CFP: Music and the Written Word (UCal, Santa Barbara)

MUSIC AND THE WRITTEN WORD
UNIVERSITY OF CALIFORNIA, SANTA BARBARA
16 - 17 JANUARY 2010
CALL FOR PAPERS

The UCSB Center for the Interdisciplinary Study of Music (CISM) is seeking submissions for the 2010 “Music and the Written Word” Graduate Conference to be held at the University of California, Santa Barbara, on 16-17 January 2010. Run by and geared towards graduate students, this interdisciplinary conference will focus on music, the written word, and their convergence. We welcome submissions covering the full spectrum of methodologies, disciplinary approaches, and all genres of music.

Possible topics could include, but are not limited to:
Relationship between music and text
Text setting
Musical criticism
Representations of music in literature and poetry
Notation and transcription
Music inspired by literature or poetry
Music in print media
Musical poetics
Music as language/language as music
Rhetoric and musical practice
Musical analogy
Music and grammar
Music and worship/liturgy
Language in performance practice
Concrete words, “ineffable” music
Music and political speech
Music and code (C Sound, etc.)

Please send a 200-300-word abstract of your paper to musicandthewrittenword at gmail.com no later than 9 October 2010. Include the abstract as both a file attachment and in the email text. Paper presentations will be allotted twenty minutes, with ten additional minutes for questions and answers.

Details regarding travel, accommodations, and the keynote address will be forthcoming. Updated information will be posted on our website:

http://www.music.ucsb.edu/projects/musicwrittenword/

For questions, suggestions, or other communication, please write to: musicandthewrittenword at gmail.com

CFP: Music, Literature, Illustration: Collaboration and networks in English manuscript culture, 1500 – 1700 (University of Southampton)

MUSIC, LITERATURE, ILLUSTRATION: COLLABORATION AND NETWORKS IN ENGLISH MANUSCRIPT CULTURE, 1500 - 1700
UNIVERSITY OF SOUTHAMPTON
16 - 17 FEBRUARY 2010
CALL FOR PAPERS

A conference for postgraduate students and early career researchers, hosted by the Centre for Medieval and Renaissance Culture, University of Southampton
Chawton House Library, Hampshire, 16-17 February 2010
Keynote speaker: Dr Peter Beal FBA (Institute of English Studies, University of London)

This two-day conference will bring together postgraduate and early career researchers working on sixteenth- and seventeenth-century English manuscript sources. Many of the sources from this period are multi-authored and contain strikingly disparate materials, posing a serious challenge to scholars working within traditionally defined disciplinary boundaries.

The primary aim of the conference is to address this challenge: to provide an opportunity for genuine interdisciplinary discussion, and to create new networks between researchers which will enable them to share both theoretical perspectives and practical approaches to working with early modern manuscript materials.

Our definition of ‘literature’ for this conference is a broad one, including (but not limited to) poetry, prose, drama, (auto)biography, letters, devotional writing and medical/scientific texts.

We invite proposals for 20 minute papers that address any aspect of the conference theme but, in particular, those focused in the following areas:

• Studies of individual manuscripts that contain a range of diverse materials
• Manuscripts as emblems of social bonds (e.g. family, friendship, or patronage-based networks)
• Manuscripts as spaces for private reflection
• Manuscripts as objects for public display
• Manuscripts as commodities in a gift economy
• Relationships between manuscript and print culture
• The role of new technologies in manuscript studies, including:

- Project reports and/or practical demonstrations of existing electronic resources
- Conceptual and theoretical models – how can emerging technologies shape the future of manuscript studies?
- Representing non-textual material in electronic editions

Abstracts (300 words max.) for proposed papers should be sent by email to both conference organisers by October 16th 2009:

Michael Gale ( mdg at soton.ac.uk ) and Louise Rayment ( L.Rayment at soton.ac.uk )

Please include contact details and indicate your institutional affiliation and professional status (i.e. doctoral candidate, post-doctoral researcher etc.) in your submission.

Further information about the conference will appear in due course at: http://www.soton.ac.uk/cmrc/news/conferences/2009_10/music_literature.html

FORUM Essay Prize 2010: Music and Literature

FORUM ESSAY PRIZE 2010: MUSIC AND LITERATURE
FORUM FOR MODERN LANGUAGE STUDIES
OXFORD UNIVERSITY PRESS
DEADLINE: 31 JANUARY 2010

The General Editors of Forum are pleased to announce that, in memory of the distinguished musicologist and Forum editor Peter Branscombe, the 2010 Forum Prize is on the subject of music and literature. Articles of up to 6,000 words are invited for the competition: the winning article will be published in the journal and the author will receive the sum of £200. Reflective, polemical articles on music and literature are especially welcomed and may relate to any area and period of English, French, German, Iberian, Italian, Latin American and Russian literatures, languages and cultures. For the purposes of the Forum Prize, the subject of music and literature is defined in its broadest sense.

Professor Peter Branscombe (1929-2008) is best known for his work on Viennese musical theatre, and on Haydn, Mozart, Schubert and Wagner. He was Professor of Austrian Studies at the University of St Andrews and was for many years a valued contributor to and editor of Forum.

Application: Articles should be submitted according to Forum style and to the General Editor (articles) by 31 January 2010, marked "For consideration for the Forum Prize". Entries may be submitted online via http://mc.manuscriptcentral.com/fmls. Forum's normal peer review processes will pertain, and short-listed articles will also be judged by additional subject specialists. The prize article will be announced and published in the July 2010 issue. Forum may publish other very strong submissions in subsequent general issues. For further details about the Prize, see www.oxfordjournals.org/our_journals/formod/forum_prize.html

Sacred Music in the Habsburg Empire 1619–1740 and Its Contexts (Utrecht)

SACRED MUSIC IN THE HABSBURG EMPIRE 1619-1740 AND ITS CONTEXTS

ROOSEVELT ACADEMY, UNIVERSITY OF UTRECHT

MIDDELBURG, THE NETHERLANDS

5 - 8 NOVEMBER 2009

CALL FOR PAPERS

Sacred music at the Austrian Habsburg courts existed within a complex environment in which liturgy, theology, literature, art, architecture, and politics were tightly interwoven. Also as a cultural export product at the borders of the Empire, such as Bohemia, Moravia, Hungary and the Low Countries, this music interacted – positively or negatively – with local traditions. The symposium seeks to explore this cross-disciplinary interaction for the period from the beginning of the reign of Ferdinand II (1619) to the death of Charles VI (1740).

The sessions will be held over two days and will take place in the attractive surroundings of Middelburg’s late medieval town hall. Limited grants towards travel and subsistence may be available for younger scholars, those without university affiliation, and scholars from Central and Eastern Europe. Selected contributions will be published in a volume of proceedings.

Proposals are invited for

- individual papers of 20 minutes duration (followed by 10 minutes for questions and discussion).

- round-table sessions of up to two hours (three or four papers) including discussion.

Individuals may submit one proposal in the form of

- an abstract of not more than 250 words (individual papers).

- a summary of not more than 250 words and abstracts of up to 250 words for each participant (round-table sessions).

Abstracts and papers may be written/presented in English or German.

Acceptance of a proposal will be at the discretion of the programme committee. The abstract should be preceded by the name, institution, postal address, phone no., and email address of the author and may be submitted electronically (plain text, MS Word, RTF) to Tassilo Erhardt (t.erhardt at roac.nl).

The deadline for proposal submission is 15 April 2009.

Programme committee:

Herbert Seifert, Steven Saunders, Robert Rawson, Tassilo Erhardt

For further information please contact:

Dr. Tassilo Erhardt

Email: t.erhardt at roac.nl

Link: http://www.roac.nl/roac/habsburgmusic.phtml

Deadline: 15 Apr 2009

CFP: Old Age and Late Works (15th-21st Centuries) (Poitiers, France)

OLD AGE AND LATE WORKS (15TH-21ST CENTURIES) INTERNATIONAL CONFERENCE
POITIERS, FRANCE
10 - 12 DECEMBER 2009
CALL FOR PAPERS

Sponsored by the Université de Poitiers, UFR Sciences Humaines et Arts, GERHICO

Artists’ longevity is a topic that raises question about biography’s impact on creation. Artistic production in old age often coincides with a drastic change of style, resulting from a reconsideration of preceding skills and positions, if not a return to basics. This final season of life has fed the romantic myth of the elderly genius’s absolute liberty of expression, reaching an
incomparable dramatic intensity, as a constant in major artists’ late production throughout history.

The old age of artists has been, however, a subject of debate since the Renaissance, when senility’s consequences on artistic creation were often denounced as a defect. Historiography has long fluctuated between these two interpretative positions, glorifying the liberty of expression of late works or denigrating the imperfections of their workmanship or conception.

Most recently, scholars have considered the status of late works in relation to the psychological, cultural and social conditions that the negative consideration of old age could have on senior artists’ production, independent of its quality. In spite of the attention paid to this topic, we still lack for a comprehensive view that considers late artistic creation over a long period and in different fields of expression, allowing us to question its specificity with respect to the wider spectrum of intellectual and scientific production by those of advanced age.

This conference’s purpose is therefore to treat the topic of old age and its late creations over an extended chronology – from the Renaissance to the modern era – in visual arts, music and literature, establishing a dialogue between those different disciplines.

For more information: http://www.mshs.univ-poitiers.fr/gerhico/accueil.html

Submissions dead-line : 31 march 2009 (text : at most 2.000 characters; curriculum vitae : at most 1 page) Contact : diane.bodart at univ-poitiers.fr

CFP: Lyrcia Society for Word-Music Relations (Harvard University)

LYRICA SOCIETY FOR WORD-MUSIC RELATIONS
AMERICAN COMPARATIVE LITERATURE ASSOCIATION (ACLA) ANNUAL SEMINAR
26 - 29 MARCH 2009
HARVARD UNIVERSITY
CALL FOR PAPERS

Call for Papers: Lyrica at ACLA/Deadline extended: 7 FEBRUARY 2009

The Lyrica Society for Word-Music Relations is pleased to extend its original Call for Papers deadline for its annual seminar at the American Comparative Literature Association (www.acla.org) to February 7, 2009.

The conference's broad general theme is "Global Languages, Local Cultures" and Lyrica's Seminar is entitled "Revival and Surival: Opera, Song, Regionalism, Pluralism, Nationalism". Please check our posting among the many fascinating seminars proposed by our colleagues in Comparative Litrature:

http://www.acla.org/acla2009/?p=46

The ACLA's Seminars extend over three days and explore its chosen theme through a daily, two-to-three-hour session. A maximum of twelve papers will be accepted and each session will take the form of a round-table discussion where debates are encouraged. Lecture-recitals will also be considered. If submitted for publication in "Ars Lyrica", papers will be subject to the journal's peer-review process.

Interested musicologists and ethnomusicologists, scholars of literature and comparative literature should submit an abstract not to exceed 250 words to: lyricasociety at aol.com with ACLA in the subject line by 7 February 2009.

Beyond the Screen: Transformations of Literary Structures, Interfaces and Genres (Upcoming Conf)

BEYOND THE SCREEN: TRANSFORMATIONS OF LITERARY STRUCTURES, INTERFACES, AND GENRES
INTERNATIONAL CONFERENCE
CULTURAL STUDIES RESEARCH CENTER "MEDIA UPHEAVALS"
UNIVERSITY OF SIEGEN, GERMANY
20 - 21 NOVEMBER 2008

PANELS: Performance and the Emergence of Meaning :: Literature between Virtual, Physical, and Symbolic Space :: Beyond Genre: Transformations of Narrative, Poetic, and Dramatic Structures :: Preservation, Archiving and Editing.

Using electronic and networked media has resulted in such serious changes in the relationship between “author”, “work,” and “reader” that it seems necessary to make revisions in the traditional models analyzing literary communication. The Siegen conference on The Aesthetics of Net Literature: Writing, Reading and Playing in Programmable Media (Nov 25-27, 2004) had already made clear that this triad has to be extended into the technical aspects of media: Literary processes emerge from techno-social networks, i.e. they materialize in the interplay between human and electronic “actants.” If in the past discussions centered mostly on those projects that were perceived by looking at the computer screen or that were controlled via keyboard and mouse, now man-machine interactions are organized by considerably more complex interfaces. The specific attention of this follow-up conference therefore will be focusing on the aesthetic processes of AI-controlled environments that occur in the physical realm between the interfaces of technical sensors or effectors and the human body. Electronic media take “body language” to a new level as well since more and more the whole body is involved in the media activity. Increasingly complex sensors (integrated into vehicles, clothes and environments) “realize”—hear, see, feel, in other words: measure—the movements of the body, its mimics and gestures. This “multimodal” body itself then also exchanges in-formation with the “products” of this kind of technology. Such medial couplings and framings enable the co-operation of non-symbolic activities, symbolic language activities and algorithmic processes of computer systems. If it is true that semantics is always the result of intermedial transcriptions between media then this development affects all human behavior concerning linguistic signs and therefore also the aesthetic processes of perception and self-perception. In this context the contributions to this conference will refer to literary communication and strategies thereby interrogating how literary structures, interfaces and genres change regarding:

Locative Narratives, i.e. environmental, neighborhood and city projects with GPS-based media following literary patterns (e.g. travel- and adventure-narratives or detective stories like J.-P. Balpe’s Fictions d’Issy; S. Schemat’s Augmented Real-ity Fictions; Inter Urban by 34 North 118 West or S. Berkenheger/G. Müller’s Worldwatchers).

Immersive Environments (Cave or interactive camera-projection systems) in which reception does not only take place through the eyes alone but rather in which the whole body is “reading” and thereby recomposing already saved meanings or those that still have to be constructed (e.g. N. Wardrip-Fruin’s Screen; J. Cayley’s Lens; C. Utterback’s Text Rain or D.Small/T. White’s Stream of Consciousness).

Stagings of inner realms and environments in which real characters (from simple users to trained actors) and artificial ones (from avatars, software agents etc. to complex AI-programs) following quite classical dramatic patterns of activity are involved in dialogues (e.g. M. Mateas/A. Stern et.al.: AR Façade).

Regarding the aesthetics of net literature therefore the question has to be asked whether we can continue talking of a specific migration of traditional literary forms into computer-based and networked media. Can we continue analyzing such examples as “literature”? In what way can the semantics of literary terminology, concepts and systems be retained or does it have to be revised? Can we still correlate the examples mentioned above with the three traditional genres?

Apart from this the performative projects mentioned above intensify the already difficult problem of the documentation / archiving of as well as the access to processes of electronic literature. Lastly, the conference also will address the problem of archiving and editing the rather transitory electronic literature, thereby attempting to advance the co-operation of current and planned databases, archives and editions.

Conference information can be found at: http://www.litnet.uni-siegen.de/