CFP: Revisiting the Past, Recasting the Present: The Reception of Greek Antiquity in Music, 19th Cent to the Present (Athens, Greece)

REVISITING THE PAST, RECASTING THE PRESENT: THE RECEPTION OF GREEK ANTIQUITY IN MUSIC, 19TH CENTURY TO THE PRESENT
MICHAEL CACOYANNIS FOUNDATION, ATHENS
1 - 3 JULY 2011
CALL FOR PAPERS

Sponsored by the BASEES Study Group for Russian and Eastern European Music, Polyphonia Journal and the Hellenic Music Centre
Conference website: http://athensconf2011.gateweb.gr


Greek antiquity has proved an inexhaustible source of inspiration throughout the history of Western ‘art’ music, endowing composers with a plethora of themes from its mythology and literary tradition; at the same time it has had a distinct impact on musical creativity itself through its cultural products:ancient Greek tragedy, poetry, as well as ancient Greek music itself (mainly,but not exclusively, through the study and use of its modes). The engagement with and interpretation of elements of ancient Greek culture in and through music reflect the specific historical, cultural and social context in which they have taken place; thus these mechanisms enable us to decode the particular relationships between the receiving audiences (artists, critics, listeners),their times and Greek antiquity.

In this respect, the period stretching from the beginning of the nineteenth century to the present is a most inviting case study, encompassing extensive historical, socio-political and cultural developments. During a period extending roughly from the Renaissance through to the Enlightenment, neo-classical themes had played a decisive role in the formation of modern European culture. However, the advent of Romanticism, with its apparent emphasis on vernacular themes, radically reframed the classical legacy. The beginning of the nineteenth century marked a new phase in Western perceptions of Greek antiquity, shaped by a number of historical, ideological and artistic factors, such as: the intensification of philhellenism in the wake of the Greek struggle for independence against the Turks; radical developments in archaeology, philology and the study of ancient history; the growing philhellenism in arts and literature; and the evocation of Greece in the narratives of national self-determination.

Likewise, the twentieth century has looked on the classical past with different eyes, whether through modernism’s search for the universal, post-modernism’s complex attitude to tradition and the inherited narratives of canonicity, or post-colonialism’s critique of myths about national identity and origins. The reception of the ancient Greek world has undoubtedly not been homogeneous throughout the centuries under consideration. This conference aims to explore the complex set of processes by which ancient Greek culture has been approached, (re)discoved and (re)interpreted in and through music, from the early nineteenth century to the present day. The conference invites the widest possible range of musicological approaches (including ethnomusicological and anthropological ones).

Interdisciplinary papers – which may refer to literature, the arts, cinema, theatre, and so on – are especially encouraged. Although the conference addresses the reception of Greek, rather than Roman, antiquity, we welcome papers that would highlight the connection and dialogue between these two cultures, as well as between ancient Greek and other cultures. Similarly, papers that involve ancient Greek music should contribute to the exploration of the conference’s focus on modes of reception. We particularly encourage proposals on Greek music since the nineteenth century, and papers exploring the reception of Greek antiquity in Russian and Eastern European music. Nineteenth-century Russian theories of music that referred to ancient Greek modes, Symbolism, neo-classicism, as well as the employment of ancient Greek themes by composers such as Taneyev, Szymanowski and Enescu are only a few examples of the points of contact between Russian and Eastern European music with ancient Greek culture.

Proposals may address (but do not need to be limited to) the following aspects of the conference’s general theme:

- The study and reception of Greek antiquity by composers, musicians, music theorists, artists in general, critics, audiences, institutions
- Historical, social, cultural, political, ideological, religious and artistic
factors that have shaped various cases of reception of Greek antiquity
- Mythological references, their symbolisms and interpretations
- The role of tradition and innovation in the reception of Greek antiquity
- Nostalgia in the reception of Greek antiquity
- Exoticism in the reception of Greek antiquity
- Issues of identity construction (national, Greek, European, Western, Eastern)
- Devotion to or imitation of Greek antiquity and classical ideals associated with ancient Greece (‘Hellenism’) but also criticism or the rejection of the ancient Greek past
- The reception of Greek antiquity with reference to philosophy (e.g. Nietzsche, the Apollonian, the Dionysian elements)
- Greek antiquity on stage and screen: the ballet, opera, musical theatre, film
- The reception of Greek antiquity in theories of music
- Archaisms in compositional practice (e.g. modality)
- The reception of Greek antiquity with reference to traditional and popular music
- Issues of sexuality pertaining to the study of Greek antiquity and its reflection in music

The conference’s official language is English. Proposals for 20-minute papers (of no more than 300 words) and short biographical notes (of up to 200 words) should be sent to athensconf2011[at]gateweb.gr by 1 September 2010 (receipt of proposals will be acknowledged by e-mail). Abstracts will be reviewed and results will be announced by 30 October 2010. A selection of papers will be considered for publication in a book form. Conference fee: 50 Euros (Students are exempted. Efforts will be made by the conference organisers to secure funding that will allow us to waive the fee).

Keynote speakers:
Prof. Jonathan Cross (University of Oxford)
Dr Marina Frolova-Walker (University of Cambridge)

Confirmed speakers:
Prof. Jim Samson (Royal Holloway, University of London)
Prof. Ion Zotos (University of Athens)

Conference Committee:
Dr Rosamund Bartlett
Dr Philip Bullock
Dr Katerina Levidou
Prof. Katy Romanou
Yannis Sabrovalakis
Dr George Vlastos

CFP: 10th International Music Theory Conference PRINCIPLES OF MUSIC COMPOSING: SACRAL MUSIC

10TH INTERNATIONAL MUSIC THEORY CONFERENCE
PRINCIPLES OF MUSIC COMPOSING: SACRAL MUSIC
VILNIUS, LITHUANIA
20-22 OCTOBER 2010
CALL FOR PAPERS

Sponored by Lithuanian Composers’ Union, Lithuanian Academy of Music and Theatre

The purpose of the conference is to give new impulses to the development of musicological thought, which could serve to compositional practice and teaching process. The nine preceding conferences took place in Vilnius 1999-2009.

This year the conference will celebrate its 10th anniversary. For this occasion the special program and events are planed.

Sub-themes:
1. The conception of sacral music as a composing object (etymology, criteria, theoretical conceptions, attitudes of church authorities, pronouncements etc.)

2. Composing technique as a sign of music sacrality and secularity (historical-theoretical outlook).

3. Features of sacral music composing (liturgy, relation between text and music, the interaction between vocal and instrumental principles etc.).

4. Characteristics of Western and Eastern sacral monody. Gregorian chant (genesis, performing, notation and restoration, compositional structures, types etc.). The influence of Gregorian chant on the European music composing practices.

5. Genres, forms and composing principles of sacral music during the peak of Christian era (Missae ordinarium, Requiem, Psalmus, Magnificat, Antiphona, Responsorium, Hymnus etc.).

6. Sacral music in liturgy and beyond – the universalising of cult and concert composing practices.

7. Acoustic expanses of sacral music composing, performing and psychological suggestibility.

8. Current issues of composing Church liturgy repertoire in Lithuania and other countries.

9. Sacral music in the scope of contemporary music composition theory and practice.

Paper proposals (abstract together with a short biography) should be sent to Mr. Marius Baranauskas: pmc@lmta.lt . The abstract must not exceed 500
words. The duration of papers will be limited to 20 minutes. Please indicate whether your proposal belongs to one or more of the conference sub themes.

The deadline for proposal submissions is June 6, 2010. The proposals will be reviewed by members of the organizing committee and all applicants will be notified of the outcome until the end of June 2010.

The main language of the conference is English.

The material of the conference – abstracts and papers will be published.

Coordinator of the conference Marius Baranauskas: pmc at lmta.lt

http://pmc.lmta.lt

CFP: Conversations in Music Scholarship 2010 (University of Michigan)

CONVERSATIONS IN MUSIC SCHOLARSHIP CONFERENCE 2010
UNIVERSITY OF MICHIGAN
5 - 6 FEBRUARY 2010
CALL FOR PAPERS

The Michigan Interdisciplinary Music Society will host its fourth annual Conversations in Music Scholarship conference February 5-6,2010, at the University of Michigan in Ann Arbor. The conference will feature a keynote address given by Kofi Agawu (Princeton University), as well as a graduate-student workshop directed by Ramon Satyendra (University of Michigan).

Submission Guidelines for Presentations

Proposals for papers on or combining the topics of music theory, musicology, ethnomusicology, and related fields are welcome. Interdisciplinary music research is particularly encouraged. Applicants need not be enrolled in graduate music programs for consideration. Presentations should last 20 minutes, followed by approximately ten minutes for questions and discussion. Complete proposal submissions should include:

1. An abstract of no more than 500 words. The abstract should not contain the author's name or affiliation. Supplementary materials, (such as musical examples, diagrams, and bibliographies) may accompany the abstract, but should not exceed two additional pages.
2. A cover letter that lists the author's name and email address, the paper title, and any equipment required for the presentation (e.g. piano or keyboard, CD player, projector, etc.).

Submissions must be made electronically, and sent by November 20th,2009. The cover letter should be included in the body of the email,and the abstract (and any supplementary materials) attached to the email in .doc or .pdf format. Before sending, please be certain that all attached files will display and print clearly, and that they are free of any indication of authorship. Send electronic submissions to: conversations2010 [at]umich.edu

Notification

Authors will be notified upon receipt of submission. Notifications of acceptances will be sent via email by December 15th, 2009, at which point selected authors will be asked to confirm acceptance and to submit a condensed abstract, suitable for publication in the program booklet, and brief biographical information for the benefit of the conference moderators. For further information, and details from last year's conference, see
http://sitemaker.umich.edu/conversations2009/home

CFP: 8th Annual Music Theory Society of the Mid-Atlantic (Penn State University)

MUSIC THEORY SOCIETY OF THE MID-ATLANTIC EIGHTH ANNUAL MEETING
PENN STATE UNIVERSITY
26 - 27 MARCH 2010
CALL FOR PAPERS

The Music Theory Society of the Mid-Atlantic will hold its Eighth Annual Meeting at Penn State University in University Park, Pennsylvania on Friday and Saturday, 26-27 March 2010. The MTSMA welcomes proposals on any aspect of music theory. Presentations are limited to thirty (30) minutes: twenty (20) minutes for the paper and ten (10) minutes for discussion.

Please include the following in your submission:

1. Seven (7) copies of a proposal. Proposals are limited to 500 words and no more than two pages of text (double-spaced in a 10- to 12-point font) plus examples and references. No information that identifies the author(s) or institutional affiliation should appear in the proposal.

2. A cover letter that includes the author's name, paper title, institutional affiliation or city of residence, phone number(s), and e-mail address. Submissions will be acknowledged by email only.

3. One copy of a 200-250 word abstract suitable for publication.

Students wishing to be considered for the Dorothy Payne Award for the best student paper should send seven (7) copies of the entire paper with their proposal.

Address for submissions by US Post:

Dora A. Hanninen, MTSMA Program Chair
c/o Ms. Tracy Krulik
2110 Clarice Smith Performing Arts Center
School of Music, University of Maryland
College Park, Maryland 20742

Email submissions are encouraged! Put all cover letter information in the body of your email, with the proposal and the 200-250 word abstract as two separate attachments. All attachments must be either MS Word documents or pdfs. Send email submissions to: mtsma2010 at gmail.com with the subject line: "MTSMA 2010 Proposal."

Deadline for receipt (by email or US Post) is December 1, 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: Rush and Philosophy (Journal)

RUSH AND PHILOSOPHY

CALL FOR PAPERS

DEADLINE: 19 JULY 2009

We are looking for short articles (of around twenty pages) to add to this proposed anthology for the series that began with "Seinfeld and Philosophy" (2000), but since 2005 has also included a number of music-related books.

Writers in philosophy, musicology, music theory, American studies,economics, and psychology have already committed to "Rush and Philosophy," and they are exploring various areas from across Rush's career (1974- ). However, possible areas of interest for additional articles include: balance through instrumental "songs," humour, and recent "sightings" of the band in the mainstream media, as well as participation in roundtables concerning music technology and rock critics. Contributions from women, minorities, and people from outside of North America are most welcome!

Deadline for one-page abstracts: July 19, 2009

Deadline for completed first-drafts: August 31, 2009

Please send to Durrell Bowman and Jim Berti: db at durrellbowman.com; koors58 at yahoo.com

CFP: Present Perspectives on Tonality Assessment and Prospects (Tour, France)

PRESENT PERSPECTIVES ON TONALITY ASSESSMENT AND PROSPECTS

UNIVERSITÉ FRANÇOIS-RABELAIS, TOUR

26 - 28 NOVEMBER 2009

CALL FOR PAPERS

Université François-Rabelais
U.F.R Arts et Sciences Humaines
Département de Musique et Musicologie
5 rue François-Clouet
37000 Tours
Convenor: Henri Gonnard
Research Team ‘Lieux et enjeux des modernités musicales’

The aim of this conference is to survey the current state of research on the question of tonality. Epistemological issues are immediately raised as this question cannot be envisaged without specifying the distinction between ‘tonality’ as a phenomenon and ‘tonal system’ as a theoretical construction. Generally, the former is considered as having been gradually set up and, thereafter, established during the late Baroque era, expanded and destabilized from the 19th century, to be finally defeated by the appearance of atonality in the 20th century. The latter is represented through the system of major/minor opposites and in the structuring of harmonic progressions, as they are approached from a synchronic/diachronic point of view. Moreover, theory and analysis meet up in the relationship which occurs between the object under analysis and the analyst, between the observer and the object that is observed.

Thus, as its leading theme the conference will focus on the interaction between:

1. the theory and the analysis of tonal music,
2. theory or analysis and the objects to which apply.

Papers may wish to concentrate on either aspect from an epistemological, historical, or methodological point of view.

Proposal for papers (of no more than 20 lines) with a short CV should be sent to henri.gonnard at univ.tours.fr before 15 May 2009. Travel expenses are to be met by the participants or their institution of affiliation. The proceedings of the conference will be published. Information: +33 247 36 7727, or the above email address.

CFP: 2009 Art of Record Production: Producing Recorded Performances: Capture or Design (Glamorgan, Cardiff)

FIFTH ANNUAL ART OF RECORD PRODUCTION CONFERENCE
UNIVERSITY OF GLAMORGAN, CARDIFF, SOUTH WALES
13 - 15 NOVEMBER 2009
CALL FOR PAPERS

Producing Recorded Performances: Capture or Design?
The conference organizers invite submissions for papers on the following themes and any other related topics:

1. Performance and Record Production.
The evolving process of record production has altered performance practice in a variety of ways and across the whole range of musical styles. In turn these new developments have themselves driven the development of new musical styles. This stream will examine these issues and also how changes in the creative decision making process have affected the traditional roles of performer, composer, arranger and producer. Leiber and Stoller are often quoted as having said “we don’t write songs, we write records” and this recording based approach to creativity has many implications for the role of performers. How do performers and producers negotiate this creative balancing act? Indeed, how do all the participants in the production process communicate and interact? The stream invites submissions dealing with all aspects of performance in the recording studio.

2. Capturing Environments, Designing Space.
For many recording professionals the idea of ‘capturing’ the character of a specific space is central to their practice. For others the artificial construction of perceived ambience is equally crucial. The ‘sonic environment’ of recorded music can strongly affect the perceived meaning for a listener but the sound the performer hears during the recording process is also an important factor. This stream seeks to examine both how the artificial design of space has been incorporated into the production and compositional process as well as how techniques
that are specific to the recording of classical, jazz, acoustic, folk and traditional music forms utilise the sound of recorded space. Phrases such as hyper realism and “electronic fakery” illustrate the increased public awareness of the creative impact of technological mediation. We would therefore also like to encourage studies and discussions of related issues such as the aesthetics and psychoacoustics of place and proximity, the perception of technological mediation, authenticity and transparency.

3. Independent Production and Distribution
There is a long history of independent and entrepreneurial producers stretching from pioneers such as Sam Phillips and Joe Meek to contemporary artists such as Linda Perry and Steve Albini. There are also a variety of business models and working practices through which independent record producers and independent forms of distribution can be connected. Record production on the small scale impacts on the final sound in a variety of ways but particular business models and audience preferences in niche markets can also influence creative decisions in the production process. How might the model of ‘pay per listen’ as opposed to the ‘traditional’ product / ownership forms of income stream affect the production of recorded music? There are also perceptions amongst both audiences and artists about the relationship of independence and creativity and independence and credibility. This stream invites submissions relating to any of the above points and also those dealing with emerging business models related to independent and /or small scale production and the way they fit into the wider market place.

4. Five Years On: The Musicology of Record Production
Five years after the ‘Towards a Musicology of Record Production’ stream at the first ARP conference, how has this field of study moved on? At that conference Professor Allan Moore argued “that the major context for production decisions is the other musical decisions which go into the making of a track” and that, as such, a musicology of record production only makes sense as a component in the wider study of music. A growing number of academics are seeking ways in which the study of recording practice can be integrated into the study of music. What difference does it make when that study is in the western art tradition of musicology, ethnomusicology or popular music studies? What are the methodologies and approaches being utilised in this area and how do they fit together? What should a musicology of record production study and why?

We welcome work from any relevant academic perspective, including but not limited to popular music studies, ethnomusicology, the study of performance practice, communication studies, historical musicology, the history of technology, ergonomics, acoustics and psychoacoustics, music theory, music cognition, music and music technology education, and the philosophies of music, mediation and technology. Please include a note on methodology where appropriate.

Papers or demonstrations that require recording / studio / 5.1 playback facilities are also encouraged but selection will be subject to a feasibility study by the hosts at Glamorgan.

Proposals for individual papers and poster presentations should not exceed 500 words and should be in Word Document, Rich Text File or Text file formats (doc, docx, rtf or txt files). Submissions by email to simonzt@artofrecordproduction.com

Papers will be accepted in either English or Welsh.

The deadline for proposals is the Monday 20th April 2009.

CFP: Music Analysis Today: Crisis, or (R)evolution? (Strasbourg)

MUSIC ANALYSIS TODAY: CRISIS, OR (R)EVOLUTION ?
INTERNATIONAL CONFERENCE, STRASBOURG
19 - 21 NOVEMBER 2009
CALL FOR PAPERS

Université de Strasbourg Research Group ‘Approches contemporaines de la Création et de la Réflexion artistiques’ Société française d’Analyse musicale

With the support of Institut d’Esthétique des arts et technologies (Université de Paris-1/CNRS), IRCAM (Paris), & GATM (Gruppo Analisi et Teoria musicale, Bologna, Italy)

Musical research in general has undergone considerable transformation in the last decades, as concerns both its object and its methods. The respective breaking up of these, together with the calling into question of traditional approaches in the historical as well as in the theoretical domains have led to a situation amounting, for certain thinkers, to a crisis. However, it may be that beyond this ‘Babelization’ of music studies, a broader disciplinary field is emerging, at once more international and transdisciplinary, the diversity of which reflects an ongoing reconstruction and a transformation of epistemological status. Are we witnessing a global and lasting weakening of all norms, or, on the contrary, a change in dominant ideas and paradigms—but also biases?

This conference proposes to examine some of the orientations which have thus significantly modified analytical practice together with its theoretical foundations, taking as a symbolic reference point the 1989 European Congress in Colmar which sought to map the landscape of music analysis. Since that date, it may be considered that the geography of music analysis has been altered at least in a threefold way by: (i) the emergence of new corpuses, (ii) transformations in modelling, and (iii) the shifting of disciplinary boundaries.

Papers, in English or in French, of 30’ duration each, should develop one or more of the above themes through a non-exclusive, critical approach. Reflexion should be backed up with concrete analytical examples.

Topics may be chosen from the following, although other suggestions will be considered:
– new analytical methods (systematic or mathematic approaches, neo-Riemannian theory, transformational theory, computational musicology, computer-assisted analysis, etc.),
– new corpuses for analysis (improvised, traditional—notably non-Western—music, pop-rock, electro-acoustic music, etc.),
– new domains (performance practice, reception, etc.),
– new supports (visual representations, sound recording, digital support systems, etc.)
– the epistemology of analytical research (history of music analysis, the analysis of analysis, relation of analysis to other musicological approaches or to other disciplines, etc.).

Proposals for individual papers, of no more than 700 words, together with a short CV, should be emailed simultaneously to Mondher Ayari and Xavier Hascher.

The deadline for the submission of proposals is 3 April 2009.

Notification of acceptance will be sent by the end of April. It is intended that the proceedings of the conference shall be published.

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: 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).

Dutch-Flemish Society for Music Theory International Conf (Leuven)

11TH INTERNATIONAL CONFERENCE
DUTCH-FLEMISH SOCIETY FOR MUSIC THEORY (LEUVEN)
20 - 22 FEBRUARY 2009

The Dutch-Flemish Society for Music Theory is proud to announce its Eleventh International Conference, which will take place in Leuven, February 20-22, 2009. The conference program, hotel information and a registration form can be found on the Society's website http://www.vvm.ahk.nl/.

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: 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: Nota Bene Undergraduate Journal of Musicology

NOTA BENE UNDERGRADUATE JOURNAL OF MUSICOLOGY
UNIVERSITY OF WESTERN ONTARIO
CALL FOR PAPERS

The Don Wright Faculty of Music at the University of Western Ontario requests submissions for the 2009 issue of Nota Bene. Authors must submit papers electronically by February 15, 2009.

Nota Bene is a professor-reviewed journal for musicology created specifically for undergraduate students studying at institutions internationally. We invite papers in the fields of historical musicology, ethnomusicology, popular music studies, and music theory that meet a high critical and rhetorical standard. We encourage submissions in both English and French. Professors are encouraged to forward this message to students. Information for authors and previous issues are available at www.music.uwo.ca/notabene.html

Nota Bene’s mission is to offer undergraduate students an opportunity to participate in an international academic discussion and publication process. The journal seeks to establish a community of young scholars across North America, to expose them to the work of their peers, and thus to nurture a lively discourse encouraging students to pursue musicological graduate work. In this way we hope to expose young music students to the diversity of this field. A list of our review panel is available through our website. We aim to provide participating undergraduate students with feedback from our external reviewers, particularly for those students intending to submit papers for graduate school applications. Nota Bene is committed to representing all undergraduate levels and will provide every submission with feedback from the review panel.

The editors may be contacted at: notabene at uwo.ca

We sincerely hope you will encourage your students to participate in this exciting project.

Sincerely,
Katharina Clausius, Kristen Duerhammer, Veena Varghese
Student Editors-in-Chief

CFP voiceXchange (Journal) (University of Chicago)

voiceXchange
CALL FOR PAPERS

voiceXchange invites original submissions that address this or a related theme for its upcoming special issue, entitled “OFFICIAL MUSICS.”

Musical practices and experiences are often deeply enmeshed in social institutions and conventions, shaped by formal, ideological, pedagogical, political, religious, and other regulatory entities. Such contexts­whether explicit or implicit­can both offer musical participants special privileges and constrain musical agency. Within these "official" discourses, institutions, and practices, hierarchies can dictate unequally beneficial relationships, both ascribed upon and inscribed within musical activity.

What might it mean for musical experiences, genres, histories, practices, theories, and works to operate within degrees of officiality?

We welcome work from varied academic perspectives, including but not limited to ethnomusicology, historical musicology, music theory, music cognition, popular music studies, music education, and the philosophy of music. Submissions from graduate students and junior scholars are particularly encouraged, as is work with multimedia elements that are unsuited to traditional print publication.

voiceXchange is a peer-reviewed online journal, published semiannually by graduate students in the University of Chicago’s Department of Music. The journal is committed to original scholarship on music, providing a forum for intellectual interchange across fields, generations, and nations.

Electronic submissions must be preceded by a cover page with title and contact information, and must include an abstract of 200 words or fewer. Submissions should follow guidelines set forth in the Chicago Manual of Style (15th edition), and should have a maximum word count of 10,000 words (including bibliographic information). Please send all submissions and inquiries to the editorial board, at voicexchange at uchicago.edu.

Submissions will be accepted through January 15, 2009.

For further information, visit our website at: http://music.uchicago.edu/gms/voicexchange/