Research Grant: Transatlantic Cooperation in Research

TRANSATLANTIC COOPERATION IN RESEARCH (TRANSCOOP)

FUNDING FOR COLLABORATIVE RESEARCH FOR SCHOLARS IN THE HUMANITIES, SOCIAL SCIENCES, ECONOMICS AND LAW

ALEXANDER VON HUMBOLDT FOUNDATION

DEADLINE: 31 OCTOBER 2009

The Alexander von Humboldt Foundation supports transatlantic research cooperation between German, American and/or Canadian scholars in the humanities, social sciences, economics, and law.

Joint research initiatives can receive up to 55,000€

over a three-year period.

Funds can be used:

* to finance short-term research visits lasting up to three months.

* to organize conferences and workshops.

* for material, equipment and printing costs.

* for a limited amount of research assistance.

Up to fifteen percent of the TransCoop funds granted can be earmarked for the German partner institution and used as an administrative lump-sum.

U.S. or Canadian sources must match funds from the TransCoop Program.

Applications should be submitted jointly by at least one German and one U.S. and/or Canadian scholar. A Ph.D. is required of both applicants.

Applications are accepted biannually, with deadlines of April 30 and October 31.

Applications and detailed information can be found on the Alexander von Humboldt Foundation webpage. http://www.humboldt-foundation.de/web/8175.html

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: 36th Annual Conference - Society for American Music

36TH ANNUAL CONFERENCE SOCIETY FOR AMERICAN MUSIC
OTTAWA, CANADA
17 - 21 MARCH 2010
CALL FOR SUBMISSIONS

2010 Program Committee: Michael Pisani, chair; Drew Edward Davies, Robin Elliott, Larry D. Hamberlin, Mary Ingraham, Felicia M. Miyakawa, and Gillian M. Rodger

The Society for American Music invites proposals for papers, papers on one of two seminar topics (see "New Seminar Format" below), additional panels of 2-3 papers, concerts, lecture-performances, and scholarly posters for its 36th Annual Conference. The conference will be held in Ottawa, Ontario (Canada) March 17-21, 2010. The submission deadline for all proposals is Monday, 15 June 2009.

In addition to proposals on the topics of the seminar panels, we welcome proposals involving all facets of musical life in the Americas and manifestations of these cultures anywhere in the world.
For this conference we especially welcome proposals addressing:
* Cultural politics and the nation: the role of federal policies, government institutions, and public organizations in the creation, performance, and reception of music
* The role of French culture in shaping North American musical life, with a focus on Quebec, but also including Acadian and Creole cultures.
* The Idea of North (to cite Glenn Gould). [Are there measurable aspects of an identifiable "Northern culture" in music, comparable to the "U.S.Western" or "Southern" traditions?]
* Cross-border musical relations in the Americas (affecting musicians, institutions, organizations, cultural policies, etc.)
* The impact of immigration on musical life in the United States and Canada
* Music in Canada, including classical, popular, aboriginal, and traditional music (considered either in isolation or in contact with each other)

Guidelines:
Presenters are required to register for the entire conference. The committee encourages proposals from those who did not present at the 2009 Denver meeting, but all proposals will be judged primarily on merit. With the exception of concerts or lecture-performance with
accompanying audio-visual materials, all proposals must be submitted electronically using the online submission form (see below).

Proposers for all except lecture-recitals must specify whether the proposal is for 1) paper, 2) poster, or 3) either presentation format, the latter to be determined by the Program Committee as it builds sessions. Individual or joint papers should be no longer than twenty minutes. Lecture-performances should be no longer than thirty minutes. For complete session proposals, the organizer should include an additional statement explaining the rationale for the session, in addition to abstracts for each paper.

New Seminar Format
Of the proposals submitted in January, 2009, the two selected by the program committee for the 2010 conference in Ottawa will be:
1)The Art of Association': Exploring Institutions as Agents of American Music in Theory and Practice and
2)Nineteenth-Century American Music Studies: The State of the Field in .

Unlike regular SAM sessions, in which papers are read, papers for the conference seminars will be posted at a password-protected location in advance of the conference, where they may be read by all interested SAM members. The bulk of the conference session will be devoted to
discussion of the papers as they relate to the general theme. Since papers will be posted electronically on the web, we would like to encourage materials that are recently published or "in press" as one kind of submission that would be appropriate for the seminar structure. These papers may be full articles, up to 20 pages, and should include notes, examples (where relevant), and bibliography. All proposals should be submitted in the usual way by the regular SAM
deadline, except that the specific seminar topic should be clearly specified. Unless the author specifies otherwise, abstracts not accepted for either of the two seminars will be considered by the program committee for one of the regular sessions.

Although papers for the seminars will not be "read" in the traditional sense, the act of participating in the seminar as a presenter and defending the ideas of one's paper constitutes the same level of participation in an academic conference as would a normal paper. For this reason, those submitting abstracts toward a seminar cannot also submit toward a regular session.

Research Poster Sessions
The poster format provides an opportunity for SAM members to meet informally with authors and discuss research. Each author attends his/her respective 90-minute session, distributes abstracts, and answers questions. Supporting sound and/or video examples (on personal computers and utilizing battery, rather than AC power) will be coordinated with other presenters once sessions have been formed by the Program Committee. Further poster guidelines may be found at Poster Info.

Interest Groups Interest Groups with a guaranteed slot for 2010 are requested to convey a brief description of their plans to the Program Committee using the online submission system by June 15, if possible. To ensure proper scheduling and room assignments, Groups should indicate by this date whether they would prefer a lunchtime slot (12:45-1:45) or a longer evening session. Please note that all the information that will appear in the conference program book (participant names, titles, 100-word abstract) must be submitted not later than August 5. Interest Groups without a guaranteed slot for 2010 may submit panel proposals via the online submission system if they wish, but acceptance or rejection of these proposals will be at the discretion of the Program Committee. All Interest Group submissions (guaranteed or not) should use the "Panel" option below.

INCLUDE THE FOLLOWING FOR ALL SUBMISSIONS:
* 250-word proposal
* 100-word abstract suitable for publication in the conference program (.txt or .rtf format)
* Audio and visual needs selected from the following list only: CD and audiocassette player, overhead projector, VHS/DVD player, LCD projector. Due to logistics and the high cost of renting this equipment, we cannot accommodate AV changes once a proposal is accepted.
* Proposer's name, address, phone number(s), e-mail address, and institutional affiliation or city of residence
* Specify whether you are a student (and therefore eligible for certain student grants or awards)

For Lecture-Performances please include the above-mentioned materials, plus:
* Seven copies of a recording (CD and DVD preferred, but cassette or VHS tapes also accepted)
* An addressed, stamped mailer if you would like the recordings returned
* A list of special needs (e.g., piano, music stand, space for dance demonstration, choral risers)

All materials must be electronically dated-stamped (online submission) or postmarked (mail submission) by 15 June 2009.

Questions about the submission process may be sent to Michael Pisani
at mipisani@vassar.edu. Postal submissions should be addressed to: Michael Pisani, SAM 2010 Program Committee Chair, Vassar College, Box 595, Poughkeepsie, New York, 12604-0595

Lowens 2008 Book Award Competition - Society of American Music

LOWENS 2008 BOOK AWARD COMPETITION
SOCIETY FOR AMERICAN MUSIC
CALL FOR NOMINATIONS
DEADLINE: 1 MAY 2009

We invite you to submit books published in the year 2008 for consideration for the Irving Lowens Book Award of the Society for American Music. The Society annually awards the prize for the book judged as the best in the field of American music. Any book on American music with a year 2008 imprint is eligible.

We define the term "American music" in its broadest, most inclusive sense. We view it as composed of the music of all of North America (Canada, USA, Mexico, Central America, and the Caribbean) in its historical and contemporary styles and contexts, including art and popular cultures, ethnic groups and minorities, along with its ramifications on cultures elsewhere in the world.

The Lowens Book Award represents our most prestigious honor and carries with it a monetary prize as well as a citation that will be presented at the national conference in the spring of 2009. A list of previous award winners, from 1983 to the present, may be viewed at the SAM website at http://american-music.org/awards/LowensBookAward.php.

Since each of the five members of the committee must review every book under consideration, we would appreciate your sending five (5) review copies to the members of the committee. Nominations and questions and may be directed to the chair of the committee, Larry Hamberlin (lhamberl at middlebury.edu).

DEADLINE: 1 MAY 2009

Dena Epstein Award for Archival and Library Research in American Music

2010 DENA EPSTEIN AWARD FOR ARCHIVAL AND LIBRARY RESEARCH IN AMERICAN MUSIC
MUSIC LIBRARY ASSOCIATION
DEADLINE: 1 JULY 2009

The Dena Epstein Award for Archival and Library Research in American Music was created in 1995 through a generous gift from Morton and Dena Epstein to the Music Library Association. Requests are currently being accepted for one or more grants to be awarded for the year 2010. The amount to be awarded is $2100. The decision of the Dena Epstein Award Committee and the Board of Directors of the Music Library Association will be announced at the MLA annual meeting in San Diego, California, which will be held March 20-24, 2010.

A grant may be awarded to support research in archives or libraries (both nationally and internationally) on any aspect of American music. There are no restrictions as to applicant's age, nationality, profession, or institutional affiliation. All proposals will be reviewed entirely based on merit. Awards may be presented to an individual applicant or divided among multiple applicants. At its discretion, the committee may choose not to award a grant during any particular year. An
applicant who has not received an Epstein Award for the first year of application may resubmit a proposal in the two following years for any one project. An applicant may receive only one award for any one project.

Applicants must submit the following documents:

1. A brief research proposal (under 10 pages) that includes:

a) a description of the project
b) a detailed budget for the project, indicating:
1) the amount of funding requested (capital purchases such as computer equipment and furniture are ineligible)
2) justification for the funding
3) additional sources of funding
c) a demonstration of how the applicant's research will contribute to the study and understanding of American music

2. A curriculum vitae of the applicant.

3. Three letters of support from librarians and/or scholars knowledgeable about American music.

The committee will accept both electronic and print submissions. If submitting by mail, please include four copies of all documents. If submitting electronically, proposals must be in Microsoft Word or PDF and be sent as e-mail attachments.

If submitting electronically, please send required documentation to Cheryl Taranto, chair of the Dena Epstein Award Committee, at cheryl.taranto@unlv.edu.

If mailing print submissions, please send the required documentation to the chair of the Dena Epstein Award Committee at the following address:

Cheryl Taranto, Ph.D.
Music Librarian
University of Nevada, Las Vegas
4505 Maryland Pkwy.
Box 7002
Las Vegas, Nevada 89154-7002

The deadline for receipt of proposals and letters of support is July 1, 2009.

Wiley Housewright Dissertation Award (Society for American Music)

2009 WILEY HOUSEWRIGHT DISSERTATION AWARD
SOCIETY FOR AMERICAN MUSIC
DEADLINE: 1 MAY 2009

The Society for American Music announces the 2009 competition for a dissertation on any topic relating to American music.

American music is interpreted in all its historical and contemporary styles and contexts, including, but not limited to art and popular musics, the musics of ethnic groups and minorities, and the full range of activities associated with music. "America" is understood here to embrace North America (Canada, The United States, and Mexico), including Central America and the Caribbean, and aspects of its cultures elsewhere in the world.

Eligibility
The dissertation must be in English, and must be for a degree awarded in calendar year 2008. Authors who entered the competition in a previous year may not enter again.

Application
Candidates should send the following:
The title page and abstract of your dissertation
The table of contents
Preface or Introduction
One sample chapter

All submission materials must be in PDF format, and submitted electronically. Please email materials to: Glenn Pillsbury, 2009 committee chair, at gpillsbury at pacific.edu

DMA and other terminal degree documents will be considered as long as the entire piece of scholarship is included in a written document (i.e., musical compositions or other materials will not be considered).

Applicants should include a full mailing address, phone number, and email address (where an acknowledgment will be sent), the title of the work, university, department, date of degree, and name primary advisor (or co-advisors). Please do not mail the complete dissertation at this time.

Entry Deadline: 11:59 PM (PDT) May 1, 2009

CFP: American Independent Cinema: Past, Present, and Future (Liverpool)

AMERICAN INDEPENDENT CINEMA: PAST, PRESENT AND FUTURE
LIVERPOOL, UK
8 - 10 MAY 2009
CALL FOR PAPERS

An international conference co-organised by Claire Molloy (Liverpool John Moores University) and Yannis Tzioumakis (University of Liverpool).

This is an updated call for papers. We are delighted to announce that the confirmed keynote speakers at this conference will be: Warren Buckland (Oxford Brookes University), Geoff King (Brunel University), Peter Kramer (University of East Anglia), Steve Neale (University of Exeter) Janet Staiger (University of Texas at Austin).

In recent years the field of American independent cinema has enjoyed particular critical attention. The publication of a number of studies on the subject and the development of courses that examine American independent cinema as a separate object of study from mainstream Hollywood cinema has demonstrated that American independent cinema is a distinct discursive category and therefore deserves to be explored in depth.

Despite the recent critical activity, however, there is still very little actual research undertaken in the field. To this day, most of the work on American independent cinema has focused on the period ranging from the 1960s to contemporary times while the lion's share of the critics' attention has gone to a relatively small number of canonical independent filmmakers or to certain paradigmatic independent films. Although the establishment of canons and paradigms in independent cinema has been extremely useful, especially because it identified the field as worthy of scholarly attention, it also delimited the field substantially.

This conference wants to rethink American cinema through the concept of 'independence' and the range of definitions that such a term encompasses. As such, this conference hopes to attract research in the field that extends far beyond conventional critical approaches that tend to focus on key filmmakers, often starting from Cassavetes and moving to more recent examples, and instead look at American cinema in general with a view of questioning particular practices while also offering a number of case studies from various historical moments. Topics might include but are certainly not limited to:

* cinema at Poverty Row
* independent filmmaking within the "confines" of the studio system
* exploitation filmmaking
* ethnic filmmaking
* independent producers/distributors
* classics divisions vs contemporary independents
* the impact of technological change on independent filmmaking
* independent film financing, marketing, advertising and publicity
* institutionalising independence

Whilst we will consider papers that deal with any aspect of independence, we particularly welcome papers that seek to revise existing histories of American cinema, especially by re-opening cases of films, filmmakers and companies that hitherto have been considered as part of an increasingly loosely defined mainstream Hollywood. One of the key aims of this conference is to chart the past, present and future modes of film practice in the independent sector and to account for the plurality of forms and guises in which independent filmmaking has manifested in the United States. In this respect we hope the conference will facilitate a much needed re-evaluation of American cinema under the rubric of independence.

Please send proposals of up to 300 words to both C.Molloy@ljmu.ac.uk and Y.Tzioumakis@liverpool.ac.uk

Deadline for submission of proposals is Friday 12 December 2008.