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: Music and Philosophy: A Royal Musical Association Study Day (King's College, London)

MUSIC AND PHILOSOPHY: A ROYAL MUSICAL ASSOCIATION STUDY DAY

BRITISH SOCIETY OF AESTHETICS

DEPARTMENT OF MUSIC, KING'S COLLEGE, LONDON

20 FEBRUARY 2010

CALL FOR PAPERS

Keynote speakers:

Prof Mark Evan Bonds (University of North Carolina at Chapel Hill)

Prof Andrew Bowie (Royal Holloway, University of London)

Prof Julian Dodd (University of Manchester)

This study day will offer a chance for musicologists and philosophers to share and discuss work in the hope of fostering a dialogue between the two disciplines. Proposals of up to 500 words are invited for individual papers (20 minutes) and collaborative papers (up to 30 minutes). Collaboration between persons from different disciplines would be especially welcomed. Topics of interest might include (but are not limited to):

- interactions between music and philosophy (including historical connections)

- ontology and music

- music, meaning, and language

- perception and expression

- performance, authenticity, and interpretation

Please send proposals by e-mail to Tomas McAuley (tomas.mcauley at kcl.ac.uk) or Dr Víctor Durà-Vilà (victor.dura_vila at kcl.ac.uk). Postgraduate students are particularly encouraged to submit. The deadline for proposals is Friday 4th December 2009.

CFP: Beyond the Centres: Musical Avant Gardes since 1950 (Thessaloniki, Greece)

BEYOND THE CENTRES: MUSICAL AVANT GARDES SINCE 1950

ARISTOTLE UNIVERSITY OF THESSALONIKI, GREECE

DEPARTMENT OF MUSIC STUDIES

1 - 5 JULY 2010

CALL FOR PAPERS

In memoriam Yannis Andreou Papaioannou (1910 – 1989)

The notion of the avant garde in music has stereotypically been linked with the post-1950 internationalisation of early 20th-century modernist ideas, while the historical and aesthetic delimitation of boundaries between the musical avant garde and post-modernism is still under discussion. The ‘mainstream’ historiography attached to the avant garde quite expectedly focuses on the idea of innovation in the music and theoretical texts of specific pioneers, and on notions such as universality and the significance of time as parameters affecting the appraisal of the work of art.

The approach of this International Conference, as inferred from the first part of its title (‘Beyond the Centres’) can be perceived either with regard to places, times and individuals (i.e. beyond the places, times and individuals that have defined the starting points of musical avant gardes), or with regard to dominant categorizations (i.e., beyond the dominant, centric, perceptions of the avant-garde irrespective of places, times or individuals).

Thus the aim of the Conference is twofold:

1) To gather together research on widely unknown musical realizations of the notion of the avant-garde since 1950, and encourage the examination of multiple, heterogeneous currents built around the ideas of innovation and / or radicalism.

2) To stimulate theoretical critical discussion on how the notion of the avant garde can be assessed today ‘from outside’ (beyond the centric generic ideas of the time of its formation) and embrace problematisation of the very premise of a unified term for the avant garde. In other words, to motivate the critical appraisal of the function, reception, realization and dissemination of what was or is considered avant-garde in different geographical and cultural contexts. In this respect, the examination of the pedagogic methods that were developed by institutions or individuals for the establishment and dissemination of avant-garde techniques is within the scope of the Conference.

Historical, analytical, ideological, political, sociological,cultural, interdisciplinary, anthropological and other approaches are all welcome. The broad thematic categories of the Conference can be summarized as follows:

- Avant-garde techniques and aesthetics.

- Avant garde and politics / ideology.

- Compositional instruction, music theory and analysis and the avant gardes.

More specifically, the following list of possible thematic areas is intended not to be restrictive, but informative of the priorities of the Conference:

- Definitions and musical realizations of the idea of the avant garde

- ideological expressions of the avant garde

- avant garde and institutions

- avant garde and cultural identity

- reception of the avant gardes

- avant-garde pedagogies

- utopias of the avant garde

- avant-garde instrumentation – notation

- avant garde and post-modernism

- avant garde and experimentalism

- avant garde and the perception of time / space

- organicism and / or fragmentation in avant gardes.

The Conference is dedicated to the memory of Yannis A. Papaioannou,celebrating the centenary of the birth of the most influential figure in the dissemination of avant-garde ideas in post-1950 Greece through his musical, educational and institutional activities. In addition to being a stimulus for further research on Papaioannou’s life, music and ideas, the present Conference is inspired by the universality of his approach to music and teaching, thus aiming at a universal critical appraisal of different expressions of the notion of the avant garde.

The Conference is organized by the Department of Music Studies, Aristotle University of Thessaloniki and will take place in Thessaloniki, Greece between 1 and 5 July 2010. The official language of the Conference is English.

Abstracts are invited for presentation in one of the following formats:

• Papers (20 minute presentations)

• Panels, of up to four individual papers (preferably with explicit reference to one of the three main thematic categories of the conference).

Abstracts must address the conference theme and clearly state the aims and methodological approach of the proposed paper(s). Abstracts for individual papers should be no longer than 300 words. Panel proposals should include a general 100-word description of the panel’s proposed theme, accompanied by individual 300-word abstracts for all paper contributions.

All abstracts should be submitted as e-mail attachments to Kostas Chardas (kchardas@mus.auth.gr) or Danae Stefanou (dstefano@mus.auth.gr), by the deadline οf 30 November 2009, accompanied by the following information:

• Name(s) and Institutional Affiliation(s) of Author(s)

• Title of Proposed Paper or Panel

• Proposed Format of Presentation (Paper or Panel)

• Indicative List of Bibliographic References

• Brief (100-word) CV of Main Author(s).

All submissions will be reviewed anonymously by a board of international reviewers. Papers will be published on the conference website and on CD-ROM, accompanying a printed book of abstracts.

Details of submission deadlines, registration, reviewing procedures and other updates will shortly become available on the conference website at http://web.auth.gr/btc.

Organising Committee

Demetre Yannou (chair). PhD. Professor, Department of Music Studies –Aristotle University of Thessaloniki.

Nikos Athineos. Conductor. Artistic Director of the Thessaloniki Concert Hall.

Kostas Chardas. PhD. Lecturer, Department of Music Studies –Aristotle University of Thessaloniki (appointment pending).

Michalis Lapidakis PhD. Associate Professor, Department of Music Studies – Aristotle University of Thessaloniki.

Evi Nika-Sampson. PhD. Associate Professor, Department of Music Studies – Aristotle University of Thessaloniki.

Danae Stefanou. PhD. Lecturer, Department of Music Studies –Aristotle University of Thessaloniki.

Costas Tsougras. PhD. Lecturer, Department of Music Studies –Aristotle University of Thessaloniki.

CFP: Plattsburgh New Music and Culture Symposium

PLATTSBURGH NEW MUSIC AND CULTURE SYMPOSIUM

PLATTSBURGH, NEW YORK

11 - 13 AUGUST 2009

CALL FOR PAPERS

The Plattsburgh New Music and Culture Symposium is a multi-disciplinary forum for the discussion of music and its place in contemporary society. In our inaugural year, scholars from all disciplines and musicians are invited to participate by submitting proposals for presentations and works for performance.

The symposium will take place from August 11-13 in Plattsburgh, NY.

We seek submissions for:

• Papers (please specify if you would like a 30- or 60-minute time slot) and

• Original compositions for solo harp, solo horn, solo clarinet, clarinet and horn, or clarinet and harp with or without electronics. Works for electronics alone and composer-performers will also be considered.

The papers should deal with one or more of the following topics: music’s place in contemporary culture, questions on authority and aesthetics in a post-colonial world and new resonances (technology). We encourage anthropologists, cultural theorists, critics and scholars from both in and outside of music to participate. The compositions should demonstrate a highly personal language. Composers should include a brief written statement on the submitted work(s) along with a curriculum vitae.

Papers proposals should include an abstract and curriculum vitae and should be submitted electronically to suzanne@suzannefarrin.com.

Submissions for musical compositions should include scores (in pdf format),recordings (mp3 or a web link), a statement on the work and c.v. and can be sent electronically to suzanne@suzannefarrin.com.

Dates

Symposium dates: August 11-13

All proposals due: June 20, 2009

Notification of acceptance: End June 2009

The symposium is sponsored by the Conversations in the Disciplines Program of the State University of New York.

For more information please write to: suzanne [at]suzannefarrin.com

Theatre Applications - Performance with a Purpose: an International Conference (CSSD)

THEATRE APPLICATIONS
PERFORMANCE WITH A PURPOSE: AN INTERNATIONAL CONFERENCE
CENTRAL SCHOOL OF SPEECH AND DRAMA, UNIVERSITY OF LONDON
IN ASSOCIATION WITH RIDE: THE JOURNAL OF APPLIED THEATRE AND PERFORMANCE
21 - 23 APRIL 2010
CALL FOR PAPERS

DEADLINE: 5 OCTOBER 2009

Theatre Applications concerns the uses and purposes of theatre and performance in education, community, therapeutic and institutional settings. It addresses applied, social and community theatre, and forms of performance that are intended to make a difference to participants’ lives. Theatre Applications provides scholars, practitioners, participants and funders with an opportunity to engage in debates about changing artistic practices, new circulations of power and new conceptions of the political in theatre.

Theatre Applications aims to address the following themes:
- Aesthetics and the purposive practitioner
- Cultural geographies of dislocation, place and space
- Memory, commemoration, histories and presence
- Political contexts, commitments and constructions
- Advocacy, self-advocacy and creative agency
- Witness, testimony, authorship and ownership

Theatre Applications is about theatre that has a social agenda. The conference seeks to raise questions about ‘client groups’, constituencies and the work of community-based practitioners. It explores a range of performance modes that encourage people to speak, and to reflect on their place in time, history and geography. It aims to examine instances where theatre effects change – in individuals, communities and cultures. It encourages papers, practices and interventions that consider the infrastructures of production, artistic strategies and creative processes. Contributions to the conference may address different sorts of personal and social engagement in and through performance, and the changing roles of actors, spectators, participants and producers of applied theatre.

Theatre Applications features

- Keynote presentations by eminent practitioners and scholars
- Round tables featuring invited guests from relevant industries and the academy
- Papers
- Performances
- Installations
- Residencies by artists exploring new applied practices
- Workshops
- A Theatre Applications archive that includes testimony and showreels
- Publishers’ stands
- Some activities within the conference are site-specific and take place in locations in London. Social and networking activities include a drinks reception, a conference dinner and evening cabaret. Throughout, delegates can relax and chat at Central’s celebrated and convivial conference bar.

Proposals are invited that address the themes of the conference. The precise meaning of the term ‘Theatre Applications’ is open to interpretation by contributors.

Proposals should specify one of the following formats:

- 20-minute paper presentation
- 2-hour workshop
- Round table
- Installation
- 3-day practitioner-residency with a work-in-progress outcome
- Contribution to the Theatre Applications archive (in digital form)

Proposals should be 300 words in length, with a 150-word biography of the key presenter(s). Proposals should be submitted to the conference organisers at theatreapplications@cssd.ac.uk by 5 October 2009.

In keeping with Central’s conferences, Theatre Applications is both an industry expo and a sharing of new thinking, where cutting-edge practices and new scholarship connect.

Selected papers and other outcomes will be published in RiDE: The Journal of Applied Theatre and Performance (Routledge). RiDE is the leading international scholarly journal in Applied theatre and performance, It has been re-named to reflect new practices and questions in the field – 'applied theatre and performance' indicates a desire to question the relationships between performance practice, performance theories, theatre practice and theatre scholarship – debates that are collectively concerned with education, social change or political engagement. The conference will provide a platform for discussion and reflection on these issues and papers presented will be considered by the journal.

CFP: Consequences of Wagner (Portugal)

CONSEQUENCES OF WAGNER
CENTRO DE ESTUDOS DE SOCIOLOGIA E ÉSTETICA MUSICAL
LISBON, PORTUGAL
27 - 28 NOVEMBER 2009
CALL FOR PAPERS

Keynote speakers to include:
John Deathridge, King’s College, London
William Weber, California State University

CESEM (the Centro de Estudos de Sociologia e Estética Musical, http://www2.fcsh.unl.pt/cesem/), a research unit at the Universidade Nova de Lisboa (Portugal), is to host an international Conference on the theme ‘Consequences of Wagner’, to mark the 100th anniversary of the first staging of Wagner’s Ring in Portugal. The Conference venue will be the very theatre where these historical performances took place: the Teatro Nacional de S. Carlos (Lisbon Opera House).

The Conference forms part of an ongoing research project funded by the FCT (Portuguese Foundation for Science and Technology), and its focus, as implied in the title, is the overall impact of Richard Wagner’s works and ideas on Western culture, with a particular emphasis on the movements and phenomena (the ‘consequences’) that could be said to have been triggered off by Wagner even though they might not necessarily fall under the heading of ‘Wagner reception studies’ in the strict sense.

We are particularly (but not exclusively) interested in topics such as the theory, aesthetics and history of opera staging and performance, the status of music and music drama in fin-de-siècle culture, Wagner and modernism, eroticism and sexuality, post-Wagnerian compositional techniques and musical styles, the appropriation of Wagner by artists from different media and nationalities, the repercussions of ‘the case of Wagner’ in historiography, philosophy, politics and popular culture, Wagner as myth and the wider implications of Wagnerism and anti-Wagnerism.

The official language of the Conference will be English. A selection of papers will be considered for publication in book form.

We invite scholars from various disciplines to contribute to this international Conference. Please send abstracts (max. 300 words) for 20-minute papers (to be followed by 10 minutes’ discussion), in English, plus a short biographical note, to the Conference organizers no later than 30 June 2009:

Paulo F. de Castro: pf.castro at fcsh.unl.pt
Gabriela Cruz: ggcruz at fcsh.unl.pt
David Cranmer: cranmer at netcabo.pt

Notification of acceptance will be given by 20 July 2009. The Organization is unable to cover any expenses, but it may be able to help with finding accommodation at special rates.

For further information, please contact: pf.castro at fcsh.unl.pt

CFP: Systemic Musicology 2009 (Ghent, Belgium)

SYSMUS09
SECOND INTERNATIONAL CONFERENCE OF STUDENTS OF SYSTEMIC MUSICOLOGY
GHENT, BELGIUM
CALL FOR PAPERS

http://www.ipem.ugent.be/sysmus09

Important dates:
Submission of papers: May 29, 2009
Notification of paper acceptance: August 17, 2009
Camera-ready submissions: October 9, 2009
SysMus 2009: November 18-20, 2009


All research involving meaning, description, and technological mediation of music can be related to musicology. However, the complexity of musical engagement in socio-cultural contexts engenders different networks of research and knowledge, with distinct interdisciplinary configurations, methods and specializations. Systematic musicology specifically deploys this methodological diversity so as to approach each musicological question with a distinct configuration of methods. In doing so, systematic musicology often bridges methodological foundations of sciences with the critical analysis from humanities. It promotes the study of aesthetics, semiotics, and cultural studies by incorporating empirical and data-oriented methods into the methodological framework. It relies on paradigms from different disciplines as diverse as the philosophy of aesthetics, theoretical sociology, semiotics, and music criticism, combined with strategies derived from empirical psychology, acoustics, physiology, neurosciences, cognitive sciences, computing, and others.

Unfortunately, the concentration of efforts on methodological diversity and broad re-search questions may lead students to superficial discussions, disconnected results or research that is alienated from the musical matter. One of the biggest challenges for researchers in systematic musicology, therefore, is to learn how to deal with the inter-disciplinary nature inherent to their own field. Several questions are raised by this problem:

- How to guide yourself through innumerable methods, resources, and uncertain methodological pathways?
- How to design and execute interdisciplinary research?
- How to communicate with our partners: engineers, psychologists, and musicians?
- How to build an active network of collaborations within this interdisciplinary field?

These questions, together with courses in presentation and conference skills, will be addressed in SysMus09.

SUBMISSION:

Submissions are solicited for spoken research papers or posters related to any subdiscipline of systematic musicology. Suggested topic areas include, but are not limited to:

Acoustics and psychoacoustics
Cognitive musicology
Composition and improvisation
Computer Music
Cross-cultural studies of music
Mediation technology
Memory and music
Multimodal Interfaces
Music and emotions
Music and evolution
Music and language
Music and meaning
Music and movement
Music and neuroscience
Music education
Music performance
Music therapy
Musical development
Musical timbre
Pitch and tonal perception
Rhythm, meter, and timing
Social psychology of music

Short papers in English (max. 2 pages) should be submitted on the conference website (http://www.ipem.ugent.be/sysmus09/) and must be presented in one of the two formats: oral presentations or posters. The templates required for formatting papers and posters will be available at the same address. There will be a double-blind review process by a committee composed of advanced PhD students.

Wishing you welcome in Ghent in 2009!

Organizing Committee - SysMus09
Director: Luiz Naveda
Co-Director: Prof. Marc Leman

CFP: 5th Conference on Interdisciplinary Musicology (Paris)

FIFTH CONFERENCE ON INTERDISCIPLINARY MUSICOLOGY
PARIS, FRANCE
26 - 29 OCTOBER 2009
CALL FOR PAPERS

http://cim09.lam.jussieu.fr

Abstract submission deadline March 27, 2009

• PRESENTATION
The Conference on Interdisciplinary Musicology is a forum for constructive interaction among all musically and musicologically relevant disciplines, including acoustics, aesthetics, anthropology, archeology, art history and theory, biology, composition, computing, cultural studies, education,
ethnology, history, linguistics, literary studies, mathematics, medicine, music theory and analysis, perception, performance, philosophy, physiology, prehistory, psychoacoustics, psychology, semiotics, sociology, statistics, and therapy. CIM especially promotes collaborations between sciences and humanities, between theory and practice, as well as interdisciplinary combinations that are new, unusual, creative, or otherwise especially promising.

• THEME FOR CIM09 MUSIC AND ITS INSTRUMENTS
CIM09 – will focus on relationships between music and the instruments used for its production.
How is the music of a given culture determined or influenced by the nature of its musical instruments? How do instruments influence repertoires? How are instruments that have been developed in the context of given musical styles used in new styles? Conversely, what issues arise when old instruments are revived, or new instruments adapted, for the performance
of early music?

• HOST INSTITUTIONS
Lutheries, Acoustique, Musique (LAM- IJLRA) - CNRS - Université Pierre et Marie Curie
Centre de recherche Langages Musicaux (CRLM) et Musicologie, informatique et nouvelles technologies (MINT) - Université Paris Sorbonne – Paris IV Cité de la Musique (Musée de la Musique) Musée du Quai Branly (Département de la Recherche et de l’Enseignement)
With the collaboration of Société Française d’Acoustique (SFA).

• ABSTRACT SUBMISSION
The abstract submission deadline for CIM09 is March 27, 2009. Submissions must be sent to : morange-cim09 at lam.jussieu.fr
All submissions to CIM09 must have at least two authors who represent two of the following three groups of disciplines: humanities, sciences, musical practice. Submissions must address a musical research question. See website for instructions.

CFP: Filigrane. Musique, Esthétique, Sciences, Société (journal)

FILIGRANE. MUSIQUE, ESTHÉTIQUE, SCIENCES, SOCIÉTÉ

CALL FOR PAPERS

N°11. New Musicology. Critical Perspectives / N°11. New Musicology. Perspectives critiques

(bilingual issue English-French edited by Makis Solomos)

English: http://revuefiligrane.free.fr/numeros/revue11/call.htm 

Français: http://revuefiligrane.free.fr/numeros/revue11/appel.htm

N°12. Music and Place / N°12. Musique et lieu

(edited by Jean-Marc Chouvel and Laurence Bouckaert)

English: http://revuefiligrane.free.fr/numeros/revue12/call.htm

Français: http://revuefiligrane.free.fr/numeros/revue12/appel.htm

CFP: Beyond The Centres - Musical Avant Gardes since 1950 (Greece)

BEYOND THE CENTRES: MUSICAL AVANT GARDES SINCE 1950

IN MEMORIAM YANNIS ANDREOU PAPAIOANNOU (1910-1989)

ARISTOTLE UNIVERSITY OF THESSALONIKI, DEPARTMENT OF MUSIC STUDIES,

THESSALONIKI, GREECE

1 - 5 JULY 2010

CALL FOR PAPERS

The approach of this International Conference, as inferred from the first part of its title ('Beyond the Centres') can be perceived either with regard to places, times and individuals (i.e. beyond the places, times and individuals that have defined the starting points of musical avant gardes), or with regard to dominant categorizations (i.e., beyond the dominant, centric, perceptions of the avant-garde irrespective of places, times or individuals).

Thus the aim of the Conference is twofold:

1) To gather together research on widely unknown musical realizations of the notion of the avant-garde since 1950, and encourage the examination of multiple, heterogeneous currents built around the ideas of innovation and / or radicalism.

2) To stimulate theoretical critical discussion on how the notion of the avant garde can be assessed today 'from outside' (beyond the centric generic ideas of the time of its formation) and embrace problematisation of the very premise of a unified term for the avant garde. In other words, to motivate the critical appraisal of the function, reception, realization and dissemination of what was or is considered avant-garde in different geographical and cultural contexts. In this respect, the examination of the pedagogic methods that were developed by institutions or individuals for the establishment and dissemination of avant-garde techniques is within the scope of the Conference.

Historical, analytical, ideological, political, sociological, cultural, interdisciplinary, anthropological and other approaches are all welcome. The broad thematic categories of the Conference can be

summarized as follows:

- Avant-garde techniques and aesthetics.

- Avant garde and politics / ideology.

- Compositional instruction, music theory & analysis, and the avant gardes.

The Conference is organized by the Department of Music Studies, Aristotle University of Thessaloniki. The official language of the Conference is English.

Abstract submission deadline: 30 November 2009.

For the full CFP and related information, please visit the conference website at http://web.auth.gr/btc. Details of submission deadlines, registration, reviewing procedures and other updates will shortly become available online. For any further information not available on

the website, please contact Kostas Chardas (kchardas at mus.auth.gr) or Danae Stefanou (dstefano at mus.auth.gr).

CFP: Journal of the Alamire Foundation

JOURNAL OF THE ALAMIRE FOUNDATION

CALL FOR SUBMISSIONS

The Alamire Foundation is proud to announce the launch of a new journal, the Journal of the Alamire Foundation. The Journal aims to provide a critical forum for the most recent and outstanding research on music in or related to the Low Countries up to the end of the Ancien Régime. It will appear twice a year, as well as in electronic form. The first volume is scheduled for October 2009. The journal will be published by Brepols.

Contributions are invited in any area of musicological research, including analysis, music theory, palaeography and notation, source studies, archival research, music and institutions, and aesthetics. Interdisciplinary research, in fields such as music and iconography, literature, theology, politics, art history, emblematics, or philosophy is also particularly welcomed. The standard article length is around 5000 words, including footnotes and other supplementary materials, although both longer and shorter contributions will be considered.

In fulfilment of the Foundation’s mission to promote dialogue between the worlds of performance and scholarship, a section of each issue will be devoted to scholarly discussion of a recent performance event, production (such as a CD, DVD, concert, or festival), edition, book, or current burning issue. Proposals and contributions (of around 2500 words) to this section are also warmly invited.

The principal language of the Journal is English, but contributions are also possible in any commonly understood scholarly language. Articles may be submitted at any time, via email, at: jaf at alamirefoundation.be. Questions may also be sent to the same address. Further information, including the Journal’s style-sheet, will become available shortly at:http://www.arts.kuleuven.be/alamire/.

General editors:

David Burn – Katelijne Schiltz

Editorial board:

Barbara Haggh – Christian Leitmeir – Pedro Memelsdorff – Klaus Pietschmann – Dorit Tanay – Giovanni Zanovello

Advisory board:

Bonnie J. Blackburn – Jennifer Bloxam – Anna Maria Busse-Berger – Sean Gallagher – David Hiley – Andrew Kirkman – Karl Kügle – John Milsom – Emilio Ros-Fabregas – Rudolf Rasch – Thomas Schmidt-Beste – Eugeen Schreurs – Reinhard Strohm – Philippe Vendrix – Rob Wegman

CFP: Music and Aesthetics Conference (Ottawa, Canada)

MUSIC AND AESTHETICS

CANADIAN SOCIETY FOR AESTHETICS & CANDAIAN UNIVERSITY MUSIC SOCIETY

OTTAWA, CANADA

29 MAY 2009

CALL FOR PAPERS

The Canadian Society for Aesthetics and the Canadian University Music Society are hosting a joint paper session at their annual meetings, both held under the auspices of the annual Congress of the Humanities and Social Sciences, in Ottawa in late May 2009. The joint session is currently scheduled for May 29th.

Paper proposals on any philosophical or theoretical topic in music and aesthetics are welcome, in English or French.

The deadline for submissions is February 16, 2009.

Details of the conference and complete calls for papers are at the following addresses:

http://www.cums-smuc.ca/en/conference/conference-2009

http://www.csa-sce.ca/en/index.htm

CFP: 2009 Biennial Euro-Mediterranean Music Conference

2009 BIENNIAL EURO-MEDITERRANEAN MUSIC CONFERENCE
18-20 SEPTEMBER 2009
UNIVERSITY OF NICOSIA, CYPRUS
CALL FOR PAPERS

The Cyprus Music Institute is pleased to announce this Call for Papers for its inaugural 2009 Biennial Euro-Mediterranean music conference. While many Mediterranean countries have active and well-established traditions of music scholarship, as yet there has been no attempt to bring scholars from across the Mediterranean region together under the auspices of a single conference. By providing a venue for intellectual exchange between academicians across the region, as well as scholars from any area whose research relates to Mediterranean musical traditions, the conference is intended to establish a forum that will engender a sense of shared academic community, facilitate the creation of personal and institutional networks, and generally promote intercultural exchange and peaceful dialogue.

Since the purpose of the conference is to bring together the whole range of music scholars from Mediterranean countries, as well as any scholars with an interest in the region’s musical traditions, it will not limit topics to any particular theme. However, all proposals should fall under at least one of the following thematic categories:
Musicology, broadly understood to encompass historical musicology, ethnomusicology, music theory and analysis, sociology of music, and musical aesthetics.

Music Education, broadly understood to encompass research in applied classroom teaching, instrumental and vocal pedagogy, and the philosophy and sociology of music education.

Mediterranean Music, understood to encompass any category of research relating to any Mediterranean music culture, past or present. Proposals addressing intercultural and region themes will be regarded especially favorably.

PROPOSALS:
Proposals of no more than 400 words should be sent as Microsoft Word attachments to Kenneth Smith, chair of the organizing committee: smith.k at unic.ac.cy

Presentations may take any of the following formats:

--20-minute papers
--Sessions of 3 thematically related 20-minute papers
--90-minute workshops

All proposals should include the name, affiliation, and contact information of the presenter(s). All personal information will be suppressed in the version distributed to the scientific committee.

Deadline: 10 April 2009. Applicants will receive a response no later than 30 May.

CFP: Representing Music­ or­ Music Representing (CUNY)

REPRESENTING MUSIC OR MUSIC REPRESENTING
CITY UNIVERSITY OF NEW YORK
12TH ANNUAL SYMPOSIUM
25 APRIL 2009
CUNY GRADUATE CENTER, NEW YORK CITY
CALL FOR PAPERS

Led and moderated by LEO TREITLER, Distinguished Professor of Music Emeritus, CUNY Graduate Center

The CUNY Graduate Center's Music Ph.D.-D.M.A. program invites applications from graduate students for participation in its Twelfth Annual Graduate Students in Music Symposium (GSIM 2009)­this year, a collaborative, interactive event on the theme "Representing Music­ or­Music Representing," to be held on Saturday, 25 April 2009 at the CUNY Graduate Center. The symposium will consist of two parts: a morning seminar for the selected participants, conducted by Professor Treitler; and an afternoon workshop, moderated by Professor Treitler, in which a selected number of student papers will be the focus for group discussion and critique.

The symposium will focus on the intersections between theories of musical meaning and musical discourse. (Please see the attached essay by Prof. Treitler for a more extensive prompt.) Students in all music disciplines are encouraged to apply, especially those interested in hermeneutics, criticism, aesthetics, semiotics, metaphor, theories of language, and narratology.

Students wishing to apply as participants must write a brief (100-word) statement about their experience and/or interest in the topic of the study day. The statement must also include the applicant's name, institution, e-mail address, and phone number. Participation will be limited to 15 students; selection will be random. Applicants are advised that the selected participants will be responsible for several reading and writing assignments in advance of the symposium, and for actively contributing in seminar and paper workshop discussions.

Students wishing to propose papers for the paper workshop must submit a 300-word abstract with title, and a separate cover letter with the author's name, institution, e-mail address, and phone number. Proposals will be read by the Program Committee with names of the authors withheld. Applicants are advised that authors of the selected papers will be required to distribute their completed papers to all participants two weeks before the symposium. Those applicants whose papers are not selected will automatically be included in the pool of potential participants (described above); for applicants submitting abstracts, there is no need to also submit the 100-word statement of interest.

All materials and questions may be sent to gsim.cuny.2009 at gmail.com. Applications must be received by 1 Feburary 2009.

CFP: The Nu-Romantic: Revealing the Developing Artistic Milieu in Film, Theatre & Television (Reading)

THE NU-ROMANTIC: REVEALING THE DEVELOPING ARTISTIC MILIEU IN FILM, THEATRE AND TELEVISION

UNIVERSITY OF READING

17 APRIL 2009

CALL FOR PAPERS

Romanticism was a cultural landscape characterised by the eternal oscillation between a ‘modern’ enthusiasm that had failed and a ‘postmodern’ irony that would soon falter. Now, years later, another scene marked by oscillations is taking shape.

Under the name of Nu-Romanticism (‘naked’ Romanticism) JAM 2009 aims to initiate a mapping of this evolving landscape. It offers a chance to explore and define the new forms of thought, conception and creation that follow the established pattern of Romanticism. We look to current theory and critical practice within Film, Theatre and Television to reveal new forms of oscillation, be they between Aesthetic and Narrative, between Spectatorship and Performativity, between the Sublime and melancholy, hope and failure.

JAM 2009, the seventh annual conference for postgraduates run by postgraduates at the Department of Film, Theatre & Television, welcomes proposals that investigate, question or put pressure on the notion of a re-emerging Romanticism within film, theatre and television. We invite postgraduates to consider the concept of a new or renewed Romanticism in relation to the following areas of discussion:

• Aesthetics

• Genre

• Form vis-à-vis Content

• Narrative

• Space, Place and Landscape

• Representation

• Spectatorship and Social Relevance

• Performance and Performativity

• Medium Specificity

• Postgraduate Practice

• New Technologies

CALL FOR PAPERS deadline: Friday 30th January 2009 Please send a 250-word proposal and a 100-word biographical note to Tim Vermeulen, Harper Ray and Reina-Marie Loader at jam2009@rdg.ac.uk

Journeys Across Media (JAM) is an annual one-day interdisciplinary conference organised by and for postgraduate students. It provides a discussion forum for current and developing research in film, theatre, television and ‘new media’. Previous delegates have welcomed the opportunity to gain experience of presenting their work, at different stages of development, in the active, friendly and supportive research environment of Film, Theatre & Television at the University of Reading. Non-presenting delegates are also very welcome. Supported by the Standing Committee of University Drama Departments (SCUDD) and the Graduate School in Arts and Humanities, University of Reading.