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

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

Sponored by Lithuanian Composers’ Union, Lithuanian Academy of Music and Theatre

The purpose of the conference is to give new impulses to the development of musicological thought, which could serve to compositional practice and teaching process. The nine preceding conferences took place in Vilnius 1999-2009.

This year the conference will celebrate its 10th anniversary. For this occasion the special program and events are planed.

Sub-themes:
1. The conception of sacral music as a composing object (etymology, criteria, theoretical conceptions, attitudes of church authorities, pronouncements etc.)

2. Composing technique as a sign of music sacrality and secularity (historical-theoretical outlook).

3. Features of sacral music composing (liturgy, relation between text and music, the interaction between vocal and instrumental principles etc.).

4. Characteristics of Western and Eastern sacral monody. Gregorian chant (genesis, performing, notation and restoration, compositional structures, types etc.). The influence of Gregorian chant on the European music composing practices.

5. Genres, forms and composing principles of sacral music during the peak of Christian era (Missae ordinarium, Requiem, Psalmus, Magnificat, Antiphona, Responsorium, Hymnus etc.).

6. Sacral music in liturgy and beyond – the universalising of cult and concert composing practices.

7. Acoustic expanses of sacral music composing, performing and psychological suggestibility.

8. Current issues of composing Church liturgy repertoire in Lithuania and other countries.

9. Sacral music in the scope of contemporary music composition theory and practice.

Paper proposals (abstract together with a short biography) should be sent to Mr. Marius Baranauskas: pmc@lmta.lt . The abstract must not exceed 500
words. The duration of papers will be limited to 20 minutes. Please indicate whether your proposal belongs to one or more of the conference sub themes.

The deadline for proposal submissions is June 6, 2010. The proposals will be reviewed by members of the organizing committee and all applicants will be notified of the outcome until the end of June 2010.

The main language of the conference is English.

The material of the conference – abstracts and papers will be published.

Coordinator of the conference Marius Baranauskas: pmc at lmta.lt

http://pmc.lmta.lt

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

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

Centre for the History of Medicine and Disease
Durham University, UK
Venue: Hatfield College, Durham, UK
Deadline for submission of abstracts: 31 July 2010

This conference will discuss the history of the relationship between aesthetics and medical understandings of the body. Today’s vogue for neurological accounts of artistic emotions has a long pedigree. Since G.S. Rousseau’s pioneering work underlined the importance of models of the nervous system in eighteenth-century aesthetics, the examination of physiological explanations in aesthetics has become a highly productive field of interdisciplinary research. Drawing on this background, the conference aims to illuminate the influence that different medical models of physiology and the nervous system have had on theories of aesthetic experience. How have aesthetic concepts (for instance, imagination or genius) be grounded medically? What effect did the shift from animal spirits to modern neurophysiology have on aesthetics?

The medical effects of culture were not always regarded as positive. The second focus of the conference will be the supposed ability of excessive reading, music and so on to ‘over-stimulate’ nerves and cause nervousness, mental and physical illness, homosexuality and even death. It will consider questions regarding the effects of various theories of neuropathology and psychopathology on the concept of pathological culture. What kinds of culture could lead to such over-stimulation? How was this medical critique of culture related to moral objections and changes in gender relations, politics and society? How was it linked to medical concern about lack of attention and willpower?

This interdisciplinary conference brings together scholars working in a wide range of fields, including not only the history of medicine but also in subjects such as art history, languages and musicology. Abstracts for 20-minute papers (maximum 250 words) should be submitted electronically to the organisers by 31 July 2010 at the following address: James.kennaway at durham.ac.uk

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

CFP: OPERA America (journal submission)

OPERA AMERICA
CALL FOR JOURNAL SUBMISSIONS
DEADLINE: 30 APRIL 2010

OPERA America invites submissions to the North American Opera Journal, a new peer-reviewed, semi-annual online journal for scholarship about North American opera that features high-quality research with multimedia elements. The Journal is the first to support scholarly work specific to the field of opera in the United States, Canada and Mexico.

Submissions are invited from all scholars regardless of nationality or academic affiliation. Although length of submissions should not exceed 8,000 words plus other media, more concise articles are welcomed.

While the journal will cover all aspects of opera production in North America, topics should be centered on composition and performance histories of North American operas. The Journal will be targeted at readers interested in musicological and historical issues, and singers and other professionals involved in opera production. Articles may engage in issues of: history, aesthetics, cultural/interdisciplinary studies, business of opera, music and libretto composition, production, reception history and performance practice.

Consulting editor of the Journal is Michael Pisani, professor of music, Vassar College. The review committee consists currently of Ralph P. Locke, professor of musicology, Eastman School of Music; John Dizikes, author of Opera in America and professor emeritus, University of California, Santa Cruz; Elise K. Kirk, author of American Opera; Michael McKelvey, associate professor and coordinator of music, St. Edward's University; Howard Pollack, professor of music, University of Houston; and Sean David Cooper, assistant professor of voice, Bowling Green State University.

The deadline for submissions is April 30, 2010. Submissions should be sent via e-mail attachment to Education at operaamerica.org in Microsoft Word format with minimal formatting. Supplemental materials can be sent to the attention of Evan Wildstein, OPERA America, 330 Seventh Avenue, 16th Floor, New York, NY 10001.

More information can be found at http://www.operaamerica.org/content/pubs/journal.aspx.

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

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

A-R Editions seeks proposals for editions of music to be included in the Recent Researches in Music series. Each edition is usually devoted to works by a single composer or to a single genre of composition and contains an introduction to the music and its historical context, a critical report, and translations of vocal texts. We are especially interested in reviewing proposals for the following series:

- Medieval & Early Renaissance
- Renaissance
- American Music
- Oral Traditions

A-R Editions also seeks proposals for editions of music to be included in the Collegium Musicum: Yale University series. This series seeks to present a varied selection of works that draws from a particular repertory or historical context or that reflects a particular thematic focus. The works should be of interest to early music performers and ensembles (medieval through mid-18th century).

For proposal requirements, see our Author's Corner: http://www.areditions.com/ac/
For more information about our publications, see our website: http://www.areditions.com/rr/

Pamela Whitcomb
Managing Editor
pamela.whitcomb at areditions.com

CFP: Analytical Approaches to World Music

ANALYTICAL APPROACHES TO WORLD MUSIC (AAWM)
CALL FOR SUBMISSIONS

We are pleased to announce the formation of the new online journal Analytical Approaches to World Music (AAWM) dedicated to the memory of Fabrizio Pellizarro Ferreri.

AAWM seeks to expand the potential for musical analysis from a cross-cultural perspective by applying diverse theoretical and analytical concepts to repertoires outside the Western art music tradition. We welcome submissions that examine world musical traditions from a wide variety of analytical and theoretical perspectives. These may include but are not limited to: the adaptation of analytical approaches usually associated with Western art music to address various world music traditions; the use of indigenous analytical tools and strategies to characterize particular musical styles and genres; and the development of "hybrid" analytical systems and theories that integrate the aforementioned approaches. It is our hope that by bringing together analysts from a broad range of conceptual and cultural traditions, new modes of musical description and understanding may emerge that are capable of navigating the multicultural soundscape of the twenty-first century.

AAWM will be published twice a year and operate in tandem with the AAWM conference which runs on a biennial schedule. Submissions that take full advantage of our online format through the use of sound files, video files, flash animation, hyperlinks, or any other pertinent media are particularly encouraged.

AAWM employs the author-date system, as found in Chapters 16 and 17 of The Chicago Manual of Style, 15th edition. Text should be double-spaced and written in 12-point font. Endnotes should be employed as opposed to footnotes.

All submissions are subject to blind peer review. Therefore, any identification of the author should be removed from all submitted documents and media.

AAWM will not accept submissions that have been previously published or are currently under review for publication with another journal. The inaugural issue will be published in August, 2010.

Please send submissions as Microsoft Word (*.doc) files to: aawmjournal at gmail.com

Lawrence Shuster (Editor-in-Chief)
Rob Schultz (Editor)
Kalin Kirilov (Editor)
Margaret Farrell (Editor)
Aikaterini Dimitriadou (Archivist)

CFP: Popular Music Fandom: A One Day Symposium (University of Chester)

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

Binks Building, University of Chester
Northwest Popular Music Studies Network

Keynote speaker: Matt Hills (author of ‘Fan Cultures’)

While a range of researchers in cultural studies - notably Henry Jenkins, Matt Hills and Cornell Sandvoss - have moved the discussion about media fandom forward, much less work has been done specifically on popular music fandom. We invite contributors from a wide range of disciplines to discuss topics associated with popular music fan culture at this free one-day study event in Chester. Themes for papers may include (but are not limited to):

• Defining fandom
• Stardom and celebrity, reading and textuality
• Fandom and the consumer marketplace
• Fans as musicians / musicians as fans
• Perceptions of the music industry
• Collecting and other fan practices
• Live music, local scenes and fandom
• Stereotyping, self-awareness and media representation
• Gender, age and disability
• Methodology and research practice
• Theorizing fandom: processes, practices, identities
• Issues of taste, social mobility and class
• Personal narratives and investments
• Case studies, ethnographies and histories
• Fandom, heritage and tourism
• Specific music genres: jazz fandom, metal, northern soul, electronic music
• Religion, modernity and the ‘cult’ analogy
• The fan community: insiders, outsiders and the ‘ordinary' audience
• Fan culture and the paradigm of performance
• The ‘pathological’ tradition: questions of typicality and obsession
• Issues of race and nationality
• Power, psychology and symbolic economy
• Online participatory cultures

Papers will be twenty minutes in length. Please send an abstract of up to 200 words along with your name, affiliation, paper title, postal and email address to: Dr Mark Duffett, m.duffett@chester.ac.uk (marking your email title ‘fan symposium’).

The deadline for abstracts is Monday May 10th 2010.

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

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

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

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

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

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

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

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

CFP: Special Issue on Popular Music and Marketing

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

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

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

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

Dr Bethany Klein
b.klein@leeds.ac.uk

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

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

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

RULES AND CONDITIONS

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

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

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

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

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

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

Art. 6 More than one composition may be submitted.

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

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

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

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

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

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

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

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

Art. 13 The Jury's decision is final.

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

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