CFP: Sights & Sounds (University of Salford)

SIGHTS AND SOUNDS

INTERROGATING THE MUSIC DOCUMENTARY

UNIVERSITY OF SALFORD

4 - 5 JULY 2010

CALL FOR PAPERS

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

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

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

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

Deadline for submissions: December 14, 2009

Announcement of program: January 4, 2010

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

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

Conference Chairs:

David Sanjek, Professor of Music Ben Halligan. Senior Lecturer

Director, Popular Music Research Centre School of Performance

School of Music

University of Salford

CFP: After the Magic Flute (UCAL, Berkeley)

AFTER THE MAGIC FLUTE
UNIVERSITY OF CALIFORNIA, BERKELEY
5 - 6 MARCH 2010
CALL FOR PAPERS

Call for Papers (abstract deadline: September 1, 2009)

As Tamino stands before the three temple doors in Act I of The Magic Flute, he is about to embark on a humbling complication of the good-evil alignments he (and we) had previously assigned to the Queen of the Night and Sarastro. Interpretive work on Mozart’s enduringly perplexing Singspiel is currently at a similar threshold. Recent scholarship has shifted away from the Masonic and Enlightenment-allegory readings of past decades in favor of increasingly decentralized readings that consider the work’s implications with respect to race, gender, voice, and agency. In addition, new historical information has emerged regarding the immediate context of The Magic Flute within the Viennese theatrical tradition; a new edition of the autograph score is about to be published; and adventurous (often activist) productions set everywhere from South Africa, to a Berlin subway station, to the trenches of World War I have attracted the collaboration of artists as varied as William Kentridge, Julie Taymor, Sophiline Cheam Shapiro, and Kenneth Branagh.

The goal of this interdisciplinary conference is to take the measure of these new developments in the history and historiography of The Magic Flute, with the “after” of the conference’s title referring not exclusively to inquiries regarding adaptation or reception, but rather signaling a critical reevaluation of the persistent urge to “unlock” The Magic Flute with a single, symbolic key. The conference committee welcomes proposals from scholars interested in examining The Magic Flute from a range of disciplinary perspectives, including musicology, music theory, and ethnomusicology, film and media studies, performance studies, cultural and social history, literary and art history, and reception studies. Featured speakers will include Wye J. Allanbrook (Emerita, Musicology, University of California, Berkeley) and Jane Brown (Germanics and Comparative Literature, University of Washington).

Please submit abstracts of no more than 250 words by September 1, 2009 to conference organizer Adeline Mueller (aomueller at berkeley.edu). Notification of acceptance will be sent via email on October 1.

Adeline Mueller
Department of Music
University of California
Berkeley, CA 94720-1200
aomueller at berkeley.edu

Zombomodernism: the Ends of Practice-as-research (CSSD, London)

ZOMBOMODERNISM: THE ENDS OF PRACTICE-AS-RESEARCH

CENTRAL SCHOOL OF SPEECH AND DRAMA, UNIVERSITY OF LONDON

26 SEPTEMBER 2009

CALL FOR PAPERS

DEADLINE EXTENDED: 6 JULY 2009

The figure of the zombie is the uncanny split par excellence: neither living nor dead, both familiar and unfamiliar. The zombie presents a unmeasurable proximal distance between the known and unknown. The zombie’s movements are human in resemblance (as is its physical form), and yet, in its single-minded determination, its constant pace, and its inability to manoeuvre around obstacles in its path, it is clearly inhuman.

Is not the condition of the zombie also the condition of the modern practice-as-research academic? That is, current PAR can be described as existing within a state of ‘Zombomodernity,’ that post-postmodern state in which the ideas are not dead, but nor are they truly alive. Practice-as-research features a similar uncanny split: is it research or is it art? And the spectacle of the modern practice-as-research academic is analogous to that of the zombie in many ways: we’re single-minded, move slowly and bang our heads against the wall over and over again.

Central School of Speech and Drama’s Research Degree students are pleased to announce a one-day interdisciplinary colloquium exploring practice-as-research from the perspective of its relationship to both professional practice and the institution, aimed at finding the antidote and liberating it from Zombomodernism or cutting its head off and putting it to rest forever. As an institution, CSSD is uniquely placed to explore these issues, being itself an uncanny hybrid of conservatoire and research institution, and this colloquium is part of the Festival of Emergent Art, a high-profile two week festival of new practice-as-research performances and presentations from PhD students, MA Performance Practices and Research students, staff and visiting artists.

We invite 20-minute papers and proposals for workshops that might interrogate the value of PAR and its contribution to new knowledge and professional practice.

What is the relationship between PaR and professional practice?

What is the relationship between PaR and the university?

Does PaR create new knowledge?

Is the university the best place to make experimental practice?

Can we imagine new ways of documenting experimental practice?

Can we imagine new ways of writing about practice?

Can we stop asking ourselves if it’s ok and just get on with it?

Submissions are invited from all researchers and postgraduate students working in theatre, drama, dance, film, puppetry and object-theatre, circus, installation, live art and visual culture. Interdisciplinary work is especially welcome, as well as submissions of experimental writing and documentation.

Please send a 250 word abstract (for papers) or proposal (for workshops)along with a brief biographical statement to colloquium organiser Broderick Chow at dick.chow@cssd.ac.uk by Monday, 6 July 2009. Please send large attachments tozombomodernism@googlemail.com Decisions will be made within three weeks. Any questions can also be directed to the colloquium organiser.

CFP: Post-Punk Performance: the alternative 80s in Britain (Leeds)

POST-PUNK PERFORMANCE: THE ALTERNATIVE 80S IN BRITAIN

SCHOOL OF PERFORMANCE AND CULTURAL INDUSTIRES, UNIVERSITY OF LEEDS

9 SEPTEMBER 2009

CALL FOR PAPERS

The School of Performance and Cultural Industries is pleased to be hosting a one-day conference event called “Post-Punk Performance: the alternative 80s in Britain”.

Contrary to popular mythology, youth culture during the 1980s meant rather more than Spandau Ballet, Rick Astley, and Madonna. A quickly burgeoning ‘indie’ scene, born of the ruins of punk, set itself against the banality of the mainstream. Centred on music and synonymous with identity and self-expression, it offered a complex and layered network of alternatives for an increasingly politicised and self-aware generation of young people.

The purpose of this conference is to explore notions of ‘alternative’ music and performance in the post-punk era, circa 1978 – 1989. The ‘indie’ music scene of this period will serve as a lens through which to view core themes of liveness, fashion and visual identities, iconography, youth cultures and the socio-political context. The event will assess post-punk’s continuing and profound influence on the current scene, both in musical and performative terms. It will explore how post-punk is absorbed into the present and will be projected into the future.

In addition to contributions from academics and scholars, the event will invite label partners, musicians and influential journalists to exchange views and perspectives on the post-punk era and beyond. This framework offers unique opportunities to bring together the academy and industry, and to facilitate networking and discussion across these spheres.

A live performance event featuring poetry, comedy and music will follow the daytime proceedings. Acts to be announced.

Proposals might address one or more of the following themes:

• The frequency and velocity of musical genre development

• Liveness: performance authenticities

• Performance of style

• Visual identities: fashion’s relation to music and vice versa

• Transatlantic influence and exchange

• Alternative music, party politics and gender politics

• The past reconfigured for the present

• Song writing: structure and theme

• Media representation and music reportage

• Local scenes

• Record labels and musical identity

• Punk and post-punk: musical legacies and trajectories

The conference will be interdisciplinary. Therefore, we welcome contributions from a range of disciplines, including Music, Performance, Fashion and Textiles, Photography, Cultural Studies, Sociology, Film and Television Studies, Philosophy and Journalism.

Proposals should be submitted as a Word Document and should contain the following information:

 Name of Presenter

 Title of Paper

 Institutional Affiliation

 150 word biography

 500 word abstract

Please send your proposal electronically, together with a completed registration form, to Dr Philip Kiszely (P.Kiszely@leeds.ac.uk) by Friday 26th June, 2009. Acceptance will be confirmed by the end of July.

Cost: £125 (Includes conference proceedings, day conference, entry to evening event)

CONFIRMED SPEAKERS:

Paul Morley

Paul Morley wrote for the NME from 1977 to 1983. A leading figure in critical, journalistic and industry terms, he formed ZTT, helped guide Frankie Goes to Hollywood to pop stardom, and enjoyed considerable commercial success and critical acclaim in his own right through Art of Noise. His television work is extensive, and includes appearances on the Late Show, Whistle Test, and the recent Top Ten series on Channel 4. He now writes for Arena and Esquire, and his books Nothing and Words and Music are as essential as they are challenging reading.

Dave Haslam

Dave Haslam was DJ at the legendary Hacienda nightclub during the heady days of ‘Madchester’. His book Madchester, England not only captures the spirit of that remarkable era but also offers a penetrating cultural commentary on time and place. A subsequent book on the music and politics of the 1970s titled Not Abba: the Real Story of the 1970s suggests the breadth of his musical interest. Founder of Debris fanzine, he has written for a variety of publications including The NME, The Times, and The Guardian. He teaches music journalism at the University of Salford and the history and culture of Manchester at Manchester Metropolitan University.

CONFERENCE ORGANISERS: Dr Philip Kiszely (P.Kiszely@leeds.ac.uk), Alice Bayliss (A.Bayliss@leeds.ac.uk) and Michael Rose

For any further information, please contact Alice Bayliss on 0113 343 8715

CFP: Against and Beyond: Subversion and Transgression in Drama, Theatre, Film and Media (Lodz, Poland)

AGAINST AND BEYOND: SUBVERSION AND TRANSGRESSION IN DRAMA, THEATRE, FILM AND MEDIA
UNIVERSITY OF LÓDZ, POLAND
22 -24 OCTOBER 2009
CALL FOR PAPERS

The Department of Studies in Drama, Pre-1800 English Literature, Film and Media invites you to attend the 2009 Conference at the University of Lódz, Poland.

Transgressive movement against or beyond the norm seems to be universally present in all ages and genres of literary and artistic creativity. Openly defiant or covertly subversive, rebellion against social standards that define public and personal roles, ideals and spaces remains an artistic instrument of development while liminal sensitivity or extreme experience continue to threaten the prescribed from the allegory of medieval theatre and poetry to the neo-realism of the drama of the 21st century.

It is therefore the aim of this conference to approach the category of extreme and subversive experience and its literary, theatrical, dramatic and cinematographic representations. The organisers would like to commence the discussion from the premise that the category of experience viewed as an extreme transgression or as a redefinition of received categories is a useful tool to diagnose contemporary literature as well as contemporary readings of older works and authors. When related to formal aspects of artistic work as well as to plot, the concept of transgression and subversion opens ways of reading canonical works as components of bigger religious, social and political structures which these works may oppose or depict as alienating, inimical and oppressive.

Suggested themes and topics:
* politics of transgression,
* techniques of subversion,
* storytelling as an act of political/historical/religious subversion,
* spatial conditioning of transgression,
* the city versus the country: modes of geographic transgression,
* powers of subversion in private and public domains,
* transgression and the body,
* cathartic power of suffering,
* subversive religious illumination,
* dance, ecstasy, ritual as ways of experiencing the Other,
* mass media and virtual reality as ways of transgressing the real and the actual.

The list of keynote speakers to be announced soon.

Submissions of topics and abstracts (250 words) should reach the organisers no later than June 15th 2009. Conference fee: 300 PLN.

Organising Committee:
Prof. Jadwiga Uchman
Prof. Andrzej Wicher
mgr Piotr Spyra
mgr Katarzyna Ojrzynska

For submissions and enquiries please contact: mgr Piotr Spyra at: lodz.conference [AT] gmail.com

CFP: Film Music Conference (Leeds)

FILM MUSIC CONFERENCE

SCHOOL OF MUSIC, UNIVERSITY OF LEEDS

FRIDAY 6 NOVEMBER 2009

CALL FOR PAPERS

The conference is intended to be wide ranging, and paper proposals dealing with all aspects of film music scholarship will be considered. Proposals with a brief abstracts (c. 150 words) for papers of 20 minutes' duration should be sent by email to Ian Sapiro (i.p.sapiro@leeds.ac.uk) by Friday 11 September 2009.

Keynote Composer Interview: Ilan Eshkeri (Layer Cake, Hannibal Rising, Strength and Honour, Stardust, Virgin Territory, The Young Victoria)

The conference will include a presentation on the Michael Nyman Archive of film score materials held at the University of Leeds, and a short concert in the School of Music's magnificent Clothworkers Centenary Concert Hall. New scores for short silent films will be performed live to screen, and the composers of the selected scores will discuss their compositional approaches and thoughts with Professor David Cooper in advance of each performance.

The conference fee has not yet been fixed, but will include lunch and entry to all sessions on the day. A delegate booking form will be available in due course on the conference website. To be notified when the form is available and the conference fee is set, please email Ian Sapiro.

For further details contact Ian Sapiro (i.p.sapiro@leeds.ac.uk), or see the Conference website: http://www.leeds.ac.uk/music/filmmusic

Research Fellowships - Humanities (One-year) (Southampton)

RESEARCH FELLOWSHIPS - HUMANITIES (ONE-YEAR)

SCHOOL OF HUMANITIES, DEPARTMENT OF MUSIC, UNIVERSITY OF SOUTHAMPTON

DEADLINE: 5 JUNE 2009 (NOON BST)

£27,183 - £33,432 per annum ($42,819 - $52,662 per annum)

Up to five one-year Research Fellowships for the 2009-10 session.

In addition to Music, the fellowships are also available to candidates in Archaeology, English, Film, History, Philosophy and Modern Languages

Candidates are invited to put forward a project which links to the strategic research areas of the University.

The Fellowships are open to all candidates who are within three years of receiving their PhD.

For further information please visit:

http://www.jobs.ac.uk/jobs/FK100/Research_Fellowships_-_Humanities_One-year/

Following this link will take you to the online application form. Please quote reference number 3425-09-L in all correspondence.

The closing date for completed applications is 5 June 2009 at 12.00 noon (BST). Interviews will be held in late June/early July.

For informal discussion before application to the School of Humanities please contact Professor Mark Everist (m.everist@soton.ac.uk)

CFP: International Journal of Performance Arts and Digital Media (journal)

INTERNATIONAL JOURNAL OF PERFORMANCE ARTS AND DIGITAL MEDIA
DANCING ACROSS FILM, TELEVISION AND THE DIGITAL SCREEN
CALL FOR PAPERS

The contemporary visual landscape is littered with images of performing bodies located in multiple screen contexts, from dedicated art dance film festivals through to prime time reality television shows. The potential for dance to achieve n-screen viewing figures scarcely imaginable in comparison to theatre dance audiences is evidenced by the YouTube clip, Evolution of Dance, a whirlwind demonstration of popular dance through the decades, which received 76.7 million hits. This special edition of the International Journal of Performance Arts and Digital Media explores both contemporary and historical enquiry into the production and reception of performing bodies across the film, television and digital screen. Possible questions that might inform this critical discourse regarding screen dance research are:

* What is the relationship between economics and screen dance production and how does the performing body operate as a vehicle of commercialisation and promotion within these sites?

* To what extent is screen dance shaped by the politics and policy of commissioning editors and executive producers and what relationship do guerrilla filmmakers have to this official framework of production?

* How do the multiple contexts for screen performance inform the aesthetics of dance on screen and how do they create different spectatorship experiences?

* What is the impact of new and extant film-making technologies on the performing body and how has this changed understandings of dance-making?

* How is dance mediated and re-presented in order to achieve popular appeal and in what ways does this reproduce or challenge cultural assumptions about dance?

* Given the global circulation of screen dance images, how are these representations understood within localised contexts of reception?

IJPADM is an interdisciplinary, peer-reviewed journal drawing contributions from a wide range of researchers and practitioners who are placed at the rapidly developing interface of new technologies with performance arts. Given the interdisciplinary nature of screen dance practice, proposals are invited from artists, scholars and professionals working across the fields of dance and performance studies, film, television and media studies, cultural studies, history and other related disciplines.

All papers must be submitted by 1st July 2009
Intended publication date: December 2009.

Details for submissions and notes for contributors can be found at:
http://www.intellectbooks.co.uk/journals.php?issn=14794713

All papers are to be submitted to Dr Sherril Dodds, Guest Editor.
Dr Sherril Dodds, Department of Dance, Film and Theatre Studies, University of Surrey, Guildford, Surrey, GU2 7XH (s.dodds@surrey.ac.uk)

General enquiries can be addressed to Dave Collins, Editor.

CFP: First Annual International Crime, Media and Popular Culture Studies (Indiana State University)

FIRST ANNUAL INTERNATIONAL CRIME, MEDIA AND POPULAR CULTURE STUDIES CONFERENCE: A CROSS-DISCIPLINARY EXPLORATION

INDIANA STATE UNIVERSITY

5 - 7 OCTOBER 2009

CALL FOR PAPERS

Early Abstract Submission is Highly Encouraged.

The Indiana State University Department of Criminology and Criminal Justice would like to invite you to attend the "First Annual International Crime, Media and Popular Culture Studies Conference: A Cross-Disciplinary Exploration" to be held October 5th, 6th & 7th, 2009
at Indiana State University, Terre Haute, Indiana. Please visit our website for further details regarding abstract submission, registration and for a detailed description of our Keynote Speakers and Featured Speakers. Please feel free to forward this notice to any colleagues or
graduate students that you feel might be interested.

Conference website:
www.indstate.edu/ccj/popcultureconference

Indiana State University is conveniently located less than 1 hour from Indianapolis International Airport traveling west on Interstate 70. Indiana State University is also within 3-5 hours driving time from Chicago, Illinois; Springfield, Illinois; St. Louis, Missouri; Columbia,
Missouri; Louisville, Kentucky; Lexington, Kentucky; Cincinnati, Ohio; Toledo, Ohio; Columbus, Ohio; and Nashville, Tennessee.

Early Conference Hotel Reservations are Highly Encouraged.

Once again given that this is a cross-disciplinary conference please feel free to forward this call for papers to any individuals or departments that you feel might have an interest in the conference (criminology, criminal justice, sociology, anthropology, public policy, psychology, race & ethnic studies, women’s studies, music, media studies, journalism, literature, film studies, history).

Featured Speakers:
Jeff Ferrell, Ph.D.
Texas Christian University

Victor E. Kappeler, Ph.D
Eastern Kentucky University

David L. Altheide, Ph.D
Arizona State University

Frankie Y. Bailey, Ph.D.
University of Albany

Gregory Snyder, Ph.D.
Baruch College, CUNY

Nickie Phillips, Ph.D.
St. Francis College

Staci Strobl, Ph.D.
John Jay College of Criminal Justice

Vikas Kumar Gumbhir, Ph.D.
Gonzaga University

Brett A. Mervis, Ph.D. Candidate
University of South Florida

Robert D. Weide, Ph.D. Candidate
New York University


Keynote Speakers:
Taylor Mali
Four Time National Poetry Slam Champion and One of the Original Poets on HBO’s Russell Simmons Presents “Def Poetry”

Stephen Belber
Acclaimed Playwright, Screenplay Writer and Director
(TV Credits Include Staff Writer for “Law & Order SVU” and “Rescue Me”)

Sincerely,

Franklin T. Wilson, Ph.D.
Conference Chair
Department of Criminology and Criminal Justice
Indiana State University
Holmstedt Hall 230
Terre Haute, Indiana 47809
fwilson2@indstate.edu

CFP: Interdisciplinary Humanities (journal)

INTERDISCIPLINARY HUMANITIES
PUBLISHED BY THE HUMANITIES EDUCATION RESEARCH ASSOCIATION
SPECIAL ISSUE: MUSIC IN CONTEXT (REQUEST FOR READERS)
CALL FOR PAPERS

I am interested to locate readers for a special issue of Interdisciplinary Humanities entitled "Music in Context." Our scholarly journal is published twice each year and usually includes a special interest issue. Currently, we seek specialists to read a paper in the following areas of interest:

Hollywood Musicals
Film Music
Electro-Acoustic Music
Dance Hall Music
Music (Iconography) and Painting
17th Century France
19th Century Opera
18th Century Instrumentation
Chinese-Western Musical Relationships
20th Century Arts.

If you are interested to review a submission and recommend it, or not recommend it, for publication, please email me at your earliest convenience.

Regards,
Steve Husarik
shusarik at uafortsmith.edu

CFP: Post-Punk Performance: the alternative 80s in Britain (Leeds)

POST-PUNK PERFORMANCE: THE ALTERNATIVE 80s IN BRITAIN
A ONE DAY CONFERENCE
SCHOOL OF PERFORMANCE AND CULTURAL INDUSTRIES, UNIVERSITY OF LEEDS
9 SEPTEMBER 2009
CALL FOR PAPERS

The School of Performance and Cultural Industries is pleased to be hosting a one-day conference event called “Post-Punk Performance: the alternative 80s in Britain”.

Contrary to popular mythology, youth culture during the 1980s meant rather more than Spandau Ballet, Rick Astley, and Madonna. A quickly burgeoning ‘indie’ scene, born of the ruins of punk, set itself against the banality of the mainstream. Centred on music and synonymous with identity and self-expression, it offered a complex and layered network of alternatives for an increasingly politicised and self-aware generation of young people.

The purpose of this conference is to explore notions of ‘alternative’ music and performance in the post-punk era, circa 1978 – 1989. The ‘indie’ music scene of this period will serve as a lens through which to view core themes of liveness, fashion and visual identities, iconography, youth cultures and the socio-political context. The event will assess post-punk’s continuing and
profound influence on the current scene, both in musical and performative terms. It will explore how post-punk is absorbed into the present and will be projected into the future.

In addition to contributions from academics and scholars, the event will invite label partners, musicians and influential journalists to exchange views and perspectives on the post-punk era and beyond. This framework offers unique opportunities to bring together the academy and industry, and to facilitate networking and discussion across these spheres.

A live performance event featuring poetry, comedy and music will follow the daytime proceedings. Acts to be announced.

Proposals might address one or more of the following themes:

• The frequency and velocity of musical genre development
• Liveness: performance authenticities
• Performance of style
• Visual identities: fashion’s relation to music and vice versa
• Transatlantic influence and exchange
• Alternative music, party politics and gender politics
• The past reconfigured for the present
• Song writing: structure and theme
• Media representation and music reportage
• Local scenes
• Record labels and musical identity
• Punk and post-punk: musical legacies and trajectories

The conference will be interdisciplinary. Therefore, we welcome contributions from a range of disciplines, including Music, Performance, Fashion and Textiles, Photography, Cultural Studies, Sociology, Film and Television Studies, Philosophy and Journalism.

Proposals should be submitted as a Word Document and should contain the following information:

Name of Presenter
Title of Paper
Institutional Affiliation
150 word biography
500 word abstract

Please send your proposal electronically, together with a completed registration form, to Dr Philip Kiszely (P.Kiszely@leeds.ac.uk) by Friday 26th June, 2009. Acceptance will be confirmed by the end of July.

Cost: £125 (Includes conference proceedings, day conference, entry to evening event)


CONFIRMED SPEAKERS:
Paul Morley
Paul Morley wrote for the NME from 1977 to 1983. A leading figure in critical, journalistic and industry terms, he formed ZTT, helped guide Frankie Goes to Hollywood to pop stardom, and enjoyed considerable commercial success and critical acclaim in his own right through Art of Noise. His television work is extensive, and includes appearances on the Late Show, Whistle Test, and the recent Top Ten series on Channel 4. He now writes for Arena and Esquire, and
his books Nothing and Words and Music are as essential as they are challenging reading.

Dave Haslam
Dave Haslam was DJ at the legendary Hacienda nightclub during the heady days of ‘Madchester’. His book Madchester, England not only captures the spirit of that remarkable era but also offers a penetrating cultural commentary on time and place. A subsequent book on the music and politics of the 1970s titled Not Abba: the Real Story of the 1970s suggests the breadth of his musical interest. Founder of Debris fanzine, he has written for a variety of publications including The NME, The Times, and The Guardian. He teaches music journalism at the University of Salford and the history and culture of Manchester at Manchester Metropolitan University.

CONFERENCE ORGANISERS: Dr Philip Kiszely (P.Kiszely@leeds.ac.uk), Alice Bayliss (A.Bayliss@leeds.ac.uk) and Michael Rose

For any further information, please contact Alice Bayliss on 0113 343 8715

CFP: Song, Stage and Screen IV: Interdisciplinary Approaches to the Musical Stage (Univ of Maryland)

SONG, STAGE & SCREEN IV
INTERDISCIPLINARY APPROACHES TO THE MUSICAL STAGE

UNIVERSITY OF MARYLAND, COLLEGE PARK

3 - 5 DECEMBER 2009

CALL FOR PAPERS

The Maryland Institute for Technology in the Humanities and the Department of Theater at the University of Maryland, College Park invite submissions for the fourth annual international and interdisciplinary conference on musical and music theatre. Papers on any topic relating to the intersection of music and theatre or film are welcomed. Suggested topics include:

--Collaboration and the creation of the musical
--Musical theatre texts
--Musical theatre archives
--Teaching the musical
--Representations of race and gender in the musical
--Critical and audience reception of the musical

Please send abstracts of no more than 200 words to Doug Reside [dreside at umd.edu] by June 15.

Conference Website:http://mith.info/sss4/

Song, Stage and Screen is the annual conference of the academic journal, Studies in Musical Theatre, which is published by Intellect Press. Previous Song, Stage and Screen conferences have been held at the University of Portsmouth, UK (2006), University of Leeds, UK(2007), and the Graduate Center of City University of New York (2008). It is expected that a selection of papers from this joint conference will be invited for submission to the journal and publication. This year's conference is organized by Doug Reside (University of Maryland), Laura Pollard (University of East Anglia), and Tracey Chessum (University of Maryland).

CFP: Sounding Funny: Music, Sound and Comedy Cinema (publication)

SOUNDING FUNNY: MUSIC, SOUND AND COMEDY CINEMA
EDITED BY MARK EVANS
TO BE PUBLISHED BY EQUINOX (UK) AS PART OF THE SERIES, GENRE, MUSIC SOUND (SERIES EDITOR: MARK EVANS)
CALL FOR PAPERS

This volume will deal with all aspects of sound (including dialogue) and music as they have been utilised in comedy film. Authors are invited to write on any subset of the comedy film from the post-War period, including black comedy, romantic comedy, slapstick, dialogue comedy, parody and spoofs. Essays will explore the way in which music and sound articulate humour, create comedic situations and direct comedic identifications for viewer/listeners. Chapters dealing with theoretical concerns, historical studies, non-Western film or ‘sound auteurs’ are also most welcome.

We invite proposals of up to 300 words for chapters of between 5,000 and 8,000 words. Proposals should be sent to Mark Evans at mark.evans at mq.edu.au by 1 March 2009. Completed chapters will be requested by 1 November 2009. Please note that acceptance of the proposal does not guarantee publication and all chapters will be subject to normal processes of peer review.

Job Posting: Post-Doc Research Associate - Indigeneity in the Contemporary World: Performance, Politics, Belonging (Royal Holloway)

JOB POSTING: POST-DOCTORAL RESEARCH ASSOCIATE
INDIGENEITY IN THE CONTEMPORARY WORLD: PERFORMANCE, POLITICS, BELONGING
ROYAL HOLLOWAY, UK

A unique opportunity exists for an outstanding Post-doctoral Research Associate to contribute to a new interdisciplinary research project that will examine how Indigeneity is expressed and understood in our complex, globalising world. With funding of €2.36M over five years from the European Research Council, this frontier research, led by Professor Helen Gilbert at Royal Holloway (University of London), will develop along four broad conceptual themes: ‘Commodity and Spectacle’, ‘Heritage and Material Culture’, ‘Reconciliation and Social Cohesion’ and ‘Mobility and Belonging’. Applicants will be considered from across a range of disciplines including, but not limited to, the following: theatre/performance studies, film, cultural geography, anthropology, history, indigenous studies, sociology, politics, dance, ethnomusicology, international relations.

Full details are available at http://www.rhul.ac.uk/Personnel/Ads/Y0209-5242.html

Salary: £31,838 per year plus relocation allowance and yearly travel fund

Starting date: As soon as possible after 1 May 2009 (post funded until 2014)

Applications close: Friday 13 March (expected interview date 3 April)

Contact: helen.gilbert at rhul.ac.uk

CFP: Alfred Schnittke: Between Two Worlds (Goldsmiths, London)

ALFRED SCHNITTKE: BETWEEN TWO WORLDS
INTERNATIONAL SYMPOSIUM
GOLDSMITHS, UNIVERSITY OF LONDON
21 - 22 NOVEMBER 2009
CALL FOR PAPERS

International Symposium presented by the Centre for Russian Music, the Alfred Schnittke Archive ( Goldsmiths, University of London) , in association with London Philharmonic Orchestra and Southbank Centre, London.

Saturday 21 November 2009 – Deptford Town Hall, London
Sunday 22 November 2009 - Purcell Room, Southbank Centre , London

Proposals are invited for papers (20 minutes) on any topic related to Schnittke and his work in its broadest context.

Suggested themed sessions:

--Schnittke, Soviet and Post-Soviet culture/Politics
--Shostakovich and Schnittke
--Schnittke and German culture
--Schnittke and Western post-modernism
--Schnittke , film industry and pop music
--Schnittke and music theory and analysis

Abstracts of up to 250 words for papers in English should be sent to Alexander Ivashkin (a.ivashkin@gold.ac.uk) The deadline for receipt of abstracts is 10 April, 2009. Abstracts may be sent as attachments (in Word documents in or in Rich Text Format) but please back up the attachment with a plain-text version in the main e-mail. They should be accompanied by information about the author under the following headings:

Name
Institution
Address of Institution
Position
100-word CV
Postal Address
Phone, Fax, E-Mail

The final decision on abstracts will be made by 11 May, 2009, and contributors will be informed very soon thereafter.

Selected papers will be published.

CFP: Music and Media IMS Pre-Conference (Amsterdam)

IMS PRE-CONFERENCE: LAUNCHING OF THE STUDY GROUP MaM (MUSIC AND MEDIA)
ORGAN PARK, AMSTERDAM
4 - 5 JULY 2009
CALL FOR PAPERS

Music and Media will be launched as an interdisciplinary and multidisciplinary IMS Study Group in a pre-conference preceding the joint IAML-IMS conference in Amsterdam, the Netherlands. The Study Group seeks to examine and explore diverse aspects relevant to the theme of ‘mediatizing music’. We are looking for perspectives from scholars engaged in the fields of musicology, media studies, film studies, theatre etc.

Papers, reports and works-in-progress are now invited for submission on issues related, but not limited to any of the following themes:

* the implications of mediatizing music for performance practice
* the implications of mediatizing music in terms of ´liveness´
* the way media have changed the compositional process
* the economics behind the mediatization of music
* (the functioning of) music in television and film
* (the functioning of) music in virtual worlds and games.

Papers will also be considered on any subject related to the above. Abstracts (of 300 words max.) should be submitted by Sunday 1st March 2009.

Abstracts in Word or RTF formats should be send to Emile Wennekes as follows:

-author(s), academic affiliation, e-mail address, title of the abstract, the abstract, technical requirements (piano, overhead, power point, etc).

The Organ Park, ‘Orgelpark’, is provided with modern audio/visual equipment and has a variety of musical instruments that can be used, including a grand piano.

Publication of the contributions in book form is under consideration.

ORGANIZING CHAIR:

Prof. Dr. Emile Wennekes, Department of Media and Culture Studies, Utrecht University, The Netherlands, emile.wennekes[at] let.uu.nl

INTRODUCTION:

Music plays an important role in media, both in old and certainly in new media: commercials, games, films, ring tones and the like. The other way around, media play an increasing role in music. They have changed the compositional process and characteristics of style; media severely influences performances, composing techniques, the way of recording and visualizing music. What are the theoretical and philosophical consequences of mediatized music? What are the economics behind these processes of mediatization? What role does the process of ‘remediation’(Bolter & Grusin, 2000), from LP to MP3 and 4, play? How has mediatization influenced performance practice, what was the ‘phonograph effect?’ (Katz, 1999). What do processes of mediatizing music mean in terms of ‘liveness’ (Auslander, 1999), ‘animated liveness’ (Wennekes, 2009) and/or ‘immersion’ (Grau, 2003)?


-Auslander, Philip, Liveness: Performance in a mediatized culture. (New York: Routledge, 1999).
-Bolter, Jay David & Grusin, Richard, Remediating: Understanding New Media (Cambridge: MIT Press 2000).
-Grau, Oliver, Virtual art: From Illusion to Immersion. (Cambridge: MIT Press, 2003)
-Katz, Mark, The Phonograph Effect: The Influence of Recording on Listener, Performer, Composer, 1900-1940. PhD Thesis University of Michigan, 1999.
-Wennekes, Emile, ‘Brief encounters of a third kind: First Life live concerts in Second Life concert venues’. In: Thea Brejzek, Wolfgang Greisenegger and Lawrence Wallen (eds.), Monitoring Scenography 2: Space and Truth / Raum und Wahrheit. Institute for Design and Technology (idt) Zurich: Zurich University of the Arts, October 2009.

CFP: Music in Context

INTERSICIPLINARY HUMANITIES
SPECIAL ISSUE: MUSIC IN CONTEXT
Published by the Humanities Education Research Association
CALL FOR PAPERS

(Scheduled Publication: Fall, 2009)
SECOND ROUND DEADLINE, March 1, 2009

Interdisciplinary Humanities is pleased to announce a special issue entitled, “Music in Context” with Stephen Husarik as guest editor. The journal is seeking papers that present music in an interdisciplinary context with topics such as Music and Nature, Music in Compound Art Forms (e.g., opera and film), or Music and Culture. Papers that illustrate the relationships or dependency between music and other art forms and/ or studies of musical iconography are especially encouraged."

Please email articles of approximately 15 to 25 pages in length, double-spaced, in Microsoft Word or rich text format to Stephen Husarik (479-788-7555, shusarik at uafortsmith.edu ) or Lee Ann Westman (915-747-5028, lewestman at utep.edu) by March 1, 2009.

The author’s full name, mailing address and email address should appear only in a brief cover letter and all identifiable references should be removed from notes, references, or running heads to ensure anonymity during the review process

CFP: Popular Music in the Mercer Era (Georgia State University)

POPULAR MUSIC IN THE MERCER ERA, 1910-1970
GEORGIA STATE UNIVERSITY LIBRARY, ATLANTA GA
12 - 14 NOVEMBER 2009
CALL FOR PAPERS

In recognition of the centennial of songwriter Johnny Mercer’s birth, Georgia State University Library’s Popular Music and Culture Archives invites submissions of papers for consideration to be presented at the two-day conference, “Popular Music in the Mercer Era, 1910-1970.”

Each of the four conference sessions focuses on a particular genre: blues, hillbilly (country), jazz, and rock ‘n’ roll. Papers proposed for the sessions are invited to explore elements of popular music composition and production, including but not limited to: influences; lyrics; regionalism; live or stage performance; the Southern and Jewish Diasporas; broadcast (radio and television); film music; Tin Pan Alley; and record companies and the music business. Special consideration will be given to studies that relate to Johnny Mercer and the popular music of his era.

Submission deadline is February 28, 2009. We seek papers from scholars and graduate students in all disciplines. There will be an award given for a graduate student paper, which will allow the student to attend the conference and present a paper. Participants will be required to submit
a final version of the paper prior to the conference. We intend to publish the conference proceedings in electronic form, and then at later date publish select papers in a printed volume.

Please submit a one-page abstract, a two-page curriculum vitae, and contact information including name, title, affiliation, address, e-mail, phone and fax numbers. Send inquiries and submissions to:

Georgia State University Library
Special Collections and Archives
ATTN: Kevin Fleming
100 Decatur Street, SE
Georgia State University
Atlanta, GA 30303-3202
kfleming@gsu.edu

Funding for the “Popular Music in the Mercer Era, 1910-1970” is provided through the Johnny Mercer Foundation.

About the Archives: The Popular Music and Culture Archives, within the Georgia State University Library Special Collections Department, collects and preserves unique and rare historical materials documenting 20th-century American Popular Music and Culture. Areas of focus include Johnny Mercer and music of his era; early county, bluegrass and gospel music; and radio broadcasting in Atlanta. The department promotes the use of these materials by the Georgia State University community, scholars and the public. The mission of the Archives is to advance scholarship and to further the educational, research and service missions of Georgia State University.

CFP: Music and the Moving Image (NYU)

MUSIC AND THE MOVING IMAGE IV CONFERENCE
NEW YORK UNIVERSITY
29 - 31 MAY 2009
CALL FOR PAPERS

The fourth annual conference, Music and the Moving Image, encourages submissions from scholars and practitioners that explore the relationship between music and the entire universe of moving images (film, television, iPod, computer, video games, and interactive performances) through paper presentations and plenary sessions. This year two keynote addresses, Philip Tagg, Univ. of Montreal (Kojak: 50 Seconds of Television Music; Ten Little Title Tunes) and Caryl Flinn, Univ. of Arizona (Strains of Utopia; New German Cinema) will be presented. In addition, a screening of Peggy Stern's Chuck Jones: Memories of Childhood with a discussion about animated films will be a featured part of the Saturday evening program. Streaming video versions of presentations will be available only at NYU from May 29 - June 1, 2009. Accepted papers will be considered for inclusion in the peer-reviewed online journal Music and the Moving Image: http://mmi.press.uiuc.edu/

Abstracts or synopses of papers (250 words) should be submitted to: Dr. Ron Sadoff, chair of the program committee, by no later than Dec. 15, 2008.

E-mail ron.sadoff at nyu.edu for more information.
Ron Sadoff, New York University 35 West 4th St Rm 777, New York, NY, 10012

Conference fee (May 29, 30, 31): $150.00 - Students: $75.00, Housing Available

Web site: http://steinhardt.nyu.edu/music/scoring/conference/

CFP: The Nu-Romantic: Revealing the Developing Artistic Milieu in Film, Theatre & Television (Reading)

THE NU-ROMANTIC: REVEALING THE DEVELOPING ARTISTIC MILIEU IN FILM, THEATRE AND TELEVISION

UNIVERSITY OF READING

17 APRIL 2009

CALL FOR PAPERS

Romanticism was a cultural landscape characterised by the eternal oscillation between a ‘modern’ enthusiasm that had failed and a ‘postmodern’ irony that would soon falter. Now, years later, another scene marked by oscillations is taking shape.

Under the name of Nu-Romanticism (‘naked’ Romanticism) JAM 2009 aims to initiate a mapping of this evolving landscape. It offers a chance to explore and define the new forms of thought, conception and creation that follow the established pattern of Romanticism. We look to current theory and critical practice within Film, Theatre and Television to reveal new forms of oscillation, be they between Aesthetic and Narrative, between Spectatorship and Performativity, between the Sublime and melancholy, hope and failure.

JAM 2009, the seventh annual conference for postgraduates run by postgraduates at the Department of Film, Theatre & Television, welcomes proposals that investigate, question or put pressure on the notion of a re-emerging Romanticism within film, theatre and television. We invite postgraduates to consider the concept of a new or renewed Romanticism in relation to the following areas of discussion:

• Aesthetics

• Genre

• Form vis-à-vis Content

• Narrative

• Space, Place and Landscape

• Representation

• Spectatorship and Social Relevance

• Performance and Performativity

• Medium Specificity

• Postgraduate Practice

• New Technologies

CALL FOR PAPERS deadline: Friday 30th January 2009 Please send a 250-word proposal and a 100-word biographical note to Tim Vermeulen, Harper Ray and Reina-Marie Loader at jam2009@rdg.ac.uk

Journeys Across Media (JAM) is an annual one-day interdisciplinary conference organised by and for postgraduate students. It provides a discussion forum for current and developing research in film, theatre, television and ‘new media’. Previous delegates have welcomed the opportunity to gain experience of presenting their work, at different stages of development, in the active, friendly and supportive research environment of Film, Theatre & Television at the University of Reading. Non-presenting delegates are also very welcome. Supported by the Standing Committee of University Drama Departments (SCUDD) and the Graduate School in Arts and Humanities, University of Reading.