Call for Papers: "Popular Music and Protest"
The SMT Popular Music Interest Group, the Popular Music Section of the SEM, and the AMS Popular Music Study Group announce a joint call for papers in anticipation of the combined SMT/SEM/AMS meeting in New Orleans, Nov. 1-4, 2012. The proposed interdisciplinary session will feature scholars from each of the three fields. The topic is Popular Music and Protest, which this session seeks to explore from a variety of disciplinary perspectives. Throughout the world's history, popular music has been used as a form of political resistance, from anticolonial uprisings, struggles for civil rights, and anti-war movements to current political upheavals in the United States and the Middle East. Musicians including Woody Guthrie, Marvin Gaye, Bob Marley, U2, Rage Against the Machine, Mercedes Sosa, Public Enemy, and Cui Jian have featured prominently in the history of protest, and song in particular has been a medium through which social groups can express opposition and solidarity.
Scholars are encouraged to submit a 250-word proposal for a 20-minute talk that will be followed by ten minutes of discussion. Successful proposals will use structural, historical, social, ethnographic, or analytical perspectives to address intersections of popular music and protest. Proposals should not include information identifying the author, although submissions should separately indicate 1) the home society of the author; and 2) what equipment is needed for the paper. Proposals will be considered for inclusion on the joint special session by a subcommittee comprising members of the respective popular music groups from SMT, SEM, and AMS. Once assembled, this session will then be submitted as a joint session proposal to the program committees for the New Orleans conference.
Please email submissions to alexreed at ufl.edu by the end of Friday, January 6, 2012. Authors will be notified of acceptance one week after this date, so as to allow for denied papers to be submitted individually to the conference, should the authors choose to do so.
mercoledì 28 dicembre 2011
Music, mind, and brain call for submissions
MUSIC, MIND, AND BRAIN
Association for Psychological Science 24th Annual Convention
Diverse Perspectives
May 24-27, 2012 in Chicago, IL USA
http://www.psychologicalscience.org/convention
Including a special cross-cutting theme program and poster session:
Music, Mind, and Brain (http://www.psychologicalscience.org/convention/program_2012/search/theme.cfm)
It's just sound - structured, organized sound. Yet it has surrounded us, moved us, and echoed in our memories throughout the history of our species. In this theme program, three of the world's leading psychologists and neuroscientists in the study of music, and one of the world's leading musicians, discuss the psychological systems and "orchestra of brain regions" through which music enriches our lives.
Including a special concert with Dale Boyle, Kevin Feyen, Robert W. Levenson, Daniel Levitin, Bianca Levy, and featuringVictor Wooten
Five-Time Grammy Award Winner and
Bassist for Béla Fleck & The Flecktones
Call for Submissions: “Music, Mind, and Brain” Poster Session
http://www.psychologicalscience.org/index.php/convention/call-for-submissions
Open through January 31, 2012
Present your research at the premiere international meeting solely dedicated to
psychological science.
Featured Speakers: Megan Bang; David Barlow; Margaret Beale Spencer; Ellen Berscheid; George A. Bonanno; Joan Y. Chiao; Geraldine Dawson; Christine Dunkel Schetter; Elissa Epel; Edna B. Foa; Gail Goodman; Elaine Hatfield; Dirk Helbing; James S. Jackson; Annette Karmiloff-Smith; Silvia H. Koller; Carol Krumhansl; Richard Lerner; Daniel Levitin; Helen E. Longino; Brenda Milner; Aniruddh D. Patel; Henry L. "Roddy" Roediger, III; Barry Schwartz; Lisa M. Shin; Richard A. Shweder; and Victor Wooten
Association for Psychological Science 24th Annual Convention
Diverse Perspectives
May 24-27, 2012 in Chicago, IL USA
http://www.psychologicalscience.org/convention
Including a special cross-cutting theme program and poster session:
Music, Mind, and Brain (http://www.psychologicalscience.org/convention/program_2012/search/theme.cfm)
It's just sound - structured, organized sound. Yet it has surrounded us, moved us, and echoed in our memories throughout the history of our species. In this theme program, three of the world's leading psychologists and neuroscientists in the study of music, and one of the world's leading musicians, discuss the psychological systems and "orchestra of brain regions" through which music enriches our lives.
Including a special concert with Dale Boyle, Kevin Feyen, Robert W. Levenson, Daniel Levitin, Bianca Levy, and featuringVictor Wooten
Five-Time Grammy Award Winner and
Bassist for Béla Fleck & The Flecktones
Call for Submissions: “Music, Mind, and Brain” Poster Session
http://www.psychologicalscience.org/index.php/convention/call-for-submissions
Open through January 31, 2012
Present your research at the premiere international meeting solely dedicated to
psychological science.
Featured Speakers: Megan Bang; David Barlow; Margaret Beale Spencer; Ellen Berscheid; George A. Bonanno; Joan Y. Chiao; Geraldine Dawson; Christine Dunkel Schetter; Elissa Epel; Edna B. Foa; Gail Goodman; Elaine Hatfield; Dirk Helbing; James S. Jackson; Annette Karmiloff-Smith; Silvia H. Koller; Carol Krumhansl; Richard Lerner; Daniel Levitin; Helen E. Longino; Brenda Milner; Aniruddh D. Patel; Henry L. "Roddy" Roediger, III; Barry Schwartz; Lisa M. Shin; Richard A. Shweder; and Victor Wooten
GAMMA-UT 2012, "Music and Structures of Society, " April 14, 2012
GAMMA-UT: Call for Papers
"Music and Structures of Society"
12th Annual Conference
The University of Texas at Austin
Saturday, April 14, 2012
GAMMA-UT, the Graduate Association for Music and Musicians at the University of Texas at Austin, announces its eleventh annual conference, "Music and Structures of Society," to be held on Saturday, April 14, 2012 at The University of Texas at Austin. Graduate students from areas such as music theory, musicology, ethnomusicology, education and learning, composition, performance, and related areas will meet to share their research, and composers will present their works in a concert held that evening.
This year's keynote speaker is Joseph Horowitz. Horowitz has written extensively on the institution of classical music and has worked as a concert producer and artistic director for orchestras. His latest book, Artists in Exile (2008), explores the effects of the intellectual migration during the tumultuous 20th-century from Europe to the United States. He is currently completing a book about U.S. culture during the fin de siècle.
In addition to a keynote address, there will be a panel discussion on the conference topic, “Music and the Structures of Society” featuring Joseph Horowitz and distinguished guests:
Peter Bay, Conductor and Music Director of the Austin Symphony Orchestra;
Douglas Dempster, Dean of the College of Fine Arts at the University of Texas at Austin;
Marianne Gedigian, Professor of Music in Flute at the University of Texas at Austin;
Kathleen Panoff, Director and Associate Dean of Texas Performing Arts
Call for Papers
GAMMA-UT is soliciting student papers in the areas of music theory, musicology, ethnomusicology, and education and learning. Papers may deal with any aspect of music research and analysis, particularly those topics that relate to the theme of "Music and the Structures of Society." Prospective presenters should submit an abstract of 250 words or less for blind review to gammaut2012@gmail.com by February 15, 2012.
Please include your name, email address, mailing address, institutional affiliation, student status, and any specials needs for A/V equipment. Papers are to be approximately 20 minutes in length, followed by a 10-minute question session. Applicants will be notified of the program committee's decision via email by February 21, 2012.
Questions can be directed to the conference email: gammaut2012@gmail.com
"Music and Structures of Society"
12th Annual Conference
The University of Texas at Austin
Saturday, April 14, 2012
GAMMA-UT, the Graduate Association for Music and Musicians at the University of Texas at Austin, announces its eleventh annual conference, "Music and Structures of Society," to be held on Saturday, April 14, 2012 at The University of Texas at Austin. Graduate students from areas such as music theory, musicology, ethnomusicology, education and learning, composition, performance, and related areas will meet to share their research, and composers will present their works in a concert held that evening.
This year's keynote speaker is Joseph Horowitz. Horowitz has written extensively on the institution of classical music and has worked as a concert producer and artistic director for orchestras. His latest book, Artists in Exile (2008), explores the effects of the intellectual migration during the tumultuous 20th-century from Europe to the United States. He is currently completing a book about U.S. culture during the fin de siècle.
In addition to a keynote address, there will be a panel discussion on the conference topic, “Music and the Structures of Society” featuring Joseph Horowitz and distinguished guests:
Peter Bay, Conductor and Music Director of the Austin Symphony Orchestra;
Douglas Dempster, Dean of the College of Fine Arts at the University of Texas at Austin;
Marianne Gedigian, Professor of Music in Flute at the University of Texas at Austin;
Kathleen Panoff, Director and Associate Dean of Texas Performing Arts
Call for Papers
GAMMA-UT is soliciting student papers in the areas of music theory, musicology, ethnomusicology, and education and learning. Papers may deal with any aspect of music research and analysis, particularly those topics that relate to the theme of "Music and the Structures of Society." Prospective presenters should submit an abstract of 250 words or less for blind review to gammaut2012@gmail.com by February 15, 2012.
Please include your name, email address, mailing address, institutional affiliation, student status, and any specials needs for A/V equipment. Papers are to be approximately 20 minutes in length, followed by a 10-minute question session. Applicants will be notified of the program committee's decision via email by February 21, 2012.
Questions can be directed to the conference email: gammaut2012@gmail.com
domenica 25 dicembre 2011
Bando di concorso per i Seminari di Musica Antica “Egida Sartori e Laura Alvini”
La Fondazione Giorgio Cini offre 7 borse di studio per l'edizione 2012 dei Seminari di Musica Antica, diretti dal Maestro Pedro Memelsdorff. I seminari di quest'anno, dal titolo Child soloists in Paris 1680 1720. Charpentier, Nivers, Clérambault, Campra, sono dedicati a un repertorio di musica vocale composta a Parigi tra il 1680 1720 e indirizzata principalmente a cantanti solisti bambini.
Il bando è rivolto a 5 o 6 solisti bambini e 2 solisti adulti (possibilmente un soprano e un controtenore), professionisti.
Scadenza bando: 1 febbraio 2012
Il bando è rivolto a 5 o 6 solisti bambini e 2 solisti adulti (possibilmente un soprano e un controtenore), professionisti.
Scadenza bando: 1 febbraio 2012
Bando di concorso per i Seminari di musica ottomana “Bîrûn”
La Fondazione Giorgio Cini offre 6 borse di studio per la frequenza dei Seminari di musica ottomana “Bîrûn”, diretti dal Maestro Kudsi Erguner, che si terranno a Venezia dal 16 al 21 aprile 2012. Il bando è rivolto a musicisti professionisti, o semi professionisti, specializzati in musica classica ottomana, oppure desiderosi di approfondire questo genere. Lo scopo del bando è quello di formare un ensemble vocale/strumentale o puramente strumentale (hanende o sazende), a seconda dei sei candidati scelti, che si concentrerà su alcuni specifici aspetti della musica classica ottomana (repertori, compositori, manoscritti) selezionati da Kudsi Erguner e Giovanni De Zorzi.
Scadenza bando: 1 febbraio 2012
Scadenza bando: 1 febbraio 2012
Nuove borse di studio del Centro Vittore Branca
E’ aperto il nuovo bando per borse di studio del Centro Internazionale di Studi della Civiltà Italiana intitolato a Vittore Branca, il polo internazionale di studi umanistici che accoglie studiosi, scrittori e artisti che intendano svolgere un progetto di ricerca sulla civiltà italiana, e in special modo veneta, su temi di storia dell’arte, letteratura, musica, teatro, libri antichi, storia di Venezia.
Sono disponibili borse di studio destinate a dottorandi per trascorrere sei mesi di ricerca presso il Centro, e borse di studio destinate a post-doc per trascorrere tre mesi di ricerca presso il Centro.
Oltre alle borse di studio, è possibile ottenere co-finanziamenti in qualità di studiosi indipendenti.
Scadenza bando: 31 gennaio 2012
Sono disponibili borse di studio destinate a dottorandi per trascorrere sei mesi di ricerca presso il Centro, e borse di studio destinate a post-doc per trascorrere tre mesi di ricerca presso il Centro.
Oltre alle borse di studio, è possibile ottenere co-finanziamenti in qualità di studiosi indipendenti.
Scadenza bando: 31 gennaio 2012
Concorso di idee in occasione delle celebrazioni per il centenario della morte dello scenografo Pietro Bertoja
Il Comitato regionale per le celebrazioni del centenario della morte di Pietro Bertoja e la Fondazione Giorgio Cini, soggetto attuatore dell’iniziativa, promuovono un concorso di idee che premi l’originalità dei progetti di studenti di Università, Accademie e Scuole Secondarie Superiori, ispirati dal lavoro dello scenografo Pietro Bertoja.
Scadenza per la consegna delle domande di ammissione: 15 marzo 2012
Scadenza per la consegna delle domande di ammissione: 15 marzo 2012
XXVIII Corso Seminariale di perfezionamento Scuola per Librai Umberto ed Elisabetta Mauri
Anche nel 2012, come da tradizione nel mese di gennaio, si svolgerà alla Fondazione Giorgio Cini il Seminario di Perfezionamento della Scuola per Librai “Umberto ed Elisabetta Mauri”, giunto alla sua ventottesima edizione. Il Seminario consiste in un corso di specializzazione a livello di master ed è rivolto a ibrai professionisti selezionati.
Venezia, Isola di San Giorgio Maggiore, Fondazione Cini
22 - 27 gennaio 2012
Venezia, Isola di San Giorgio Maggiore, Fondazione Cini
22 - 27 gennaio 2012
XVII Seminario Internazionale di Etnomusicologia. «Etnomusicologia, musicologia evolutiva e neuroscienze»
Il Seminario Internazionale di Etnomusicologia organizzato dall’Istituto Interculturale di Studi Musicali Comparati della Fondazione Giorgio Cini dedicherà la sua XVII edizione (26-28 gennaio 2012) al tema Etnomusicologia, musicologia evolutiva e neuroscienze, per fare il punto su una relazione complessa, non sempre adeguatamente basata su un fruttuoso e reciproco interscambio: quella fra la ricerca etnomusicologica, spesso ancora attardata su posizioni di relativismo antropologico-musicale proprie del secolo ormai trascorso e una ricerca neuroscientifica sulla musica che, a volte, non sembra sufficientemente consapevole, nelle sue indagini e sperimentazioni di laboratorio, della nuova concezione transculturale del fare musica, nonché delle relazioni fra musica e linguaggio che proprio l’etnomusicologia ha sostanzialmente contribuito a determinare.
Al Seminario, curato da Francesco Giannattasio, parteciperanno: Simha Arom, Giorgio Banti, Emanuel Bigand, Bjorn Merker, Isabelle Peretz.
Venezia, Isola di San Giorgio Maggiore, Fondazione Cini
26 28 gennaio 2012
Ingresso libero
Al Seminario, curato da Francesco Giannattasio, parteciperanno: Simha Arom, Giorgio Banti, Emanuel Bigand, Bjorn Merker, Isabelle Peretz.
Venezia, Isola di San Giorgio Maggiore, Fondazione Cini
26 28 gennaio 2012
Ingresso libero
venerdì 23 dicembre 2011
ANNOUNCEMENT and CFP (journal articles): Dutch Journal of Music Theory
We are pleased to announce the publication of the latest issue of the 'Dutch Journal of Music Theory', Vol. 16, No. 3 (Fall 2011).
http://djmt.nl/cgi/t/text/text-idx?c=djmt;sid=2177e36a6b7c141a3f07a81b47cb45ba;tpl=archief.tpl
In case your institution does not hold a subscription to this journal, a one-month free trial can be obtained by writing to the publisher, Amsterdam University Press, abonnementen at aup.nl.
ARTICLES
- Melissa Hoag, “Register and Remembrance in Brahms’s ‘Frühlingslied’, Op. 85, No. 5”
- Harm Langenkamp, “Close Encounters of Another Kind: Strategies of Intercultural Composition, 1960s-2000s”
DISCUSSIONS
- “Ton de Leeuw: portret van de componist als jongeman,” interview door Peter Peters, bewerkt en geannoteerd door Klaus Kuiper [in Dutch]
- Emanuel Overbeeke, “These-antithese-synthese: orkest-ensemble-??” [in Dutch]
- Vincent Meelberg, “Theory Encounters Science in Music: The Wedding of Cognitive, Empirical, and Theoretical Music Research”
REVIEWS
- Steven Vande Moortele, Two-Dimensional Sonata Form: Form and Cycle in Single-Movement Instrumental Works by Liszt, Strauss, Schoenberg, and Zemlinsky, by Scott Burnham
- René Descartes, Regels om richting te geven aan het verstand & ander vroeg werk, by Rienk Vermij [in Dutch]
CALL FOR SUBMISSIONS
The 'Dutch Journal of Music Theory' is a tri-annual, peer-reviewed journal that embraces established and innovative music-theoretical perspectives on a wide range of musics, from both conventional repertoires to repertoires that usually fall outside the scope of music analysis. The editorial board welcomes submissions for articles and discussions to be scheduled for publication in May and November 2012.
For more information about the 'Dutch Journal of Music Theory' as well as the guidelines for submission, see the journal’s website: www.djmt.nl.
Editor in Chief: Vincent Meelberg
Editorial Board: Jacques Boogaart (University of Amsterdam), Kristof Boucquet (University of Leuven), Arthur van der Drift (Muziek Centrum Nederland), Karst de Jong (Royal Conservatory, The Hague; Escola Superior de Música de Catalunya, Barcelona), Clemens Kemme (Conservatory of Amsterdam), Suzanne Konings (Royal Conservatory, The Hague), Harm Langenkamp (Utrecht University), Vincent Meelberg (Radboud University Nijmegen), Steven Vande Moortele (University of Toronto), Michiel Schuijer (Conservatory of Amsterdam), Martyn Smits (Fontys Conservatory, Tilburg), Barbara Titus (Utrecht University), Ida Vujovic (Royal Conservatory, The Hague), Stephan Weytjens (University of Leuven; Royal Flemish Conservatory, Antwerp), Jaap Zwart (Conservatory of Amsterdam)
http://djmt.nl/cgi/t/text/text-idx?c=djmt;sid=2177e36a6b7c141a3f07a81b47cb45ba;tpl=archief.tpl
In case your institution does not hold a subscription to this journal, a one-month free trial can be obtained by writing to the publisher, Amsterdam University Press, abonnementen at aup.nl.
ARTICLES
- Melissa Hoag, “Register and Remembrance in Brahms’s ‘Frühlingslied’, Op. 85, No. 5”
- Harm Langenkamp, “Close Encounters of Another Kind: Strategies of Intercultural Composition, 1960s-2000s”
DISCUSSIONS
- “Ton de Leeuw: portret van de componist als jongeman,” interview door Peter Peters, bewerkt en geannoteerd door Klaus Kuiper [in Dutch]
- Emanuel Overbeeke, “These-antithese-synthese: orkest-ensemble-??” [in Dutch]
- Vincent Meelberg, “Theory Encounters Science in Music: The Wedding of Cognitive, Empirical, and Theoretical Music Research”
REVIEWS
- Steven Vande Moortele, Two-Dimensional Sonata Form: Form and Cycle in Single-Movement Instrumental Works by Liszt, Strauss, Schoenberg, and Zemlinsky, by Scott Burnham
- René Descartes, Regels om richting te geven aan het verstand & ander vroeg werk, by Rienk Vermij [in Dutch]
CALL FOR SUBMISSIONS
The 'Dutch Journal of Music Theory' is a tri-annual, peer-reviewed journal that embraces established and innovative music-theoretical perspectives on a wide range of musics, from both conventional repertoires to repertoires that usually fall outside the scope of music analysis. The editorial board welcomes submissions for articles and discussions to be scheduled for publication in May and November 2012.
For more information about the 'Dutch Journal of Music Theory' as well as the guidelines for submission, see the journal’s website: www.djmt.nl.
Editor in Chief: Vincent Meelberg
Editorial Board: Jacques Boogaart (University of Amsterdam), Kristof Boucquet (University of Leuven), Arthur van der Drift (Muziek Centrum Nederland), Karst de Jong (Royal Conservatory, The Hague; Escola Superior de Música de Catalunya, Barcelona), Clemens Kemme (Conservatory of Amsterdam), Suzanne Konings (Royal Conservatory, The Hague), Harm Langenkamp (Utrecht University), Vincent Meelberg (Radboud University Nijmegen), Steven Vande Moortele (University of Toronto), Michiel Schuijer (Conservatory of Amsterdam), Martyn Smits (Fontys Conservatory, Tilburg), Barbara Titus (Utrecht University), Ida Vujovic (Royal Conservatory, The Hague), Stephan Weytjens (University of Leuven; Royal Flemish Conservatory, Antwerp), Jaap Zwart (Conservatory of Amsterdam)
CFP: Music, Sound, and Protest in the Twenty-First Century, AMS/SEM/SMT Alternative Format Panel, New Orleans, Nov 2012
CFP: Music, Sound, and Protest in the Twenty-First Century
AMS/SEM/SMT New Orleans, November 2012
We invite short proposals from all branches of music studies for an alternative-format discussion panel at the 2012 AMS/SEM/SMT meeting in New Orleans on the topic of music, sound, and protest in the twenty-first century.
We are specifically interested in proposals that consider the role of music and sound in the wave of protest movements that has gained momentum since 2010: the ongoing protests in the Arab World; labor protests in Madison, WI; the Occupy movement; protests against austerity measures in Europe and elsewhere; demonstrations disputing the results of recent parliamentary elections in Russia; and the uprising currently unfolding in Wukan and elsewhere in China. Musical and sonic practices relevant to the discussion include (but are not limited to) the collective performance of protest songs; crowd chants; drum circles; the human microphone; the use of sound cannons for crowd control; live performances by professional musicians; and the participation of activist street bands in protest. Among the theoretical issues to be considered are: the use of music and sound as emotional and affective components of political experience; the role of sound in the formation, cohesion and maintenance of crowds; the politics of volume and amplification; the violence of sound; the link between music and hope; negotiations of translation, religion, and cultural difference; the articulation of social, cultural, and class identities through sound; and the role of sonic media in both propagating and framing protest actions to the public.
Proposals should be around 200 words. Please email them to edrott at sbcglobal.net by January 10, 2012.
Eric Drott, Associate Professor of Music Theory
University of Texas at Austin
Michael Gallope, Collegiate Assistant Professor of the Humanities
University of Chicago
AMS/SEM/SMT New Orleans, November 2012
We invite short proposals from all branches of music studies for an alternative-format discussion panel at the 2012 AMS/SEM/SMT meeting in New Orleans on the topic of music, sound, and protest in the twenty-first century.
We are specifically interested in proposals that consider the role of music and sound in the wave of protest movements that has gained momentum since 2010: the ongoing protests in the Arab World; labor protests in Madison, WI; the Occupy movement; protests against austerity measures in Europe and elsewhere; demonstrations disputing the results of recent parliamentary elections in Russia; and the uprising currently unfolding in Wukan and elsewhere in China. Musical and sonic practices relevant to the discussion include (but are not limited to) the collective performance of protest songs; crowd chants; drum circles; the human microphone; the use of sound cannons for crowd control; live performances by professional musicians; and the participation of activist street bands in protest. Among the theoretical issues to be considered are: the use of music and sound as emotional and affective components of political experience; the role of sound in the formation, cohesion and maintenance of crowds; the politics of volume and amplification; the violence of sound; the link between music and hope; negotiations of translation, religion, and cultural difference; the articulation of social, cultural, and class identities through sound; and the role of sonic media in both propagating and framing protest actions to the public.
Proposals should be around 200 words. Please email them to edrott at sbcglobal.net by January 10, 2012.
Eric Drott, Associate Professor of Music Theory
University of Texas at Austin
Michael Gallope, Collegiate Assistant Professor of the Humanities
University of Chicago
CfP: 13th International Society for Music Information Retrieval Conference (ISMIR 2012)
ISMIR 2012 Call for Participation13th International Society for Music Information Retrieval Conferencehttp://ismir2012.ismir.net
8th and 12th of October 2012Porto, Portugal(organised by INESC Porto, in partnership with the TNSJ in Porto)
The annual Conference of the International Society for Music Information Retrieval (ISMIR) is the world's leading research forum on processing, searching, organizing and accessing music-related data. The revolution in music distribution and storage brought about by digital technology has fueled tremendous research activities and interests in academia as well as in industry. The ISMIR Conference reflects this rapid development by providing a meeting place for the discussion of MIR-related research, developments, methods, tools and experimental results. Its main goal is to foster multidisciplinary exchange by bringing together researchers and developers, educators and librarians, as well as students and professional users.
ISMIR 2012 will feature introductory and in-depth tutorials oral and poster presentations of research papers invited talks reflecting the true interdisciplinary nature of MIR research a late-break/demo session a music programme
-----PAPERS-----
ISMIR 2012 welcomes paper submissions for oral or poster presentation in the (non-exclusive) areas of: content-based querying and retrieval database systems, indexing and query fingerprinting and digital rights management music transcription and annotation music signal processing sound source separation in music signals score following, audio alignment and music synchronization optical music recognition melody and motives rhythm, beat, tempo and form harmony, chords and tonality timbre, instrumentation and voice performance analysis modification and transformation of music data computational musicology music perception and cognition emotion and aesthetics applications of MIR to the performing arts and multimedia automatic classification genre, style and mood analysis similarity metrics music summarization user interfaces and user models music recommendation and playlist generation text and web mining knowledge representation, social tags and metadata libraries, archives and digital collections evaluation and annotation issues methodological and philosophical issues social, legal, ethical and business issues applications to traditional/folk/ethnic music
To ensure a high quality of the contributions, all papers will go through a double-blind selection process with at least three reviewers per submission. Paper submissions must be no more than 6 pages long when formatted with the conference template, and in PDF. Accepted papers will be designated by the Program Committee to be presented either as posters or as lectures. All accepted papers have the same status, assignment as poster or lecture is not indicative of the relevance or potential impact but on the type of content and way to better reach the intended audience.
More details on http://ismir2012.ismir.net/authors/submission#paper
-----MUSIC-----
ISMIR 2012 welcomes submissions of musical works for selection and possible inclusion in the conference's concert programme. We particularly encourage works that explore the notion of music information in the widest sense of the term. As the use of technology in music creation develops across composition and performance practices, structured data plays an increasingly important role in the processing of musical materials, their analysis and their manifestation in a live environment. From the use of timbral analysis in spectral music to the design of live improvisation systems, the handling of information is critical to the role technology plays in music.
The aim of ISMIR 2012 concert programme is two-fold: to encourage the use of Music Information Retrieval (MIR) techniques in the creation of new music and to explore music that can suggest novel ideas for research in the MIR field.
The music programme in the conference will be centred around two curated concerts. Professional musicians will be available to perform the pieces.Submitted musical works will go through a selection process by the conference music chairs and music curators.
More details on http://ismir2012.ismir.net/music/
-----TUTORIALS-----
The first day of ISMIR 2012 will consist of parallel sessions of tutorials, each lasting three hours and concentrating on a single topic. The tutorials are intended to provide a stimulating coverage of that topic appealing to a general audience.
More details on http://ismir2012.ismir.net/authors/submission#tutorial
-----LATE-BREAK/DEMOS-----
As in previous years, ISMIR 2012 will also include a special track for demos and late-breaking news, with a later deadline than the main paper/poster track. Demos consist of live, hands-on presentations of working software which incorporate MIR algorithms or are relevant to MIR research. Late-breaking news are quite the opposite: unpolished, not-quite-understood-yet puzzles and findings that may barely hold together, but are guaranteed to foster debate and discussion. Both are things better interacted with than lectured about.
While recent years have seen a majority of submissions in the demo category, we will endeavor to reach a better balance of both types of submission this year. In particular, we envision to differentiate the presentation format for demos and late-breaking news - the former, in the walk-around exhibition style that has been successful at previous ISMIRs; the latter, in a more participative, un-conference style. Details will be posted at a later date.
Both types of submissions will consist of extended abstracts of 1-2 pages, which will be peer-reviewed in a double-blind manner by members of the programme committee like the submissions for the main paper track. In the case of demo submissions, abstracts should describe what the typical user scenario will be as well as the technical requirements for the presentation. In the case of late-breaking news, abstracts should make the case of why the result is inspirational and topical for the MIR community.
More details on http://ismir2012.ismir.net/authors/submission#latebreak
-----COMMITTEE-----
Conference Chairs: Fabien Gouyon (INESC Porto) and Carlos Guedes (INESC Porto)Scientific Chairs: Perfecto Herrera (UPF, Barcelona), Luis Gustavo Martins (UCP, Porto), Meinard Mueller (MPI, Saarbrucken) Music Chair: Carlos Guedes (INESC Porto) and Pedro Rebelo (SARC, Belfast)Music Curators: Francois Pachet (Sony CSL, Paris), Daniel Teruggi (INA-GRM, Paris)Tutorial Chair: Emilia Gómez (UPF, Barcelona)Late-break/Demo Chair: Jean-Julien Aucouturier (LEAD, Dijon)Local Organisation: U-Mind Lda
-----CONFERENCE PROCEEDINGS-----
Printed proceedings will be provided, at an extra (reasonable) cost, to participants who specifically ask for them. (Note the deadline for printed proceedings request.)
-----IMPORTANT DATES-----
Tutorials deadline: 12th March 2012
Notification of acceptance for Tutorials: 13th April 2012Papers/Posters and Music deadline: 13th April 2012Notification of acceptance for Papers/Posters and Music: 18th June 2012 Early registration starts: 18th June 2012Author registration deadline: 17th August 2012Printed proceedings request deadline: 17th August 2012Late-break/demos deadline: 24th August 2012Notification of acceptance for Late-break/demos: 7th September 2012 Participant registration deadline: 14th September 2012Conference Dates: 8th-12th October 2012
-----VENUE-----
Porto is Portugal's second city. The city is located in the estuary of the Douro river in northern Portugal. The largest city in the region, Porto is considered the economic and cultural heart of the entire region. Porto's highlights include the historic centre, declared a World Heritage Site by UNESCO, its dramatic modern architecture, and of course great food and wine (including the famous Port wine).
The conference will take place in the São Bento da Vitória Monastery, a classified National Monument since 1977. (See http://www.tnsj.pt/home/msbv/ for more information).
-----STAY UP-TO-DATE-----
RSS: http://ismir2012.ismir.net/about/news/news/RSSTwitter: http://twitter.com/#!/ismir2012Facebook: https://www.facebook.com/pages/Ismir2012/232998570098530
8th and 12th of October 2012Porto, Portugal(organised by INESC Porto, in partnership with the TNSJ in Porto)
The annual Conference of the International Society for Music Information Retrieval (ISMIR) is the world's leading research forum on processing, searching, organizing and accessing music-related data. The revolution in music distribution and storage brought about by digital technology has fueled tremendous research activities and interests in academia as well as in industry. The ISMIR Conference reflects this rapid development by providing a meeting place for the discussion of MIR-related research, developments, methods, tools and experimental results. Its main goal is to foster multidisciplinary exchange by bringing together researchers and developers, educators and librarians, as well as students and professional users.
ISMIR 2012 will feature introductory and in-depth tutorials oral and poster presentations of research papers invited talks reflecting the true interdisciplinary nature of MIR research a late-break/demo session a music programme
-----PAPERS-----
ISMIR 2012 welcomes paper submissions for oral or poster presentation in the (non-exclusive) areas of: content-based querying and retrieval database systems, indexing and query fingerprinting and digital rights management music transcription and annotation music signal processing sound source separation in music signals score following, audio alignment and music synchronization optical music recognition melody and motives rhythm, beat, tempo and form harmony, chords and tonality timbre, instrumentation and voice performance analysis modification and transformation of music data computational musicology music perception and cognition emotion and aesthetics applications of MIR to the performing arts and multimedia automatic classification genre, style and mood analysis similarity metrics music summarization user interfaces and user models music recommendation and playlist generation text and web mining knowledge representation, social tags and metadata libraries, archives and digital collections evaluation and annotation issues methodological and philosophical issues social, legal, ethical and business issues applications to traditional/folk/ethnic music
To ensure a high quality of the contributions, all papers will go through a double-blind selection process with at least three reviewers per submission. Paper submissions must be no more than 6 pages long when formatted with the conference template, and in PDF. Accepted papers will be designated by the Program Committee to be presented either as posters or as lectures. All accepted papers have the same status, assignment as poster or lecture is not indicative of the relevance or potential impact but on the type of content and way to better reach the intended audience.
More details on http://ismir2012.ismir.net/authors/submission#paper
-----MUSIC-----
ISMIR 2012 welcomes submissions of musical works for selection and possible inclusion in the conference's concert programme. We particularly encourage works that explore the notion of music information in the widest sense of the term. As the use of technology in music creation develops across composition and performance practices, structured data plays an increasingly important role in the processing of musical materials, their analysis and their manifestation in a live environment. From the use of timbral analysis in spectral music to the design of live improvisation systems, the handling of information is critical to the role technology plays in music.
The aim of ISMIR 2012 concert programme is two-fold: to encourage the use of Music Information Retrieval (MIR) techniques in the creation of new music and to explore music that can suggest novel ideas for research in the MIR field.
The music programme in the conference will be centred around two curated concerts. Professional musicians will be available to perform the pieces.Submitted musical works will go through a selection process by the conference music chairs and music curators.
More details on http://ismir2012.ismir.net/music/
-----TUTORIALS-----
The first day of ISMIR 2012 will consist of parallel sessions of tutorials, each lasting three hours and concentrating on a single topic. The tutorials are intended to provide a stimulating coverage of that topic appealing to a general audience.
More details on http://ismir2012.ismir.net/authors/submission#tutorial
-----LATE-BREAK/DEMOS-----
As in previous years, ISMIR 2012 will also include a special track for demos and late-breaking news, with a later deadline than the main paper/poster track. Demos consist of live, hands-on presentations of working software which incorporate MIR algorithms or are relevant to MIR research. Late-breaking news are quite the opposite: unpolished, not-quite-understood-yet puzzles and findings that may barely hold together, but are guaranteed to foster debate and discussion. Both are things better interacted with than lectured about.
While recent years have seen a majority of submissions in the demo category, we will endeavor to reach a better balance of both types of submission this year. In particular, we envision to differentiate the presentation format for demos and late-breaking news - the former, in the walk-around exhibition style that has been successful at previous ISMIRs; the latter, in a more participative, un-conference style. Details will be posted at a later date.
Both types of submissions will consist of extended abstracts of 1-2 pages, which will be peer-reviewed in a double-blind manner by members of the programme committee like the submissions for the main paper track. In the case of demo submissions, abstracts should describe what the typical user scenario will be as well as the technical requirements for the presentation. In the case of late-breaking news, abstracts should make the case of why the result is inspirational and topical for the MIR community.
More details on http://ismir2012.ismir.net/authors/submission#latebreak
-----COMMITTEE-----
Conference Chairs: Fabien Gouyon (INESC Porto) and Carlos Guedes (INESC Porto)Scientific Chairs: Perfecto Herrera (UPF, Barcelona), Luis Gustavo Martins (UCP, Porto), Meinard Mueller (MPI, Saarbrucken) Music Chair: Carlos Guedes (INESC Porto) and Pedro Rebelo (SARC, Belfast)Music Curators: Francois Pachet (Sony CSL, Paris), Daniel Teruggi (INA-GRM, Paris)Tutorial Chair: Emilia Gómez (UPF, Barcelona)Late-break/Demo Chair: Jean-Julien Aucouturier (LEAD, Dijon)Local Organisation: U-Mind Lda
-----CONFERENCE PROCEEDINGS-----
Printed proceedings will be provided, at an extra (reasonable) cost, to participants who specifically ask for them. (Note the deadline for printed proceedings request.)
-----IMPORTANT DATES-----
Tutorials deadline: 12th March 2012
Notification of acceptance for Tutorials: 13th April 2012Papers/Posters and Music deadline: 13th April 2012Notification of acceptance for Papers/Posters and Music: 18th June 2012 Early registration starts: 18th June 2012Author registration deadline: 17th August 2012Printed proceedings request deadline: 17th August 2012Late-break/demos deadline: 24th August 2012Notification of acceptance for Late-break/demos: 7th September 2012 Participant registration deadline: 14th September 2012Conference Dates: 8th-12th October 2012
-----VENUE-----
Porto is Portugal's second city. The city is located in the estuary of the Douro river in northern Portugal. The largest city in the region, Porto is considered the economic and cultural heart of the entire region. Porto's highlights include the historic centre, declared a World Heritage Site by UNESCO, its dramatic modern architecture, and of course great food and wine (including the famous Port wine).
The conference will take place in the São Bento da Vitória Monastery, a classified National Monument since 1977. (See http://www.tnsj.pt/home/msbv/ for more information).
-----STAY UP-TO-DATE-----
RSS: http://ismir2012.ismir.net/about/news/news/RSSTwitter: http://twitter.com/#!/ismir2012Facebook: https://www.facebook.com/pages/Ismir2012/232998570098530
giovedì 22 dicembre 2011
CFP (revised): From Nineteenth-Century Stage Melodrama to Twenty-First-Century Film Scoring: Musicodramatic Practice and Knowledge Organization, Cal S
>From Nineteenth-Century Stage Melodrama to Twenty-First-Century Film Scoring:
Musicodramatic Practice and Knowledge Organization
Presented by the Society for American Music and the
California State University, Long Beach College of the Arts
April 12-14, 2012
Full details: http://www.csulb.edu/colleges/cota/news/FilmSymposium.html
Papers and proposals for panel sessions and roundtables should be sent to William H. Rosar, rosar at ifms-jfm.org, by February 1, 2012.
Musicodramatic Practice and Knowledge Organization
Presented by the Society for American Music and the
California State University, Long Beach College of the Arts
April 12-14, 2012
Full details: http://www.csulb.edu/colleges/cota/news/FilmSymposium.html
Papers and proposals for panel sessions and roundtables should be sent to William H. Rosar, rosar at ifms-jfm.org, by February 1, 2012.
CFP: AMS Pacific Southwest Chapter, including Teaching Music History session, Cal State Univ., Northridge, 25 Feb 2012
The Pacific Southwest Chapter of the American Musicological Society will hold its winter meeting on Saturday, February 25, 2012 at California State University, Northridge.
We welcome abstracts proposing paper topics for the meeting. Papers will be standard issue AMS length (30 minutes plus 15 minutes for questions).
We also welcome proposals for a Teaching Music History session. These proposals may address any aspect of teaching music history at the university level: course content, pedagogical method, the curricular role of music history, the teaching of research and writing, and so forth.
For both: presentations will be 30 minutes in length, plus 15 minutes for questions. Abstracts should be no longer than 500 words, fit on a single 8½ x 11 page, and provide a clear idea of your methodology and conclusions. The abstract should contain the proposed title, author’s name and institutional affiliation, and a list of the equipment necessary for the presentation.
Please send abstracts to our Vice President, Joel Haney (jhaney at csub.edu), by January 13, 2012.
Student proposals are welcome and should be accompanied by written assurance from an advisor or other responsible faculty member that the paper is ready for professional presentation. Such assurance may be emailed directly by the faculty member to jhaney at csub.edu.
We welcome abstracts proposing paper topics for the meeting. Papers will be standard issue AMS length (30 minutes plus 15 minutes for questions).
We also welcome proposals for a Teaching Music History session. These proposals may address any aspect of teaching music history at the university level: course content, pedagogical method, the curricular role of music history, the teaching of research and writing, and so forth.
For both: presentations will be 30 minutes in length, plus 15 minutes for questions. Abstracts should be no longer than 500 words, fit on a single 8½ x 11 page, and provide a clear idea of your methodology and conclusions. The abstract should contain the proposed title, author’s name and institutional affiliation, and a list of the equipment necessary for the presentation.
Please send abstracts to our Vice President, Joel Haney (jhaney at csub.edu), by January 13, 2012.
Student proposals are welcome and should be accompanied by written assurance from an advisor or other responsible faculty member that the paper is ready for professional presentation. Such assurance may be emailed directly by the faculty member to jhaney at csub.edu.
Vacancy: PhD student Sensing Emotion in Music
The Department of Information and Computing Sciences of Utrecht
University (Netherlands) invites applications for a PhD. position in
Music Computing on Sensing Emotion in Music.
Sensing Emotion in Music is part of the national ICT research program
COMMIT (http://www.commit-nl.nl/). Within COMMIT, the project Virtual
Worlds for Wellbeing will develop technologies to register and elicit
emotions in avatars, to enrich the experience in virtual worlds and to
stimulate physical and emotional wellbeing. Sensing Emotion in Music
will realize these aims within the domain of music.
Music has a big emotional impact on people. Sensing Emotion in Music
will create computational models that deal with the musical aspects of
semantic and emotional information in personal communication. Musical
meaning emerges from the confrontation between complex patterns we
perceive in acoustical input and a repository of such patterns that we
have previously acquired through listening and training. For example,
rhythmic, harmonic, and formal patterns are important sources of meaning
in music. Musical audio has been analyzed mainly on the basis of low
level features. By researching the role of high level patterns extracted
from musical audio from both a music cognition and a computer science
viewpoint, the PhD. student will provide essential knowledge for the
creation of advanced music technology applications that can contribute
to physical and emotional wellbeing.
The PhD. student will collaborate with the PhD. student of the parallel
project Sensing Emotion in Video and contribute to the Crowd Simulation
Demo that acts as an application scenario of COMMIT technology.
The PhD student will concentrate on designing and implementing novel
methods of Music Information Retrieval. Specific tasks include:
o creating feature extraction methods
o modeling similarity of high-level musical patterns
o designing methods for emotion-based similarity matching
o creating methods for locating salient segments
The PhD student is expected to deliver a completed PhD thesis within 4
years.
Requirements
o Masters degree in Computer Science, Artificial Intelligence,
Mathematics, Humanities Computing, or any other relevant discipline
o proven affection with and knowledge of music (notation, basic theory)
The candidate is offered a full-time position for 4 years. Salary starts
at € 2,042.- and increases to € 2,612.- gross per month in the fourth
year of the appointment. The salary is supplemented with a holiday bonus
of 8% and an end-of-year bonus of 8,3% per year. In addition we offer: a
pension scheme, a partially paid parental leave, flexible employment
conditions. Conditions are based on the Collective Labour Agreement
Dutch Universities.
More information about the vacancy can be obtained from Prof. Dr. Remco
Veltkamp (R.C.Veltkamp@uu.nl; +31 30 253 4091) or Dr. Frans Wiering
(F.Wiering@uu.nl; +31 30 253 6335).
Please send your application (including a letter of motivation,
curriculum vitae and contact details of two referees) via the link Apply
at the end of the official vacancy page
(http://ssl1.peoplexs.com/Peoplexs22/CandidatesPortalNoLogin/Vacancy.cfm?PortalID=4124&VacatureID=190457&BedrijfID=0).
Application deadline is 23 January 2012. As part of the selection
procedure, the candidate is expected to give a presentation about
his/her Master thesis research and research plans for the PhD project.
--
---------------------------------------------------------------------
dr. Frans Wiering
e-mail: F.Wiering@uu.nl
---------------------------------------------------------------------
Utrecht University
Department of Information and Computing Sciences (ICS)
Buys Ballot Laboratory, office 482
Princetonplein 5, De Uithof
PO Box 80.089
NL-3508 TB Utrecht
tel: +31-30-2536335
fax: +31-30-2532804
www: http://www.cs.uu.nl/staff/fransw.html
---------------------------------------------------------------------
University (Netherlands) invites applications for a PhD. position in
Music Computing on Sensing Emotion in Music.
Sensing Emotion in Music is part of the national ICT research program
COMMIT (http://www.commit-nl.nl/). Within COMMIT, the project Virtual
Worlds for Wellbeing will develop technologies to register and elicit
emotions in avatars, to enrich the experience in virtual worlds and to
stimulate physical and emotional wellbeing. Sensing Emotion in Music
will realize these aims within the domain of music.
Music has a big emotional impact on people. Sensing Emotion in Music
will create computational models that deal with the musical aspects of
semantic and emotional information in personal communication. Musical
meaning emerges from the confrontation between complex patterns we
perceive in acoustical input and a repository of such patterns that we
have previously acquired through listening and training. For example,
rhythmic, harmonic, and formal patterns are important sources of meaning
in music. Musical audio has been analyzed mainly on the basis of low
level features. By researching the role of high level patterns extracted
from musical audio from both a music cognition and a computer science
viewpoint, the PhD. student will provide essential knowledge for the
creation of advanced music technology applications that can contribute
to physical and emotional wellbeing.
The PhD. student will collaborate with the PhD. student of the parallel
project Sensing Emotion in Video and contribute to the Crowd Simulation
Demo that acts as an application scenario of COMMIT technology.
The PhD student will concentrate on designing and implementing novel
methods of Music Information Retrieval. Specific tasks include:
o creating feature extraction methods
o modeling similarity of high-level musical patterns
o designing methods for emotion-based similarity matching
o creating methods for locating salient segments
The PhD student is expected to deliver a completed PhD thesis within 4
years.
Requirements
o Masters degree in Computer Science, Artificial Intelligence,
Mathematics, Humanities Computing, or any other relevant discipline
o proven affection with and knowledge of music (notation, basic theory)
The candidate is offered a full-time position for 4 years. Salary starts
at € 2,042.- and increases to € 2,612.- gross per month in the fourth
year of the appointment. The salary is supplemented with a holiday bonus
of 8% and an end-of-year bonus of 8,3% per year. In addition we offer: a
pension scheme, a partially paid parental leave, flexible employment
conditions. Conditions are based on the Collective Labour Agreement
Dutch Universities.
More information about the vacancy can be obtained from Prof. Dr. Remco
Veltkamp (R.C.Veltkamp@uu.nl; +31 30 253 4091) or Dr. Frans Wiering
(F.Wiering@uu.nl; +31 30 253 6335).
Please send your application (including a letter of motivation,
curriculum vitae and contact details of two referees) via the link Apply
at the end of the official vacancy page
(http://ssl1.peoplexs.com/Peoplexs22/CandidatesPortalNoLogin/Vacancy.cfm?PortalID=4124&VacatureID=190457&BedrijfID=0).
Application deadline is 23 January 2012. As part of the selection
procedure, the candidate is expected to give a presentation about
his/her Master thesis research and research plans for the PhD project.
--
---------------------------------------------------------------------
dr. Frans Wiering
e-mail: F.Wiering@uu.nl
---------------------------------------------------------------------
Utrecht University
Department of Information and Computing Sciences (ICS)
Buys Ballot Laboratory, office 482
Princetonplein 5, De Uithof
PO Box 80.089
NL-3508 TB Utrecht
tel: +31-30-2536335
fax: +31-30-2532804
www: http://www.cs.uu.nl/staff/fransw.html
---------------------------------------------------------------------
mercoledì 21 dicembre 2011
JOB: Digital Image Archive of Medieval Music, Asst. Manager
Assistant Manager, Digital Image Archive of Medieval Music (DIAMM)
Faculty of Music, St Aldate's, Oxford
Grade 7: Salary in the range £29,099 - £30,870 p.a.
We are seeking an enthusiastic person to assist with the management of the DIAMM project (http://www.diamm.ac.uk) and other related activities within the Centre for the Study of Early Music (CSEM) in the Faculty of Music. You will have specific responsibility for carrying out digital imaging work for a collaborative research project, “New Perspectives on Polyphony: Alamire’s musical legacy revealed through high-technology research tools”, funded by Belgian agency for innovation by science and technology (the IWT), in collaboration with the Katholieke Universiteit Leuven, the University of Antwerp, the Augustinus Muziekcentrum, and the Alamire Foundation.
You will carry out photographic and digital imaging work in various institutions both in the UK and abroad, managing data entry about the manuscripts, processing images, other technical and research work, travel and workshop planning, as well as contribute to wider project planning work and activities of CSEM, in liaison with Dr Julia Craig-McFeely and Professor Elizabeth Eva Leach.
The successful applicant will have excellent written and communication skills, and will ideally have strong technical and photographic knowledge and experience, and a doctorate in a relevant field or be close to completion and submission of their dissertation. The post is available either full time for 1 year or part time over 2 years, either continuously or in shorter full-time blocks, within the timeframe of the IWT grant. The post is available from 1 February 2012 or as soon as possible thereafter.
Applications for this vacancy are to be made online. Candidates will be asked to upload a supporting statement and a CV, including the details of two referees.
The closing date for applications is midday on Friday 20 January 2012. Interviews will be held as soon as possible after this date.
To apply for this role and for further details, including the job description and selection criteria, please click on the link below.
Contact Person : David Hyland Vacancy ID : 101741
Contact Phone : 01865 276134 Closing Date : 20-Jan-2012
Contact Email : administrator at music.ox.ac.uk
https://www.recruit.ox.ac.uk/pls/hrisliverecruit/erq_jobspec_version_4.display_form
Faculty of Music, St Aldate's, Oxford
Grade 7: Salary in the range £29,099 - £30,870 p.a.
We are seeking an enthusiastic person to assist with the management of the DIAMM project (http://www.diamm.ac.uk) and other related activities within the Centre for the Study of Early Music (CSEM) in the Faculty of Music. You will have specific responsibility for carrying out digital imaging work for a collaborative research project, “New Perspectives on Polyphony: Alamire’s musical legacy revealed through high-technology research tools”, funded by Belgian agency for innovation by science and technology (the IWT), in collaboration with the Katholieke Universiteit Leuven, the University of Antwerp, the Augustinus Muziekcentrum, and the Alamire Foundation.
You will carry out photographic and digital imaging work in various institutions both in the UK and abroad, managing data entry about the manuscripts, processing images, other technical and research work, travel and workshop planning, as well as contribute to wider project planning work and activities of CSEM, in liaison with Dr Julia Craig-McFeely and Professor Elizabeth Eva Leach.
The successful applicant will have excellent written and communication skills, and will ideally have strong technical and photographic knowledge and experience, and a doctorate in a relevant field or be close to completion and submission of their dissertation. The post is available either full time for 1 year or part time over 2 years, either continuously or in shorter full-time blocks, within the timeframe of the IWT grant. The post is available from 1 February 2012 or as soon as possible thereafter.
Applications for this vacancy are to be made online. Candidates will be asked to upload a supporting statement and a CV, including the details of two referees.
The closing date for applications is midday on Friday 20 January 2012. Interviews will be held as soon as possible after this date.
To apply for this role and for further details, including the job description and selection criteria, please click on the link below.
Contact Person : David Hyland Vacancy ID : 101741
Contact Phone : 01865 276134 Closing Date : 20-Jan-2012
Contact Email : administrator at music.ox.ac.uk
https://www.recruit.ox.ac.uk/pls/hrisliverecruit/erq_jobspec_version_4.display_form
JOB: University of Bristol, Lecturer in Music
Lecturer in Music
£33,734 - £37,990 (GBP)
Bristol
The School of Arts comprises four departments: Archaeology and Anthropology; Drama: Theatre, Film, Television; Music; and Philosophy. It seeks to appoint to the following positions: Anthropology, Film and/or Television, Music, Philosophy, and Theatre. The University of Bristol is a research-intensive university and the five successful candidates will strengthen its Research Excellence Framework (REF) submission with a proven research record, and demonstrate the potential for developing and maintaining an internationally significant research profile and attracting major funding. They will also play a full part in the delivery of undergraduate and postgraduate programmes. The school is one of three within the Faculty of Arts, which is currently reconfiguring its educational provision to include greater interdisciplinary and so welcomes applications from candidates with interdisciplinary expertise. All posts are permanent positions at the Lecturer B level (assistant professor in
Nort
h American terms).
A centre of research excellence in composition and historical musicology, the department has also maintained a traditional undergraduate teaching profile, offering technical coverage that most departments can no longer sustain and that attracts top-class students. But research and teaching interests extend well beyond the western art music tradition, and include screen media and non-western musics. Musicological research strengths embrace the early middle ages, Britain, and from the early modern period onwards, empires and transnationality, and a wealth of 19th- and 20th-century areas including Soviet Russia, Nazi Germany and anglophone vernacular traditions. The successful candidate is likely to enhance or complement one of these musicological fields.
For informal enquiries please contact Professor J Pickard on +44 (0) 117 331 4049 or e-mail john.pickard at bristol.ac.uk
For further details and an application form please visit www.bristol.ac.uk/jobs Alternatively you can e-mail recruitment at bristol.ac.uk or telephone +44 (0) 117 954 6947, quoting the reference number 16848.
The closing date for applications is 9.00am, 19 January 2012.
Interview date: 24 February 2012.
EXCELLENCE THROUGH DIVERSITY
£33,734 - £37,990 (GBP)
Bristol
The School of Arts comprises four departments: Archaeology and Anthropology; Drama: Theatre, Film, Television; Music; and Philosophy. It seeks to appoint to the following positions: Anthropology, Film and/or Television, Music, Philosophy, and Theatre. The University of Bristol is a research-intensive university and the five successful candidates will strengthen its Research Excellence Framework (REF) submission with a proven research record, and demonstrate the potential for developing and maintaining an internationally significant research profile and attracting major funding. They will also play a full part in the delivery of undergraduate and postgraduate programmes. The school is one of three within the Faculty of Arts, which is currently reconfiguring its educational provision to include greater interdisciplinary and so welcomes applications from candidates with interdisciplinary expertise. All posts are permanent positions at the Lecturer B level (assistant professor in
Nort
h American terms).
A centre of research excellence in composition and historical musicology, the department has also maintained a traditional undergraduate teaching profile, offering technical coverage that most departments can no longer sustain and that attracts top-class students. But research and teaching interests extend well beyond the western art music tradition, and include screen media and non-western musics. Musicological research strengths embrace the early middle ages, Britain, and from the early modern period onwards, empires and transnationality, and a wealth of 19th- and 20th-century areas including Soviet Russia, Nazi Germany and anglophone vernacular traditions. The successful candidate is likely to enhance or complement one of these musicological fields.
For informal enquiries please contact Professor J Pickard on +44 (0) 117 331 4049 or e-mail john.pickard at bristol.ac.uk
For further details and an application form please visit www.bristol.ac.uk/jobs Alternatively you can e-mail recruitment at bristol.ac.uk or telephone +44 (0) 117 954 6947, quoting the reference number 16848.
The closing date for applications is 9.00am, 19 January 2012.
Interview date: 24 February 2012.
EXCELLENCE THROUGH DIVERSITY
CFP: traditions / progressions / transgressions: II, Univ. of Toronto, May 2012
University of Toronto Music Graduate Students’ Association
traditions / progressions / transgressions: II
2012 Graduate Student Symposium on
Music Performance, Scholarship, Education, and Composition
May 4 & 5, 2012
at the Faculty of Music, University of Toronto
The 2012 Symposium welcomes a variety of proposals including performances, papers,
lecture-recitals, posters and/or dialogues. We encourage submissions from graduate
students in performance, composition, theory, education, musicology, and
ethnomusicology, and from students in other disciplines who are working on music-related
topics. This year, we propose a new format of interdisciplinary panel workshops with three
presenters from various disciplines, united by a broad theme. Each presenter will offer a
very brief (10-15 minute) overview of their work on this theme before a panel discussion
with moderator. These panels will be formed in dialogue with the organizing committee.
Proposals must be received by the MGSA organizing committee by January 31, 2012.
For detailed guidelines and information, please contact Kiera Galway, kiera.galway at utoronto.ca.
traditions / progressions / transgressions: II
2012 Graduate Student Symposium on
Music Performance, Scholarship, Education, and Composition
May 4 & 5, 2012
at the Faculty of Music, University of Toronto
The 2012 Symposium welcomes a variety of proposals including performances, papers,
lecture-recitals, posters and/or dialogues. We encourage submissions from graduate
students in performance, composition, theory, education, musicology, and
ethnomusicology, and from students in other disciplines who are working on music-related
topics. This year, we propose a new format of interdisciplinary panel workshops with three
presenters from various disciplines, united by a broad theme. Each presenter will offer a
very brief (10-15 minute) overview of their work on this theme before a panel discussion
with moderator. These panels will be formed in dialogue with the organizing committee.
Proposals must be received by the MGSA organizing committee by January 31, 2012.
For detailed guidelines and information, please contact Kiera Galway, kiera.galway at utoronto.ca.
JOB: University of Pittsburgh, Jazz Studies (tenure-track)
FACULTY POSITION IN MUSIC
UNIVERSITY OF PITTSBURGH
The Department of Music of the University of Pittsburgh seeks to make a faculty appointment in Jazz Studies beginning September 1, 2012, pending budgetary approval. The appointment will be made at the level of Assistant Professor in the tenure stream.
Title: Coordinator of Jazz Studies
Duties: Teach undergraduate courses in jazz (courses include History of Jazz, Arranging, Improvisation, and Jazz Ensemble); administer jazz program and the Academy of Jazz-African American Music program under the supervision and direction of the current Director of Jazz Studies. Share in departmental responsibilities.
Qualifications: Master's or higher degree in music; record of excellence in lecturing on jazz history and related subjects; outstanding international record of accomplishment in jazz performance, recording, composition/arranging; potential for distinguished leadership in the field of jazz studies; interest in working with colleagues in the department and in related disciplines.
For the Coordinator of Jazz Studies position, we seek a colleague with a special combination of skills as dedicated teacher, musician, and administrator, who will continue and strengthen our program in jazz studies and who will work closely with other members of our faculty. The jazz program includes the Academy of Jazz-African American Music; the annual Jazz Seminar, Concert, and outreach program; International Jazz Archives; International Jazz Archives Journal; International Jazz Hall of Fame; and William Robinson Studio.
The Department of Music offers the Bachelor of Arts degree in a liberal-arts curriculum--including a jazz-oriented B.A. track--and Master of Arts and Doctor of Philosophy degrees with concentrations in composition and theory, ethnomusicology, jazz studies, and historical musicology. Further information is available at the Department's Website: http://www.music.pitt.edu/.
Candidates should submit a letter of application, a curriculum vitae, samples of their work (1 commercially released compact disc, and 1 score of an original composition or arrangement with accompanying compact disc) and three letters of reference to:
Coordinator of Jazz Studies Search Committee
Department of Music
University of Pittsburgh
Pittsburgh, PA 15260
(412) 624-4126
In order to ensure full consideration, applications must be received by February 13, 2012. Electronic applications will not be accepted.
The University of Pittsburgh is an Affirmative Action, Equal Opportunity employer. We particularly invite applications from women and members of minority groups under-represented in academia.
UNIVERSITY OF PITTSBURGH
The Department of Music of the University of Pittsburgh seeks to make a faculty appointment in Jazz Studies beginning September 1, 2012, pending budgetary approval. The appointment will be made at the level of Assistant Professor in the tenure stream.
Title: Coordinator of Jazz Studies
Duties: Teach undergraduate courses in jazz (courses include History of Jazz, Arranging, Improvisation, and Jazz Ensemble); administer jazz program and the Academy of Jazz-African American Music program under the supervision and direction of the current Director of Jazz Studies. Share in departmental responsibilities.
Qualifications: Master's or higher degree in music; record of excellence in lecturing on jazz history and related subjects; outstanding international record of accomplishment in jazz performance, recording, composition/arranging; potential for distinguished leadership in the field of jazz studies; interest in working with colleagues in the department and in related disciplines.
For the Coordinator of Jazz Studies position, we seek a colleague with a special combination of skills as dedicated teacher, musician, and administrator, who will continue and strengthen our program in jazz studies and who will work closely with other members of our faculty. The jazz program includes the Academy of Jazz-African American Music; the annual Jazz Seminar, Concert, and outreach program; International Jazz Archives; International Jazz Archives Journal; International Jazz Hall of Fame; and William Robinson Studio.
The Department of Music offers the Bachelor of Arts degree in a liberal-arts curriculum--including a jazz-oriented B.A. track--and Master of Arts and Doctor of Philosophy degrees with concentrations in composition and theory, ethnomusicology, jazz studies, and historical musicology. Further information is available at the Department's Website: http://www.music.pitt.edu/.
Candidates should submit a letter of application, a curriculum vitae, samples of their work (1 commercially released compact disc, and 1 score of an original composition or arrangement with accompanying compact disc) and three letters of reference to:
Coordinator of Jazz Studies Search Committee
Department of Music
University of Pittsburgh
Pittsburgh, PA 15260
(412) 624-4126
In order to ensure full consideration, applications must be received by February 13, 2012. Electronic applications will not be accepted.
The University of Pittsburgh is an Affirmative Action, Equal Opportunity employer. We particularly invite applications from women and members of minority groups under-represented in academia.
martedì 20 dicembre 2011
ANNOUNCEMENT: RISM A/II Database, Call for Updates
Call for Updates to the RISM A/II Database, December 2011
The AMS-MLA Joint RISM Committee seeks to update the U.S. holdings in RISM Series A/II: Music Manuscripts after 1600, an online inventory of music manuscripts primarily of the seventeenth and eighteenth centuries. Our goal is both to update the holdings of libraries currently represented in the RISM A/II database and to add new libraries with appropriate collections and manuscripts not presently included in the resource. We are gathering information now in order to seek grant funding for the cataloging and digitization of these manuscripts so would like to receive information from libraries and collections regarding relevant manuscripts that have not yet been included in the A/II database.
The A/II database is now freely available for searching at http://opac.rism.info/, an open-access site developed collaboratively by the RISM Central Editorial Office, the Staatsbibliothek zu Berlin, and the Bayerische Staatsbibliothek; an English interface is available.
Instructions and additional information are available at: http://hcl.harvard.edu/libraries/loebmusic/isham/rism.cfm#database_update
Please contact Sarah Adams, sjadams at fas.harvard.edu, or Darwin Scott, dfscott at princeton.edu, with any further questions.
We deeply appreciate your help in updating the U.S. holdings in the RISM A/II database and thank you in advance for your cooperation.
Sarah Adams, Director, U.S. RISM Office
Darwin F. Scott, Chair, AMS-MLA Joint RISM Committee
_______________________________________________
The AMS-MLA Joint RISM Committee seeks to update the U.S. holdings in RISM Series A/II: Music Manuscripts after 1600, an online inventory of music manuscripts primarily of the seventeenth and eighteenth centuries. Our goal is both to update the holdings of libraries currently represented in the RISM A/II database and to add new libraries with appropriate collections and manuscripts not presently included in the resource. We are gathering information now in order to seek grant funding for the cataloging and digitization of these manuscripts so would like to receive information from libraries and collections regarding relevant manuscripts that have not yet been included in the A/II database.
The A/II database is now freely available for searching at http://opac.rism.info/, an open-access site developed collaboratively by the RISM Central Editorial Office, the Staatsbibliothek zu Berlin, and the Bayerische Staatsbibliothek; an English interface is available.
Instructions and additional information are available at: http://hcl.harvard.edu/libraries/loebmusic/isham/rism.cfm#database_update
Please contact Sarah Adams, sjadams at fas.harvard.edu, or Darwin Scott, dfscott at princeton.edu, with any further questions.
We deeply appreciate your help in updating the U.S. holdings in the RISM A/II database and thank you in advance for your cooperation.
Sarah Adams, Director, U.S. RISM Office
Darwin F. Scott, Chair, AMS-MLA Joint RISM Committee
_______________________________________________
lunedì 19 dicembre 2011
JOB: University of Waterloo, Global Music (full-time, regular faculty position)
Faculty Position in Global Music
Conrad Grebel University College at the University of Waterloo invites applications for a full-time regular faculty position in Global Music in the Department of Music to begin July 1, 2012 at either the Assistant or Associate Professor level. Review of applications will begin February 1, 2012. Conrad Grebel University College is committed to employment equity and welcomes applications from all qualified persons. Canadians and permanent residents will be given priority. For further information about the position, qualifications and application procedures, see: http://grebel.uwaterloo.ca/contact/musicfaculty.shtml
Conrad Grebel University College at the University of Waterloo invites applications for a full-time regular faculty position in Global Music in the Department of Music to begin July 1, 2012 at either the Assistant or Associate Professor level. Review of applications will begin February 1, 2012. Conrad Grebel University College is committed to employment equity and welcomes applications from all qualified persons. Canadians and permanent residents will be given priority. For further information about the position, qualifications and application procedures, see: http://grebel.uwaterloo.ca/contact/musicfaculty.shtml
[Sonneck] AAS Visiting Research Fellowships 2012-13
American Antiquarian Society Visiting Academic Fellowships, 2012-2013
The American Antiquarian Society (AAS) invites applications for its 2012-2013 visiting academic fellowships. At least three AAS-National Endowment for the Humanities fellowships will be awarded for periods extending from four to twelve months. Long-term fellowships are intended for scholars beyond the doctorate; senior and mid-career scholars are particularly encouraged to apply. Over thirty short-term fellowships will be awarded for one to three months. The short-term grants are available for scholars holding the Ph.D. and for doctoral candidates engaged in dissertation research, and offer a stipend of $1850/month. Special short-term fellowships support scholars working in the history of the book in American culture, in the American eighteenth century, and in American literary studies, as well as in studies that draw upon the Society's preeminent collections of graphic arts, newspapers, and periodicals. Accommodations are available for visiting fellows in housing owned by AAS.
The deadline for applications is January 15, 2012.
For further details about the fellowships, as well as application materials, please consult our website
The AAS is a research library located in Worcester, MA whose collections focus on American history, literature, and culture from the colonial era through 1876. The Society's collections are national in scope, and include manuscripts, printed works of all kinds, newspapers and periodicals, photographs, lithographs, broadsides, children's' books, and a wide range of ephemera. Our collections offer extensive resources for music scholars, including large holdings of illustrated sheet music, early American hymnals and tune books, and numerous works in manuscript.
For detailed descriptions of the collections, please consult our guidebook, Under Its Generous Dome, available online at
Paul J. Erickson
Director of Academic Programs
American Antiquarian Society
508-471-2158
The American Antiquarian Society (AAS) invites applications for its 2012-2013 visiting academic fellowships. At least three AAS-National Endowment for the Humanities fellowships will be awarded for periods extending from four to twelve months. Long-term fellowships are intended for scholars beyond the doctorate; senior and mid-career scholars are particularly encouraged to apply. Over thirty short-term fellowships will be awarded for one to three months. The short-term grants are available for scholars holding the Ph.D. and for doctoral candidates engaged in dissertation research, and offer a stipend of $1850/month. Special short-term fellowships support scholars working in the history of the book in American culture, in the American eighteenth century, and in American literary studies, as well as in studies that draw upon the Society's preeminent collections of graphic arts, newspapers, and periodicals. Accommodations are available for visiting fellows in housing owned by AAS.
The deadline for applications is January 15, 2012.
For further details about the fellowships, as well as application materials, please consult our website
The AAS is a research library located in Worcester, MA whose collections focus on American history, literature, and culture from the colonial era through 1876. The Society's collections are national in scope, and include manuscripts, printed works of all kinds, newspapers and periodicals, photographs, lithographs, broadsides, children's' books, and a wide range of ephemera. Our collections offer extensive resources for music scholars, including large holdings of illustrated sheet music, early American hymnals and tune books, and numerous works in manuscript.
For detailed descriptions of the collections, please consult our guidebook, Under Its Generous Dome, available online at
Paul J. Erickson
Director of Academic Programs
American Antiquarian Society
508-471-2158
[AMS-announce] ANNOUNCEMENT and CFP (journal articles): Ethnomusicology Review (formerly Pacific Review of Ethnomusicology), new issue now available
Pacific Review of Ethnomusicology is now . . .
ETHNOMUSICOLOGY REVIEW
NEW NAME, SAME MISSION: Ethnomusicology Review (EMR) continues to be one of the only online Open Access refereed journals for music scholarship. We publish interdisciplinary music research in English, Spanish, Portuguese, and other languages on a case-by-case basis.
VOLUME 16 IS NOW OUT: Features from our new Volume
ethnomusicologyreview.ucla.edu/journal/volume/16
- David Shorter on Multimodal Scholarship
- A Tribe Called Red makes musical comment on the Frank Speck wax cylinder collection
- SEM regional student prize-winning papers
- New blogs feature: host your blog, or read updates from other scholars in the field.
CALL FOR PROPOSALS: EMR is now accepting submissions for Volume 17 (ethnomusicologyreview.ucla.edu/submission-guidelines), scheduled for publication in Fall 2012. Our online format allows authors to rethink how they use media to present their argument and data, moving beyond the constraints of print journals. We encourage submissions that make use of video, audio, color photographs, and interactive media. The submission deadline is February 1, 2012.
Ethnomusicology Review
2539 Schoenberg Music Building
Box 951657
Los Angeles, CA 90095-1657
ethnomusicologyreview.ucla.edu
ETHNOMUSICOLOGY REVIEW
NEW NAME, SAME MISSION: Ethnomusicology Review (EMR) continues to be one of the only online Open Access refereed journals for music scholarship. We publish interdisciplinary music research in English, Spanish, Portuguese, and other languages on a case-by-case basis.
VOLUME 16 IS NOW OUT: Features from our new Volume
ethnomusicologyreview.ucla.edu/journal/volume/16
- David Shorter on Multimodal Scholarship
- A Tribe Called Red makes musical comment on the Frank Speck wax cylinder collection
- SEM regional student prize-winning papers
- New blogs feature: host your blog, or read updates from other scholars in the field.
CALL FOR PROPOSALS: EMR is now accepting submissions for Volume 17 (ethnomusicologyreview.ucla.edu/submission-guidelines), scheduled for publication in Fall 2012. Our online format allows authors to rethink how they use media to present their argument and data, moving beyond the constraints of print journals. We encourage submissions that make use of video, audio, color photographs, and interactive media. The submission deadline is February 1, 2012.
Ethnomusicology Review
2539 Schoenberg Music Building
Box 951657
Los Angeles, CA 90095-1657
ethnomusicologyreview.ucla.edu
domenica 18 dicembre 2011
Call for Papers: Music and Queer Theory ("Transpositions" 2012)
N°3 : Music and Queer Theory
Toutes les versions de cet article : [English] [français]
Queer theory is likely one of the most well-known and controversial recent schools of thought, and its impact has been felt in the academic world and beyond. It appeared in the early 1990s in the United States, as a direct offshoot of LGBT (lesbian, gay, bisexual, transgendered) collectives, the work of Foucault (in particular, his History of Sexuality and ideas such as “biopolitics”), and Derrida’s deconstructionism. This school of thought, while in no way a homogenous trend, is characterized by the questioning of the notion of gender and the idea that sexual identity and behaviour would be genetically determined. In this context, queer theory formulates the hypothesis that sexuality is actually a social construction. This presumes that sexuality is not biologically stamped on human nature, but rather takes on ever-changing social forms, wherein a given individual can live out one or many sexual identities. This hypothesis leads us to call into question social classifications from the fields of traditional psychology, philosophy, anthropology, and sociology, which tend to look at one measure at a time for classifying individuals (class, gender, etc.).
Musicology has also fallen under the influence of queer theory, what with the research groups, books, articles, and dissertations that address previously unexplored or even taboo issues, such as the construction of sexual identity through or in music. From a methodological perspective, this school of thought has been part of the recent theoretical renewal at an international level, wherein “traditional” methods of musical analysis and historical musicology are used in concert with historical, sociological, literary, aesthetic, anthropological, and socio-geographical techniques. This allows the researcher to apprehend the construction process of the musical “object” and its social dimension in all its complexity.
This issue of Transposition. Musique et sciences sociales aims to bolster this theoretical overhaul, through articles and case studies which explore ideas from queer theory in music of any genre. We also welcome more theoretical texts which examine the contributions or limitations of this school of thought in the field of musicology.
Papers, which conform to the requirements of the publication, should be addressed to the editing committee before the 31th Mars 2012 at this address : transposition.submission@gmail.com
http://transposition-revue.org/No3-Music-and-Queer-Theory?lang=fr
--------------------------------
Transposition : la revueTransposition. Musique et sciences sociales est une revue électronique annuelle, fondée à l’initiative de doctorants de l’EHESS ; elle bénéficie du soutien du Centre de Recherche sur les Arts et le Langage (EHESS/CNRS).
Envisageant l’importance de la musique et des pratiques musicales dans l’organisation des sociétés, elle entend questionner la manière dont celles-ci les pensent, les instituent et les mettent en scène. Elle veut ainsi se faire l’écho de l’ouverture de la musicologie aux autres disciplines des sciences sociales, tout en encourageant ces dernières à s’intéresser à l’objet musical.
Chaque numéro de cette revue scientifique s’organise autour d’un thème précis, cherchant à favoriser le dialogue entre différentes disciplines.
Transposition est composée de quatre types de contributions :
- des articles approfondis sur le thème retenu (de 50 000 à 70 000 signes),
- des études de cas sur le thème retenu (20 000 signes maximum),
- des entretiens avec des chercheurs,
- des comptes rendus de lecture (5 000 à 10 000 signes).
Outre le dossier thématique, une place est réservée dans chaque numéro aux articles rédigés sur des sujets libres et proposés de manière spontanée à la revue. Seuls les articles rédigés en français ou en anglais seront retenus.
Comité de rédaction
Florine Andrieux, Malika Combes, Justine Comtois, Igor Contreras, Laetitia Derbez, Annelies Fryberger, Frédéric Gaussin, Brice Gérard, Maël Guesdon, Etienne Jardin, Maud Lambiet, Elsa Rieu, Julien Ségol, Theresa Schmitz.
Comité scientifique
Christian Accaoui, Esteban Buch, Rémy Campos, Christelle Cazaux-Kowalski, Marc Chemillier, Jacques Cheyronnaud, Paulo F. de Castro, Alessandro Di Profio, Jérôme Dokic, Nicolas Donin, Alexandre Dratwicki, Katharine Ellis, Florence Gétreau, Cécile Grand, Jean Gribenski, Philippe Gumplowicz, Isabelle His, Martin Kaltenecker, Barbara Kelly, Denis Laborde, Catherine Massip, Geneviève Mathon, Jean-Jacques Nattiez, Max Noubel, Emmanuelle Olivier, Jann Pasler, Laure Schnapper, Patrick Taïeb, Patrice Veit, Philippe Vendrix, William Weber et Michael Werner.
International Call for Composers and Ensembles, University of Évora 2012
The Music Department of the University of Évora in Portugal hosts an academic meeting among composers and their performers on June 27-28, 2012.
Composers and performers are invited to submit compositions and/or acoustic concert proposals at their own expenses. Concert proposals must focus on living composers' works. Detailed information on the site:
http://paulinyi.blogspot.com/2011/12/international-meeting-june-2012.html
Priority given to composers who submit scores to the Contemporary Ensemble, and who attend to the concerts.
Submissions deadline for composers: April 7, 2012.
Submissions deadline for concert proposals: May 2, 2012.
In case of excessive submissions, priority given to the first ones.
All proposals must contain full contact information, short biography, full scores (please indicate total length for each piece) and complete set of parts (for composers' submissions). Please, submit proposals to Paulinyi@yahoo.com (alternatively Zoltan.Paulini@gmail.com or http://English.Paulinyi.com)
Composers and performers must indicate their availability to give an introductory talk or present a paper to be published by Unimem. Main languages are English and Portuguese, but other European languages may be included.
Composers and performers are invited to submit compositions and/or acoustic concert proposals at their own expenses. Concert proposals must focus on living composers' works. Detailed information on the site:
http://paulinyi.blogspot.com/2011/12/international-meeting-june-2012.html
Priority given to composers who submit scores to the Contemporary Ensemble, and who attend to the concerts.
Submissions deadline for composers: April 7, 2012.
Submissions deadline for concert proposals: May 2, 2012.
In case of excessive submissions, priority given to the first ones.
All proposals must contain full contact information, short biography, full scores (please indicate total length for each piece) and complete set of parts (for composers' submissions). Please, submit proposals to Paulinyi@yahoo.com (alternatively Zoltan.Paulini@gmail.com or http://English.Paulinyi.com)
Composers and performers must indicate their availability to give an introductory talk or present a paper to be published by Unimem. Main languages are English and Portuguese, but other European languages may be included.
International Meeting for Chamber Music at the University of Évora, January 17, 2012.
The Music Department of the University of Évora in Portugal hosts an academic meeting among composers and their performers on January 17, 2012.
Composers' seminars start at 2 pm after Christopher Bochmann's welcome, followed by two concerts at 6:30 and 7:30 pm with works by Alexandre Ficagna, Dr Marcos Lucas, Dr Orlando Alves (all from Brazil), Ainolnaim Azizol (Malaysia), Dr Martin Blain (UK), Dr Azevedo (Portugal). Performers are Paulinyi's and Sirtori's undergraduate pupils. Listeners are invited to attend to the seminars and concerts (admission free).
Full information:
http://paulinyi.blogspot.com/2011/11/encontro-internacional-de-musica-de.html
New call for composers and performers for the next meeting on June 27-28, 2012:
http://paulinyi.blogspot.com/2011/12/international-meeting-june-2012.html
For information and registration, please contact Zoltan Paulinyi: Paulinyi@yahoo.com (alternatively Zoltan.Paulini@gmail.com , http://Paulinyi.com)
This meeting is supported by the Royal Music Association (RMA) and Unimem (Unidade de Investigação em Música e Musicologia).
Join the RMA:
http://www.rma.ac.uk/members/join.asp
About UnIMeM:
http://www.unimem.uevora.pt
----
Zoltan Paulinyi
http://english.paulinyi.com
Composers' seminars start at 2 pm after Christopher Bochmann's welcome, followed by two concerts at 6:30 and 7:30 pm with works by Alexandre Ficagna, Dr Marcos Lucas, Dr Orlando Alves (all from Brazil), Ainolnaim Azizol (Malaysia), Dr Martin Blain (UK), Dr Azevedo (Portugal). Performers are Paulinyi's and Sirtori's undergraduate pupils. Listeners are invited to attend to the seminars and concerts (admission free).
Full information:
http://paulinyi.blogspot.com/2011/11/encontro-internacional-de-musica-de.html
New call for composers and performers for the next meeting on June 27-28, 2012:
http://paulinyi.blogspot.com/2011/12/international-meeting-june-2012.html
For information and registration, please contact Zoltan Paulinyi: Paulinyi@yahoo.com (alternatively Zoltan.Paulini@gmail.com , http://Paulinyi.com)
This meeting is supported by the Royal Music Association (RMA) and Unimem (Unidade de Investigação em Música e Musicologia).
Join the RMA:
http://www.rma.ac.uk/members/join.asp
About UnIMeM:
http://www.unimem.uevora.pt
----
Zoltan Paulinyi
http://english.paulinyi.com
CFP (deadling extended): Music and Violence, Boston University, Feb 2012
Call For Papers - Boston University Graduate Musicology Conference - Saturday, February 18, 2012
Music and Violence: Conflict, Resistance and Reconciliation
9 A.M. - 4 P.M., Faculty Dining Room, George Sherman Union
Keynote Speaker: Ellen Koskoff
The Boston University Music Society welcomes Professor Ellen Koskoff (Eastman School of Music at the University of Rochester) as the keynote speaker for the fifth annual Boston University Graduate Musicology Conference on February 18, 2012, titled "Music and Violence: Conflict, Resistance, and Reconciliation." Music and violence, linked since antiquity in ritual, myth, and art, express seemingly disparate but closely entwined aspects of the human psyche. Considered together they raise fundamental questions about creativity, discourse, and music’s role in society.
The Society seeks paper submissions from graduate students that explore relationships between music and violence and the role of music in conflict, mediation, resistance, and reconciliation. Graduate students at all stages of their studies, working in any area or discipline, are encouraged to submit their work.
Possible topics include, but are not limited to, the following: music and torture, music as protest, music in social movements, music as an oppressive force, dj battles, and music as an agent of change.
The Boston University Graduate Musicology Conference is sponsored by the Department of Musicology & Ethnomusicology and the Howard Gotlieb Archival Research Center.
SUBMISSION INFORMATION:
Abstracts are due by midnight on Friday, DECEMBER 30, 2011. (new Deadline)
Abstracts must be no longer than 250 words and submitted by e-mail to Vice President Kate Stringer, katestringer237 at gmail.com with “Conference Abstract” in the subject title. Please submit abstracts as Word document attachments or as text in the body of the email. Accepted presenters will be notified by e-mail of their status by January 7, 2011 (new date)
FORMAT INFORMATION:
Papers will be twenty minutes in length. Two session chairs (respondents) will respond to the papers and moderate a brief question and answer period. The conference will also feature a round table discussion, as well as a reception following the close of the conference.
Music and Violence: Conflict, Resistance and Reconciliation
9 A.M. - 4 P.M., Faculty Dining Room, George Sherman Union
Keynote Speaker: Ellen Koskoff
The Boston University Music Society welcomes Professor Ellen Koskoff (Eastman School of Music at the University of Rochester) as the keynote speaker for the fifth annual Boston University Graduate Musicology Conference on February 18, 2012, titled "Music and Violence: Conflict, Resistance, and Reconciliation." Music and violence, linked since antiquity in ritual, myth, and art, express seemingly disparate but closely entwined aspects of the human psyche. Considered together they raise fundamental questions about creativity, discourse, and music’s role in society.
The Society seeks paper submissions from graduate students that explore relationships between music and violence and the role of music in conflict, mediation, resistance, and reconciliation. Graduate students at all stages of their studies, working in any area or discipline, are encouraged to submit their work.
Possible topics include, but are not limited to, the following: music and torture, music as protest, music in social movements, music as an oppressive force, dj battles, and music as an agent of change.
The Boston University Graduate Musicology Conference is sponsored by the Department of Musicology & Ethnomusicology and the Howard Gotlieb Archival Research Center.
SUBMISSION INFORMATION:
Abstracts are due by midnight on Friday, DECEMBER 30, 2011. (new Deadline)
Abstracts must be no longer than 250 words and submitted by e-mail to Vice President Kate Stringer, katestringer237 at gmail.com with “Conference Abstract” in the subject title. Please submit abstracts as Word document attachments or as text in the body of the email. Accepted presenters will be notified by e-mail of their status by January 7, 2011 (new date)
FORMAT INFORMATION:
Papers will be twenty minutes in length. Two session chairs (respondents) will respond to the papers and moderate a brief question and answer period. The conference will also feature a round table discussion, as well as a reception following the close of the conference.
CFP: Consuming Music, Commodifying Sound, 1750-1850, Yale Univ., New Haven, Oct 2012
Consuming Music, Commodifying Sound, 1750-1850
Yale University
October 5-6, 2012
CALL FOR PAPERS
The period from 1750 to 1850 witnessed unprecedented growth in the musical marketplace. This was an age in which the proliferation of print technologies, the widening distribution of instruments for domestic use, and the gradual establishment of public music institutions across England and the Continent altered the patterns of circulation for music in its printed and sounding form.
This conference investigates such developments in musical materialism from a multiplicity of perspectives: What role did burgeoning consumerism play in the formation of taste and consumer identity? In what ways did the commodification of music parallel the commodification of other material goods? What can be learned, for instance, from placing the commercialization of music in the context of visual culture? What effects did political institutions have on the climates of consumption across Europe? Is there a relationship between patterns of consumption and musical style? Finally, who were music marketers, and who were music consumers?
Proposals for papers examining musical consumerism using a range of interdisciplinary approaches and theoretical models are encouraged.
350-word abstracts for 20-minute proposed talks should be submitted as PDF or Word documents to emily.green at yale.edu by March 1, 2012.
Yale University
October 5-6, 2012
CALL FOR PAPERS
The period from 1750 to 1850 witnessed unprecedented growth in the musical marketplace. This was an age in which the proliferation of print technologies, the widening distribution of instruments for domestic use, and the gradual establishment of public music institutions across England and the Continent altered the patterns of circulation for music in its printed and sounding form.
This conference investigates such developments in musical materialism from a multiplicity of perspectives: What role did burgeoning consumerism play in the formation of taste and consumer identity? In what ways did the commodification of music parallel the commodification of other material goods? What can be learned, for instance, from placing the commercialization of music in the context of visual culture? What effects did political institutions have on the climates of consumption across Europe? Is there a relationship between patterns of consumption and musical style? Finally, who were music marketers, and who were music consumers?
Proposals for papers examining musical consumerism using a range of interdisciplinary approaches and theoretical models are encouraged.
350-word abstracts for 20-minute proposed talks should be submitted as PDF or Word documents to emily.green at yale.edu by March 1, 2012.
sabato 17 dicembre 2011
Ricercatore triennale nell'Università di Bayreuth: "Cantatrici e ruoli: concetti di genere nell'opera dell'Ottocento"
Posto da ricercatore triennale nell'Università di Bayreuth, con buona conoscenza della lingua italiana e tedesca, per partecipare al progetto "Cantatrici e ruoli: concetti di genere nell'opera dell'Ottocento"
Geschlechtskonzeptionen in der Oper des 19. Jahrhunderts (Univ. Bayreuth)
Am Forschungsinstitut für Musiktheater (fimt), Schloss Thurnau, an der Universität Bayreuth ist die Stelle einer/eines Wissenschaftlichen Mitarbeiterin / Wissenschaftlichen Mitarbeiters für das DFG-Projekt „SängerInnen und Rollen. Geschlechtskonzeptionen in der Oper des 19. Jahrhunderts“ innerhalb des Forschungsschwerpunktes zum Thema „Musik – Stimme – Geschlecht“ am fimt zum 01.05.2012 zu besetzen. Die Stelle ist auf drei Jahre befristet. Eine erfolgreiche Projektarbeit schließt die Option einer Folgebeantragung bei der DFG für eine zweite Laufzeit des Projekts für weitere drei Jahre ein. Die Vergütung erfolgt nach TV-L.
Voraussetzung sind ein abgeschlossenes Hochschulstudium der Musikwissenschaft sowie der erfolgreiche überdurchschnittliche Abschluss einer Dissertation. Außerdem ist die perfekte Beherrschung des Italienischen grundlegend, da sich der von der Stelleninhaberin/dem Stelleninhaber zu bearbeitende Teilbereich mit italienischen SängerInnen befasst und entsprechende Archive in Italien zu konsultieren sind. Gesucht wird eine Persönlichkeit mit großem wissenschaftlichem Potential, die bereit ist, sich in das Team des fimt engagiert einzubringen. Interessierte, die bereits Erfahrungen in den Bereichen Oper, Aufführungsforschung oder Gender Studies aufzuweisen haben, werden besonders gebeten, sich zu bewerben.
Das fimt als weltweit renommierte Forschungsinstitution widmet sich der wissenschaftlichen Erschließung unterschiedlicher Phänomene des Musiktheaters in seiner ganzen Breite.
Neben der Themenvielfalt bemüht sich das fimt, das eng mit der Fachgruppe MusikTheater der Universität verzahnt ist, um eine methodologische Breite in der Musiktheaterforschung.
Das fimt im Schloss von Thurnau, landschaftlich einmalig und in der Nähe des Campus-Standortes Bayreuth gelegen, bietet mit seinen großzügigen Räumlichkeiten, der guten Ausstattung und seiner sehr guten Bibliothek eine stimulierende Arbeitsatmosphäre. Darüber hinaus ist die Stelleninhaberin/der Stelleninhaber in das vitale Leben des Campus der Universität eingebunden.
Schwerbehinderte werden bei gleicher Eignung bevorzugt eingestellt. Die Universität Bayreuth strebt eine Erhöhung des Anteils der Frauen in der Forschung an und bittet deshalb Frauen nachdrücklich um ihre Bewerbung.
Bewerbungen mit den üblichen Unterlagen sowie einer Publikation Ihrer Wahl (Aufsatz oder ein Kapitel der Dissertation) bitte bis zum 31.01.2012 an:
Universität Bayreuth
Forschungsinstitut für Musiktheater
Lehrstuhl für Theaterwissenschaft unter besonderer Berücksichtigung des Musiktheaters
Prof. Dr. Anno Mungen
95349 Thurnau
Kontakt: Anno Mungen
Forschungsinstitut für Musiktheater, Schloss Thurnau, 95349 Thurnau
fimt.thurnau@uni-bayreuth.de
URL: http://www.uni-bayreuth.de/universitaet/stellenangebote/wiss-mitarbeiter/SL-1/index.html
Geschlechtskonzeptionen in der Oper des 19. Jahrhunderts (Univ. Bayreuth)
Am Forschungsinstitut für Musiktheater (fimt), Schloss Thurnau, an der Universität Bayreuth ist die Stelle einer/eines Wissenschaftlichen Mitarbeiterin / Wissenschaftlichen Mitarbeiters für das DFG-Projekt „SängerInnen und Rollen. Geschlechtskonzeptionen in der Oper des 19. Jahrhunderts“ innerhalb des Forschungsschwerpunktes zum Thema „Musik – Stimme – Geschlecht“ am fimt zum 01.05.2012 zu besetzen. Die Stelle ist auf drei Jahre befristet. Eine erfolgreiche Projektarbeit schließt die Option einer Folgebeantragung bei der DFG für eine zweite Laufzeit des Projekts für weitere drei Jahre ein. Die Vergütung erfolgt nach TV-L.
Voraussetzung sind ein abgeschlossenes Hochschulstudium der Musikwissenschaft sowie der erfolgreiche überdurchschnittliche Abschluss einer Dissertation. Außerdem ist die perfekte Beherrschung des Italienischen grundlegend, da sich der von der Stelleninhaberin/dem Stelleninhaber zu bearbeitende Teilbereich mit italienischen SängerInnen befasst und entsprechende Archive in Italien zu konsultieren sind. Gesucht wird eine Persönlichkeit mit großem wissenschaftlichem Potential, die bereit ist, sich in das Team des fimt engagiert einzubringen. Interessierte, die bereits Erfahrungen in den Bereichen Oper, Aufführungsforschung oder Gender Studies aufzuweisen haben, werden besonders gebeten, sich zu bewerben.
Das fimt als weltweit renommierte Forschungsinstitution widmet sich der wissenschaftlichen Erschließung unterschiedlicher Phänomene des Musiktheaters in seiner ganzen Breite.
Neben der Themenvielfalt bemüht sich das fimt, das eng mit der Fachgruppe MusikTheater der Universität verzahnt ist, um eine methodologische Breite in der Musiktheaterforschung.
Das fimt im Schloss von Thurnau, landschaftlich einmalig und in der Nähe des Campus-Standortes Bayreuth gelegen, bietet mit seinen großzügigen Räumlichkeiten, der guten Ausstattung und seiner sehr guten Bibliothek eine stimulierende Arbeitsatmosphäre. Darüber hinaus ist die Stelleninhaberin/der Stelleninhaber in das vitale Leben des Campus der Universität eingebunden.
Schwerbehinderte werden bei gleicher Eignung bevorzugt eingestellt. Die Universität Bayreuth strebt eine Erhöhung des Anteils der Frauen in der Forschung an und bittet deshalb Frauen nachdrücklich um ihre Bewerbung.
Bewerbungen mit den üblichen Unterlagen sowie einer Publikation Ihrer Wahl (Aufsatz oder ein Kapitel der Dissertation) bitte bis zum 31.01.2012 an:
Universität Bayreuth
Forschungsinstitut für Musiktheater
Lehrstuhl für Theaterwissenschaft unter besonderer Berücksichtigung des Musiktheaters
Prof. Dr. Anno Mungen
95349 Thurnau
Kontakt: Anno Mungen
Forschungsinstitut für Musiktheater, Schloss Thurnau, 95349 Thurnau
fimt.thurnau@uni-bayreuth.de
URL: http://www.uni-bayreuth.de/
FULBRIGHT 2012-2014: BORSE DI STUDIO NEGLI STATI UNITI
Per chi desidera fare un’esperienza di studio e lavoro all’estero, negli Stati Uniti, una grande opportunità arriva dal Programma Fulbright 2012 – 2014. Questo programma, ogni anno, dal lontano 1946, promuove centinaia di borse di studio per realizzare progetti formativi, di ricerca e di insegnamento presso le migliori Università degli USA. Oggi il programma ed è attivo in circa 150 Paesi. Tutte le borse di studio Fulbright includono le spese di viaggio tra l’Italia e gli Stati Uniti e la copertura medico assicurativa finanziata dal Governo degli Stati Uniti. Le scadenze per candidarsi variano in base alla tipologia di borsa di studio, i primi termini sono fissati a dicembre 2011, ma la maggior parte delle scadenze sono nel 2012. Per avere maggiori informazioni e per scaricare i bandi, visitate il sito web dedicato al progetto Fulbright: http://www.fulbright.it/it. ( Fonte 04-12-2011)
German for Musicians (Summer Course)
German for Musicians (Summer Course)
University of Rhode Island, 2012
Summer Course, German for Musicians
The University of Rhode Island's intensive German Summer School
Program is pleased to announce its 2012 one-credit course in
“German for Musicians". This specialist course, now
successfully running for several years, trains musicians,
musicologists and theorists in the language skills indispensable for
the study of German music and its associated literature.
Applications are welcome from interested students and professionals--only
basic German skills required as a prerequisite.
Dates: 15 July - 3 August 2012
Registration for the German Summer School (Session II) is
required. Faculty: Dr. Monika Hennemann (mhennemann at mail.uri.edu)
For more information, please go to www.uri.edu/iep/dssa.
University of Rhode Island, 2012
Summer Course, German for Musicians
The University of Rhode Island's intensive German Summer School
Program is pleased to announce its 2012 one-credit course in
“German for Musicians". This specialist course, now
successfully running for several years, trains musicians,
musicologists and theorists in the language skills indispensable for
the study of German music and its associated literature.
Applications are welcome from interested students and professionals--only
basic German skills required as a prerequisite.
Dates: 15 July - 3 August 2012
Registration for the German Summer School (Session II) is
required. Faculty: Dr. Monika Hennemann (mhennemann at mail.uri.edu)
For more information, please go to www.uri.edu/iep/dssa.
Call for Papers - Latin American and Iberian Institute - University of New Mexico
The Latin American and Iberian Institute at the University of New Mexico is soliciting submissions by faculty and graduate students for publication in the LAII's peer-reviewed, electronic Research Paper Series.
The Research Paper Series publishes works in relevant disciplines including the arts, humanities, natural sciences,communications and social sciences. Interdisciplinary research is encouraged. Submissions should focus on Latin America and/or Iberia (Spain and Portugal). Papers may be written in English, Spanish, or Portuguese and must be between 5,000 and 9,000 words, including notes and bibliography.
Please refer to the submission guidelines at http://laii.unm.edu/node/57
A full‑text archive of previously published titles in the Research Paper Series and Reference Works Series is available online at https://repository.unm.edu/
Attached for your convenience are the Call for Papers, Submission Guidelines and Cover Form. The deadline for submissions is Wednesday, February 29, 2012 by 5:00 p.m.
For further information, please contact:
Alexandra Blodget
Graduate Assistant
Latin American & Iberian Institute
MSC02 1690 / 1 University of New Mexico
Albuquerque, NM 87131-0001
505.277.7049
Hearing Landscape Critically: Sense, Text, Ideology, Univ. of Oxford, May 2012
CFP: Reminder
HEARING LANDSCAPE CRITICALLY: SENSE, TEXT, IDEOLOGY
Music Faculty, University of Oxford, 18-19 May 2012
***
Deadline for Abstracts and Proposals: 15 January 2012 to criticallandscapes at gmail.com. Include name, affiliation, email address
Topics related to this agenda:
Sites of power, Questions of structure, Performing landscapes, Mobilities, Political concerns, Philosophical concerns
HEARING LANDSCAPE CRITICALLY: SENSE, TEXT, IDEOLOGY
Music Faculty, University of Oxford, 18-19 May 2012
***
Deadline for Abstracts and Proposals: 15 January 2012 to criticallandscapes at gmail.com. Include name, affiliation, email address
Topics related to this agenda:
Sites of power, Questions of structure, Performing landscapes, Mobilities, Political concerns, Philosophical concerns
venerdì 16 dicembre 2011
EXTENDED deadline 6/01/2012: CALL FOR PAPERS ORCiM Seminar 22-23/02/2012 Composition-Experiment-Tradition
Dear friends and colleagues,
The organization of the 2012 ORCiM seminar has decided to
extend the deadline for applications until Friday January the 6th.
This extension will not affect the dates of notification of acceptance or registration deadlines.
Begin forwarded message:
From: "Orpheus Institute [Joyce Desmet]"
Date: December 16, 2011 11:39:46 AM GMT+01:00
To: "Orpheus Institute [Joyce Desmet]"
Subject: EXTENDED deadline 6/01/2012: CALL FOR PAPERS ORCiM Seminar 22-23/02/2012 Composition-Experiment-Tradition
CALL FOR PAPERS
!EXTENDED Deadline JANUARY 6, 2012
[ORCiM] International Seminar 2012
22 -23 February, 2012 @Orpheus Institute, Ghent, Belgium
COMPOSITION - EXPERIMENT -TRADITION
An experimental tradition. A compositional experiment. A traditional composition.
An experimental composition. A traditional experiment. A compositional tradition.
KEYNOTE LECTURERS: Chaya Czernowin (Israël) and Richard Barrett (U.K.)
This two-day international seminar aims at exploring the complex role of experimentation in the context of compositional practice and the artistic possibilities that its different approaches yield for practitioners and audiences. How these practices inform, or are informed by, historical, cultural, material and geographical contexts will be a recurring theme of this seminar.
The seminar is particularly directed at composers and music practitioners working in areas of research linked to artistic experimentation. Proposals related to any aspect of the seminar topic are welcome. We hope the collective experience will contribute to greater insights into how art unfolds, opening new possibilities for artistic creation and reception.
Please find in attachment the ORCiM International seminar 2012 CALL FOR PAPERS (PDF)
PRACTICAL INFORMATION
Dates & Deadlines
The seminar takes place at the Orpheus Institute in Ghent, Belgium from Wednesday 22 February 2012 (beginning at 14:00) to Thursday 23 February 2012 (ending at 16:00).
Deadline for proposals: The original deadline (December 16, 2011) has now been extended to January 6, 2012!
Notification of acceptance will be made by January 20, 2012.
Please send us your proposal through info@orpheusinstituut.be
Proposals should be sent as MS Word files, not as PDF's.
note: Deadline for registering as participant: February 10, 2012.
Registration
Registration fee: €50 (full-time students: €25).
Note: If your proposal is accepted for presentation during the seminar, the registration fee is waived.
Travel Arrangements & Accommodation
Participants should arrange their own travel and accommodation. More information to be found in attachment.
Organising Committee
ORCiM Research Fellows William Brooks, Kathleen Coessens, Stefan Östersjö and Juan Parra.
For all practical information please contact the Orpheus Institute's Activities & Communication Manager: joyce.desmet@orpheusinstituut.be
More information can be found in attachment or through our website
Orpheus Institute – advanced studies & research in music - Korte Meer 12, 9000 Ghent, Belgium
Tel: +32 9 330.40.81 - Fax: +32 9 330.40.82 – email: info@orpheusinstituut.be - website: www.orpheusinstituut.be - www.orcim.be
[ORCiM] International HUB for Artistic Research in Music
The organization of the 2012 ORCiM seminar has decided to
extend the deadline for applications until Friday January the 6th.
This extension will not affect the dates of notification of acceptance or registration deadlines.
Begin forwarded message:
From: "Orpheus Institute [Joyce Desmet]"
Date: December 16, 2011 11:39:46 AM GMT+01:00
To: "Orpheus Institute [Joyce Desmet]"
Subject: EXTENDED deadline 6/01/2012: CALL FOR PAPERS ORCiM Seminar 22-23/02/2012 Composition-Experiment-Tradition
CALL FOR PAPERS
!EXTENDED Deadline JANUARY 6, 2012
[ORCiM] International Seminar 2012
22 -23 February, 2012 @Orpheus Institute, Ghent, Belgium
COMPOSITION - EXPERIMENT -TRADITION
An experimental tradition. A compositional experiment. A traditional composition.
An experimental composition. A traditional experiment. A compositional tradition.
KEYNOTE LECTURERS: Chaya Czernowin (Israël) and Richard Barrett (U.K.)
This two-day international seminar aims at exploring the complex role of experimentation in the context of compositional practice and the artistic possibilities that its different approaches yield for practitioners and audiences. How these practices inform, or are informed by, historical, cultural, material and geographical contexts will be a recurring theme of this seminar.
The seminar is particularly directed at composers and music practitioners working in areas of research linked to artistic experimentation. Proposals related to any aspect of the seminar topic are welcome. We hope the collective experience will contribute to greater insights into how art unfolds, opening new possibilities for artistic creation and reception.
Please find in attachment the ORCiM International seminar 2012 CALL FOR PAPERS (PDF)
PRACTICAL INFORMATION
Dates & Deadlines
The seminar takes place at the Orpheus Institute in Ghent, Belgium from Wednesday 22 February 2012 (beginning at 14:00) to Thursday 23 February 2012 (ending at 16:00).
Deadline for proposals: The original deadline (December 16, 2011) has now been extended to January 6, 2012!
Notification of acceptance will be made by January 20, 2012.
Please send us your proposal through info@orpheusinstituut.be
Proposals should be sent as MS Word files, not as PDF's.
note: Deadline for registering as participant: February 10, 2012.
Registration
Registration fee: €50 (full-time students: €25).
Note: If your proposal is accepted for presentation during the seminar, the registration fee is waived.
Travel Arrangements & Accommodation
Participants should arrange their own travel and accommodation. More information to be found in attachment.
Organising Committee
ORCiM Research Fellows William Brooks, Kathleen Coessens, Stefan Östersjö and Juan Parra.
For all practical information please contact the Orpheus Institute's Activities & Communication Manager: joyce.desmet@orpheusinstituut.be
More information can be found in attachment or through our website
Orpheus Institute – advanced studies & research in music - Korte Meer 12, 9000 Ghent, Belgium
Tel: +32 9 330.40.81 - Fax: +32 9 330.40.82 – email: info@orpheusinstituut.be - website: www.orpheusinstituut.be - www.orcim.be
[ORCiM] International HUB for Artistic Research in Music
Giornate dedicate ai giovani musicologi - Madrid 2012 - Call for papers
http://vjornadasmusicologia.blogspot.com/
Presentación
La Universidad Autónoma de Madrid, junto con la Jove Associació de Musicologia, acoge las V Jornadas de Jóvenes Musicólogos y Estudiantes de Musicología. Estas Jornadas cuentan con el apoyo del Departamento Interfacultativo de Música (UAM) y tendrán lugar entre el 13 y el 16 de marzo de 2012 en la Facultad de Filosofía y Letras de la Universidad Autónoma de Madrid.
Este encuentro pretende crear espacios de debate y discusión destinados a estudiantes de licenciatura y grado, estudiantes de posgrado y doctores titulados después de 2008. Dichos espacios se llevarán a cabo a través de mesas de comunicaciones, mesas redondas, pósteres, talleres y paneles temáticos relacionados con un objetivo principal: afrontar los desafíos de la investigación musicológica en la actualidad. Con este objetivo se pretende abarcar estudios tanto de historiografía tradicional como de nuevas corrientes musicológicas desde distintos ámbitos del conocimiento.
El resumen será redactado en español o inglés con una extensión máxima de 300 palabras, de acuerdo con la siguiente estructura:
Eje temático
Los ejes temáticos planteados son bloques flexibles de carácter transdisciplinar que ofrecen la posibilidad de albergar las diversas propuestas del ámbito investigador.
- Transculturalidad y creación de nuevas identidades: re/des-contextualización de las músicas populares, el papel de los colectivos en la música, música y política.
- Música, nuevos medios y nuevas tecnologías: su papel en los lenguajes audiovisuales, estudios sobre las audiencias y el consumo, medios de difusión y soportes, acústica.
- Musicología histórica: nuevos aportes a la disciplina desde diversos ámbitos: sociológico, literario, documental, crítico, analítico e iconográfico.
- Recuperación y difusión de patrimonio: estudios sobre recepción, pedagogía, interpretación, crítica y gestión.
Call for Papers. Normativa
TIPO DE PARTICIPACIÓN:
La participación en estas V Jornadas tiene tres vertientes:
- Comunicaciones
- Pósteres
- Paneles temáticos
NORMAS DE PRESENTACIÓN DE LOS ABSTRACTS
Para presentar una Comunicación, Póster o un Panel se requiere un resumen previo para su valoración y posible aceptación por el Comité Científico, el cual deberá enviarse antes del 13 de enero de 2012 a través del Boletín de inscripción de participantes que se encuentra en el presente blog.
El resumen será redactado en español o inglés con una extensión máxima de 300 palabras, de acuerdo con la siguiente estructura:
1) Título del trabajo
2) Autor/es: Nombre y apellidos
3) Cuerpo del resumen
Requisitos comunicaciones:
• Deberán ser inéditos, no habiéndose expuesto con anterioridad.
• Se dispondrá de un máximo de 15 minutos para su exposición.
• El orden de las mismas será el que establezca el programa definitivo.
Requisitos paneles temáticos:
• Deberán ser inéditos, no habiéndose expuesto con anterioridad.
• Se dispondrá de un máximo de una hora para su exposición con un mínimo de tres personas por panel temático.
• Deberán enviarse todos los abstracts en un único documento, con una introducción en la que se presente la temática conjunta del panel y el nombre y contacto de su coordinador.
Requisitos pósteres:
• Deberán ser inéditos, no habiéndose expuesto con anterioridad.
• Deberán ser inéditos, no habiéndose expuesto con anterioridad.
• Se dispondrá de un máximo de 5 minutos para su exposición.
• El orden de las mismas será el que establezca el programa definitivo.
• Las dimensiones tendrán una medida máxima de DIN A-1.
• Textos, dibujos, gráficos y fotografías podrán ser agregados al póster, en la disposición que el autor desee.
BOLETÍN DE INSCRIPCIÓN DE PARTICIPANTES
Pulse sobre Inscripción para formalizar su participación.
ACEPTACIÓN DE LOS TRABAJOS
Una vez aceptados los resúmenes por el Comité Científico, los participantes (Comunicación, Póster y Panel) deberán realizar antes del 9 de marzo de 2012 la inscripción en el Congreso, así como enviar el texto completo de los trabajos al e- mail: mailto:vjornadasmusicologia@gmail.com
PLAZOS PARA ENVIAR LOS TRABAJOS
• Hasta el 13 de enero de 2012: Presentación de resúmenes.
• En 20 días hábiles desde el 13 de enero de 2012: Notificación de los resúmenes seleccionados.
• Hasta el 9 de marzo de 2012: Envío de los textos e inscripciones de los participantes y asistentes.
Módulo IV- Despacho 104- I
Departamento Interfacultativo de Música
(Facultad de Filosofía y Letras)
Facultad de Formación de Profesorado
Tomás Valiente, sn
28049 Madrid
Universidad Autónoma de Madrid
vjornadasmusicologia@gmail.com
91 4972923/ 4975670
http://vjornadasmusicologia.blogspot.com/
Contacto
Departamento Interfacultativo de Música
(Facultad de Filosofía y Letras)
Facultad de Formación de Profesorado
Tomás Valiente, sn
28049 Madrid
Universidad Autónoma de Madrid
vjornadasmusicologia@gmail.com
91 4972923/ 4975670
http://vjornadasmusicologia.blogspot.com/
OB: Eugene Lang College, New School for Liberal Arts, Digital Humanities (tenure-track)
Assistant Professor, Digital Humanities
Eugene Lang College, the New School for Liberal Arts, is seeking a full-time, tenure-track Assistant Professor of Digital Humanities whose research and teaching in the humanities engages the digital era: its theory, culture, politics, and ideology, modes of distribution and consumption, or historicity. The position will begin in September 2012, and the search is open to candidates with a Ph.D. (awarded no later than December 2011) in a range of fields, including cultural studies, media studies, literature, and history. Preference will be given to candidates whose work bridges disciplinary boundaries.
We are looking for an emerging scholar to help us reclaim and redefine the “digital humanities” as a space for new scholarly exchanges and pedagogies among allied disciplines. Candidates must have a strong facility in ethnographic, textual, theoretical, or historical methodologies. Areas of studies include, in no particular order: (1) Media archaeology; (2) Music cultures and sound practices; (3) Global subcultures/popular cultures; (4) Comparative literature; (5) Media and performance. The successful candidate will demonstrate the potential for excellence in research and teaching.
Eugene Lang is a unique undergraduate college with thriving programs for politically-engaged liberal arts students in the heart of New York City. It is committed to maximizing diversity, and is an equal opportunity employer.
The New School is committed to maintaining a diverse educational and creative community, a policy of equal opportunity in all its activities and programs, including employment. Applications from members of historically underrepresented groups are welcome. We do not discriminate on the basis of race, color, ethnicity, national or ethnic origin, citizenship status, religion, gender, gender identity, sexual orientation, age, disability, veteran or marital status.
Please send cover letter, CV, and list of 3-5 referees only. Preference will be given to applications received by January 30, 2012. Review of applications will continue until the position is filled. Application website: https://careers.newschool.edu/postings/7554
Eugene Lang College, the New School for Liberal Arts, is seeking a full-time, tenure-track Assistant Professor of Digital Humanities whose research and teaching in the humanities engages the digital era: its theory, culture, politics, and ideology, modes of distribution and consumption, or historicity. The position will begin in September 2012, and the search is open to candidates with a Ph.D. (awarded no later than December 2011) in a range of fields, including cultural studies, media studies, literature, and history. Preference will be given to candidates whose work bridges disciplinary boundaries.
We are looking for an emerging scholar to help us reclaim and redefine the “digital humanities” as a space for new scholarly exchanges and pedagogies among allied disciplines. Candidates must have a strong facility in ethnographic, textual, theoretical, or historical methodologies. Areas of studies include, in no particular order: (1) Media archaeology; (2) Music cultures and sound practices; (3) Global subcultures/popular cultures; (4) Comparative literature; (5) Media and performance. The successful candidate will demonstrate the potential for excellence in research and teaching.
Eugene Lang is a unique undergraduate college with thriving programs for politically-engaged liberal arts students in the heart of New York City. It is committed to maximizing diversity, and is an equal opportunity employer.
The New School is committed to maintaining a diverse educational and creative community, a policy of equal opportunity in all its activities and programs, including employment. Applications from members of historically underrepresented groups are welcome. We do not discriminate on the basis of race, color, ethnicity, national or ethnic origin, citizenship status, religion, gender, gender identity, sexual orientation, age, disability, veteran or marital status.
Please send cover letter, CV, and list of 3-5 referees only. Preference will be given to applications received by January 30, 2012. Review of applications will continue until the position is filled. Application website: https://careers.newschool.edu/postings/7554
JOB: University of Memphis, Music Theory (tenure-track)
The University of Memphis invites applications for the following nine-month, tenure-track position in the Rudi E. Scheidt School of Music beginning August 18, 2012.
Duties include the leadership of a comprehensive undergraduate music theory program, management of graduate assistants teaching in the theory program, teaching courses in theory, and service on master's and doctoral committees. Other duties may include teaching assignments that meet the needs of the School and are consistent with the strengths of the individual candidate.
A broad knowledge of music theory including aural skills, theory research, ability to administer a comprehensive undergraduate theory program, and a record of successful college-level teaching experience in theory are required. Ancillary areas to complement departmental strengths are desired. A Doctoral degree in music is required.
The Rudi E. Scheidt School of Music is fully accredited by the National Association of Schools of Music and has a full-time faculty of 45 with approximately 500 music majors. Degree programs include: Bachelor of Music in performance, music history, composition, music education, music business, recording technology, jazz and studio music performance, jazz and studio music composition/arranging; Master of Music in performance, musicology, Orff-Schulwerk, music education, pedagogy, jazz and studio music, composition and conducting; Doctor of Philosophy in musicology and music education; Doctor of Musical Arts in performance, composition, and conducting. A graduate certificate, the Artist Diploma in Music, is also offered. The School of Music is housed in the College of Communication and Fine Arts. http://www.memphis.edu/music
The University of Memphis is a comprehensive metropolitan research university located in Memphis, Tennessee, one of the most musically active communities in the Mid-South. Current enrollment is approximately 23,000 students.
Candidates should go to http://workforum.memphis.edu to submit an application. Additional items required at time of application include a cover letter, curriculum vita and a list of five (5) references with contact information to include address, telephone number and e-mail address. Review of applications will begin February 10, 2012 and may continue until a successful candidate is named. For information regarding this position, contact:
John Baur, Chair Music Theory Search Committee
(901) 678-3762
jbaur at memphis.edu
_______________________________________________
Duties include the leadership of a comprehensive undergraduate music theory program, management of graduate assistants teaching in the theory program, teaching courses in theory, and service on master's and doctoral committees. Other duties may include teaching assignments that meet the needs of the School and are consistent with the strengths of the individual candidate.
A broad knowledge of music theory including aural skills, theory research, ability to administer a comprehensive undergraduate theory program, and a record of successful college-level teaching experience in theory are required. Ancillary areas to complement departmental strengths are desired. A Doctoral degree in music is required.
The Rudi E. Scheidt School of Music is fully accredited by the National Association of Schools of Music and has a full-time faculty of 45 with approximately 500 music majors. Degree programs include: Bachelor of Music in performance, music history, composition, music education, music business, recording technology, jazz and studio music performance, jazz and studio music composition/arranging; Master of Music in performance, musicology, Orff-Schulwerk, music education, pedagogy, jazz and studio music, composition and conducting; Doctor of Philosophy in musicology and music education; Doctor of Musical Arts in performance, composition, and conducting. A graduate certificate, the Artist Diploma in Music, is also offered. The School of Music is housed in the College of Communication and Fine Arts. http://www.memphis.edu/music
The University of Memphis is a comprehensive metropolitan research university located in Memphis, Tennessee, one of the most musically active communities in the Mid-South. Current enrollment is approximately 23,000 students.
Candidates should go to http://workforum.memphis.edu to submit an application. Additional items required at time of application include a cover letter, curriculum vita and a list of five (5) references with contact information to include address, telephone number and e-mail address. Review of applications will begin February 10, 2012 and may continue until a successful candidate is named. For information regarding this position, contact:
John Baur, Chair Music Theory Search Committee
(901) 678-3762
jbaur at memphis.edu
_______________________________________________
CFP: MEDIEVAL AND RENAISSANCE MUSIC CONFERENCE, University of Nottingham, 8-11 July 2012
MEDIEVAL AND RENAISSANCE MUSIC CONFERENCE University of Nottingham, 8-11 July 2012
CALL FOR PAPERS
In 2012 Med Ren will be celebrating its 40th birthday with a return to the venue of the first ever Med Ren, held at Nottingham in 1972.
The organisers and the Programme Committee invite proposals for 20-minute papers, or poster presentations, on any topic relating to the study of Medieval and/or Renaissance music. Proposals of either kind should consist of a title and an abstract of ca.200 words, together with the proposer's name, institutional affiliation (if any) and email address. The deadline for proposals is Friday 24th February.
We welcome proposals for joint papers / paired papers, and we are also still especially keen to hear from anyone interested in putting together a themed session (of 3 to 6 papers).
Proposals for papers, joint papers and posters should be sent to the Conference Administrator, James Cook, at amxjc2@nottingham.ac.uk.
Any correspondence relating to themed sessions should be sent to Esperanza Rodriguez-Garcia, at esperanza.rodriguez-garcia@nottingham.ac.uk.
CALL FOR PAPERS
In 2012 Med Ren will be celebrating its 40th birthday with a return to the venue of the first ever Med Ren, held at Nottingham in 1972.
The organisers and the Programme Committee invite proposals for 20-minute papers, or poster presentations, on any topic relating to the study of Medieval and/or Renaissance music. Proposals of either kind should consist of a title and an abstract of ca.200 words, together with the proposer's name, institutional affiliation (if any) and email address. The deadline for proposals is Friday 24th February.
We welcome proposals for joint papers / paired papers, and we are also still especially keen to hear from anyone interested in putting together a themed session (of 3 to 6 papers).
Proposals for papers, joint papers and posters should be sent to the Conference Administrator, James Cook, at amxjc2@nottingham.ac.uk.
Any correspondence relating to themed sessions should be sent to Esperanza Rodriguez-Garcia, at esperanza.rodriguez-garcia@nottingham.ac.uk.
giovedì 15 dicembre 2011
JOB: University of Kansas, Musicology (tenure-track) (position redefined)
Position: Assistant Professor of Musicology. Tenure track. Redefinition of search announced in September 2011.
Duties: Teach undergraduate and graduate music history, musicology, and world music classes, typically the equivalent of five courses divided over two semesters. Advise master’s theses, doctoral dissertations, and DMA documents. Maintain a record of scholarly productivity that indicates continuing growth and national and/or international visibility. Participate actively in the intellectual life of the school and university. Serve on graduate and faculty committees.
Qualifications: Ph.D. in musicology required by August 2012. Evidence of successful teaching at the college/university level. Scholarly productivity in Classic Era or 20th century. The ideal candidate will have some expertise in ethnomusicology.
Starting Date: August 20, 2012
Screening Date: Priority consideration given to applications received by January 26, 2012.
Applications: On-line application required (https://jobs.ku.edu). Resume, cover letter, list of references, teaching statement, and scholarly writing sample must be attached to the on-line application. Teaching statement (1-2 pages) should include discussion of personal teaching philosophy within a comprehensive university music school, including objectives and the means of achieving those objectives. IN ADDITION to completing the on-line application, applicant must submit HARD COPIES of academic transcripts and THREE current letters of reference to:
Dr. Paul R. Laird, Chair
Musicology Search Committee
University of Kansas School of Music
446 Murphy Hall, 1530 Naismith Dr.
Lawrence, KS 66045-3102
The University of Kansas School of Music is a comprehensive university music school offering professional training in a wide array of specializations through baccalaureate, masters, and doctoral degree programs. A charter member of the National Association of Schools of Music (1928), KU is the only institution authorized by the Kansas Board of Regents to grant doctoral degrees in music. The University of Kansas was ranked in the top 50 public universities in the country for best educational value, according to Princeton Review (2010).
The University of Kansas is a Carnegie Research-Extensive Institution with a student body of over 29,000 students representing every state and more than 113 foreign countries. The University is located in Lawrence, a city with a population exceeding 90,000. The community is known for its support of the arts and education and regularly appears in various “best town” listings.
The University of Kansas is an Equal Opportunity/Affirmative Action Employer. The University encourages applications from underrepresented group members. Federal and state legislation prohibits discrimination on the basis of race, religion, color, national origin, ancestry, sex, age, disability, and veteran status. In addition, University policies prohibit discrimination on the basis of sexual orientation, marital status, and parental status. EO/AA
Duties: Teach undergraduate and graduate music history, musicology, and world music classes, typically the equivalent of five courses divided over two semesters. Advise master’s theses, doctoral dissertations, and DMA documents. Maintain a record of scholarly productivity that indicates continuing growth and national and/or international visibility. Participate actively in the intellectual life of the school and university. Serve on graduate and faculty committees.
Qualifications: Ph.D. in musicology required by August 2012. Evidence of successful teaching at the college/university level. Scholarly productivity in Classic Era or 20th century. The ideal candidate will have some expertise in ethnomusicology.
Starting Date: August 20, 2012
Screening Date: Priority consideration given to applications received by January 26, 2012.
Applications: On-line application required (https://jobs.ku.edu). Resume, cover letter, list of references, teaching statement, and scholarly writing sample must be attached to the on-line application. Teaching statement (1-2 pages) should include discussion of personal teaching philosophy within a comprehensive university music school, including objectives and the means of achieving those objectives. IN ADDITION to completing the on-line application, applicant must submit HARD COPIES of academic transcripts and THREE current letters of reference to:
Dr. Paul R. Laird, Chair
Musicology Search Committee
University of Kansas School of Music
446 Murphy Hall, 1530 Naismith Dr.
Lawrence, KS 66045-3102
The University of Kansas School of Music is a comprehensive university music school offering professional training in a wide array of specializations through baccalaureate, masters, and doctoral degree programs. A charter member of the National Association of Schools of Music (1928), KU is the only institution authorized by the Kansas Board of Regents to grant doctoral degrees in music. The University of Kansas was ranked in the top 50 public universities in the country for best educational value, according to Princeton Review (2010).
The University of Kansas is a Carnegie Research-Extensive Institution with a student body of over 29,000 students representing every state and more than 113 foreign countries. The University is located in Lawrence, a city with a population exceeding 90,000. The community is known for its support of the arts and education and regularly appears in various “best town” listings.
The University of Kansas is an Equal Opportunity/Affirmative Action Employer. The University encourages applications from underrepresented group members. Federal and state legislation prohibits discrimination on the basis of race, religion, color, national origin, ancestry, sex, age, disability, and veteran status. In addition, University policies prohibit discrimination on the basis of sexual orientation, marital status, and parental status. EO/AA
Call for Papers: The Art of Listening – Trends and Perspectives of a History of Music Listening
Call for Papers: The Art of Listening – Trends and Perspectives of a History of Music Listening
Organized by Christian Thorau (Universität Potsdam), Hansjakob Ziemer (Max Planck Institute for the History of Science)
Conference, July 12-14, 2012, Berlin (Radialsystem V)
Deadline: February 15, 2012
Since the mid-1990s and the publication of "Listening in Paris: A Cultural History" (1995), the path-breaking book by James Johnson, the history of music listening has been the focus of renewed interest in the fields of musicology, history and cultural studies. There have been a number of recent studies on music listening – as one among many forms of listening in modernity – that examine the act of listening in the concert within the broader context of music, social, cultural, and intellectual history.
This conference aims, first, to take stock of the current state of scholarship on music listening in the history of the 19th and 20th centuries. Second, its goal is to identify desiderata in the research on the history of music listening, to reflect on new methodological approaches, and to apply insights from a critical examination of the history of cultural practices to current discussions on music listening in the 21st century. The conference will address a broad spectrum of perspectives on the historicity of music listening in modern Europe and assess their relevance for recent developments. Because music listening as a historical phenomenon is an amorphous object of study it cannot adequately be addressed with one research approach but requires trans-disciplinary cooperation among the historical disciplines of music, cultural, and media studies, history of science, and historical anthropology.
Proposals for contributions on the following themes are welcome: 1) Changes in the history of music listening: Looking at the longue durée in the history of music listening allows questions about the specificity of the changes in forms of listening. 2) Practices of music listening: This topic encompasses all practices of listening that are exercised in the concert hall: cultural staging of musical performances, preparations undertaken for the listening experience, verbal and nonverbal communication, and the emotional processing of the music listened to. 3) Composition and music listening: The relationship between musical texts and listening deserves new attention. 4) Music listening and new media: This theme deals with the relationship between music listening and technological innovations in recording, broadcasting, and reproduction. 5) Spaces of music listening: Music listening is anchored in local practices and traditions, but at the same time it is a global phenomenon.
We invite proposals for individual papers in German or English. Please send an abstract (maximum of 250 words) and a short CV by February 15, 2012 to: Prof. Dr. Christian Thorau, Universität Potsdam, Email: fuellner at uni-potsdam.de.
Organized by Christian Thorau (Universität Potsdam), Hansjakob Ziemer (Max Planck Institute for the History of Science)
Conference, July 12-14, 2012, Berlin (Radialsystem V)
Deadline: February 15, 2012
Since the mid-1990s and the publication of "Listening in Paris: A Cultural History" (1995), the path-breaking book by James Johnson, the history of music listening has been the focus of renewed interest in the fields of musicology, history and cultural studies. There have been a number of recent studies on music listening – as one among many forms of listening in modernity – that examine the act of listening in the concert within the broader context of music, social, cultural, and intellectual history.
This conference aims, first, to take stock of the current state of scholarship on music listening in the history of the 19th and 20th centuries. Second, its goal is to identify desiderata in the research on the history of music listening, to reflect on new methodological approaches, and to apply insights from a critical examination of the history of cultural practices to current discussions on music listening in the 21st century. The conference will address a broad spectrum of perspectives on the historicity of music listening in modern Europe and assess their relevance for recent developments. Because music listening as a historical phenomenon is an amorphous object of study it cannot adequately be addressed with one research approach but requires trans-disciplinary cooperation among the historical disciplines of music, cultural, and media studies, history of science, and historical anthropology.
Proposals for contributions on the following themes are welcome: 1) Changes in the history of music listening: Looking at the longue durée in the history of music listening allows questions about the specificity of the changes in forms of listening. 2) Practices of music listening: This topic encompasses all practices of listening that are exercised in the concert hall: cultural staging of musical performances, preparations undertaken for the listening experience, verbal and nonverbal communication, and the emotional processing of the music listened to. 3) Composition and music listening: The relationship between musical texts and listening deserves new attention. 4) Music listening and new media: This theme deals with the relationship between music listening and technological innovations in recording, broadcasting, and reproduction. 5) Spaces of music listening: Music listening is anchored in local practices and traditions, but at the same time it is a global phenomenon.
We invite proposals for individual papers in German or English. Please send an abstract (maximum of 250 words) and a short CV by February 15, 2012 to: Prof. Dr. Christian Thorau, Universität Potsdam, Email: fuellner at uni-potsdam.de.
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