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

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

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

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

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

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

CFP: HEJMEC (Hellenic Journal of Music, Education and Culture) (journal submission)

HEJMEC (HELLENIC JOURNAL OF MUSIC, EDUCATION AND CULTURE)
CALL FOR SUBMISSIONS
DEADLINE: 31 OCTOBER 10

We would like to announce the establishment of the new electronic journal under the title HEJMEC (Hellenic Journal of Music, Education and Culture)

HeJMEC is an international open-access and peer reviewed journal devoted to critical study and critical analysis of issues related to the fields of Music, Education, and Culture.

HeJMEC draws its contributions from a wide community of researchers. Its reach is international since we want the publication to reflect a wide variety of perspectives from disciplines within the fields of music education and musicology. The journal is concerned with the dissemination of ideas relating to theoretical developments in the above fields and welcomes cross - and inter- disciplinary contributions of research and literature in the areas of music, education and culture.

Music and Education: The wide range of topics includes various aspects of music education (pedagogy, history, philosophy, sociology, psychology, technology, and aesthetics) addressing vocal, instrumental, general music at all levels, from early childhood through adult and comparative studies. Education is interpreted in a broad sense including all aspects of teaching and learning within formal and informal contexts (such as, musical development; socio-cultural issues; creativity; gifted and talented students; special needs; community settings; teachers’ professional development; curriculum design; assessment) in order, additionally, to challenge established accounts of music education policy-analytic methods and to explore alternative approaches to policy-making. Music and Culture: Our aim is to provide essential reading on different aspects of the study of music from a cultural point of view (ideology, music and words, music and society, music and postmodernism, music and genre,and so forth); also, to relate them with educational issues (music cultural policy, the learning process, the relationship to educational institutions, and so forth). The journal thus offers a unique forum for researchers to develop views on music as a social and cultural product, as part of human behaviour and in relation to broadly perceived educational issues at the leading edge of musical and multidisciplinary scholarship.

Every issue will include articles on the topics, case studies and book reviews. Articles in Greek or English will be accepted.

We welcome submissions for our forthcoming issues. The deadline for submissions for our next issue is 31/10/2010.

Please see our website for more details: http://www.hejmec.eu/

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

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

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

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

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

Organizing and Scientific Committee

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

For information:

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

CFP: Liszt and the Arts (Budapest, Hungary)

LISZT AND THE ARTS - INTERNATIONAL INTERDISCIPLINARY CONFERENCE

BUDAPEST, HUNGARY

18 - 21 NOVEMBER 2011

CALL FOR PAPERS

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

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

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

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

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

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

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

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

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

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

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

Programme committee:

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

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

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

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

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

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

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

CFP: Music and Medicine (journal submission)

MUSIC AND MEDICINE
SPECIAL ISSUE: MUSIC TECHNOLOGY IN THERAPUTIC AND HEALTH SETTINGS
CALL FOR PAPERS
DEADLINE: 1 NOVEMBER 2010

http://mmd.sagepub.com

Music & Medicine invites researchers and clinicians in neuroscience, medicine, music therapy, education, computer science, engineering and technology to submit original articles that focus on music technologies for health and development, and as an evaluative tool to assess responses to music.

Of particular interest are papers with an emphasis on:
• Clinical practice with electronic music technologies for people with special needs in a diverse range of clinical and community settings
• Engineering and design of music and assistive technologies with potential application in clinical or community settings
• Measurement and evaluation using technology for measuring musical responses e.g. brain imaging/PET/ EEG; clinical evaluation systems

SUBMIT YOUR MANUSCRIPT TODAY!
http://mc.manuscriptcentral.com/mmd

Editors:
Joanne Loewy, DA, LCAT, MT-BC
The Louis Armstrong Center for Music & Medicine, Beth Israel Medical Center, New York, NY

Ralph Spintge, MD
Sportskrankenhaus Hellersen, Luedenscheid, Germany

Guest Editor:
Wendy Magee, PhD, NMT-F
Institute of Neuropalliative Rehabilitation, Royal Hospital for Neuro-Disability, London, U.K.

CFP/Submissions: Notes (journal)

NOTES (JOURNAL)
CALL FOR PROPOSALS/SUBMISSIONS

Have you ever thought about contributing an article for Notes? Have you presented a conference paper that you think may be suitable for publication?

The Music Library Association invites contributions to its quarterly journal, Notes. Founded in 1934 (1st series: 1934-1942), and beginning its 2nd series in 1943, the journal offers its readers interesting, informative, and well-written articles in the areas of music librarianship, music bibliography and discography, the music trade, and on certain aspects of music history. Both completed manuscripts and preliminary ideas on these and other topics are welcome.

Please contact me at the e-mail below to discuss your ideas. I look forward to hearing from you.

Best wishes,
Jane Gottlieb
Vice President for Library and Information Resources
The Juilliard School
Editor, Notes
60 Lincoln Center Plaza New York, NY 10023-6588
Tel: 212/799-5000 ext. 265
Fax: 212/769-6421
e-mail: gottlieb at juilliard.edu

CFP: The Impact of Ethnomusicology (BFE/IMR, London)

THE IMPACT OF ETHNOMUSICOLOGY
BRITISH FORUM FOR ETHNOMUSICOLOGY/INSTITUTE OF MUSICAL RESEARCH, LONDON
4 DECEMBER 2010
CALL FOR PAPERS

ANNUAL ONE-DAY CONFERENCE

The winter one-day conference of the British Forum for Ethnomusicology will be held at The Institute of Musical Research, part of the School of Advanced Study at the University of London. The theme for the day will be ‘The Impact of Ethnomusicology’.

‘Impact’ is both a buzz-word and a bête noire in British higher education at present. Scholars in publicly-funded institutions are increasingly being asked to assess the influence of their research outside of the academy, and this applies just as much to ethnomusicologists employed in such institutions as to others.

Nevertheless, perhaps more than any other part of the music studies field, the public-facing nature of ethnomusicology, and its emphasis on participation and social experience, on understanding musical ‘being-in-the-world’ as Jeff Todd Titon puts it, has ensured that ethnomusicologists have usually been very mindful of their relationship to those around them, and of the consequences their work might have. Rather than simply responding to political imperatives, therefore, we instead want to use this conference to reflect on the consequences of our work, for good and for ill, in the wider world; and, building on a long disciplinary tradition of self scrutiny and re-invention, to consider what this tells us about ethnomusicology, and how it might help us position and develop the discipline in the rapidly changing times in which we find ourselves.

The following broadly-conceived questions that we might address are offered merely as starting points:

• In what ways, and over what kinds of timescales, have ethnomusicologists
impacted on the people with whom they work, and the environments in which that work takes place? How might the impact of such work be evaluated or valorised beyond ‘conventional’ ethnomusicological outputs?
• Is ethnomusicological impact usually positive–or at least benign–or are there clear instances of negative consequences? How might one construe the negative impact of ethnomusicology, and should such work necessarily be avoided?
• How does the notion of impact overlap with disciplinary considerations of applied ethnomusicology?
• When does ethnomusicology become so applied – that is, in its engagements with social issues or its advocacy on behalf of particular culture bearers – that it calls into question the boundaries of conventional scholarship and supposed scholarly distance?
• To what extent should scholarly organisations such as BFE proactively engage with organisations such as WOMAD or South Asian Arts, and what is the relationship between such engagements and other forms of research?
• To what extent does the impact of ethnomusicology define the discipline, or to what extent should it be allowed to do so?
• Notwithstanding that current discourses around impact tend to focus on social and cultural consequences outside of the academy, how has the development of ethnomusicology impacted upon the academy as a whole, or any of its constituent parts, particularly in areas far removed from cognate disciplines such as music or anthropology?

Potential contributors are invited to submit abstracts of up to 300 words to the administrator of the IMR, Valerie James, preferably via email Valerie.James[at]sas.ac.uk), or by post to:

Valerie James
Administrator
Institute of Musical Research
School of Advanced Study
University of London
Senate House
Malet Street
London WC1E 7HU

Queries relating to the theme of day or the BFE may be addressed to the
conference convenor, Dr Stephen Cottrell (s.cottrell[at]gold.ac.uk)

The deadline for submissions is 1st September 2010, and contributors will be advised by mid September.

Further information on the conference will be uploaded on the BFE website as it becomes available:

CFP: Intl Council for Traditional Music (St John's Newfoundland, Canada)

INTERNATIONAL COUNCIL FOR TRADITIONAL MUSIC
MEMORIAL UNIVERSITY, ST JOHN'S, NEWFOUNDLAND, CANADA
13 - 19 JULY 2011
CALL FOR PAPERS
http://www.mun.ca/ictm
ICTM is dedicated to the study of traditional, folk, popular, classical, and urban musics and dances of the world.

DEADLINE FOR PROPOSALS: SEPTEMBER 7, 2010
CONFERENCE THEMES
1. Indigenous Modernities
2. Cross-Cultural Approaches to the Study of the Voice
3. Rethinking Ethnomusicology through the Gaze of Movement
4. Atlantic Roots/Routes
5. Dialogical Knowledge Production and Representation: Implications and Ethics
6. Acoustic Ecology
7. New Research

PROPOSALS are invited in the following categories: Individual Paper, Film/Video, Organized Panel, Forum/Roundtable, and Participatory Workshop. Abstracts of up to 300 words can be submitted online at http://www.mun.ca/ictm.

Program Commmittee Chair Contact Information:
Salwa El-Shawan Castelo Branco
Email: secb at fcsh.unl.pt
Tel: 351217908300

Local Arrangements Committee Contact Information:
Email: ictm2011 at mun.ca
Tel: +1-709-737-2058

LOCATION
North America's oldest city, St. John's is located on a centuries-old shipping route.
This port city developed at the hub of trans-Atlantic trade, becoming home to a variety of vibrant cultural traditions. A rich array of performances are in the planning. You will enjoy local traditions, diverse styles of Native American music and dance, and distinguished performers from across Canada.

CFP: Popular Music and Society (journal)

POPULAR MUSIC AND SOCIETY
FINAL CALL FOR PAPERS
1 JULY 2010 SUBMISSION DEADLINE

Special Issue on Popular Music and Marketing

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 [at]leeds.ac.uk

Lecturer in Media Industries
Institute of Communications Studies
University of Leeds
Leeds
LS2 9JT
UK
+44 (0)113 343 6979

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

INTERNATIONAL CONFERENCE FRANZ LISZT 2011
FRANZ LISZT: MIRROR OF A EUROPEAN SOCIETY IN EVOLUTION
UNIVERSITIES OF RENNES, DIJON AND STRASBOURG, FRANCE
20 - 27 SEPTEMBER 2011
CALL FOR PAPERS
DEADLINE: 1 JULY 2010

As part of the bicentenary celebrations of Liszt’s birth, the universities of Rennes, Dijon and Strasbourg organize a tribute to the most representative European composer of the nineteenth century. Three symposia in three different cities will give new insight into three different aspects of Liszt’s artistic, literary and political personality and seek to (re)define his status in the cultural world of his time.

Congress dates:

Rennes - Liszt: A Musician in Society
Tuesday 20 – Wednesday 21 September 2011

Dijon - Liszt: Readings and Writings
Friday 23 – Saturday 24 September 2011

Strasbourg - 19th-century Topoi and the Music of Liszt
Monday 26 – Tuesday 27 September 2011


Honorary Committee

- Detlef Altenburg (Germany)
- Serge Gut (France)
- Leslie Howard (GB)
- Charles Rosen (USA)
- Alan Walker (USA)

Organizing Committee

- Florence Fix (University of Burgundy)
- Márta Grabócz (University of Strasbourg)
- Laurence Le Diagon-Jacquin (University of Rennes II)
- Georges Zaragoza (University of Burgundy)
Congress N°1 - University of Rennes 2 (September 20-21, 2011)

Scientific Committee:
- Rossana Dalmonte (Institute Franz Liszt, Italy)
- James Deaville (Carleton University in Ottawa, Canada)
- Zsuzsanna Domokos (Liszt Ferenc Memorial Museum and Research Center, Hungary)
- Cornelia Szabó-Knotik (Institute for Analysis, Theory and History of Music, Vienna, Austria)
- Michael Saffle (Virginia Tech.,USA)

LISZT, A MUSICIAN IN SOCIETY
Liszt was a polyglot and a cosmopolitan citizen travelling throughout Europe and expressing his ideas on the progress of nations, political systems and social change... Liszt, a European in a Europe under construction is the main focus of this symposium which sets out to analyse the connections between his music and the religious, political and aesthetic transformations of his time (in continuity with the colloquium in Bellagio ). In a political and religious sense he did indeed meet the important people of his world, the monarchs and princes, the revolutionaries, the pope and the clerics at odds with the dogma of the day. In addition to considerations about Liszt himself—not only as a virtuoso piano player, composer, teacher and also as a man of his society—an examination of the characteristics of his music as it has evolved over time (for instance at anniversaries or on stage and on screen) might prove a promising approach. The relations between Liszt’s music and society (religion, politics, history...) represent a whole socio-musicological field of research for the symposium in Rennes.


Congress N°2 University of Burgundy, September 23-24, 2011

Scientific Committee:
- Jacqueline Bellas (University of Toulouse)
- Maria Eckhardt (Liszt Ferenc Memorial Museum and Research Center,Hungary)
- Jean-Jacques Eigeldinger (Switzerland)
- Claude Knepper (CNRS, Paris)
- Danièle Pistone (Paris IV – Sorbonne)
- Alban Ramaut (University of Saint-Etienne)


LISZT, READINGS AND WRITINGS
As a music, literary and art critic, and a reader and an observer of his time, Liszt also wrote many letters. These are widely studied today and indeed one of the main avenues of research of this symposium will be to examine the limits and mechanisms of Liszt’s writing, as a musician who also marked his contemporaries by what he wrote.

Liszt is also the subject matter of various writings, biographies and novels alike. As a character of fiction, of romanticized biographies, of imaginings that transpose him into other realms representing him, say, as a painter, Liszt is at the heart of a literary activity that sees him as both subject matter and acting subject. The self-portrait that emanates from his correspondence is also an interesting composition and the concepts of self-figuration and self-fiction will be covered. By comparing and contrasting all these fictional constructions the hope is to arrive at a true typology of the literary characters inspired by Liszt.

And considerations of Liszt as a “reader” are welcome too. The material from his Weimar library depicts him as a scrupulous reader, annotating and commenting on his readings. This material needs to be examined to see what Liszt gleaned from it for his own musical compositions.

It is this triple portrait, then, of Liszt as a writer, character and reader that we look to address in the literary part of the Dijon symposium.



Congress N°3 University of Strasbourg, September 26-27, 2011

Scientific Committee:
- Béatrice Didier (ENS, Paris)
- Françoise Escal (EHESS, Paris)
- Adrienne Kaczmarczyk (Liszt Ferenc Memorial Museum and Research Center, Budapest)
- Bertrand Ott (Angers)
- Mathieu Schneider (University of Strasbourg)

19TH CENTURY TOPOI AND THE MUSIC OF FRANZ LISZT
Interest in the study of literary and musical topoï has been steadily growing since the 1990s. Several scholarly societies and international research groups are working on developing a methodology based on the presentation of “commonplaces”, either in the sense of “models or repertoires of general arguments” in rhetoric, or of the conventional round of ideas and thoughts within a given time period. The literary and “narrative topos” as a recurring narrative configuration of thematically or formally relevant elements is defined on the website of SATOR (Society of Analysis of the Novelistic Topoi ).
In the field of musicology, the international research group on Musical Signification (see ICMS publications) and American scholars have initiated studies on topics and narratives. According to Leonard Ratner, the musical topics are characteristic figures which can become subjects for musical discourse. In classical music, topics appear as styles or as types. More recently R. Monelle (2006) and K. Agawu (2009) have proposed other definitions of the musical topos.
Research in 19th-century literature and semiotics has already brought to light a great number of topics [topoi] of the Romantic period. In this respect, the SATOR database (www.satorbase.org) and the works of Béatrice Didier are fundamental (1966, 1985, 2006). As to the book of E.R. Curtius (1947, 1956), it is the seminal milestone in the history of topos studies.
In the chapter “Indications” [= Index rerum] of his novel Oberman (1804), Senancour lists the major Romantic themes of his generation : friendship; love; the pastoral world; climate; spleen; Man (“romantic” or that “of society”); ideals; religion; etc.
We see this forthcoming congress – which will focus on Franz Liszt’s ideas and music - as an exceptional opportunity to broaden the scope of an increasingly popular field of research.

References:
K. Agawu : Music as Discourse. Semiotic Adventures in Romantic Music, Oxford, New York, Oxford University Press, 2009.
E. R. Curtius, La Littérature européenne et le Moyen Age latin, Paris, PUF, 1956. (in German : 1947).
B. Didier [Béatrice Le Gall], L’Imaginaire chez Senancour, 2 volumes, Paris, José Corti, 1966.
B. Didier, Senancour romancier. Oberman, Aldomen, Isabelle, Paris, Sedes, 1985.
F. Bercegol and B. Didier (éd.), Oberman ou le sublime négatif, (Paris, Editions de l’ENS rue d’Ulm, 2006).
M. Guérin, Nihilisme et modernité. Essai sur la sensibilité des époques modernes de Diderot à Duchamp, Nîmes, Ed. Jacquline Chambon, 2004.
J. Hermann, M. Weill and P. Rodrigez, définitions du topos sur le site SATOR (Société d’Analyse des Topiques romanesques) www.satorbase.org
R. Monelle, The Musical Topic. Hunt, Military, and Pastoral, Bloomington, Indiana University Press, 2006.
L. Ratner : Classic Music. Expression, Form, and Style, London, Schirmer Books.
E. P. Senancour, Oberman, édition établie, présentée, commentée et annotée par Béatrice Didier, Paris, Le Livre de Poche, 1984.


Deadline for submission of paper proposals: (20’ presentation + 10’ discussion): July 1st, 2010. Please send abstract (max. 1500 characters) together with a short Résumé for Strasbourg (CV).
The list of accepted submissions will be released in October 2010.

Papers will be given in: French, English, German
Languages of publication: French and English.
Depending on your chosen theme, please send your submissions to one of the following addresses:

1/ Congress in Rennes: à Laurence Le Diagon - laurence.lediagon[at]wanadoo.fr
2/ Congress in Strasbourg: à Márta Grabócz – grabocz[at]club-internet.fr
3/ Congress in Dijon: florence.fix[at]gmail.com

Papers will be published in the Conference Proceedings.
Deadline for submission of papers for publication: November 1st, 2011. To ensure publication, make sure your full texts reach us before that date.

CFP: Red Strains: Music and Communism outside the Communist Bloc after 1945 (British Academy)

RED STRAINS: MUSIC AND COMMUNISM OUTSIDE THE COMMUNIST BLOC AFTER 1945 BRITISH ACADEMY, LONDON
THURSDAY 13 JANUARY - SATURDAY 15 JANUARY 2011
CALL FOR PAPERS

Proposals are invited for this conference, to be held at the British Academy in London, in conjunction with the University of Nottingham.

The relationship between state communism and music behind the Iron Curtain has been the subject of much scholarly interest. The importance of communism for musicians outside the communist bloc, by contrast, has received little sustained attention. This conference aims to examine:

- the nature and extent of individual musicians' involvement with communist organisations and parties;
- the appeal and reach of different strands of communist thought (e.g. Trotskyist; Castroist; Maoist);
- the significance of music for communist parties and groups (e.g. groups’ cultural policies; use of music in rallies and meetings);
- the consequences of communist involvement for composition and music-making;
- how this involvement affected musicians' careers and performance opportunities in different countries.

Further details on conference themes, keynote speakers and format of proposals: http://www.nottingham.ac.uk/music/communism

DEADLINE for proposals: Friday 18 June 2010.

Programme announced and registration open: Monday 19 July 2010.
Dr Robert Adlington (Conference Organiser)
Department of Music, University of Nottingham
Robert.Adlington[at]nottingham.ac.uk.

CFP: The Business of Live Music (University of Edinburgh)

THE BUSINESS OF LIVE MUSIC
UNIVERSITY OF EDINBURGH
31 MARCH - 1 APRIL 2011
CALL FOR PAPERS

A conference to mark the completion of the AHRC funded project

The Promotion of Live Music in the UK--an Historical, Cultural and Institutional Analysis

We invite papers on any aspect of the business of live music from any disciplinary perspective. Themes for discussion include the history of live music, promotion as a business, live music and the state, the value of live music, and the live musical experience. Papers on any kind of music are welcome, classical or popular, successful or obscure! Presentations will be limited to a maximum of 20 minutes and
proposals should be no more than 200 words.

For further information please contact Simon Frith (simon.frith[AT]ed.ac.uk) or Martin Cloonan (m.cloonan[AT]music.arts.ed.ac.uk)

Closing date for proposals: September 1 2010

CFP: Jazz and Race, Past and Present (Open University)

JAZZ AND RACE, PAST AND PRESENT
OPEN UNIVERSITY
11 - 12 NOVEMBER 2010
CALL FOR PAPERS

Keynote speaker: Guthrie Ramsey, Professor of Music, University of Pennsylvania and author of Race Music: Black Cultures from Bebop to Hip-Hop (2003).

Emerging at the confluence of diverse streams, the genre we know as jazz was made predominantly by African-Americans for a good deal of its history. Indeed, African-American musicians and critics have often claimed the form as their own, part of their people’s struggle to assert their humanity in the face of a racialised structure of power which would deny it. However, year by year this position grows more difficult to sustain as jazz spreads around the world, and more musicians of other ethnic origins, and who are socially positioned in different ways, enter the field. Often they bring their own distinct musical and cultural resources to bear on the problem of making jazz. Meanwhile, of course, racial oppression persists in western and other societies.

The aims of the conference are to examine, refute or develop this account, and to do so across all the disciplines which touch on jazz. In particular, contributors might want to consider the following themes, or use them as points of departure. We wouldn’t want to be prescriptive though. Any proposal which addresses the problems of jazz and race, past and present is welcomed.

• The nature and extent of black-ness in jazz in the ‘heroic age’, c1920-1970
• Global jazz and ethnicities beyond black and white
• Politics of remembering and not-remembering race
• The African diaspora outside North America, e.g. black British jazz
• Nationality and race in jazz
• Race and the political economy of jazz
• The ‘integrated’ group and inter-racial relations
• Racial essentialism and musical hybridity
• Mediating race and jazz: novels, films, television, new media … .
• Subject position, objectivity and writing jazz
• White audiences, black musicians
• Racialised aesthetics of authenticity, primitivism and the exotic
• Being and signifying black, white and beyond in jazz
• Race and policing the borders of jazz
• Questioning orthodoxies: ‘Swing plus blues’, ‘a natural sense of rhythm’ and so on
• Prospects for a post-racial jazz
• Stylistic change and the politics of race
• Racialising history or telling it like it is? Realism and narratives of race in jazz
• Race, performance and musical form.

We invite proposals for papers which address these and related questions from across the disciplines including: (ethno)musicology, cultural and media studies, sociology, anthropology, history, literary and performance studies, American studies, film studies. The conference is supported by the AHRC ‘Beyond Text’ research project based at the Open University, What is Black British Jazz? Routes, Ownership, Performance. So contributions which concern issues of jazz and race in Britain are particularly welcome. We should also acknowledge generous support from the ESRC Centre for Research on Socio-Cultural Change.

Proposals for 20 minute papers should be between 150 and 200 words in length. Please send to Jazz-and-Race-conference@open.ac.uk making sure you include the paper title, your name, affiliation, full postal address and email address. Closing date for submission is Friday 2nd July, 2010.

It’s worth noting that the conference takes place immediately before the London Jazz Festival, and so could be combined with a weekend of great jazz just down the road/line in the capital.
Conference convenors are Catherine Tackley, What is Black British Jazz? The Open University; Jason Toynbee, What is Black British Jazz? The Open University; Tony Whyton, Salford University; Nicholas Gebhardt, Lancaster University.

CFP: Watching Jazz: Analysing Jazz Performance on Audiovisual Resources (University of Glasgow)

WATCHING JAZZ: ANALYSING JAZZ PERFORMANCE ON AUDIOVISUAL RESOURCES
UNIVERSITY OF GLASGOW
18 - 19 FEBRUARY 2011
CALL FOR PAPERS

Keynote address: John Altman

Jazz historiography has traditionally revolved around sound recordings, with still images, written documents and oral histories employed as complementary sources. Although this approach has generally been regarded as successful, there is growing awareness among scholars of the problematic nature of such heavy reliance on sound recordings. In particular, it has obscured aspects of the music and the cultural practices surrounding it that are not apparent from sound recordings, and has led to the marginalisation of musicians who did not produce their best work in the recording studio.

The AHRC-funded project ‘The Use of Audiovisual Resources in Jazz Historiography and Scholarship Performance, Embodiment and Mediatised Representations’, which is part of the ‘Beyond Text’ scheme, proposes to address this situation through research based on the John Altman collection of audiovisual recordings of jazz performances. Consisting of more than 10,000 VHS tapes and DVDs, mostly of televised broadcasts, this collection spans the history of jazz, from the invention of sound film to the present, in all its geographic and cultural variety. Part of the project is a two-day conference, and we hereby invite contributions on all aspects of jazz performance on audiovisual resources.

Among the topics to be addressed are:
• Viewing the Performing Body
• Group Interaction and Communication
• Audiences, Venues and Performance Conventions in Comparative Perspective
• Broadcasting Conventions and Mediatised Representations

It is planned for a selection of the papers to be published in a collected volume. Participants are encouraged to access materials in the John Altman Collection to support their research (for details, contact Björn Heile, using the email below).

We invite proposals for individual papers, panels and lecture-recitals. Individual papers should be no more than 30 minutes long, followed by 15 minutes for questions and answers. Proposals for individual papers should be no more than 300 words, and proposals for panels no more than 1000 words. Abstracts should be emailed as an anonymous attachment (doc,rtf or pdf format) to jazzvideo.conference [at] googlemail.com by 1 September 2010. The body of the email should contain the proposal’s title(s) and clarify the full name and institutional affiliation (or place of residence) of all proposed participants, as well as the e-mail address that should be used for correspondence. We intend to respond to all potential participants by October 2010.

The programme committee consists of the project’s investigators: Jenny Doctor (University of York), Peter Elsdon (University of Hull) and Björn Heile (conference organiser, University of Sussex/University of Glasgow).

The call for papers and other information can be found here.
Conference sponsors include: the Arts and Humanities Research Council
and the journal, Jazz Research

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).

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: 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.