CFP: Temporality in Contemporary Music (AC Institute)

TEMPORALITY IN CONTEMPORARY MUSIC

AC INSTITUTE

CALL FOR PAPERS

DEADLINE: 10 JANUARY 2010

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

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

CFC: Nouvel Ensemble Moderne Composition Competition

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

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

Registration Deadline : October 31st, 2009

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

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

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

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

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

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

REGULATIONS

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

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

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

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

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

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

Job Posting: Creative Director, Sound and Music

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

CFP: Contemporary Music Review (journal)

CONTEMPORARY MUSIC REVIEW
CALL FOR FUTURE PROPOSALS

Submit a Proposal for a Themed Issue

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

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

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

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

For further information please contact:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

CFP: International Conference - Hanns Eisler (IMR, University of London)

INTERNATIONAL CONFERENCE: HANNS EISLER
INSTITUTE OF MUSICAL RESEARCH, UNIVERSITY OF LONDON
19 - 20 APRIL 2010
CALL FOR PAPERS

Conference convenors: Erik Levi (Royal Holloway University of London), Albrecht Dümling (International Hanns Eisler Society, Berlin) and Michael Haas (Jewish Museum, Vienna)

Keynote speaker: Professor David Blake, University of York

We welcome submission of papers on the work of Hanns Eisler (1898-1962), widely regarded as one of Schoenberg’s most talented pupils and a pioneer of applied music during the Weimar Republic. As an exile from Nazi Germany, Eisler spent most of the 1930s and in Denmark, England and finally the USA before returning to Europe to take up residency in the newly-founded German Democratic Republic.

The conference, probably one of the first on Eisler to be held in the English speaking world, has two broadly-based themes:

1) Eisler and England
2) topics of general interest related to the work of Eisler.

Proposals for papers are now invited. Papers should be of 20 minutes duration, and the proposal should be presented as an abstract of not more than 250 words. Please submit by email, in an attachment including your full name, contact details and (if applicable) your affiliation, to the IMR Administrator Mrs Valerie James, at music at sas.ac.uk

Proposals will be anonymised before consideration by the conference convenors.

DEADLINE for proposals: 5pm (GMT), 25 November 2009

Results Announced: mid-December 2009

Preliminary Programme: mid-December 2009

www.music.sas.ac.uk

CFP: Plattsburgh New Music and Culture Symposium

PLATTSBURGH NEW MUSIC AND CULTURE SYMPOSIUM

PLATTSBURGH, NEW YORK

11 - 13 AUGUST 2009

CALL FOR PAPERS

The Plattsburgh New Music and Culture Symposium is a multi-disciplinary forum for the discussion of music and its place in contemporary society. In our inaugural year, scholars from all disciplines and musicians are invited to participate by submitting proposals for presentations and works for performance.

The symposium will take place from August 11-13 in Plattsburgh, NY.

We seek submissions for:

• Papers (please specify if you would like a 30- or 60-minute time slot) and

• Original compositions for solo harp, solo horn, solo clarinet, clarinet and horn, or clarinet and harp with or without electronics. Works for electronics alone and composer-performers will also be considered.

The papers should deal with one or more of the following topics: music’s place in contemporary culture, questions on authority and aesthetics in a post-colonial world and new resonances (technology). We encourage anthropologists, cultural theorists, critics and scholars from both in and outside of music to participate. The compositions should demonstrate a highly personal language. Composers should include a brief written statement on the submitted work(s) along with a curriculum vitae.

Papers proposals should include an abstract and curriculum vitae and should be submitted electronically to suzanne@suzannefarrin.com.

Submissions for musical compositions should include scores (in pdf format),recordings (mp3 or a web link), a statement on the work and c.v. and can be sent electronically to suzanne@suzannefarrin.com.

Dates

Symposium dates: August 11-13

All proposals due: June 20, 2009

Notification of acceptance: End June 2009

The symposium is sponsored by the Conversations in the Disciplines Program of the State University of New York.

For more information please write to: suzanne [at]suzannefarrin.com

CFP: American Music (journal)

AMERICAN MUSIC

CALL FOR PAPERS

American Music (1983–) invites submissions for possible publication. Authors are encouraged to visit the journal website at: http://www.press.uillinois.edu/journals/am.html

American Music was the first journal published devoted exclusively to American music and to music in America. Articles cover American composers, performers, publishers, institutions, events, and the music industry.

Recent article topics have included: Duke Ellington and early radio; John Cage’s HPSCHD; the WPA music copying project; defining the Easy Listening era; Milton Babbitt in academia; the soul roots of Bruce Springsteen; the benefit concerts of Jack Benny and Danny Kaye; and the boyhood of Henry Cowell. The journal also includes interviews with composers and reviews of

books, recordings, films, websites, and concerts.

Since its inception, American Music has been published by the University of Illinois Press, which was established in 1918 as a not-for-profit scholarly publisher at the University and is one of the founding members of the Association of American University Presses in 1937. UIP is ranked as one of the country's larger and more distinguished university presses and publishes works of high quality for scholars, students, and the citizens of the state and beyond.

SUBMISSION GUIDELINES:

Prospective articles—typically 20 to 70 pages, double spaced--should be submitted electronically to michael_hicks@byu.edu. or in hard copy to Michael Hicks, Editor, American Music, C-550 HFAC, Brigham Young University, Provo, UT 84602. (Please note that except for originals of illustrative materials, hard copy submissions are not returned to authors.) Electronic file attachments should be in Microsoft Word or rich text format.

The author's full name, mailing address, and e-mail address should appear only in the cover letter, as submissions are reviewed anonymously. Please ensure that your identity does not appear in running heads, references, or notes. Page numbers should appear at the top right of all pages after page 1. All parts of the article, including endnotes, quotations, song texts, bibliographies and discographies, appendices, and captions for illustrations, must be double spaced (and if in hard copy, printed on one side of the sheet only, on 8 ½ by 11" paper with 1" margins). Music examples, figures, tables, and illustrations must be numbered and presented

separate from the main body of the text, with the desired location clearly indicated in the text. Submissions not conforming with these instructions may be returned to the author for correction prior to consideration. American Music follows the guidelines in the 15th edition of The Chicago

Manual of Style.

Books, recordings, and multimedia items should be addressed to American Music, c/o University of Illinois Press, 1325 S. Oak St., Champaign, IL 61820.

American Music is available online to subscribers at http://am.press.uiuc.edu/.

CFP: The Asia Pacific Journal of Anthropology (TAPJA)

THE ASIA PACIFIC JOURNAL OF ANTHROPOLOGY (TAPJA)

CALL FOR SUBMISSIONS

I would like to draw your attention to The Asia Pacific Journal of Anthropology (TAPJA), a journal whose editorial board is based at the Australian National University, and for which I am the multimedia reviews editor. On behalf of the editorial board, I would like to invite article submissions by ethnomusicologists to the journal, and in particular to invite submissions of multimedia material to be reviewed by the journal. The primary requirement is that article submissions, and submissions of material for review, must be related to research in anthropology in the Asia-Pacific region.

TAPJA welcomes article submissions from those working in the field of anthropology broadly speaking, and this includes ethnomusicology. The interest of the journal in music research is evident in the latest issue, edited by myself and Prof. Timothy D. Taylor, which is a special focus issue on contemporary music research in the Asia-Pacific region (TAPJA 10 (2), June 2009).

The multimedia reviews section of the journal was established in 2005, and continues to grow. We invite submissions of material for review, including audio recordings, documentary films, websites, and CD- or DVD-ROMs. So if you have been involved in any productions of such multimedia material and would like to see it reviewed, we would be very pleased to hear from you.

Please forward article submissions and suggested material for review to tapja@anu.edu.au.

With kind regards,

Dr. Kirsty Gillespie
Visiting Fellow
Research School of Pacific and Asian Studies
Coombs Building 9
The Australian National University
ANU ACT 0200
Australia
Email: kirsty.gillespie@anu.edu.au

CFP: Contemporary Music Studies (Intellect Books)

CONTEMPORARY MUSIC STUDIES

INTELLECT BOOKS (UK)

Intellect seeks to expand its portfolio of publications in the area of contemporary music studies. As an independent academic publisher, we champion innovative scholarly work at the cross section of arts, media & creative practice. Since 1986, Intellect has provided a vital space for widening critical debate in new and emerging subjects, and is now a leading publisher in scholarly areas of creative media and popular culture. We have a robust international book distribution arrangement, including partners such as the University of Chicago Press (North America, and Rest of World), Gardners (UK), Inbooks (Australia & New Zealand), and Book Editions (Asia).

Intellect welcomes book proposals from both new and experienced authors producing original, adventurous academic work in the areas of contemporary music research.

To send us your book proposals, please download a questionnaire from our website (http://www.intellectbooks.co.uk/PublishWithUs/publishwithus.php), or contact books@intellectbooks.com for further information.

Nothing New: Understanding Newness in Medieval and Contemporary Music (Huddersfield)

NOTHING NEW: UNDERSTANDING NEWNESS IN MEDIEVAL AND CONTEMPORARY MUSIC
UNIVERSITY OF HUDDERSFIELD
24 - 25 APRIL 2009
REGISTRATION OPEN

Registration is now open for this two-day conference, held 24 - 25 April 2009 at the University of Huddersfield in association with the Plainsong and Medieval Music Society and the Royal Musical Association

Registration forms, accommodation information and a provisional programme can be found at:

http://www.plainsong.org.uk/conference2009.php

The conference will include two concerts (Edges Ensemble and Le Basile), a keynote address by Magnus Williamson and Bennett Hogg, workshops for composers, the award of the Plainsong and Medieval Music Society Composition Prize and papers by speakers from the UK and abroad.

A concessionary rate is available to members of the RMA, PMMS, University of Huddersfield and to students who register in advance of 1 April 2009.

More IAML08 and a French portal to contemporary resources

It's Bank Holiday Monday with no sun (but fortunately no rain as well) here in London and I wanted to blog a bit more about IAML08. London's overcast skies stand in stark contrast to the weather in Naples where the sun was shining every day. Having lived in London only 4 years I am continually impressed by the efficient public transportation from the Underground to network rail and the extensive bus lines whether you are going to one of the airports or just fumbling around the capital. Arriving in Naples on an Easyjet flight, plans to take a bus from the airport to the city were immediately thwarted by a sciopero or strike/industrial action (which was one of several to encumber la mia esperienza di Napoli.)

Local public transportation scioperi aside, my penchant for trying new forms of transport were rewarded by taking the funicolare (below) which climb the sides of Naples much like the cable-cars in San Francisco but instead go through tunnels up the hills of the city and are unhindered by traffic.

I particularly like this shot of the funicolare arriving into Morghen from Montesanto. (I think the driver reading the newspaper whilst in operation would be a nice job for the summer!)

Now onto one of the conference presentations: a new (French) portal to contemporary resources. Michael Fingerhut of IRCAM presented (http://www.musiquecontemporaine.fr/) which was a joint venture between IRCAM, the Cdmc - (Centre de documentation de la musique contemporaine), Cité de la musique, the Conservatoire national supérieur de musique et de danse de Paris, and the Médiathèque Musicale Mahler. With the goal of creating a single portal for contemporary music, the website serves as a virtual catalogue (with facets for text, score, audio, video, biography, event, training and programme notes) as well as pulling together performance, lecture and exhibition information at the various institutions. The main interface is now available in bilingual versions of French and English.

Front page of http://www.musiquecontemporaine.fr

Running a search in the interface one can initially only search by one facet (in the recherche express). Once you have a search result you can further refine by the facets listed above. Materials which are accessible from your location are denoted with a green circle. (Most files, particularly the audio and video files, are only fully accessible on-site in one of the institutions due to licensing restrictions.)

It is hoped that ongoing negotiations with rights holders societies will allow more materials to be available remotely. For now, short excerpts of audio recordings are available usually up to about 3 minutes. Once you click on the 'listen to an excerpt' (Ecoutez un extrait) - a browser like this will display:

Example of the site's embedded media player

I can get excerpts to play in IE, but have had problems with Mozilla which may be just a script issue. In any case, in spite of the time restrictions, it is nice to hear excerpts of recent premieres and other works that may not even get recorded and read the notes and thoughts of living composers' latest compositions. I hope that the powers that be at IRCAM and the various performing societies will allow a license for academic institutions outside France so that those in the EU and throughout the world can fully benefit from this digital resource.