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

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

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

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

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

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

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

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

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

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

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

Organizing and Scientific Committee

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

For information:

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

CFP: Liszt and the Arts (Budapest, Hungary)

LISZT AND THE ARTS - INTERNATIONAL INTERDISCIPLINARY CONFERENCE

BUDAPEST, HUNGARY

18 - 21 NOVEMBER 2011

CALL FOR PAPERS

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

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

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

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

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

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

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

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

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

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

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

Programme committee:

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

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

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

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

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

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

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

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

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

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


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

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

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

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

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

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

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

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

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

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

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

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.

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

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

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: Women in Music in Ireland Conference (National University of Ireland)

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: Musicology in the 3rd Millennium (Sibelius Academy)

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)

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)

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)

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

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)

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: Readings of Diffcult Freedom (Toulouse, France)

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

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

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

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

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)

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: Missed Connections (University of Pennsylvania)

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

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