Interesting Music Stuff

Music Induction for King's College London Postgraduates

2011-09-29T15:57:00.004+01:00

It has been a hiatus full of changes in the physical and virtual sense. Not only is there a new work environment in the newly refurbished Senate House Library but a new Library catalogue interface /discovery tool which requires much more mediation in explanation and in traversing the beauty of its idiosyncracies.
It's a learning experience for even trained professionals to teach and I hope I was able to convey how to get the most out of it and the other digital resources.

KCL Music Postgraduates Induction September 2011

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

2010-06-21T15:05:00.007+01:00

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)

2010-06-21T14:36:00.003+01:00

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)

2010-06-21T13:13:00.006+01:00

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)

2010-06-18T14:59:00.005+01:00

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)

2010-06-17T22:42:00.006+01:00

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)

2010-06-17T22:41:00.004+01:00

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)

2010-06-15T14:59:00.005+01:00

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)

2010-06-15T14:48:00.001+01:00

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)

2010-06-14T17:22:00.008+01:00

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)

2010-06-11T17:22:00.007+01:00

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)

2010-06-11T17:20:00.005+01:00

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)

2010-06-04T13:42:00.004+01:00

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

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

2010-04-25T23:25:00.009+01:00

INTERNATIONAL CONFERENCE FRANZ LISZT 2011
FRANZ LISZT: MIRROR OF A EUROPEAN SOCIETY IN EVOLUTION
UNIVERSITIES OF RENNES, DIJON AND STRASBOURG, FRANCE
20 - 27 SEPTEMBER 2011
CALL FOR PAPERS
DEADLINE: 1 JULY 2010

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, A MUSICIAN IN SOCIETY
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)

LISZT, READINGS AND WRITINGS
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)

19TH CENTURY TOPOI AND THE MUSIC OF FRANZ LISZT
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 (www.satorbase.org) 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.

References:
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) www.satorbase.org
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]wanadoo.fr
2/ Congress in Strasbourg: à Márta Grabócz – grabocz[at]club-internet.fr
3/ Congress in Dijon: florence.fix[at]gmail.com

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.

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

2010-04-24T16:56:00.008+01:00

RED STRAINS: MUSIC AND COMMUNISM OUTSIDE THE COMMUNIST BLOC AFTER 1945 BRITISH ACADEMY, LONDON
THURSDAY 13 JANUARY - SATURDAY 15 JANUARY 2011
CALL FOR PAPERS

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: http://www.nottingham.ac.uk/music/communism

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
Robert.Adlington[at]nottingham.ac.uk.

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

2010-04-24T16:55:00.006+01:00

THE BUSINESS OF LIVE MUSIC
UNIVERSITY OF EDINBURGH
31 MARCH - 1 APRIL 2011
CALL FOR PAPERS

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]ed.ac.uk) or Martin Cloonan (m.cloonan[AT]music.arts.ed.ac.uk)

Closing date for proposals: September 1 2010

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

2010-04-19T13:51:00.006+01:00

JEWISH MUSIC AND GERMANY AFTER THE HOLOCAUST
DICKINSON COLLEGE
25 - 27 FEBRUARY 2011
CALL FOR PAPERS
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] gmail.com

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. http://www.dickinson.edu/about/visit/maps-and-directions/Coming-to-Campus/

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

2010-04-19T13:50:00.002+01:00

JAZZ AND RACE, PAST AND PRESENT
OPEN UNIVERSITY
11 - 12 NOVEMBER 2010
CALL FOR PAPERS

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 Jazz-and-Race-conference@open.ac.uk 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)

2010-04-19T13:48:00.003+01:00

ICASP POSTDOCTORAL FELLOWSHIPS 2010-11
UNIVERSITY OF GULEPH, CANADA
DEADLINE: 30 APRIL 2010

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
improv[AT]uoguelph.ca
www.improvcommunity.ca

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

2010-04-19T13:46:00.004+01:00

WATCHING JAZZ: ANALYSING JAZZ PERFORMANCE ON AUDIOVISUAL RESOURCES
UNIVERSITY OF GLASGOW
18 - 19 FEBRUARY 2011
CALL FOR PAPERS

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] googlemail.com 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)

2010-04-19T13:45:00.006+01:00

CANTO APERTO - PLAINCHANT FESTIVAL
2012 EDITION: CHANT FROM THE RHINE AND MOSAN LANDS
SINT-TRUIDEN, BELGIUM
21-23 SEPTEMBER 2012
CALL FOR CONCERT PROPOSALS

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 (bart.devos@musica.be) before May 31, 2010. Please contact Pieter Mannaerts (pieter.mannaerts@arts.kuleuven.be) 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 (www.musica.be), Resonant (www.muzikaalerfgoed.be), and the Alamire Foundation (www.arts.kuleuven.be/alamire).
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)

2010-04-19T13:44:00.004+01:00

MMUS SCHOLARSHIP IN COMPOSITION OR MUSICOLOGY
SCHOOL OF MUSIC, UNIVERSITY OF LIVERPOOL
DEADLINE: 4 MAY 2010

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.

APPLICATION:
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] liverpool.ac.uk
Or online
http://www.liv.ac.uk/study/postgraduate/taught_courses/music_mmus.htm

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

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

2010-04-19T13:42:00.003+01:00

10TH INTERNATIONAL MUSIC THEORY CONFERENCE
PRINCIPLES OF MUSIC COMPOSING: SACRAL MUSIC
VILNIUS, LITHUANIA
20-22 OCTOBER 2010
CALL FOR PAPERS

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.

Sub-themes:
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: pmc@lmta.lt . 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 lmta.lt

http://pmc.lmta.lt

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

2010-04-19T13:35:00.004+01:00

THE STIMULATED BODY AND THE ARTS: THE NERVOUS SYSTEM AND NERVOUSNESS IN THE HISTORY OF AESTHETICS
DURHAM UNIVERSITY, UNITED KINGDOM
17 - 18 FEBRUARY 2011
CALL FOR PAPERS

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 durham.ac.uk

Organisers
Dr James Kennaway
Professor Holger Maehle
Dr Lutz Sauerteig
http://www.dur.ac.uk/chmd/

CFP: OPERA America (journal submission)

2010-04-19T13:30:00.002+01:00

OPERA AMERICA
CALL FOR JOURNAL SUBMISSIONS
DEADLINE: 30 APRIL 2010

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 operaamerica.org 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 http://www.operaamerica.org/content/pubs/journal.aspx.

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

2010-04-19T13:01:00.006+01:00

PROPOSALS FOR EDITIONS OF MUSIC SCORES
A-R EDITIONS RECENT RESEARCHES IN MUSIC SERIES

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: http://www.areditions.com/ac/
For more information about our publications, see our website: http://www.areditions.com/rr/

Pamela Whitcomb
Managing Editor
pamela.whitcomb at areditions.com

CFP: Analytical Approaches to World Music

2010-04-19T12:59:00.003+01:00

ANALYTICAL APPROACHES TO WORLD MUSIC (AAWM)
CALL FOR SUBMISSIONS

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 gmail.com

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)

2010-04-19T09:47:00.004+01:00

POPULAR MUSIC FANDOM: A ONE DAY SYMPOSIUM
UNIVERSITY OF CHESTER
NORTHWEST POPULAR MUSIC STUDIES NETWORK
25 JUNE 2010
CALL FOR PAPERS

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, m.duffett@chester.ac.uk (marking your email title ‘fan symposium’).

The deadline for abstracts is Monday May 10th 2010.

CFP : Special issue of Dancecult: Journal of Electronic Dance Music Culture

2010-01-29T17:22:00.020Z

SPECIAL ISSUE OF DANCECULT: JOURNAL OF ELECTRONIC DANCE MUSIC CULTURE
TITLE: PRODUCING EDM
GUEST EDITOR: DR ELIOT BATES (UNIVERSITY OF MARYLAND, COLLEGE PARK)
DEADLINE: 1 MAY 2010
CALL FOR PAPERS

The third issue of Dancecult, the open-access peer-reviewed journal on electronic dance music cultures, will focus on producers and the production of electronic dance music.

Producers and production is broadly conceived to include:
--The production/creation/composition of dance music in recording studios
--Visuals production (e.g. VJing, liquid lights)
--The development, use, and transformations of technologies, musical instruments, software, interfaces, and computer hardware related to dance music and visuals production
--Event production and organization

A constellation of theoretical questions motivate the production of the present volume:
What is production, and how does electronic dance music production relate to creative work and production in other musical styles and cultural contexts?
Revisiting Negus and DuGay's expression "cultures of production / production of culture," what exactly is produced in EDM production?
Also, what are the cultures of EDM production?
To what extent are emergent genres fruitfully analyzed as a product of changing sociotechnological systems?
How are different forms of virtuality (virtual communities, online distribution, social media) affecting the situatedness of production?

We encourage the submission of articles that deal with topics of production in geographically and/or generically diverse milieus. In addition to feature articles and interviews, we encourage submissions of shorter, deeply ethnographic works with a strong multimedia component to the From the Floor section. These could include, for example, a studio production ethnography, a study of the organization of a single event, or a focused analysis of an online community of EDM producers.

Besides this special issue, we also welcome submissions of articles related to any aspect of electronic dance music cultures.

About Dancecult:
Dancecult is a peer-reviewed, open-access e-journal for the study of electronic dance music culture (EDMC). A platform for interdisciplinary scholarship on the shifting terrain of EDMCs worldwide, the journal houses research exploring the sites, technologies, sounds and cultures of electronic music in historical and contemporary perspectives. Playing host to studies of emergent forms of electronic music production, performance, distribution, and reception, as a portal for cutting-edge research on the relation between bodies, technologies, and cyberspace, as a medium through which the cultural politics of dance is critically investigated, and as a venue for innovative multimedia projects, Dancecult is the forum for research on EDMCs.

CFP: Special Issue on Popular Music and Marketing

2010-01-29T17:22:00.017Z

POPULAR MUSIC AND SOCIETY
SPECIAL ISSUE ON POPULAR MUSIC AND MARKETING
CALL FOR PAPERS
DEADLINE: 1 JULY 2010

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@leeds.ac.uk

Lecturer in Media Industries
Institute of Communications Studies
University of Leeds
Leeds
LS2 9JT
UK
+44 (0)131 343 6979

Composition Competition: Eighth International Competition for Composers (Udine, Italy)

2009-11-22T23:15:00.013Z

EIGHTH INTERNATIONAL COMPETITION FOR COMPOSERS
CITTA' DI UDINE
DEADLINE: 30 APRIL 2010

RULES AND CONDITIONS

Art. 1 TEM - Taukay Edizioni Musicali and Delta Produzioni Associazione Culturale, with the participation of the Presidente della Repubblica, and the support of the Ministero per i Beni e le Attivita' Culturali, the Italian National UNESCO Commission, the Comune di Udine and the Universita' degli Studi di Udine, hereby open
the Eighth International Competition for Composers "Citta' di Udine".

Art. 2 The competition is divided in two sections:
- instrumental compositions for chamber orchestra
- electro-acoustic music.

Art. 3 The competition will accept unpublished compositions by musicians of any nationality and of any age. Previously performed compositions will be accepted. Compositions must be sent anonymously as explained below.

Art. 4 Section for compositions for chamber orchestra.
Pieces should not exceed eight minutes in length, however consideration will be given to compositions which exceed this length if, in the opinion of the jury, they are of particular artistic merit. The jury's decision on this matter is final.

The instrumental group is made up of:
- a string quartet (2 violins, viola and cello)
- piano
- flute (piccolo, alto flute, and bass flute) / one performer
- clarinet (clarinet in E flat, clarinet in B flat, clarinet in A and bass clarinet) / one performer
- percussion instruments from the following list: vibraphone, glockenspiel, tom toms (max 5 pieces) suspended cymbals, tam tam, templeblocks, small percussion instruments such as triangle, wood blocks, maracas etc. / one performer
- instruments listed above may be used in any combination
- if desired, just one instrument may be used
- it is possible to use a stereo audio track on DAT or CD in the performance of the chamber orchestra
- six copies of each score must be sent for the section of compositions for the chamber orchestra
- each of the six copies must contain the title of the composition,but must not contain the name of the composer
- information regarding the name of the composer must be placed in a sealed envelope and placed in a folder together with the scores
- should the score be selected for performance, the composer must supply separate scores for individual instruments
- scores will not be returned
- should works contain unknown symbols or marks, the composer must provide explanatory notes in order that the work can be understood correctly.

Art. 5 Electro-acoustic music section
Electro-acoustic musical compositions must have a duration of less than ten minutes and must be presented in stereo on DAT or compact disc. Any multi-channel versions of the composition should be sent along with the stereo version.
- only one copy of each composition need be sent for the Electro-acoustic music section.
- the DAT or CD being entered must contain the title of the composition, but must not contain the name of the composer
- information regarding the name of the composer must be placed in a sealed envelope and placed in a folder together with the composition being entered.

Art. 6 More than one composition may be submitted.

Art. 7 The Jury will select the winners from a shortlist of finalists
and will award the following prizes:
- Best composition in the section "Instrumental compositions for chamber orchestra": one thousand Euro (1000 Euro).
- Best composition in the section "Electro- acoustic music": one thousand Euro (1000 Euro).
- Special prize "Piero Pezze'" (founded by his heirs in memory of the Friulano composer who passed away in 1980): seven hundred Euro (700 Euro).
- Special mention with the awarding of the medal offered by the Presidente della Repubblica Italiana for this edition of the event.
- Public performance of 6-8 of the best compositions entered (Udine,October 2010).
- Production of a CD of the concert in October and inclusion of this in the TEM - Taukay Edizioni Musicali catalogue.
The two winning compositions will be broadcast by RAI Radio as part of the national programming of the RAI Radiotre Suite dedicated to contemporary music.
TEM - Taukay Edizioni Musicali, following the indications of the Jury and in agreement with the composer, offers to include and make available the most interesting compositions as part of their electronic catalogue of New Music.

Art. 8 Submitted works which include an audio recording of the composition may be included in the programming of Taukay Web Radio. The choice of compositions to be broadcast will be decided in accordance with the editorial direction of the broadcaster (http://radio.taukay.it).

Art. 9 Works should be posted to the competition secretary at:
TEM - Taukay Edizioni Musicali - via del Torre 57/5 - 33047
Remanzacco (Ud) - ITALY
The closing date is 30 April 2010. The postmark will be deemed to be the date of submission. The final decision of the jury will be made public by 31st July 2010.

Art. 10 The jury reserves the right to refuse any entry which does not fulfil the indicated requirements.

Art. 11 Each individual composition in each section must be sent together with the receipt for the payment of the entry fee of thirty euros (euros 30). If multiple compositions are sent, a single payment may be made for the total of the combined entry fees. The fee should be paid in the following ways:

From Italy:
- vaglia postale paid to: Taukay Edizioni Musicali - via del Torre
57/5 - 33047 Remanzacco (UD) - ITALIA
- by credit card using the following link: http://www.taukay.it/2010/competition-en.html
- by bank transfer using the following banking coordinates: IT 81 P
02008 12325 000040780136
UNICREDIT BANCA - Agenzia Udine del Ledra

From outside Italy:
- by credit card using the following link: http://www.taukay.it/2010/competition-en.html
- by bank transfer using the following international banking
coordinates:
BIC SWIFT code: UNCRITB1N46
International bank account: IT 81 P 02008 12325 000040780136
UNICREDIT BANCA - Agenzia Udine del Ledra
- for information about other payment methods please e-mail: competition@taukay.it
Where possible, the "reason for payment" should indicate: Ottavo Concorso "Citta' di Udine".

Art. 12 The file containing the composition must include a sealed envelope containing the following personal information (a printable entry form can be downloaded at: http://www.taukay.it/2010/competition-en.html:
- name, surname, date and place of birth, sex, nationality, address, telephone number, e-mail address, section being entered, title, date and length of composition.
- a statement certifying that the submitted composition is unpublished
- a statement agreeing to permit the performance of the composition to be broadcast or telecast and archived without compensation
- a statement agreeing to the treatment of personal information in accordance with Italian privacy laws. (D. Lgs. 196/03 - Codice in materia di Privacy).
The following material must also be included:
- curriculum vitae and studiorum
- photocopy of identification document of the composer
- recent photograph of the composer
- receipt for the entry fee of 30 Euro

Art. 13 The Jury's decision is final.

Art. 14 By entering the competition and submitting the composition, the composer accepts all the above terms and conditions. Failing to follow the above terms and conditions will result in the forfeiting of any rights deriving from participation in the competition.

Art. 15 The competent court for any dispute is the Court of Udine.
For further information, please visit the TEM - Taukay Edizioni Musicali website at: http://www.taukay.it
Or email us at: competition@taukay.it

Job Posting: Chair in Music (University of Durham)

2009-10-17T13:07:00.004+01:00

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)

2009-10-11T20:28:00.007+01:00

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)

2009-10-11T20:27:00.007+01:00

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)

2009-10-11T20:26:00.006+01:00

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)

2009-10-11T20:10:00.006+01:00

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)

2009-10-11T20:07:00.003+01:00

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)

2009-10-06T14:07:00.003+01:00

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)

2009-10-05T17:31:00.009+01:00

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)

2009-10-05T17:31:00.005+01:00

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)

2009-10-05T17:30:00.007+01:00

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)

2009-10-02T17:05:00.010+01:00

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)

2009-10-02T16:37:00.002+01:00

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.

CFP: Musicology in the 3rd Millennium (Sibelius Academy)

2009-09-27T23:04:00.013+01:00

MUSICOLOGY IN THE 3RD MILLENNIUM

SIBELIUS ACADEMY, FINLAND

17 - 19 MARCH 2010

CALL FOR PAPERS AND PRESENTATIONS

An interdisciplinary and international symposium organized by Sibelius Academy, Department of Folk Music, The Doctoral School of Music, Theatre and Dance, and University Consortium of Seinäjoki in collaboration with The Finnish Musicological Society and The Finnish Society for Ethnomusicology, 17th–19th of March 2010, in Sokos Hotel Lakeus,Seinäjoki, Finland.

Call for Papers and Presentations

Musicology in the 3rd Millennium is an international symposium whose focus is on the recent and future technological, economical, legal and aesthetic changes embedded in the production and consumption of music, as well as on the challenges these changes bring on to musicology.

At the closing decades of the 20th century, the intellectual and cultural current we’ve come to call “postmodernism”, seemed to offer a whole new way of looking at society, culture and history around us.

The supposedly major epistemological and ontological break between modernism and postmodernism has played itself out as a series of simultaneous and rapid changes in technology, economy and culture. These changes have, in some instances, been tangible and far-reaching: Sony Walkman, for instance, did not immediately bring on a change to the whole variety of ways in which we consume music, but nevertheless we cannot overlook the extent to which more and more music is being listened to through portable media in our times.

The social status in different musics has become problematic. Highbrow and lowbrow, once clear and unproblematic aesthetic categories of music, have recently become empty concepts referring to social distinctions in music that are now obsolete. Technology involved in the production of music has changed; personal computers have made new types of music production possible. Distribution of music over the internet has posed a difficult challenge to copyright legislation.

These cultural, political and economic changes have had consequences also to how we study music and its mediation in society. The main purpose of the symposium, in short, is to explore what particular issues scholars are face-to-face with in our times in their study of music.

The main themes addressed in the symposium are the following:

* Technical mediation of music (internet, portable media)

* Mediation of musical meanings (critics, education)

* Playlists (in radio, media players, Spotify)

* Legal issues involved in the electronic mediation of music

* Highbrow/Lowbrow in music today

Proposal Information

Proposal submissions should consist of a 300-word abstract addressing the focus areas of the symposium. A diversity of presentation formats is welcome. These could include paper presentation, lecture demonstration, panel and roundtable discussions. Standard presentations are generally 20 minutes in length, followed by 10 minutes reserved for discussion and questions. If the substance of the presentation requires more time in the program, this should be mentioned in the proposal. The specific technical equipment needed for the presentation should be mentioned in the proposal. Selected presentations will be published in the Proceedings of the symposium

The working language in the symposium is english.

Poster Sessions

The symposium offers a poster session opportunity to share current research and/or practice with colleagues and others interested in the subject area of the symposium. Those interested in submitting a poster,should list the following in their proposal: the wall space required for the poster, technical equipment for sound demos, a stand for handouts, etc.

Submission Information

The deadline for submissions is December 1, 2009. Proposals may be submitted by mail or email. Please indicate your institutional affiliation and email address with your submission. Indicate clearly whether your submission is to be considered for paper/presentation or poster session. Send submissions to:

3rd Millennium -Symposium

Saijaleena Rantanen

Sibelius Academy

Vaasantie 11, 60101 Seinäjoki

Finland

Submissions by email should be sent to: 3rdmillennium2010 [at] siba.fi

For inquiries, contact:

Prof. Vesa Kurkela

Tel: +358 (0)50 387 7308

Saijaleena Rantanen

Tel: +358 (0)40 710 4200

The symposium also has a website where you can find additional information concerning the symposium: www.siba.fi/3rdmillennium2010/symposium

Program Committee: Prof. Vesa Kurkela (University of Tampere, Sibelius Academy), Dr. Markus Mantere (Doctoral School of Music, Theatre and Dance), Dr Heikki Uimonen (University of Tampere), Dr Kaarina Kilpiö (University of Helsinki), Olli Heikkinen (University of Tampere), Terhi Skaniakos (University of Jyväskylä) and Saijaleena Rantanen (Sibelius Academy)

Invited Keynotes

Dr. Georgina Born, Emmanuel College, Cambridge, UK

Georgina Born is Professor of Sociology, Anthropology and Music in the Faculty of Social and Political Sciences at the Cambridge University. She trained in Anthropology at University College London and uses ethnography to study cultural production, particularly television, music and IT, and knowledge systems. Her most recent ESRC-funded research, ‘Interdisciplinarity and Society: A Critical Comparative Study’ (2004-6,with Andrew Barry, Geography, Oxford, and Marilyn Strathern, Social Anthropology, Cambridge), analyses the nature of interdisciplinary collaborations bridging the natural sciences and engineering, on the one hand, and the arts and social sciences, on the other. For a summary of this research see:

http://www.geog.ox.ac.uk/research/technologies/projects/interdisciplinarity.html

Other ongoing research interests include a book in progress on cultural production, which brings into dialogue the anthropology and sociology of art, music and media; the normative dimensions of public service broadcasting, with a focus on how theories of democracy and difference can be brought to the analysis of the future of public media systems; how broadcast media are changing with digitization; music, mediation, technology and ontology, and the evolving modes of creativity attendant on music’s changing mediations; and music, sound, and the reconfiguration of public and private space.

Dr. Franco Fabbri, Universitá degli Studi di Torino

Fabbri has published on the rapport between music and technology (/Elettronica e musica)/; on confrontation of musical cultures in contemporary world (/L’ascolto tabù/) and on the intricate fabric of influences and coincidences in the history of popular music (/Around the clock/). His most read book (/Il suono in cui viviamo/, 3 editions) contains articles including genres, analysis of popular music and aesthetics of sound.

Dr. Marc Perlman, Brown University, USA

Marc Perlman, ethnomusicologist, received his Ph.D. from Wesleyan University. Before joining Brown University, he spent a year as a Fellow of the Society for the Humanities at Cornell University. He has also taught at Tufts University, and in Indonesia, where he was founding editor of the Journal of the Indonesian Musicological Society. His scholarly writings have appeared in the journals Ethnomusicology, Asian Music, Musical Quarterly, Postmodern Culture, Music Perception, Indonesia, Social Studies of Science, and in the revised edition of the New Grove Dictionary of Music and Musicians. He has also published in Rhythm Music Magazine and the New York Times. He is a past president of the Northeast Chapter of the Society for Ethnomusicology.

Dr. Perlman’s research interests range widely both in geography and disciplinary affiliation. He specializes in the musical traditions of Indonesia, but has also extensive experience with the gamelan music of Central Java, music of Bali and North Sumatra, music of Ireland, India,and Burma (Myanmar), as well as American popular music. Dr. Perlman’s research in these areas is variously informed by anthropology, sociology, history, post-colonial studies, cultural studies, music theory, cognitive psychology, science and technology studies, and legal theory.

http://www.siba.fi/fi/3rdmillennium2010/symposium

CFP: Music and the Written Word (University of California, Santa Barbara)

2009-09-26T21:03:00.007+01:00

MUSIC AND THE WRITTEN WORD - A GRADUATE CONFERENCE

UNIVERSITY OF CALIFORNIA, SANTA BARBARA

16 - 17 JANUARY 2010

CALL FOR PAPERS

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

Possible topics could include, but are not limited to:

--Relationship between music and text
--Text setting
--Musical criticism
--Representations of music in literature and poetry
--Notation and transcription
--Music inspired by literature or poetry
--Music in print media
--Musical poetics
--Music as language/language as music
--Rhetoric and musical practice
--Musical analogy
--Music and grammar
--Music and worship/liturgy
--Language in performance practice
--Concrete words, “ineffable” music
--Music and political speech
--Music and code (C Sound, etc.)

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

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

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

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

CFP: Music, Indigeneity and Digital Media Symposium (Royal Holloway)

2009-09-22T15:12:00.003+01:00

MUSIC, INDIGENEITY & DIGITAL MEDIA SYMPOSIUM

ROYAL HOLLOWAY, UNIVERSITY OF LONDON

15 - 16 APRIL 2010

CALL FOR PAPERS

This symposium will focus on the role of digital media in the musical practices of indigenous peoples and in musical representations of indigeneity. It builds on the expanding scholarship on music and technology, music and the politics of indigeneity, and the impact and role of the Internet in musical and indigenous communities. Key questions that it hopes to address include:

• How significant is digital media to indigenous musical practices?

• How do musicians balance new technologies with traditional practice?

• How do digital media offer musical encounters, negotiations and critiques of (post)modernity?

• Do digital media support or hinder the musical indigenous movement?

Other themes that may be explored include the impact of digital media on:

• representation and self determination through music

• musical constructions of place

• cultural revival and cultural repatriation

• musical production, mediation and consumption

• global musical communities and networks

• ethnographic methods, representing musical practices and ethics

For enquiries about the symposium please contact any of the organisers:

Thomas Hilder. t.r.hilder@rhul.ac.uk

Henry Stobart h.stobart@rhul.ac.uk

Shzr Ee Tan shzree.tan@rhul.ac.uk

CFP: Music and Philosophy: A Royal Musical Association Study Day (King's College, London)

2009-09-22T14:05:00.006+01:00

MUSIC AND PHILOSOPHY: A ROYAL MUSICAL ASSOCIATION STUDY DAY

BRITISH SOCIETY OF AESTHETICS

DEPARTMENT OF MUSIC, KING'S COLLEGE, LONDON

20 FEBRUARY 2010

CALL FOR PAPERS

Keynote speakers:

Prof Mark Evan Bonds (University of North Carolina at Chapel Hill)

Prof Andrew Bowie (Royal Holloway, University of London)

Prof Julian Dodd (University of Manchester)

This study day will offer a chance for musicologists and philosophers to share and discuss work in the hope of fostering a dialogue between the two disciplines. Proposals of up to 500 words are invited for individual papers (20 minutes) and collaborative papers (up to 30 minutes). Collaboration between persons from different disciplines would be especially welcomed. Topics of interest might include (but are not limited to):

- interactions between music and philosophy (including historical connections)

- ontology and music

- music, meaning, and language

- perception and expression

- performance, authenticity, and interpretation

Please send proposals by e-mail to Tomas McAuley (tomas.mcauley at kcl.ac.uk) or Dr Víctor Durà-Vilà (victor.dura_vila at kcl.ac.uk). Postgraduate students are particularly encouraged to submit. The deadline for proposals is Friday 4th December 2009.

CFP: Music, Law and Business (Helsinki)

2009-09-18T13:18:00.005+01:00

MUSIC, LAW AND BUSINESS
IASPM-NORDEN 2010 CONFERENCE, HELSINKI
24 - 27 NOVEMBER 2010
CALL FOR PAPERS

The field of music production is in a state of uncertainty, if not even in an outright crisis of reproduction. Because of recent and relatively rapid changes in communication technology, old conglomerate models and structures of production, dissemination and consumption of music are arguably subject to change. This has also created pressure towards legislative changes, especially in relation to copyright issues. In general, the increased importance of immaterial property rights, as opposed to selling physical records, has been acknowledged within the music industries.

In order to address these shifting conditions of music production and consumption, IASPM-Norden (the Nordic Branch of the International Association for the Study of Popular Music; http://iaspmnorden.wordpress.com/) invites scholars and other interested parties to share their ideas in the "Music, Law and Business" conference. The aim of the conference is to provide a forum in which industry professionals, officials, scholars and other agents can engage in a mutually beneficiary dialogue. The goal is furthermore explicitly multidisciplinary, as the purpose is to bring together experts not only from the conventional areas of music research dominated by humanities and social sciences but also from economics and legal studies.

The programme of the conference consists of keynote lectures, plenary roundtables, thematic workshops, individual presentations and poster presentations. Individual presentations and entire workshops may be built for example on the following topics:

• music and global/national/regional economy
• export ventures of music
• economic dimensions of music copyright, including sampling and licensing
• synergy/cross‐marketing
• economic impacts of music technology
• restructuring of music industry
• music cluster in terms of economy and legal issues
• music and market censorship
• music and public subvention
• music and fair use
• music piracy
• legal and economic ethics of music
• musical expression, genres and styles in terms of law and business
• the aesthetic and legal criteria of musical works
• the impact of fan communities and social media
• legal and economic implications of music education

Proposals for presentations (20 mins) or workshops (90 mins) should be sent to the conference organisers no later than 15 December 2009, preferably as an email attachment (rtf/pdf/doc) to iaspmnorden [at] gmail.com. The proposal should include the following information:

Title
Presenter(s)
Institution(s)
Email
Summary (200 words, explicating the background, approach and central arguments)
Keywords (max. five)
Technical equipment required (PC/DVD/CD/data projector/over-head projector/etc.)

Please label your attachment with your last name and first initial (eg. beathoven-l.rtf), not the title.

The official language of the conference is English. Notifications of acceptance will be sent no later than 15 January 2010.

Confirmed guest speakers of the conference include Adj.Prof. Tarja Rautiainen-Keskustalo (Department of Music Anthropology, University of Tampere, Finland) and Dr Patrik Wikström (Media Management and Transformation Centre, Jönköping International Business School, Sweden).

The conference is organized by the Nordic Branch of the International Association for the Study of Popular Music with the Finnish Society for Ethnomusicology, University of Helsinki (Musicology), Aalto University (School of Economics/Best Practices of Globalization in Finnish Rock Exports research project), Sibelius Academy and Music Export Finland, in co-operation with the IPR University Center, International Institute of Popular Culture and Statistics Finland.

Should you need more information about the conference, please visit IASPM-Norden website (http://iaspmnorden.wordpress.com/) or contact IASPM-Norden chair Antti-Ville Kärjä personally (avkarj@utu.fi).

CFP: Symposium on British Museum Citole - New Perspectives (British Museum)

2009-09-15T15:39:00.004+01:00

SYMPOSIUM ON THE BRITISH MUSEUM MEDIEVAL CITOLE
BRITISH MUSEUM, LONDON
NOVEMBER 2010
CALL FOR PAPERS

The British Museum is pleased to host a symposium to highlight recent research related to the medieval citole in its collection. This is the first international symposium on this unique instrument, and celebrates recent work done by scientists at the British Museum as well as significant new research by scholars in many fields.

The British Museum citole (formerly known as the ‘Warwick Castle gittern’) is one of a small handful of medieval stringed musical instruments to have survived, providing an invaluable link between iconography and reality. Equally, it is important as one of the most extraordinary examples of craftsmanship and decorative arts from the fourteenth century, prominently displayed in the newly renovated medieval gallery of the Museum.

A rich post-medieval existence is indicated by an engraved silver plate which links the instrument to Queen Elizabeth I and her favourite, Robert Dudley. The instrument was modified into a violin, receiving a new soundboard, fingerboard, tailpiece, peg arrangement, and other fittings. The history of these later accretions yield valuable insights into the violin and violin making in Britain.

By taking as its focus the single extant instrument, it is hoped that this symposium will promote research and discussion about a number of diverse topics. We invite participants to submit paper proposals relating to any aspect of the British Museum citole. The following list of topics, which is neither prescriptive nor exhaustive, may serve as an inspiration:

Iconography and morphology of citoles
Citoles in documents and literature
Citole performance practices
The artwork on the British Museum citole
The craft of the medieval instrument builder
Stringed instruments in the medieval period: performers, producers, and patrons
The violin fittings on the British Museum citole
Music and musical instruments of Elizabeth I

Papers should be 20 minutes in length, and the symposium will feature time for questions as well as roundtable discussions with researchers, makers, and players of this instrument type. It is intended that the conference proceedings will be published.

Abstracts of 300-400 words and a brief CV should be submitted by 15 January 2010, as Word attachments to an email to the address below. For further information, please contact Naomi Speakman, Project Curator of Medieval Collections, Department of Prehistory and Europe, British Museum, London, WC1B 3DG, 44-(0)20-7323-8467 (phone), 44-(0)20-7323-8496 (fax) or email: nspeakman at britishmuseum.org.

CFP: The ChoirArtistic, Pedagogical and Scholarly Perspectives (Sibelius Academy, Helsinki)

2009-09-15T15:30:00.004+01:00

THE CHOIRARTISTIC, PEDAGOGICAL AND SCHOLARLY PERSPECTIVES
SIBELIUS ACADEMY - HELSINKI, FINLAND
20 - 22 MAY 2010
CALL FOR PAPERS AND PRESENTATIONS

An interdisciplinary symposium organized by Sibelius Academy, The Doctoral School of Music, Theatre and Dance, and Finnish Musicological Society, 20th- 22nd of May 2010. Helsinki, Finland.

The Choir is an international symposium whose focus is on the particular meanings and practices embedded in the choir throughout history, as reflected in various forms of art and strands of research. The symposium is open to both scholarly presentations and demonstrations grounded in artistic, as well as pedagogical practice.

The main themes addressed in the symposium are the following:

Meanings and functions allotted to the choir in different phases of history
Multi-faceted ontology of ”the choir” as situated between art, on the one hand, and society and religion on the other
Politics of the choir
What hypothesis – or conclusions – are there to be drawn from the particularly flexible nature of the choir, its fascinating and often simultaneous permanence and change?
What is the position and meaning of the choir in today’s art forms?
Choir as a cultural domain
Choir as a musical medium
Choirs on/as stage
Re-inventing choir?
Choir and creative practice
Choir and professionals

The deadline for submissions is October 15, 2009.

For inquiries, contact:
Prof. Anne Sivuoja-Gunaratnam
Tel: +358 40 7104287
Dr. Markus Mantere
Tel: +358 40 7104339

Full details:
http://www.siba.fi/fi/choir2010/symposium

CFP: Collaborative Processes in Music Making: Pedagogy and Practice (University of Surrey)

2009-09-12T23:10:00.011+01:00

COLLABORATIVE PROCESSES IN MUSIC MAKING: PEDAGOGY AND PRACTICE
UNIVERSITY OF SURREY
11 NOVEMBER 2009
CALL FOR PAPERS / PRESENTATIONS

A study day bringing together people working in higher education, practitioners and academics interested in collaborative processes in music making.

Its focus is collaborative processes in music making, their role in creative practice and in teaching, and the links between. The day aims to provide an opportunity to reflect upon aspects of the music making process that have in the past received little critical attention.

Keynotes from Peter Wiegold and Paul Whitty

Proposals
Presentations are currently invited (from teaching and creative practice contexts, and across them) that through examples of collaboration explore the following themes:
- Contexts for collaborative process;
- Characteristics of and procedures for collaborative process;
- The benefits and challenges (weaknesses?) of collaborative work.

The day is also interested to recognise and incorporate the richness and complexities of how particular traditions (e.g. Post-atonal, Experimental, Free and/or Idiomatic Improvisation, Post-Vernacular, etc.) relate to, describe and understand collaborative process.

Please contact Ralph Brown at ralph.brown@lancaster.ac.uk by Wednesday 30
September 2009 with proposals for a short paper/presentation of about 30
minutes duration (including time for questions).

Date: 11 Nov 09
Venue: Studio 1, Performing Arts Technology Studios Building
Department of Music & Sound Recording, University of Surrey
Email bookings to: Barbara Hargreaves palatine@lancaster.ac.uk 01524 592614
Cost: Attendance at this event is free for colleagues in UK higher education. For people outside UK HE there is a charge of £50, though priority will be given to HE colleagues.

Further information:
http://www.palatine.ac.uk/events/view/1577/

CFP: Region State, Nation, Community - New Research in Scandanavian and Baltic Studies (Seattle, Washington)

2009-09-07T15:16:00.009+01:00

REGION, STATE, NATION, COMMUNITY: NEW RESEARCH IN SCANDANAVIAN AND BALTIC STUDIES
ASSOCIATION FOR THE ADVANCEMENT OF BALTIC STUDIES (AABS)
SEATTLE, WASHINGTON
22 - 24 APRIL 2010
CALL FOR PAPERS

The 22nd Conference of the Association for the Advancement of Baltic Studies (AABS) will take place from April 22-24, 2010 in Seattle, Washington. The conference will be particularly innovative in being the first joint conference with the Society for the Advancement of Scandinavian Study (SASS).

AABS welcomes papers, panels, and roundtable presentations for the first joint conference of Scandinavian and Baltic Studies in the United States. The conference aims to highlight and foster academic inquiry that draws comparisons between Scandinavia (Iceland, Denmark, Norway, Sweden, and Finland) and the Baltic states (Estonia, Latvia, and Lithuania). Papers that examine stateless peoples and those left outside of the Scandinavian/Baltic approach, but sharing the same geographic space, are equally welcome. Papers and panels devoted to individual states are also welcome. Contributions are encouraged from disciplines including (but not limited to): anthropology, architecture, communication, cultural studies, demography, economics, education, environment, ethnic relations, film studies, fine arts, gender studies, geography, history, international relations, law, linguistics, literature, memory, political science, psychology, public health, religion, sociology, tourism, and advancing Baltic and Scandinavian studies. Presentations are not to exceed 20 minutes in length.

Proposals from Ph.D. students will be considered for a Presidents’ Panel on Scandinavian and Baltic Studies that recognizes the most accomplished and innovative work of new scholars.

Paper and panel proposals must include an abstract (no more than 250 words) and a one to two-page curriculum vitae. Send this material embedded in the body of an e-mail (no attachments) to Aldis Purs at (aldisp at u.washington.edu) by December 11, 2009. Paper submissions can be mailed to:

22nd AABS Conference Chair
University of Washington,
Box 353420
Seattle, WA 98195-3420

Conference Website: http://depts.washington.edu/aabs/

CFP: Readings of Diffcult Freedom (Toulouse, France)

2009-09-01T13:26:00.012+01:00

INTERNATIONAL CONFERENCE: "READINGS OF DIFFICULT FREEDOM"

SOCIÉTÉ INTERNATIONALE DE RECHERCHES EMMANUEL LEVINAS (SIREL, PARIS)

NORTH AMERICAN LEVINAS SOCIETY (NALS, USA)

TOULOUSE, FRANCE

5 - 9 JULY 2010

CALL FOR PAPERS

First published in 1963, with a second edition in 1976, /Difficile Liberté/, /Essais sur le judaïsme/ is considered Levinas' most accessible book and an excellent introduction to his work. This collection of essays, which appeared in a variety of journals (/L'arche, Information juive, L'esprit, Evidences/, etc.) reflects the society, culture and philosophy of France from the 1950s to the 1970s. While closely linked to this era (end of World War II, the discovery of the horror of the concentration camps, Stalinism, the founding of the State of Israel) /Difficile Liberté/ is by no means a collection of circumstantial writings.

In /Difficile Liberté/ Levinas defines post-Holocaust Judaism, and sets out the requirements and need for Jewish thought and education in an authentic but critical dialogue with modern society. These considerations are frequently interspersed with references to writers and thinkers who influenced Levinas such as Claudel, Heidegger, Hegel, Spinoza, S. Weil, Gordin and Rosenzweig, but more often to sacred texts, the Bible and the words of the Sages of Israel which Levinas continually emphasized the need to study. Does Levinas' /modernity /paradoxically lie in his appeal to Jews to return to these old "worm-eaten tractates" ("the Jew of the Talmud should take precedence over the Jew of the Psalms")? These articles are still innovative, sharp, concise and overarching; the style is sometimes lyrical – Levinas rarely wrote in such a strident, argumentative way, blending conviction and stupefaction. The key to what unites Levinas' work – the link between his philosophical writings and his specifically Jewish dimension – may just be found in /Difficile Liberté./

Beyond the obligatory analysis of the title (taken from the last few words of the article "Education and Prayer") this conference aims not only to place the essays in /Difficult Freedom/ in their historical context and within the trajectory of Levinas' thought, but more importantly to examine them afresh – with the wonderment and questions they still elicit today. Diachronic and synchronic analyses of the articles in /Difficle Liberté /will help situate them with respect to Levinas' other works. Issues such as the following could be explored:

Phenomenology, ethics, the Holocaust, Israel, the Talmudic Readings, Levinas' views of science and technology, his relationship to Heidegger, Rozensweig, Bergson, French philosophers and writers, Levinas' relationship to Christianity, Levinas the educator, etc...*

This international conference is an initiative of the Société internationale de Recherches Emmanuel Levinas (SIREL, Paris, http://sirel-levinas.org), and the North American Levinas Society (Purdue, USA, www.levinas-society.org. The conference will host participants from all over the world, with 120 projected presentations.

Priority will be given to students and young researchers. The proceedings will be published (articles selected by the editorial committee). If funding permits, some financial aid may be made available, in particular to young researchers.

SUBMISSION DUE DATES

1. *On or before September 30, 2009:* submission of a 500-word abstract (talks will be 20 minutes, in French or in English)and a short bio-bibliography of the author (s).

2. *On or before November 15, 2009*: notification, based on the decision of the scientific committee.

3. *February 2010*: publication of conference program.

All submissions (preferably as Microsoft Word files) and questions concerning the conference should be sent electronically to: dlib2010[at]gmail.com

CFC: Choral Theatre Public Art Commission (Roscommon, Ireland)

2009-09-01T13:25:00.004+01:00

CHORAL THEATRE PUBLIC ART COMMISSION

ROSCOMMON COUNTY COUNCIL, IRELAND

DEADLINE: 1 OCTOBER 2009

Arising from Local Authority Capital Developments in the region, Roscommon County Council, as commissioning client, invites submissions from an artist or artists comprising the skills of Composer & Playwright for the development of a new work of choral theatre for future production with Suaimhneas Choral Singers and Riverside Chorus and a cast of professional actors.

The maximum budget for the commission will be €40,000.00 inclusive of all artists’ fees, costs, expenses, VAT, insurance and any other charges associated with the development of the new work.

The aims of the commission are to -

- engage a professional artist or team of artists encompassing the skills of composer and playwright to develop an original piece of choral theatre.

- provide new opportunities for Suaimhneas Choral Singers and Riverside Chorus to go beyond their regular performance practice.

- bring professional theatre and choral work together in an experimental and innovative process.

- develop new audiences for professional choral and theatre work in the region.

SCHEDULE

Stage 1 proposals submitted - Thurs. 1st Oct. 2009

Stage 1 Selection - Tues. 5th Oct. 2009

Site visit for shortlisted applicants - Tues. 19th Oct. 2009

Stage 2 proposals submitted - Thurs. 18th Nov. 2009

Interview of shortlisted applicants - Thurs. 25th Nov. 2009

Project commencement - Before 31st Dec. 2009

Project completion - Before 31st Dec. 2010

Full Project Brief and further information is available from –

http://www.roscommonarts.com/artsoffice/programmes/public.htm

Contact: artsoffice [at] roscommoncoco.ie

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

2009-08-27T17:30:00.005+01:00

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

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

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

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

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

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

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

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

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

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

2009-08-27T16:54:00.006+01:00

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

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

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

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

* Musicians’ wellbeing;

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

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

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

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

2009-08-27T16:51:00.004+01:00

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

CALL FOR PAPERS

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

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

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

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

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

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

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

2009-08-24T15:16:00.003+01:00

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

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

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

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

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

The decisions of the Jury are final.

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

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

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

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

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

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

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

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

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

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

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

3. Cheques will not be accepted.

4. The entry fee is not refundable.

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

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

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

2009-08-24T13:53:00.005+01:00

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

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

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

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

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

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

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

2009-08-21T23:55:00.004+01:00

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

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

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

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

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

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

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

Submission deadline: October 1, 2009.

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

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

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

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

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

Happy 1 Year Old Birthday to Interesting Music Stuff

2009-08-21T16:31:00.016+01:00

HAPPY BIRTHDAY TO INTERESTING MUSIC STUFF!

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

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

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

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

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

CFC: Nouvel Ensemble Moderne Composition Competition

2009-08-21T15:22:00.004+01:00

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

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

Registration Deadline : October 31st, 2009

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

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

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

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

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

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

REGULATIONS

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

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

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

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

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

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

Job Posting: Creative Director, Sound and Music

2009-08-21T10:37:00.005+01:00

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

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

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

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

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

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

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

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

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

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

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

2009-08-20T14:18:00.019+01:00

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

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

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

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

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

TABLE OF CONTENTS:

EUROPE

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

LATIN AMERICA

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

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

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

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

2009-08-19T15:58:00.006+01:00

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

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

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

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

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

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

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

CFP: 2010 IAML Conference (Moscow, Russia)

2009-08-19T10:29:00.004+01:00

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

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

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

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

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

CFP: Missed Connections (University of Pennsylvania)

2009-08-18T14:28:00.009+01:00

MISSED CONNECTIONS
UNIVERSITY OF PENNSYLVANIA

19 FEBRUARY 2010

CALL FOR PAPERS

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

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

Please apply to one of the following panels:

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

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

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

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

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

CFP: Organologia: Instruments and Performance Practice (essays)

2009-08-18T14:04:00.006+01:00

ORGANOLOGIA: INSTRUMENTS AND PERFORMANCE PRACTICE
PENDRAGON PRESS
CALL FOR ESSAYS

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

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

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

2009-08-18T11:26:00.008+01:00

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

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

Proposed topics (unexhaustive list)

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

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

Contact: theodora.psychoyou at paris-sorbonne.fr

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

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

2009-08-17T17:20:00.005+01:00

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

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

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

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

2009-08-17T17:13:00.006+01:00

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

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

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

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

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

CFP: Luther in Medieval Context (Kalamazoo)

2009-08-17T17:08:00.003+01:00

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

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

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

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

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

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

SUBMISSIONS MUST BE RECEIVED BY 13 SEPTEMBER 2009

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

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

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

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

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

2009-08-17T16:59:00.002+01:00

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

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

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

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

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

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

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

CFP: Contemporary Music Review (journal)

2009-08-17T11:20:00.004+01:00

CONTEMPORARY MUSIC REVIEW
CALL FOR FUTURE PROPOSALS

Submit a Proposal for a Themed Issue

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

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

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

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

For further information please contact:

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

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

CFP: CUNY Symposium on Music and Disability (NY)

2009-08-13T11:02:00.007+01:00

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

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

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

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

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

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

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

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

2009-08-13T10:48:00.002+01:00

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

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

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

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

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

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

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

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

2009-08-13T10:47:00.005+01:00

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

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

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

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

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

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

2009-08-05T15:37:00.009+01:00

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

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

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

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

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

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

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

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

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

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

2009-08-05T15:34:00.004+01:00

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

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

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

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

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

CFS: UMOVE Online Videodance Festival

2009-08-05T12:13:00.003+01:00

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

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

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

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

SUBMISSION DEADLINE: August 15, 2009

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

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

Email all information to movementmedia [AT]pentacle.org

UMOVE SUBMISSION CATEGORIES

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

ABOUT THE FESTIVAL

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

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

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

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

Kriota Willberg
Festival Co-organizer

Marta Renzi
Festival Co-organizer

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

2009-08-04T10:54:00.006+01:00

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

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

LOCATION: University of Edinburgh and Cameo Cinema Edinburgh

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

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

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

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

2009-08-04T10:42:00.006+01:00

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

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

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

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

2009-08-03T15:42:00.011+01:00

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

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

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

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

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

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

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

CFP: International Machaut Society (Kalamazoo, Michigan)

2009-08-03T15:42:00.005+01:00

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

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

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

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

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

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

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

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

SUBMISSIONS MUST BE RECEIVED BY 15 SEPTEMBER 2009

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

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

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

CFP: Thinking Videodance II (Buenos Aires, Argentina)

2009-08-03T15:35:00.004+01:00

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

2009-08-03T15:24:00.005+01:00

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

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

Submission Guidelines for Presentations

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

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

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

Notification

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

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

2009-08-03T15:01:00.003+01:00

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

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

Please include the following in your submission:

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

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

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

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

Address for submissions by US Post:

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

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

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

CFP: Choreographic Practices (journal)

2009-08-03T14:58:00.005+01:00

CHOREOGRAPHIC PRACTICES
CALL FOR PAPERS
DEADLINE: 1 SEPTEMBER 2009

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

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

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

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

Submission topics might include:

--Choreographic methodologies and practices

--Dance and interdisciplinarity

--Theatre, screen, sited or social movement practices

--Improvisation processes

--Dance and documentation

--Choreography as social, cultural and/or psychological concern

How to Submit to Choreographic Practices:

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

Or, you may send a completed manuscript of up to 6,000 words (or equivalent in

other formats) ready for peer-reviewing.

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

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

CFC: Sixth International Musica Sacra Composition Competition

2009-08-03T14:31:00.003+01:00

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

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

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

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

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

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

Deadline: 31 January 2010

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

2009-08-03T14:12:00.001+01:00

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

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

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

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

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

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

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

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

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

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

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

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

Interviews will be held on Wednesday 26th August 2009.

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

Valuing Diversity & Committed to Equality

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