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: Music for Stringed Instruments - Music Archives and the Materials of Musicological Research in the 19th and Early 20th Centuries (Cardiff Univ)

MUSIC FOR STRINGED INSTRUMENTS - MUSIC ARCHIVES AND THE MATERIALS OF MUSICOLOGICAL RESEARCH IN THE 19TH CENTURY AND EARLY 20TH CENTURIES
CARDIFF UNIVERSITY
23 - 24 JUNE 2010
CALL FOR PAPERS


The call for papers can be read in full at the conference web page, URL:
http://stringeditions.leeds.ac.uk/news.htm

Broad topics for papers may include, but are not limited to:
* 19th- and early 20th-century music publishing history
* Plate number chronologies
* Creation and significance of digital resources for research in the field
* Comparative studies: editions and performance practices
* Manuscripts
* Editions with significant MS annotation
* Music archives
* Studies of individual editor-performers
* The use of early recordings
* Illustrated papers exploring the practical application of this research

The conference will include a performance given by the LUCHIP ensemble (Leeds University Centre for Historically Informed Performance), followed by a round table discussion. It is hoped to provide assistance for postgraduate students to attend.

Please email proposals for papers to Dr. George Kennaway, at g.w.kennaway at leeds.ac.uk, no later than March 15th 2010.

CFP: The British Organ in the 20th Century and Beyond (Oxford University)

THE BRITISH ORGAN IN THE TWENTIETH CENTURY AND BEYOND

OXFORD ORGAN CONFERENCE 2010

15 - 18 APRIL 2010

CALL FOR PAPERS

The Betts Fund of the University of Oxford, and the British Institute of Organ Studies are pleased to announce the last conference of a four-year sequence entitled 'The Organ in England: Its Music, Technology, and Role through the Second Millennium'. This year, the Royal College of Organists will be holding its spring meeting in Oxford at the same time and some joint events will be included in the Programme.

The conference will take place from 15 to 18 April 2010 at Merton College, Oxford, and will cover the organ and its music in the present era and into the future. The title for the conference is 'The British Organ in the Twentieth Century and Beyond.'

300-word proposals for 20-minute papers and lecture-recitals are welcome on any and all relevant topics. The following broad areas are given as suggestions for possible lines of enquiry, and are not meant to be limiting:

The organ in musical and artistic culture

* The changing sound of the organ from Edwardian to neo-baroque to modern

* The rediscovery of the organ case its form and function

* The interest in new organs in historic styles

* The presentation of the organ in audio and visual media

* Historically informed performance and the organ

Organ Builders

* The decline of nineteenth-century factory builders and the rise of a new generation

* The impact of electrical and electronic technology for organ control and sound

* The rediscovery of classical principles

* Changing attitudes to conserving and treating old organs

* The impact of imported organs in the UK

* Future clients for future organs

* Specific builders

Composers, Performers, and Teachers

* Who wrote for the organ and what did they write?

* Who performed it?

* Who were the prominent teachers, and what was their impact?

Organ builders and organists in association

* The emergence of amateur and professional associations for organists and organ builders, and their impact

Twentieth-century icons

* Organs, organists or advisers who reshaped organ culture in the UK

Abstracts will be due by 11 December, with responses from the panel of readers by 18 January.

For more information, please contact:

Dr Katharine Pardee

Betts Scholar in Organ Studies

Director of Chapel Music

Wadham College

University of Oxford

kfpardee [at] yahoo.com

CFP: Stanford Forum on Opera (Stanford University)

STANFORD FORUM ON OPERA - GRADUATE STUDENT CONFERENCE

STANFORD UNIVERSITY

27 - 28 FEBRUARY 2010

CALL FOR PAPERS

Graduate students from all disciplines are encouraged to propose a paper on a topic related to opera from 1600 to the present. Please submit an abstract of no more than 300 words outlining the project by January 3, 2010. Applicants will be notified of the conference program by January 11. Papers will be allotted 30 minutes for presentation and 15 minutes for discussion.

Please send abstract as a pdf, doc, or docx file along with any other inquiries to: lmayne at stanford.edu

Keynote address to be given by Karol Berger on the works of Richard Wagner.

Join our Facebook group at:

http://www.facebook.com/group.php?gid=148509531716

Website coming soon.

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

CFE: Noise, Audition, Aurality: Histories of the Sonic World(s) of Europe, 1500-1945 (essays)

NOISE, AUDITION, AURALITY: HISTORIES OF THE SONIC WORLD(S) OF EUROPE, 1500-1945
DEADLINE: 30 NOVEMBER 2009
CALL FOR ESSAYS

Contributions are invited for a proposed collection of essays exploring the soundscapes of Europe from c.1500 to 1945. The collection seeks to open up new areas of interdisciplinary scholarship from a range of fields including (but not limited to) musicology, urban geography, history, literary studies, cultural studies, psychoanalysis, psychology and anthropology, and will build on existing work in acoustic ecology, the sociology of noise and histories and historiographies of noise, audition and aurality. We will favour contributions that deal with historically-informed topics in the following areas (although this is by no means an exclusive list):

. The noise-sound-music nexus
. Urban/rural soundscapes
. Public/private soundscapes
. The acoustic ecology of communities
. Legal histories of noise
. Noise, music and the body
. Listening and the erotic
. Political economies of noise
. Noise, music and landscape
. Theories of hearing and listening
. Historical acousmêtres
. Historiographies of noise, audition and aurality
. Technologies of sound reproduction and their histories

Prospective contributors should send a 250-word abstract and a short biography to Ian Biddle (i.d.biddle at ncl.ac.uk) by no later than November 30 2009. If your contribution is chosen, we will require your finished chapter by 19 April 2010.

If you have any queries please also contact Ian Biddle at the email address above.

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

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

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

Keynote speaker: Professor David Blake, University of York

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

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

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

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

Proposals will be anonymised before consideration by the conference convenors.

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

Results Announced: mid-December 2009

Preliminary Programme: mid-December 2009

www.music.sas.ac.uk

Michael Jackson: Some Observations

MICHAEL JACKSON: SOME OBSERVATIONS

Michael Jackson (1958-2009) passed away yesterday and I find myself in awe of the coverage devoted to the more esoteric parts of his life (e.g. hyperbaric chamber, conversations with Bubbles, dangling of a baby outside a window, his infamous trial). All of this seems to distract from his contribution to popular music of the late 20th century. In the interest of full disclosure, I've liked his music but have always found his little sister, Janet's music the more interesting. Prior to yesterday I haven't bought an album since I forked out the cash for a cassette of Thriller.

I happened to be in HMV on Oxford Street where hordes of shoppers were congregating around a front-end display of his CDs and DVDs whilst his Billie Jean blasted away through the sound system. HMV had entrepreniuerally created an end of aisle display strictly on his music alone. As I've said I haven't bought one of his albums for a couple decades and was caught up in the moment and bought his album the '#1s' which is a compilation of his hits which went to the top of the Billboard charts, so not everything but many of the classics.

Rather than purchase a CD, I opted for this DVD as it had the videos of those covers. By no means was this an act of nostalgia, but thinking about Jackson's contributions to pop culture, it was really these videos which influenced a generation of pop music. What would the dance moves of Justin Timberlake or Beyonce look like without a Michael Jackson? What about his synthesis of R&B which form the undercurrent sound of boy band groups like NSYNC, Backstreet Boys and Blue?

It is easy for the media to focus on lawsuits over control of assets let alone child custody, but in time these will be overshadowed by his artistic contributions. At the time MTV was a fledgling network devoted to Cyndi Lauper, Duran Duran, a younger Madonna and Culture Club. With the Thriller album's hits of Billie Jean and Thriller, Jackson's dance moves indelibly made their mark on our collective consciousness. These dance moves which are highlighted in almost all of his videos coupled with savvy Quincy Jones R&B infused tracks was a revolutionary fusion of musical styles for the 20th century. It would serve as a structural constant for popular music of the past 30 years even outliving its antithesis found in the grunge music of Seattle's Nirvana in the 90s. In terms of musical importance, one could liken it to the 19th century cross-cultural synthesis which brought together antiphonal 'hollers' of the African-American slaves, the creation of the blues and the evolution into jazz.

Listening to this compilation, I'm struck in particular by the video to Man in the Mirror. Even though it cites many of history's notable events it doesn't seem dated. One of the most fitting images relate to the death of another artist, John Lennon. (I remember that date but his passing affected in particular one of my cousins who could play almost all of his and the Beatles' tunes by memory on the piano. I'm pretty sure she could probably do the same for MJ.) As with Jackson's passing it is his musical contributions which stay in the memory. Back to the video: although the Berlin Wall has fallen and Poland has joined the EU, there is still gender/racial/sexual inequality, conflict in the Middle East, nuclear proliferation still haunts us as does poverty in the Third World. Will it seem dated in another 20 years? I'm not sure, but thanks to digital technology Michael Jackson's music and video will continue to exist. Perhaps his influence will even be discussed in textbooks as are the origins of the blues and jazz today.

Announcement: Music for Stringed Instruments: Music Archives and the Materials of Musicological Research in the 19th and Early 20th Centuries (Cardiff

MUSIC FOR STRINGED INSTRUMENTS: MUSIC ARCHIVES AND THE MATERIALS OF MUSICOLOGICAL RESEARCH IN THE 19TH AND EARLY 20TH CENTURIES

SCHOOL OF MUSIC, UNIVERSITY OF CARDIFF

23 - 24 JUNE 2010

PRELIMINARY ANNOUNCEMENT

This conference will take place as part of a 4-year AHRC-funded research project focusing on 19th- and early 20th-century performing editions of string chamber music - texts which are invaluable sources for empirical evidence about performance practices during that period. The topics this conference is expected to address will include 19th- and early 20th-century publishing history, comparative studies of editions, performing editions and performance practices, and musical archival studies. 

A formal call for papers will be circulated in October 2009.

For further information, contact: 

George Kennaway, School of Music, University of Leeds, Leeds LS2 9JT, England, U.K.

Email: g.w.kennaway@leeds.ac.uk

Tel: (+44)/(0) 113 3438218

CFP: 20th Century Music and Politics (University of Bristol)

TWENTIETH-CENTURY MUSIC AND POLITICS

DEPARTMENT OF MUSIC, UNIVERISTY OF BRISTOL

14 - 16 APRIL 2010

CALL FOR PAPERS

Abstracts are invited for this three-day conference on 20th-century music and politics. Papers are welcome on all musics and all geographical areas. Current panel themes include: concert life and repertoire; emigration and musical identity; music as propaganda; wartime politics in Europe and America; music in totalitarian regimes. 

Please send abstracts of no more than 400 words to: Pauline.Fairclough at bristol.ac.uk 

The deadline for receipt of abstracts is 1 September 2009.

CFP: Music without Walls? Souce Studies in the 21st Century (Queen's University, Belfast)

INTERDISCIPLINARY SYMPOSIUM: MUSIC WITHOUT WALLS?

SOURCE STUDIES IN THE 21ST CENTURY

SCHOOL OF MUSIC AND SONIC ARTS, QUEEN'S UNIVERSITY, BELFAST

16 - 17 DECEMBER 2009

CALL FOR PAPERS

Website: http://www.symposiummusicwithoutwalls.co.uk

The symposium ‘Music without Walls?’ is being held to coincide with the twentieth anniversary of the fall of the Berlin Wall and to celebrate subsequent developments in music source studies. The aims of this interdisciplinary symposium are to present and contextualize recent findings and to discuss how new technologies may facilitate and enhance our understanding of these issues.

Proposals exploring any aspect of this theme are invited, although those relating to new discoveries, archival research in former ‘Eastern-Bloc’ countries, case studies of various geographical locales, the implications of technological developments and future directions in source studies, are particularly encouraged.

The symposium will open with a research seminar given by Dr Michael Maul (Bach-Archiv, Leipzig) Wednesday 16 December 2009, 1 pm.

Individuals may submit one proposal in the form of an abstract of not more than 300 words (individual papers), or not more than 400 words (round table sessions).

The abstract should be preceded by information under the following headings:

NAME, INSTITUTION, POSTAL ADDRESS, EMAIL ADDRESS.

Abstracts may be emailed to Alison Dunlop adunlop04@qub.ac.uk Attachments (in MS word file or .rtf format) are preferred for the text of abstracts, but all attachments should be backed up with a plain-text version in the main email.

Deadline for receipt of abstracts is 1 September 2009.

Alison Dunlop

School of Music and Sonic Arts (Music Building)

University Road

Belfast

Northern Ireland

BT7 1NN

Tel : +44 (0)28 9097 5337 (School Office)

http://www.symposiummusicwithoutwalls.co.uk/

CFP: American Music (journal)

AMERICAN MUSIC

CALL FOR PAPERS

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

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

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

books, recordings, films, websites, and concerts.

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

SUBMISSION GUIDELINES:

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

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

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

Manual of Style.

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

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

CFP: The Asia Pacific Journal of Anthropology (TAPJA)

THE ASIA PACIFIC JOURNAL OF ANTHROPOLOGY (TAPJA)

CALL FOR SUBMISSIONS

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

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

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

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

With kind regards,

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

CFP: Interdisciplinary Humanities (journal)

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

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

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

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

Regards,
Steve Husarik
shusarik at uafortsmith.edu

CFP: A Mark, a Yen, a Buck, or a Pound: Money and the Stage Musical at the Millennium" (A Special Issue of Studies in Musical Theatre) (Journal)

A MARK, A YEN, A BUCK, OR A POUND: MONEY AND THE STAGE MUSICAL AT THE MILLENNIUM
(A SPECIAL ISSUE OF STUDIES IN MUSICAL THEATRE)
CALL FOR SUBMISSIONS

While the musical theater has always been a commercial enterprise, the amount of money needed to produce a musical has risen steadily since the onset of the Depression, and especially since the last decades of the 20th century. The cost of production, coupled with the introduction of numerous cheaper, more widely accessible entertainment forms, has forced the musical to struggle financially and aesthetically at various periods during the late 20th and early 21st centuries. Broadway musicals suffered along with the rest of the US during the economic recession and skyrocketing inflation that plagued much of the 1970s, for example.

Inflation affects the criteria for hit status: since the 1970s, shows must run for increasingly long stretches to profit. Thus, while musicals that ran for more than a few years were comparatively rare in the 1940s, it is now common for musicals to run several years before recouping, which
has led to new emphasis on advertising and marketing strategies, and, some would argue, a diminishing role for critics.

The longer average run of stage musicals depends in part on an increasingly global audience, which is seen as transitory and ever-renewing. Modern musicals court audiences from around the country and around the world by employing strategies that include new approaches to subject matter and musical style; ever-changing approaches to spectacle; increasingly sophisticated marketing; and more dependence on and careful emulation of the mass media.

This is especially true since Times Square was renovated at the end of the 20th century. During the booming 1990s, the musical grew larger, more internationally appealing, and more
spectacular than ever, but with what critics argued were serious aesthetic consequences. Now in the early 21st century, the global recession has again begun to affect the musical theater economically and aesthetically. But how?

As guest editors for a special edition of Studies in Musical Theatre to be published in 2010, we would like to propose a multidisciplinary approach to the relationship between commerce and art as applied to the stage musical since the late 1980s, and especially since the turn of the century. We welcome proposals for articles that explore the stage musical from a wide variety of perspectives. Topics might include but are not limited to:

• International stage musical economics
• Advertising and marketing
• Criticism, gender representation, or race representation as related to the economy
• Style, content, consumption, cost, or longevity as related to the economy
• Tourism and audience demographics as related to the economy

Submissions, in the form of abstracts that do not exceed 500 words, should be sent by email before Thursday, April 30, 2009, to guest editors Elizabeth Wollman (elizabeth.wollman@baruch.cuny.edu) and Jessica Sternfeld (jsternfeld@hotmail.com).
Potential contributors will be notified by late May 2009. Completed articles will be expected in late January 2010; all revisions will be due in late August 2010.

Studies in Musical Theatre is a fully refereed international journal published by Intellect. For further information, please visit the website: http://www.intellectbooks.co.uk/journals.php?issn=17503159

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

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

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

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

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

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

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

Proposals might address one or more of the following themes:

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

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

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

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

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

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


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

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

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

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

Post-Doc Opportunity: Musicology of Contemporary Techniques (IRCAM)

POST-DOCTORAL APPOINTMENT: MUSICOLOGY OF CONTEMPORARY COMPOSITIONAL TECHNIQUES
IRCAM-CNRS, PARIS
DEADLINE 31 MAY 2009

The Analysis of Musical Practices Research Group, IRCAM-CNRS, is pleased to announce a 18-months ANR Post-Doctoral Fellowship, to begin in September 2009. We seek scholars in the early stages of their academic careers whose research will contribute to our multidisciplinary project « Musicology of Contemporary Compositional Techniques », led by IRCAM in collaboration with University of Lille-3, Technological University of Troyes and the Geneva Conservatory.

PROJECT
The researcher will be involved in a collective work program which aims at a better understanding of the techniques, methods or logic of composition at stake in art music from the last 50 years. S/he will be based at IRCAM, APM (see http://apm.ircam.fr/).

His/her twofold contribution will be: (1) an in-depth study of the creative process of a significant new music composer between the years 1948-78, based on a corpus which includes sketches, manuscripts, correspondence and/or any other traces of the activity of composition; 2) participation in a study led by a member of APM about an ongoing creative process, based on interviews with the composer.

As regards (1), the researcher will propose one (or more) plausible material(s) to investigate, be it or not as a pursuit of her/his past research. The creative process at stake should become part of the whole project that integrates various other studies (see http://apm.ircam.fr/mutec/), each of these dealing with a creative process that implements a specific technique, technology or constraint in addition to the standard tools and resources used by the composer considered. Method of data analysis might take inspiration from "genetic criticism" (sketch studies), music analysis, human sciences, social sciences.

The researcher will contribute internal seminars as well as a symposium during the Fellowship. Two articles will be submitted to peer-reviewed journals at the final stage of the Fellowship. The researcher may contribute the final publication gathering every major output of the whole project.

PROFILE
Musical and musicological skills are required (historical musicology and/or ethnomusicology and/or music theory & analysis).
Experience in (musical) sketch studies is highly valued. Experience in sketch studies from other fields would be taken in consideration.
Experience in psychological and/or ethnological and/or sociological research would be valued.
Skills in computer music and/or multimedia technologies would be appreciated.

Although French-speaking ability might certainly prove necessary in the course of the work, it is not a sine qua non requirement for this application. Others languages involved in the project-not to mention English-are Italian and German.

APPLICATION
The Fellowship will bring a salary of E 2379 per month.

A letter of application should be accompanied by:
(1) A statement of research for the Fellowship period (up to 1500 words)
(2) A curriculum vitae
(3) One sample of work (an article, a book, a dissertation chapter, or so)

After initial review, the committee may request further written material from applicants.

Applications must be received by 31 May 2009. Send applications to:
Nicolas Donin
I.R.C.A.M.
1, pl. Igor-Stravinsky
F-75004 PARIS

CFP: 1948 and All That: Music, Ideology and Power in the Soviet Union (Cambridge)

1948 AND ALL THAT: MUSIC, IDEOLOGY AND POWER IN THE SOVIET UNION

UNIVERSITY OF CAMBRIDGE

27 - 28 NOVEMBER 2009

CALL FOR PAPERS

Supported by CRASSH (Centre for Research in the Arts, Social Sciences and Humanities)

Abstracts are invited for a two-day conference on any aspect of the interaction between music and politics in the former USSR. Papers need not focus exclusively on the events of 1948 and may address the pre- or post-Stalin period.

Abstracts of approx. 500 words should be sent by 1 June to Marina Frolova-Walker and Pauline Fairclough: mf263 at cam.ac.uk AND Pauline.Fairclough at bristol.ac.uk

CFP: State Music and Dictatorship (Paris)

STATE MUSIC AND DICTATORSHIP - INTERNATIONAL CONFERENCE
ECOLE DES HAUTES ETUDES EN SCIENCES SOCIALES, PARIS
14 - 16 MAY 2009
CALL FOR PAPERS

Organisé par le Centre de Recherches sur les Arts et le Langage (CRAL - EHESS / CNRS)
sous la responsabilité d’Esteban Buch, Igor Contreras et Manuel Silva

Under the dictatorships of the twentieth century, music never ceased to sound. Even when they did not impose aesthetic standards, these regimes tended to favour certain kinds of music: occasional works for commemorations or celebrations, patriotic or militant hymns, military marches, etc. They created specific ways to select and promote music production, through prizes or commissions, thus validating or institutionalizing some compositions as the emanation of the State. Also, composers who were more or less close to power often wrote pieces of music on their own initiative to support the political order by way of an aesthetics or a program.

This conference will focus on musical works inspired and promoted by the apparatus of such regimes as Nazi Germany, Fascist Italy, the USSR and its satellites, Franco’s Spain and Salazar’s Portugal, France under Vichy, and Latin-American dictatorships of the 1970s. It will also address theoretical issues long neglected by musicologists and historians who tended to view them simply as propaganda tools. Are there similarities between musical productions in every dictatorship? Which discourses and practices were implemented and how did the listeners react to them? Can we locate any common stylistic features among them, or did they resemble one another chiefly in their contexts and media of circulation? Can we speak confidently about "State music"?

Plus d’informations prochainement sur http://musique.ehess.fr

CFP: Old Age and Late Works (15th-21st Centuries) (Poitiers, France)

OLD AGE AND LATE WORKS (15TH-21ST CENTURIES) INTERNATIONAL CONFERENCE
POITIERS, FRANCE
10 - 12 DECEMBER 2009
CALL FOR PAPERS

Sponsored by the Université de Poitiers, UFR Sciences Humaines et Arts, GERHICO

Artists’ longevity is a topic that raises question about biography’s impact on creation. Artistic production in old age often coincides with a drastic change of style, resulting from a reconsideration of preceding skills and positions, if not a return to basics. This final season of life has fed the romantic myth of the elderly genius’s absolute liberty of expression, reaching an
incomparable dramatic intensity, as a constant in major artists’ late production throughout history.

The old age of artists has been, however, a subject of debate since the Renaissance, when senility’s consequences on artistic creation were often denounced as a defect. Historiography has long fluctuated between these two interpretative positions, glorifying the liberty of expression of late works or denigrating the imperfections of their workmanship or conception.

Most recently, scholars have considered the status of late works in relation to the psychological, cultural and social conditions that the negative consideration of old age could have on senior artists’ production, independent of its quality. In spite of the attention paid to this topic, we still lack for a comprehensive view that considers late artistic creation over a long period and in different fields of expression, allowing us to question its specificity with respect to the wider spectrum of intellectual and scientific production by those of advanced age.

This conference’s purpose is therefore to treat the topic of old age and its late creations over an extended chronology – from the Renaissance to the modern era – in visual arts, music and literature, establishing a dialogue between those different disciplines.

For more information: http://www.mshs.univ-poitiers.fr/gerhico/accueil.html

Submissions dead-line : 31 march 2009 (text : at most 2.000 characters; curriculum vitae : at most 1 page) Contact : diane.bodart at univ-poitiers.fr