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

CFP: Opera and Politics in the Ancien Régime (UCLA)

OPERA AND POLITICS IN THE ANCIEN RÉGIME
UNIVERISTY OF CALIFORNIA, LOS ANGELES
27 - 28 FEBRUARY 2009
CALL FOR PAPERS

This conference highlights current research on the politics of French opera, from its beginnings under the Sun King through the middle years of Louis XV’s reign. Historians of music, literature, and the performing arts have long explored the absolutist politics of opera in France, especially in relation to the tragédies en musique of Quinault and Lully. Yet historians’ understanding of the ancien régime and its politics has shifted in recent years, with many questioning the earlier emphasis on the centralizing monarchical state and drawing attention to other aspects of French governmentality and political life. Cultural historians have likewise reconsidered the earlier focus on absolutist representation, recognizing the importance of other modes of French political culture, even in royal performances. At the same time, scholars have devoted more attention to comic opera, opera-ballet, and operatic parodies, which mediated the political perspectives of a wider social register.

In the early eighteenth century, French opera also became more cosmopolitan, as is clear from the popularity of operatic subjects, styles, and performers imported from Italy, the colonies, and other foreign locales. This cosmopolitanism begged the question of what precisely was “French” about French opera, a problem that became more urgent and more difficult to resolve as the century progressed. Philosophes, critics, and musical amateurs reflected extensively on such questions in the period’s many querelles, suggesting that part of opera’s attraction was as an occasion to imagine new forms of political community, in addition to its long-standing role in conserving the old.

Scheduled speakers include John Powell, Rose Pruiksma, Charles Dill, William Weber, Geoffrey Burgess, Olivia Bloechl, Raphaëlle Legrand, Downing Thomas, Don Fader, and Georgia Cowart.

Full description, program, and registration information are available at:
http://www.humnet.ucla.edu/c1718cs/opera08.htm

Call for Applications: Camargo Foundation (French and Francophone studies)

CAMARGO FOUNDATION ACADEMIC AND ARTISTIC FELLOWSHIPS
CALL FOR APPLICATIONS

The Camargo Foundation welcomes applications from scholars pursuing studies in the humanities and social sciences relating to French and francophone cultures and from composers, writers, and visual artists pursuing specific projects. The interdisciplinary residency program is intended to give fellows the time and space they need to realise their projects. The Foundation’s hillside campus overlooks the Mediterranean Sea in Cassis, France; it includes thirteen furnished apartments, a reference library, and three art/music studios. Fellows are provided with accommodation on campus. A stipend of $2,500 is also available. Residencies are one semester (either early-September to mid-December or mid-January to the end of May).

Qualified candidates from all countries and nationalities are encouraged to apply. The application deadline is January 12 for either semester of the following academic year.

For more information and to apply, please consult our web site at www.camargofoundation.org

CFP: New Review of Film and Television Studies (journal)

NEW REVIEW OF FILM AND TELEVISION STUDIES
"FRENCH PHILOSOPHY OF CINEMA" (MARCH, 2010)
CALL FOR PAPERS
DEADLINE FOR ABSTRACTS: 30 NOVEMBER 2008

Perhaps no writer has had as much impact on cinema studies over the last twenty years as Gille Deleuze, whose Cinéma I: l'image-mouvement (1983) and Cinéma II: l'image-temps (1985) have left an indelible mark on recent configurations of film and media studies, philosophy, and history. However much Deleuze has been cited in Anglo-American discourse, his innovative approach did not burst forth from an intellectual vacuum, nor did his methodology conclude with his death. Jean Louis Schefer's 1980 work, L'Homme ordinaire du cinéma, offered a prelude to Deleuze's re-conceptualization of cinema's role in twentieth-century history, and Deleuze's radical work concerning modern constructions of subjectivity and the popular symbolic has been extended and reconfigured in Jacques Rancière's ongoing development of the philosophy of aesthetics. In each of these cases, and in other examples of what one might call "French Philosophy of Cinema," these writers have provided us with breakthroughs in understanding the role of cinema in the evolution of audio-visual media, the repercussions of cinema's widespread importance in the Twentieth Century, and the relationship between film form and narrative content.

In order to develop an understanding of the wider relevance of this movement, the New Review of Film and Television Studies invites 200-word abstracts for a special issue. Topics might include, but are not limited to:
--the role of cinema and the moving image in French philosophy and the role of philosophy in French film theory; --the legacy of French aesthetics in international moving image studies; --the application of French philosophy of cinema to other methodologies of cinema studies, such as: narrative cognition; apparatus theory; national cinema(s); digital media; genre and auteur
studies; problems of race, class, gender, and sexuality; theories of
affect and sensation....
--the use of cinema philosophy in order to bridge theoretical gaps between formalism and realism, semiotics and phenomenology, etc.
--French philosophy of cinema and the re-reading of cinema history, directors, and individual films, as well as possible applications of relevant concepts to contemporary cinema and film texts;

Please send 200-word abstracts no later than November 30, to Hunter Vaughan at hvaughan@wustl.edu, or contact me with any questions. Papers, not to exceed 9,000 words, will be due July 1 2009 and should be formatted according to our Chicago standards, as found at out 'instruction for authors' page: www.tandf.co.uk/journals/journal.asp?issn=1740-0309&linktype=44

CFP: Screen Sounds Conference 2009 (KCL)

SCREEN SOUNDS CONFERENCE
KING'S COLLEGE LONDON
14 APRIL 2009
CALL FOR PAPERS

Papers are invited on any aspect of sound in French cinema. Since the 1980s, the study of sound has been opened up by scholars including Michel Chion (1994, 1999), Rick Altman (1980), Claudia Gorbman (1987), and Caryl Flinn (1992, 2004), who have explored aspects of sound in film from the voice and soundtrack to music. Such studies have been influential in shifting the emphasis in film studies away from the purely visual, and towards the conceptualisation of film ‘viewing’ as a multi-sensory experience. The study of sound can help our understanding of a wide range of issues in film studies, including questions of identity, performance, film form and the relation between the visual and the aural.

Topics may include (but are not limited to):
· Music and film
· Sound in the silent cinema
· The transition to sound cinema
· Soundtrack
· Dialogue
· The voice

Papers must be submitted in written form by 15 March 2009 for pre-circulation to delegates. Participants will be invited to speak for 10 minutes, highlighting the key points of their paper and indicating areas for discussion. Proposals of 200-300 words should be submitted by December 31 to Sarah Leahy (s.m.leahy@ncl.ac.uk ).

CFP: Nostalgia & Innovation in Twentieth-Century French Music

RMA STUDY DAY
NOSTALGIA & INNOVATION IN TWENTIETH-CENTURY FRENCH MUSIC
THE JACK HYLTON MUSIC ROOMS
LANCASTER INSTITUTE FOR THE CONTEMPORARY ARTS
LANCASTER UNIVERSITY, UK
8 MAY 2009

Keynote Speaker: Prof. Nigel Simeone (Sheffield University)

Programme Committee: Dr Deborah Mawer (Lancaster University); Richard Langham Smith (Royal College of Music); Rachel Moore (Royal Holloway, University of London); Adam Greig (Lancaster University)

Organisers: Adam Greig and Philip Purvis (Lancaster University)

Following the Exposition Universelle of 1889, French music became increasingly dislocated between a rich, forgotten and imagined past and a future full of hope, expectation and excitement. This Study Day seeks to explore how nostalgia and innovation influenced France’s artistic climate from the fin de siècle until the end of the twentieth century. The harmonically adventurous invocations of ‘the ancient’ in the music of Debussy and Ravel; the playful milieu of the baroque and classical, sharpened with a twist of modernity, in the works of Stravinsky and Les Six; and the reconfigured romanticism and overt expressionism of Messiaen and Jolivet, are but a few examples of the past/future dichotomy which shaped and continues to impact upon much of France’s artistic output.

We invite 20-minute papers which approach any domain of French music research (whether historical, analytical, or critical) centring on the preoccupations with, and relationships between, the past and the future. Topical issues include: how the past/future dialectic has affected composers’ outputs and shaped a distinctly French music; why interdisciplinary and collaborative modes have been so important in the development of a French artistic identity; what particular role nostalgia might play in current areas of French musicological research.

Proposals should be submitted by email attachment in the form of a 200-word abstract with a separate cover-sheet (detailing name, contact details, institution and AV requirements). Proposals should be sent to Adam Greig (a.greig2 at lancaster.ac.uk) by 31 December 2008. General enquiries can be sent to the same address. The Programme Committee will assess the abstracts and successful candidates will be notified by 31 January 2009.