Job Posting: Chair in Music (University of Durham)

JOB POSTING: CHAIR IN MUSIC

UNIVERSITY OF DURHAM

DEPARTMENT OF MUSIC
DEADLINE: 9 NOVEMBER 2009

Salary will be by negotiation within the Professorial range

The Department of Music is seeking to appoint a Chair in Music to provide leadership in research, teaching and administration. The successful applicant will also be expected to take on the role of Head of Department for a period of 3 years from 1 August 2010. Applicants should have a proven track record of research at an internationally excellent level in the field of Music Aesthetics, Cultural Theory, Philosophy, Psychology or Theory and Analysis.

https://jobs.dur.ac.uk/jobdtls.asp?Session_in=&Uid=&vref=3453

CFP: Music and Minorities - 6th Symposium of the ICTM Study Group (Vietnam)

6TH SYMPOSIUM OF THE ICTM STUDY GROUP - MUSIC AND MINORITIES & THE 2ND SYMPOSIUM OF THE ICTM STUDY GROUP - APPLIED ETHNOMUSIOCLOGY
VIETNAMESE INSTITUTE FOR MUSICOLOGY, HANOI
19 - 30 JULY 2010
CALL FOR PAPERS

Perhaps for the first time in the history of the International Council for Traditional Music, two study groups are joining forces in organizing their respective symposia. This scholarly event will be hosted in Hanoi, Vietnam, by the Vietnamese Institute for Musicology (VIM) and its director Dr. Le Van Toan, who also will chair the local organizing committee. At VIM, the Study Group on Music and Minorities will meet from 19-24 July. The Study Group on Applied Ethnomusicology will meet from 27-30 July. A joint session is planned on the World Heritage site Halong Bay for 25-26 July 2010.

Each symposium will feature three main themes and have its own program committee. Scholars are invited to send proposals for one of the symposia and are offered the opportunity to attend both, thereby contributing to the success of the whole event. Contributions are especially welcome from the Asia-Pacific region, and on the overarching themes of ethnomusicological practices of community engagement, dialogue, advocacy and sustainability.


*Themes*
*Music and Minorities*
*1. **Music and minorities in education *
Education is widely recognized as a key tool in society building processes. This theme refers to both formal and informal education, past and present, in relation to the performing arts of minority populations. What are the experiences and potentials of educational dialogues between majorities and minorities, in various socio-cultural contexts?

*2. **“Other minorities”: challenges and discourses *
Broad definition of minorities within the study group, well-reflected in papers presented within the first decade of its existence, encompasses “groups of people distinguishable from the dominant group for cultural, ethnic, social, religious, or economic reasons.” This theme’s intention is to point to specific challenges and discourses that link music and minorities that are defined on the basis of gender, age, and health status.

*3. **The role of music in sustaining minority communities*
Case studies from around the world have demonstrated that music and other performing arts can help to maintain minority cultures. How may the complex notion of “sustainability” be applied to the study of music and minorities?


*Applied Ethnomusicology*
*1. **History and the workings of applied ethnomusicology*
This theme invites contributions on definitions and approaches to applied work stemming from ethnomusicological research, the characteristics of applied ethnomusicology (including those that predate the term), ethics, and the selection and training of applied ethnomusicologists.

*2. **Performing arts and ecology*
This theme is meant to provoke broad explorations of the proactive roles that ethnomusicology can play in contributing to the sustainability of performing arts and musical cultures: through archiving, disseminating, contributing to policies, understanding socio-economic factors, developing audiences and markets, and empowering communities to forge their own futures.

*3. **Performing arts in dialogue, advocacy, and education*
This theme includes the use of performing arts in building peace, negotiating power relationships, strengthening identities, and recontextualising music, dance and other performing arts through formal and informal education. Non-ethnic minorities of gender, age, and health status will receive detailed consideration.

*Location*
The Vietnamese Institute for Musicology (VIM) is part of the Hanoi National Academy of Music, and is housed in a brand new and very spacious, five-storey facility in the My Dinh Urban Area. My Dinh is about 10 km away from the vibrant Hoan Kiem city centre of Hanoi. VIM houses an archive, a large recording studio, and a concert hall (under construction) with 300 seats. There are ample meeting and lecture demonstration rooms for up to 100 people, as well as break out rooms for smaller discussions.

For accommodation, there are two options. For delegates, it is most attractive to reside in the vibrant city centre, around Hoan Kiem Lake. There are many hotels, shops and restaurants in this area. Hotels are reasonably priced ($20-50 USD per night). A drawback of this option is that delegates will need to be bussed to the conference venue (30-40 minutes after rush hour ends at 9 am). An alternative is accommodation at walking distance (or a five minute taxi ride) from VIM, in a new, faux-French residential development that lacks much of the atmosphere of central Hanoi.

*Proposals*
The program committee for Music and Minorities consists of Ursula Hemetek, Chair (Austria), Svanibor Pettan, Vice Chair (Slovenia), Adelaida Reyes, Secretary (USA), Le Van Toan (Vietnam), Larry Francis Hilarian (Singapore),and Kjell Skyllstad (Norway).

The program committee for Applied Ethnomusicology consists of Svanibor Pettan, Chair (Slovenia), Klisala Harrison, Vice Chair (Canada), Eric Usner, Secretary (USA), Tran Quang Hai (France), Tan Sooi Beng (Malaysia), and Huib Schippers (Australia).

We invite proposals for presentations in four basic formats, not excluding others. These are: individual papers, organized sessions, lecture demonstrations, and films.

Please submit an abstract of 250 words maximum and a short CV (in English language) to hemetek@mdw.ac.at (Music and Minorities) or eric.usner@gmail.com (Applied Ethnomusicology) by 10 November 2009, in order to enable peer review by 15 December 2009.

CFP: Beyond Notes: Improvisation in Western Music in the Eighteenth and Nineteenth Centuries (La Spezia, Italy)

BEYOND NOTES: IMPROVISATION IN WESTERN MUSIC IN THE 18TH AND 19TH CENTURIES
9TH EDITION OF THE FESTIVAL PAGANINIANO OF CARRO
LA SPEZIA, ITALY - CAMeC (Centre for Modern and Contemporary Art)
15 - 17 JULY 2010
CALL FOR PAPERS

ORGANISED BY: Società dei Concerti, La Spezia; Centro Studi Opera Omnia Luigi Boccherini, Lucca

The SOCIETA' DEI CONCERTI of La Spezia, Italy (http://www.sdclaspezia.it/) and the CENTRO STUDI OPERA OMNIA LUIGI BOCCHERINI of Lucca (http://www.luigiboccherini.org/), in association with MUSICALWORDS.IT (http://www.musicalwords.it/), on the occasion of the 9th edition of the FESTIVAL PAGANINIANO of Carro are pleased to invite submissions from scholars of proposals for the symposium on "Beyond Notes: Improvisation in Western Music in the Eighteenth and Nineteenth Century", to be held in La Spezia, CAMeC, from Thursday 15 to Saturday 17 July 2010. The Symposium aims to investigate musical improvisation in the XVIII and XIX centuries.

The programme committee encourages submissions within the following areas, although other topics are welcome:
* Musical improvisation in contemporaneous treatises and philosophy
* New perspectives on improvisation in classical music
* Improvisation and popular music in the Eighteenth and Nineteenth Centuries
* Improvisation in different musical genres and languages
* The relationship of improvisation to composition
* Musical improvisation and related arts
* Improvisation in the music of Nicolò Paganini

PROGRAMME COMMITTEE:
Andrea Barizza, Lorenzo Frassà, Roberto Illiano, Fulvia Morabito, Luca Sala, and Massimiliano Sala

KEYNOTE SPEAKERS:
Prof. Vincenzo Caporaletti (University of Macerata)
Prof. Rudolf Rasch (Utrecht University)

The official languages of the conference are English and Italian. Papers selected at the conference will be published in a volume of proceedings. Papers are limited to twenty minutes in length, allowing time for questions and discussion. Please submit an abstract of no more than 300 words and one page of biography. All proposals should be submitted by email no later than Sunday 28 February 2010 to Dr. Lorenzo Frassà (operaomnia [AT]luigiboccherini.org).

Please include with your proposal your name, contact details (postal address, e-mail and telephone) and (if applicable) your ffiliation.

The committee will make its final decision on the abstracts by the end of March 2010 and contributors will be informed immediately thereafter. Further information about the programme, registration, travel and accommodation will be announced by the 15th of April 2010.

For further question, please contact:
Dr Lorenzo Frassà
Via delle Ville, trav. II/73
San Marco contr.
I-55100 Lucca
tel: +39/339.2967826
operaomnia@luigiboccherini.org
http://www.luigiboccherini.org/

Dr. Roberto Illiano, Presidente Edizione Nazionale Muzio Clementi
Segretario Generale Centro Studi Opera omnia Luigi Boccherini-Onlus
Via Lorenzo Nottolini, 162
S. Concordio contrada
I-55100 Lucca
rilliano@muzioclementi.com
ww.luigiboccherini.org
http://www.muzioclementi.org/

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

MUSIC FOR STRINGED INSTRUMENTS - MUSIC ARCHIVES AND THE MATERIALS OF MUSICOLOGICAL RESEARCH IN THE 19TH CENTURY AND EARLY 20TH CENTURIES
CARDIFF UNIVERSITY
23 - 24 JUNE 2010
CALL FOR PAPERS


The call for papers can be read in full at the conference web page, URL:
http://stringeditions.leeds.ac.uk/news.htm

Broad topics for papers may include, but are not limited to:
* 19th- and early 20th-century music publishing history
* Plate number chronologies
* Creation and significance of digital resources for research in the field
* Comparative studies: editions and performance practices
* Manuscripts
* Editions with significant MS annotation
* Music archives
* Studies of individual editor-performers
* The use of early recordings
* Illustrated papers exploring the practical application of this research

The conference will include a performance given by the LUCHIP ensemble (Leeds University Centre for Historically Informed Performance), followed by a round table discussion. It is hoped to provide assistance for postgraduate students to attend.

Please email proposals for papers to Dr. George Kennaway, at g.w.kennaway at leeds.ac.uk, no later than March 15th 2010.

CFP: Women in Music in Ireland Conference (National University of Ireland)

WOMEN IN MUSIC IN IRELAND CONFERENCE

NATIONAL UNIVERSITY OF IRELAND, MAYNOOTH

17 APRIL 2010

CALL FOR PAPERS

In association with *The Society for Musicology in Ireland* and *An Foras Feasa*

Women’s involvement in music in Ireland has been evident since the eighteenth century but their contribution has often been neglected or forgotten. This Conference hopes to begin to highlight their involvement across the centuries in all genres of music in Ireland. The Conference will also include two concerts featuring music by female composers from the nineteenth-, twentieth- and twenty-first centuries. The keynote

address will be given by Dr. Ita Beausang.

Proposals for papers exploring all areas of women in music in Ireland are welcomed and suggested topics include, but are not limited to:

- Female singers in the eighteenth century

- Women and domestic music-making throughout the centuries

- Female contributions to pedagogy and performance in Ireland

- The treatment of female composers

- Women and gender studies

- Women and traditional music

- Women and the Irish Harp

- Women and the promotion of Irish music

- Irish women working in music internationally

Proposals of 200 words are invited for presentations of 20 minutes maximum. Submission: by email to the Conference organizer, Jennifer O’Connor, jenny.m.oconnor [AT]gmail.com , by the 31 October 2009.

The editorial board of the *Journal of the Society for Musicology in Ireland (JSMI*) has expressed an interest in the publication of papers presented at this Conference subject to its normal peer-review process.

Abstracts should include the following information:

- Name and Title

- Institutional Affiliation

- Contact details

- Any special technical requirements (piano, OHP, PowerPoint, audio/visual, etc)

All queries should be emailed to jenny.m.oconnor [AT]gmail.com

Those making successful proposals will be notified by the end of November and the draft programme will be available from mid-December. Information on registration and accommodation will be available on the SMI website and the NUI Maynooth Music Department website http://www.music.nuim.ie in early January 2010.

CFP: Temporality in Contemporary Music (AC Institute)

TEMPORALITY IN CONTEMPORARY MUSIC

AC INSTITUTE

CALL FOR PAPERS

DEADLINE: 10 JANUARY 2010

The AC Institute is currently accepting papers for an upcoming edition that seeks to take up the issue of temporality as an integral element in contemporary music and the visual arts.Critical writing that addresses this concept from all disciplines will be considered and we encourage the submission of articles that cross disciplinary boundaries. Articles that discuss the temporal relationships between art and music are especially welcome. Please send complete papers (with an abstract) and a brief biography (up to 250 words) by January 10, 2010.

The AC Institute’s mission is to advance the understanding of the arts through investigation, research and education. It is a lab and forum for experimentation and critical discussion. We support and develop projects that explore a performative exchange across visual, sonic,verbal and experiential disciplines. We encourage critical writing that challenges conventional expectations of meaning and objectivity as well as the boundaries between the rational and subjective. For more information on the AC Institute please visit our website at http://www.artcurrents.org.

CFP: 40th Ballad Conference (Netherlands)

40TH INTERNATIONAL BALLAD CONFERENCE

MEERTENS INSTITUTE & MARITIME INSTITUTE (AMSTERDAM & TERSCHELLING)

5 - 10 JULY 2010

CALL FOR PAPERS

The 40th International Ballad Conference of the Kommission für Volksdichtung is to be held in Amsterdam and Terschelling (Netherlands). The conference is being hosted by the Meertens Institute, Amsterdam.

http://www.meertens.knaw.nl/cms/index.php?option=com_content&view=article&id=143102%3A5-10-juli-2010&catid=15%3Aagenda&Itemid=70〈=en

Ballad conferences are open to ethnologists, (ethno-)musicologists, literary historians and other scholars. The main theme of this conference is WATER. We welcome papers on maritime, coastal and insular music cultures, shanties and other songs of sailors and fishermen, ballads about the sea, lakes, rivers, waterfalls, sources and fountains, rain and draught, beaches, banks and bridges, swimming, shipwrecks, drowning, floods, fishes, sea monsters, mermaids etc. Other possible issues include performance, literacy vs. orality, language and identity, and ballad history, preferably in connection with the main theme.

Papers will be limited to 20 minutes. Abstracts of up to 300 words, together with requests for technical equipment, should be submitted by 4 JANUARY 2010 to prof. dr Louis Peter Grijp. The author’s address, affiliation and contact details should be clearly stated, together with a brief account of the author’s career and research interests.

For further information, contact the Conference Organisers:

prof. dr Louis Peter Grijp (+ 31 20 4628536, louis.grijp at meertens.knaw.nl, drs Martine de Bruin (+31 20 4628513, martine.de.bruin@meertens. knaw.nl) and Marieke Lefeber MA (+31 20 4628579, marieke.lefeber at meertens.knaw.nl)

P.O. Box 94264, NL-1090 GG Amsterdam, Fax + 31 20 4628555

Joan Muyskenweg 25, NL-1096 CJ Amsterdam

CFP: The British Organ in the 20th Century and Beyond (Oxford University)

THE BRITISH ORGAN IN THE TWENTIETH CENTURY AND BEYOND

OXFORD ORGAN CONFERENCE 2010

15 - 18 APRIL 2010

CALL FOR PAPERS

The Betts Fund of the University of Oxford, and the British Institute of Organ Studies are pleased to announce the last conference of a four-year sequence entitled 'The Organ in England: Its Music, Technology, and Role through the Second Millennium'. This year, the Royal College of Organists will be holding its spring meeting in Oxford at the same time and some joint events will be included in the Programme.

The conference will take place from 15 to 18 April 2010 at Merton College, Oxford, and will cover the organ and its music in the present era and into the future. The title for the conference is 'The British Organ in the Twentieth Century and Beyond.'

300-word proposals for 20-minute papers and lecture-recitals are welcome on any and all relevant topics. The following broad areas are given as suggestions for possible lines of enquiry, and are not meant to be limiting:

The organ in musical and artistic culture

* The changing sound of the organ from Edwardian to neo-baroque to modern

* The rediscovery of the organ case its form and function

* The interest in new organs in historic styles

* The presentation of the organ in audio and visual media

* Historically informed performance and the organ

Organ Builders

* The decline of nineteenth-century factory builders and the rise of a new generation

* The impact of electrical and electronic technology for organ control and sound

* The rediscovery of classical principles

* Changing attitudes to conserving and treating old organs

* The impact of imported organs in the UK

* Future clients for future organs

* Specific builders

Composers, Performers, and Teachers

* Who wrote for the organ and what did they write?

* Who performed it?

* Who were the prominent teachers, and what was their impact?

Organ builders and organists in association

* The emergence of amateur and professional associations for organists and organ builders, and their impact

Twentieth-century icons

* Organs, organists or advisers who reshaped organ culture in the UK

Abstracts will be due by 11 December, with responses from the panel of readers by 18 January.

For more information, please contact:

Dr Katharine Pardee

Betts Scholar in Organ Studies

Director of Chapel Music

Wadham College

University of Oxford

kfpardee [at] yahoo.com

CFP: Sights & Sounds (University of Salford)

SIGHTS AND SOUNDS

INTERROGATING THE MUSIC DOCUMENTARY

UNIVERSITY OF SALFORD

4 - 5 JULY 2010

CALL FOR PAPERS

In the fall of 1894, W. K.L. Dickson assisted Thomas Edison in his experimentation with sound film. He shot a sequence in which one man plays a violin before the recording phonograph horn while two others dance. Might this be the first music documentary?

In the years since, numerous works have been produced that consist of narrative formulations of musical history; portraits of individuals or groups; replications of musical events; meditations on musical genres or transformative occasions. A number of these works have become renowned in their own right, such as D.A. Pennebaker’s Don’t Look Back (1967) or the Maysles Brothers Gimme Shelter (1970). Others have become as famous as the events they depict, including Steve Binder’s The T.A.M.I. Show (1964) Michael Wadleigh’s Woodstock (1970). Still more have placed a name and a face to previously unknown musicians, as did Paul Justman’s Standing in the Shadow of Love (2002) with Motown Records’ Funk Brothers. Some have provoked controversy as much as they have drawn audiences, like Ken Burns’ PBS series Jazz (2001). Some have attached a conceptual framework to a genre and a group and incorporated an argument about that material, including Julian Temple’s The Filth and the Fury (2000).

The conference will interrogate this body of film and welcomes submissions on works in any media: radio, television or film. We are interested in issues that include but are not limited to narrative strategy, visual articulation, ideological analysis, star imagery, gender dynamics, race, We are particularly interested in studies that challenge normative story-telling strategies, familiar and hence deflated visual approaches, or wish to topple canonic formations of musical production that have been perpetuated through their presentation in various media.

The conference will feature appearances by filmmakers (to be announced) and showings at the Cornerhouse Theatre, located in Manchester. We hope as well to commission selected papers from the conference for publication in a volume, the first such anthology of approaches to the genre of music documentary.

Deadline for submissions: December 14, 2009

Announcement of program: January 4, 2010

Please send proposals of no more than 500 words by e-mail to both of the following addresses

d.sanjek at salford.ac.uk b.halligan at salford.ac.uk

Conference Chairs:

David Sanjek, Professor of Music Ben Halligan. Senior Lecturer

Director, Popular Music Research Centre School of Performance

School of Music

University of Salford

CFP: The Piano Trio: History, Technique, Performance (IMR, University of London)

THE PIANO TRIO: HISTORY, TECHNIQUE, PERFORMANCE

SENATE HOUSE, UNIVERSITY OF LONDON

INSTITUTE OF MUSICAL RESEARCH

12 - 13 NOVEMBER 2010

CALL FOR PROPOSALS

The piano trio is a relatively late arrival on the scene in the history of chamber music. When in the late eighteenth century, the first piano trios as we now understand them – with emancipated string parts that are assigned near-equal partnership with the keyboard – appeared, the string quartet was already well established as a genre. The development of the piano trio has been contingent upon the ways in which changes to the construction of keyboard instruments affected the nature of the inter-relationships between instruments and composers' responses. This conference aims to bring together researchers working on the historical, technical and performative aspects of the piano trio genre.

The keynote presentation will be given by David Owen Norris.

Proposals (250 words) for individual papers (20 minutes, with 10 minutes discussion), lecture-recitals and performances /demonstrations (30 minutes maximum, with 15 minutes discussion) or panels (three of four papers, each to be 20 minutes maximum, with 10 minutes discussion) are invited.

For details of the topics for which proposals are requested please see http://music.sas.ac.uk/imr-events/imr-conferences-colloquia-performance-events/the-piano-trio-history-technique-performance.html#c1446

DEADLINE for proposals: 5pm (GMT), Monday 1 March 2010

Notification of acceptance and preliminary programme: 15 April 2010

Final programme issued: 15 July 2010

Registration opens: 1 August 2010

Please submit by email, in an attachment including your full name and contact details, to the IMR Administrator Mrs Valerie James, at <>.

Proposals will be judged anonymously. Paper proposals from students are especially encouraged.

Conference Committee:

Mine Dogantan Dack (Chair – Middlesex University)

John Irving (Director of the Institute of Musical Research)

Peter Fribbins (Middlesex University)

Mieko Kanno (Durham University; Orpheus Institute)

Ferenc Szücs (Irish World Academy of Music and Dance)

Marianne Tyler Brown (Middlesex University)

CFP: From Stage to Screen: Musical Films in Europe and United States (Arezzo, Italy)

FROM STAGE TO SCREEN: MUSICAL FILMS IN EUROPE AND UNITED STATES (1927-1961) - INTERNATIONAL CONFERENCE

MONTE SAN SAVINO (AREZZO, ITALY)

CENTRO STUDI OPERA OMNIA LUIGI BOCCHERINI, LUCCA

16 - 18 SEPTEMBER 2010

CALL FOR PAPERS

The Centro Studi Opera Omnia Luigi Boccherini of Lucca (http://www.luigiboccherini.org), under the auspices of the Culture Department of the Municipality of Monte San Savino and in collaboration with MAGADIS International Music Agency, is pleased to invite submissions of proposals for the symposium on "From Stage to Screen: Musical Films in Europe and United States (1927-1961)", to be held in Monte San Savino (Arezzo, Italy), from Thursday 16 to Saturday 18 September 2010. The Symposium aims to investigate the variety of sonic and musical practices of early musicals, their relationships with musical comedy and the progression from stage to screen in Europe and United States (1927-1961). The programme committee encourages submissions within the following areas, although other topics are welcome:

* Music in black-and-white films in Europe and USA

* From musical comedy to musical: textual, material, technological sources

* Composers, singers and performers

* Broadway and Hollywood: music, play and dance topics

* Musical films and jazz

* Musical Practices and Techniques

* Musical and gender matters

PROGRAMME COMMITTEE:

Francesco Attesti, Lorenzo Frassà, Roberto Illiano, Alika Maffezzoli, Fulvia Morabito, Luca Sala, Massimiliano Sala

KEYNOTE SPEAKERS:

Prof. Raymond Knapp (University of California at Los Angeles) Prof. Sergio Miceli (University of Florence and University of Rome ‘La Sapienza’)

The official languages of the conference are English and Italian. Papers selected at the conference will be published in a volume of proceedings by Brepols Publishers (www.brepols.net). Papers are limited to twenty minutes in length, allowing time for questions and discussion. Please submit an abstract of no more than 300 words and one page of biography. All proposals should be submitted by email no later than Wednesday 31 March 2010 to Dr. Massimiliano Sala . Please include with your proposal your name, contact details (postal address, e-mail and telephone) and (if applicable) your affiliation. The committee will make its final decision on the abstracts by the end of April 2010, and contributors will be informed immediately thereafter. Further information about the programme, registration, travel and accommodation will be announced by the end of May 2010. For additional information about the conference, see http://www.luigiboccherini.org/mssconf

For further questions, please contact:

Dr. Massimiliano Sala

Vicepresidente Centro Studi Opera omnia Luigi Boccherini

Via Antonio Puccinelli, 27

I-51100 Pistoia

msala@adparnassum.org

www.luigiboccherini.org

CFP: Stanford Forum on Opera (Stanford University)

STANFORD FORUM ON OPERA - GRADUATE STUDENT CONFERENCE

STANFORD UNIVERSITY

27 - 28 FEBRUARY 2010

CALL FOR PAPERS

Graduate students from all disciplines are encouraged to propose a paper on a topic related to opera from 1600 to the present. Please submit an abstract of no more than 300 words outlining the project by January 3, 2010. Applicants will be notified of the conference program by January 11. Papers will be allotted 30 minutes for presentation and 15 minutes for discussion.

Please send abstract as a pdf, doc, or docx file along with any other inquiries to: lmayne at stanford.edu

Keynote address to be given by Karol Berger on the works of Richard Wagner.

Join our Facebook group at:

http://www.facebook.com/group.php?gid=148509531716

Website coming soon.