CFP :Canto Aperto - Plainchant Festival (Sint-Truiden, Belgium)

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

In 2012, the first CANTO APERTO Plainchant Festival will be organized in the city of Sint-Truiden, Belgium. This new, bi-annual festival aims at exploring the rich history of plainchant and its performance practices from the 7th century until today. The 2012 edition focuses on the chant traditions and repertory of the Mosan Area and the Rhineland in the 12th and 13th centuries.

We invite ensembles of young (semi)professionals to contact us with (general) concert program concepts or (specific) proposals related to the theme of the 2012 edition. Ensembles interested in collaboration with the festival but with no previous experience related to the Rhine-Meuse repertory are also invited to express their interest and to send their applications. Musicological advice and guidance towards relevant sources can be provided by CANTO APERTO. Similarly, musicologists and other scholars studying the Mosan and Rhineland of the 12th and 13th centuries are invited to collaborate with the festival as well.

Program proposals may relate to one or more of the five strands outlined below. Applications should include a curriculum of the ensemble, at least one letter of recommendation, and one recent recording. Proposals and applications (by preference in English, but proposals in other languages are also accepted) should be sent to Bart De Vos (bart.devos@musica.be) before May 31, 2010. Please contact Pieter Mannaerts (pieter.mannaerts@arts.kuleuven.be) with musicological questions.

Proposed strands:
1. A Network of Cities (Aachen, Cologne, Liège, Tongeren, Maastricht)
2. Rhine and Meuse: transport and transmission
3. Keepers of the Carolingian Heritage
4. A Promised Land for Orders and Communities
5. A Land of Saints

More details on these strands and a longer concept text on CANTO APERTO can be found on the websites of Musica (www.musica.be), Resonant (www.muzikaalerfgoed.be), and the Alamire Foundation (www.arts.kuleuven.be/alamire).
The festival themes of the next editions will be Chant in the Romantic Era (2014), Chant in the Baroque Period (2016), Carolingian Chant (2018), and Chant of the Renaissance (2020).

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

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