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: Methods of Musicological Research (Utrecht)

METHODS OF MUSCIOLOGICAL RESEARCH
KVNM OPERN FORUM DAY, UTRECHT
14 NOVEMBER 2009
CALL FOR PAPERS

Music comes in many different forms. Music can be a sonic phenomenon, a visual object, but also a cultural practice. In each of these guises music can act as a valid research object in musicology, but they all require different approaches. Moreover, in recent years, under the influence of the so-called New Musicology and of developments in cognitive and computational music research, the diversity of musicological methods has increased tremendously. How can researchers best select those methods that are appropriate to answer particular musical research questions?

For the Open Forum Day on 14 November 2009, the Royal Society for Music History of
The Netherlands invites papers that address this particular issue. Possible topics
include, but are not limited to: performance studies, the score as object of research, the study of sounding music, research in improvisation, music as cultural practice, new historiography, musicology and new media.

Conference languages: English and Dutch.

Please send your abstract (up to 200 words) to Vincent Meelberg (v.meelberg at]let.ru.nl).
Deadline for submission: 15 September 2009.

CFP: After the Magic Flute (UCAL, Berkeley)

AFTER THE MAGIC FLUTE
UNIVERSITY OF CALIFORNIA, BERKELEY
5 - 6 MARCH 2010
CALL FOR PAPERS

Call for Papers (abstract deadline: September 1, 2009)

As Tamino stands before the three temple doors in Act I of The Magic Flute, he is about to embark on a humbling complication of the good-evil alignments he (and we) had previously assigned to the Queen of the Night and Sarastro. Interpretive work on Mozart’s enduringly perplexing Singspiel is currently at a similar threshold. Recent scholarship has shifted away from the Masonic and Enlightenment-allegory readings of past decades in favor of increasingly decentralized readings that consider the work’s implications with respect to race, gender, voice, and agency. In addition, new historical information has emerged regarding the immediate context of The Magic Flute within the Viennese theatrical tradition; a new edition of the autograph score is about to be published; and adventurous (often activist) productions set everywhere from South Africa, to a Berlin subway station, to the trenches of World War I have attracted the collaboration of artists as varied as William Kentridge, Julie Taymor, Sophiline Cheam Shapiro, and Kenneth Branagh.

The goal of this interdisciplinary conference is to take the measure of these new developments in the history and historiography of The Magic Flute, with the “after” of the conference’s title referring not exclusively to inquiries regarding adaptation or reception, but rather signaling a critical reevaluation of the persistent urge to “unlock” The Magic Flute with a single, symbolic key. The conference committee welcomes proposals from scholars interested in examining The Magic Flute from a range of disciplinary perspectives, including musicology, music theory, and ethnomusicology, film and media studies, performance studies, cultural and social history, literary and art history, and reception studies. Featured speakers will include Wye J. Allanbrook (Emerita, Musicology, University of California, Berkeley) and Jane Brown (Germanics and Comparative Literature, University of Washington).

Please submit abstracts of no more than 250 words by September 1, 2009 to conference organizer Adeline Mueller (aomueller at berkeley.edu). Notification of acceptance will be sent via email on October 1.

Adeline Mueller
Department of Music
University of California
Berkeley, CA 94720-1200
aomueller at berkeley.edu

Goldsmiths Thursday Club (Goldsmiths, University of London)

GOLDSMITHS THURSDAY CLUB

OPEN CALL FOR PROJECTS & PROPOSALS

2009 - 2010 SEASON

DEADLINE: 29 JULY 2009

The Thursday Club is an open forum discussion group for anyone interested in the theories and practices of cross-disciplinarity, interactivity, technologies and philosophies of the state-of-the-art in today’s (and tomorrow’s) cultural landscape(s). The Club is supported by the Goldsmiths Digital Studios (GDS) and the Goldsmiths Graduate School.

Originally set up in October 2005 by GDS as a more informal setting for research discussions, it has grown to include over 200 members: artists, technologists, scientists – in fact, a growing diversity of people from different communities worldwide, that are connected via a mailing list and online forum.

Most importantly, there are regular meetings in ‘real’ space at the Ben Pimlott site of Goldsmiths, University of London. Anyone can attend these events. By keeping these meetings free, informal and open to all, we provide a platform for diverse and open ended discourse, for people who perhaps would not have the opportunity to discuss ideas outside of their chosen discipline.

The Thursday Club brings together people from diverse fields and degrees of expertise, aiming to initiate discussion and debates among postgraduate students, researchers, academics, artists, theorists, and other cultural practitioners.

Since it focuses on interdisciplinary practices, the Club is interested to experiment with innovative formats of presentation that are appropriate to the nature of the subject. We particularly welcome the proposal of round table discussions, panels, screenings, ‘hearings’, live gigs and performance lectures. We are also interested to platform experimental work-in-progress of both practical and theoretical nature.

Submission Materials

1. A Title and 300 word abstract of your proposal

2. A 1,000 word proposal that will substantiate your abstract as well as include information regarding issues of methodologies and format of presentation; also, this should explain why you think that the Thursday Club is an appropriate forum for the presentation of your work.

2. A 200 word biog

3. Your contact details: name, address, email, telephone number

4. Any relevant links to your work

5. A jpg of your work (if relevant)

Please send any submissions by email to Prof. Janis Jefferies

(j.jefferies@gold.ac.uk) and Patrick Tresset (ma701pt@gold.ac.uk) writing

‘Thursday Club Submission’ as a Subject.

The deadline for the 1st submission of proposals is 10AM, 29th July 2009.

The submissions will be reviewed by the Thursday Club Board and you will hear by the end of August 09.

THURSDAY CLUB BOARD

Dr. Tim Blackwell

Lecturer in Computing, Goldsmiths; co-Head, Live Algorithms for Music Network.

Maria Chatzichristodoulou [aka Maria X]

Lecturer in Theatre and Performance - School of Arts and New Media - University of Hull @ Scarborough; Cultural Practitioner.

Kelli Dipple

Webcasting Curator, Tate.

Prof. Janis Jefferies, Thursday Club Convener

Professor of Visual Arts, Department of Computing, Goldsmiths; Co-director

Goldsmiths Digital Studios; Director Constance Howard Resource and

Research Centre in Textiles; Curator; Artist.

Alex McLean

PhD Candidate Goldsmiths Digital Studios; Sound artist.

Myrto Karanika

MFA Goldsmiths Digital Studios.

Dr. Sarah Kember

Reader in New Technologies of Communication, Department of Media and Communications, Goldsmiths; Writer.

Nanda Khaorapapong

MFA Goldsmiths Digital Studios.

Prof. Carrie Paechter

Professor of Educational Studies, Goldsmiths; Dean of Goldsmiths Graduate School.

Stanza

Artist

Patrick Tresset

PhD Candidate Goldsmiths Digital Studios; Artist.

Prof. John Wood

Professor in Design, Goldsmiths.

Matthew Fuller

Reader, Centre for Cultural Studies, Goldsmiths; Writer.

CFP: 45th Intl. Congress on Medieval Studies (Kalamazoo)

45TH INTERNATIONAL CONGRESS ON MEDIEVAL STUDIES

KALAMAZOO, MICHIGAN

13 -16 MAY 2010

CALL FOR PAPERS

The program committee for Musicology at Kalamazoo is pleased to announce the following sessions for the 45th International Congress on Medieval Studies, May 13-16, 2010:

I. Motets and the Like;

II. Musical Instruments and Performance;

III. The Music Theorist as Polymath;

IV. Text(s) and Music, Music(s) and Text;

V. Chant and Liturgy;

VI. Performances: Indoors and Outdoors;

VII. Music and Visual Culture;

VIII. Medievalisms and Music: Yesterday and Today;

IX. Source Studies

We hope many if not all of these sessions can foster some real dialogue between musicologists and scholars in other areas, so we encourage specialists in fields other than Music to submit proposals. Please keep in mind as well that we intend these session titles mostly as "hooks" on which a multitude of proposals can be placed rather than limitations, so send us your best work (as the editors of JAMS are fond of saying), even if it doesn't precisely seem to fit one of these topics--we may be able to make it work anyway, and we'll try to find a place for as many good proposals as we can.

Abstracts should be sent by 13 September to Cathy Ann Elias, program committee chair, at the address below. Electronic submissions are welcome. Please write in the subject part of the e-mail the following: KZOO 2010 (Please send submissions to musicology.kzoo at gmail.com)

You'll also need to complete and submit the “Participant Information Form” from the conference website, available at http://www.wmich.edu/medieval/congress/submissions/index.html. This is very important, not only because it is your only chance to make A-V requests, but because it is required by the Medieval Institute. Please note that the form appears at the bottom of the page. Be aware that this is a PDF document; if you don't have Adobe Acrobat (the writer, not just the reader) on your computer, you cannot save a completed form, so you'll have to print it and send it via snail-mail or fax.

If you have any questions, please contact Cathy Ann Elias. We look forward to seeing you in Kalamazoo next May.

Cathy Ann Elias

5429 S. Hyde Park Blvd.

Chicago, IL 60615

Phone: 773-955-0558

cathy.elias at gmail.com

Cathy Ann Elias (DePaul University)

Julia Wingo Shinnick (University of Louisville)

Mary Wolinski (Western Kentucky University)

Zombomodernism: the Ends of Practice-as-research (CSSD, London)

ZOMBOMODERNISM: THE ENDS OF PRACTICE-AS-RESEARCH

CENTRAL SCHOOL OF SPEECH AND DRAMA, UNIVERSITY OF LONDON

26 SEPTEMBER 2009

CALL FOR PAPERS

DEADLINE EXTENDED: 6 JULY 2009

The figure of the zombie is the uncanny split par excellence: neither living nor dead, both familiar and unfamiliar. The zombie presents a unmeasurable proximal distance between the known and unknown. The zombie’s movements are human in resemblance (as is its physical form), and yet, in its single-minded determination, its constant pace, and its inability to manoeuvre around obstacles in its path, it is clearly inhuman.

Is not the condition of the zombie also the condition of the modern practice-as-research academic? That is, current PAR can be described as existing within a state of ‘Zombomodernity,’ that post-postmodern state in which the ideas are not dead, but nor are they truly alive. Practice-as-research features a similar uncanny split: is it research or is it art? And the spectacle of the modern practice-as-research academic is analogous to that of the zombie in many ways: we’re single-minded, move slowly and bang our heads against the wall over and over again.

Central School of Speech and Drama’s Research Degree students are pleased to announce a one-day interdisciplinary colloquium exploring practice-as-research from the perspective of its relationship to both professional practice and the institution, aimed at finding the antidote and liberating it from Zombomodernism or cutting its head off and putting it to rest forever. As an institution, CSSD is uniquely placed to explore these issues, being itself an uncanny hybrid of conservatoire and research institution, and this colloquium is part of the Festival of Emergent Art, a high-profile two week festival of new practice-as-research performances and presentations from PhD students, MA Performance Practices and Research students, staff and visiting artists.

We invite 20-minute papers and proposals for workshops that might interrogate the value of PAR and its contribution to new knowledge and professional practice.

What is the relationship between PaR and professional practice?

What is the relationship between PaR and the university?

Does PaR create new knowledge?

Is the university the best place to make experimental practice?

Can we imagine new ways of documenting experimental practice?

Can we imagine new ways of writing about practice?

Can we stop asking ourselves if it’s ok and just get on with it?

Submissions are invited from all researchers and postgraduate students working in theatre, drama, dance, film, puppetry and object-theatre, circus, installation, live art and visual culture. Interdisciplinary work is especially welcome, as well as submissions of experimental writing and documentation.

Please send a 250 word abstract (for papers) or proposal (for workshops)along with a brief biographical statement to colloquium organiser Broderick Chow at dick.chow@cssd.ac.uk by Monday, 6 July 2009. Please send large attachments tozombomodernism@googlemail.com Decisions will be made within three weeks. Any questions can also be directed to the colloquium organiser.

PhD Studentships: Music Related Research (Open University)

INTERDISCIPLINARY PHD STUDENTSHIPS IN MUSIC

OPEN UNIVERSITY (MILTON KEYNES)

DEADLINE: 21 JULY 2009

The Open University offers up to two full-time, 3 year PhD studentships (to start 1 October 2009)

Music-related research at the OU encompasses a wide range of approaches (including historical, social, empirical and technological methods) with a distinctive emphasis on innovation and interdisciplinary research. We welcome applications for PhD studentships in any of our areas of strength, which include

* Social and cultural theory and analysis (including ethnomusicology,sociology, social psychology, human geography)

* Historical study (including documentary and archival research)

* Empirical investigation of performance

* Music computing (including Music Computing and Pervasive Interaction; the design and evaluation of new tools for performance, composition, analysis &education)

* Musical acoustics

* Music education and pedagogy

Projects which will benefit from supervision across traditional disciplinary boundaries (e.g. ethnomusicology and psychology, acoustics and historical musicology, or music computing or sociology) are particularly encouraged. Also encouraged are proposals with links to one of our existing research groups or collaborative projects (for details of these, and of our research facilities, go to the web address below).

Potential candidates are urged to make contact as soon as possible, in order to discuss and develop a project with support from potential supervisors prior to submission. Informal enquiries are encouraged to Prof. Martin Clayton, Director of Music Research (m.r.l.clayton@open.ac.uk)

For detailed information and to apply email s.a.parsons@open.ac.uk or telephone 01908 653280.

Further details of music-related research at the OU can be found at http://www.open.ac.uk/Arts/music/research/

Closing date: 21 July 2009

Equal Opportunity is University Policy

CFP: Post-Punk Performance: the alternative 80s in Britain (Leeds)

POST-PUNK PERFORMANCE: THE ALTERNATIVE 80S IN BRITAIN

SCHOOL OF PERFORMANCE AND CULTURAL INDUSTIRES, UNIVERSITY OF LEEDS

9 SEPTEMBER 2009

CALL FOR PAPERS

The School of Performance and Cultural Industries is pleased to be hosting a one-day conference event called “Post-Punk Performance: the alternative 80s in Britain”.

Contrary to popular mythology, youth culture during the 1980s meant rather more than Spandau Ballet, Rick Astley, and Madonna. A quickly burgeoning ‘indie’ scene, born of the ruins of punk, set itself against the banality of the mainstream. Centred on music and synonymous with identity and self-expression, it offered a complex and layered network of alternatives for an increasingly politicised and self-aware generation of young people.

The purpose of this conference is to explore notions of ‘alternative’ music and performance in the post-punk era, circa 1978 – 1989. The ‘indie’ music scene of this period will serve as a lens through which to view core themes of liveness, fashion and visual identities, iconography, youth cultures and the socio-political context. The event will assess post-punk’s continuing and profound influence on the current scene, both in musical and performative terms. It will explore how post-punk is absorbed into the present and will be projected into the future.

In addition to contributions from academics and scholars, the event will invite label partners, musicians and influential journalists to exchange views and perspectives on the post-punk era and beyond. This framework offers unique opportunities to bring together the academy and industry, and to facilitate networking and discussion across these spheres.

A live performance event featuring poetry, comedy and music will follow the daytime proceedings. Acts to be announced.

Proposals might address one or more of the following themes:

• The frequency and velocity of musical genre development

• Liveness: performance authenticities

• Performance of style

• Visual identities: fashion’s relation to music and vice versa

• Transatlantic influence and exchange

• Alternative music, party politics and gender politics

• The past reconfigured for the present

• Song writing: structure and theme

• Media representation and music reportage

• Local scenes

• Record labels and musical identity

• Punk and post-punk: musical legacies and trajectories

The conference will be interdisciplinary. Therefore, we welcome contributions from a range of disciplines, including Music, Performance, Fashion and Textiles, Photography, Cultural Studies, Sociology, Film and Television Studies, Philosophy and Journalism.

Proposals should be submitted as a Word Document and should contain the following information:

 Name of Presenter

 Title of Paper

 Institutional Affiliation

 150 word biography

 500 word abstract

Please send your proposal electronically, together with a completed registration form, to Dr Philip Kiszely (P.Kiszely@leeds.ac.uk) by Friday 26th June, 2009. Acceptance will be confirmed by the end of July.

Cost: £125 (Includes conference proceedings, day conference, entry to evening event)

CONFIRMED SPEAKERS:

Paul Morley

Paul Morley wrote for the NME from 1977 to 1983. A leading figure in critical, journalistic and industry terms, he formed ZTT, helped guide Frankie Goes to Hollywood to pop stardom, and enjoyed considerable commercial success and critical acclaim in his own right through Art of Noise. His television work is extensive, and includes appearances on the Late Show, Whistle Test, and the recent Top Ten series on Channel 4. He now writes for Arena and Esquire, and his books Nothing and Words and Music are as essential as they are challenging reading.

Dave Haslam

Dave Haslam was DJ at the legendary Hacienda nightclub during the heady days of ‘Madchester’. His book Madchester, England not only captures the spirit of that remarkable era but also offers a penetrating cultural commentary on time and place. A subsequent book on the music and politics of the 1970s titled Not Abba: the Real Story of the 1970s suggests the breadth of his musical interest. Founder of Debris fanzine, he has written for a variety of publications including The NME, The Times, and The Guardian. He teaches music journalism at the University of Salford and the history and culture of Manchester at Manchester Metropolitan University.

CONFERENCE ORGANISERS: Dr Philip Kiszely (P.Kiszely@leeds.ac.uk), Alice Bayliss (A.Bayliss@leeds.ac.uk) and Michael Rose

For any further information, please contact Alice Bayliss on 0113 343 8715

Job Postings: Lectureships in Audio Signal Processing (Queen's University, Belfast)

JOB POSTING: LECTURESHIPS IN AUDIO SIGNAL PROCESSING AND PERFORMANCE/AUDIO VISUAL DESIGN AND NEW TECHNOLOGIES

QUEEN'S UNIVERSITY, BELFAST

DEADLINE: 26 JUNE 2009

The Sonic Arts Research Centre is pleased to announce two new lectureships in audio signal processing, and performance or audio visual design and new technologies.

Details of the posts can be found here: http://www.qub.ac.uk/sites/QUBJobVacancies/AcademicJobs/

Closing date is 26 June 2009.

AHRC PhD Studentship: Britten's Performance Annotations (Birmingham Conservatoire)

AHRC PHD STUDENTSHIP: BRITTEN'S PERFORMANCE ANNOTATIONS

BIRMINGHAM CONSERVATOIRE, BIRMINGHAM CITY UNIVERSITY

DEADLINE: 27 JUNE 2009

Full-time Studentships for Doctoral Study

The Research Department at Birmingham Conservatoire invites applications for the following three-year full-time PhD studentships, all fully funded at AHRC rates:

One Arts and Humanities Research Council (AHRC) funded Collaborative Award to study Benjamin Britten's Performance Annotations. This is a unique opportunity to undertake full-time doctoral study at Birmingham Conservatoire in collaboration with the Britten-Pears Library, Aldeburgh. Applicants should hold a relevant Master's degree (or be completing one this year) and be a skilled and experienced performer.

In addition, two PhD studentships are offered, commencing September 2009 or January 2010, in areas consonant with the research strategy at Birmingham Conservatoire. Areas of special relevance to our research include performance and technology, performance studies, specialist historical studies in 15th and early 16th-century music theory, Charpentier, Messiaen, film music and cognate studies.

Further details at www.conservatoire.bcu.ac.uk/research. Current part-time students
may apply for a two- or three-year full-time programme.

Birmingham Conservatoire has a very lively research department. Twenty per cent of its output was judged 'world leading' in the recent Research Assessment Exercise (RAE 2008). It has awarded PhDs since 1993 and has an excellent completion rate.

For further information regarding either award, please contact Liz Reeve, Research Administrator, Birmingham Conservatoire, Paradise Place, Birmingham B3 3HG, or email liz.reeve@bcu.ac.uk, indicating your intended programme of research.

Deadline for applications: 27 June 2009.

CFP: 2nd Intl Conf on Music Communication Science (Sydney)

2nd INTERNATIONAL CONFERENCE ON MUSIC COMMUNICATION SCIENCE (ICoMCS2)
SYDNEY, AUSTRALIA
3 - 4 DECEMBER 2009
CALL FOR PAPERS
http://marcs.uws.edu.au/links/ICoMusic09/index.html

The 2nd International Conference on Music Communication Science (ICoMCS2) will bring together people interested in an interdisciplinary understanding or application of music cognition, perception, action, performance, and communication. ICoMCS2 follows the successful inaugural conference held in 2007 (http://marcs.uws.edu.au/links/ICoMusic/program.html) and is organised jointly by the Australian Music & Psychology Society (AMPS http://marcs.uws.edu.au/links/amps/index.htm) and HCSNet the ARC Network in Human Communication Science (http://www.hcsnet.edu.au).

ICoMCS2 will be held in Sydney during the week-long HCSNet SummerFest (http://www.hcsnet.edu.au/summerfest09) with HCSNet summer school courses linked to ICoMCS2.

ICoMCS2 will attract people from all walks of research and performance life, including musicologists, psychologists, educators, linguists, ethnomusicologists, composers, engineers, computer scientists, speech scientists, physicists, philosophers and performance artists.

Papers reporting research concerning music communication in its various forms are invited. Broad topic areas include music performance, music perception, music cognition, intermodal processes, music information retrieval, audio-visual search and retrieval, music and language, evolutionary accounts of music and speech, generative systems, amusia, dystonia, music education, ethnomusicology, music therapy, sonification, spatialization and 3D audio, musical interfaces, digital media, interactive arts, psychophysics, and psychoacoustics.

We also encourage submissions for performance and installation sessions. Ensembles and individuals with performance programs of less than 10 minutes are invited to submit an abstract or full paper of their work.

Submissions will be accepted in two streams. You may submit either a full (four page) paper or an abstract of a paper for presentation. Full papers will be reviewed by the international scientific program committee and clearly identified separately in the conference proceedings. Papers and symposium proposals with an interdisciplinary theme are welcome; papers from
student researchers are strongly encouraged.

ICoMCS2 IMPORTANT DATES 2009
Monday, July 13: Submission of abstract, symposium proposal or full paper for review
Monday, August 24: Notification of Acceptance
Monday, September 21: Registrations open, camera ready versions (for full papers) due
Mon-Fri 30 Nov-4 Dec: HCSNet SummerFest including Summer Schools
Thurs-Fri 3-4 Dec: ICoMCS2 (during HCSNet SummerFest)

CONFERENCE LOCATION
The conference will be held at the Kensington campus of the University of New South Wales in Sydney, Australia() during the southern
summer from Thursday 3 to Friday 4 December 2009.

WEB SITE
For all information relating to the conference, including details of
submission formats, go to the ICoMCS2 web site
http://marcs.uws.edu.au/links/ICoMusic09/index.html.

We hope to see you at ICoMCS2 December 3-4 in Sydney! Best wishes,

Kate Stevens, Emery Schubert, and the ICoMCS2 Organising Committee

CFP: 8th Annual Symposium on Indigenous Music and Dance (Darwin, Australia)

8th ANNUAL SYMPOSIUM ON INDIGENOUS MUSIC AND DANCE
CHARLES DARWIN UNIVERSITY, AUSTRALIA
15 AUGUST 2009
CALL FOR PAPERS

The 8th Annual Symposium on Indigenous Music and Dance will be hosted by Charles Darwin University (Darwin, Australia) on Saturday 15 August 2009 (8.30am - 6.00pm), co-convened by Charles Darwin University and the National Recording Project for Indigenous Performance in Australia (http://www.aboriginalartists.com.au/NRP.htm).

The Symposium, incorporating formal papers and lecture/demonstrations, will feature individual and group presentations on recent research associated with the National Recording Project and will once again set a new benchmark in communicating the breadth and immediacy of current approaches to recording and researching Indigenous music and dance in Australia.

This is a free event and all are welcome. Further details of the program and a link to an online registration form will be circulated in coming months. We also welcome registrations of interest in web-streaming this Symposium to international locations.

For further information and to join the mailing list of the National Recording Project, contact Sally Treloyn - sally.treloyn@cdu.edu.au, 08 8946 6570 (outside of Australia, dial 61 8 8946 6570).

Upcoming Conf: International Conference on Music Performance Analysis 2009 (Switzerland)

INTERNATIONAL CONFERENCE ON MUSIC PERFORMANCE ANALYSIS 2009
ICOMPA 2009
LUCERNE UNIVERSITY OF APPLIED SCIENCES AND ARTS, SWITZERLAND
1 - 2 JULY 2009

Lucerne University of Applied Sciences and Arts Musikpavillon, Obergrundstrasse 9, Luzern (Switzerland)

Symposium 1: Perspectives on 'Body and Soul' (July 1)

The symposium explores several recorded versions of Johnny Green's famous Broadway show tune 'Body and Soul' (1930). Speakers: Martin Pfleiderer (Hamburg), Cynthia Folio / Alexander Brinkman (Philadelphia), Olivier Senn (Luzern), John Gunther (Boulder), José Antonio Bowen (Austin).

Symposium 2: Methods of music performance analysis (July 2)

The symposium addresses methodological questions in the analysis of music performance. Speakers: Richard Turner (Saint Julien de Jonzy), Olaf Eggestad (Oslo), Matthias Arter (Bern), Elena Alessandri (Lugano), Marc-Antoine Camp / Lorenz Kilchenmann (Luzern), Jürg Huber (Luzern), Claudia Di Luzio (Berlin).

Detailed conference programme and registration: www.hslu.ch/icompa.

The conference is organized by Lucerne University of Applied Sciences and Arts in cooperation with the International Association of Schools of Jazz (IASJ).

CFP: International Journal of Performance Arts and Digital Media (journal)

INTERNATIONAL JOURNAL OF PERFORMANCE ARTS AND DIGITAL MEDIA
DANCING ACROSS FILM, TELEVISION AND THE DIGITAL SCREEN
CALL FOR PAPERS

The contemporary visual landscape is littered with images of performing bodies located in multiple screen contexts, from dedicated art dance film festivals through to prime time reality television shows. The potential for dance to achieve n-screen viewing figures scarcely imaginable in comparison to theatre dance audiences is evidenced by the YouTube clip, Evolution of Dance, a whirlwind demonstration of popular dance through the decades, which received 76.7 million hits. This special edition of the International Journal of Performance Arts and Digital Media explores both contemporary and historical enquiry into the production and reception of performing bodies across the film, television and digital screen. Possible questions that might inform this critical discourse regarding screen dance research are:

* What is the relationship between economics and screen dance production and how does the performing body operate as a vehicle of commercialisation and promotion within these sites?

* To what extent is screen dance shaped by the politics and policy of commissioning editors and executive producers and what relationship do guerrilla filmmakers have to this official framework of production?

* How do the multiple contexts for screen performance inform the aesthetics of dance on screen and how do they create different spectatorship experiences?

* What is the impact of new and extant film-making technologies on the performing body and how has this changed understandings of dance-making?

* How is dance mediated and re-presented in order to achieve popular appeal and in what ways does this reproduce or challenge cultural assumptions about dance?

* Given the global circulation of screen dance images, how are these representations understood within localised contexts of reception?

IJPADM is an interdisciplinary, peer-reviewed journal drawing contributions from a wide range of researchers and practitioners who are placed at the rapidly developing interface of new technologies with performance arts. Given the interdisciplinary nature of screen dance practice, proposals are invited from artists, scholars and professionals working across the fields of dance and performance studies, film, television and media studies, cultural studies, history and other related disciplines.

All papers must be submitted by 1st July 2009
Intended publication date: December 2009.

Details for submissions and notes for contributors can be found at:
http://www.intellectbooks.co.uk/journals.php?issn=14794713

All papers are to be submitted to Dr Sherril Dodds, Guest Editor.
Dr Sherril Dodds, Department of Dance, Film and Theatre Studies, University of Surrey, Guildford, Surrey, GU2 7XH (s.dodds@surrey.ac.uk)

General enquiries can be addressed to Dave Collins, Editor.

CFP: Musical Perspectives (journals)

/MUSICAL PERSPECTIVES/
CALL FOR PAPERS

The premiere issue of /Musical Perspectives/, a space presenting systematic research and perspectives on music performance, is now available online at www.musicalperspectives.com. Materials are available online, as individual downloads, and as a complete issue.

*About /Musical Perspectives/
Music performance is not so narrowly defined as to be simply a concert or a recital. It is an experience, encompassing teaching and learning, analysis and critique, and the combined experiences of those who interact in diverse ways with the processes and products of making
music. /Musical Perspectives /represents the merging of the aural and literate traditions that define and characterize music performance and those who study, teach, create, and critique it. It offers a space for the dissemination of research and embraces the aural traditions of sharing experience, opinion, and musical performances.

/Musical Perspectives/ is currently accepting submissions for its second issue, to be published this fall. The deadline for submissions is Friday September 4. Please see the site for specific submission information.

CFP: International Journal of Performance Arts and Digital Media (journal)

INTERNATIONAL JOURNAL OF PERFORMANCE ARTS AND DIGITAL MEDIA
ALTERNATIVE MATERIALITIES: SCENOGRAPHY IN DIGITAL PERFORMANCE
CALL FOR PAPERS

The International Journal of Performance Arts and Digital Media (IJPADM) is seeking contributions to a special issue that will engage specifically scenographic thinking about technologies in performance.

Taking scenography to mean the materiality of performance – the sum total of the performance space, scenery, costume, lighting, sound, video, and so on – we want to address scenography and its associated practices in relation to digital media. The widespread adoption of digital media across the field of performance arts has proposed alternative materialities that have sometimes radically disrupted existing scenographic practices, and sometimes perpetuated established practices through new means. New possibilities have brought new ways of thinking and doing, and new goals.

Previous scholarly accounts of these developments have only occasionally acknowledged scenographic practices as such, so we want now to engage specifically with digital media from a scenographic perspective, including their use as scenographic materials and the challenge that they have presented to the working practices of (amongst others) set, costume, lighting, sound and video designers. The Scenography special edition aims to generate ‘scenographic thinking’ by taking the physical materials of performance, and the performance-makers who manipulate them, as a starting point in approaching the use of digital media in live performance.

IJPADM is an interdisciplinary, peer-reviewed journal drawing contributions from a wide range of researchers and practitioners who are placed at the rapidly developing interface of new technologies with performance arts. Within the journal’s overall remit and the above agenda, themes for contributions to the Scenography special edition might include, but are not limited to:

*Specific uses of digital media in performance scenography
*The impact of new media on traditional scenographic practices
*Changing ways of working and collaborating
*The intersection between ‘mainstream’ and ‘avant-garde’ scenographic practices
*The relationship between the academy and professional scenographic practice
*The scenographic as a critical ‘point of view’ from which to observe digital performance
*Digital media and the scenographic as a mode of enquiry into performance
*Digital tools in the scenographer’s process.

All papers must be submitted by 1st November 2009.

Intended publication date: April/May 2010.

Details for submissions and notes for contributors can be found at:
http://www.intellectbooks.co.uk/journals.php?issn=14794713

All papers are to be submitted to Nick Hunt, Guest Editor.

General enquiries can be addressed to Dave Collins, Editor.

Nick Hunt
Head of School: Design, Management and Technical Arts
Rose Bruford College
Lamorbey Park
Burnt Oak Lane
Sidcup
Kent
DA15 9DF
020 8308 2650
nick.hunt [at] bruford.ac.uk

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.

Post-doc Opportunity: Research Assistantship in Music Psychology (King's College London)

RESEARCH ASSISTANTSHIP IN MUSIC PSYCHOLOGY
KING'S COLLEGE LONDON
DEADLINE: 20 MAY 2009

Applications are invited for a three-year post-doctoral Research Assistantship in music psychology at King's College London. The project, which belongs within the AHRC Research Centre for Musical Performance as Creative Practice, will document through interviews, and analyse, performers' reported experiences of the way music ‘takes shape' and the ways in which a sense of shape influences detailed decision-making in performance.

Salary range: £25,623 - £33,432

Further details are available from
http://www.kcl.ac.uk/depsta/pertra/vacancy/external/pers_detail.php?jobindex=7806

Funded PhD Studentships (University of Plymouth)

COMPUTER MUSIC & MUSIC TECHNOLOGY PHD STUDENTSHIPS
UNIVERSITY OF PLYMOUTH
DEADLINE: 29 MAY 2009

The University of Plymouth is offering a number of full-time PhD studentships (UK Tuition fees and stipend of £13,290).

Candidates interested in the field of computer music and music technology, including composition and performance with new technologies, are welcome to apply.

Please see the following webpage for more details: http://neuromusic.soc.plymouth.ac.uk/jobs.html

The deadline is 29 May 2009

Please do not hesitate to contact us if you would like to discuss your application on an informal basis before you submit it. We would be happy to advise.

Prof Eduardo Miranda (eduardo.miranda AT plymouth.ac.uk).
ICCMR, University of Plymouth

CFP: Post-Punk Performance: the alternative 80s in Britain (Leeds)

POST-PUNK PERFORMANCE: THE ALTERNATIVE 80s IN BRITAIN
A ONE DAY CONFERENCE
SCHOOL OF PERFORMANCE AND CULTURAL INDUSTRIES, UNIVERSITY OF LEEDS
9 SEPTEMBER 2009
CALL FOR PAPERS

The School of Performance and Cultural Industries is pleased to be hosting a one-day conference event called “Post-Punk Performance: the alternative 80s in Britain”.

Contrary to popular mythology, youth culture during the 1980s meant rather more than Spandau Ballet, Rick Astley, and Madonna. A quickly burgeoning ‘indie’ scene, born of the ruins of punk, set itself against the banality of the mainstream. Centred on music and synonymous with identity and self-expression, it offered a complex and layered network of alternatives for an increasingly politicised and self-aware generation of young people.

The purpose of this conference is to explore notions of ‘alternative’ music and performance in the post-punk era, circa 1978 – 1989. The ‘indie’ music scene of this period will serve as a lens through which to view core themes of liveness, fashion and visual identities, iconography, youth cultures and the socio-political context. The event will assess post-punk’s continuing and
profound influence on the current scene, both in musical and performative terms. It will explore how post-punk is absorbed into the present and will be projected into the future.

In addition to contributions from academics and scholars, the event will invite label partners, musicians and influential journalists to exchange views and perspectives on the post-punk era and beyond. This framework offers unique opportunities to bring together the academy and industry, and to facilitate networking and discussion across these spheres.

A live performance event featuring poetry, comedy and music will follow the daytime proceedings. Acts to be announced.

Proposals might address one or more of the following themes:

• The frequency and velocity of musical genre development
• Liveness: performance authenticities
• Performance of style
• Visual identities: fashion’s relation to music and vice versa
• Transatlantic influence and exchange
• Alternative music, party politics and gender politics
• The past reconfigured for the present
• Song writing: structure and theme
• Media representation and music reportage
• Local scenes
• Record labels and musical identity
• Punk and post-punk: musical legacies and trajectories

The conference will be interdisciplinary. Therefore, we welcome contributions from a range of disciplines, including Music, Performance, Fashion and Textiles, Photography, Cultural Studies, Sociology, Film and Television Studies, Philosophy and Journalism.

Proposals should be submitted as a Word Document and should contain the following information:

Name of Presenter
Title of Paper
Institutional Affiliation
150 word biography
500 word abstract

Please send your proposal electronically, together with a completed registration form, to Dr Philip Kiszely (P.Kiszely@leeds.ac.uk) by Friday 26th June, 2009. Acceptance will be confirmed by the end of July.

Cost: £125 (Includes conference proceedings, day conference, entry to evening event)


CONFIRMED SPEAKERS:
Paul Morley
Paul Morley wrote for the NME from 1977 to 1983. A leading figure in critical, journalistic and industry terms, he formed ZTT, helped guide Frankie Goes to Hollywood to pop stardom, and enjoyed considerable commercial success and critical acclaim in his own right through Art of Noise. His television work is extensive, and includes appearances on the Late Show, Whistle Test, and the recent Top Ten series on Channel 4. He now writes for Arena and Esquire, and
his books Nothing and Words and Music are as essential as they are challenging reading.

Dave Haslam
Dave Haslam was DJ at the legendary Hacienda nightclub during the heady days of ‘Madchester’. His book Madchester, England not only captures the spirit of that remarkable era but also offers a penetrating cultural commentary on time and place. A subsequent book on the music and politics of the 1970s titled Not Abba: the Real Story of the 1970s suggests the breadth of his musical interest. Founder of Debris fanzine, he has written for a variety of publications including The NME, The Times, and The Guardian. He teaches music journalism at the University of Salford and the history and culture of Manchester at Manchester Metropolitan University.

CONFERENCE ORGANISERS: Dr Philip Kiszely (P.Kiszely@leeds.ac.uk), Alice Bayliss (A.Bayliss@leeds.ac.uk) and Michael Rose

For any further information, please contact Alice Bayliss on 0113 343 8715