Job Posting: Lecturer/Sr Lecturer (2 posts) Department of Music (City University)

JOB POSTING: LECTURER/SENIOR LECTURER (2 POSTS)
SCHOOL OF ARTS, DEPARTMENT OF MUSIC
CITY UNIVERSITY
SALARY: £33K - £55K
DEADLINE: 10 SEPTEMBER 2009

The Department of Music offers students a uniquely rich and diverse musical life at the heart of one of the world's great cultural hubs. The department incorporates first class facilities including a new performance space, digital sound studios, ensemble room and gamelan room, and was placed in the top 15 UK music departments in the 2008 Research Assessment Exercise.

As both our undergraduate and postgraduate programmes move into an exciting period of further expansion and development the Department of Music wishes to appoint two new posts.

We would welcome applicants with expertise in one or more subject areas drawn from film music composition; film music studies; music and media; popular music; and historical performance practice. For one post we are especially interested in someone whose areas of expertise include exceptional skills in digital audio and media.

One role (which can be either post) will also be very important in nurturing the department's existing relationship with the Guildhall School of Music and Drama, and in particular our thriving DMA programme.

For both posts a PhD (or near completion) is essential, ideally with a good track record of research or research potential, and of successful applications for external research funding. You will need to be a versatile team player, willing and able to contribute to our core curriculum and to supervise at postgraduate level. Anticipated starting date is January 2010.

For more information please visit www.city.ac.uk/hr

Closing date: Tuesday 10th September 2009 at 5pm.

Interviews to be held 22nd and 23rd September 2009.

CFP: 29th Intl Society for Music Education World Conference (Shanghai, China)

29TH INTERNATIONAL SOCIETY FOR MUSIC EDUCATION (ISME) WORLD CONFERENCE COMMISSION FOR THE EDUCATION OF THE PROFESSIONAL MUSICIAN (CEPROM)
18TH INTERNATIONAL SEMINAR, SHANGHAI, CHINA
27 - 30 JULY 2010
CALL FOR PAPERS

The Musician in Creative and Educational Spaces of the 21st Century
Submissions are invited on the following sub-themes:

* The role of conservatoires in the 21st century: institutional priorities, leadership, pedagogies, curricula, and assessment in different cultural and multicultural settings;

* Music careers in a contemporary global context: implications for training and professional development;

* Musicians’ wellbeing;

* Technology in music and music education: multimedia, interdisciplinarity, information and social media literacy, flexible learning delivery;

* Practice-based research in music and music education: design, methods, partnerships, the teaching/research nexus, and publication outcomes.

The deadline for papers is 1 November 2009. Papers should be a maximum of 3,000 words, and should be submitted online at http://www.isme.org/2010

CFP: Red Strains - Music and Communism Outside the Communist Bloc, 1945-1990 (British Academy)

RED STRAINS: MUSIC AND COMMUNISM OUTSIDE THE COMMUNIST BLOC, 1945-1990
BRITISH ACADEMY, LONDON
13 - 15 JANUARY 2011

CALL FOR PAPERS

This is advance notice of an international conference to be held at the British Academy in London in January 2011, in conjunction with the University of Nottingham.

The relationship between state communism and music behind the Iron Curtain has been the subject of much scholarly interest. The importance of communism for musicians outside the communist bloc, by contrast, has received little sustained attention. This conference aims to examine:

* the nature and extent of individual musicians' involvement with communist organisations and parties;
* the appeal and reach of different strands of communist thought (e.g. Trotskyist; Cuban; Maoist);
* the significance of music for communist parties and groups (e.g. groups' cultural policies; use of music in rallies and meetings);
* the consequences of communist involvement for composition and music-making;
* how this involvement affected musicians' careers and performance opportunities in different countries.

Keynote speakers will include Professor Anne Shreffler (Harvard University) and Professor Gianmario Borio (University of Pavia). A round-table of key protagonists will include Henry Flynt and Konrad Boehmer. A concert of related music will be presented by the ensemble Apartment House.

A call for papers will be released in the autumn. Further details may be found at the conference website: http://www.nottingham.ac.uk/music/communism.php.

Dr Robert Adlington (Conference Organiser)
Department of Music
University of Nottingham
University Park
Nottingham NG7 2RD
United Kingdom
Robert.Adlington [AT] nottingham.ac.uk

CFC: Grazyna Bacewicz International Composer Competition for Orchestra (Lodz, Poland)

THIRD GRAZYNA BACEWICZ INTERNATIONAL COMPOSER COMPETITION FOR ORCHESTRA
LODZ, POLAND
DEADLINE: 15 SEPTEMBER 2009

COMPETITION
1. The competition is open to composers of all nationalities and all ages.
2. More than one score per composer is permitted.
3. All works submitted must be unpublished and cannot have been performed. Works that have won other awards are ineligible.
4. The Jury will choose from the submitted works pieces for the final performance.

GENRE
1. Only compositions for orchestra will be considered (maximum: 4 Flutes (including Piccolo), 4 Oboes (including English Horn), 4 Clarinets (including Bass Clarinet), 4 Bassoons (including Contrabassoon), 6 Horns, 4 Trumpets, 4 Trombones, Tuba, Percussion (4 performers), Harp, 14 Violins I, 12 Violins II, 10 Violas, 8 Cellos, 6 Contrabasses (+ Piano, Accordion).
2. Use of live electronics and recordings is not permitted.
3. Duration (given in the score): from 15 to 30 minutes.

PRIZES
– 3 money prizes funded by the Ministry of Culture and National Heritage and the City Council of Lodz,
– Professional performance of the compositions selected for the final of the Competition by Artur Rubinstein Philharmonic Orchestra of Lodz(in December 2009),
– CD recording of the prize-winning compositions,
– Extra awards funded by donors.

JURY
The international Jury chaired by Zygmunt Krauze will choose the pieces for the final performance and will make decisions about the awards.

The decisions of the Jury are final.

PRIZE WINNERS’ CONCERT – FINAL OF COMPETITION
1. The awarded compositions will be performed by the Artur Rubinstein Philharmonic Orchestra of Lodz in December 2009. After the concert the Jury will take final decisions and the prizes will be awarded.

2. The composers of awarded works must provide all the materials for a single performance at their own expense.

ENTRIES
1. The score should be submitted anonymously and marked with an emblem.

2. The payment receipt should be enclosed with the submitted score.

Sealed envelope marked with the same emblem should include the following data:
a) composer’s full name
b) date and place of birth
c) nationality
d) address, telephone, e-mail address.

3. The entries should be sent at the following address:

Akademia Muzyczna
im. GraŜyny i Kiejstuta Bacewiczów w Łodzi,
ul. Gdańska 32, 90-716 Łódź,
Konkurs Kompozytorski / Composers’ Competition.

4. The deadline for the scores to be sent in is 15th September 2009. The date on the post stamp is a decisive factor.

ENTRY FEE
1. Entry fee for participants is 40 EUR for each score.

2. The money should be transferred to the following account (bank charges are at sender’s expense):

Akademia Muzyczna
im. GraŜyny i Kiejstuta Bacewiczów w Łodzi,
Bank PEKAO S.A. O/Łódź
SWIFT PKO PPL PW
IBAN PL 97 12403028 1111 0000 2822 1999

3. Cheques will not be accepted.

4. The entry fee is not refundable.

FINAL DECISIONS
1. Entering the Competition is synonymous with acceptance of the Rules.
2. Compositions not meeting the requirements stated in the above Rules will not be admitted to the Competition.
3. The submitted scores will be returned only when clearly requested and sent cash on
delivery.

http://www.amuz.lodz.pl/en/index.php?option=com_docman&task=doc_download&gid=76

Grant/Fellowship: Audio-Visual Grant Opportunity (Society for American Music)

AUDIO-VISUAL GRANT OPPORTUNITY
SOCIETY FOR AMERICAN MUSIC
DEADLINE: 15 NOVEMBER 2009

The Society for American Music invites applications for a grant to support publication of non-print materials dealing with American music. Projects should further the Society’s goals which are “to stimulate the appreciation, performance, creation and study of American musics of all eras and in all their diversity, including the full range of activities and institutions associated with these musics throughout the world.” Projects supported in the past have included CDs (both standalone and accompanying a book), a website and a film, but may also include DVDs, radio programs, or other audio-visual projects.

Grants are announced at the society’s conference in the spring, the next being March 2010, and are generally for a maximum of $700-$800. The deadline for applications for the 2010 award is November 15, 2009.

Applications may be made by performers, editors or producers, and should include the following:
1. Full contact information.
2. An abstract of no more than 500 words describing the project and its contribution to American music.
3. A brief statement about publication and distribution plans.
4. A financial statement explaining the expenses to which the grant would be applied.
5. A brief resume or curriculum vitae.
6. DO NOT send a sound recording or sample video with the initial application.

More information may be found at the society’s website, www.american-music.org.

Applications should be sent to:
Tim Brooks
Chair, Sight & Sound Subvention Committee, Society for American Music
tim at timbrooks.net or P.O. Box 31041, Glenville Stn., Greenwich, CT 06831

CFP: 1st Intl Conf on Analytical Approaches to World Music (Umass, Amherst)

FIRST INTERNATIONAL CONFERENCE ON ANALYTICAL APPROACHES TO WORLD MUSIC
UNIVERSITY OF MASSACHUSETTS AMHERST
19 - 21 FEBRUARY 2010
CALL FOR PAPERS

Today we witness an unprecedented level of interaction between cultures inhabiting diverse regions throughout the world. Thanks to the ever-growing level of musical exchange facilitated by ease of travel, electronic media, and increased access to information, there now exists a vast network of cross-cultural engagement between various musical traditions and cultures of a magnitude that is unparalleled in human history.

This conference seeks to expand the potentials for musical analysis from a cross-cultural perspective by applying diverse theoretical and analytical concepts to repertoires outside the Western art music tradition. It is our hope that by bringing together analysts from a broad range of conceptual and cultural traditions, new modes of musical description and understanding may emerge that are capable of navigating the multicultural soundscape of the twenty-first century.

We welcome submissions that examine world musical traditions from a wide variety of analytical and theoretical perspectives. These may include but are not limited to: the adaptation of analytical approaches usually associated with Western art music to address various world music traditions; the use of indigenous analytical tools and strategies to characterize particular musical styles and genres; and the development of "hybrid" analytical systems and theories that integrate the aforementioned approaches.

Papers in English, not exceeding 30 minutes duration (plus 10 minutes for discussion), should emphasize analytical and/or theoretical issues pertinent to a particular musical culture. Reflection should be backed up with concrete analytical examples.

Proposals for individual papers, not exceeding 700 words (excluding examples) together with a short biography should be sent or emailed to:

Margaret Farrell (Program Committee Chair)
Ph.D./D.M.A Programs in Music
The Graduate Center of The City University of New York
365 Fifth Avenue
New York, NY 10016
mfarrell at gc.cuny.edu

Submission deadline: October 1, 2009.

Notification of acceptance will be sent via email on November 1.

Keynote addresses will be delivered by Michael Tenzer and Kofi Agawu.

The conference will also feature a panel discussion, workshops, and a world music concert followed by an open jazz jam session led by University of Massachusetts Amherst faculty.

For additional information regarding conference planning and organization at the University of Massachusetts Amherst, please contact:

Lawrence Shuster (lshuster at music.umass.edu)
Rob Schultz (rschultz at music.umass.edu)
Kalin Kirilov (kkirilov at towson.edu)

Happy 1 Year Old Birthday to Interesting Music Stuff

HAPPY BIRTHDAY TO INTERESTING MUSIC STUFF!

Take a second and listen to the 1 minute composition by Igor Stravinsky called the Greeting Prelude (1955) performed by the Radio Philharmonic Orchestra conducted by Reinbert de Leeuw. This concert on 6 June 2009 was to celebrate Louis Andriessen on the occasion of his 70th birthday, and with this selection pays proper hommage to a composer who has been deeply influenced by Stravinsky and whose writings can be found in his book, The Apollonian Clockwork. Just as this concert celebrates Andriessen, Stravinsky's work celebrates the reknown conductor Pierre Monteux by dedicating the work to him as a gift for his 80th birthday. Monteux had conducted among others, the premieres of Stravinsky's Petrushka and Le Sacre du Printemps. Like little burning embers which crackle in a fireplace, the listener hears permutations and fragments of 'Happy Birthday' emerging from the sonic texture, scattered throughout the orchestration and resolution of voice-leading across registers and between instruments.

I wanted to start with this short clip because it is the birthday of this blog and it has now been a year since I started this endeavour and wanted to take stock for a moment. When I began I was attempting to bring together data and other resources which were available amidst the flat world of e-mail and flat websites. RSS has changed much of our approach towards information retrieval and discovery and I wanted this information to be easily findable and searchable.

Initially there were only visitors from the UK and then at the 4 month marker there were visitors from just over 50 countries. Now at the 1 year mark, I can now see that there are now over 90 countries which is incidentally around the same number who participate in the Miss Universe Pageant. Although not a swimsuit or analytical competition to save world hunger, I do appreciate that the information and its usefulness is growing and getting more disseminated into the online world.

From the onset I've interconnected resources I've tagged through Delicious into the blog. As the number of posts have grown, so too have issues of findability and browsability. To organise tags, I added a tag cloud and later, a Google search function. Each of these has added more functionality to the blog and served the moment. Usability and friends have said that the tag cloud has been looking a little murky and in the name of better usability, I've finally uploaded a better script which keeps the list (sorted alphabetically) hidden until needed, providing less clutter but optimal and easier browsability. (As murky as that cloud gets, I just love the way it spins around so don't want to axe it.)

So here's to Year number 2. Let's see where this adventure takes us and what further improvements need to be made to keep searchability and retrieval as efficient as possible whilst the scales keep on growing. I love learning new things - whether they are new resources, java, or code - and if there is anything that this year's adventure has taught me, it is that 1) I have a lot to learn and 2) that I can still learn.

CFC: Nouvel Ensemble Moderne Composition Competition

10TH INTERNATIONAL FORUM
NOUVEL ENSEMBLE MODERNE (NEM)
CALL FOR COMPOSITIONS
DEADLINE: 31 OCTOBER 2009

The Nouvel Ensemble Moderne (NEM), directed by Lorraine Vaillancourt, is pleased to announce its 10th international Forum for young composers, combining for the first time music and video art. Forum 2010 will take place in Montreal in collaboration with the Université de Montréal Faculty of Music and Vidéographe.

Registration Deadline : October 31st, 2009

All composers under the age of 30 are invited to submit before October 31, 2009 on CD or DVD :
1. A work for chamber orchestra or large ensemble
2. A work of their own choice with ou without video medium

The International Jury of Forum 2010 will meet in December 2009 to select eight composers from any country.

The eight selected composers will have to choose one video art (10 minutes) of the four available on the website of the NEM www.lenem.ca from January 2010. Afterwards they will have to write a new piece for the 15 musicians of the Nouvel Ensemble Moderne (fl, ob, cl1, cl2, bs, tp, horn, tb, vl1, vl2, vla, cello, db, pn, pc). The conductor score as well as the individual parts of these new works must reach Forum 2010 by August 31st, 2010.

The eight composers will be invited to a 3-weeks worshop with the NEM (rehearsals, recording and preparation of the closing evening) at the University of Montreal Faculty of Music from November 8th to 26th, 2010. This workshop will lead the composers to work directly and daily with the orchestra and its conductor Lorraine Vaillancourt. Forum 2010 will cover the costs of accommodation. The composers will assume travel costs from their countries of residence. (Forum 2010 will endorse any requests for travel grants to the country of residence). These works will be recorded on DVD on November 24th and 25th, 2010. An international jury will attend the closing evening in Montreal on November 26th. At the conclusion of the evening, four prizes will be awarded : 1st prize : $3000, 2nd prize : $2000, 3rd prize : $1500 and audience prize : $1000.

Forum 2010’s advertisement campaign and press relations will ensure that the event is widely advertised.

---------------------------------------------------

REGULATIONS

1. Composers must be under the age of 30 by the entry deadline, October 31st, 2009. Candidates must provide proof of citizenship or immigration and proof of age.

2. Composers may not submit more than two works. Any other work will not be considered.

3. Entry form must reach Forum 2010 by October 31st, 2009. The international jury strongly recommends that the scores be accompanied by a recording (CD or DVD).

4. The NEM shall not be held responsible for lost or damaged submissions.

5. By submitting their entries, participants automatically accept the above terms.

FORUM 2010 / MUSIC & VIDEO ART
c/o Nouvel Ensemble Moderne
200, avenue Vincent-d’Indy
C.P. 6128, succursale Centre-Ville
Montréal (Québec) H3C 3J7
Canada
Tel: +1 514-343-5962 / fax: +1 514-343-2443
www.lenem.ca
info@lenem.ca

Job Posting: Creative Director, Sound and Music

JOB POSTING: CREATIVE DIRECTOR - SOUND AND MUSIC
LONDON, WC2
CA. £50,000 - 60,000 - FULL OR PART TIME
DEADLINE: 25 AUGUST 2009

Founded in 2008, Sound and Music is a brand new organisation formed from the legacy of four of this country’s long-standing lead organisations dedicated to the national and international promotion of new music and sound art.

SAM combines live events activity, learning and participation opportunities, digital platforms and information resources to add depth and richness to the experience of audiences and users when they engage with new music and sound.

Audience development and market growth are key objectives for Sound and Music. It aims to deliver not only a first rate programme for its core users and supporters, but to reach new audiences and offer new experiences.

Reporting to the Executive Director, the Creative Director will bring creative leadership to Sound and Music and engage with the whole team to develop a shared artistic vision for the organisation.

S/he will bring inspiration and support to the delivery of a broad programme of work encompassing a wide range of genres, which grows audiences, is innovative, challenging and informs practice across the whole contemporary arts sector.

Candidates will have broad knowledge of the field with evidence of a wide appreciation for all genres that the organisation will deal with as well as experience of dealing with the public sector. They must be able to evidence entrepreneurial leadership and effective team working skills together with experience of developing external relationships.

At this key time in its emergence, Sound and Music seeks a dynamic individual with the drive and ambition to grasp the agenda and continue to develop this exciting organisation.

A copy of the job description can be downloaded at http://www.execucare.com/docs/vacancy/INFO-7148.pdf

Please send your CV to Joanna Logan at Execucare at sam@execucare.com by 25 August 2009.

Pre-Pub Announcement: Music and Dictatorship in Europe and Latin America (Brepols Publishers)

MUSIC AND DICTATORSHIP IN EUROPE AND LATIN AMERICA
PRE-PUBLICATION ANNOUNCEMENT
BREPOLS PUBLISHERS

Music and Dictatorship in Europe and Latin America
Edited by Roberto Illiano and Massimiliano Sala
approx. 700 p., 210 x 270 mm, HB, ISBN 978-2-503-52779-6, EUR 125
Special pre-publication price: €105 valid until 31 October 2009
Series: Speculum musicae, vol. 14
Publication date: November 2009

An illustration of Benito Mussolini on the cover of the official hymn of the National Fascist Party, "Giovinezza!" ("Youth!") from 'Music and Dictatorship in Europe and Latin America'

'In this book, edited by Roberto Illiano and Massimiliano Sala, the music is explored as a political phenomenon in fifteenth nations under totalitarian regimes: Argentina, Brazil, Chile, Cuba, France, Greece, Germany, Italy, Mexico, Poland, Portugal, Russia, Serbia, Spain, and Hungary. Historical and aesthetical articles face both individual people (for instance, Chavez, Ligeti, Massarani or Villa-Lobos) as well whole generations of composers operating under dictatorship (for example, in the communist regimes of Poland and Serbia; in France under Vichy; in Franco’s Spain, Salazar’s Portugal, or in Revolutionary Cuba).'

An excerpt of Butterman's essay, '«Ney é gay, não é?» The Emergence and Performance of Queer Identities in Brazilian Popular Music (MPB) under Dictatorship'

TABLE OF CONTENTS:

EUROPE

France: M. Chimènes, Musique et musiciens en France sous le régime de Vichy (1940-1944) - Greece: K. Romanou, Exchanging «Rings» under Dictatorships - Germany: N. Noeske & M. Tischer, Eine viel zu kurze Geschichte der Musikverhältnisse der DDR - Germany: K. Painter, Musical Aesthetics and National Socialism - Germany: M.-A. Roberge, L’impact des guerres mondiales et de la dictature nazie sur le périodique «Die Musik» - Italy: C. Piccardi, La parabola Renzo Massarani, compositore ebreo nell’ombra del fascismo - Poland: A. Tuchowski, The Impact of the Communist Dictatorship and Its Transformations on the Identity of Polish Music in the Years 1945-1989 - Portugal: T. Cascudo, Art Music in Portugal during the Estado Novo - Russia: C. Flamm, Das Problem sowjetische Musikgeschichte. Gedanken zu einer schwierigen Vergangenheitsbewältigung - Russia: M. Frolova-Walker, The Glib, the Bland, and the Corny: An Aesthetics of Socialist Realism - Serbia: M. Milin: Dictatorship and Serbian Music in the 20th-Century - Spain: G. Perez Zalduondo, Formulación, fracaso y despertar de la conciencia crítica en la música española durante el franquismo (1936-1958) - Hungary: R. Beckles Willson, Memory, Dictatorship, and Trauma: Ligeti at the Hungarian Musicians’ Union 1949-1953

LATIN AMERICA

Argentina: P. Vila, Tiempos difíciles, tiempos creativos: rock y dictadura en Argentina - Brazil: D. Borim, Tropicalist Mutantes: Dada and Kitsch under Dictatorship - Brazil: S. Butterman, «Ney é gay, não é?» The Emergence and Performance of Queer Identities in Brazilian Popular Music (MPB) under Dictatorship - Brazil: R. Duprat & M. A. Volpe, Vanguardas e Posturas de Esquerda na Música Brasileira (1920 a 1970) - Brazil: T. Garcia, Music and the Brazilian Estado Novo: Getúlio Vargas, Heitor Villa-Lobos and a National Music Education System - Brazil: M. Napolitano, O Música Popular Brasileira (MPB) nos anos de chumbo do regime militar (1969/1975) - Cuba: S. Münz, Popular Political Music in Revolutionary Cuba - Chile: D. Perry, Beyond ‘Protest Song’: Popular Music in Pinochet’s Chile (1973-1990) - Mexico: L. Velasco Pufleau, Nacionalismo, autoritarismo y construcción cultural: Carlos Chavez y la creación musical en México (1921-1952)

An excerpt from Garcia's essay 'Music and the Brazilian Estado Novo: Getúlio Vargas, Heitor Villa-Lobos and a National Music Education System'

All images are acknowledged with thanks and used with permission of Brepols Publishers. For further information on this title or others in the Speculum Musicae Series click here. For my £0.02 I think the Speculum Series covers many interesting and neglected areas of musicological research. For example, there are many books which explore Italian musics of Tuscany and Sicily but not so many which cover the centre of Italy. Ciliberti's 'Musica e societa in Umbria tra Medioevo e Rinascimento (Vol. 5 in the series) attempts to put Umbria on the musicological map. Also, this book furthers Illiano's earlier set of essays on 'Italian Music during the Fascist Period' (vol. 10 in the series) by expanding the areas studying fascism's influence into other parts of Europe and also Latin America demonstrating that an ocean can not divide the dissemination of ideas. I for one will be buying this for our library collection.

CFP: Music and the Written Word (UCal, Santa Barbara)

MUSIC AND THE WRITTEN WORD
UNIVERSITY OF CALIFORNIA, SANTA BARBARA
16 - 17 JANUARY 2010
CALL FOR PAPERS

The UCSB Center for the Interdisciplinary Study of Music (CISM) is seeking submissions for the 2010 “Music and the Written Word” Graduate Conference to be held at the University of California, Santa Barbara, on 16-17 January 2010. Run by and geared towards graduate students, this interdisciplinary conference will focus on music, the written word, and their convergence. We welcome submissions covering the full spectrum of methodologies, disciplinary approaches, and all genres of music.

Possible topics could include, but are not limited to:
Relationship between music and text
Text setting
Musical criticism
Representations of music in literature and poetry
Notation and transcription
Music inspired by literature or poetry
Music in print media
Musical poetics
Music as language/language as music
Rhetoric and musical practice
Musical analogy
Music and grammar
Music and worship/liturgy
Language in performance practice
Concrete words, “ineffable” music
Music and political speech
Music and code (C Sound, etc.)

Please send a 200-300-word abstract of your paper to musicandthewrittenword at gmail.com no later than 9 October 2010. Include the abstract as both a file attachment and in the email text. Paper presentations will be allotted twenty minutes, with ten additional minutes for questions and answers.

Details regarding travel, accommodations, and the keynote address will be forthcoming. Updated information will be posted on our website:

http://www.music.ucsb.edu/projects/musicwrittenword/

For questions, suggestions, or other communication, please write to: musicandthewrittenword at gmail.com

CFP: 2010 IAML Conference (Moscow, Russia)

2010 IAML INTERNATIONAL CONFERENCE
MOSCOW, RUSSIA
27 JUNE - 2 JULY 2010
CALL FOR PAPERS

The International Association of Music Libraries, Archives, and Documentation Centres (IAML) will hold its annual conference 27 June-2 July 2010 in Moscow. The IAML Programme Committee invites proposals of papers for this meeting which concern music, collections, and/or library issues that focus on Russian libraries and collections, music, and publishers, although presentations of a general nature are also welcome. We strongly encourage the submission of papers that focus on popular or traditional music of all genres and periods and their impact on libraries.

The online submission form for proposals may be found at the following link:

http://www.iaml.info/activities/conferences/call_for_papers

Proposals must be submitted by 15 SEPTEMBER 2009 in order to be considered.

CFP: Missed Connections (University of Pennsylvania)

MISSED CONNECTIONS
UNIVERSITY OF PENNSYLVANIA

19 FEBRUARY 2010

CALL FOR PAPERS

The Graduate Humanities Forum of the University of Pennsylvania invites submissions for its 10th annual conference: "Missed Connections." The one-day interdisciplinary conference will take place on Friday, February 19th, 2010 at the Penn Humanities Forum in conjunction with its 2009-2010 topic: "Connections."

What might it mean to consider the ways in which connections are foreclosed, desires for union left unsatisfied, communications disrupted? A "missed connection" might be as intimate as a brush with a stranger or as literal as a dropped phone call or departing plane; it might be a forgotten or neglected history or genealogy. "Missed Connections" seeks to foreground failures or absences of connection across disciplines and methodologies. We hope for briefs against perfect transmission, network theory attuned to the gaps in coverage. We are also interested in fields of study that might come into focus for being "unconnected": the rural, the isolated (geographically and historically), the illegible, the strange/estranged.

Please apply to one of the following panels:

"Can You Hear Me Now?" Though a modern-day cliché, “can you hear me now?” speaks to the perennial difficulty of connection and communication, the constant threat of bad connections and miscommunication. Taking the question in its broadest sense, this panel seeks to address the challenges of producing, conveying, receiving, and/or finding meaning in a world of geographical and cultural distances both small and large. What is at stake, besides the message itself, in our attempts to communicate? What and how does failure to communicate signify? Possible topics include static/noise, digital/material texts, legibility/illegibility, networks, strangers/intimates, publicity/anonymity, vernacular/standard forms, the phatic function, and translation.


Corporal Boundaries and Un-bound Bodies This panel explores the making and unmaking of boundaries, and various kinds of crossings between them. We conceive of these boundaries broadly, as the borders of global politics, postcoloniality and travel; as the social categorizations and impermeable membranes shaping bodily materiality; and as affective connections and impasses. Does the spatial imagination generate possible connections that go unnoticed, or highlight problematic connections in zones of conflict?


Coalitions and Their Failures This panel will seek to explore the concept of coalition alongside its productive failures. Under the rubric of coalition we might imagine assemblages, networks, various means of community and connectivity – not only in the political realm but also within academia, in information, and in technological, material and virtual fields. We aim to explore the connections between coalitions and narrative, historiography, anachronisms, and chrono-politics. At the juncture of perceived or real failures, revolutionary ideologies and counter-institutions can arise. What are the affective implications of coalition failures? Can there be a politics of disconnection? Of regret? Of singularity or isolation? How might we use such failures to imagine new alignments?

Please send 250-word paper proposals for one of these panels along with a 1-page CV via email to Rachael Nichols (nichols.rachael at gmail.com) by November 1, 2009. (Notification by December 1, 2009.)

See the full CFP in all of its illustrated glory here: http://humanities.sas.upenn.edu/09-10/ghf/cfp.shtml

CFP: Organologia: Instruments and Performance Practice (essays)

ORGANOLOGIA: INSTRUMENTS AND PERFORMANCE PRACTICE
PENDRAGON PRESS
CALL FOR ESSAYS

Pendragon Press is seeking submissions of monographs and collections of essays to be published a new series, Organologia: Instruments and Performance Practice (http://www.pendragonpress.com/books/booksinseries.php?SERIES_ID=47). The series is intended to present texts and studies of musical instruments and performance practice in all cultures and from all periods. Its terms are defined as inclusively as possible, embracing all kinds of music technologies and any type of performative act involving music.

See our Submissions Guidelines (http://www.pendragonpress.com/info/submissions.php) for specific requirements on submitting a manuscript for consideration. If you have any questions, contact Organologia's General Editor, Ardal Powell, at organologia[at] pendragonpress.com.

CFP: Parallels, Quarrels, Confrontations: Comparatism as a discursive strategy in 17th century writings on music (Sorbonne, Paris)

PARALLELS, QUARRELS, CONFRONTATIONS: COMPARATISM AS A DISCURSIVE STRATEGY IN 17TH CENTURY WRITINGS ON MUSIC
UNIVERSITY PARIS-SORBONNE & ATELIER D'E'TUDES OF THE CENTRE DE MUSIQUE BAROQUE DE VERSAILLES
10 - 12 DECEMBER 2009
CALL FOR PAPERS

The research group Patrimoines et Langages Musicaux of the University Paris-Sorbonne and the Atelier d'études of the Centre de Musique Baroque de Versailles is organizing an international conference on the discursive strategies deployed in 17th century writings on music, which will take place 10-12 December 2009 in Paris and Versailles.

Proposed topics (unexhaustive list)

- issues of comparatism;
- strategies of legitimization and validation: appropriateness of models, establishment of canons and authorities;
- Identification of pairs and related issues;
. spatio-temporal criteria: Ancient and Modern, French and Italian, etc.
. cross-disciplinary criteria: music and architecture, music and mathematics, music and rhetoric, music and painting, etc.
- transformation into other pairs: Ancient / Modern ârt theorists / practitioners, etc.

Scientific committee:
Andre CHARRAK (Université de Paris I Pantheon-Sorbonne), Jean DURON (Centre de Musique Baroque de Versailles), Theodora Psychoyou (Université de Paris-Sorbonne), Rudolf Rasch (Universiteit Utrecht)

Contact: theodora.psychoyou at paris-sorbonne.fr

Detailed program forthcoming on website: www.plm.paris-sorbonne.fr/theorie1209.shtml

Call for Nominations: C.B. Oldman Prize (IAML)

C.B. OLDMAN PRIZE
IAML, UK AND IRELAND
CALL FOR NOMINATIONS

The Oldman Prize Committee would like to invite suggestions for nominations for the C.B. Oldman Prize. The prize is an annual award of £200 for an outstanding work of music bibliography, music reference or music librarianship by an author resident in the United Kingdom or Republic of Ireland. Nominations are invited for works published in 2007 and 2008.

If you are aware of any publications you think ought to be considered for the prize, please contact me or another member of the Committee before the end of September.
More information is available on http://www.iaml.info/iaml-uk-irl/awards/oldman.html.

CFI: Revision of New Grove Dictionary of Musical Instruments (OUP)

REVISION - NEW GROVE DICTIONARY OF MUSICAL INSTRUMENTS
OXFORD UNIVERSITY PRESS
CALL FOR INPUT

Oxford University Press intends to publish a second, revised and expanded edition of The New Grove Dictionary of Musical Instruments, originally issued in 1984. Reflecting advances in scholarship during the past quarter-century, the second edition will encompass a greater range of subjects in more detail, thus serving a larger community of readers worldwide.

Your assistance is invited in enhancing the usefulness, accuracy, and diversity of articles in the forthcoming GDMI, which will appear both in print and incorporated into Grove Music Online. Notice of errors and omissions in the previous edition and its derivatives, bibliographic updates, and suggestions for improvement especially in
coverage of non-European and electronic instruments, can be e-mailed to the Editor-in-Chief at the address below. All substantiated recommendations will be considered in planning new articles and revisions.

As a cooperative enterprise of encyclopedic scope, the GDMI second edition aims to represent the current state of instrument studies as comprehensively as possible while also preparing a platform for future expansion. Timely advice from musicians and music historians, instrument makers and collectors, ethnomusicologists, organologists, teachers and students, and specialists in related fields is earnestly solicited.

Laurence Libin
Editor-in-Chief
Grove Dictionary of Musical Instruments
198 Madison Avenue
New York, NY 10016
lelibin [at] optonline.net

CFP: Luther in Medieval Context (Kalamazoo)

LUTHER IN MEDIEVAL CONTEXT
45th INTERNATIONAL CONGRESS ON MEDIEVAL STUDIES
KALAMAZOO, MICHIGAN
13-16 MAY 2010
CALL FOR PAPERS

An interdisciplinary special session has been called regarding the early life and works of Martin Luther. While this leaves the session open for many topics, participants are encouraged to focus on the formation of Luther's early thought up to the Reformation. Of particular interest (though not limited to) are Luther's developing views on liturgy, music (including secular), Catholic mysticism, Judaism, Byzantium, a/Authority, law, banking and politics.

Proposals should include an abstract of no more than 250 words and a completed Participant Information Form (required by the Medieval Institute); the form is available at

http://www.wmich.edu/medieval/congress/submissions/index.html#PIF

Please email your abstract and completed Participant Information Form to Christian McGuire at mcguire at augsburg.edu

Please write in the subject part of the e-mail the following: KZOO 2010 - LUTHER

SUBMISSIONS MUST BE RECEIVED BY 13 SEPTEMBER 2009

For more information, or to submit a proposal please contact:

K. Christian McGuire
Augsburg College
Music Department
2211 Riverside Avenue
Mpls MN 55454
cell: 651-270-5807
mcguire at augsburg.edu
http://www.augsburg.edu/music/

International Society of Hildegard von Bingen Studies, Treasurer & Webmaster: http://www.hildegard-society.org/

To find out more about the International Congress on Medieval Studies, visit: http://www.wmich.edu/medieval/congress/index.html

CFP: Arvo Pärt and Contemporary Spirituality Conference (Boston University)

ARVO PÄRT AND CONTEMPORARY SPIRITUALITY CONFERENCE
BOSTON UNIVERSITY
26 - 27 MARCH 2010
CALL FOR PAPERS

Conference website: http://www.bu.edu/apcsc/

To celebrate the 75th birthday of Arvo Pärt (born 11 September, 1935), Boston University is hosting a conference entitled ‘Arvo Pärt and Contemporary Spirituality’. Jointly promoted by the School of Theology and the School of Music, with cooperation from CAS/GRS and the Boston University Humanities Foundation, the conference will examine Pärt’s music using and developing cross-disciplinary methodologies drawing on media studies, theological studies and different analytical approaches to music. By working on issues of interpretation it endeavors to bridge the traditional gap between scholars and performers, and it directly addresses the largest group of people who come across Pärt’s music: the audience.

Abstracts of around 300 words are invited on any topic related to Pärt’s music. Papers will be 25 minutes long followed by a 10 minutes Q&A. Please send your abstract by 1 October 2009 to the conference administrator (details below). Please include your name, contact information and institutional affiliation (if any). Abstracts will be reviewed anonymously. Conference sessions will be grouped around themes which might include: Pärt’s life and works, analyzing and defining ‘tintinnabula’, Pärt and contemporary culture, Pärt and contemporary spirituality, Pärt and film music.

Timetable:
1 October 2009 Abstracts due
1 November 2009 Notification of successful abstracts
1 December 2009 Finalization of conference program
1 March 2010 Circulation of papers by attendees

Program Committee
Andrew Shenton, Chair (Boston University)
Sander van Maas (University of Amsterdam)
Robert Sholl (Thames Valley University, London)
Karen Westerfield Tucker (Boston University School of Theology)
Jeremy Yudkin (Boston University College of Fine Arts / College of Arts and Sciences)

Conference administrator (to whom all questions should be addressed and all abstracts sent): Holly Reed [reedhg at bu.edu]

CFP: Contemporary Music Review (journal)

CONTEMPORARY MUSIC REVIEW
CALL FOR FUTURE PROPOSALS

Submit a Proposal for a Themed Issue

One of the key features of Contemporary Music Review is that each issue focuses on a particular theme providing a forum through which new tendencies in music can be discussed in both breadth and depth.

Contemporary Music Review does not generally receive individual papers; however, the Editor is happy to receive proposals for potential themed issues.

If you would like to edit an issue of Contemporary Music Review please provide the following information:

- A short synopsis outlining the theme that you would like to cover
- Details of why you feel that this theme is of contemporary interest
- A list of 4 or 5 potential articles or authors
- Your CV, including recent publications

For further information please contact:

Peter Nelson, Editor
Professor of Music and Technology
School of Arts, Culture and Environment
University of Edinburgh
12 Nicolson Square
Edinburgh, EH8 9DF, UK
Email: p.nelson@ed.ac.uk

Find out more at: www.tandf.co.uk/journals/gcmr

CFP: CUNY Symposium on Music and Disability (NY)

CUNY SYMPOSIUM ON MUSIC AND DISABILITY
CITY UNIVERSITY OF NEW YORK
15 - 17 JANUARY 2010
CALL FOR PAPERS

The Ph.D. Program in Music at the CUNY Graduate Center and The M.A. Program in Disability Studies at the CUNY School for Professional Studies announce A Symposium on Music and Disability

The Symposium will be more a workshop or seminar than a traditional conference. There will be fewer than fifteen participants, and each will have an ongoing research project on music and disability. The Symposium will be primarily devoted to discussion and critique of these works-in-progress, which may include future conference presentations, book or dissertation chapters, and articles. Four three-hour discussions around the seminar table (Friday afternoon, Saturday morning, Saturday afternoon, Sunday morning) will be interspersed with meals, lectures, and musical performances. Lectures and performances will be open to the public, but the seminar meetings will be open only to Symposium participants.

Rosemarie Garland-Thomson will be the Keynote Speaker for the Symposium and the Respondent for all of the papers. She is Professor of Women's Studies at Emory University and the author of Staring: How We Look (Oxford UP, 2009) and Extraordinary Bodies: Figuring Physical Disability in American Literature and Culture (Columbia UP, 1997); editor of Freakery: Cultural Spectacles of the Extraordinary Body (NYU Press, 1996), and co-editor of Disability Studies: Enabling the Humanities (MLA Press, 2002).

Deadlines:
• September 1: Proposals due. Proposals should include a 100-word summary of your interest and previous involvement in the fields of disability and music and a 200-word description of the project. Submit via email attachment to disability.and.music at gmail.com. Participants will be notified of acceptance by September 15.
• December 15. Paper drafts due. These will be circulated to all participants (and to Prof. Garland-Thomson).
• January 3. Paper critiques due. Each participant will be asked to circulate written critiques of at least three papers by other participants.

Each participant will receive a stipend of $350 to encourage participation and defray expenses.

All events will take place at the CUNY Graduate Center, 365 Fifth Avenue, New York, NY 10016. For additional information, contact Joseph Straus jstraus at gc.cuny.edu, Stephanie Jensen-Moulton SJensenMoulton at brooklyn.cuny.edu, or Blake Howe blake.howe at gmail.com.

Job Posting: Lecturer in Contemporary Music and Culture (New Zealand School of Music)

JOB POSTING: LECTURER IN CONTEMPORARY MUSIC AND CULTURE
NEW ZEALAND SCHOOL OF MUSIC (MASSEY UNIVERSITY AND VICTORIA UNIVERSITY OF WELLINGTON)
DEADLINE: 14 SEPTEMBER 2009

The New Zealand School of Music, a joint venture of Massey University and Victoria University of Wellington, seeks applicants for an appointment as Lecturer in Contemporary Music and Culture. The position will be based at Victoria University in Wellington, New Zealand’s capital city.

The New Zealand School of Music is committed to the idea of music as an essential human activity that powerfully informs our contemporary social interactions and multiple identifications. The field of expertise required for this position is open and may be grounded in a number of areas: creative, critical, performative, theoretical, technological, or historical. Whilst the field of expertise remains flexible, the applicant should have a wide-ranging perspective on music and musical culture from the twentieth century until the present day and will be expected to teach and conduct research in some aspect of contemporary musical life.

The successful candidate will have a PhD or DMA, teaching experience at university level, and evidence of the ability to maintain an international profile in research and/or creative practice. Appointments will commence on 1 February 2010.

For more information please contact the search committee chair, Inge van Rij, inge.vanrij at nzsm.ac.nz

To apply online see http://vacancies.vuw.ac.nz

Two representative samples of scholarly writing should be included with the initial application. These can be e-mailed separately to Kushla Beacon: kushla.beacon at vuw.ac.nz. In addition please arrange for three letters of reference to be sent/e-mailed under separate cover to Kushla Beacon, to arrive by 14 September 2009.

CFP: Celebrating Jean-Georges Noverre 1727-1810 (New College, Oxford)

12TH OXFORD DANCE SYMPOSIUM
CELEBRATING JEAN-GEORGES NOVERRE 1727-1810: HIS WORLD, AND BEYOND
NEW COLLEGE, OXFORD
16 - 17 APRIL 2010
CALL FOR PAPERS

The 12th Oxford Dance Symposium examines various aspects of the life and works of the French-Swiss choreographer and dance writer Jean-Georges Noverre, his contemporaries and successors, his detractors and his champions. In calling for papers, the organisers are seeking a wide range of papers on all these aspects, particularly on his influence as practised in different centres throughout Europe and beyond.

The bi-centenary of the death of Noverre presents an ideal opportunity to take a closer look at the world in which he lived and worked. Trained in Paris by the great Louis Dupré, Noverre went on to work in the opera houses of Paris, Lyons, Strasburg, Stuttgart, Vienna, Milan, and London, trained such future stars as Gaetan Vestris, Jean Dauberval, and Charles Didelot, and crossed swords with several European choreographers including his former pupils Gardel and Dauberval.

Despite Noverre's claims to be an innovator and reformer in many aspects of dance, a number of the theories that he propounded in his own writings had been anticipated by other authors, but it was he who left a mark on the history of theatrical dance which could not be ignored. By the end of his life, the French press was referring to him as 'the Nestor of our choreographers' and after his death in 1810 a flood of adulatory obituaries paved the way for a fame that has lasted virtually unchallenged until recent times.

Offers of papers (by 30 September 2009) and requests to be included on the conference mailing list should be sent to the College Officers' Secretary, Maggie Davies: maggie.davies at new.ox.ac.uk. The conference is organized by Michael Burden and Jennifer Thorp.

Job Posting: University Assistant - Centre for Systematic Musicology (Unviersity of Graz, Austria)

JOB POSTING: UNIVERSITY ASSISTANT (WITHOUT DOCTORATE)
CENTRE FOR SYSTEMATIC MUSICOLOGY
UNIVERSITY OF GRAZ, AUSTRIA
DEADLINE: 2 SEPTEMBER 2009

The Centre for Systematic Musicology in the Faculty of Humanities seeks a University Assistant without doctorate for 20 hours per week for 4 years, beginning 1.10.2009 or soon thereafter.

Duties:
- independent research as a doctoral student in a research area of the centre (see centre homepage, http://www.uni-graz.at/zsmw/en/)
- independent teaching in German or English of one course per year (90 minutes contact time per week for 15 weeks) in Graz's BA in Musikologie; contribution to other teaching as necessary
- administrative support

Academic qualification:
- masters degree or equivalent in a relevant discipline (musicology, music, psychology, sociology, information sciences, philosophy, physiology, physics)
- the ability to read a musical score and play a musical instrument
- foundations of music theory, ethnomusicology and music history
- desirable: active participation at a relevant international conference
- good command of German and English
- working knowledge of computer software for empirical music research

Personal qualities:
- ability to work independently and as part of a team; ability to communicate effectively

Deadline for applications: 2 September 2009
Reference Number (Kennzahl): 23/172/99 ex 2008/09

Please send your application in German or English including cover letter (1 page), curriculum vitae, photo, relevant certificates, documentation of required abilities, research plan (1 page), and the telephone numbers and email addresses of two possible referees, before the deadline and quoting the reference number, to:

Karl-Franzens-Universität Graz
Personalwesen
Universitätsplatz 3
8010 Graz
or by Email to: bewerbung [AT] uni-graz.at

For further information, please contact Prof. Dr. Richard Parncutt (Email: richard.parncutt [AT] uni-graz.at).

CFE: Noise, Audition, Aurality: Histories of the Sonic World(s) of Europe, 1500-1945 (essays)

NOISE, AUDITION, AURALITY: HISTORIES OF THE SONIC WORLD(S) OF EUROPE, 1500-1945
DEADLINE: 30 NOVEMBER 2009
CALL FOR ESSAYS

Contributions are invited for a proposed collection of essays exploring the soundscapes of Europe from c.1500 to 1945. The collection seeks to open up new areas of interdisciplinary scholarship from a range of fields including (but not limited to) musicology, urban geography, history, literary studies, cultural studies, psychoanalysis, psychology and anthropology, and will build on existing work in acoustic ecology, the sociology of noise and histories and historiographies of noise, audition and aurality. We will favour contributions that deal with historically-informed topics in the following areas (although this is by no means an exclusive list):

. The noise-sound-music nexus
. Urban/rural soundscapes
. Public/private soundscapes
. The acoustic ecology of communities
. Legal histories of noise
. Noise, music and the body
. Listening and the erotic
. Political economies of noise
. Noise, music and landscape
. Theories of hearing and listening
. Historical acousmêtres
. Historiographies of noise, audition and aurality
. Technologies of sound reproduction and their histories

Prospective contributors should send a 250-word abstract and a short biography to Ian Biddle (i.d.biddle at ncl.ac.uk) by no later than November 30 2009. If your contribution is chosen, we will require your finished chapter by 19 April 2010.

If you have any queries please also contact Ian Biddle at the email address above.

CFS: UMOVE Online Videodance Festival

UMOVE ONLINE VIDEODANCE FESTIVAL
ON THE WEB AND LIVE AT SELECT LOCATIONS
1 - 31 OCTOBER 2009
CALL FOR SUBMISSIONS

Pentacle's Movement Media announces the First Annual UMove Online Videodance Festival from October 1-31, 2009 on the web and at select screening locations across the US and around the world in 2009-10. Submission deadline is August 15, 2009.

UMove celebrates the creativity and diversity of kinetic cinema in all its forms, from dance/film to gaming, from animation to mash-ups - created for sharing on the web, on mobile devices and on ipods.

To date, the web format for dance and kinetic-based film has been under-recognized and under-valued by dance film presenters and curators. It's time to give these videos a platform to receive both feedback and critical praise. UMove seeks work that is strong in concept and execution, rather than sporting fancy production values or large budgets. Film-makers are free to use a variety of high and low tech media to create their work.

SUBMISSION DEADLINE: August 15, 2009

If your submission is chosen you will be required to submit digital stills and a finished copy of your video on DVD (NTSC only) for screening and publicity purposes by September 15, 2009. All submissions regardless of selection will be made available for public viewing on our blog, Move the Frame.

Please visit our blog, for general rules and submission details: http://movetheframe.wordpress.com/umove-festival/

Email all information to movementmedia [AT]pentacle.org

UMOVE SUBMISSION CATEGORIES

• Animation/Gaming- including digital animation, machinima, Second life, and Virtual Reality games.
• Cell phone - videos made using a cell phone.
• Gone in 60 seconds - videos under one minute long
• Low/No Budget - videos made for under $1,000
• Surprise me! - unique uses of dance and new media or digital technology

ABOUT THE FESTIVAL

The First Annual UMove Online Videodance Festival will take place October 1-31, 2009. The festival will feature short dance and movement-based videos that were made specifically for the web and other new media formats including cell phones, gaming, virtual reality worlds, and mash-ups. In addition to online programming on YouTube and Movement Media's blog, Move the Frame , the festival will include a launch party and live screenings in New York, Philadelphia, Los Angeles, UK, and other locations to be announced.

UMove was started by three dance film-makers: Kriota Willberg, Marta Renzi, and Anna Brady Nuse (Pentacle's Director of Movement Media) who are passionate about promoting dance film through any means possible. We seek to find the most innovative and engaging dance videos on the web and to highlight rising talent in the field.

October 1st will mark the launch of the festival online and there will be a live screening and party in New York after which the festival will tour to select locations around the country and the world in 2009-10.

Anna Brady Nuse
Director, Movement Media
Pentacle/DanceWorks, Inc.

Kriota Willberg
Festival Co-organizer

Marta Renzi
Festival Co-organizer

Upcoming Workshop: Sound and the Silents (Univ of Edinburgh)

SOUND AND THE SILENTS: A WORKSHOP
UNIVERSITY OF EDINBURGH AND CAMEO CINEMA EDINBURGH
13 OCTOBER 2009

The AHRC-funded Research Network ‘The Sounds of Early Cinema in Britain’ announces:
‘Sound and the Silents: a workshop’

LOCATION: University of Edinburgh and Cameo Cinema Edinburgh

PROGRAMME: to include Dr Stephen Bottomore, speaking on sound effects in the silent era; Mervyn Heard (lanternist), on the role of the lecturer from lanterns to films; a contemporary foley artist; plus examples of how current technology might be used in the exhibition of silent films by contemporary sound artists. For more details, watch the project website below

STUDENT BURSARIES: at least two RMA-funded student bursaries (towards travel to, and 2 nights accommodation in, Edinburgh) are available to facilitate attendance. To apply, please state your name, university affiliation, address, email address, estimated cost of travel and whether you will need accommodation, and include a 300-word statement outlining how attending this sound effects workshop will enhance your research. Email to Dr. Annette Davison (a.c.davison [at] ed.ac.uk) by 5pm,
Friday 11 September 2009.

Project website: http://projects.beyondtext.ac.uk/soundsearlycinema/index.php

CFP: North American British Music Studies Asssociation (NAMBSA) Conference (Des Moines, Iowa)

NORTH AMERICAN BRITISH MUSIC STUDIES ASSOCIATION (NABMSA)
FOURTH BIENNIAL CONFERENCE
DRAKE UNIVERSITY, IOWA
29 JULY - 1 AUGUST 2010
CALL FOR PAPERS

NABMSA's fourth conference will once again bring together scholars and lovers of British music from various academic fields and locales for three days of papers, discussions, and musical performances. We welcome papers examining all time periods of British music and musical life, all geographical regions of Britain, and all uses of British music outside of Britain. Papers that draw upon interdisciplinary or broader cultural contexts are particularly welcome, as are papers on figures celebrating important anniversary years in 2010 (including Thomas Arne, Samuel Sebastian Wesley, and Rutland Boughton). We also encourage students to submit papers; the best student paper presented at the NABMSA conference will be awarded the Temperley Prize.

Abstracts of up to 500 words for 20-25 minute individual papers, for paper sessions, or for lecture recitals should be sent by February 1, 2010, to Charles McGuire, Oberlin College, 77 W. College St., Oberlin, OH 44704; or send an e-mail to cmcguire at oberlin.edu. For additional information about the conference, see www.nabmsa.org.

CFP: CHOMBEC4: Worlds to Conquer: The travelling Virtuoso in the the 19th Century (Univ of Bristol)

FOURTH CHOMBEC (CENTRE FOR THE HISTORY OF MUSIC IN BRITAIN, THE EMPIRE AND THE COMMONWEALTH) CONFERENCE
WORLDS TO CONQUER: THE TRAVELLING VIRTUOSO IN THE LONG 19TH CENTURY
UNIVERSITY OF BRISTOL
5 - 7 JULY 2010
CALL FOR PAPERS

An Italian troupe arrives in Macao from Chile in 1833 and mounts seven Rossini operas over the summer before moving on to Calcutta; a renowned French harpist, bigamist and forger, dies in Sydney in 1856 after a reunion with a musical fellow-criminal from his London days; a Canadian diva sings 'Home, sweet home' to British sailors in the middle of The Barber of Seville at her debut in Malta, while nearly a hundred years earlier another young singer loses her life, her daughter and her fabulous Indian fortune on the voyage home. Many other musicians, remembered or forgotten, move around the world, often unconcerned with national spheres of influence, amassing debts or fortunes and acquiring or abandoning spouses as careers and reputations are made, lost or reinvented.

Stories of such musical adventurers abound, especially from the 19th century in the era of steamships and gold rushes, and for every colourful rogue or genius such as Richard Wagner and Franz Liszt who conquered Europe there was another who travelled the world. The glamour and the tedium, journeys and repertoires, tribulations and triumphs, stamina and stardom pertaining to such characters can be savoured for their own sake or framed within the contexts of travel literature. Yet they can also be invoked to challenge the musical histories in which they have all too seldom appeared.

Why did they go? How did they or their agents manage their tours? Was their repertoire tailored to national communities; was it old or new? Were touring networks and remittances a crucial part of the international musical economy? How do we assess the standard of performance in peripheral contexts (and when were they peripheral)? What were the patronage networks and the national distinctions and tensions? What was the significance of the virtuoso group, the virtuoso family? How and why were institutional careers overseas sought, sustained, endured? Was the visiting examiner a new type of virtuoso?

The posing or--even better--the answering of these and related research questions in 30-minute slots is invited and encouraged. Emphasis is on the world beyond Europe, on translocality and transnationality, on musical provision and consumption, on case studies involving individuals, groups, genres, places, institutions and repertoires, and on the interrelationships between music and politics, geography, economics, technology and material culture in the 'long' 19th century, a portion of whose global musical history we may thereby begin writing. It is hoped that an edited book will be based on selected conference proceedings.

Proposals for a paper or a panel with an abstract of not more than 200 words should be sent to Stephen Banfield (s.d.banfield [AT]bristol.ac.uk)by 15 October 2009.

Programme Committee: Benjamin Walton (University of Cambridge),Esmeralda Rocha (student member, University of Western Australia),Kerry Murphy (University of Melbourne), Stephen Banfield (University of Bristol).

CFP: International Machaut Society (Kalamazoo, Michigan)

INTERNATIONAL MACHAUT SOCIETY
45th INTERNATIONAL CONGRESS ON MEDIEVAL STUDIES
KALAMAZOO, MICHIGAN
13-16 MAY 2010
CALL FOR PAPERS

The International Machaut Society will sponsor three sessions at the International Congress on Medieval Studies in May:

* Contextualizing Machaut
* International Machaut Society, Twenty-five Years: Then and Now (A Roundtable)
* Digital Resources and the Study of Machaut (A Roundtable)

The session titles listed above are meant to be taken in the broadest sense possible. We strongly encourage submissions on any topic relating to the life, works, and times of Guillaume de Machaut (c. 1300-77), especially those that touch on interdisciplinary issues. Contributions to the roundtables should be in the 10-15 minute range to allow for a variety of speakers and adequate discussion time.

Proposals should include an abstract of no more than 300 words and a completed Participant Information Form (required by the Medieval Institute); the form is available at

http://www.wmich.edu/medieval/congress/submissions/index.html#PIF

Please email your abstract and completed Participant Information Form to Jennifer Bain: bainj at dal.ca

If you encounter any trouble attaching your completed Participant Information Form to your email, please fax it to the number listed below.

SUBMISSIONS MUST BE RECEIVED BY 15 SEPTEMBER 2009

For more information, or to submit a proposal via snail-mail or fax, please contact:
Jennifer Bain
Dalhousie University
Department of Music
6101 University Avenue
Halifax, NS B3H 4R2
Canada
tel: (902) 494-2418
fax: (902) 494-2801
e-mail: bainj at dal.ca

To find out more about the International Machaut Society, visit our home page at:
http://www.loyno.edu/~avclark/Machaut/imshome.htm

To find out more about the International Congress on Medieval Studies, visit:
http://www.wmich.edu/medieval/congress/index.html

CFP: Thinking Videodance II (Buenos Aires, Argentina)

THINKING VIDEODANCE II
SECOND INTERNATIONAL VIDEODANCE SYMPOSIUM (SIV, BUENOS AIRES, ARGENTINA)
16 - 19 NOVEMBER 2009
CALL FOR PAPERS

The International Videodance Festival of Buenos Aires Association calls for papers to be presented at the II International Videodance Symposium (SIV), from November 16 to 19, 2009, in the framework of the Festival VideoDanzaBA 2009 (www.VideoDanzaBA.com.ar)

Open Call for Papers: Extended deadline: August 14th., 2009

With the aim of continuing the development of the multi-disciplinary reflections, that were initiated by the Symposium “Thinking videodance”, in the frame of the International VideoDanzaBA Festival in 2007, the Academic Exchange Committee of the International Videodance Festival of Buenos Aires Association, invites to present papers concerning to any subject related to research and education in Videodance.

This academic meeting was born by the interest of critics, analysts and artists, who wanted to generate a space for interdisciplinary reflection over Videodance, which, as a hybrid language, is conformed by its own specific and complex grammars and has a still incipient academic reflection field.

Taking into account the succeed of its 2007 edition, our objective for 2009 is to pursue and to contribute to the building of a network of academic bonds both nationally and internationally; as well as to deepen the thinking process, inviting a new generations of researchers and artists to make their own contributions.

Languages
Languages of the Symposium lectures will be English and Spanish.


Regulations for abstracts
* Abstracts, of no more than 200 words, will be received until August 14th., 2009 (extended deadline).
* All proposals must be submitted along with the following information from the lecturer: name, academic degree, institution memberships (if any), address, e-mail and a brief curriculum vitae.
* Detail of the required tools for the lecture (projector, screen/TV set, DVD player, laptop connection, etc.)
* Proposals must be uploaded online at www.VideoDanzaBA.com.ar. Please, click on “Academicas”, on the left column of home page.

The Academic Exchange Committee will e-mail acceptance notification and additional program information by August 30th, 2009.


Regulations for lectures and publishing
Lecturers must send a copy of their complete paper no later than September 30th, 2009.

Each lecture during the Symposium must be no longer than 20 minutes (with 10 additional minutes for questions, comments and answers).

In collaboration with the Intituto Universitario Nacional del Arte (http://iuna.edu.ar), and Centro de Investigación Cinematográfica (www.cinecic.com.ar).

For more information about the Symposium, write to simposio [AT]videodanzaba.com.ar

For info about Festival, visit www.VideoDanzaBA.com.ar

VideoDanzaBA Academic Activities Coordinator: Lic. Susana Temperley
VideoDanzaBA Director: Silvina Szperling

CFP: Conversations in Music Scholarship 2010 (University of Michigan)

CONVERSATIONS IN MUSIC SCHOLARSHIP CONFERENCE 2010
UNIVERSITY OF MICHIGAN
5 - 6 FEBRUARY 2010
CALL FOR PAPERS

The Michigan Interdisciplinary Music Society will host its fourth annual Conversations in Music Scholarship conference February 5-6,2010, at the University of Michigan in Ann Arbor. The conference will feature a keynote address given by Kofi Agawu (Princeton University), as well as a graduate-student workshop directed by Ramon Satyendra (University of Michigan).

Submission Guidelines for Presentations

Proposals for papers on or combining the topics of music theory, musicology, ethnomusicology, and related fields are welcome. Interdisciplinary music research is particularly encouraged. Applicants need not be enrolled in graduate music programs for consideration. Presentations should last 20 minutes, followed by approximately ten minutes for questions and discussion. Complete proposal submissions should include:

1. An abstract of no more than 500 words. The abstract should not contain the author's name or affiliation. Supplementary materials, (such as musical examples, diagrams, and bibliographies) may accompany the abstract, but should not exceed two additional pages.
2. A cover letter that lists the author's name and email address, the paper title, and any equipment required for the presentation (e.g. piano or keyboard, CD player, projector, etc.).

Submissions must be made electronically, and sent by November 20th,2009. The cover letter should be included in the body of the email,and the abstract (and any supplementary materials) attached to the email in .doc or .pdf format. Before sending, please be certain that all attached files will display and print clearly, and that they are free of any indication of authorship. Send electronic submissions to: conversations2010 [at]umich.edu

Notification

Authors will be notified upon receipt of submission. Notifications of acceptances will be sent via email by December 15th, 2009, at which point selected authors will be asked to confirm acceptance and to submit a condensed abstract, suitable for publication in the program booklet, and brief biographical information for the benefit of the conference moderators. For further information, and details from last year's conference, see
http://sitemaker.umich.edu/conversations2009/home

CFP: 8th Annual Music Theory Society of the Mid-Atlantic (Penn State University)

MUSIC THEORY SOCIETY OF THE MID-ATLANTIC EIGHTH ANNUAL MEETING
PENN STATE UNIVERSITY
26 - 27 MARCH 2010
CALL FOR PAPERS

The Music Theory Society of the Mid-Atlantic will hold its Eighth Annual Meeting at Penn State University in University Park, Pennsylvania on Friday and Saturday, 26-27 March 2010. The MTSMA welcomes proposals on any aspect of music theory. Presentations are limited to thirty (30) minutes: twenty (20) minutes for the paper and ten (10) minutes for discussion.

Please include the following in your submission:

1. Seven (7) copies of a proposal. Proposals are limited to 500 words and no more than two pages of text (double-spaced in a 10- to 12-point font) plus examples and references. No information that identifies the author(s) or institutional affiliation should appear in the proposal.

2. A cover letter that includes the author's name, paper title, institutional affiliation or city of residence, phone number(s), and e-mail address. Submissions will be acknowledged by email only.

3. One copy of a 200-250 word abstract suitable for publication.

Students wishing to be considered for the Dorothy Payne Award for the best student paper should send seven (7) copies of the entire paper with their proposal.

Address for submissions by US Post:

Dora A. Hanninen, MTSMA Program Chair
c/o Ms. Tracy Krulik
2110 Clarice Smith Performing Arts Center
School of Music, University of Maryland
College Park, Maryland 20742

Email submissions are encouraged! Put all cover letter information in the body of your email, with the proposal and the 200-250 word abstract as two separate attachments. All attachments must be either MS Word documents or pdfs. Send email submissions to: mtsma2010 at gmail.com with the subject line: "MTSMA 2010 Proposal."

Deadline for receipt (by email or US Post) is December 1, 2009

CFP: Choreographic Practices (journal)

CHOREOGRAPHIC PRACTICES
CALL FOR PAPERS
DEADLINE: 1 SEPTEMBER 2009

Intellect are launching a new journal in 2010 called Choreographic Practices (http://www.intellectbooks.co.uk/journals/view-Journal,id=170/).

Edited by Vida L. Midgelow (vida.midgelow [at] northampton.ac.uk ) and Jane M. Bacon (jane.bacon [at] northampton.ac.uk ), this international, peer-reviewed biannual journal will provide a platform for sharing choreographic practices, inquiry and debate.

Contributions are invited that articulate and explore choreographic practices from a diverse range of perspectives. The editors are especially interested in receiving critical/creative practice-led research that is interdisciplinary and experimental in nature.

Choreographic Practices will incorporate peer-reviewed materials, dialogues/interviews, and debate. Submissions in conventional and alternative modes of writing (including performative and visual essays) are encouraged.

Submission topics might include:
--Choreographic methodologies and practices
--Dance and interdisciplinarity
--Theatre, screen, sited or social movement practices
--Improvisation processes
--Dance and documentation
--Choreography as social, cultural and/or psychological concern

How to Submit to Choreographic Practices:

A 500-word proposal should be sent in the first instance to the editors. Receipt will be acknowledged and a timeline for developing your submission, if appropriate, will be negotiated.

Or, you may send a completed manuscript of up to 6,000 words (or equivalent in
other formats) ready for peer-reviewing.

Proposals or full-length articles should be sent electronically as an email attachment to both editors: vida.midgelow [at] northampton.ac.uk and jane.bacon [at]northampton.ac.uk. Please include a top sheet giving your full name, contact details and a short biography.

Deadlines: Proposals - Sept 1st 2009
Completed Papers, Jan 7th 2010

CFC: Sixth International Musica Sacra Composition Competition

6TH INTERNATIONAL MUSICA SACRA COMPOSITION COMPETITION
CALL FOR COMPOSITIONS
DEADLINE: 30 JANUARY 2010

Submissions are invited for the 6th international Musica Sacra composers competition - prize fund €5,000.

Winning works will receive performances by the Choir of Trinity College Cambridge, conducted by Stephen Layton, the Polish Chamber Choir and the Vilnius Municipal Choir.

Other judges and patrons include representatives of Danish Radio National Choir and the Pontifical Institute of Sacred Music, Rome.

Works are invited for unaccompanied mixed choir, duration 3-10 minutes, from composers up to 35 years old.

Full submission details and rules are at www.competition.waw.pl

Deadline: 31 January 2010

Job Posting: Lecturer in Sound and Music Processing (Queen Mary, University of London)

JOB POSTING: LECTURER IN SOUND AND MUSIC PROCESSING
QUEEN MARY, UNIVERSITY OF LONDON
SCHOOL OF ELECTRONIC ENGINEERING AND COMPUTER SCIENCE
DEADLINE: 14 AUGUST 2009

The School of Electronic Engineering and Computer Science was established on 1 August 2008 as a result of the merger between the Departments of Electronic Engineering and Computer Science. The merger created one of the largest Schools within the College, with 60 members of academic staff and a vibrant community of undergraduate and postgraduate students. The School is committed to excellence in research and teaching, and offers a lively and stimulating environment for both staff and students.

The School is now looking to appoint a full time, permanent member of academic staff in the area of Sound and Music Processing.

Candidates will be expected to demonstrate a strong background in at least one of the Centre for Digital Music's (C4DM) current activities, for example, areas such as music information retrieval, rhythm analysis, music ontologies, semantic systems for musicology and music archives, and DSP of music and audio. Future research areas are expected to be in the science, engineering and technology of sound.

The successful candidate will be expected to teach courses such as Machine Learning and Music & Speech Processing as well as undertaking appropriate administrative duties.

Applicants should have a Postgraduate degree or a relevant professional qualification (or equivalent professional experience). Evidence of ongoing high level research activity and the ability to contribute (individually or collaboratively) to grant funding applications is essential. Candidates will be expected to demonstrate an ability to effectively organise their time between research, teaching and administration.

The post will be available from 1st September 2009 and the post holder would be expected to start as soon as is reasonably practical thereafter. Salary will be in the range of £37,332 - £46,518 per annum inclusive of London Allowance. Benefits include 30 days' annual leave, plus four College closure days, an interest free season ticket loan, childcare voucher scheme and a contributory final salary pension scheme.

Candidates must be able to demonstrate their eligibility to work in the UK in accordance with the Asylum and Immigration Act 1999.

Further details and an application form can be obtained from the Human Resources website on: http://www.hr.qmul.ac.uk/vacancies

For informal enquiries about this post, please contact Prof Mark Plumbley, Email: mark.plumbley@elec.qmul.ac.uk.

Completed application forms together with a copy of your CV, quoting reference no 09213/KR, should be returned to Julie Macdonald , Room CS/310, School of Electronic Engineering and Computer Science, Queen Mary, University of London, Mile End Road, London, E1 4NS, or by e-mail: applications [AT] eecs.qmul.ac.uk

The closing date for applications is 5pm on Friday 14th August 2009.

Interviews will be held on Wednesday 26th August 2009.

Applicants who are not contacted by Monday 24th August 2009 should assume that they were not successful.

Valuing Diversity & Committed to Equality

Upcoming Conference: Setting Agendas - Text-Setting and the Libretto in Contemporary British Music (University of Southampton)

SETTING AGENDAS: TEXT-SETTING AND THE LIBRETTO IN CONTEMPORARY BRITISH MUSIC
UNIVERSITY OF SOUTHAMPTON
CHAWTON HOUSE LIBRARY, CHAWTON
18 SEPTEMBER 2009

Speakers include: Richard Baker, Stephen Benson, Michael Finnissy, Lavinia Greenlaw, Michael Zev Gordon, John Habron, Brian Inglis, Irene Morra, Julian Philips

For many modern writers and composers, music and literature make an ungainly combination. Stravinsky notoriously regarded his text-settings as a sin, whilst T.S. Eliot refused to demean himself by working as a librettist for Michael Tippett. Yet recent years have seen British composers enlist a series of high-profile literary collaborators for operatic works, from Ian McEwan and Simon Armitage to Seamus Heaney and Vikram Seth. How might this change the relationship between the libretto and the performed work? What questions does the raise about the way modern operatic music is being listened to and disseminated? What are the pragmatics of interdisciplinary collaboration?

This one-day conference will approach these questions in a variety of ways. A series of poets and composers who have worked together will offer their own perspectives on collaborative projects, academics whose work has focused on the British libretto will trace recent developments in the form, and leading British composers will explore how practical and aesthetic considerations inform their use of the written word. The conference will conclude with a short chamber performance.

A limited amount of delegate places are now available for what promises to be a unique event in a stunning location. The conference fee is £25 and includes full lunch, refreshments, and an evening wine reception. In addition, five postgraduate bursaries are available to subsidise the costs of conference registration and travel. To register or for conference enquires please email Will May (w.may at soton.ac.uk).

For more information about the conference and its location, please see chawtonhouse.org and the conference website http://www.soton.ac.uk/english/news/setting_agendas09.html.