Pre-Pub Announcement: Music and Dictatorship in Europe and Latin America (Brepols Publishers)

MUSIC AND DICTATORSHIP IN EUROPE AND LATIN AMERICA
PRE-PUBLICATION ANNOUNCEMENT
BREPOLS PUBLISHERS

Music and Dictatorship in Europe and Latin America
Edited by Roberto Illiano and Massimiliano Sala
approx. 700 p., 210 x 270 mm, HB, ISBN 978-2-503-52779-6, EUR 125
Special pre-publication price: €105 valid until 31 October 2009
Series: Speculum musicae, vol. 14
Publication date: November 2009

An illustration of Benito Mussolini on the cover of the official hymn of the National Fascist Party, "Giovinezza!" ("Youth!") from 'Music and Dictatorship in Europe and Latin America'

'In this book, edited by Roberto Illiano and Massimiliano Sala, the music is explored as a political phenomenon in fifteenth nations under totalitarian regimes: Argentina, Brazil, Chile, Cuba, France, Greece, Germany, Italy, Mexico, Poland, Portugal, Russia, Serbia, Spain, and Hungary. Historical and aesthetical articles face both individual people (for instance, Chavez, Ligeti, Massarani or Villa-Lobos) as well whole generations of composers operating under dictatorship (for example, in the communist regimes of Poland and Serbia; in France under Vichy; in Franco’s Spain, Salazar’s Portugal, or in Revolutionary Cuba).'

An excerpt of Butterman's essay, '«Ney é gay, não é?» The Emergence and Performance of Queer Identities in Brazilian Popular Music (MPB) under Dictatorship'

TABLE OF CONTENTS:

EUROPE

France: M. Chimènes, Musique et musiciens en France sous le régime de Vichy (1940-1944) - Greece: K. Romanou, Exchanging «Rings» under Dictatorships - Germany: N. Noeske & M. Tischer, Eine viel zu kurze Geschichte der Musikverhältnisse der DDR - Germany: K. Painter, Musical Aesthetics and National Socialism - Germany: M.-A. Roberge, L’impact des guerres mondiales et de la dictature nazie sur le périodique «Die Musik» - Italy: C. Piccardi, La parabola Renzo Massarani, compositore ebreo nell’ombra del fascismo - Poland: A. Tuchowski, The Impact of the Communist Dictatorship and Its Transformations on the Identity of Polish Music in the Years 1945-1989 - Portugal: T. Cascudo, Art Music in Portugal during the Estado Novo - Russia: C. Flamm, Das Problem sowjetische Musikgeschichte. Gedanken zu einer schwierigen Vergangenheitsbewältigung - Russia: M. Frolova-Walker, The Glib, the Bland, and the Corny: An Aesthetics of Socialist Realism - Serbia: M. Milin: Dictatorship and Serbian Music in the 20th-Century - Spain: G. Perez Zalduondo, Formulación, fracaso y despertar de la conciencia crítica en la música española durante el franquismo (1936-1958) - Hungary: R. Beckles Willson, Memory, Dictatorship, and Trauma: Ligeti at the Hungarian Musicians’ Union 1949-1953

LATIN AMERICA

Argentina: P. Vila, Tiempos difíciles, tiempos creativos: rock y dictadura en Argentina - Brazil: D. Borim, Tropicalist Mutantes: Dada and Kitsch under Dictatorship - Brazil: S. Butterman, «Ney é gay, não é?» The Emergence and Performance of Queer Identities in Brazilian Popular Music (MPB) under Dictatorship - Brazil: R. Duprat & M. A. Volpe, Vanguardas e Posturas de Esquerda na Música Brasileira (1920 a 1970) - Brazil: T. Garcia, Music and the Brazilian Estado Novo: Getúlio Vargas, Heitor Villa-Lobos and a National Music Education System - Brazil: M. Napolitano, O Música Popular Brasileira (MPB) nos anos de chumbo do regime militar (1969/1975) - Cuba: S. Münz, Popular Political Music in Revolutionary Cuba - Chile: D. Perry, Beyond ‘Protest Song’: Popular Music in Pinochet’s Chile (1973-1990) - Mexico: L. Velasco Pufleau, Nacionalismo, autoritarismo y construcción cultural: Carlos Chavez y la creación musical en México (1921-1952)

An excerpt from Garcia's essay 'Music and the Brazilian Estado Novo: Getúlio Vargas, Heitor Villa-Lobos and a National Music Education System'

All images are acknowledged with thanks and used with permission of Brepols Publishers. For further information on this title or others in the Speculum Musicae Series click here. For my £0.02 I think the Speculum Series covers many interesting and neglected areas of musicological research. For example, there are many books which explore Italian musics of Tuscany and Sicily but not so many which cover the centre of Italy. Ciliberti's 'Musica e societa in Umbria tra Medioevo e Rinascimento (Vol. 5 in the series) attempts to put Umbria on the musicological map. Also, this book furthers Illiano's earlier set of essays on 'Italian Music during the Fascist Period' (vol. 10 in the series) by expanding the areas studying fascism's influence into other parts of Europe and also Latin America demonstrating that an ocean can not divide the dissemination of ideas. I for one will be buying this for our library collection.

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

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

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

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

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

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

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

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

CFP: 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: Black Brooklyn Renaissance Conference (Brooklyn)

BLACK BROOKLYN RENAISSANCE CONFERENCE: BLACK CULTURE/BLACK PERFORMANCE, 1960-2010

BROOKLYN COLLEGE, OCTOBER 2010

CALL FOR PAPERS

We seek scholars, journalists, community cultural workers, and artists to participant in our Black Brooklyn Renaissance: Black Culture/Black Performance, 1960-2010 Conference scheduled for October of 2010 at Brooklyn College. We envision a series of paper presentations, panels, and group discussions that will examine the myriad artistic forms that have emerged from Black Brooklyn over the past half a century including: West Indian steel pan and calypso, Afro-Caribbean ceremonial music and dance, West African drumming, West African traditional and contemporary dance, southern African-American gospel music and preaching, hip hop and free-style poetry, and jazz. The conference will examine how migration, immigration, and political movements have galvanized these cultural expressions while drawing attention to the evolving interplay between Afro-Caribbean, southern African American, and African traditions.

Individuals interested in participating in the conference should visit

http://depthome.brooklyn.cuny.edu/isam/ or contact:

Professor Ray Allen, W. Wiley Hitchcock Institute for Studies in American Music, Brooklyn College, CUNY

rayallen [at]brooklyn.cuny.edu

Dr. Kay Turner, Folk Arts Director, Brooklyn Arts Council

kturner [at] brooklynartscouncil.org

CFP: 20th Century Music and Politics (University of Bristol)

TWENTIETH-CENTURY MUSIC AND POLITICS

DEPARTMENT OF MUSIC, UNIVERISTY OF BRISTOL

14 - 16 APRIL 2010

CALL FOR PAPERS

Abstracts are invited for this three-day conference on 20th-century music and politics. Papers are welcome on all musics and all geographical areas. Current panel themes include: concert life and repertoire; emigration and musical identity; music as propaganda; wartime politics in Europe and America; music in totalitarian regimes. 

Please send abstracts of no more than 400 words to: Pauline.Fairclough at bristol.ac.uk 

The deadline for receipt of abstracts is 1 September 2009.

CFP: 36th Annual Conference - Society for American Music

36TH ANNUAL CONFERENCE SOCIETY FOR AMERICAN MUSIC
OTTAWA, CANADA
17 - 21 MARCH 2010
CALL FOR SUBMISSIONS

2010 Program Committee: Michael Pisani, chair; Drew Edward Davies, Robin Elliott, Larry D. Hamberlin, Mary Ingraham, Felicia M. Miyakawa, and Gillian M. Rodger

The Society for American Music invites proposals for papers, papers on one of two seminar topics (see "New Seminar Format" below), additional panels of 2-3 papers, concerts, lecture-performances, and scholarly posters for its 36th Annual Conference. The conference will be held in Ottawa, Ontario (Canada) March 17-21, 2010. The submission deadline for all proposals is Monday, 15 June 2009.

In addition to proposals on the topics of the seminar panels, we welcome proposals involving all facets of musical life in the Americas and manifestations of these cultures anywhere in the world.
For this conference we especially welcome proposals addressing:
* Cultural politics and the nation: the role of federal policies, government institutions, and public organizations in the creation, performance, and reception of music
* The role of French culture in shaping North American musical life, with a focus on Quebec, but also including Acadian and Creole cultures.
* The Idea of North (to cite Glenn Gould). [Are there measurable aspects of an identifiable "Northern culture" in music, comparable to the "U.S.Western" or "Southern" traditions?]
* Cross-border musical relations in the Americas (affecting musicians, institutions, organizations, cultural policies, etc.)
* The impact of immigration on musical life in the United States and Canada
* Music in Canada, including classical, popular, aboriginal, and traditional music (considered either in isolation or in contact with each other)

Guidelines:
Presenters are required to register for the entire conference. The committee encourages proposals from those who did not present at the 2009 Denver meeting, but all proposals will be judged primarily on merit. With the exception of concerts or lecture-performance with
accompanying audio-visual materials, all proposals must be submitted electronically using the online submission form (see below).

Proposers for all except lecture-recitals must specify whether the proposal is for 1) paper, 2) poster, or 3) either presentation format, the latter to be determined by the Program Committee as it builds sessions. Individual or joint papers should be no longer than twenty minutes. Lecture-performances should be no longer than thirty minutes. For complete session proposals, the organizer should include an additional statement explaining the rationale for the session, in addition to abstracts for each paper.

New Seminar Format
Of the proposals submitted in January, 2009, the two selected by the program committee for the 2010 conference in Ottawa will be:
1)The Art of Association': Exploring Institutions as Agents of American Music in Theory and Practice and
2)Nineteenth-Century American Music Studies: The State of the Field in .

Unlike regular SAM sessions, in which papers are read, papers for the conference seminars will be posted at a password-protected location in advance of the conference, where they may be read by all interested SAM members. The bulk of the conference session will be devoted to
discussion of the papers as they relate to the general theme. Since papers will be posted electronically on the web, we would like to encourage materials that are recently published or "in press" as one kind of submission that would be appropriate for the seminar structure. These papers may be full articles, up to 20 pages, and should include notes, examples (where relevant), and bibliography. All proposals should be submitted in the usual way by the regular SAM
deadline, except that the specific seminar topic should be clearly specified. Unless the author specifies otherwise, abstracts not accepted for either of the two seminars will be considered by the program committee for one of the regular sessions.

Although papers for the seminars will not be "read" in the traditional sense, the act of participating in the seminar as a presenter and defending the ideas of one's paper constitutes the same level of participation in an academic conference as would a normal paper. For this reason, those submitting abstracts toward a seminar cannot also submit toward a regular session.

Research Poster Sessions
The poster format provides an opportunity for SAM members to meet informally with authors and discuss research. Each author attends his/her respective 90-minute session, distributes abstracts, and answers questions. Supporting sound and/or video examples (on personal computers and utilizing battery, rather than AC power) will be coordinated with other presenters once sessions have been formed by the Program Committee. Further poster guidelines may be found at Poster Info.

Interest Groups Interest Groups with a guaranteed slot for 2010 are requested to convey a brief description of their plans to the Program Committee using the online submission system by June 15, if possible. To ensure proper scheduling and room assignments, Groups should indicate by this date whether they would prefer a lunchtime slot (12:45-1:45) or a longer evening session. Please note that all the information that will appear in the conference program book (participant names, titles, 100-word abstract) must be submitted not later than August 5. Interest Groups without a guaranteed slot for 2010 may submit panel proposals via the online submission system if they wish, but acceptance or rejection of these proposals will be at the discretion of the Program Committee. All Interest Group submissions (guaranteed or not) should use the "Panel" option below.

INCLUDE THE FOLLOWING FOR ALL SUBMISSIONS:
* 250-word proposal
* 100-word abstract suitable for publication in the conference program (.txt or .rtf format)
* Audio and visual needs selected from the following list only: CD and audiocassette player, overhead projector, VHS/DVD player, LCD projector. Due to logistics and the high cost of renting this equipment, we cannot accommodate AV changes once a proposal is accepted.
* Proposer's name, address, phone number(s), e-mail address, and institutional affiliation or city of residence
* Specify whether you are a student (and therefore eligible for certain student grants or awards)

For Lecture-Performances please include the above-mentioned materials, plus:
* Seven copies of a recording (CD and DVD preferred, but cassette or VHS tapes also accepted)
* An addressed, stamped mailer if you would like the recordings returned
* A list of special needs (e.g., piano, music stand, space for dance demonstration, choral risers)

All materials must be electronically dated-stamped (online submission) or postmarked (mail submission) by 15 June 2009.

Questions about the submission process may be sent to Michael Pisani
at mipisani@vassar.edu. Postal submissions should be addressed to: Michael Pisani, SAM 2010 Program Committee Chair, Vassar College, Box 595, Poughkeepsie, New York, 12604-0595

CFP: International Forum for Young Musicologists 2010 (Japan)

INTERNATIONAL FORUM FOR YOUNG MUSICOLOGISTS 2010
MUSICOLOGICAL SOCIETY OF JAPAN, YOKOHAMA, JAPAN
14 - 17 MAY 2010
CALL FOR PAPERS

Applicants are requested to choose one or more from the following twelve key words: 1) Acculturation, 2) Conflict, 3) Discrimination, 4)Hegemony, 5) Languages, 6) Nation, 7) Politics, 8) Propaganda, 9)Religion, 10) Tradition, 11) Values, 12) War, and submit a theme proposal in 100 words as well as an individual paper proposal in 250 words with a title.

Eligibility: Musicologists of any age or nationality who will complete a doctoral dissertation in the near future, or who were awarded a Ph.D. within the past five years or so.

Deadline of the Submission of Proposals: July 31, 2009, by e-mail attachment, addressed to the Chair of the committee, msj-ifym at ml.keio.jp.

For more information:
http://wwwsoc.nii.ac.jp/msj4/ifym/callforpapers.html

CFP: 1948 and All That: Music, Ideology and Power in the Soviet Union (Cambridge)

1948 AND ALL THAT: MUSIC, IDEOLOGY AND POWER IN THE SOVIET UNION

UNIVERSITY OF CAMBRIDGE

27 - 28 NOVEMBER 2009

CALL FOR PAPERS

Supported by CRASSH (Centre for Research in the Arts, Social Sciences and Humanities)

Abstracts are invited for a two-day conference on any aspect of the interaction between music and politics in the former USSR. Papers need not focus exclusively on the events of 1948 and may address the pre- or post-Stalin period.

Abstracts of approx. 500 words should be sent by 1 June to Marina Frolova-Walker and Pauline Fairclough: mf263 at cam.ac.uk AND Pauline.Fairclough at bristol.ac.uk

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

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

ROOSEVELT ACADEMY, UNIVERSITY OF UTRECHT

MIDDELBURG, THE NETHERLANDS

5 - 8 NOVEMBER 2009

CALL FOR PAPERS

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

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

Proposals are invited for

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

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

Individuals may submit one proposal in the form of

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

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

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

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

The deadline for proposal submission is 15 April 2009.

Programme committee:

Herbert Seifert, Steven Saunders, Robert Rawson, Tassilo Erhardt

For further information please contact:

Dr. Tassilo Erhardt

Email: t.erhardt at roac.nl

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

Deadline: 15 Apr 2009

CFP: Consequences of Wagner (Portugal)

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

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

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

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

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

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

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

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

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

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

CFP: Politics of Opera Symposium (Oxford)

POLITICS OF OPERA COLLOQUIM

OXFORD, UK

OCTOBER 2009

CALL FOR PROPOSALS

We are hoping to organise another one-day "Politics of Opera" colloquium in Oxford later this year. It will probably be at the beginning of October, and at the Taylorian Institution again. As
before, our aim is to bring together scholars in the humanities (in particular musicologists, historians and modern linguists) to discuss questions pertaining to the patronage, production, performance, reception, and ideology of opera in an informal and interdisciplinary
environment, and to continue building a community of scholars working in different areas of opera in order to forge connections and further research.

We'd therefore be very grateful to receive proposals for papers drawing on your current research so that we can begin thinking about a possible theme for the colloquium this year. And please forward this message to any other scholars (including graduate students), whom you
think might be interested in becoming involved.

For details about the 2009 colloqium, see: http://www.ehrc.ox.ac.uk/opera.htm

CFP: Mediating Jazz (University of Salford)

MEDIATING JAZZ
UNIVERSITY OF SALFORD
26 - 27 NOVEMBER 2009
CALL FOR PAPERS

An international conference hosted by the Popular Music Research Centre, University of Salford.

Keynote Speaker: Professor Krin Gabbard (SUNY), author of Hotter Than That: The Trumpet, Jazz, and American Culture, Black Magic: White Hollywood and African American Culture, and Jammin’ at the Margins: Jazz and the American Cinema

Mediating Jazz is a two-day multi-disciplinary conference that brings together the leading researchers in the field of New Jazz Studies. The conference itself will comprise four key strands, each of which addresses the overarching theme of mediation in jazz:

1. Jazz and the Media
We wish to explore the way in which media representation impacts on jazz discourse. The review panel will welcome papers that examine the way in which jazz is represented through various media from Hollywood film to television documentary, sleeve notes to journalism.

2. Performance and the Body
Musicians often promote the performance of jazz as an unmediated experience. We invite papers that interrogate this assumption, exploring the relationship between performance and different types of mediation. This could include discussions of jazz as a transcendent art or a gendered
construct, as well as examining the mythologies of improvisation, musicianship and the ‘jazz life’, and the codification of performance practice.

3. Politics and Identity
Within the jazz mainstream, the radical politics of the 1960s has arguably been replaced with a sense of homogenised culture, devoid of explicit race and class issues. This strand explores the role mediation plays in the growth and development of identities alongside the promotion/subversion of political messages.

4. Jazz Cultures and Narratives
This strand explores jazz as both narrative trope and changing cultural signifier. We welcome papers that explore the concept of jazz from a range of disciplinary perspectives, encouraging a discursive approach to the cultural study of jazz.

Abstracts of no more than 300 words should be submitted to Dr Tony Whyton
(t.whyton@salford.ac.uk) by Wednesday 27 May 2009.

Review panel: Dr Tony Whyton (Salford), Dr Nicholas Gebhardt (Lancaster), Dr Catherine Tackley (Open University) and Professor George McKay (Salford)

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

BEYOND THE CENTRES: MUSICAL AVANT GARDES SINCE 1950

IN MEMORIAM YANNIS ANDREOU PAPAIOANNOU (1910-1989)

ARISTOTLE UNIVERSITY OF THESSALONIKI, DEPARTMENT OF MUSIC STUDIES,

THESSALONIKI, GREECE

1 - 5 JULY 2010

CALL FOR PAPERS

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

Thus the aim of the Conference is twofold:

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

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

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

summarized as follows:

- Avant-garde techniques and aesthetics.

- Avant garde and politics / ideology.

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

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

Abstract submission deadline: 30 November 2009.

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

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

CFP: Opera and Politics in the Ancien Régime (UCLA)

OPERA AND POLITICS IN THE ANCIEN RÉGIME
UNIVERISTY OF CALIFORNIA, LOS ANGELES
27 - 28 FEBRUARY 2009
CALL FOR PAPERS

This conference highlights current research on the politics of French opera, from its beginnings under the Sun King through the middle years of Louis XV’s reign. Historians of music, literature, and the performing arts have long explored the absolutist politics of opera in France, especially in relation to the tragédies en musique of Quinault and Lully. Yet historians’ understanding of the ancien régime and its politics has shifted in recent years, with many questioning the earlier emphasis on the centralizing monarchical state and drawing attention to other aspects of French governmentality and political life. Cultural historians have likewise reconsidered the earlier focus on absolutist representation, recognizing the importance of other modes of French political culture, even in royal performances. At the same time, scholars have devoted more attention to comic opera, opera-ballet, and operatic parodies, which mediated the political perspectives of a wider social register.

In the early eighteenth century, French opera also became more cosmopolitan, as is clear from the popularity of operatic subjects, styles, and performers imported from Italy, the colonies, and other foreign locales. This cosmopolitanism begged the question of what precisely was “French” about French opera, a problem that became more urgent and more difficult to resolve as the century progressed. Philosophes, critics, and musical amateurs reflected extensively on such questions in the period’s many querelles, suggesting that part of opera’s attraction was as an occasion to imagine new forms of political community, in addition to its long-standing role in conserving the old.

Scheduled speakers include John Powell, Rose Pruiksma, Charles Dill, William Weber, Geoffrey Burgess, Olivia Bloechl, Raphaëlle Legrand, Downing Thomas, Don Fader, and Georgia Cowart.

Full description, program, and registration information are available at:
http://www.humnet.ucla.edu/c1718cs/opera08.htm

Music and Politics (new e-journal published)

MUSIC AND POLITICS
NEW MATERIAL PUBLISHED

Music and Politics, an on-line journal, http://www.music.ucsb.edu/projects/musicandpolitics/ has recently published its fourth issue, featuring the following articles and reviews:

--Michael Beckerman, "The Dark Blue Exile of Jaroslav Jezek"

--James Wierzbicki, "Hanns Eisler and the FBI"

--Brana Mijatovic, "'Throwing Stones at the System': Rock Music in Serbia during the 1990s"

--Damien Sagrillo, translated by Lee Rothfarb, "The Notion of Humankind According to the Music-pedagogical Conception of Former Socialist States, Exemplified in the Former German Democratic Republic"

--Dard Neuman, "Music & Politics in the Classroom: Music, Politics and Protest"

--Eunice Schroeder, "Recent Books on Music and Politics"

Music and Politics welcomes submissions of any length that explore the interaction of Music and Politics. Areas of interest include, but are not limited to, the impact of politics on the lives of musicians, music as a form of political discourse, and the influences of ideology on musical historiography. In addition, we seek articles that examine pedagogical issues and strategies pertaining to the study of Music and Politics in the undergraduate classroom. We also welcome suggestions and/or submissions of articles on Music and Politics that have already been published in another language and that would benefit from dissemination in English translation. Submissions are encouraged from both established scholars and graduate students. Because Music and Politics is an on-line journal, authors are welcome to take advantage of the media capabilities of the web (sound files, hyperlinks, color images, and video).

For other e-journals which are freely available over the internet, search across my Delicious tags: http://delicious.com/colin71/open_access+e-journals

CFP: Migrating Music: Media, Politics and Style (SOAS)

MIGRATING MUSIC: MUSIC, MEDIA, POLITICS AND STYLE
An international conference
SCHOOL OF ORIENTAL AND AFRICAN STUDIES, UNIVERSITY OF LONDON
10 – 11 JULY 2009

Over the last twenty years or so there has been much interest in music and diaspora, that is in migrating music. No doubt this interest is historically grounded. Movement of peoples and their music across the world has been occurring to an unprecedented extent and in novel ways. Researchers in a variety of disciplines have then responded by studying musical flows and the formation of hybrid styles, but also the way in which apparently similar music can mean quite different things in different contexts. We might sum up the overarching framework as one in which researchers focus on the (largely benign) diversification and pluralisation of musical meaning and experience.

We do not seek to overturn this framework. Quite simply, it taps an important part of the reality of migrating music in the contemporary period. But we do want to bring up a number of problems and issues, and call on colleagues to think about what these might mean.

Media. Mediation has been crucial to the global movement of musics, from the hymnal to the Web 2.0. Diasporas take recordings with them when they move; broadcasters and record companies cater to them in new lands; ‘World Music’ was launched as a marketing and media category. What, then, is the impact of mediation on migrating music, and are diasporas and host communities mere recipients, or rather active shapers of their musical diets?

Politics. The orthodoxy of today is that musical migration is predominantly a Good Thing, and that hybridity always has a progressive dimension. By the same token authenticity has become a straw target. But can the authentic be a significant value for musical cultures as they are relocated around the world? And were early commentators entirely wrong to worry about ‘Americanisation’ or ‘Westernisation’? Indeed are there new models that take into account ‘Bollywoodisation’ and the effects of other international culture industries? Does a focus on hybridisation sometimes obscure larger relations of economic, cultural, and aesthetic domination?

Style. Hybridity is rarely used in verb form. But the processes of stylistic transformation wrought by musical migration are very much about action – making change across time, space, codes and cultures. What are these ‘trans’ processes? Do they always depend on mixing, or can new migrant styles emerge from endogenous reference back to home styles? And how far are music makers and audiences consciously pushing to create the new?

We invite proposals for papers which address these and related questions from across the disciplines: (ethno)musicology, cultural and media studies, sociology, anthropology, history and performance studies. The conference emerges from the AHRC research project based at the Open University, Tuning In: Diasporic Contact Zones @ BBC World Service. So contributions which concern international broadcasting and/or the BBC are particularly welcome. We are also keen to receive proposals from practitioners – music makers, journalists and broadcasters.

Proposals for 20 minute papers should be between 150 and 200 words in length. Themed panels are welcome too. For panel proposals please submit 3 paper abstracts together with a panel title, a 50 word panel rationale, and the name of your panel convenor/chair.

Please send to Karen Ho at K.D.Ho@open.ac.uk. Closing date for submission is 22^nd February, 2009.

Keynote speakers:

Timothy Taylor – Professor of Ethnomusicology and Musicology, UCLA
Sara Cohen – Reader in Music, Director of the Institute of Popular Music, University of Liverpool
Charlie Gillett – Journalist and award winning presenter of ‘Charlie Gillett’s World of Music’, BBC World

Service in conversation with Kevin Robins

Martin Stokes – University Fellow in Music, St Johns College, Oxford University
Ruth Finnegan – Visiting Professor of Sociology, The Open University

Conference convenors are Jason Toynbee and Byron Dueck, The Open University
Conference administrators are Karen Ho and Josine Opmeer, CRESC (Open and Manchester Universities)