CFP: The Impact of Ethnomusicology (BFE/IMR, London)

THE IMPACT OF ETHNOMUSICOLOGY
BRITISH FORUM FOR ETHNOMUSICOLOGY/INSTITUTE OF MUSICAL RESEARCH, LONDON
4 DECEMBER 2010
CALL FOR PAPERS

ANNUAL ONE-DAY CONFERENCE

The winter one-day conference of the British Forum for Ethnomusicology will be held at The Institute of Musical Research, part of the School of Advanced Study at the University of London. The theme for the day will be ‘The Impact of Ethnomusicology’.

‘Impact’ is both a buzz-word and a bête noire in British higher education at present. Scholars in publicly-funded institutions are increasingly being asked to assess the influence of their research outside of the academy, and this applies just as much to ethnomusicologists employed in such institutions as to others.

Nevertheless, perhaps more than any other part of the music studies field, the public-facing nature of ethnomusicology, and its emphasis on participation and social experience, on understanding musical ‘being-in-the-world’ as Jeff Todd Titon puts it, has ensured that ethnomusicologists have usually been very mindful of their relationship to those around them, and of the consequences their work might have. Rather than simply responding to political imperatives, therefore, we instead want to use this conference to reflect on the consequences of our work, for good and for ill, in the wider world; and, building on a long disciplinary tradition of self scrutiny and re-invention, to consider what this tells us about ethnomusicology, and how it might help us position and develop the discipline in the rapidly changing times in which we find ourselves.

The following broadly-conceived questions that we might address are offered merely as starting points:

• In what ways, and over what kinds of timescales, have ethnomusicologists
impacted on the people with whom they work, and the environments in which that work takes place? How might the impact of such work be evaluated or valorised beyond ‘conventional’ ethnomusicological outputs?
• Is ethnomusicological impact usually positive–or at least benign–or are there clear instances of negative consequences? How might one construe the negative impact of ethnomusicology, and should such work necessarily be avoided?
• How does the notion of impact overlap with disciplinary considerations of applied ethnomusicology?
• When does ethnomusicology become so applied – that is, in its engagements with social issues or its advocacy on behalf of particular culture bearers – that it calls into question the boundaries of conventional scholarship and supposed scholarly distance?
• To what extent should scholarly organisations such as BFE proactively engage with organisations such as WOMAD or South Asian Arts, and what is the relationship between such engagements and other forms of research?
• To what extent does the impact of ethnomusicology define the discipline, or to what extent should it be allowed to do so?
• Notwithstanding that current discourses around impact tend to focus on social and cultural consequences outside of the academy, how has the development of ethnomusicology impacted upon the academy as a whole, or any of its constituent parts, particularly in areas far removed from cognate disciplines such as music or anthropology?

Potential contributors are invited to submit abstracts of up to 300 words to the administrator of the IMR, Valerie James, preferably via email Valerie.James[at]sas.ac.uk), or by post to:

Valerie James
Administrator
Institute of Musical Research
School of Advanced Study
University of London
Senate House
Malet Street
London WC1E 7HU

Queries relating to the theme of day or the BFE may be addressed to the
conference convenor, Dr Stephen Cottrell (s.cottrell[at]gold.ac.uk)

The deadline for submissions is 1st September 2010, and contributors will be advised by mid September.

Further information on the conference will be uploaded on the BFE website as it becomes available:

CFP: Readings of Diffcult Freedom (Toulouse, France)

INTERNATIONAL CONFERENCE: "READINGS OF DIFFICULT FREEDOM"

SOCIÉTÉ INTERNATIONALE DE RECHERCHES EMMANUEL LEVINAS (SIREL, PARIS)

NORTH AMERICAN LEVINAS SOCIETY (NALS, USA)

TOULOUSE, FRANCE

5 - 9 JULY 2010

CALL FOR PAPERS

First published in 1963, with a second edition in 1976, /Difficile Liberté/, /Essais sur le judaïsme/ is considered Levinas' most accessible book and an excellent introduction to his work. This collection of essays, which appeared in a variety of journals (/L'arche, Information juive, L'esprit, Evidences/, etc.) reflects the society, culture and philosophy of France from the 1950s to the 1970s. While closely linked to this era (end of World War II, the discovery of the horror of the concentration camps, Stalinism, the founding of the State of Israel) /Difficile Liberté/ is by no means a collection of circumstantial writings.

In /Difficile Liberté/ Levinas defines post-Holocaust Judaism, and sets out the requirements and need for Jewish thought and education in an authentic but critical dialogue with modern society. These considerations are frequently interspersed with references to writers and thinkers who influenced Levinas such as Claudel, Heidegger, Hegel, Spinoza, S. Weil, Gordin and Rosenzweig, but more often to sacred texts, the Bible and the words of the Sages of Israel which Levinas continually emphasized the need to study. Does Levinas' /modernity /paradoxically lie in his appeal to Jews to return to these old "worm-eaten tractates" ("the Jew of the Talmud should take precedence over the Jew of the Psalms")? These articles are still innovative, sharp, concise and overarching; the style is sometimes lyrical – Levinas rarely wrote in such a strident, argumentative way, blending conviction and stupefaction. The key to what unites Levinas' work – the link between his philosophical writings and his specifically Jewish dimension – may just be found in /Difficile Liberté./

Beyond the obligatory analysis of the title (taken from the last few words of the article "Education and Prayer") this conference aims not only to place the essays in /Difficult Freedom/ in their historical context and within the trajectory of Levinas' thought, but more importantly to examine them afresh – with the wonderment and questions they still elicit today. Diachronic and synchronic analyses of the articles in /Difficle Liberté /will help situate them with respect to Levinas' other works. Issues such as the following could be explored:

Phenomenology, ethics, the Holocaust, Israel, the Talmudic Readings, Levinas' views of science and technology, his relationship to Heidegger, Rozensweig, Bergson, French philosophers and writers, Levinas' relationship to Christianity, Levinas the educator, etc...*

This international conference is an initiative of the Société internationale de Recherches Emmanuel Levinas (SIREL, Paris, http://sirel-levinas.org), and the North American Levinas Society (Purdue, USA, www.levinas-society.org. The conference will host participants from all over the world, with 120 projected presentations.

Priority will be given to students and young researchers. The proceedings will be published (articles selected by the editorial committee). If funding permits, some financial aid may be made available, in particular to young researchers.

SUBMISSION DUE DATES

1. *On or before September 30, 2009:* submission of a 500-word abstract (talks will be 20 minutes, in French or in English)and a short bio-bibliography of the author (s).

2. *On or before November 15, 2009*: notification, based on the decision of the scientific committee.

3. *February 2010*: publication of conference program.

All submissions (preferably as Microsoft Word files) and questions concerning the conference should be sent electronically to: dlib2010[at]gmail.com

CFP: Missed Connections (University of Pennsylvania)

MISSED CONNECTIONS
UNIVERSITY OF PENNSYLVANIA

19 FEBRUARY 2010

CALL FOR PAPERS

The Graduate Humanities Forum of the University of Pennsylvania invites submissions for its 10th annual conference: "Missed Connections." The one-day interdisciplinary conference will take place on Friday, February 19th, 2010 at the Penn Humanities Forum in conjunction with its 2009-2010 topic: "Connections."

What might it mean to consider the ways in which connections are foreclosed, desires for union left unsatisfied, communications disrupted? A "missed connection" might be as intimate as a brush with a stranger or as literal as a dropped phone call or departing plane; it might be a forgotten or neglected history or genealogy. "Missed Connections" seeks to foreground failures or absences of connection across disciplines and methodologies. We hope for briefs against perfect transmission, network theory attuned to the gaps in coverage. We are also interested in fields of study that might come into focus for being "unconnected": the rural, the isolated (geographically and historically), the illegible, the strange/estranged.

Please apply to one of the following panels:

"Can You Hear Me Now?" Though a modern-day cliché, “can you hear me now?” speaks to the perennial difficulty of connection and communication, the constant threat of bad connections and miscommunication. Taking the question in its broadest sense, this panel seeks to address the challenges of producing, conveying, receiving, and/or finding meaning in a world of geographical and cultural distances both small and large. What is at stake, besides the message itself, in our attempts to communicate? What and how does failure to communicate signify? Possible topics include static/noise, digital/material texts, legibility/illegibility, networks, strangers/intimates, publicity/anonymity, vernacular/standard forms, the phatic function, and translation.


Corporal Boundaries and Un-bound Bodies This panel explores the making and unmaking of boundaries, and various kinds of crossings between them. We conceive of these boundaries broadly, as the borders of global politics, postcoloniality and travel; as the social categorizations and impermeable membranes shaping bodily materiality; and as affective connections and impasses. Does the spatial imagination generate possible connections that go unnoticed, or highlight problematic connections in zones of conflict?


Coalitions and Their Failures This panel will seek to explore the concept of coalition alongside its productive failures. Under the rubric of coalition we might imagine assemblages, networks, various means of community and connectivity – not only in the political realm but also within academia, in information, and in technological, material and virtual fields. We aim to explore the connections between coalitions and narrative, historiography, anachronisms, and chrono-politics. At the juncture of perceived or real failures, revolutionary ideologies and counter-institutions can arise. What are the affective implications of coalition failures? Can there be a politics of disconnection? Of regret? Of singularity or isolation? How might we use such failures to imagine new alignments?

Please send 250-word paper proposals for one of these panels along with a 1-page CV via email to Rachael Nichols (nichols.rachael at gmail.com) by November 1, 2009. (Notification by December 1, 2009.)

See the full CFP in all of its illustrated glory here: http://humanities.sas.upenn.edu/09-10/ghf/cfp.shtml

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

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: Social Behavior in Music (Vancouver, Canada)

SBM2009 - SOCIAL BEHAVIOUR IN MUSIC
VANCOUVER, CANADA
29 AUGUSTU 2009
www.infomus.org/SBM2009
SUBMISSION DEADLINE: 17 MAY 2009

Workshop in the framework of IEEE Intl. SocialCom-09 Conference

Music making and listening are a clear example of human activities that are above all interactive and social. On the one hand, however, nowadays mediated music making and listening is usually still a passive,non-interactive, non-context sensitive, and non-social experience. The current electronic technologies have not yet been able to support and promote these essential aspects. On the other hand, new mediated forms of sharing music experience in a social context with local or remote users or as a part of a community are emerging. At the same time we observe an increasing need for paradigms for embodied and active experience of music where non-verbal communication channels, and in particular movement and gesture, play a central role. This workshop focuses on the social signals and their features that are most significant for a qualitative and quantitative analysis of social behavior and experience in music. The workshop will discuss computational models, algorithms, techniques for analysis of social behavior in music, their application in concrete test-beds, and their evaluation in experimental set-ups. We are interested in exploring many-to-many human interplay, such as the performer-listener, performer-performer, and listener-listener interaction, in novel scenarios where the distinction between listeners and performers fades out and users become producers and consumers of music experience.

WORKSHOP TOPICS
We encourage papers and demos addressing fundamental research issues including, but not limited to, the following topics:

- theoretical approaches to social behavior in music
- experimental methodologies for analysis of social behavior in music
- computational models of social behavior in music
- analysis of social signals in music
- synchronization of human behavior in music
- analysis of social roles in performers and listeners groups
- analysis of attention and salience in social music experiences
- multimodal interfaces for active and social music experience
- cooperative social environments for participative music experience
-multi-user systems and application for social music experience


ELECTRONIC SUBMISSIONS
Submissions should follow the IEEE conference paper format. Submissions should include: title, author(s), affiliation(s), e-mail address(es), tel/fax number(s), and postal address(es).

The contributions can be submitted at:
http://infomus.org/SBM2009/commence

Both accepted papers and demos will be presented at the workshop as oral presentation or in a demo session. The accepted contributions will appear in the Proceedings of Social-Com09 Workshops published by IEEE Computer Society Press. Authors of accepted contributions will be required to submit a camera ready version. At least one author for each accepted paper or demo is required to attend the workshop to present the work.

Papers submission:
Manuscripts should be 8 pages maximum, including references, tables, and pictures.

Demo submission:
Proposal for demonstrations should be submitted as a (max) 2-pages extended abstract including pictures and technical details.

IMPORTANT DATES
May 17, 2009: Submissions deadline
June 5, 2009: Notification of acceptance
June 15, 2009: Camera ready version due to electronic form
August 29, 2009: SBM2009 Workshop

WORKSHOP ORGANIZERS AND CHAIRS
Antonio Camurri
Donald Glowinski
Maurizio Mancini
Giovanna Varni
Gualtiero Volpe

PROGRAM COMMITTEE
Frederic Bevilacqua (IRCAM, France)
Roberto Bresin (KTH, Sweden)
Shuji Hashimoto (Waseda University, Japan)
Ben Knapp (Queen's University Belfast, UK)
Marc Leman (Univeristeit Ghent)
Anton Nijholt (University of Twente, NL)
Maja Pantic (Imperial College London, UK and University of Twente, NL)
Catherine Pelachaud (CNRS, France)
Isabella Poggi (Università Roma 3, Italy)
Xavier Serra (UPF, Spain)
Alessandro Vinciarelli (IDIAP, Switzerland)

The workshop is partially supported by the FP7 EU-ICT Strep Project SAME
(www.sameproject.eu).

CFP: First Annual International Crime, Media and Popular Culture Studies (Indiana State University)

FIRST ANNUAL INTERNATIONAL CRIME, MEDIA AND POPULAR CULTURE STUDIES CONFERENCE: A CROSS-DISCIPLINARY EXPLORATION

INDIANA STATE UNIVERSITY

5 - 7 OCTOBER 2009

CALL FOR PAPERS

Early Abstract Submission is Highly Encouraged.

The Indiana State University Department of Criminology and Criminal Justice would like to invite you to attend the "First Annual International Crime, Media and Popular Culture Studies Conference: A Cross-Disciplinary Exploration" to be held October 5th, 6th & 7th, 2009
at Indiana State University, Terre Haute, Indiana. Please visit our website for further details regarding abstract submission, registration and for a detailed description of our Keynote Speakers and Featured Speakers. Please feel free to forward this notice to any colleagues or
graduate students that you feel might be interested.

Conference website:
www.indstate.edu/ccj/popcultureconference

Indiana State University is conveniently located less than 1 hour from Indianapolis International Airport traveling west on Interstate 70. Indiana State University is also within 3-5 hours driving time from Chicago, Illinois; Springfield, Illinois; St. Louis, Missouri; Columbia,
Missouri; Louisville, Kentucky; Lexington, Kentucky; Cincinnati, Ohio; Toledo, Ohio; Columbus, Ohio; and Nashville, Tennessee.

Early Conference Hotel Reservations are Highly Encouraged.

Once again given that this is a cross-disciplinary conference please feel free to forward this call for papers to any individuals or departments that you feel might have an interest in the conference (criminology, criminal justice, sociology, anthropology, public policy, psychology, race & ethnic studies, women’s studies, music, media studies, journalism, literature, film studies, history).

Featured Speakers:
Jeff Ferrell, Ph.D.
Texas Christian University

Victor E. Kappeler, Ph.D
Eastern Kentucky University

David L. Altheide, Ph.D
Arizona State University

Frankie Y. Bailey, Ph.D.
University of Albany

Gregory Snyder, Ph.D.
Baruch College, CUNY

Nickie Phillips, Ph.D.
St. Francis College

Staci Strobl, Ph.D.
John Jay College of Criminal Justice

Vikas Kumar Gumbhir, Ph.D.
Gonzaga University

Brett A. Mervis, Ph.D. Candidate
University of South Florida

Robert D. Weide, Ph.D. Candidate
New York University


Keynote Speakers:
Taylor Mali
Four Time National Poetry Slam Champion and One of the Original Poets on HBO’s Russell Simmons Presents “Def Poetry”

Stephen Belber
Acclaimed Playwright, Screenplay Writer and Director
(TV Credits Include Staff Writer for “Law & Order SVU” and “Rescue Me”)

Sincerely,

Franklin T. Wilson, Ph.D.
Conference Chair
Department of Criminology and Criminal Justice
Indiana State University
Holmstedt Hall 230
Terre Haute, Indiana 47809
fwilson2@indstate.edu

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

CFP: Filigrane. Musique, Esthétique, Sciences, Société (journal)

FILIGRANE. MUSIQUE, ESTHÉTIQUE, SCIENCES, SOCIÉTÉ

CALL FOR PAPERS

N°11. New Musicology. Critical Perspectives / N°11. New Musicology. Perspectives critiques

(bilingual issue English-French edited by Makis Solomos)

English: http://revuefiligrane.free.fr/numeros/revue11/call.htm 

Français: http://revuefiligrane.free.fr/numeros/revue11/appel.htm

N°12. Music and Place / N°12. Musique et lieu

(edited by Jean-Marc Chouvel and Laurence Bouckaert)

English: http://revuefiligrane.free.fr/numeros/revue12/call.htm

Français: http://revuefiligrane.free.fr/numeros/revue12/appel.htm

Job Posting: Post-Doc Research Associate - Indigeneity in the Contemporary World: Performance, Politics, Belonging (Royal Holloway)

JOB POSTING: POST-DOCTORAL RESEARCH ASSOCIATE
INDIGENEITY IN THE CONTEMPORARY WORLD: PERFORMANCE, POLITICS, BELONGING
ROYAL HOLLOWAY, UK

A unique opportunity exists for an outstanding Post-doctoral Research Associate to contribute to a new interdisciplinary research project that will examine how Indigeneity is expressed and understood in our complex, globalising world. With funding of €2.36M over five years from the European Research Council, this frontier research, led by Professor Helen Gilbert at Royal Holloway (University of London), will develop along four broad conceptual themes: ‘Commodity and Spectacle’, ‘Heritage and Material Culture’, ‘Reconciliation and Social Cohesion’ and ‘Mobility and Belonging’. Applicants will be considered from across a range of disciplines including, but not limited to, the following: theatre/performance studies, film, cultural geography, anthropology, history, indigenous studies, sociology, politics, dance, ethnomusicology, international relations.

Full details are available at http://www.rhul.ac.uk/Personnel/Ads/Y0209-5242.html

Salary: £31,838 per year plus relocation allowance and yearly travel fund

Starting date: As soon as possible after 1 May 2009 (post funded until 2014)

Applications close: Friday 13 March (expected interview date 3 April)

Contact: helen.gilbert at rhul.ac.uk

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

MIGRATING MUSIC: MEDIA, POLITICS AND STYLE: AN INTERNATIONAL CONFERENCE
SCHOOL OF ORIENTAL AND AFRICAN STUDIES,
UNIVERSITY OF LONDON
10 - 11 JULY 2009
CALL FOR PAPERS

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 is 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 do music makers and audiences consciously strive to create the new.

We invite proposals for papers which address these and related questions from across the disciplines, including (ethno)musicology, cultural and media studies, sociology, anthropology, history and performance studies. The conference is part of 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.

Proposal forms are available from the Conference's web page on the Tuning In website. Please see link below: http://www.open.ac.uk/socialsciences/diasporas/events/migratingmusic.htm

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

KEYNOTE SPEAKERS:

Timothy Taylor - Professor of Ethnomusicology and Musicology, UCLA

Sara Cohen - Professor and 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, Visiting Professor, Istanbul Bilgi University

Martin Stokes - University Fellow in Music, St Johns College, Oxford University

Ruth Finnegan - Visiting Professor of Sociology, The Open University

CONFERENCE CONVENORS
Jason Toynbee and Byron Dueck, The Open University

CONFERENCE ADMINISTRATORS
Karen Ho and Josine Opmeer, CRESC (Open and Manchester Universities)

CFP: Living Culture - Conference on Ethnographies of Culture (Leeds)

LIVING CULTURES - CONTEMPORARY ETHNOGRAPHIES OF CULTURE

UNIVERSITY OF LEEDS

30 - 31 MARCH 2009

CALL FOR PAPERS

The Institute for Communications Studies (ICS) and the Media Industries Research Centre (MIRC) at The University of Leeds invites papers for a 1½-day conference.

Keynote speakers:
Professor Les Back (Professor, Department of Sociology, Goldsmiths College, University of London), author of The Art of Listening (2007) and New Ethnicities and Urban Culture: Racisms and Multiculture in Young Lives (1996)

Professor Georgina Born (Professor of Sociology, Anthropology and Music, University of Cambridge), author of Uncertain Vision: Birt, Dyke and the Reinvention of the BBC (2004) and Rationalizing Culture: IRCAM, Boulez, and the Institutionalization of the Musical Avant-Garde (1995)

Conference theme:
The ever-increasing importance of the cultural to the social brings with it a vital need to investigate the processes implicated in contemporary meaning making, symbolic consumption, production and mediation. Recent scholarship from across the social sciences has sought to take up this challenge by examining the multifariousness of cultural materials-in-use, continuities and ruptures in the production/consumption of culture, the expanded purview of cultural policy and the effects of an expanding 'cultural economy'.

Through its careful attention to the irreducibility of human experience, ethnography has revealed an enduring ability to usefully intervene in debates within these arenas, making explorations into culture and cultural practice a quasi-specialism of ethnographic study. Yet how might 21st century ethnography better attune itself to the opportunities and challenges implied by attempts to understand contemporary culture and cultural experience 'from the inside'? Indeed, what limitations or boundaries are implied by efforts to study different cultural practices through ethnography and what might this mean for ethnography's contribution to social theory?

Contributions are invited from ethnographers willing to reflect on such questions and to share the methodological, substantive and theoretical insights gleaned, as well as the problems encountered, in the course of their own ethnographies of culture.

The conference should be of interest to scholars and particularly ethnographers from within sociology and social policy, media and communications studies, cultural studies, social/cultural anthropology and other allied disciplines.
Proposal deadline: abstracts (250 words max) should be sent, by Friday 16th January 2009, to the organising committee at: email: ics-conferences@leeds.ac.uk or mail to: Dr Eleri Pound, Living Cultures Conference, Institute of Communications Studies, 16 Clarendon Place, The University of Leeds, Leeds, LS2 9JT, UK

Organising committee: Dr Mark Rimmer (convenor), Professor David Hesmondhalgh, Dr Chris Paterson, Dr Eleri Pound, Anna Zoellner, all of the Media Industries Research Centre, University of Leeds.

CFP: IAMHIST-Social Fears and Moral Panics (Aberystwyth)

IAMHIST 2009: SOCIAL FEARS AND MORAL PANICS
ABERYSTWYTH
8 - 11 JULY 2009
CALL FOR PAPERS

The International Association for Media and History (IAMHIST) announces a second call for papers for the XXIII biennial IAMHIST conference, incorporating the 3rd Gregynog Media History Conference, on the theme Social Fears and Moral Panics.

The aim of the conference is to explore both the role of the media in addressing, highlighting or perpetuating social fears, and the mass media itself as a perceived moral agent and/or threat. Topics to address might thus include questions of media content and/or language; concerns about public intrusion; censorship and the freedom of information; the reporting of crimes or disasters; invasion and security fears in times of peace or war; religious, cultural and/or linguistic fears; fears relating to youth or children, or to minority groups; fears relating to particular behaviours, pursuits or leisure activities; ‘golden ageism’.

Confirmed speakers include Chas Crichter, Julian Petley, Martin Barker, Steve Chibnell, Virginia Berridge, Aled Jones, Jason McElligott, and Sir Quentin Thomas (President, British Board of Film Classification)

We welcome paper proposals that address the theme in both contemporary and/or historical perspective; proposals which engage with the theme comparatively (both geographically and temporally); and proposals which engage with theoretical approaches, including the social theory of moral panic.

We also welcome proposals on their work in progress from postgraduate and early-career scholars in the field of media history, including on topics that may not be on the conference theme.

Proposals for complete panels (three themed papers) are welcome, as well as individual paper submissions. Papers presented at the conference should be 25-30 minutes in length and should use illustrative material (for instance film clips) wherever possible.

Abstracts of no more than 300 words per paper should be sent to Dr Sian Nicholas at iamhist2009@aber.ac.uk c/o Department of History and Welsh History, Aberystwyth University, Penglais, Aberystwyth, Ceredigion SY23 3DY, Wales UK, by 14 November 2008.

The conference is being organised by IAMHIST, in association with the Centre for Media History and Departments of History and Welsh History, and Theatre, Film and Television, Aberystwyth University, the Department of Media and Communications, Swansea University, and the journals Historical Journal of Film, Radio and Television and Media History, with the support of the National Screen and Sound Archive of Wales, National Library of Wales, Aberystwyth.

For further details and updates, see
http://www.aber.ac.uk/history/research/centreformediahistoryIAMHIST2009.html