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

THE BRITISH ORGAN IN THE TWENTIETH CENTURY AND BEYOND

OXFORD ORGAN CONFERENCE 2010

15 - 18 APRIL 2010

CALL FOR PAPERS

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

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

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

The organ in musical and artistic culture

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

* The rediscovery of the organ case its form and function

* The interest in new organs in historic styles

* The presentation of the organ in audio and visual media

* Historically informed performance and the organ

Organ Builders

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

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

* The rediscovery of classical principles

* Changing attitudes to conserving and treating old organs

* The impact of imported organs in the UK

* Future clients for future organs

* Specific builders

Composers, Performers, and Teachers

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

* Who performed it?

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

Organ builders and organists in association

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

Twentieth-century icons

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

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

For more information, please contact:

Dr Katharine Pardee

Betts Scholar in Organ Studies

Director of Chapel Music

Wadham College

University of Oxford

kfpardee [at] yahoo.com

CFP: The Piano Trio: History, Technique, Performance (IMR, University of London)

THE PIANO TRIO: HISTORY, TECHNIQUE, PERFORMANCE

SENATE HOUSE, UNIVERSITY OF LONDON

INSTITUTE OF MUSICAL RESEARCH

12 - 13 NOVEMBER 2010

CALL FOR PROPOSALS

The piano trio is a relatively late arrival on the scene in the history of chamber music. When in the late eighteenth century, the first piano trios as we now understand them – with emancipated string parts that are assigned near-equal partnership with the keyboard – appeared, the string quartet was already well established as a genre. The development of the piano trio has been contingent upon the ways in which changes to the construction of keyboard instruments affected the nature of the inter-relationships between instruments and composers' responses. This conference aims to bring together researchers working on the historical, technical and performative aspects of the piano trio genre.

The keynote presentation will be given by David Owen Norris.

Proposals (250 words) for individual papers (20 minutes, with 10 minutes discussion), lecture-recitals and performances /demonstrations (30 minutes maximum, with 15 minutes discussion) or panels (three of four papers, each to be 20 minutes maximum, with 10 minutes discussion) are invited.

For details of the topics for which proposals are requested please see http://music.sas.ac.uk/imr-events/imr-conferences-colloquia-performance-events/the-piano-trio-history-technique-performance.html#c1446

DEADLINE for proposals: 5pm (GMT), Monday 1 March 2010

Notification of acceptance and preliminary programme: 15 April 2010

Final programme issued: 15 July 2010

Registration opens: 1 August 2010

Please submit by email, in an attachment including your full name and contact details, to the IMR Administrator Mrs Valerie James, at <>.

Proposals will be judged anonymously. Paper proposals from students are especially encouraged.

Conference Committee:

Mine Dogantan Dack (Chair – Middlesex University)

John Irving (Director of the Institute of Musical Research)

Peter Fribbins (Middlesex University)

Mieko Kanno (Durham University; Orpheus Institute)

Ferenc Szücs (Irish World Academy of Music and Dance)

Marianne Tyler Brown (Middlesex University)

Upcoming Conf: Trumpet Forum (RSAMD)

TRUMPET FORUM
ROYAL SCOTTISH ACADEMY OF MUSIC AND DRAMA
14 JULY 2009

The RSAMD is pleased to present a range of world-leading researchers and artists at its first Trumpet Forum on 14th July 2009. Among the speakers for this one-day conference are internationally-renowned brass specialists John Wallace, Trevor Herbert, Reine Dahlqvist and Arnold Myers.

Our special guest will be John Webb, who will be bringing a selection of instruments from his personal collection which will be heard in performance by musicians from the RSAMD.

Programme and booking details are now available on the conference
webpage: www.rsamd.ac.uk/academy/research/brass/

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

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

SCHOOL OF MUSIC, UNIVERSITY OF CARDIFF

23 - 24 JUNE 2010

PRELIMINARY ANNOUNCEMENT

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

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

For further information, contact: 

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

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

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

Job Posting: Curatorial Assistant and Research Assistant Positions (Phoenix)

JOB POSTINGS: CURATORIAL ASSISTANT AND RESEARCH ASSISTANT POSITIONS

MUSICAL INSTRUMENT MUSEUM, PHOENIX, ARIZONA

The Musical Instrument Museum (MIM) of Phoenix, Arizona is seeking a Curatorial Assistant for a full-time position providing clerical and research support for the Curatorial team.

Requirements include a minimum master’s degree or equivalent experience, preferably in music or a music-related field. Prior work in professional and office environments. Proficiency with word processing, spreadsheet and other computer programs, including Microsoft Office suite and databases. Experience working with photo files and other media. Experience with online searching and research. Museum or library experience is desirable. Ability to work independently as well as part of a team.

Job duties are to include assisting the curatorial team with clerical and research tasks related to: acquisitions and loans, collections records, research for exhibitions and publications, and general curatorial inquiries.

MIM is also seeking a Curatorial Research Assistant to do research related to music history, iconography, terminology, performance practice, organology and the cultural and social significance of musical instruments and traditions. The Research Assistant will also support communication between the Curatorial Department and other departments including Registration, Conservation, Exhibits and Multimedia.

Other information:

Both positions report to the Head of the Curatorial Team. As the museum evolves, some of the duties of this position may change. These are 1-year contract positions located in Phoenix, AZ. No relocation is provided.

Applications will be reviewed on an ongoing basis and will be accepted until the position is filled. More information regarding MIM is available on the website at www.themim.org.

Qualified candidates should submit a letter of interest, resume or CV, and three professional references to:

Human Resources – Curatorial Assistant or Research Assistant

Musical Instrument Museum (MIM) 

8550 S. Priest Drive

Tempe, AZ 85284

CFP: Interdisciplinary Humanities (journal)

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

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

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

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

Regards,
Steve Husarik
shusarik at uafortsmith.edu

CFP: 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: Drawing on the Musical Past: Music Iconology, Instrument Making and Experimental Playing in Music Archaeology (CUNY)

DRAWING ON THE MUSICAL PAST: MUSIC ICONOLOGY, INSTRUMENT MAKING, AND EXPERIMENTAL PLAYING IN MUSIC ARCHAEOLOGY
CITY UNIVERSITY OF NEW YORK
23 - 25 SEPTEMBER 2009
CALL FOR PAPERS

Third conference of the ICTM Study Group for Music Archaeology and Twelfth conference of the Research Center for Music Iconography
City University of New York, The Graduate Center
New York, 23–25 September 2009

Research in music archaeology has become attractive not only among specialized archaeologists and musicologists, but also among instrument makers and musicians. Music iconology, apart from the study of excavated musical instruments, often forms a crucial part in the interpretation of the social contexts and meanings of past music, but also in the study of organological forms and their individual history, materials of manufacture, playing postures, playing techniques, and other aspects. A glance into the rich universe of past music cultures seems to be possible and even reasonable, to a certain degree. This conference aims to present aspects of the advantages, risks, and limits of music iconology, instrument making, and experimental playing in music archaeology.

Abstracts of 200–300 words may be submitted before 1 May 2009 to:

Arnd Adje Both
ICTM Study Group for Music Archaeology, Chair
Reiss-Engelhorn-Museen
C5 Zeughaus
68159 Mannheim
adje at zedat.fu-berlin.de

Zdravko Blazekovic
Research Center for Music Iconography
City University of New York,
The Graduate Center
365 Fifth Avenue
New York, NY 10016-4309
zblazekovic at gc.cuny.edu

Selected papers presented at the conference will be published in the journal Music in Art http://web.gc.cuny.edu/rcmi/musicinart.htm

Further information will be posted at
http://web.gc.cuny.edu/rcmi/12thConferenceInfo.html and
http://www.ictmusic.org/ICTM/beta/stg/index.php?lcode=11

Instruments of Passion: Music, Painting, and the Contest of the Arts (Upcoming symposium) (New York)

INSTRUMENTS OF PASSION: MUSIC, PAINTING, AND THE CONTEST OF THE ARTS: A SUMPOSIUM

THE METROPOLITAN MUSEUM OF ART / COLUMBIA UNIVERSITY

6 FEBRUARY 2009

NEW YORK, NY

Organized by Lydia Goehr and Klaus Krüger

The program is a collaboration among The Metropolitan Museum of Art, New York,

Columbia University, New York, and, Freie Universität, Berlin

TIMES AND PLACES

Friday, February 6, 2009

11:00 a.m.–4:45 p.m.

The Grace Rainey Rogers Auditorium,

The Metropolitan Museum of Art

1000 Fifth Avenue

New York

[Free with Museum admission; reservations and tickets are not required. For more information, please email lectures@metmuseum.org, consult the Met’s online Calendar at www.metmuseum.org, or call (212) 396-5460. ]

Saturday, February 7, 2009

9:00 a.m.–9:00 p.m.

Italian Academy for Advanced Studies in America,

Columbia University

1161 Amsterdam Avenue at 116th Street

New York

Free; for more information, please call (212) 854-3665.

THE PROGRAM

Friday, February 6: 11:00 a.m.–4:45 p.m.

11:00–11:15 a.m.

Opening Remarks

Lydia Goehr, Philosophy, Columbia University

Andrea Bayer, Department of European Paintings and interim head of Education, The Metropolitan Museum of Art

11:15 a.m.–12:15 p.m.

The End of the Contest: On Philosophy, Painting, and Photography in the History of Modernism, Arthur C. Danto, Philosophy, Columbia University

Introduced by Jonathan Gilmore, Philosophy, Yale University

12:15–1:15 p.m.

Watteau and the Contest between Melpomene and Thalia, Georgia J. Cowart, Music, Case Western Reserve University

Introduced by Ellen Rosand, Music, Yale University

break for lunch

2:30–3:30 p.m.

King David’s Harp, Beckmesser’s Lute: Musical Instruments and the Instrumentality of Painting, Lydia Goehr, Philosophy, Columbia University

Introduced by Christopher S. Wood, History of Art, Yale University

3:30–4:30 p.m.

“Most musical of mourners, weep again!”, David Rosand, Art History, Columbia University

Introduced by Alexander Nagel, Art History, New York University

Saturday, February 7: 9:00 a.m.–9:00 p.m.

9:30–10:30 a.m.

The Masked Singer: The Auditory Perception of Beauty in renaissance Italy, Giuseppe Gerbino, Music, Columbia University

Chair: Susan Boynton, Music, Columbia University

10:30–11:30 a.m.

Marsia’s Lament: Animating the Contest of Marsyas and Apollo in Barberini Rome, Wendy Heller, Music, Princeton University

Chair: Christoph Menke, Philosophy, Goethe Universität Frankfurt

break

12:00–1:00 p.m.

Athene and Marsyas: Two Bodies of Beauty and Music, Gertrud Koch, Film Studies, Freie Universität, Berlin

Chair: Gregg Horowitz, Philosophy, Vanderbilt University

break for lunch

2:00–3:00 p.m.

“Mi manca la voce”: Silent Music in Balzac’s Novellas, John T. Hamilton, Comparative Literature and German, New York University

Chair: Walter Frisch, Music, Columbia University

3:00–4:00 p.m.

“The Natural Instrument of the Voice”: Apollo, Marsyas, and Andrea Sacchi’s Portrait of the Soprano, Marc’Antonio Pasqualini, David E. Cohen, Music, Columbia University

Chair: Tim Barringer, History of Art, Yale University

break

4:30–5:30 p.m.

Painted Sounds—Imaginary Music (On Giorgione, Savoldo, and Caravaggio), Klaus Krüger, Art History, Freie Universität, Berlin

Chair: Lydia Goehr, Philosophy, Columbia University

7:00 p.m.

PERFORMANCE of J. S. BACH’S Cantata BWV 201 Geschwinde, ihr wirbelnden Winde. The Contest between Phoebus and Pan, with singers and instrumentalists associated with Columbia University. Introduced by Elaine Sisman, Music, Columbia University.

Italian Academy for Advanced Studies in America, Columbia University

1161 Amsterdam Avenue at 116th Street, New York

Entry to the concert is free for students with Columbia University ID; otherwise $10 or donation. Tickets are not required.

We are grateful to the following sponsors and supporters:

The Metropolitan Museum of Art, New York

Freie Universität, Berlin: “Languages of Emotion,” Cluster of Excellence

Columbia University: Arts Initiative, Department of Art History and Archaeology, Department of Music, Department of Philosophy, Italian Academy for Advanced Studies in America, Music Performance Program, School of the Arts

[Education, The Metropolitan Museum of Art Fifth Avenue at 82nd street New York, NY 10028-0198 www.metmuseum.org]

CFP: Bowed String Instruments in Traditional Cultures (SOAS)

3rd BIENNIAL LONDON FIDDLE CONFERENCE: "BOWED STRING INSTRUMENTS IN TRADITIONAL CULTURES"
SCHOOL OF ORIENTAL AND AFRICAN STUDIES (SOAS), LONDON
20 - 22 FEBRUARY 2009

WEBSITE: www.geocities.com/FiddleConference2009

The LONDON FIDDLE CONFERENCE AT SOAS is a biennial event in a rolling programme of research seminars and performance workshops. We cover all aspects of bowed string instruments in popular culture worldwide.

DEFINITION: The violin has its origins in Central Asian bowed string instruments that have moved around the world, developing in many different ways. Because of the importance of the violin in European culture, it has been re-exported and absorbed by other cultural traditions, often alongside indigenous string instruments. We are interested in exploring fiddlesof all types, and relationships and contrasts between instruments of the violin type and indigenous bowed string instruments.

This is an open conference, open to the general public.

There will be a CONCERT AND CEILIDH SESSION on the night of Friday 20th February featuring the combined forces of the Cambridge University Ceilidh Band and the SOAS Ceilidh Band. The conference will begin on Friday afternoon 20th February with a guided tour visit to the wonderful INSTRUMENT COLLECTION at the Horniman Museum in South London.

Early arrivers may also be interested in Colin Dunne's show OUT OF TIME at the Barbican on Thursday 19 February. This presents a dancer's view of the world of Irish traditional dance.

Our research interests address the following broad themes:

- The violin beyond the Western orchestra: Papers are invited that explore the use of fiddles in European and American folk traditions, in Middle Eastern and Indian music ensembles, and in contemporary practice.

- Fiddles through the world: Papers are invited that explore the role of bowed string instruments, their diversity, and their history. We include discussion of two-string and three-string fiddles in the Middle East, East and Southeast Asia, Islamic Africa and elsewhere.

- Diffusion and development: Papers are invited that explore the organology of violins and fiddles, particularly in a cross-cultural context. We also welcome presentations that look at historical diffusion and the socio-cultural reasons why particular instrument versions have become favoured in specific cultural traditions.

- Making instruments: Papers are invited that explore instrument construction.

Makers are invited to discuss their own construction methods and developments. We also welcome presentations that demonstrate the acoustic properties of instruments.

The above list is not exclusive, and researchers are encouraged to present papers that fall outside of these topic areas.

CONFERENCE REGISTRATION

Full Rate £30 - Day Rate £12
Concessions £10 - Day Rate £5

If you cannot afford to pay, let us know and we shall see what can be done. Note: There is no registration charge for people presenting papers and workshops.


PROPOSALS OF PAPERS
If you wish to register to attend the conference, or wish to present a paper, please send contact details to the organiser at the address below.

Ed Emery
[Fiddle Conference]
Peterhouse,
Cambridge CB2 1RD

E-mail: ed.emery [@] thefreeuniversity.net

PLEASE NOTE: This weekend will also feature the Saturday Night Concert of the not-to-be-missed LONDON FIDDLE CONVENTION, to be held at Cecil Sharp House.

The London Fiddle Conference is an independent initiative organised with the collaboration of the SOAS Department of Music.

WEBSITE OF THE 2009 CONFERENCE:
www.geocities.com/FiddleConference2009