CFP: Music in Russia and the Soviet Union: Reappraisal and Rediscovery (University of Durham)

MUSIC IN RUSSIA AND THE SOVIET UNION: REAPPRAISAL AND REDISCOVERY
UNIVERSITY OF DURHAM, ENGLAND
11 - 14 JULY 2011
CALL FOR PAPERS

Keynote speakers: Marina Rakhmanova (Glinka Museum, Moscow), Marina Frolova-Walker (University of Cambridge), Richard Taruskin (UC, Berkeley)

Building on the important work previously carried out by Soviet and Western researchers, recent publications ¬ many of them drawing on archival materials that remained inaccessible until glasnost’ and perestroika ¬ have profoundly enriched our understanding of Russia’s rich musical culture. Whether offering fresh perspectives on the careers and creative achievements of prominent composers and performers, examining the role and development of key cultural institutions, shedding light on previously neglected periods and repertoires, or advocating new critical approaches and methodologies (often in dialogue with other disciplines), the study of Russian music has come to occupy a more prominent place within Western musicology as a whole.

The present conference aims to provide an opportunity to take stock of the current state of our knowledge of Russian music (in both Russia itself and in the West) and to bring into clearer focus those areas in which it is very incomplete, as well as reflect on the dominant issues that have emerged. It is intentionally broad in scope to enable the representation of widest possible range of research interests. Proposals are invited for individual papers, lecture-recitals and panels on topics pertaining to Russian/Soviet music of all historical periods, including folk musics and popular musics. The conference committee is particularly interested in receiving paper proposals on subjects that have received little attention in English-language scholarship to date and which may have potentially significant implications for the development of the subject area.

All proposals should be submitted no later than Monday 6 December 2010 by email to Dr Patrick Zuk (patrick.zuk at durham.ac.uk), who will also be happy to assist with informal enquiries. The working languages of the conference will be English and Russian. For more detailed information, please visit http://www.dur.ac.uk/music/russianmusicconference2011.

CFP: HEJMEC (Hellenic Journal of Music, Education and Culture) (journal submission)

HEJMEC (HELLENIC JOURNAL OF MUSIC, EDUCATION AND CULTURE)
CALL FOR SUBMISSIONS
DEADLINE: 31 OCTOBER 10

We would like to announce the establishment of the new electronic journal under the title HEJMEC (Hellenic Journal of Music, Education and Culture)

HeJMEC is an international open-access and peer reviewed journal devoted to critical study and critical analysis of issues related to the fields of Music, Education, and Culture.

HeJMEC draws its contributions from a wide community of researchers. Its reach is international since we want the publication to reflect a wide variety of perspectives from disciplines within the fields of music education and musicology. The journal is concerned with the dissemination of ideas relating to theoretical developments in the above fields and welcomes cross - and inter- disciplinary contributions of research and literature in the areas of music, education and culture.

Music and Education: The wide range of topics includes various aspects of music education (pedagogy, history, philosophy, sociology, psychology, technology, and aesthetics) addressing vocal, instrumental, general music at all levels, from early childhood through adult and comparative studies. Education is interpreted in a broad sense including all aspects of teaching and learning within formal and informal contexts (such as, musical development; socio-cultural issues; creativity; gifted and talented students; special needs; community settings; teachers’ professional development; curriculum design; assessment) in order, additionally, to challenge established accounts of music education policy-analytic methods and to explore alternative approaches to policy-making. Music and Culture: Our aim is to provide essential reading on different aspects of the study of music from a cultural point of view (ideology, music and words, music and society, music and postmodernism, music and genre,and so forth); also, to relate them with educational issues (music cultural policy, the learning process, the relationship to educational institutions, and so forth). The journal thus offers a unique forum for researchers to develop views on music as a social and cultural product, as part of human behaviour and in relation to broadly perceived educational issues at the leading edge of musical and multidisciplinary scholarship.

Every issue will include articles on the topics, case studies and book reviews. Articles in Greek or English will be accepted.

We welcome submissions for our forthcoming issues. The deadline for submissions for our next issue is 31/10/2010.

Please see our website for more details: http://www.hejmec.eu/

Job Posting: Research Assistant in Music Informatics (Queen Mary, University of London)

JOB POSTING: RESEARCH ASSISTANT IN MUSIC INFORMATICS
CENTRE FOR DIGITAL MUSIC - QUEEN MARY UNIVERSITY OF LONDON
SCHOOL OF ELECTRONIC ENGINEERING AND COMPUTER SCIENCE
DEADLINE: 16/7/10

The Centre for Digital Music (C4DM) at Queen Mary University of London seeks a research assistant to work on the project Musicology for the Masses, funded by the EPSRC Digital Economy’s Research in the Wild programme, and involving the British Library and BBC as partners. The aim of the project is to bring aspects of the formal study of music to a wide audience, by developing, deploying and gathering feedback on software for music analysis, visualisation and recommendation. We wish to test the assumption that users need, want and can use software tools to enhance the discovery, appreciation and utility of music and make the formal study of music more accessible. The project will investigate appropriate software tools, deploy prototypes with appropriate (meta)data resources and training materials, assess the impact of the tools on musicological practice and the teaching of music in schools, and evaluate how to make such tools mainstream. This project draws on and extends work performed under the OMRAS2 project www.omras2.org

The role involves cross-platform software development of tools such as Sonic Visualiser and SongBird with SoundBite, deployment of the software at user sites, and gathering feedback from users for successive development iterations. The ideal applicant will have a strong background of research in some area of Music Informatics, with experience of software development in C++ for audio and/or music-related applications, and a track record of interacting with users and/or promoting science to the public. For more details please see the job specification.

The project is based in the Centre for Digital Music (C4DM) which is a world-leading multidisciplinary research group in the field of Music & Audio Technology.

The post is full time and for 18 months (starting from 1 September 2010). Starting salary will be in the range £30,229 - £39,627 per annum inclusive of London Allowance. Benefits include 30 days annual leave, final salary pension scheme and interest-free season ticket loan.

Candidates must be able to demonstrate their eligibility to work in the UK in accordance with the Immigration, Asylum and Nationality Act 2006. Where required this may include entry clearance or continued leave to remain under the Points
Based Immigration Scheme.

Informal enquiries should be addressed to Dr Simon Dixon at simon.dixon[at]elec.qmul.ac.uk or on 020 7882 7681.

Details about the C4DM can be found at www.elec.qmul.ac.uk/digitalmusic

Further details and an application form can be found at:
http://webapps.qmul.ac.uk/hr/vacancies/jobs.php?id=1838

To apply for this position, please email the following documents to Ms Julie
Macdonald at applications@eecs.qmul.ac.uk: Completed application form quoting
reference number 10233/CE; a CV listing all publications; a pdf of a representative publication and a research statement describing your previous research experience, outlining the relevance to this project. Postal applications should be sent to Ms Julie Macdonald, School of EECS, Queen Mary University of London, Mile End Road, London, E1 4NS

The closing date for applications is 12 noon on Friday 16th July 2010. Applications received after this time may not be considered. *Please note that applications will be rejected if they do not include a completed QMUL application form quoting the reference.*

Interviews are expected to be held during the week of 26th July 2010.

CFP: Claude Debussy’s Legacy: Du Rêve for Future Generations (Montreal, Canada)

CLAUDE DEBUSSY'S LEGACY: DU REVE FOR FUTURE GENERATIONS
INTERNATIONAL CONFERENCE - MONTREAL, CANADA
29 FEBRUARY - 3 MARCH 2012
CALL FOR PAPERS

Observatoire international de la création et des cultures musicales (OICCM)
Abstracts should be between 750 and 1000 words.
FOR FULL INFORMATION, SEE THE LINK BELOW:

http://www.oiccm.umontreal.ca/doc/appels/call-for-papers_Debussy_2012.pdf

The conference proceedings will be published by the OICCM.Abstracts should be sent no later than December 1st, 2010.

Organizing and Scientific Committee

François de Médicis (francois.de.medicis@umontreal.ca), Université de Montréal, Canada
Michel Duchesneau, Université de Montréal, Canada
Steven Huebner, McGill University, Canada
Richard Langham Smith, Royal College of Music, United Kingdom

For information:

Sébastien Leblanc-Proulx, for the organizing and scientific committee
(sebastien.leblanc-proulx at umontreal.ca)
http://www.oiccm.umontreal.ca

CFP: Liszt and the Arts (Budapest, Hungary)

LISZT AND THE ARTS - INTERNATIONAL INTERDISCIPLINARY CONFERENCE

BUDAPEST, HUNGARY

18 - 21 NOVEMBER 2011

CALL FOR PAPERS

Organized in Budapest, Hungary in honour of the Liszt Bicentennary by the Hungarian Academy of Sciences, Institute of Musicology and the Liszt Ferenc Academy of Music, Liszt Ferenc Memorial Museum and Research Centre

Aims of the conference: the conference aims to bring together musicologists and researchers of various art disciplines, and to encourage research and co-operation on issues related to following main topics:

--Liszt’s ideas about the interconnection of the different branches of the arts

--Liszt’s participation in the general artistic life of his time, his relations to artistic movements and individual artists

--Inspirations for Liszt’s music in literature and fine arts (concrete works, ideas and structures)

--Liszt’s person and music as a source of inspiration in works of art

Conference languages: English, German, French. The preliminary summary (translated into these languages and Hungarian) will be available for the audience.

Length of lectures: 20 minutes (except for invited keynote speakers)

Proposal instructions: proposals for presentations should be in the form of a summary of max. 5000 characters (incl. spaces).

In addition to the proposed title and summary, following materials should be included:

1/ name of the lecturer, address, phone, e-mail (home and professional); 2/ a short biography (max. 1000 characters, inc. spaces); 3/ a selected list of the most important publications and lectures.

Programme committee:

Prof. Dr. Detlef Altenburg, Institut für Musikwissenschaft der Hochschule für Musik Franz Liszt Weimar und der Friedrich-Schiller-Universität Jena

Prof. Dr. Rossana Dalmonte, Director of the Istituto Liszt, Bologna

Prof. Dr. Márta Grabócz, Université de Strasbourg, Département de Musique

Dr. Mihály Szegedy-Maszák, Prof. of Cultural Studies, Eötvös Loránd University, Budapest and Indiana University

Prof. Dr. Tibor Tallián, Director of the Institute for Musicology of the Hungarian Academy of Sciences, Budapest

Conference Secretary: Mária Eckhardt, Research Director of the Liszt Ferenc Memorial Museum and Research Centre, Liszt Ferenc Academy of Music, Budapest

New Deadlines: applications must be returned by 1st August, 2010 (both by e-mail and in printed version by regular mail) to the Secretary of the Organizing Committee. Address: Liszt Ferenc Memorial Museum and Research Centre, H-1064 Budapest, Vörösmarty u. 35; eckhardt.maria[AT]lisztakademia.hu. Evaluation results will be announced by 30th October, 2010.

CFP: Music and Medicine (journal submission)

MUSIC AND MEDICINE
SPECIAL ISSUE: MUSIC TECHNOLOGY IN THERAPUTIC AND HEALTH SETTINGS
CALL FOR PAPERS
DEADLINE: 1 NOVEMBER 2010

http://mmd.sagepub.com

Music & Medicine invites researchers and clinicians in neuroscience, medicine, music therapy, education, computer science, engineering and technology to submit original articles that focus on music technologies for health and development, and as an evaluative tool to assess responses to music.

Of particular interest are papers with an emphasis on:
• Clinical practice with electronic music technologies for people with special needs in a diverse range of clinical and community settings
• Engineering and design of music and assistive technologies with potential application in clinical or community settings
• Measurement and evaluation using technology for measuring musical responses e.g. brain imaging/PET/ EEG; clinical evaluation systems

SUBMIT YOUR MANUSCRIPT TODAY!
http://mc.manuscriptcentral.com/mmd

Editors:
Joanne Loewy, DA, LCAT, MT-BC
The Louis Armstrong Center for Music & Medicine, Beth Israel Medical Center, New York, NY

Ralph Spintge, MD
Sportskrankenhaus Hellersen, Luedenscheid, Germany

Guest Editor:
Wendy Magee, PhD, NMT-F
Institute of Neuropalliative Rehabilitation, Royal Hospital for Neuro-Disability, London, U.K.

CFP: Revisiting the Past, Recasting the Present: The Reception of Greek Antiquity in Music, 19th Cent to the Present (Athens, Greece)

REVISITING THE PAST, RECASTING THE PRESENT: THE RECEPTION OF GREEK ANTIQUITY IN MUSIC, 19TH CENTURY TO THE PRESENT
MICHAEL CACOYANNIS FOUNDATION, ATHENS
1 - 3 JULY 2011
CALL FOR PAPERS

Sponsored by the BASEES Study Group for Russian and Eastern European Music, Polyphonia Journal and the Hellenic Music Centre
Conference website: http://athensconf2011.gateweb.gr


Greek antiquity has proved an inexhaustible source of inspiration throughout the history of Western ‘art’ music, endowing composers with a plethora of themes from its mythology and literary tradition; at the same time it has had a distinct impact on musical creativity itself through its cultural products:ancient Greek tragedy, poetry, as well as ancient Greek music itself (mainly,but not exclusively, through the study and use of its modes). The engagement with and interpretation of elements of ancient Greek culture in and through music reflect the specific historical, cultural and social context in which they have taken place; thus these mechanisms enable us to decode the particular relationships between the receiving audiences (artists, critics, listeners),their times and Greek antiquity.

In this respect, the period stretching from the beginning of the nineteenth century to the present is a most inviting case study, encompassing extensive historical, socio-political and cultural developments. During a period extending roughly from the Renaissance through to the Enlightenment, neo-classical themes had played a decisive role in the formation of modern European culture. However, the advent of Romanticism, with its apparent emphasis on vernacular themes, radically reframed the classical legacy. The beginning of the nineteenth century marked a new phase in Western perceptions of Greek antiquity, shaped by a number of historical, ideological and artistic factors, such as: the intensification of philhellenism in the wake of the Greek struggle for independence against the Turks; radical developments in archaeology, philology and the study of ancient history; the growing philhellenism in arts and literature; and the evocation of Greece in the narratives of national self-determination.

Likewise, the twentieth century has looked on the classical past with different eyes, whether through modernism’s search for the universal, post-modernism’s complex attitude to tradition and the inherited narratives of canonicity, or post-colonialism’s critique of myths about national identity and origins. The reception of the ancient Greek world has undoubtedly not been homogeneous throughout the centuries under consideration. This conference aims to explore the complex set of processes by which ancient Greek culture has been approached, (re)discoved and (re)interpreted in and through music, from the early nineteenth century to the present day. The conference invites the widest possible range of musicological approaches (including ethnomusicological and anthropological ones).

Interdisciplinary papers – which may refer to literature, the arts, cinema, theatre, and so on – are especially encouraged. Although the conference addresses the reception of Greek, rather than Roman, antiquity, we welcome papers that would highlight the connection and dialogue between these two cultures, as well as between ancient Greek and other cultures. Similarly, papers that involve ancient Greek music should contribute to the exploration of the conference’s focus on modes of reception. We particularly encourage proposals on Greek music since the nineteenth century, and papers exploring the reception of Greek antiquity in Russian and Eastern European music. Nineteenth-century Russian theories of music that referred to ancient Greek modes, Symbolism, neo-classicism, as well as the employment of ancient Greek themes by composers such as Taneyev, Szymanowski and Enescu are only a few examples of the points of contact between Russian and Eastern European music with ancient Greek culture.

Proposals may address (but do not need to be limited to) the following aspects of the conference’s general theme:

- The study and reception of Greek antiquity by composers, musicians, music theorists, artists in general, critics, audiences, institutions
- Historical, social, cultural, political, ideological, religious and artistic
factors that have shaped various cases of reception of Greek antiquity
- Mythological references, their symbolisms and interpretations
- The role of tradition and innovation in the reception of Greek antiquity
- Nostalgia in the reception of Greek antiquity
- Exoticism in the reception of Greek antiquity
- Issues of identity construction (national, Greek, European, Western, Eastern)
- Devotion to or imitation of Greek antiquity and classical ideals associated with ancient Greece (‘Hellenism’) but also criticism or the rejection of the ancient Greek past
- The reception of Greek antiquity with reference to philosophy (e.g. Nietzsche, the Apollonian, the Dionysian elements)
- Greek antiquity on stage and screen: the ballet, opera, musical theatre, film
- The reception of Greek antiquity in theories of music
- Archaisms in compositional practice (e.g. modality)
- The reception of Greek antiquity with reference to traditional and popular music
- Issues of sexuality pertaining to the study of Greek antiquity and its reflection in music

The conference’s official language is English. Proposals for 20-minute papers (of no more than 300 words) and short biographical notes (of up to 200 words) should be sent to athensconf2011[at]gateweb.gr by 1 September 2010 (receipt of proposals will be acknowledged by e-mail). Abstracts will be reviewed and results will be announced by 30 October 2010. A selection of papers will be considered for publication in a book form. Conference fee: 50 Euros (Students are exempted. Efforts will be made by the conference organisers to secure funding that will allow us to waive the fee).

Keynote speakers:
Prof. Jonathan Cross (University of Oxford)
Dr Marina Frolova-Walker (University of Cambridge)

Confirmed speakers:
Prof. Jim Samson (Royal Holloway, University of London)
Prof. Ion Zotos (University of Athens)

Conference Committee:
Dr Rosamund Bartlett
Dr Philip Bullock
Dr Katerina Levidou
Prof. Katy Romanou
Yannis Sabrovalakis
Dr George Vlastos

CFP/Submissions: Notes (journal)

NOTES (JOURNAL)
CALL FOR PROPOSALS/SUBMISSIONS

Have you ever thought about contributing an article for Notes? Have you presented a conference paper that you think may be suitable for publication?

The Music Library Association invites contributions to its quarterly journal, Notes. Founded in 1934 (1st series: 1934-1942), and beginning its 2nd series in 1943, the journal offers its readers interesting, informative, and well-written articles in the areas of music librarianship, music bibliography and discography, the music trade, and on certain aspects of music history. Both completed manuscripts and preliminary ideas on these and other topics are welcome.

Please contact me at the e-mail below to discuss your ideas. I look forward to hearing from you.

Best wishes,
Jane Gottlieb
Vice President for Library and Information Resources
The Juilliard School
Editor, Notes
60 Lincoln Center Plaza New York, NY 10023-6588
Tel: 212/799-5000 ext. 265
Fax: 212/769-6421
e-mail: gottlieb at juilliard.edu

CFP: The Impact of Ethnomusicology (BFE/IMR, London)

THE IMPACT OF ETHNOMUSICOLOGY
BRITISH FORUM FOR ETHNOMUSICOLOGY/INSTITUTE OF MUSICAL RESEARCH, LONDON
4 DECEMBER 2010
CALL FOR PAPERS

ANNUAL ONE-DAY CONFERENCE

The winter one-day conference of the British Forum for Ethnomusicology will be held at The Institute of Musical Research, part of the School of Advanced Study at the University of London. The theme for the day will be ‘The Impact of Ethnomusicology’.

‘Impact’ is both a buzz-word and a bête noire in British higher education at present. Scholars in publicly-funded institutions are increasingly being asked to assess the influence of their research outside of the academy, and this applies just as much to ethnomusicologists employed in such institutions as to others.

Nevertheless, perhaps more than any other part of the music studies field, the public-facing nature of ethnomusicology, and its emphasis on participation and social experience, on understanding musical ‘being-in-the-world’ as Jeff Todd Titon puts it, has ensured that ethnomusicologists have usually been very mindful of their relationship to those around them, and of the consequences their work might have. Rather than simply responding to political imperatives, therefore, we instead want to use this conference to reflect on the consequences of our work, for good and for ill, in the wider world; and, building on a long disciplinary tradition of self scrutiny and re-invention, to consider what this tells us about ethnomusicology, and how it might help us position and develop the discipline in the rapidly changing times in which we find ourselves.

The following broadly-conceived questions that we might address are offered merely as starting points:

• In what ways, and over what kinds of timescales, have ethnomusicologists
impacted on the people with whom they work, and the environments in which that work takes place? How might the impact of such work be evaluated or valorised beyond ‘conventional’ ethnomusicological outputs?
• Is ethnomusicological impact usually positive–or at least benign–or are there clear instances of negative consequences? How might one construe the negative impact of ethnomusicology, and should such work necessarily be avoided?
• How does the notion of impact overlap with disciplinary considerations of applied ethnomusicology?
• When does ethnomusicology become so applied – that is, in its engagements with social issues or its advocacy on behalf of particular culture bearers – that it calls into question the boundaries of conventional scholarship and supposed scholarly distance?
• To what extent should scholarly organisations such as BFE proactively engage with organisations such as WOMAD or South Asian Arts, and what is the relationship between such engagements and other forms of research?
• To what extent does the impact of ethnomusicology define the discipline, or to what extent should it be allowed to do so?
• Notwithstanding that current discourses around impact tend to focus on social and cultural consequences outside of the academy, how has the development of ethnomusicology impacted upon the academy as a whole, or any of its constituent parts, particularly in areas far removed from cognate disciplines such as music or anthropology?

Potential contributors are invited to submit abstracts of up to 300 words to the administrator of the IMR, Valerie James, preferably via email Valerie.James[at]sas.ac.uk), or by post to:

Valerie James
Administrator
Institute of Musical Research
School of Advanced Study
University of London
Senate House
Malet Street
London WC1E 7HU

Queries relating to the theme of day or the BFE may be addressed to the
conference convenor, Dr Stephen Cottrell (s.cottrell[at]gold.ac.uk)

The deadline for submissions is 1st September 2010, and contributors will be advised by mid September.

Further information on the conference will be uploaded on the BFE website as it becomes available:

CFP: Intl Council for Traditional Music (St John's Newfoundland, Canada)

INTERNATIONAL COUNCIL FOR TRADITIONAL MUSIC
MEMORIAL UNIVERSITY, ST JOHN'S, NEWFOUNDLAND, CANADA
13 - 19 JULY 2011
CALL FOR PAPERS
http://www.mun.ca/ictm
ICTM is dedicated to the study of traditional, folk, popular, classical, and urban musics and dances of the world.

DEADLINE FOR PROPOSALS: SEPTEMBER 7, 2010
CONFERENCE THEMES
1. Indigenous Modernities
2. Cross-Cultural Approaches to the Study of the Voice
3. Rethinking Ethnomusicology through the Gaze of Movement
4. Atlantic Roots/Routes
5. Dialogical Knowledge Production and Representation: Implications and Ethics
6. Acoustic Ecology
7. New Research

PROPOSALS are invited in the following categories: Individual Paper, Film/Video, Organized Panel, Forum/Roundtable, and Participatory Workshop. Abstracts of up to 300 words can be submitted online at http://www.mun.ca/ictm.

Program Commmittee Chair Contact Information:
Salwa El-Shawan Castelo Branco
Email: secb at fcsh.unl.pt
Tel: 351217908300

Local Arrangements Committee Contact Information:
Email: ictm2011 at mun.ca
Tel: +1-709-737-2058

LOCATION
North America's oldest city, St. John's is located on a centuries-old shipping route.
This port city developed at the hub of trans-Atlantic trade, becoming home to a variety of vibrant cultural traditions. A rich array of performances are in the planning. You will enjoy local traditions, diverse styles of Native American music and dance, and distinguished performers from across Canada.

Job Posting; Software Developer- Audio and Digital Music (Queen Mary, University of London)

JOB POSTING: SOFTWARE DEVELOPER - AUDIO AND DIGITAL MUSIC
CENTRE FOR DIGITAL MUSIC
QUEEN MARY, UNIVERSITY OF LONDON
SCHOOL OF ELECTRONIC ENGINEERING AND COMPUTER SCIENCE
DEADLINE: 25 JUNE 2010

The Centre for Digital Music (C4DM) at Queen Mary, University of London, is seeking an experienced Software Developer with a background and knowledge in Audio and Digital Music, to work on a new EPSRC-funded project "Sustainable Software for Digital Music and Audio Research". The aim of this project is to provide a Service to support the development and use of software, data and metadata to enable high quality research in the Audio and Digital Music research community.

The postholder will undertake a range of software development activities in this project, including: developing cross-platform robust engineered software from research prototype software; tailoring or adapting existing research software to make it usable by other researchers; creating and maintaining software and data repositories; providing documentation, training and advice on the use of developed software; and engagement and outreach to the research community and beyond.

The C4DM, part of the School of Electronic Engineering and Computer Science, is a world-leading multidisciplinary research group in the field of Digital Music & Audio Technology. C4DM already develops robust software and technologies for music and audio research, including Sonic Visualiser (SV), a popular open source cross-platform framework for analysis of music and audio. Details about the School can be found at www.eecs.qmul.ac.uk and about the Centre for Digital Music at http://www.elec.qmul.ac.uk/digitalmusic

The post is full time and for 40 months (starting in July 2010 or as soon as possible thereafter). Starting salary will be in the range £27,913 - £33,659 per annum inclusive of London Allowance. Benefits include 30 days annual leave, final salary pension scheme and interest-free season ticket loan.

Candidates must be able to demonstrate their eligibility to work in the UK in accordance with the Immigration, Asylum and Nationality Act 2006. Where required this may include entry clearance or continued leave to remain under the Points Based Immigration Scheme.

Informal enquiries should be addressed to the Principal Investigator, Prof Mark Plumbley at mark.plumbley[AT]elec.qmul.ac.uk

Further details and an application form can be found at: www.hr.qmul.ac.uk/vacancies http://webapps.qmul.ac.uk/hr/vacancies/jobs.php?id=1815

To apply for the Software Developer position, please email the following documents to Ms Julie Macdonald at applications[AT]eecs.qmul.ac.uk: Completed application form quoting 10212/CE; a CV listing any publications and a statement describing your previous software development experience, outlining the relevance to this project. Postal applications should be sent to Ms Julie Macdonald, School of EECS, Queen Mary University of London, Mile End Road, London, E1 4NS

The closing date for applications is 12 noon on 25 June 2010. Interviews are expected to be held on 7 July 2010.

If you have not heard from us by 12 July 2010 then you should assume that you have not been shortlisted on this occasion.

Valuing Diversity & Committed to Equality

CFP: Popular Music and Society (journal)

POPULAR MUSIC AND SOCIETY
FINAL CALL FOR PAPERS
1 JULY 2010 SUBMISSION DEADLINE

Special Issue on Popular Music and Marketing

Submissions are invited for a special issue of Popular Music and Society, which will focus on the theme of popular music and marketing. While the subject of popular music and marketing has been a regular focus of business, marketing, and advertising research, there have been relatively few critical and cultural studies in this area. This special issue aims to explore and critically interrogate the various intersections of popular music and marketing, and the role of commerce in popular music culture. All disciplinary, methodological, and theoretical perspectives are welcome; possible themes might include:

*Corporate sponsorship of bands, venues, and tours
*Popular music promotional tools
*Music in commercials
*Popular music merchandising
*Indie marketing and PR
*The "commercial" music designation
*Music marketing in the digital age
*Product placement in popular music
*Histories of marketing in popular music
*"Manufactured" bands

Deadline for the e-mail submission of papers (6,000-8,000 words) is 1 July 2010. This issue of Popular Music and Society will be published in 2011. Please remove identifying information from the paper before submitting; in a separate document, indicate your name, institutional affiliation, postal address, and e-mail address. Queries and submissions should be directed to the guest editor:

Dr Bethany Klein
b.klein [at]leeds.ac.uk

Lecturer in Media Industries
Institute of Communications Studies
University of Leeds
Leeds
LS2 9JT
UK
+44 (0)113 343 6979