CFP: Music, Literature, Illustration: Collaboration and networks in English manuscript culture, 1500 – 1700 (University of Southampton)

MUSIC, LITERATURE, ILLUSTRATION: COLLABORATION AND NETWORKS IN ENGLISH MANUSCRIPT CULTURE, 1500 - 1700
UNIVERSITY OF SOUTHAMPTON
16 - 17 FEBRUARY 2010
CALL FOR PAPERS

A conference for postgraduate students and early career researchers, hosted by the Centre for Medieval and Renaissance Culture, University of Southampton
Chawton House Library, Hampshire, 16-17 February 2010
Keynote speaker: Dr Peter Beal FBA (Institute of English Studies, University of London)

This two-day conference will bring together postgraduate and early career researchers working on sixteenth- and seventeenth-century English manuscript sources. Many of the sources from this period are multi-authored and contain strikingly disparate materials, posing a serious challenge to scholars working within traditionally defined disciplinary boundaries.

The primary aim of the conference is to address this challenge: to provide an opportunity for genuine interdisciplinary discussion, and to create new networks between researchers which will enable them to share both theoretical perspectives and practical approaches to working with early modern manuscript materials.

Our definition of ‘literature’ for this conference is a broad one, including (but not limited to) poetry, prose, drama, (auto)biography, letters, devotional writing and medical/scientific texts.

We invite proposals for 20 minute papers that address any aspect of the conference theme but, in particular, those focused in the following areas:

• Studies of individual manuscripts that contain a range of diverse materials
• Manuscripts as emblems of social bonds (e.g. family, friendship, or patronage-based networks)
• Manuscripts as spaces for private reflection
• Manuscripts as objects for public display
• Manuscripts as commodities in a gift economy
• Relationships between manuscript and print culture
• The role of new technologies in manuscript studies, including:

- Project reports and/or practical demonstrations of existing electronic resources
- Conceptual and theoretical models – how can emerging technologies shape the future of manuscript studies?
- Representing non-textual material in electronic editions

Abstracts (300 words max.) for proposed papers should be sent by email to both conference organisers by October 16th 2009:

Michael Gale ( mdg at soton.ac.uk ) and Louise Rayment ( L.Rayment at soton.ac.uk )

Please include contact details and indicate your institutional affiliation and professional status (i.e. doctoral candidate, post-doctoral researcher etc.) in your submission.

Further information about the conference will appear in due course at: http://www.soton.ac.uk/cmrc/news/conferences/2009_10/music_literature.html

CFP: Russian Journal Music Scholarship (journal)

RUSSIAN JOURNAL PROBLEMY MUZYKAL'NOI NAUKI / MUSIC SCHOLARSHIP
CALL FOR PAPERS

A new Russian Journal Problemy Muzykal'noi Nauki/ Music Scholarship invites submissions to be published in one of the upcoming issues. We invite papers in the fields of ethnimusicology and folkloristics. Our journal is a biannual multilingual academic edition. We accept papers from well-established professionals in the field and from graduate students at the last stages of degree programs.

We are looking for shorter articles, 10 to 12 pages long, 14pt font and 1,5 interval. Musical examples and color illustrations must be at 600 dpi. We can publish articles in the original language and in Russian tanslation simultaneously. We also offer an opportunity to publish articles on line at our web site:

www.ufaart.ru/naukamuzykieng.htm

For submissions and questions, please use the folloing email address: solfeggio7 [AT]yahoo.com

CFP: CIM10 Nature versus Culture (University of Sheffield)

CIM10 NATURE VERSUS CULTURE
UNIVERSITY OF SHEFFIELD
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.

Deadline for abstract submission: 15th of September 2009
E-mail submissions to: CIM10 at sheffield.ac.uk

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

Job Posting: Senior Lecturer in Dance (University of Northampton)

JOB POSTING: COURSE LEADER/SENIOR LECTURER IN DANCE
SENIOR LECTURER SALARY £35,459 - £43.622 P.A.
UNIVERSITY OF NORTHAMPTON, SCHOOL OF THE ARTS
DEADLINE: 6 AUGUST 2009

The School of The Arts aims to provide a vibrant, stimulating and supportive environment where students are able to experiment and explore new ideas while working to fulfil their true creative and intellectual potential. We offer excellent facilities and flexible programmes of study where students are encouraged to work within and across discipline boundaries.

Comprising five divisions: Design; Fashion & Textiles; Fine Art; Media, English and Culture; and Performance Studies, the School has an excellent track record of research activity and an established and growing reputation within the region for our community and business engagement activities across a broad spectrum of the creative industries.


Course Leader/Senior Lecturer in Dance
Senior Lecturer Salary £35,469 - £43,622 p.a.

The Division of Performance Studies wishes to appoint an experienced and creative individual to lead and manage the BA Dance programmes. Applicants will possess a higher degree or equivalent professional experience in a relevant discipline. An essential part of the post is to maintain and develop academic, creative and professional excellence. Applicants should have the skills and subject specialisms in two of the following areas: Dance in Professional, Community and other Applied Contexts; Dance Training/Technique; Contemporary Choreographic Practice; Dance Theory, History and Analysis; Dance and Technology. The successful applicant will have a commitment to developing external relationships and to the teaching of theory and practice, and experience of studio-based practice at HE level.

For an informal discussion about the above post, contact: Dr Jane Bacon (Divisional Leader, Performance Studies) on jane.bacon@northampton.ac.uk or Dr Vida Midgelow (Reader, Dance and Performance) on vida.midgelow@northampton.ac.uk.

Deadline: Thursday 6 August 2009

For an information pack please visit www.northampton.ac.uk/about/jobs or Email: per.apply [AT]northampton.ac.uk

Alternatively call the 24 hour answerphone on (01604) 892822.

The University of Northampton as an employer strives to achieve diversity among its staff which reflects the communities it serves.

CFP: RMA Annual Conference 2010 'Boundaries' (IMR, University of London)

ROYAL MUSICAL ASSOCIATION ANNUAL CONFERENCE 2010: 'BOUNDARIES'
INSTITUTE OF MUSICAL RESEARCH, UNIVERSITY OF LONDON
15 - 17 JULY 2010
CALL FOR PROPOSALS

Summary Conference Abstract [full abstract at www.music.sas.ac.uk]: The past 25 years of reflection and renewal within musicology have led relationships between our inherently interdisciplinary subject area and other disciplines to flourish as never before. At the same time, we have begun to challenge the validity of musical categorizations that have long been taken for granted both within academia and in the public at large. So how can we now define the boundaries of our subject? What impact do different ways of conceptualizing and categorizing music have on our understanding of it and on the creative activities of musicians? The aim of the conference is to encourage exploration of the ways in which those working in the diverse areas of musical research understand, challenge and make fluid some of the boundaries within their own disciplinary areas and beyond them. The conference will include the Peter Le Huray Lecture for 2010, to be given by Jim Samson (Royal Holloway), and keynote presentations from Martin Clayton (Open University) and Sara Cohen (University of Liverpool).

Call for proposals:

Proposals of 250 words maximum are invited for the following:

• Papers (20 minutes maximum, with 10 minutes discussion)

• Lecture-recitals and performances /demonstrations (30 minutes maximum, with 15 minutes discussion)

Proposals of 650 words maximum are invited for the following:

• Themed paper sessions of three or four papers (to include a proposal of 300 words maximum outlining the purpose of the themed session, along with brief explanations of each of the individual papers to be included - each paper to be 20 minutes maximum plus ten minutes discussion)

DEADLINE for proposals: 5pm (GMT), Friday 20 November 2009

Results and preliminary programme announced: late December 2009

Please submit by email, in an attachment including your full name and contact details, to the IMR Administrator Mrs Valerie James: music [at] sas.ac.uk. If you are a student, please say so.

Proposals will be judged anonymously. Proposals sent in by students will be given special consideration.

RMA Programme Committee: Rosamund Bartlett (Oxford), Katherine Brown (KCL), Rebecca Herissone (Manchester), John Irving (IMR), Nicholas McKay (Sussex)

CFP: The Symphony Orchestra as Cultural Phenomenon (IMR, University of London)

THE SYMPHONY AS CULTURAL PHENOMENON
INSTITUTE OF MUSICAL RESEARCH, UNIVERSITY OF LONDON
1 - 3 JULY 2010
CALL FOR PAPERS

Edward Elgar described the symphony orchestra as ‘the mighty engine, the vehicle of the highest form of art ever known to the world’, and from the 1880s onwards this widely held belief gave orchestral music a prominent place in British musical life. In the 21st century, however, such a position is perhaps no longer tenable.

Call for papers: The Programme Committee warmly welcomes proposals focusing on economic, political, social and cultural developments connected with the symphony orchestra and their effects on composers, performers, conductors, producers, artistic directors, back-room staff, recording engineers, public and private broadcasters, recording companies, publishers, critics, scholars, audiences, listeners, viewers, fundraisers, patrons, arts councils, and so forth; or the ‘outcomes’ of their activity, including, but not limited to, such things as scores, recordings, concerts, lectures, essays, books, criticism, interviews, commissions and contracts. Those submitting proposals may also wish to address the relationship between historical context and place (such as venues, cities, and countries), or the formation and dissemination of ideas about the orchestra.

Proposals of 250 words maximum are invited for the following:

• Papers (20 minutes maximum, with 10 minutes discussion)

Proposals of 650 words maximum are invited for the following:

• Themed paper sessions of three or four papers (to include a proposal of 300 words maximum outlining the purpose of the themed session, along with brief explanations of each of the individual papers to be included – each paper to be 20 minutes maximum plus ten minutes discussion)

DEADLINE for proposals: 5pm (GMT), Monday, 30 November 2009

Results Announced: mid-January 2010

Preliminary Programme: mid-January 2010

Please submit by email, in an attachment including your full name and contact details, to the IMR Administrator Mrs Valerie James: [music at sas.ac.uk]

Proposals will be anonymised before consideration by the Programme Committee.

Programme Committee: Stephen Cottrell (Goldsmiths College, University of London), Rachel Cowgill (Liverpool Hope University), Jonathan Cross (University of Oxford), John Irving (Institute of Musical Research), Jann Pasler (University of California, San Diego), Julian Rushton (University of Leeds), Derek B. Scott (University of Leeds).

Convenors: Duncan Boutwood (University of Leeds), Roddy Hawkins (University of Leeds).

Please email Roddy Hawkins with any queries: r.w.m.hawkins at leeds.ac.uk

Details: http://music.sas.ac.uk/imr-events/imr-conferences-colloquia-performance-events/the-symphony-orchestra-as-cultural-phenomenon.html#c1420

FORUM Essay Prize 2010: Music and Literature

FORUM ESSAY PRIZE 2010: MUSIC AND LITERATURE
FORUM FOR MODERN LANGUAGE STUDIES
OXFORD UNIVERSITY PRESS
DEADLINE: 31 JANUARY 2010

The General Editors of Forum are pleased to announce that, in memory of the distinguished musicologist and Forum editor Peter Branscombe, the 2010 Forum Prize is on the subject of music and literature. Articles of up to 6,000 words are invited for the competition: the winning article will be published in the journal and the author will receive the sum of £200. Reflective, polemical articles on music and literature are especially welcomed and may relate to any area and period of English, French, German, Iberian, Italian, Latin American and Russian literatures, languages and cultures. For the purposes of the Forum Prize, the subject of music and literature is defined in its broadest sense.

Professor Peter Branscombe (1929-2008) is best known for his work on Viennese musical theatre, and on Haydn, Mozart, Schubert and Wagner. He was Professor of Austrian Studies at the University of St Andrews and was for many years a valued contributor to and editor of Forum.

Application: Articles should be submitted according to Forum style and to the General Editor (articles) by 31 January 2010, marked "For consideration for the Forum Prize". Entries may be submitted online via http://mc.manuscriptcentral.com/fmls. Forum's normal peer review processes will pertain, and short-listed articles will also be judged by additional subject specialists. The prize article will be announced and published in the July 2010 issue. Forum may publish other very strong submissions in subsequent general issues. For further details about the Prize, see www.oxfordjournals.org/our_journals/formod/forum_prize.html

CFP: Performance and the Page: Exploring Manuscript Production and Interpretations - International Medieval Congress (Leeds)

PERFORMANCE AND THE PAGE: EXPLORING MANUSCRIPT PRODUCTION AND INTERPRETATIONS
INTERNATIONAL MEDIEVAL CONGRESS
LEEDS, UK
12 - 15 JULY 2010
CALL FOR PAPERS
http://www.leeds.ac.uk/ims/imc/

This interdisciplinary session will consider the metaphorical journey undertaken by all those involved in manuscript production and interpretation. From manuscript design to current presentation and preservation, from the conception of a work to its reception today, this session seeks to explore how manuscript layout and design influence (and are influenced by) reception, past and present.

Papers are invited on all aspects of "performance and the page", and could include:
--Issues of manuscript interpretation (medieval and/or contemporary)
--Issues of manuscript design
--Reconstruction of manuscript "texts" (including music)
--Aural performance of manuscript "texts" (including music)
--The visual impact of the manuscript page
--Presentation of manuscripts and their contents
--The influence of media (e.g. printing, digitisation) on the interpretation of manuscript contents
--The impact of manuscript digitisation on reception
--Reader manipulation through manuscript layout and design
--The manuscript portrayal of the author(s)
--Editing processes (both medieval and contemporary)
--The roles of some or all of those involved in manuscript production and transmission, from author to 21st-century reader.
--Relations between "text" and image

The conference theme for 2010 is "travel and exploration", and papers should address this theme in some way.

Please send proposals of 200 words before 8th Aug 2009 to: K.Maxwell at music.gla.ac.uk

CFP: Methods of Musicological Research (Utrecht)

METHODS OF MUSCIOLOGICAL RESEARCH
KVNM OPERN FORUM DAY, UTRECHT
14 NOVEMBER 2009
CALL FOR PAPERS

Music comes in many different forms. Music can be a sonic phenomenon, a visual object, but also a cultural practice. In each of these guises music can act as a valid research object in musicology, but they all require different approaches. Moreover, in recent years, under the influence of the so-called New Musicology and of developments in cognitive and computational music research, the diversity of musicological methods has increased tremendously. How can researchers best select those methods that are appropriate to answer particular musical research questions?

For the Open Forum Day on 14 November 2009, the Royal Society for Music History of
The Netherlands invites papers that address this particular issue. Possible topics
include, but are not limited to: performance studies, the score as object of research, the study of sounding music, research in improvisation, music as cultural practice, new historiography, musicology and new media.

Conference languages: English and Dutch.

Please send your abstract (up to 200 words) to Vincent Meelberg (v.meelberg at]let.ru.nl).
Deadline for submission: 15 September 2009.

CFP: Society for 18th Century Music 4th Biennial Conference (Brooklyn, NY)

SOCIETY FOR EIGHTEENTH-CENTURY MUSIC FOURTH BIENNIAL CONFERENCE
ST. FRANCIS COLLEGE - BROOKLYN, NEW YORK
8 - 11 APRIL 2010
CALL FOR PAPERS

Located in historic Brooklyn Heights, St. Francis College lies a short walk from the Promenade, an esplanade offering dramatic views of the Statue of Liberty, the Brooklyn and Manhattan Bridges, and the Manhattan skyline across the East River. The area is easily accessible to Midtown Manhattan and Lincoln Center for the Performing Arts. Featured events include a concert on period instruments at the Morris-Jumel Mansion; a concert by Brooklyn College musicians; a tour of downtown Manhattan with stops at the eighteenth-century Fraunces Tavern and other sites; and a visit to the Morgan Library.

We seek to incorporate a wide variety of presentation types, including papers, lecture recitals, panels, considerations of a specific work from different points of view by several speakers, and reports on ongoing projects. Proposals for papers or other activities on any topic relating to music of the eighteenth century are welcome. The SECM Student Paper Award will be given to a student member for the outstanding paper at the conference. Student members of the society who have not received the doctorate before the date of the conference are eligible for the award.

The conference will include a special "dissertations in progress" session for students working on dissertations on eighteenth-century topics who would like to receive feedback from members of the society. Students wishing to participate in this portion of the conference should submit the following items:

-a 250 word dissertation abstract that clarifies the thesis, nature of source material, format, methodology and scope of the project. The abstract must also include a specific statement of one particular aspect/problem/challenge the author is currently confronting as a focus for feedback.

-a table of contents

Abstracts of 250 words for all other proposals must be submitted by 15 October 2009 to Margaret Butler, Program Committee Chair, by email at: butlermr at ufl.edu. This date supersedes others previously announced. Only one submission per author will be considered, with preference given to authors who did not present at the 2008 conference in Claremont. Please provide a cover sheet and proposal in separate documents, in MS Word format. The cover sheet should include your name, address, email address, phone number, and proposal title. The proposal should include only the title, abstract, and audio-visual needs. Membership in SECM is encouraged of all participants.

Additional information on the conference will be available soon at: www.secm.org.

CFC: New Works for the Arditti String Quartet with Wolfgang Rihm (Kingston University)

ARDITTI STRING QUARTET WITH WOLFGANG RIHM
COMPOSITION WORKSHOP
KINGSTON UNIVERSITY, LONDON
8 - 10 MARCH 2010
CALL FOR COMPOSITIONS

Composition workshops:
Coombehurst Studio, Kingston University London, 8-10 March 2010
Concert: Jerwood Hall, LSO St Luke’s, Old Street, London
12 March 2010, 7.30 p.m. Broadcast by BBC Radio 3

Part of Total Immersion: Wolfgang Rihm with the BBC Symphony Orchestra’s celebration of the music of Wolfgang Rihm www.bbc.co.uk/symphonyorchestra for details of all events

Deadline for submissions
1 December 2009

Composers of any age and of any nationality are invited to submit works for workshop rehearsal with the Arditti Quartet at Kingston University London on 8-10 March 2010. The workshops are designed for postgraduate students, postdoctoral composers and composers at the beginning of their professional careers. Wolfgang Rihm, Professor of Composition at the Staatliche Hochschule für Musik in Karlsruhe, will guide the workshop sessions.

Some of the selected works will be performed in a public concert at the Jerwood Hall, LSO St Luke’s on Friday 12 March 2010 at 7.30 pm, together with quartets by Wolfgang Rihm as part of Total Immersion: Wolfgang Rihm, the BBC Symphony
Orchestra’s celebration of the music of Wolfgang Rihm. The concert will be recorded for future broadcast by BBC Radio 3 on the Hear and Now programme.

Works must be written for string quartet (with or without electronics) and be of 8 to 12 minutes duration. The selection committee will include Prof. Wolfgang Rihm, members of the Arditti String Quartet, Paul Archbold (Kingston University) and Andrew Kurowski (Editor, New and Specialist Music - BBC Radio 3).

Please submit a bound copy of the work and a curriculum vitae to:

Dr Paul Archbold, Department of Music, Coombehurst House,
Kingston University London, Kingston Hill, Kingston upon Thames,
Surrey, KT2 7LB, UK
p.archbold@kingston.ac.uk

If the work requires electronics, please give a detailed description of the requirements, and send any required computer patches. The deadline for submissions is 1 December 2009. We regret that submitted scores cannot be returned.

CFP: Popular Dance and Music Matters (University of Surrey)

POPULAR DANCE AND MUSIC MATTERS SYMPOSIUM
UNIVERSITY OF SURREY
21 NOVEMBER 2009
CALL FOR PAPERS

Presented by the Department of Dance Studies and The Department of Music and Sound Recording at University of Surrey in collaboration with The Society for Dance research

Building on the rich dialogue and breadth of expertise that informed the 2007 and 2008 Popular Dance and Music Matters Symposia, we are pleased to launch our third international symposium. For this forthcoming symposium we have decided to concentrate presentations around four broad themes that speak to key issues and debates raised at the two previous symposia:

Re-imagining popular forms in their local and global circulation
Mediations of the popular through new and extant technologies
Spectacle and performativity in expressions of the popular
Revisiting methodology through the dance-music interface

The symposium committee welcomes proposals from scholars and practitioners engaged in examining the practices and products of popular dance and music. In addition to those researching within the fields of dance studies and popular music, we are interested in presentations located in other disciplinary areas such as sociology, cultural studies, social history and media studies.

DEADLINE FOR SUBMISSIONS
7th August 2009

Symposium Committee: Sherril Dodds, Patricia Schmidt, Joanna Hall, Tim Hughes
Guidelines for Proposals

1. Format

Presentations may take the forms of papers or lecture-demonstrations
Presentations should not exceed 20 minutes in length

2. Abstracts

An abstract of 300 words that outlines the research area and key issues within a clearly articulated methodology is required
An indicative bibliography of 4-5 key texts should be included
The name of the speaker and the title of the paper should also be enclosed on a separate sheet of paper as the abstracts will be blind reviewed
Please also note on the title page which of the four themes listed in the Call for Papers your presentation will relate to.

3. Further information

If speakers intend to present a lecture-demonstration, please indicate what your space requirements might be for this
Please identify any AVS equipment that you might need for the presentation: Video/DVD playback, data projector, OHP

3. How to apply

Please send the following information by 7 th August 2009:

Abstract (including title)
Bibliography
Name, title of paper, conference theme on a separate sheet of paper
Contact name, address and telephone number
AVS needs

Please send the above information either by e-mail or in hard copy to:
Dr Sherril Dodds, Popular Dance and Music Matters: Symposium, Department of Dance, Film and Theatre, University of Surrey, Guildford, Surrey, GU7 7XH. S.Dodds [at]surrey.ac.uk

CFP: Music, Identity and Social Interaction (Royal Northern College of Music, Manchester)

MUSIC, IDENTITY, AND SOCIAL INTERACTION
ROYAL NORTHERN COLLEGE OF MUSIC, MANCHESTER UK
2 - 3 FEBRUARY 2010
CONFERENCE ANNOUNCEMENT AND CALL FOR PAPERS

Keynote speakers:
Professor Tia DeNora (University of Exeter, UK)
Professor Raymond MacDonald (Glasgow Caledonian University, UK)

This international conference focuses on the construction of musical identities through spoken interaction. Empirical and theoretical research on music and identity construction, using a variety of qualitative methods, will be considered. In addition, methodological papers that discuss the collection and analysis of talk in a variety of musical contexts are welcome (e.g., interview, focus group, and naturally occurring data, and thematic analysis, grounded theory, discourse analysis, interpretative phenomenological analysis, conversation analysis etc.).

Papers reporting empirical research should present unpublished data from recent studies; abstracts reporting incomplete studies may be submitted provided analyses are complete by the time they are presented at the conference itself. Oral and poster presentations will be considered. Each oral presentation will last 25 minutes (not including questions).

Abstracts of 200-300 words should be sent to Antonia Ivaldi by 1st October, 2009. One side of A4 should be submitted that includes: (1) title, (2) author name, institution and contact details (which will be removed for blind peer-review), (3) type of presentation (oral or poster), and (4) abstract (to include background, method, results and discussion, and conclusion for empirical papers).

Scientific committee
Prof Jane Davidson (UNIVERSITY OF WESTERN AUSTRALIA/UNIVERSITY OF SHEFFIELD, UK)
Dr Mike Forrester (UNIVERSITY OF KENT, UK)
Dr Jane Ginsborg (ROYAL NORTHERN COLLEGE OF MUSIC, UK)
Dr Terrence Hays (UNIVERSITY OF NEW ENGLAND, AUSTRALIA)
Dr Antonia Ivaldi (ROYAL NORTHERN COLLEGE OF MUSIC, UK)
Prof Dorothy Miell (OPEN UNIVERSITY, UK)
Dr Susan O’Neill (UNIVERSITY OF WESTERN ONTARIO, CANADA)
Dr Clemens Wöllner (ROYAL NORTHERN COLLEGE OF MUSIC, UK)

Important dates:
1st October 2009 – Abstract submission deadline
23rd November 2009 – Notification of acceptance
1st December 2009 – Registration opens

Details regarding registration are to come. For enquiries, please contact: Antonia Ivaldi (Antonia.Ivaldi [at] rncm.ac.uk)

We look forward to receiving your abstracts, and to welcoming you to Manchester.

Conference committee:
Dr Antonia Ivaldi (Chair) (RNCM)
Dr Jane Ginsborg (RNCM)
Dr Clemens Wöllner (RNCM)

CFP: After the Magic Flute (UCAL, Berkeley)

AFTER THE MAGIC FLUTE
UNIVERSITY OF CALIFORNIA, BERKELEY
5 - 6 MARCH 2010
CALL FOR PAPERS

Call for Papers (abstract deadline: September 1, 2009)

As Tamino stands before the three temple doors in Act I of The Magic Flute, he is about to embark on a humbling complication of the good-evil alignments he (and we) had previously assigned to the Queen of the Night and Sarastro. Interpretive work on Mozart’s enduringly perplexing Singspiel is currently at a similar threshold. Recent scholarship has shifted away from the Masonic and Enlightenment-allegory readings of past decades in favor of increasingly decentralized readings that consider the work’s implications with respect to race, gender, voice, and agency. In addition, new historical information has emerged regarding the immediate context of The Magic Flute within the Viennese theatrical tradition; a new edition of the autograph score is about to be published; and adventurous (often activist) productions set everywhere from South Africa, to a Berlin subway station, to the trenches of World War I have attracted the collaboration of artists as varied as William Kentridge, Julie Taymor, Sophiline Cheam Shapiro, and Kenneth Branagh.

The goal of this interdisciplinary conference is to take the measure of these new developments in the history and historiography of The Magic Flute, with the “after” of the conference’s title referring not exclusively to inquiries regarding adaptation or reception, but rather signaling a critical reevaluation of the persistent urge to “unlock” The Magic Flute with a single, symbolic key. The conference committee welcomes proposals from scholars interested in examining The Magic Flute from a range of disciplinary perspectives, including musicology, music theory, and ethnomusicology, film and media studies, performance studies, cultural and social history, literary and art history, and reception studies. Featured speakers will include Wye J. Allanbrook (Emerita, Musicology, University of California, Berkeley) and Jane Brown (Germanics and Comparative Literature, University of Washington).

Please submit abstracts of no more than 250 words by September 1, 2009 to conference organizer Adeline Mueller (aomueller at berkeley.edu). Notification of acceptance will be sent via email on October 1.

Adeline Mueller
Department of Music
University of California
Berkeley, CA 94720-1200
aomueller at berkeley.edu

CFP: International Conference - Hanns Eisler (IMR, University of London)

INTERNATIONAL CONFERENCE: HANNS EISLER
INSTITUTE OF MUSICAL RESEARCH, UNIVERSITY OF LONDON
19 - 20 APRIL 2010
CALL FOR PAPERS

Conference convenors: Erik Levi (Royal Holloway University of London), Albrecht Dümling (International Hanns Eisler Society, Berlin) and Michael Haas (Jewish Museum, Vienna)

Keynote speaker: Professor David Blake, University of York

We welcome submission of papers on the work of Hanns Eisler (1898-1962), widely regarded as one of Schoenberg’s most talented pupils and a pioneer of applied music during the Weimar Republic. As an exile from Nazi Germany, Eisler spent most of the 1930s and in Denmark, England and finally the USA before returning to Europe to take up residency in the newly-founded German Democratic Republic.

The conference, probably one of the first on Eisler to be held in the English speaking world, has two broadly-based themes:

1) Eisler and England
2) topics of general interest related to the work of Eisler.

Proposals for papers are now invited. Papers should be of 20 minutes duration, and the proposal should be presented as an abstract of not more than 250 words. Please submit by email, in an attachment including your full name, contact details and (if applicable) your affiliation, to the IMR Administrator Mrs Valerie James, at music at sas.ac.uk

Proposals will be anonymised before consideration by the conference convenors.

DEADLINE for proposals: 5pm (GMT), 25 November 2009

Results Announced: mid-December 2009

Preliminary Programme: mid-December 2009

www.music.sas.ac.uk

Ph.D. Studentship in Musicology (Katholieke Universiteit Leuven)

Ph.D. STUDENTSHIP IN MUSICOLOGY
KATHOLIEKE UNIVERSITEIT LEUVEN

The Musicology Research Unit of the Katholieke Universiteit Leuven invites applications for a Ph.D. studentship as part of the project, “Music and Theology in Reformation Germany: The Case of Leonhard Päminger”. The position, which begins on 1 October 2009, is for four-years, full-time, and is fully funded (including a living wage). The successful candidate will be expected to complete a doctoral thesis on the music of Leonhard Päminger (1495-1567).

Project abstract:
“Music and Theology in Reformation Germany: The Case of Leonhard Päminger”

This project examines the relationship between music and theological doctrine during the most turbulent period in European religious history, the Reformation. The project focuses on the output of Leonhard Päminger (1495-1567), one of the period’s most fascinating figures for investigating this question. Päminger was not only an extremely prolific composer, but also a major poet and theologian who was directly caught up in the musical and theological debates of the Reformation. He spent much of his life in the Catholic city of Passau, where he held important positions at one of the city’s principal educational establishments, the school of St. Nikola, yet, despite this employment situation, he was himself a Lutheran and maintained direct links with major reformers, including Martin Luther, Philip Melanchthon, and Veit Dietrich. More than 700 of his works are currently known to survive. His compositional output and his broader historical context thus offer extraordinarily rich material for research into Renaissance music in general and into the music of the Lutheran Reformation in particular. The project will relate Päminger’s sacred music with the theological ideas that both he and his contemporaries expressed in writing.

Further information for applicants:
The applicant should hold, or be about to complete, a relevant Master’s degree. Knowledge of Dutch is not a pre-requisite.

Desirable (though not essential) qualities:
- experience in Renaissance music at Master’s level
- background knowledge of the history of the German Reformation
- knowledge of German and Latin

Applications should include:
- a letter of motivation
- a CV
- a work-sample (Master’s thesis or Master’s coursework)
- 2 letters of reference, under separate cover
The deadline for receipt of applications is 10 August. Applications should be addressed to:
Prof. dr. David Burn
Afdeling musicologie
Faculteit Letteren, Bus 3313
Blijde-Inkomststraat 21
3000-Leuven
Belgium
Applications may also be submitted electronically (as .pdf or word documents), to: david.burn [at] arts.kuleuven.be

For further information on the project, and for any other enquiries, please contact David Burn, at the above address.

Future of Music Publishing? - Sheet Music on Kindle

FUTURE OF MUSIC PUBLISHING?

SHEET MUSIC ON KINDLE

From Amazon Kindle's Blog today: "FreeHand Systems has announced that its Novato Music Press catalog, which includes thousands of classical, traditional and American music titles, is now available on Kindle. This marks the first time that a comprehensive collection of sheet music is being offered for this exciting new medium."

The CEO of FreeHand Systems, Kim Lorz is quoted as saying "musicians never have to fumble through paper scores or worry about forgetting a piece of music. Everything is wirelessly downloaded and stored in the Kindle and is available for easy recall."

The collection has holdings of J.S. Bach, Mozart and Beethoven and "minor composers [...] including Scott Joplin's Treemonisha." I find their characterisation of one of the first American operas as 'minor' truly amusing.

This could not stand in starker contrast to a presentation that Dr. Wolf-Dieter Seiffert, Managing Director of G. Henle Publishers gave on 1 April 2009 to the International Confederation of Music Publishers (ICMP).

Printed music has existed for over 5 centuries and Dr Seiffert's perspective reinforces the printed medium. He outlines some of the benefits of being able to download music which include providing access to lesser known composers and compositions which have been removed from the printed catalogue. Among the reasons why he thinks printed music will be around for another century are:

• "When my screen falls down to the floor, it breaks. Sheet music has been falling on the floor for 500 years – and survived.
• When you have a power blackout, your screen goes dark. Even 500 years from now music on paper will not need electric currency.
• Software is consistently updated, storage media is subject to change; that leads to the next technology-related problem: I am not sure whether the next generation of equipment is compatible. A few years from now, will I be able to read and convert the music I painstakingly scanned and downloaded? Music on paper is independent of software and does not need a disk drive."

You can access his full speech here. (PDF)

Whether music publishing will remain as static as Dr. Seiffert indicates or the pendulum swings to the Kindle remains to be seen. As a performer I can see benefits to both approaches, but should I go down the Kindle path I'll be sure not to drop it!

CFP: Pop Culture Tools in the Music Classroom (publication)

POP CULTURE TOOLS IN THE MUSIC CLASSROOM

CALL FOR SUBMISSIONS

DEADLINE: 1 AUGUST 2009

Authors are invited to submit potential contributions to an essay collection on using popular culture in undergraduate- and graduate-level music courses. The essays should focus on teaching and learning tools derived from popular culture, and may also include generalized considerations of popular-culture texts. The collection is intended to serve as a framework for course design or as a supplementary text in either pedagogy or music classes. Approaches concerning methods of using popular culture to address either art or vernacular musics, from the disciplines of musicology, ethnomusicology, music theory and analysis, and performance studies are welcome. Topics may include, but are not limited to:

· electronic media such as mp3s and other digital audio; Ipod culture;streamed radio

· multimedia sources, including YouTube, music videos, television shows,movies, soundtracks

· videogames such as Guitar Hero, Rock Band, Dance Dance Revolution, and others

· online environments such as Second Life

· covers, versioning, parodies, mashups

**Essays should be 6,000-10,000 words in length and conform to /Chicago Manual of Style/ guidelines. Authors will be responsible for acquiring any necessary permissions for copyrighted materials included in their works. Text should be submitted as Word files (.doc or .rtf format),with musical examples in .tif, .pdf, .jpg, .gif, or .bmp format (.tifs are preferred).

The collection will be published by Scarecrow Press in 2010. Materials should be submitted electronically to Nicole Biamonte at (nbiamonte@gmail.com) by *August 1, 2009*. Please include:

1) a cover letter or message, including the author’s name and essay title

2) an abstract of approximately 200 words

3) the proposed contribution, with author’s name and other identifying information omitted

4) a brief biography (50 to 100 words)

5) a current cv

Upcoming Workshops: Suspense Festival of Adult Puppet Theatre Workshops (CSSD)

SUSPENSE - FESTIVAL OF ADULT PUPPET THEATRE WORKSHOPS

CENTRAL SCHOOL OF SPEECH AND DRAMA, LONDON

30 OCTOBER - 8 NOVEMBER 2009

CALL FOR PARTICIPANTS

The Central School of Speech and Drama’s Centre for Excellence in Training for Theatre and its Puppetry course are supporting three workshops on puppetry/object theatre as part of the new festival of adult puppet theatre Suspense between 30 October and 8 November 2009

Two-day workshops

1. Ephemeral Animation

This two-day workshop will be run by Nenagh Watson of Barking Dog Theatre and Creative Fellow at CSSD.

Ephemeral Animation is a term coined by Watson to encourage appreciation of animation, often momentary, of discarded objects animated via natural elements. The plastic bag blowing and dancing in the wind in the film American Beauty has become a cultural reference point. Void of the interruption of human ego, these fragmentary experiences have a lot to tell us about the art form of puppetry. This two-day workshop will encourage debate and exploration, stripping the art form to its raw essential state. We will examine Kantor's fascination with objects and 'puppetry without ego': how can we allow something to have its own intrinsic presence, its own immanence, provoking questions of what is authentic; and how can we engage audience in this appreciation?

The workshop will take place at The Central School of Speech and Drama

Friday and Saturday 30 and 31 October, 10.00 am - 5.00 pm.

Workshop fee: £50 for both days (student fee £25).

2. Objects and New Technologies

This two-day workshop will be run by Maria Dominguez Alba who is a painter and film-maker, and also Research Fellow at the University of Castilla-La Mancha in Spain.

This two-day laboratory will explore and create a multi-disciplinary dialogue between theatres of objects and puppets and new technologies. The workshop will focus practically and theoretically on the relationship between the object and new technology. It will also provoke reflection about identity and the body; of the individual's projection in a collective environment, and vice versa; virtual reality, fiction, the idea of presence, the concept of real time, tele-presence, the fragility of the technological medium and interaction.

The workshop will take place at The Central School of Speech and Drama.

Friday and Saturday 30 and 31 October, 10.00 am - 5.00 pm.

Workshop fee: £50 for both days (student fee £25).

Four-day Masterclass with the Philippe Genty company

To be or not to be: a material

How to use emotional and sensorial memory for the creation of visual theatre

The Philippe Genty company is renowned for its visual theatre productions. The company leads many courses on manipulation of puppets and materials, object theatre, dance and movement and other elements of visual language. This four-day workshop will be led by Eric de Sarria (Drifting, Dedale, Zigmund Follies) and Simon Rann (Stowaways, Le Fin des Terres), long-standing members of the company. We aim to transmit knowledge of the manipulation of materials, puppets and objects, and to stimulate each student in their personal search for their own visual language. During these four days we will focus on two tools which are central to the artistic process of the company: the manipulation of materials nourished by personal memory.

The workshop will take place at The Central School of Speech and Drama.

Monday - Thursday 2 - 5 November, 9.00 am - 6.00 pm

Workshop fee: £120 (students £60).

Workshop participation is by application: please send your CV and a letter of application to cariad.astles@cssd.ac.uk by Tuesday 15 September 2009.

On Friday 6 November The Central School of Speech and Drama, jointly with the Little Angel Theatre, is hosting a one-day symposium entitled Objects in Performance, which will include talks and presentations by object theatre practitioners, researchers and performers at Suspense.

The symposium will take place at the Little Angel Theatre between 11.00 am and 3.00 pm.

Bookings for the symposium will be taken by the festival bookings office at the LAT.

Places for the symposium (including show) will be £30 (students £10).

Goldsmiths Thursday Club (Goldsmiths, University of London)

GOLDSMITHS THURSDAY CLUB

OPEN CALL FOR PROJECTS & PROPOSALS

2009 - 2010 SEASON

DEADLINE: 29 JULY 2009

The Thursday Club is an open forum discussion group for anyone interested in the theories and practices of cross-disciplinarity, interactivity, technologies and philosophies of the state-of-the-art in today’s (and tomorrow’s) cultural landscape(s). The Club is supported by the Goldsmiths Digital Studios (GDS) and the Goldsmiths Graduate School.

Originally set up in October 2005 by GDS as a more informal setting for research discussions, it has grown to include over 200 members: artists, technologists, scientists – in fact, a growing diversity of people from different communities worldwide, that are connected via a mailing list and online forum.

Most importantly, there are regular meetings in ‘real’ space at the Ben Pimlott site of Goldsmiths, University of London. Anyone can attend these events. By keeping these meetings free, informal and open to all, we provide a platform for diverse and open ended discourse, for people who perhaps would not have the opportunity to discuss ideas outside of their chosen discipline.

The Thursday Club brings together people from diverse fields and degrees of expertise, aiming to initiate discussion and debates among postgraduate students, researchers, academics, artists, theorists, and other cultural practitioners.

Since it focuses on interdisciplinary practices, the Club is interested to experiment with innovative formats of presentation that are appropriate to the nature of the subject. We particularly welcome the proposal of round table discussions, panels, screenings, ‘hearings’, live gigs and performance lectures. We are also interested to platform experimental work-in-progress of both practical and theoretical nature.

Submission Materials

1. A Title and 300 word abstract of your proposal

2. A 1,000 word proposal that will substantiate your abstract as well as include information regarding issues of methodologies and format of presentation; also, this should explain why you think that the Thursday Club is an appropriate forum for the presentation of your work.

2. A 200 word biog

3. Your contact details: name, address, email, telephone number

4. Any relevant links to your work

5. A jpg of your work (if relevant)

Please send any submissions by email to Prof. Janis Jefferies

(j.jefferies@gold.ac.uk) and Patrick Tresset (ma701pt@gold.ac.uk) writing

‘Thursday Club Submission’ as a Subject.

The deadline for the 1st submission of proposals is 10AM, 29th July 2009.

The submissions will be reviewed by the Thursday Club Board and you will hear by the end of August 09.

THURSDAY CLUB BOARD

Dr. Tim Blackwell

Lecturer in Computing, Goldsmiths; co-Head, Live Algorithms for Music Network.

Maria Chatzichristodoulou [aka Maria X]

Lecturer in Theatre and Performance - School of Arts and New Media - University of Hull @ Scarborough; Cultural Practitioner.

Kelli Dipple

Webcasting Curator, Tate.

Prof. Janis Jefferies, Thursday Club Convener

Professor of Visual Arts, Department of Computing, Goldsmiths; Co-director

Goldsmiths Digital Studios; Director Constance Howard Resource and

Research Centre in Textiles; Curator; Artist.

Alex McLean

PhD Candidate Goldsmiths Digital Studios; Sound artist.

Myrto Karanika

MFA Goldsmiths Digital Studios.

Dr. Sarah Kember

Reader in New Technologies of Communication, Department of Media and Communications, Goldsmiths; Writer.

Nanda Khaorapapong

MFA Goldsmiths Digital Studios.

Prof. Carrie Paechter

Professor of Educational Studies, Goldsmiths; Dean of Goldsmiths Graduate School.

Stanza

Artist

Patrick Tresset

PhD Candidate Goldsmiths Digital Studios; Artist.

Prof. John Wood

Professor in Design, Goldsmiths.

Matthew Fuller

Reader, Centre for Cultural Studies, Goldsmiths; Writer.

CFP: Teaching Music History Day 2009 (Edinboro Univ, PA)

TEACHING MUSIC HISTORY DAY 2009:

CRITICAL QUESTIONS AND NEW TECHNOLOGIES

EDINBORO UNIVERSITY OF PENNSYLVANIA

12 SEPTEMBER 2009, 8.00 - 17.00

www.edinboro.edu/departments/music/ams-tmh-day-2009.dot

The Pedagogy Study Group of the American Musicological Society, the Midwest Chapter of the AMS, and Edinboro University announce the sixth Teaching Music History Day, to be held Saturday, September 12, 2009. Teaching Music History Day is a forum for exchanging ideas on effective teaching, and is open to all who have an interest in teaching music history. We extend a special invitation to those whose primary discipline lies outside of musicology who teach music history, music appreciation, or related courses.

Call for Presentations

As the universe of what might be included in a music history course continues to expand, so does the challenge of charting a student’s exploration of that universe. What constitutes a representative sample of our musical world, if that is even possible? Should we neglect one quadrant in favor of another? For example, what should music students know about popular music idioms and their interface with other music? Does it make sense to scale back coverage of some of the canonic periods to make more time for popular music, new music, “world” music, or other areas? Most importantly, what are the goals and objectives of teaching music history that should determine such decisions? Similarly, the rise of new media and online pedagogical tools constitute new maps and new vehicles for exploration. With their focus on the Western canon, are music history textbooks the most relevant and effective tools? How can teachers employ blogs, wikis, and other Web 2.0 applications to help students create their own map of the musical universe?

The program committee (Matt Baumer, Daniel Burdick, Mary Paquette-Abt, Colin Roust, and Pamela Starr) welcomes papers, presentations, or teaching demonstrations that focus on these critical questions or new technologies. Please submit a brief 250-word abstract in the body of an email to mbaumer at iup.edu describing the question you wish to address and the mode of presentation. The deadline for submissions is July 24, 2009. Accepted proposers will be notified no later than August 15.

CFP: 45th Intl. Congress on Medieval Studies (Kalamazoo)

45TH INTERNATIONAL CONGRESS ON MEDIEVAL STUDIES

KALAMAZOO, MICHIGAN

13 -16 MAY 2010

CALL FOR PAPERS

The program committee for Musicology at Kalamazoo is pleased to announce the following sessions for the 45th International Congress on Medieval Studies, May 13-16, 2010:

I. Motets and the Like;

II. Musical Instruments and Performance;

III. The Music Theorist as Polymath;

IV. Text(s) and Music, Music(s) and Text;

V. Chant and Liturgy;

VI. Performances: Indoors and Outdoors;

VII. Music and Visual Culture;

VIII. Medievalisms and Music: Yesterday and Today;

IX. Source Studies

We hope many if not all of these sessions can foster some real dialogue between musicologists and scholars in other areas, so we encourage specialists in fields other than Music to submit proposals. Please keep in mind as well that we intend these session titles mostly as "hooks" on which a multitude of proposals can be placed rather than limitations, so send us your best work (as the editors of JAMS are fond of saying), even if it doesn't precisely seem to fit one of these topics--we may be able to make it work anyway, and we'll try to find a place for as many good proposals as we can.

Abstracts should be sent by 13 September to Cathy Ann Elias, program committee chair, at the address below. Electronic submissions are welcome. Please write in the subject part of the e-mail the following: KZOO 2010 (Please send submissions to musicology.kzoo at gmail.com)

You'll also need to complete and submit the “Participant Information Form” from the conference website, available at http://www.wmich.edu/medieval/congress/submissions/index.html. This is very important, not only because it is your only chance to make A-V requests, but because it is required by the Medieval Institute. Please note that the form appears at the bottom of the page. Be aware that this is a PDF document; if you don't have Adobe Acrobat (the writer, not just the reader) on your computer, you cannot save a completed form, so you'll have to print it and send it via snail-mail or fax.

If you have any questions, please contact Cathy Ann Elias. We look forward to seeing you in Kalamazoo next May.

Cathy Ann Elias

5429 S. Hyde Park Blvd.

Chicago, IL 60615

Phone: 773-955-0558

cathy.elias at gmail.com

Cathy Ann Elias (DePaul University)

Julia Wingo Shinnick (University of Louisville)

Mary Wolinski (Western Kentucky University)

Off to IAML/IMS Conference

I'm attending the 2009 International Association of Music Libraries/International Musicological Society Joint Conference in Amsterdam. The conference theme is on Music and Notation. I'm delivering a paper called 'Musical Darwinism: the evolutionary implications of Indeterminate Notation and its intersection with a Library 2.0 world.' I hope to get slides up eventually and the paper if it turns out alright! After which I'll be travelling throughout Europe and updating the blog only periodically. I hope to be back to regular schedule in August. I hope you're all having a good summer.

CFP: Special Session on Machine Learning with Multimedia Data (Miami)

SPECIAL SESSION ON MACHINE LEARNING WITH MULTIMEDIA DATA

EIGHTH INTERNATIONAL CONFERENCE ON MACHINE LEARNING AND APPLICATIONS (ICMLA 2009)

MIAMI, FLORIDA

13 - 15 DECEMBER 2009

http://www.icmla-conference.org/icmla09/CFP_SpecialSession6.html

AIMS AND SCOPE

The web, as well as TV and radio archives and other sources, give access to a growing amount of data in a large variety of formats and media modalities, often containing useful information. However, much of this information is not easily accessible and usable, be it for users or for automatic systems that could make use of it.

While information extraction from written text has seen great advances and is used by search engines, news aggregators, opinion monitoring systems, mail filters, and many more, access to information in other modalities (audio, images, video, ...) is still a very difficult problem. Machine learning is used with varying success for diverse tasks dealing with multimedia data, but many problems remain, ranging from finding good machine readable representations of the data, extracting higher level (semantic) features to the development of machine learning algorithms capable of dealing with high-dimension spatio-temporal data. An important aspect is also the integration of information obtained from various modalities, and the possibility for cross-modal access to information (e.g. textual querying of video recordings).

TOPICS

This session would solicit original research papers including but not limited to the following:

* Low level feature extraction, selection and transformation

* High level feature extraction from multimedia/cross-media

* Semantic content analysis, classification, and automatic annotation

* Machine learning and statistical models for spoken document retrieval

* Speech recognition and speaker recognition

* User-access pattern monitoring, modeling, and prediction

* Learning and relevance feedback in multimedia retrieval

* Semi-supervised learning in multimedia data analysis

* Transfer or multitask learning in multimedia/cross-media data analysis

* Semantic organization/visualization of multimedia and cross-media data

IMPORTANT DATES

Paper Submission Deadline: *** July 15, 2009 ***

Notification of acceptance: September 7, 2009

Camera-ready papers & Pre-registration: October 1, 2009

The ICMLA Conference: December 13-15, 2009

The special session will be held as a part of the ICMLA’09 conference. The authors would submit papers through the main conference submission website. Papers must correspond to the requirements detailed in the instructions to authors. Accepted papers must be presented by one of the authors to be published in the conference proceeding. If you have any questions, do not hesitate to direct your questions to Dr. Jens Grivolla (jens.grivolla@barcelonamedia.org).

All paper submissions will be handled electronically. Detailed instructions for submitting the papers are provided on the conference home page at http://www.icmla-conference.org/icmla09/

Special Session Organizers:

* Jens Grivolla (Barcelona Media, Information Retrieval and Data Mining Group, Spain)

* Rafael Banchs (Barcelona Media, Information Retrieval and Data Mining Group, Spain)

Program Comittee Members:

* Cyril Laurier (Universitat Pompeu Fabra, Music Technology Group, Spain)

* Andreas Kaltenbrunner (Barcelona Media, Information, Technology, and Society Research Group, Spain)

* Joan Codina (Universitat Pompeu Fabra, Web Research Group, Spain)

* Joachim Neumann (Telefonica Research, Spain)

* Xavier Anguera (Telefonica Research, Spain)

* Oscar Celma (BMAT, Spain/Mexico)

* Benoit Favre (ICSI-Berkeley, USA)

* Christian Raymond (Laboratoire Informatique d'Avignon, France)

* Marc El-Bèze (Laboratoire Informatique d'Avignon, France)

* Jose San Pedro Wandelmer (University of Sheffield, UK)

* Paul Lamere (The Echo Nest, USA)

* Alberto Messina (RAI - Centre for Research and Technological Innovation, Italy)

* Maurizio Montagnuolo (RAI - Centre for Research and Technological Innovation, Italy)

* Elie El Khoury (IRIT, France)

* David Crandall (Cornell University, USA)

* Lyndon Kennedy (Yahoo! Research, USA)

* Roberto Basili (Univ. of Roma, Tor Vergata, Italy)

* Pierre Jourlin (Laboratoire Informatique d'Avignon, France)

* Paul Brossier (Fluendo, Spain)

* Haizhou Li (Institute for Infocomm Research Singapore)

* Teva Merlin (Laboratoire d'Informatique de l'Université du Maine, France)

* Nicolas Scheffer (SRI International, USA)

* Jialie Shen (School of Information Systems, Singapore Management University)

CFP: Kleinkunst 2 (CSSD)

KLEINKUNST 2

THE ROUNDHOUSE, LONDON

30 NOVEMBER 2009

CALL FOR PROVOCATIONS, PAPERS, PERFORMATIVE PAPERS

Papers, performances and critical debate on “low art” short performances in variety shows, vaudeville, cabaret, burlesque and other neo and hybrid forms at The Roundhouse, London on Monday 30 November 2009.

Following the success of Kleinkunst held on 21 April 2009 at the Roundhouse Theatre, The Central School of Speech and Drama’s Centre for Excellence in Training for Theatre, in association with the Roundhouse Theatre, will present Kleinkunst 2 to continue our critical thinking in this field.

These events have come from an identified need to reconsider, produce discourses and contextualise the growing popular emergence of the various types of “low art”/short performances that take place in bars, clubs, festivals and other subcultural spaces across the UK. Such performance art practice draws on camp and other aesthetics, and aims to satirise, parody, steal, borrow, twist and subvert other genres of performance art practice for its own raucous, comic, edgy and controversial ends.

Set out in cabaret style, the audience will enter into a fantastically designed atmosphere that looks to picture the underworld of Kleinkunst. Audience members will be offered table service and are invited to get involved in discussion.

Please send in 200 to 400 word synopsises for papers / performance-papers (for 10-12 min presentations) to the CETT Office: cett@cssd.ac.uk by 1 September 2009. Please put Kleinkunst 2 Proposal in subject box.

Kleinkunst 3 will take place in April / May 2010 and will focus specifically on circus, freak-show, fairground shows as its theme. We are accepting proposals for this event as well, so please also send to the above email address also by 7 September 2009. Please put KleinKunst 3 Proposal in subject box.

The Medici Archive Project Fellowship (Florence)

MEDICI ARCHIVE PROJECT FELLOWSHIP

ARCHIVIO DI STATO, FLORENCE

DEADLINE: 31 OCTOBER 2009

The Medici Archive Project (MAP) is offering a two-year fellowship (15 February 2009 – 15 February 2011) with fifteen months of fulltime document assessment and description for the Documentary Sources database onsite at the Archivio di Stato in Florence and five months of independent research on a topic related to art history and/or history of architecture and the Mediceo del Principato archival corpus (1537-1743), carried out in one 5-month segment in the second year of the fellowship period.

Fellows will have the following qualifications: a completed Ph.D. or the equivalent in art history and/or history of architecture relevant to Early Modern European history and culture; fluency in English and Italian (as well as knowledge of other languages including French and Latin); substantial research experience with original documentary material; the ability to work with computer database programs and commitment to a scholarly career involving archival research.

The fellowship stipend is $40,000 plus an allowance for travel expenses. This fellowship is offered to a United States Citizen or United States Resident. This fellowship is supported by the Samuel H. Kress Foundation and may be extended for a third and final year, pending available funding.

Applications should be submitted electronically to http://www.medici.org/fellowship-program-florence-application http://www.medici.org/fellowship-program-florence-application

The application deadline is October 31, 2009.

CFP: Comment Analyser L'Improvisation? (Paris)

COMMENT ANALYSER L'IMPROVISATION ?

COLLOQUE INTERNATIONAL

PARIS

12 - 13 FEBRUARY 2010

CALL FOR PAPERS

Société Française d’Analyse Musicale

IRCAM

Université de Strasbourg

EA 3402 – Approches contemporaines de la Création et de la Réflexion artistiques

APPEL À COMMUNICATIONS

Le moment de l'improvisation n'est-il pas celui où l'analyse lâche prise ? La musique

improvisée pose à l'analyste, plus directement que d'autres pratiques et répertoires, une question centrale : comment rendre compte de la singularité d'un phénomène musical sans l'abstraire a priori dans la régularité d'un système ni se perdre dans la description d'événements successifs ?

L'improvisation sera considérée dans tous les contextes où elle a sa part : on interrogera son rôle dans l'élaboration formelle, ses transcriptions, ses traces explicites ou implicites, jusqu'à une modélisation de ses parcours, de ses gestes et de ses motifs. Seront abordées les recherches sur la mémoire en acte dans les processus d'improvisation, aussi bien que leurs procédures d'invention spécifiques.

Les communications pourront traiter des thèmes et problématiques suivants, dont la liste n'est bien sûr pas exhaustive :

- les processus d'apprentissage : enseignement de l'improvisation, familiarisation du public avec des styles ou langages, apprentissage par l'improvisateur dans les situations d'exécution ;

- les savoirs implicites dans les musiques de tradition orale : frontières, censures, interactions ;

- les limites entre composition et improvisation y compris écriture de l'improvisation, composition en temps réel ;

- l’import de méthodes inspirées de paradigmes extérieurs à la musicologie (psychologie du développement, ethnométhodologie, linguistique, sciences cognitives, informatique ...) ;

- la dialectique entre système et situation ;

- l’histoire des pratiques et des théories de l'improvisation.

Les propositions de communication, d’un maximum de 700 mots (ou 4000 caractères, espaces non compris), accompagnées d’un bref CV, devront être envoyées par courrier électronique en double exemplaire à ColloqueImpro@ircam.fr et marie-noelle.masson@uhb.fr.

Date limite de réception des propositions : 25 septembre 2009.

Le comité rendra sa décision dans le courant du mois de novembre quant à l’acceptation des propositions. Une publication des actes du colloque est prévue.