.

Researchers, scientists, composers, educators, manufacturers, and all concerned with the interplay between music and technology are invited to submit works.

During the symposium there will be speeches by renowned researchers, technical and music paper sessions, discussion panels, and concerts. The program will include, among others, a keynote speech by Miller Puckette (University of California, San Diego), author of Pure Data (Pd) real-time graphical programming environment, a tutorial on mathematical models in computer-aided music theory by IRCAM, and a keynote speech by composer Daniel Teruggi, director of the Groupe de Recherches Musicales at INA (Institut National De L'Audiovisuel, Paris).

We are proud to inform that a selection of the best papers presented at SBCM will be invited to submit an extended version for a dedicated Special Issue of the Journal of New Music Research, and the selected musical pieces will be published with the support of the Electronic Music Foundation (EMF). The program committee will also give a prize for the best student papers presented at SBCM. Papers that have a student as a major author are eligible. Two awards will be given: one for the best technical paper and another for the best music paper. One prize will be a one-year Forum IRCAM subscription.

Important Dates

June 28th Full papers and posters submissions due

July 23rd Full papers and posters notification of acceptance

August 5th Camera-ready version of papers and posters due

Technical Topics of Interest

The topics to be covered include, but are not limited to:

● Acoustics, Diffusion, Sonorization

● Artificial Intelligence

● Artificial Life and Evolutionary Music Systems

● Audio Hardware design

● Computer-Aided Music Analysis

● Computer-Aided Musical Education

● Computer-Aided Musicology

● Digital Sound Processing

● Digital Music Systems and Services

● Distributed Music

● Internet and Web Applications

● Movement and Gesture

● Multimedia Systems and Applications

● Music Emotion and Communication

● Music Formats, Data Structures and Representation

● Music Information Retrieval

● Music Management

● Music Notation, Printing, and Optical Recognition

● Music Perception and Cognition

● Psychoacoustics and Cognitive Modeling

● Quality of Service for Audio

● Real-time Interactive Systems

● Software Systems and Languages for Composition

● Sound Analysis and Synthesis

Papers Submission Instructions

Papers must be submitted in PDF format via the JEMS online submission system (https://submissoes.sbc.org.br/). Submissions in Spanish, Portuguese and English are welcome.

Technical papers, up to 12 pages long, are supposed to present original research with scientific contributions. Music papers, up to 12 pages long, should describe the experience of composers and users of computational tools to produce music (see guidelines at conference website). Extended abstracts of posters, up to 4 pages long, should present on-going research.

Please carefully comply with instructions in publications templates. Papers which do not fulfill the requirements can not be published. Download the files for manuscript preparation in accordance with the SBC guidelines from http://gsd.ime.usp.br/sbcm/2007/templates.

In order to get the paper published, it is required that at least one author register for the symposium by August 3rd, 2009.

Organization Committee

General chairs: Regis Rossi A. Faria (LSI - University of São Paulo)

Marcelo Queiroz (IME - University of São Paulo)

Local organization chairs: Geber Ramalho (UFPE - Federal University of Pernambuco)

Giordano Cabral (UFPE - Federal University of Pernambuco)

Technical Papers chair: Marcelo Pimenta (UFRGS - Federal University of Rio Grande do Sul)

Music Papers chair: Damián Keller (UFAC - Federal University of Acre)

Technical Program Committee

Adolfo Maia Jr. (UNICAMP, Brazil)

Aluizio Arcela (UnB, Brazil)

Álvaro Barbosa (Universidade Católica Portuguesa, Portugal)

Andrew Horner (The Hong Kong University of Science & Technology, Hong Kong)

Chris Chafe (Stanford University, USA)

Eduardo Miranda (University of Plymouth, UK)

Emilios Cambouropoulous (Aristotle University of Thessaloniki, Greece)

Evandro Miletto (UFRGS, Brazil)

Fabien Gouyon (INESC – Porto, Portugal)

Fabio Kon (USP, Brazil)

Flávio Soares Corrêa da Silva (USP, Brazil)

François Pachet (Sony Computer Science Laboratory, France)

Geber Ramalho (UFPE, Brazil)

Gianpaolo Evangelista (Linköpings Universitet, Sweden)

Giordano Cabral (Université Paris 6, France)

Hugo de Paula (PUC-MG, Brazil)

Ian Whalley (University of Waikato, New Zealand)

Jean-Pierre Briot (CNRS - Université Paris 6, France)

Jonatas Manzolli (UNICAMP, Brazil)

Lelio Camilleri (University of Bologna, Italy)

Luis Jure (Universidad de la República, Uruguay)

Marcelo Soares Pimenta (UFRGS, Brazil) - Technical Papers Chair

Marcelo Queiroz (USP, Brazil)

Marcelo Wanderley (McGill University, USA)

Marcio Brandao (UnB, Brazil)

Mikhail Malt (IRCAM, France)

Oscar Di Liscia (Universidad Nacional de Quilmes, Argentina)

Palle Dahlstedt (Göteborg University/Chalmers University of Technology, Sweden)

Peter Beyls (Hogeschool Gent, Belgium)

Petri Toiviainen (University of Jyvaskyla, Finland)

Regis R. A. Faria (USP, Brazil)

Roger Dannenberg (Carnegie Mellon University, USA)

Rosa Viccari (UFRGS, Brazil)

Sever Tipei (University of Illinois School of Music, USA)

Victor Lazzarini (National University of Ireland, Ireland)

Music Papers Program Committee

Adina Izarra (Universidad Simón Bolivar, Venezuela)

Alejandro Viñao (United Kingdom)

Catalina Peralta Cáceres (Universidad de los Andes, Colombia)

Damián Keller (UFAC - Federal University of Acre) - Music Papers Chair

Daniel Teruggi (GRM, Institut National de l'Audiovisuel, France)

Didier Guigue (Universidade Federal da Paraíba, Brazil)

Fernando Iazzetta (Universidade de São Paulo, São Paulo, Brazil)

Fernando Lopez-Lezcano (Center for Computer Research in Music and Acoustics, Stanford University, USA)

Javier Alvarez (Conservatorio de las Rosas, Mexico)

Rodolfo Coelho de Souza (University of São Paulo, Ribeirão Preto, Brazil)

Support

EMF - Electronic Music Foundation

IRCAM - Institut de Recherche et Coordination Acoustique/Musique

CDTL - Centro de Desenvolvimento de Tecnologias Livres (Recife/Brazil)

More Information

For further information and advanced technical program, please visit the symposium home page at http://compmus.ime.usp.br/sbcm/2009/. For questions regarding submissions, local organization and general inquiries, send e-mail to the Organization Committee at sbcm2009 at gmail.com.

CFP: The Cappella Sistina and the Low Countries, from Dufay to Ameyden

THE CAPPELLA SISTINA AND THE LOW COUNTRIES FROM DUFAY TO AMEYDEN

ANTWERP, BELGIUM

24 - 26 AUGUST 2009

CALL FOR PAPERS

Organised by the Katholieke Universiteit Leuven, Onderzoekseenheid Musicologie – Alamire Foundation vzw | AMUZ (Festival of Flanders Antwerp) – Laus Polyphoniae

Location: Elzenveld - Lange Gasthuisstraat 45, 2000 Antwerp (Belgium)

Conference Theme:

The Alamire Foundation, study centre for music of the Low Countries, and AMUZ, organiser of the early music festival Laus Polyphoniae in Antwerp, present the 2009 edition of their annual international musicological conference. This year, the conference will focus on “The Cappella Sistina and the Low Countries, from Dufay to Ameyden”.

Possible themes are: the recruitment of singers from the Low Countries, the decline of recruitment from the Low Countries for the Cappella Sistina in the late 16th century, nationalities of singers in the papal chapel, the Sistine repertoire by composers from the Low Countries, 'northern influence' in the production of manuscripts (scribes, illuminations etc.), the Alamire codices 34, 36 and 160, and the effects, consequences and musical implications of the dominance of singers/composers from the Low Countries within the papal chapel.

We invite proposals for panel sessions as well as for individual papers of twenty-five minutes in the form of an abstract not exceeding 300 words, to be sent as an e-mail attachment to Sofie Taes (sofie.taes[at]arts.kuleuven.be) by 25 June 2009. Notification of acceptance will be given by 1 July. The conference programme will be available from 6 July on. The preferred conference language is English.

Programme Committee

Sofie Taes (Alamire Foundation vzw - AMUZ)

Thomas Schmidt-Beste (University of Wales – Bangor)

Organisation Committee

Sofie Taes (Alamire Foundation vzw - AMUZ)

Bart Demuyt (Alamire Foundation vzw - AMUZ)

Ann Hasendonckx (Alamire Foundation vzw)

For further information, please contact

Sofie Taes

Research Unit of Musicology | Alamire Foundation

Blijde Inkomststraat 21 – Lokaal 06.03

3000 Leuven

Belgium

0032 (0)16 – 32.49.03

0032 (0)3 – 202.46.68

sofie.taes at arts.kuleuven.be

CFP: Plattsburgh New Music and Culture Symposium

PLATTSBURGH NEW MUSIC AND CULTURE SYMPOSIUM

PLATTSBURGH, NEW YORK

11 - 13 AUGUST 2009

CALL FOR PAPERS

The Plattsburgh New Music and Culture Symposium is a multi-disciplinary forum for the discussion of music and its place in contemporary society. In our inaugural year, scholars from all disciplines and musicians are invited to participate by submitting proposals for presentations and works for performance.

The symposium will take place from August 11-13 in Plattsburgh, NY.

We seek submissions for:

• Papers (please specify if you would like a 30- or 60-minute time slot) and

• Original compositions for solo harp, solo horn, solo clarinet, clarinet and horn, or clarinet and harp with or without electronics. Works for electronics alone and composer-performers will also be considered.

The papers should deal with one or more of the following topics: music’s place in contemporary culture, questions on authority and aesthetics in a post-colonial world and new resonances (technology). We encourage anthropologists, cultural theorists, critics and scholars from both in and outside of music to participate. The compositions should demonstrate a highly personal language. Composers should include a brief written statement on the submitted work(s) along with a curriculum vitae.

Papers proposals should include an abstract and curriculum vitae and should be submitted electronically to suzanne@suzannefarrin.com.

Submissions for musical compositions should include scores (in pdf format),recordings (mp3 or a web link), a statement on the work and c.v. and can be sent electronically to suzanne@suzannefarrin.com.

Dates

Symposium dates: August 11-13

All proposals due: June 20, 2009

Notification of acceptance: End June 2009

The symposium is sponsored by the Conversations in the Disciplines Program of the State University of New York.

For more information please write to: suzanne [at]suzannefarrin.com

Job Postings: Lectureships in Audio Signal Processing (Queen's University, Belfast)

JOB POSTING: LECTURESHIPS IN AUDIO SIGNAL PROCESSING AND PERFORMANCE/AUDIO VISUAL DESIGN AND NEW TECHNOLOGIES

QUEEN'S UNIVERSITY, BELFAST

DEADLINE: 26 JUNE 2009

The Sonic Arts Research Centre is pleased to announce two new lectureships in audio signal processing, and performance or audio visual design and new technologies.

Details of the posts can be found here: http://www.qub.ac.uk/sites/QUBJobVacancies/AcademicJobs/

Closing date is 26 June 2009.

CFP: Rush and Philosophy (Journal)

RUSH AND PHILOSOPHY

CALL FOR PAPERS

DEADLINE: 19 JULY 2009

We are looking for short articles (of around twenty pages) to add to this proposed anthology for the series that began with "Seinfeld and Philosophy" (2000), but since 2005 has also included a number of music-related books.

Writers in philosophy, musicology, music theory, American studies,economics, and psychology have already committed to "Rush and Philosophy," and they are exploring various areas from across Rush's career (1974- ). However, possible areas of interest for additional articles include: balance through instrumental "songs," humour, and recent "sightings" of the band in the mainstream media, as well as participation in roundtables concerning music technology and rock critics. Contributions from women, minorities, and people from outside of North America are most welcome!

Deadline for one-page abstracts: July 19, 2009

Deadline for completed first-drafts: August 31, 2009

Please send to Durrell Bowman and Jim Berti: db at durrellbowman.com; koors58 at yahoo.com

PhD CASE Studentship with UNESCO City of Music Project (St Andrews)

PHD CASE STUDENTSHIP WITH UNESCO CITY OF MUSIC PROJECT

UNIVERSITY OF ST. ANDREWS

DEADLINE: 30 JUNE 2009

Applications are now being accepted for an exciting opportunity to study a cultural management initiative in its beginning stages: a UNESCO City of Music project. This ESRC-funded CASE studentship with the University of St Andrews’ Institute for Capitalising on Creativity (ICC) will begin October 2009.

Applications must be submitted by June 30.

The UNESCO City of Music project will launch in September 2009, aiming to bring tangible benefits to the city, making it better through music. Successful advocacy will be supported by the CASE student’s research into the effectiveness of the organisation’s engagement and delivery strategies. This will involve

• providing research for the UNESCO City of Music project

• evaluating the project’s stakeholder engagement policy

• examining the project’s contribution to the cultural and creative industries

• assisting, supporting and enhancing project effectiveness

• engaging with a variety of stakeholders, including specialist and non-specialist music organizations

• applying appropriate theoretical perspectives from related fields

• sourcing and critiquing relevant literature

• interpreting research results for non-specialist and scholarly audiences

CASE students work closely with sponsoring organizations, providing industry-relevant research and enhancing social science research in the Creative Industries generally. Project supervision is provided by ICC academics and workplace mentors. Fees and maintenance are provided by the Economic and Social Research Council (ESRC) over 3 years, leading to a PhD awarded by University of St Andrews.

The successful candidate must have a Masters degree and first degree in music, management, creative industries, cultural studies or other relevant area. Applicants must be UK nationals or EU nationals who have resided in the UK throughout the preceding 3 years.

For further details, please email Mindy Grewar, Executive Administrator, Institute for Capitalising on Creativity, coca@st-andrews.ac.uk, or ring 44 (0) 1334 462808.

CFP: 3rd Workshop on Learning the Semantics of Audio Signals (Graz, Austria)

3RD WORKSHOP ON LEARNING THE SEMANTICS OF AUDIO SIGNALS (LSAS) 2009

SAMT 2009 CONFERENCE, GRAZ, AUSTRIA

4 DECEMBER 2009

CALL FOR PAPERS

http://lsas2009.dke-research.de

The Workshop on Learning the Semantics of Audio Signals (LSAS) focuses especially on researchers that are working on semantics, description, representation and understanding of music with the goal to intensify the exchange of ideas between the different research communities involved, to provide an overview of current activities in this area and to point out connections between them. Therefore, the topics of interest include, but are not limited to the following aspects with respect to music

information retrieval systems:

- Audio signal processing and feature extraction

- Content-based audio retrieval

- Music perception, cognition, affect and emotions

- Music structure analysis

- Semantic audio description and analysis

- Ontologies for music and sound description

- Standards for audio content description

- Machine learning methods for feature extraction and mapping

- Personalization of music retrieval systems

While our main focus is on music data, we are also interested on work related to other audio data such as speech.

Important dates:

- Deadline for paper submission: September 7, 2009

- Notification of acceptance: September 21, 2009

- Camera-ready paper submission: October 12, 2009

For the full Call For Papers and further information on the workshop, please visit http://lsas2009.dke-research.de

CFP: Forum on Music and Christian Scholarship (Boston University)

FORUM ON MUSIC AND CHRISTIAN SCHOLARSHIP

BOSTON UNIVERSITY

26 - 27 FEBRUARY 2010

CALL FOR PAPERS

The Forum on Music and Christian Scholarship seeks proposals for its upcoming annual meeting, which will take place at Boston University from February 26 to 27, 2010.

Papers on any topic pertaining to music and Christian scholarship are welcome. Likewise, we invite submissions representing a variety of approaches and perspectives: history, theory and analysis, philosophy and theology, ethnomusicology, critical theory, and the like. Papers will be 25 minutes long. Proposals for panels are also welcome. For more information about the FMCS and about previous conferences see the webpage: www.fmcs.us

Please send an approximately 300-word abstract which includes your name, affiliation, and contact information to the Chair of the Program Committee: Siegwart Reichwald (siegwart.reichwald at converse.edu)

Deadline: October 1, 2009

PhD Studentship: Methods and Influence of the Folk organisation Folkworks (Newcastle University)

PHD STUDENTSHIP: METHODS AND INFLUENCE OF THE FOLK MUSIC ORGANISATION FOLKWORKS

NEWCASTLE UNIVERSITY / THE SAGE GATESHEAD

DEADLINE: 26 JUNE 2009

The International Centre for Music Studies at Newcastle University, in partnership with The Sage Gateshead, is pleased to announce that it has been awarded a PhD studentship as part of the Arts and Humanities Research Council of Great Britain's Collaborative Doctoral Awards scheme. We are seeking to award a fully-funded three-year studentship, commencing 21 September 2009, to research the methods and influence of the folk music organisation Folkworks. Further details are given below.

Supervisors: Dr Vic Gammon, Dr Felicity Laurence, Mr Alistair Anderson School: International Centre for Music Studies (School of Arts and Cultures) in collaboration with The Sage Gateshead Funded by: AHRC

Since 2000 Folkworks has been integrated into The Sage Gateshead. It has established a national reputation for the promotion of folk and traditional music through its educational work and through presenting some of the world's best traditional musicians in concerts, tours and festival events. The aim of this project is to investigate the innovative character of Folkworks and evaluate its practices and success factors.

The main areas of research will be:

*The development of Folkworks and other folk music development agencies in other countries, for example Ireland and Scotland.

*The characteristic forms of learning and participation in Folkworks' activities including the relationships of aurality and literacy in learning and transmission and compare these, in a historically-informed way, with learning and transmission in older traditional forms of music-making.

*The adaptation of Folkworks' learning and participation methods to meet the needs of different client groups, for example children, undergraduates and adult amateurs.

*The characteristics of Folkworks' tutors' interactional styles, their approach to accommodating different forms and degrees of musical competence within the same workshop and the social situations created in group sessions.

*The organisational culture of Folkworks both before and after its integration into The Sage Gateshead. This will include looking at future developments and considering the future of the philosophy and practices created through Folkworks in view of generational changes of personnel and organisational structure.

PERSON SPECIFICATION

Candidates should have, or expect to achieve, a good Honours degree (minimum upper-second-class Honours) in music. You must have either an exceptional proven knowledge and ability in the field of folk and traditional music and a demonstrable aptitude for work in the area of pedagogical studies or an MA or MMus in music. This project may well suit someone who is an educator in the field and wants to develop research in this area.

An essential part of this project is being a participant-observer alongside The Sage Gateshead's staff on Folkworks projects so candidates must be practitioners in folk and traditional music.

VALUE OF THE AWARD AND ELIBILITY

Depending on how you meet the AHRC's eligibility criteria, you may receive a full or partial award. A full award covers tuition fees and an annual stipend of £14,440 (includes the AHRC stipend and an additional payment from The SAgE Gateshead). A partial award covers tuition fees only.

HOW TO APPLY

You must complete the University's postgraduate application form (www.ncl.ac.uk/postgraduate/apply/applicationforms),selecting 'PhD School of Arts and Cultures (full time) - Music' as the programme of study and inserting the reference number SAC01. Your application should include a CV, covering letter and the contact

details of two academic referees. The covering letter (no more than one side of A4), must state the title of the studentship, quote the reference number SAC01 and state how your interests and experience relate to the project.

You should also send your CV, covering letter, and the names and addresses of two referees as email attachments to Jane Hagger, jane.hagger@ncl.ac.uk

Closing date for applications: Friday 26 June 2009

We intend to hold interviews on Tuesday 14 July. If you are unable to attend on this date please indicate this on your application.

Further Information: Informal enquires can be made via email to Dr Vic Gammon, vic.gammon@ncl.ac.uk

CFP: WEMIS Workshop on Exploring Music Information Spaces (Corfu, Greece)

WEMIS 2009 WORKSHOP ON EXPLORING MUSICAL INFORMATION SPACES

CORFU, GREECE

1 - 2 OCTOBER 2009

CALL FOR PAPERS

http://www.dlsi.ua.es/wemis09

Deadline for submission of papers: June 24, 2009

The Workshop on Exploring Musical Information Spaces 2009 will be held on October 01-02, 2009, in conjunction with the 13th European Conference on Digital Libraries (ECDL 2009).

The Workshop will take place at the site of the main conference, Corfu Holiday Palace hotel, Kanoni, Corfu, Greece.

Workshop topic and goals

There is an increasing interest towards music stored in digital format, which is witnessed by the widespread diffusion of standards for audio like MP3 and of web-based services to listen or purchase music. There is a number of reasons to explain such a diffusion of digital music. First of all, music crosses the barriers of national languages and cultural backgrounds and can be shared by people with different culture.

Moreover, music is an art form that can be both cultivated and popular, and sometimes it is impossible to draw a line between the two, for instance in the case of jazz or of ethnic music. These reasons, among others, may explain the increasing number of projects involving the creation of music digital libraries. A music Digital Library (DL) allows for, and benefits from, the access by users from all over the world, it helps the preservation of cultural heritage, and it is not tailored only to scholars' or researchers' needs.

The availability of music collections to a wide number of users, needs to be paired by the development of novel methodologies for accessing, retrieving, organizing, browsing, and recommending music. The research area devoted to this aspect is usually called Music Information Retrieval (MIR) although retrieval is only one of the relevant aspects. Given the particular nature of music language, which does not aim at describing objects or concepts, typical metadata give only a partial description of music documents. Thus great part of MIR research is devoted to content-based approaches, aimed at extracting relevant descriptors, computing perceptually based similarity measures, identifying music genres and artists, naming unknown songs, and recommending relevant music items.

In recent years, most of the published research results focused on the extraction of relevant features from audio recordings, aimed at providing tools for retrieval of and access to popular music for music consumers. Yet, we believe that there is still the need of a forum devoted to the investigations of new paradigms of interacting with music collections for a wider variety of users, including musicologists, theorists, and music professionals, in order to promote the dissemination of cultural heritage. This goal is achieved by means of research on the formalization of users’ needs, on novel paradigms for browsing personal collections and music digital libraries, and on the role that music theory plays on the concepts of relevance and similarity. To this end, music content should thus include the symbolic representation of music works and the information on the structure of music pieces.

The goal of the workshop is to gather researchers in all the disciplines related to music digital libraries, where original results on how musical information spaces can be explored are shared and discussed.

The topics of the workshop include:

* music digital libraries and sound archives

* music identification and retrieval

* music similarity measures

* music categorization

* content-based recommendation systems

* music-related social networks

* interfaces and user studies

* musicological information representation and inferring

* future concepts for music access

Formats, templates

Contributions will be peer reviewed by the at least two reviewers, either of the program committee or external if needed. Accepted papers will be orally presented through with twenty-minutes long talks.

Publication

Selected papers from the workshop will be invited to submit an extended version to a planned special issue on Music Digital Libraries of the Intl. Journal of Digital Libraries.

Organizing committee

Nicola Orio

University of Padova, Italy

Andreas Rauber

Vienna University of Technology, Austria

David Rizo

University of Alicante, Spain

Program committee

* George Tzanetakis (University of Victoria, Canada)

* Kjell Lemström (University of Helsinki, Finland)

* Darrell Conklin (City University, London, UK)

* José Manuel Iñesta (University of Alicante, Spain)

* Carlos Agón (IRCAM, Paris, France)

* David Bainbridge (University of Waikato, New Zealand)

* Roberto Bresin (Stockholm University, Sweeden)

* Sergio Canazza (Università degli Studi di Udine, Italy)

* Giovanni De Poli (University of Padova, Italy)

* Gert Lanckriet (University of California, San Diego, USA)

* Olivier Lartillot (University of Jyväskylä, Finland)

* Massimo Melucci (University of Padova, Italy)

* Jeremy Pickens (FX, Palo Alto, USA)

* Simon Dixon (Queen Mary University of London, UK)

* Anssi Klapuri (Tampere University of Technology)

* Francois Pachet (Sony CSL Paris, France)

* Emilios Cambouroupoulos (Aristotle University of Thessaloniki,Greece)

* Stephen Downie (University of Illinois at Urbana-Champaign, USA)

Nicola Orio, Andreas Rauber, David Rizo

WEMIS Organizing Committee