Sunday, 25 April 2010

CFP: International Conference Franz Liszt 2011 (Universities of Rennes, Dijon, Strasbourg, France)

20 - 27 SEPTEMBER 2011

As part of the bicentenary celebrations of Liszt’s birth, the universities of Rennes, Dijon and Strasbourg organize a tribute to the most representative European composer of the nineteenth century. Three symposia in three different cities will give new insight into three different aspects of Liszt’s artistic, literary and political personality and seek to (re)define his status in the cultural world of his time.

Congress dates:

Rennes - Liszt: A Musician in Society
Tuesday 20 – Wednesday 21 September 2011

Dijon - Liszt: Readings and Writings
Friday 23 – Saturday 24 September 2011

Strasbourg - 19th-century Topoi and the Music of Liszt
Monday 26 – Tuesday 27 September 2011

Honorary Committee

- Detlef Altenburg (Germany)
- Serge Gut (France)
- Leslie Howard (GB)
- Charles Rosen (USA)
- Alan Walker (USA)

Organizing Committee

- Florence Fix (University of Burgundy)
- Márta Grabócz (University of Strasbourg)
- Laurence Le Diagon-Jacquin (University of Rennes II)
- Georges Zaragoza (University of Burgundy)
Congress N°1 - University of Rennes 2 (September 20-21, 2011)

Scientific Committee:
- Rossana Dalmonte (Institute Franz Liszt, Italy)
- James Deaville (Carleton University in Ottawa, Canada)
- Zsuzsanna Domokos (Liszt Ferenc Memorial Museum and Research Center, Hungary)
- Cornelia Szabó-Knotik (Institute for Analysis, Theory and History of Music, Vienna, Austria)
- Michael Saffle (Virginia Tech.,USA)

Liszt was a polyglot and a cosmopolitan citizen travelling throughout Europe and expressing his ideas on the progress of nations, political systems and social change... Liszt, a European in a Europe under construction is the main focus of this symposium which sets out to analyse the connections between his music and the religious, political and aesthetic transformations of his time (in continuity with the colloquium in Bellagio ). In a political and religious sense he did indeed meet the important people of his world, the monarchs and princes, the revolutionaries, the pope and the clerics at odds with the dogma of the day. In addition to considerations about Liszt himself—not only as a virtuoso piano player, composer, teacher and also as a man of his society—an examination of the characteristics of his music as it has evolved over time (for instance at anniversaries or on stage and on screen) might prove a promising approach. The relations between Liszt’s music and society (religion, politics, history...) represent a whole socio-musicological field of research for the symposium in Rennes.

Congress N°2 University of Burgundy, September 23-24, 2011

Scientific Committee:
- Jacqueline Bellas (University of Toulouse)
- Maria Eckhardt (Liszt Ferenc Memorial Museum and Research Center,Hungary)
- Jean-Jacques Eigeldinger (Switzerland)
- Claude Knepper (CNRS, Paris)
- Danièle Pistone (Paris IV – Sorbonne)
- Alban Ramaut (University of Saint-Etienne)

As a music, literary and art critic, and a reader and an observer of his time, Liszt also wrote many letters. These are widely studied today and indeed one of the main avenues of research of this symposium will be to examine the limits and mechanisms of Liszt’s writing, as a musician who also marked his contemporaries by what he wrote.

Liszt is also the subject matter of various writings, biographies and novels alike. As a character of fiction, of romanticized biographies, of imaginings that transpose him into other realms representing him, say, as a painter, Liszt is at the heart of a literary activity that sees him as both subject matter and acting subject. The self-portrait that emanates from his correspondence is also an interesting composition and the concepts of self-figuration and self-fiction will be covered. By comparing and contrasting all these fictional constructions the hope is to arrive at a true typology of the literary characters inspired by Liszt.

And considerations of Liszt as a “reader” are welcome too. The material from his Weimar library depicts him as a scrupulous reader, annotating and commenting on his readings. This material needs to be examined to see what Liszt gleaned from it for his own musical compositions.

It is this triple portrait, then, of Liszt as a writer, character and reader that we look to address in the literary part of the Dijon symposium.

Congress N°3 University of Strasbourg, September 26-27, 2011

Scientific Committee:
- Béatrice Didier (ENS, Paris)
- Françoise Escal (EHESS, Paris)
- Adrienne Kaczmarczyk (Liszt Ferenc Memorial Museum and Research Center, Budapest)
- Bertrand Ott (Angers)
- Mathieu Schneider (University of Strasbourg)

Interest in the study of literary and musical topoï has been steadily growing since the 1990s. Several scholarly societies and international research groups are working on developing a methodology based on the presentation of “commonplaces”, either in the sense of “models or repertoires of general arguments” in rhetoric, or of the conventional round of ideas and thoughts within a given time period. The literary and “narrative topos” as a recurring narrative configuration of thematically or formally relevant elements is defined on the website of SATOR (Society of Analysis of the Novelistic Topoi ).
In the field of musicology, the international research group on Musical Signification (see ICMS publications) and American scholars have initiated studies on topics and narratives. According to Leonard Ratner, the musical topics are characteristic figures which can become subjects for musical discourse. In classical music, topics appear as styles or as types. More recently R. Monelle (2006) and K. Agawu (2009) have proposed other definitions of the musical topos.
Research in 19th-century literature and semiotics has already brought to light a great number of topics [topoi] of the Romantic period. In this respect, the SATOR database ( and the works of Béatrice Didier are fundamental (1966, 1985, 2006). As to the book of E.R. Curtius (1947, 1956), it is the seminal milestone in the history of topos studies.
In the chapter “Indications” [= Index rerum] of his novel Oberman (1804), Senancour lists the major Romantic themes of his generation : friendship; love; the pastoral world; climate; spleen; Man (“romantic” or that “of society”); ideals; religion; etc.
We see this forthcoming congress – which will focus on Franz Liszt’s ideas and music - as an exceptional opportunity to broaden the scope of an increasingly popular field of research.

K. Agawu : Music as Discourse. Semiotic Adventures in Romantic Music, Oxford, New York, Oxford University Press, 2009.
E. R. Curtius, La Littérature européenne et le Moyen Age latin, Paris, PUF, 1956. (in German : 1947).
B. Didier [Béatrice Le Gall], L’Imaginaire chez Senancour, 2 volumes, Paris, José Corti, 1966.
B. Didier, Senancour romancier. Oberman, Aldomen, Isabelle, Paris, Sedes, 1985.
F. Bercegol and B. Didier (éd.), Oberman ou le sublime négatif, (Paris, Editions de l’ENS rue d’Ulm, 2006).
M. Guérin, Nihilisme et modernité. Essai sur la sensibilité des époques modernes de Diderot à Duchamp, Nîmes, Ed. Jacquline Chambon, 2004.
J. Hermann, M. Weill and P. Rodrigez, définitions du topos sur le site SATOR (Société d’Analyse des Topiques romanesques)
R. Monelle, The Musical Topic. Hunt, Military, and Pastoral, Bloomington, Indiana University Press, 2006.
L. Ratner : Classic Music. Expression, Form, and Style, London, Schirmer Books.
E. P. Senancour, Oberman, édition établie, présentée, commentée et annotée par Béatrice Didier, Paris, Le Livre de Poche, 1984.

Deadline for submission of paper proposals: (20’ presentation + 10’ discussion): July 1st, 2010. Please send abstract (max. 1500 characters) together with a short Résumé for Strasbourg (CV).
The list of accepted submissions will be released in October 2010.

Papers will be given in: French, English, German
Languages of publication: French and English.
Depending on your chosen theme, please send your submissions to one of the following addresses:

1/ Congress in Rennes: à Laurence Le Diagon - laurence.lediagon[at]
2/ Congress in Strasbourg: à Márta Grabócz – grabocz[at]
3/ Congress in Dijon: florence.fix[at]

Papers will be published in the Conference Proceedings.
Deadline for submission of papers for publication: November 1st, 2011. To ensure publication, make sure your full texts reach us before that date.

Saturday, 24 April 2010

CFP: Red Strains: Music and Communism outside the Communist Bloc after 1945 (British Academy)


Proposals are invited for this conference, to be held at the British Academy in London, 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; Castroist; 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.

Further details on conference themes, keynote speakers and format of proposals:

DEADLINE for proposals: Friday 18 June 2010.

Programme announced and registration open: Monday 19 July 2010.
Dr Robert Adlington (Conference Organiser)
Department of Music, University of Nottingham

CFP: The Business of Live Music (University of Edinburgh)

31 MARCH - 1 APRIL 2011

A conference to mark the completion of the AHRC funded project

The Promotion of Live Music in the UK--an Historical, Cultural and Institutional Analysis

We invite papers on any aspect of the business of live music from any disciplinary perspective. Themes for discussion include the history of live music, promotion as a business, live music and the state, the value of live music, and the live musical experience. Papers on any kind of music are welcome, classical or popular, successful or obscure! Presentations will be limited to a maximum of 20 minutes and
proposals should be no more than 200 words.

For further information please contact Simon Frith (simon.frith[AT] or Martin Cloonan (m.cloonan[AT]

Closing date for proposals: September 1 2010

Monday, 19 April 2010

CFP: Jewish Music and Germany after the Holocaust (Dickinson College)

25 - 27 FEBRUARY 2011

Keynote address by Philip V. Bohlman (to be confirmed)

The postwar period in East and West Germany has been neglected by most research pertaining to Jewish music history or ethnography, perhaps with the exception of klezmer. The inattention to this specific era may be due to the common misperception that Jewish life, and subsequently its culture and music, had been extinguished. And yet with the end of World War II, Germany witnessed a reemergence of Jewish culture, actuated by a Jewish population that had returned from underground hiding, survived through mixed marriage, re-emigrated (the returnees), or survived the camps and returned, as well as by institutions and individuals who supported the performance of works by Jewish composers.

We are inviting papers based on new research that address the multi-faceted topics suggested by the colloquium’s theme while drawing upon the methodologies of ethnomusicology and/or historical musicology. We favor approaches that consider the plurality of musical responses to the post-Holocaust era and thus avoid clichés that give way to one-dimensional readings of a complex era. We encourage presentations on topics ranging from music in the postwar Displaced Persons camps to the klezmer revival beginning in the 1970s, but also compositions in response to the Holocaust and the Jewish presence in postwar German musicology, with broader reflections on the following themes:
  • Perceptions of the Holocaust and Jewish music
  • Trauma
  • Nostalgia
  • Utopia vs. Dystopia

The official language of the colloquium is English. Papers should not be longer than 25 minutes and will be discussed in roundtable following the respective panels.

Please submit proposals together with a short abstract of 300 words max. (if attachment please the following formats only: doc, rtf , or pdf) by May 1, 2010 to the following address: DickinsonColloquium2011 [AT]

In addition to the proposed title and summary, the following information should be included:
(1) name of the lecturer, address, phone, e-mail (primary)
(2) a short biography (200 words max.)
Notification will be sent at the latest by July 15, 2010.

The colloquium is organized by Tina Frühauf (CUNY), Lily Hirsch (Cleveland State University), and Amy Wlodarski (Dickinson College), and is co-sponsored and hosted by Dickinson College. There is no registration fee. All meals during the conference and transport from Harrisburg will be provided. While accommodations must be booked by participants, special conference rates and low-cost housing options will be made available.

Dickinson College is located in Carlisle, Pennsylvania, approximately 20 miles southwest of Harrisburg, which is easily accessed by plane (airport code: MDT) and Amtrak. Situated at the junction of the Pennsylvania Turnpike (I-76) and Interstate 81, Carlisle is within convenient driving distance from many east coast cities.

CFP: Jazz and Race, Past and Present (Open University)

11 - 12 NOVEMBER 2010

Keynote speaker: Guthrie Ramsey, Professor of Music, University of Pennsylvania and author of Race Music: Black Cultures from Bebop to Hip-Hop (2003).

Emerging at the confluence of diverse streams, the genre we know as jazz was made predominantly by African-Americans for a good deal of its history. Indeed, African-American musicians and critics have often claimed the form as their own, part of their people’s struggle to assert their humanity in the face of a racialised structure of power which would deny it. However, year by year this position grows more difficult to sustain as jazz spreads around the world, and more musicians of other ethnic origins, and who are socially positioned in different ways, enter the field. Often they bring their own distinct musical and cultural resources to bear on the problem of making jazz. Meanwhile, of course, racial oppression persists in western and other societies.

The aims of the conference are to examine, refute or develop this account, and to do so across all the disciplines which touch on jazz. In particular, contributors might want to consider the following themes, or use them as points of departure. We wouldn’t want to be prescriptive though. Any proposal which addresses the problems of jazz and race, past and present is welcomed.

• The nature and extent of black-ness in jazz in the ‘heroic age’, c1920-1970
• Global jazz and ethnicities beyond black and white
• Politics of remembering and not-remembering race
• The African diaspora outside North America, e.g. black British jazz
• Nationality and race in jazz
• Race and the political economy of jazz
• The ‘integrated’ group and inter-racial relations
• Racial essentialism and musical hybridity
• Mediating race and jazz: novels, films, television, new media … .
• Subject position, objectivity and writing jazz
• White audiences, black musicians
• Racialised aesthetics of authenticity, primitivism and the exotic
• Being and signifying black, white and beyond in jazz
• Race and policing the borders of jazz
• Questioning orthodoxies: ‘Swing plus blues’, ‘a natural sense of rhythm’ and so on
• Prospects for a post-racial jazz
• Stylistic change and the politics of race
• Racialising history or telling it like it is? Realism and narratives of race in jazz
• Race, performance and musical form.

We invite proposals for papers which address these and related questions from across the disciplines including: (ethno)musicology, cultural and media studies, sociology, anthropology, history, literary and performance studies, American studies, film studies. The conference is supported by the AHRC ‘Beyond Text’ research project based at the Open University, What is Black British Jazz? Routes, Ownership, Performance. So contributions which concern issues of jazz and race in Britain are particularly welcome. We should also acknowledge generous support from the ESRC Centre for Research on Socio-Cultural Change.

Proposals for 20 minute papers should be between 150 and 200 words in length. Please send to making sure you include the paper title, your name, affiliation, full postal address and email address. Closing date for submission is Friday 2nd July, 2010.

It’s worth noting that the conference takes place immediately before the London Jazz Festival, and so could be combined with a weekend of great jazz just down the road/line in the capital.
Conference convenors are Catherine Tackley, What is Black British Jazz? The Open University; Jason Toynbee, What is Black British Jazz? The Open University; Tony Whyton, Salford University; Nicholas Gebhardt, Lancaster University.

Post-doc Opp: ICASP Postdoctoral Fellowship (University of Guelph)


Improvisation, Community, and Social Practice (ICASP) is an interdisciplinary research project investigating the social value of improvisation. For the 2010-2011 academic year, we invite applications of postdoctoral researchers for two residential fellowships at the University of Guelph, McGill University, or Université de Montréal (in association with CREUM – Centre de recherche en éthique).

This project seeks to contribute to interdisciplinary research and graduate training in this emerging field. Applications from researchers working in the principal research areas related to our project are encouraged: music, cultural studies, political studies, sociology and anthropology, English studies, theatre and performance studies, French studies, law, philosophy, and communications. Applications from different research areas are also welcomed, inasmuch as their research has a direct link with the social, cultural, or political implications of improvised musical practices.

These postdoctoral fellowships provide stipendiary support to recent PhD graduates who are undertaking original research, publishing research findings, and developing and expanding personal research networks. Two twelve-month fellowships are awarded each academic year, each valued at $31,500 CDN, with an option to apply for a second year.

Application Criteria

Applicants are invited to submit a research proposal focusing on the social implications (broadly construed) of improvised musical practices. Successful candidates will be chosen on the basis of a rigorous process of application, with the project's management team serving as the selection committee. Criteria for selection are the quality and originality of the proposed research, the fit with our project's overall mandate and objectives, the candidate's record of scholarly achievement, and his/her ability to benefit from the activities associated with the project.

Postdoctoral fellows will receive competitive research stipends, logistical assistance for relocation, office space equipped with state-of-the-art computers, access to the services of the host institution (library, etc), and administrative, placement, and research assistance as needed. In return, fellows are expected to pursue the research project submitted in their application, to participate in our project’s research activities (colloquia, seminars, institutes), and to present their work in progress in the context of our project’s seminars and workshops.

Applicants should have completed a PhD at the time of application (to be conferred by November 1, 2010). Electronic applications are welcome, provided that original hard copies of transcripts and reference letters are submitted by mail by the postmark deadline. Notification for award: June 2010.

Applicants must submit ALL of the following by the postmark deadline (April 30, 2010):
• Curriculum vitae
• One scholarly paper or publication written in the course of the last three years
• A statement (1,500 words or less) describing the proposed research project
• Two confidential letters of reference (sent directly to us before the deadline)
• Graduate Transcript(s)

Send applications to:
Ajay Heble, Project Director
Improvisation, Community, and Social Practice
042 MacKinnon Building
University of Guelph
Guelph, Ontario, Canada N1G 2W1

CFP: Watching Jazz: Analysing Jazz Performance on Audiovisual Resources (University of Glasgow)

18 - 19 FEBRUARY 2011

Keynote address: John Altman

Jazz historiography has traditionally revolved around sound recordings, with still images, written documents and oral histories employed as complementary sources. Although this approach has generally been regarded as successful, there is growing awareness among scholars of the problematic nature of such heavy reliance on sound recordings. In particular, it has obscured aspects of the music and the cultural practices surrounding it that are not apparent from sound recordings, and has led to the marginalisation of musicians who did not produce their best work in the recording studio.

The AHRC-funded project ‘The Use of Audiovisual Resources in Jazz Historiography and Scholarship Performance, Embodiment and Mediatised Representations’, which is part of the ‘Beyond Text’ scheme, proposes to address this situation through research based on the John Altman collection of audiovisual recordings of jazz performances. Consisting of more than 10,000 VHS tapes and DVDs, mostly of televised broadcasts, this collection spans the history of jazz, from the invention of sound film to the present, in all its geographic and cultural variety. Part of the project is a two-day conference, and we hereby invite contributions on all aspects of jazz performance on audiovisual resources.

Among the topics to be addressed are:
• Viewing the Performing Body
• Group Interaction and Communication
• Audiences, Venues and Performance Conventions in Comparative Perspective
• Broadcasting Conventions and Mediatised Representations

It is planned for a selection of the papers to be published in a collected volume. Participants are encouraged to access materials in the John Altman Collection to support their research (for details, contact Björn Heile, using the email below).

We invite proposals for individual papers, panels and lecture-recitals. Individual papers should be no more than 30 minutes long, followed by 15 minutes for questions and answers. Proposals for individual papers should be no more than 300 words, and proposals for panels no more than 1000 words. Abstracts should be emailed as an anonymous attachment (doc,rtf or pdf format) to jazzvideo.conference [at] by 1 September 2010. The body of the email should contain the proposal’s title(s) and clarify the full name and institutional affiliation (or place of residence) of all proposed participants, as well as the e-mail address that should be used for correspondence. We intend to respond to all potential participants by October 2010.

The programme committee consists of the project’s investigators: Jenny Doctor (University of York), Peter Elsdon (University of Hull) and Björn Heile (conference organiser, University of Sussex/University of Glasgow).

The call for papers and other information can be found here.
Conference sponsors include: the Arts and Humanities Research Council
and the journal, Jazz Research

CFP :Canto Aperto - Plainchant Festival (Sint-Truiden, Belgium)

21-23 SEPTEMBER 2012

In 2012, the first CANTO APERTO Plainchant Festival will be organized in the city of Sint-Truiden, Belgium. This new, bi-annual festival aims at exploring the rich history of plainchant and its performance practices from the 7th century until today. The 2012 edition focuses on the chant traditions and repertory of the Mosan Area and the Rhineland in the 12th and 13th centuries.

We invite ensembles of young (semi)professionals to contact us with (general) concert program concepts or (specific) proposals related to the theme of the 2012 edition. Ensembles interested in collaboration with the festival but with no previous experience related to the Rhine-Meuse repertory are also invited to express their interest and to send their applications. Musicological advice and guidance towards relevant sources can be provided by CANTO APERTO. Similarly, musicologists and other scholars studying the Mosan and Rhineland of the 12th and 13th centuries are invited to collaborate with the festival as well.

Program proposals may relate to one or more of the five strands outlined below. Applications should include a curriculum of the ensemble, at least one letter of recommendation, and one recent recording. Proposals and applications (by preference in English, but proposals in other languages are also accepted) should be sent to Bart De Vos ( before May 31, 2010. Please contact Pieter Mannaerts ( with musicological questions.

Proposed strands:
1. A Network of Cities (Aachen, Cologne, Liège, Tongeren, Maastricht)
2. Rhine and Meuse: transport and transmission
3. Keepers of the Carolingian Heritage
4. A Promised Land for Orders and Communities
5. A Land of Saints

More details on these strands and a longer concept text on CANTO APERTO can be found on the websites of Musica (, Resonant (, and the Alamire Foundation (
The festival themes of the next editions will be Chant in the Romantic Era (2014), Chant in the Baroque Period (2016), Carolingian Chant (2018), and Chant of the Renaissance (2020).

Scholarship Opp: MMus Scholarship in Composition or Musicology (Liverpool)


The School of Music, University of Liverpool, welcomes applicants for a funded MMus in the fields of Composition or Musicology. The award will total £8000. Fees will be taken from this and the rest may be used as maintenance (as a guide, fees for the MMus 09-10 were £3,390).

The MMus aims to provide advanced academic and/or professional training in Music and Musicology. It exists in three distinct tracks, identified as Musicology, Composition and Performance. Our intention is that the student should reach a professional level of expertise in one of these tracks, as the main area of study, by the end of the course.

Musicology modules are research-led and benefit from the expertise of our newly-appointed Professor Michael Spitzer as well as Professor Anahid Kassabian, Dr. Holly Rogers, Dr. Giles Hooper and Dr. Freya Jarman. Composition modules are led by Mr. James Wishart and Mr. Matthew Fairclough.

You should apply to the School of Music for admission onto your chosen MMus pathway using the online application form. Your transcripts and references will be included in this. In addition, you must indicate your interest in the scholarship and attach a Case for Support (1000 words).

The deadline for applications is 4 May.

Interviews will be held during the week beginning 24 May.

Please note, you are advised to submit your admission application by mid-April to ensure that your application is received by the school office well in advance of the deadline.

Application forms are available by e-mailing the School’s Postgraduate Studies
Administrator at Filomena.Saltao [at]
Or online

For further information or informal enquiries about the scholarship, please
contact the Director of the MMus, Dr. Holly Rogers: [at]

CFP: 10th International Music Theory Conference PRINCIPLES OF MUSIC COMPOSING: SACRAL MUSIC

20-22 OCTOBER 2010

Sponored by Lithuanian Composers’ Union, Lithuanian Academy of Music and Theatre

The purpose of the conference is to give new impulses to the development of musicological thought, which could serve to compositional practice and teaching process. The nine preceding conferences took place in Vilnius 1999-2009.

This year the conference will celebrate its 10th anniversary. For this occasion the special program and events are planed.

1. The conception of sacral music as a composing object (etymology, criteria, theoretical conceptions, attitudes of church authorities, pronouncements etc.)

2. Composing technique as a sign of music sacrality and secularity (historical-theoretical outlook).

3. Features of sacral music composing (liturgy, relation between text and music, the interaction between vocal and instrumental principles etc.).

4. Characteristics of Western and Eastern sacral monody. Gregorian chant (genesis, performing, notation and restoration, compositional structures, types etc.). The influence of Gregorian chant on the European music composing practices.

5. Genres, forms and composing principles of sacral music during the peak of Christian era (Missae ordinarium, Requiem, Psalmus, Magnificat, Antiphona, Responsorium, Hymnus etc.).

6. Sacral music in liturgy and beyond – the universalising of cult and concert composing practices.

7. Acoustic expanses of sacral music composing, performing and psychological suggestibility.

8. Current issues of composing Church liturgy repertoire in Lithuania and other countries.

9. Sacral music in the scope of contemporary music composition theory and practice.

Paper proposals (abstract together with a short biography) should be sent to Mr. Marius Baranauskas: . The abstract must not exceed 500
words. The duration of papers will be limited to 20 minutes. Please indicate whether your proposal belongs to one or more of the conference sub themes.

The deadline for proposal submissions is June 6, 2010. The proposals will be reviewed by members of the organizing committee and all applicants will be notified of the outcome until the end of June 2010.

The main language of the conference is English.

The material of the conference – abstracts and papers will be published.

Coordinator of the conference Marius Baranauskas: pmc at

CFP: The Stimulated Body and the Arts: The Nervous System and Nervousness in the History of Aesthetics (Durham, UK)

17 - 18 FEBRUARY 2011

Centre for the History of Medicine and Disease
Durham University, UK
Venue: Hatfield College, Durham, UK
Deadline for submission of abstracts: 31 July 2010

This conference will discuss the history of the relationship between aesthetics and medical understandings of the body. Today’s vogue for neurological accounts of artistic emotions has a long pedigree. Since G.S. Rousseau’s pioneering work underlined the importance of models of the nervous system in eighteenth-century aesthetics, the examination of physiological explanations in aesthetics has become a highly productive field of interdisciplinary research. Drawing on this background, the conference aims to illuminate the influence that different medical models of physiology and the nervous system have had on theories of aesthetic experience. How have aesthetic concepts (for instance, imagination or genius) be grounded medically? What effect did the shift from animal spirits to modern neurophysiology have on aesthetics?

The medical effects of culture were not always regarded as positive. The second focus of the conference will be the supposed ability of excessive reading, music and so on to ‘over-stimulate’ nerves and cause nervousness, mental and physical illness, homosexuality and even death. It will consider questions regarding the effects of various theories of neuropathology and psychopathology on the concept of pathological culture. What kinds of culture could lead to such over-stimulation? How was this medical critique of culture related to moral objections and changes in gender relations, politics and society? How was it linked to medical concern about lack of attention and willpower?

This interdisciplinary conference brings together scholars working in a wide range of fields, including not only the history of medicine but also in subjects such as art history, languages and musicology. Abstracts for 20-minute papers (maximum 250 words) should be submitted electronically to the organisers by 31 July 2010 at the following address: James.kennaway at

Dr James Kennaway
Professor Holger Maehle
Dr Lutz Sauerteig

CFP: OPERA America (journal submission)


OPERA America invites submissions to the North American Opera Journal, a new peer-reviewed, semi-annual online journal for scholarship about North American opera that features high-quality research with multimedia elements. The Journal is the first to support scholarly work specific to the field of opera in the United States, Canada and Mexico.

Submissions are invited from all scholars regardless of nationality or academic affiliation. Although length of submissions should not exceed 8,000 words plus other media, more concise articles are welcomed.

While the journal will cover all aspects of opera production in North America, topics should be centered on composition and performance histories of North American operas. The Journal will be targeted at readers interested in musicological and historical issues, and singers and other professionals involved in opera production. Articles may engage in issues of: history, aesthetics, cultural/interdisciplinary studies, business of opera, music and libretto composition, production, reception history and performance practice.

Consulting editor of the Journal is Michael Pisani, professor of music, Vassar College. The review committee consists currently of Ralph P. Locke, professor of musicology, Eastman School of Music; John Dizikes, author of Opera in America and professor emeritus, University of California, Santa Cruz; Elise K. Kirk, author of American Opera; Michael McKelvey, associate professor and coordinator of music, St. Edward's University; Howard Pollack, professor of music, University of Houston; and Sean David Cooper, assistant professor of voice, Bowling Green State University.

The deadline for submissions is April 30, 2010. Submissions should be sent via e-mail attachment to Education at in Microsoft Word format with minimal formatting. Supplemental materials can be sent to the attention of Evan Wildstein, OPERA America, 330 Seventh Avenue, 16th Floor, New York, NY 10001.

More information can be found at

CFP: Proposals for Editions of Music Scores (A-R Editions)


A-R Editions seeks proposals for editions of music to be included in the Recent Researches in Music series. Each edition is usually devoted to works by a single composer or to a single genre of composition and contains an introduction to the music and its historical context, a critical report, and translations of vocal texts. We are especially interested in reviewing proposals for the following series:

- Medieval & Early Renaissance
- Renaissance
- American Music
- Oral Traditions

A-R Editions also seeks proposals for editions of music to be included in the Collegium Musicum: Yale University series. This series seeks to present a varied selection of works that draws from a particular repertory or historical context or that reflects a particular thematic focus. The works should be of interest to early music performers and ensembles (medieval through mid-18th century).

For proposal requirements, see our Author's Corner:
For more information about our publications, see our website:

Pamela Whitcomb
Managing Editor
pamela.whitcomb at

CFP: Analytical Approaches to World Music


We are pleased to announce the formation of the new online journal Analytical Approaches to World Music (AAWM) dedicated to the memory of Fabrizio Pellizarro Ferreri.

AAWM seeks to expand the potential for musical analysis from a cross-cultural perspective by applying diverse theoretical and analytical concepts to repertoires outside the Western art music tradition. 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. 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.

AAWM will be published twice a year and operate in tandem with the AAWM conference which runs on a biennial schedule. Submissions that take full advantage of our online format through the use of sound files, video files, flash animation, hyperlinks, or any other pertinent media are particularly encouraged.

AAWM employs the author-date system, as found in Chapters 16 and 17 of The Chicago Manual of Style, 15th edition. Text should be double-spaced and written in 12-point font. Endnotes should be employed as opposed to footnotes.

All submissions are subject to blind peer review. Therefore, any identification of the author should be removed from all submitted documents and media.

AAWM will not accept submissions that have been previously published or are currently under review for publication with another journal. The inaugural issue will be published in August, 2010.

Please send submissions as Microsoft Word (*.doc) files to: aawmjournal at

Lawrence Shuster (Editor-in-Chief)
Rob Schultz (Editor)
Kalin Kirilov (Editor)
Margaret Farrell (Editor)
Aikaterini Dimitriadou (Archivist)

CFP: Popular Music Fandom: A One Day Symposium (University of Chester)

25 JUNE 2010

Binks Building, University of Chester
Northwest Popular Music Studies Network

Keynote speaker: Matt Hills (author of ‘Fan Cultures’)

While a range of researchers in cultural studies - notably Henry Jenkins, Matt Hills and Cornell Sandvoss - have moved the discussion about media fandom forward, much less work has been done specifically on popular music fandom. We invite contributors from a wide range of disciplines to discuss topics associated with popular music fan culture at this free one-day study event in Chester. Themes for papers may include (but are not limited to):

• Defining fandom
• Stardom and celebrity, reading and textuality
• Fandom and the consumer marketplace
• Fans as musicians / musicians as fans
• Perceptions of the music industry
• Collecting and other fan practices
• Live music, local scenes and fandom
• Stereotyping, self-awareness and media representation
• Gender, age and disability
• Methodology and research practice
• Theorizing fandom: processes, practices, identities
• Issues of taste, social mobility and class
• Personal narratives and investments
• Case studies, ethnographies and histories
• Fandom, heritage and tourism
• Specific music genres: jazz fandom, metal, northern soul, electronic music
• Religion, modernity and the ‘cult’ analogy
• The fan community: insiders, outsiders and the ‘ordinary' audience
• Fan culture and the paradigm of performance
• The ‘pathological’ tradition: questions of typicality and obsession
• Issues of race and nationality
• Power, psychology and symbolic economy
• Online participatory cultures

Papers will be twenty minutes in length. Please send an abstract of up to 200 words along with your name, affiliation, paper title, postal and email address to: Dr Mark Duffett, (marking your email title ‘fan symposium’).

The deadline for abstracts is Monday May 10th 2010.
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