Ecomusicologies 2012: New Orleans, 30-31 October 2012
Pre-Conference (Live & Virtual) to the AMS/SEM/SMT 2012 Annual Meeting
For full CFP and submission instructions, visit:
http://www.ams-esg.org/events/upcoming-events/ecomusicologies-2012
The AMS Ecocriticism Study Group and the SEM Ecomusicology Special Interest Group invite submissions on research from any academic field related to any issues of and around ecomusicology (ecocritical / ecological / environmental studies of music and/or sound), which is broadly construed as the dynamic relationships between culture, music/sound, and nature/environment, in all the complexities of those terms.
Papers accepted for the conference will be considered for publication in a volume of essays currently being prepared under the working title "Ecomusicology: A Field Guide," edited by Aaron S. Allen (University of North Carolina at Greensboro, USA) and Kevin Dawe (University of Leeds, UK).
The conference organizers plan to include electronic communications to allow for virtual involvement. If you would like to participate in the conference either as a presenter or attendee but cannot be in or for environmental reasons prefer not to travel to New Orleans, you will have the option to deliver your work and/or see and hear the presentations of others via the Internet.
Program Committee: Aaron S. Allen (USA), William Bares (USA), Kevin Dawe (UK), Annette Kreutziger-Herr (Germany), Michael MacDonald (Canada), Jennifer C. Post (New Zealand), Robin Ryan (Australia), Juha Torvinen (Finland), Denise Von Glahn (USA)
Address any questions to: sem.ecomusicology.sig [at] gmail.com and/or ams.esg [at] gmail.com. Conference program and further updates will be posted at www.ecomusicologies.org.
martedì 31 gennaio 2012
CFP: Ecomusicologies 2012: Pre-Conference (Live & Virtual) to the AMS/SEM/SMT 2012 Annual Meeting, New Orleans, Oct 2012
Ecomusicologies 2012: New Orleans, 30-31 October 2012
Pre-Conference (Live & Virtual) to the AMS/SEM/SMT 2012 Annual Meeting
For full CFP and submission instructions, visit:
http://www.ams-esg.org/events/upcoming-events/ecomusicologies-2012
The AMS Ecocriticism Study Group and the SEM Ecomusicology Special Interest Group invite submissions on research from any academic field related to any issues of and around ecomusicology (ecocritical / ecological / environmental studies of music and/or sound), which is broadly construed as the dynamic relationships between culture, music/sound, and nature/environment, in all the complexities of those terms.
Papers accepted for the conference will be considered for publication in a volume of essays currently being prepared under the working title "Ecomusicology: A Field Guide," edited by Aaron S. Allen (University of North Carolina at Greensboro, USA) and Kevin Dawe (University of Leeds, UK).
The conference organizers plan to include electronic communications to allow for virtual involvement. If you would like to participate in the conference either as a presenter or attendee but cannot be in or for environmental reasons prefer not to travel to New Orleans, you will have the option to deliver your work and/or see and hear the presentations of others via the Internet.
Program Committee: Aaron S. Allen (USA), William Bares (USA), Kevin Dawe (UK), Annette Kreutziger-Herr (Germany), Michael MacDonald (Canada), Jennifer C. Post (New Zealand), Robin Ryan (Australia), Juha Torvinen (Finland), Denise Von Glahn (USA)
Address any questions to: sem.ecomusicology.sig [at] gmail.com and/or ams.esg [at] gmail.com. Conference program and further updates will be posted at www.ecomusicologies.org.
Pre-Conference (Live & Virtual) to the AMS/SEM/SMT 2012 Annual Meeting
For full CFP and submission instructions, visit:
http://www.ams-esg.org/events/upcoming-events/ecomusicologies-2012
The AMS Ecocriticism Study Group and the SEM Ecomusicology Special Interest Group invite submissions on research from any academic field related to any issues of and around ecomusicology (ecocritical / ecological / environmental studies of music and/or sound), which is broadly construed as the dynamic relationships between culture, music/sound, and nature/environment, in all the complexities of those terms.
Papers accepted for the conference will be considered for publication in a volume of essays currently being prepared under the working title "Ecomusicology: A Field Guide," edited by Aaron S. Allen (University of North Carolina at Greensboro, USA) and Kevin Dawe (University of Leeds, UK).
The conference organizers plan to include electronic communications to allow for virtual involvement. If you would like to participate in the conference either as a presenter or attendee but cannot be in or for environmental reasons prefer not to travel to New Orleans, you will have the option to deliver your work and/or see and hear the presentations of others via the Internet.
Program Committee: Aaron S. Allen (USA), William Bares (USA), Kevin Dawe (UK), Annette Kreutziger-Herr (Germany), Michael MacDonald (Canada), Jennifer C. Post (New Zealand), Robin Ryan (Australia), Juha Torvinen (Finland), Denise Von Glahn (USA)
Address any questions to: sem.ecomusicology.sig [at] gmail.com and/or ams.esg [at] gmail.com. Conference program and further updates will be posted at www.ecomusicologies.org.
lunedì 30 gennaio 2012
ANNOUNCEMENT: University of Alabama Endowed Chair in Musicology 2012, French Baroque Music: Interpretation and Performance, Univ. of Alabama, Tuscaloo
The University of Alabama Endowed Chair in Musicology 2012
French Baroque Music: Interpretation and Performance
Feb. 14-18
Julie Andrijeski, baroque violin
Julianne Baird, soprano
Tony Boutté, tenor
Geoffrey Burgess, baroque oboe
Davitt Moroney, harpsichord
Gail Ann Schroeder, viola da gamba
Colin St-Martin, baroque flute
Public events: Lectures, Dance Class, Panel Discussion and Demonstration, and Concert: Chamber Music of the French Baroque (music by Couperin, Jacquet de La Guerre, Rebel, Clérambault, and Charpentier)
Further lectures throughout the semester by Georgia Cowart (March 23) and Thierry Favier (April 12)
All events are free of charge, and will take place at the University of Alabama School of Music, Moody Music Building (810 Second Ave., Tuscaloosa, AL 35487)
http://music.ua.edu/calendar-of-events/endowed-chair/
http://music.ua.edu/calendar-of-events/endowed-chair/2012-schedule/
Contact: Don Fader, djfader at music.ua.edu
French Baroque Music: Interpretation and Performance
Feb. 14-18
Julie Andrijeski, baroque violin
Julianne Baird, soprano
Tony Boutté, tenor
Geoffrey Burgess, baroque oboe
Davitt Moroney, harpsichord
Gail Ann Schroeder, viola da gamba
Colin St-Martin, baroque flute
Public events: Lectures, Dance Class, Panel Discussion and Demonstration, and Concert: Chamber Music of the French Baroque (music by Couperin, Jacquet de La Guerre, Rebel, Clérambault, and Charpentier)
Further lectures throughout the semester by Georgia Cowart (March 23) and Thierry Favier (April 12)
All events are free of charge, and will take place at the University of Alabama School of Music, Moody Music Building (810 Second Ave., Tuscaloosa, AL 35487)
http://music.ua.edu/calendar-of-events/endowed-chair/
http://music.ua.edu/calendar-of-events/endowed-chair/2012-schedule/
Contact: Don Fader, djfader at music.ua.edu
CFP: New Perspectives on the Keyboard Works of Antonio Soler, Parador de Mojácar, Almería, Oct 2012
CALL FOR PAPERS - FIMTE 2012
NEW PERSPECTIVES ON THE KEYBOARD WORKS OF ANTONIO SOLER
The 11th International Symposium on Spanish Keyboard Music “Diego Fernández”
Parador de Mojácar, Almería, 11 - 12 October 2012
Chairs: Michael Latcham - Luisa Morales
The 11th International Symposium on Spanish Keyboard Music “Diego Fernández” will be held at the Parador of Mojácar, Almería, Andalusia, on the 11 to 12 October 2012, as part of FIMTE 2012: the 13th International Festival of Spanish Keyboard Music. The festival will feature both mainstream and fringe concerts and a workshop on performance-related issues with Luisa Morales (13-14 October).
The aim of this International Symposium is to provide a forum for new directions in the scholarship and performance of Soler’s works. Proposals for papers are encouraged in the following areas, but not limited to:
· Soler’s keyboard works: sources, performance, styles, genres
· Soler and keyboard instruments for his music
· Soler and contemporary musical aesthetics
· The reception of Soler’s works in Europe and the Spanish colonies
· Soler and music historiography from the eighteenth century to the present
We welcome 200-250 word abstracts for 20-minute papers, as well as proposals for lecture-concerts (30-minutes). Abstracts should be signed at the bottom with the author's name, institutional affiliation or city of residence and full return address, including e-mail address and fax number where possible.
Official languages: English and Spanish.
Symposium fee (including Symposium dinner) EUR 150
Deadline for abstracts: 1st June 2012
For further information, please contact:
Luisa Morales
FIMTE
Apdo. 212 Garrucha 04630
Almería ESPAÑA
Tel: +34 610804486
fimte at fimte.org
fimteinfo at gmail.com
www.fimte.org
NEW PERSPECTIVES ON THE KEYBOARD WORKS OF ANTONIO SOLER
The 11th International Symposium on Spanish Keyboard Music “Diego Fernández”
Parador de Mojácar, Almería, 11 - 12 October 2012
Chairs: Michael Latcham - Luisa Morales
The 11th International Symposium on Spanish Keyboard Music “Diego Fernández” will be held at the Parador of Mojácar, Almería, Andalusia, on the 11 to 12 October 2012, as part of FIMTE 2012: the 13th International Festival of Spanish Keyboard Music. The festival will feature both mainstream and fringe concerts and a workshop on performance-related issues with Luisa Morales (13-14 October).
The aim of this International Symposium is to provide a forum for new directions in the scholarship and performance of Soler’s works. Proposals for papers are encouraged in the following areas, but not limited to:
· Soler’s keyboard works: sources, performance, styles, genres
· Soler and keyboard instruments for his music
· Soler and contemporary musical aesthetics
· The reception of Soler’s works in Europe and the Spanish colonies
· Soler and music historiography from the eighteenth century to the present
We welcome 200-250 word abstracts for 20-minute papers, as well as proposals for lecture-concerts (30-minutes). Abstracts should be signed at the bottom with the author's name, institutional affiliation or city of residence and full return address, including e-mail address and fax number where possible.
Official languages: English and Spanish.
Symposium fee (including Symposium dinner) EUR 150
Deadline for abstracts: 1st June 2012
For further information, please contact:
Luisa Morales
FIMTE
Apdo. 212 Garrucha 04630
Almería ESPAÑA
Tel: +34 610804486
fimte at fimte.org
fimteinfo at gmail.com
www.fimte.org
domenica 29 gennaio 2012
CALL FOR PAPERS: "THE MAKING OF THE HUMANITIES III"
CALL FOR PAPERS: "THE MAKING OF THE HUMANITIES III"
The third international conference on the history of the humanities, "The Making of the Humanities III", will take place at the Royal Netherlands Institute in Rome, from 1 till 3 November 2012. See http://makingofthehumanitiesiii.blogspot.com/
GOAL OF THE CONFERENCE
This is the third of a biennially organized conference that brings together scholars and historians of humanities disciplines to draw the outlines for a comparative history of the humanities. Although histories of single humanities disciplines exist for quite some time, a comparative history has only very recently been investigated and the first monographs have just appeared.
THEME OF THE 2012 CONFERENCE
The theme of the meeting in 2012 will be "The Making of the Modern Humanities", focusing on the period 1850-2000, as well as four general panel themes that cross all periods. Topics include all aspects of the history of philology, linguistics, literary studies, musicology, historiography, art history, theatre studies, (new) media studies and other humanities disciplines, with an emphasis on their mutual influences.
PANELS
In addition to the theme of this year’s meeting, there will be four general conference panels that cover all periods, areas and disciplines:
Panel I: Objectivity in the Humanities
Panel II: Methodology in the Humanities
Panel III: The Search for Patterns in the Humanities
Panel IV: The Sciences and the Humanities
KEYNOTE SPEAKERS
Lorraine Daston (Max Planck Institute for the History of Science)
John Joseph (University of Edinburgh)
Glenn Most (Scuola Normale Superiore di Pisa)
Jo Tollebeek (University of Leuven)
SUBMISSIONS
Papers can be submitted to the general theme or to one of the panels. Please indicate on your abstract whether you want your paper to be considered for the general theme or for one of the panels or both.
Send your abstract of maximally 400 words to: HistoryHumanities@gmail.com
Deadline for abstract submissions: 1 June 2012
For more information, see http://makingofthehumanitiesiii.blogspot.com/
ORGANIZATION
Huizinga Institute of Cultural History (Working Group History of the Humanities)
Royal Netherlands Institute in Rome
Institute for Logic, Language and Computation, University of Amsterdam
Rens Bod, Jaap Maat and Thijs Weststeijn (University of Amsterdam)
The third international conference on the history of the humanities, "The Making of the Humanities III", will take place at the Royal Netherlands Institute in Rome, from 1 till 3 November 2012. See http://makingofthehumanitiesiii.blogspot.com/
GOAL OF THE CONFERENCE
This is the third of a biennially organized conference that brings together scholars and historians of humanities disciplines to draw the outlines for a comparative history of the humanities. Although histories of single humanities disciplines exist for quite some time, a comparative history has only very recently been investigated and the first monographs have just appeared.
THEME OF THE 2012 CONFERENCE
The theme of the meeting in 2012 will be "The Making of the Modern Humanities", focusing on the period 1850-2000, as well as four general panel themes that cross all periods. Topics include all aspects of the history of philology, linguistics, literary studies, musicology, historiography, art history, theatre studies, (new) media studies and other humanities disciplines, with an emphasis on their mutual influences.
PANELS
In addition to the theme of this year’s meeting, there will be four general conference panels that cover all periods, areas and disciplines:
Panel I: Objectivity in the Humanities
Panel II: Methodology in the Humanities
Panel III: The Search for Patterns in the Humanities
Panel IV: The Sciences and the Humanities
KEYNOTE SPEAKERS
Lorraine Daston (Max Planck Institute for the History of Science)
John Joseph (University of Edinburgh)
Glenn Most (Scuola Normale Superiore di Pisa)
Jo Tollebeek (University of Leuven)
SUBMISSIONS
Papers can be submitted to the general theme or to one of the panels. Please indicate on your abstract whether you want your paper to be considered for the general theme or for one of the panels or both.
Send your abstract of maximally 400 words to: HistoryHumanities@gmail.com
Deadline for abstract submissions: 1 June 2012
For more information, see http://makingofthehumanitiesiii.blogspot.com/
ORGANIZATION
Huizinga Institute of Cultural History (Working Group History of the Humanities)
Royal Netherlands Institute in Rome
Institute for Logic, Language and Computation, University of Amsterdam
Rens Bod, Jaap Maat and Thijs Weststeijn (University of Amsterdam)
ANNOUNCEMENT: Cambridge Opera Journal, new issue now available
CAMBRIDGE OPERA JOURNAL, VOLUME 22 - ISSUE 03
http://journals.cambridge.org/action/displayIssue?jid=OPR&tab=currentissue
Back to (the music of) the future: Aesthetics of technology in Berlioz's Euphonia and Damnation de Faust
INGE VAN RIJ
Classic staging: Pauline Viardot and the 1859 Orphée revival
Flora Willson
Unintended consequences: Theatre deregulation and opera in France, 1864–1878
Katharine Ellis
Review Article
Rebekah Ahrendt
http://journals.cambridge.org/action/displayIssue?jid=OPR&tab=currentissue
Back to (the music of) the future: Aesthetics of technology in Berlioz's Euphonia and Damnation de Faust
INGE VAN RIJ
Classic staging: Pauline Viardot and the 1859 Orphée revival
Flora Willson
Unintended consequences: Theatre deregulation and opera in France, 1864–1878
Katharine Ellis
Review Article
Rebekah Ahrendt
Call for Paper ECLAP, eLibrary for Performing Arts
Call for paper
ECLAP 2012 Conference on
Information Technologies for Performing Arts, Media Access and Entertainment
7-9 May 2012, Florence, Italy
Conference web page: http://www.eclap.eu/conference
Deadline of the Call for Paper Submission: 1, February 2012
Call for papers: http://www.eclap.eu/drupal/?q=node/65309
Registration form and page
Location: Convitto della Calza, Florence, Italy
It has been a long history of Information Technology innovations within the Cultural Heritage areas. The Performing arts has also been enforced with a number of new innovations which unveil a range of synergies and possibilities. Most of the technologies and innovations produced for digital libraries, media entertainment and education can be exploited in the field of performing arts, with adaptation and repurposing. Performing arts offer many interesting challenges and opportunities for research and innovations and exploitation of cutting edge research results from interdisciplinary areas. For these reasons, the ECLAP 2012 can be regarded as a continuation of past conferences such as AXMEDIS and WEDELMUSIC (both pressed by IEEE and FUP). ECLAP is a European Commission project to create a social network and media access service for performing arts institutions in Europe, to create the e-library of performing arts, exploiting innovative solutions coming from the ICT.
The ECLAP conference is open to researchers, professionals, industries, institutions, technicians and practitioners in the area of performing arts and information technologies, media entertainment; technology enhanced learning, intelligent media systems, acoustic systems, cultural heritage, and many others. The ECLAP conference should become a place where institutions, industries and European Commission and Europeana projects in the areas of cultural heritage can find a place to collaborate and present results. Thus, we invite all the interested groups to organize a workshop/section into ECLAP conference providing their proposal. Exhibition section offers settings (booth and tables) to host demonstrators. Demo and poster sections will be also organized.
The conference is going to have a general track and a set of workshops/sections and panels, and excellent keynote speakers. The conference will be constituted by selected top level papers, which will be published in the proceedings pressed by Florence University Press, with ISBN, and promoted in the most relevant indexing engines.
Topics of the General track on Performing Arts, Media Access and Entertainment, but not limited to, are reported in the following (while other topics can be proposed as well):
• Indexing and search, filtering, information retrieval
• Cross media and multimedia mining
• Media Annotations and tagging, solutions and interfaces
• Mobile solutions and tools
• Cloud based mobile solutions
• Creative technologies
• Sentiment analysis
• Multimodal interactive systems
• Recommendations and suggestions
• Media grid processing and semantic computing
• IPR management and business models
• Data and media protection
• Linked Open Data and Media, aggregated media
• Intelligent information management
• Personalization and profiling, user behavior analysis
• Live Performance technologies and solutions
• Emotion recognition and exploitation
• Audio processing and tools for large events and installations
• Video analysis, indexing and summarization
• Social media technologies and solutions
• Story telling models and tools
• 3D and 4D technologies and tools
• Brain interfaces and interactions
• Collective intelligence analysis and exploitation
• Augmented reality solutions
• Multilingual and natural language processing
• Collaborative and cooperative systems
• Metadata quality, mapping and ingestion models and tools
• Speech processing and understanding
• Content production models and tools
Papers will be subjected to the review and selection of the ECLAP Program Committee members.
Papers format and submission: the paper submission (for all the sessions and workshops) has to be maximum of 6 pages in two columns ECLAP format. Submissions have to be original and not submitted and/or published in other journals or conferences. The submission has to be performed by sending via email the paper in PDF with the ECLAP format to info@eclap.eu. Only the papers accepted by the Programme Committee will be presented at the ECLAP 2012 Conference and publisched in the conference proceedings.
Deadlines:
• Submission of papers to the general track: 1 February 2012 (ECLAP format)
• Submission of papers to the Workshops/Sections: 1 February 2012 (ECLAP format)
• Submission of proposal for the Exposition: 1 February 2012
• Response to the Authors: 15 February 2012
• Response for the exposition area: 15 February 2012
• Camera ready version in PDF with the correct format: 3 March 2012
• Conference: 7-9 May 2012
*Please pass this announcement on to friends and colleagues who might find it of interest.*
Célyne van Corven
La Bellone, House of Performing Arts in Brussels
ECLAP 2012 Conference on
Information Technologies for Performing Arts, Media Access and Entertainment
7-9 May 2012, Florence, Italy
Conference web page: http://www.eclap.eu/conference
Deadline of the Call for Paper Submission: 1, February 2012
Call for papers: http://www.eclap.eu/drupal/?q=node/65309
Registration form and page
Location: Convitto della Calza, Florence, Italy
It has been a long history of Information Technology innovations within the Cultural Heritage areas. The Performing arts has also been enforced with a number of new innovations which unveil a range of synergies and possibilities. Most of the technologies and innovations produced for digital libraries, media entertainment and education can be exploited in the field of performing arts, with adaptation and repurposing. Performing arts offer many interesting challenges and opportunities for research and innovations and exploitation of cutting edge research results from interdisciplinary areas. For these reasons, the ECLAP 2012 can be regarded as a continuation of past conferences such as AXMEDIS and WEDELMUSIC (both pressed by IEEE and FUP). ECLAP is a European Commission project to create a social network and media access service for performing arts institutions in Europe, to create the e-library of performing arts, exploiting innovative solutions coming from the ICT.
The ECLAP conference is open to researchers, professionals, industries, institutions, technicians and practitioners in the area of performing arts and information technologies, media entertainment; technology enhanced learning, intelligent media systems, acoustic systems, cultural heritage, and many others. The ECLAP conference should become a place where institutions, industries and European Commission and Europeana projects in the areas of cultural heritage can find a place to collaborate and present results. Thus, we invite all the interested groups to organize a workshop/section into ECLAP conference providing their proposal. Exhibition section offers settings (booth and tables) to host demonstrators. Demo and poster sections will be also organized.
The conference is going to have a general track and a set of workshops/sections and panels, and excellent keynote speakers. The conference will be constituted by selected top level papers, which will be published in the proceedings pressed by Florence University Press, with ISBN, and promoted in the most relevant indexing engines.
Topics of the General track on Performing Arts, Media Access and Entertainment, but not limited to, are reported in the following (while other topics can be proposed as well):
• Indexing and search, filtering, information retrieval
• Cross media and multimedia mining
• Media Annotations and tagging, solutions and interfaces
• Mobile solutions and tools
• Cloud based mobile solutions
• Creative technologies
• Sentiment analysis
• Multimodal interactive systems
• Recommendations and suggestions
• Media grid processing and semantic computing
• IPR management and business models
• Data and media protection
• Linked Open Data and Media, aggregated media
• Intelligent information management
• Personalization and profiling, user behavior analysis
• Live Performance technologies and solutions
• Emotion recognition and exploitation
• Audio processing and tools for large events and installations
• Video analysis, indexing and summarization
• Social media technologies and solutions
• Story telling models and tools
• 3D and 4D technologies and tools
• Brain interfaces and interactions
• Collective intelligence analysis and exploitation
• Augmented reality solutions
• Multilingual and natural language processing
• Collaborative and cooperative systems
• Metadata quality, mapping and ingestion models and tools
• Speech processing and understanding
• Content production models and tools
Papers will be subjected to the review and selection of the ECLAP Program Committee members.
Papers format and submission: the paper submission (for all the sessions and workshops) has to be maximum of 6 pages in two columns ECLAP format. Submissions have to be original and not submitted and/or published in other journals or conferences. The submission has to be performed by sending via email the paper in PDF with the ECLAP format to info@eclap.eu. Only the papers accepted by the Programme Committee will be presented at the ECLAP 2012 Conference and publisched in the conference proceedings.
Deadlines:
• Submission of papers to the general track: 1 February 2012 (ECLAP format)
• Submission of papers to the Workshops/Sections: 1 February 2012 (ECLAP format)
• Submission of proposal for the Exposition: 1 February 2012
• Response to the Authors: 15 February 2012
• Response for the exposition area: 15 February 2012
• Camera ready version in PDF with the correct format: 3 March 2012
• Conference: 7-9 May 2012
*Please pass this announcement on to friends and colleagues who might find it of interest.*
Célyne van Corven
La Bellone, House of Performing Arts in Brussels
CFP (book proposals): 33 1/3 Book Series
Bloomsbury is thrilled to announce a call for new proposals for the acclaimed 33 1/3 book series, previously published by Continuum. (Bloomsbury acquired Continuum in July 2011).
The series - each volume of which focuses on one popular music album of the last several decades - started in September 2003 and has so far published 85 titles. Books in the series so far have taken a wide range of approaches, on subjects ranging from albums by the Kinks to James Brown, from Bob Dylan to Prince, from the Pixies to Public Enemy, and from the Beastie Boys to Celine Dion.
In these new proposals, we'll be looking for original research, for stories in the history of popular music (recent or otherwise) that haven't been told too often (if at all), and for perspectives that will broaden and develop the discipline of writing about music, as read by a global readership of music scholars and fans.
Proposals will be considered for books about any album that hasn't already been covered in the series, or isn't already under contract. (The Wikipedia page on the series can help with this.) Your choice of album is precisely that: yours. Titles in the series typically sell 4-5,000 copies or more: if you're convinced that enough readers around the world would rush out to buy your book, then go ahead and persuade us!
All resulting books published in the series as a result of this call for proposals will be published under the Bloomsbury Academic imprint during 2013 and 2014. (All existing titles in the series will also be re-branded as Bloomsbury Academic titles, in due course.)
http://www.33third.blogspot.com/2012/01/call-for-proposals-for-33-13-series.html
The series - each volume of which focuses on one popular music album of the last several decades - started in September 2003 and has so far published 85 titles. Books in the series so far have taken a wide range of approaches, on subjects ranging from albums by the Kinks to James Brown, from Bob Dylan to Prince, from the Pixies to Public Enemy, and from the Beastie Boys to Celine Dion.
In these new proposals, we'll be looking for original research, for stories in the history of popular music (recent or otherwise) that haven't been told too often (if at all), and for perspectives that will broaden and develop the discipline of writing about music, as read by a global readership of music scholars and fans.
Proposals will be considered for books about any album that hasn't already been covered in the series, or isn't already under contract. (The Wikipedia page on the series can help with this.) Your choice of album is precisely that: yours. Titles in the series typically sell 4-5,000 copies or more: if you're convinced that enough readers around the world would rush out to buy your book, then go ahead and persuade us!
All resulting books published in the series as a result of this call for proposals will be published under the Bloomsbury Academic imprint during 2013 and 2014. (All existing titles in the series will also be re-branded as Bloomsbury Academic titles, in due course.)
http://www.33third.blogspot.com/2012/01/call-for-proposals-for-33-13-series.html
VIII Congreso de la Sociedad Española de Musicología
VIII Congreso de la Sociedad Española de Musicología
Musicología global, musicología local
Logroño, 6 al 8 de septiembre de 2012
PRESENTACIÓN
No es una novedad afirmar que la sociedad contemporánea está marcada por cambios que afectan a todas las formas de la vida humana. Fenómenos como la eclosión de las nuevas tecnologías de la comunicación, el flujo global de capitales, la movilidad de las personas, las redes sociales, y la aceleración en la circulación de la información, debilitan las oposiciones tradicionales entre mundo urbano y rural, centro y periferia, nosotros y los otros. Más aún, mientras, por una parte, las identidades colectivas —nacionales, políticas, sociales e incluso locales—, parecen reafirmarse, por otra, el impulso de la globalización tiende a obviar las reivindicaciones identitarias, y a empujar el mundo a la homogeneización y al hibridismo generalizados.
Frente a estas nuevas condiciones de la existencia humana nos preguntamos en qué medida los cambios inducidos por la globalización afectan tanto a la musicología y a nuestra actividad académica habitual, como a las representaciones y prácticas musicales locales, sean eruditas o populares. Si, como sostienen algunos teóricos, las estructuras tradicionales del pensamiento se resquebrajan cuando ya no pueden integrar más novedades, es legítimo preguntarse en qué medida nuestra disciplina ha intentado o intenta sobrevivir integrando (¿o rechazando?) críticamente las transformaciones que emergen de la globalización.
El VIII Congreso de la Sociedad Española de Musicología puede ofrecernos la posibilidad de dialogar sobre estas cuestiones. En particular, serán bienvenidas las propuestas innovadoras que reexaminen aspectos de la disciplina desde un enfoque crítico en el que la oposición global-local desempeñe un papel relevante. Dicho en términos generales: ¿qué transformaciones en la teoría y práctica de la investigación musical suscitan (o pueden suscitar) la atención sobre los problemas que plantea la globalización?
1. Música y culturas.
2. Música y política.
3. Lenguajes, estilos y análisis.
4. Estética y crítica musical.
5. Circulación y difusión musical.
6. Historiografía musical.
7. Fuentes.
8. Organología.
PILAR RAMOS LÓPEZ
Coordinadora del Congreso.
INSCRIPCIÓN Y COMUNICACIONES
El boletín de inscripción puede descargarse en el apartado "CONGRESO". Se ruega se envíen a la vez por correo electrónico como documentos adjuntos tanto el boletín de inscripción relleno como el resumen de la comunicación a la dirección . Sólo se considerará para su admisión un resumen por persona. El resumen, de unas 300 palabras en formato digital .doc o .rtf, no debe llevar el nombre de su autor. Tras la selección por el comité científico, la secretaría del congreso comunicará por correo electrónico a sus autores la aceptación de las comunicaciones, cuyos resúmenes serán publicados en la página web de la SEdeM.
CALENDARIO
Límite para la admisión de los resúmenes de las comunicaciones: 5 de febrero.
Comunicación de resúmenes admitidos: 15 de marzo.
Límite para el envío del texto íntegro de las comunicaciones: 25 de julio.
Límite de inscripción: hasta el 15 de julio.
CUOTAS DE INSCRIPCIÓN Y PARTICIPACIÓN
- Socios de la SEdeM:
· antes del 30.06.2012 50€
· a partir del 01.07.2012 70€
- No socios:
· antes del 30.06.2012 80€
· a partir del 01.07.2012 100€
- Estudiantes acreditados:
· antes del 30.06.2012 40 €
· a partir del 01.07.2012 50 €
FORMA DE PAGO
Ingreso directo o transferencia. Beneficiario: Sociedad Española de Musicología (se ruega especificar «Congreso SEdeM 2012»). Entidad: Banca Cívica, CCC: 2018 0126 11 3000018897. La inscripción será efectiva una vez realizado el pago.
COMITÉ CIENTÍFICO
Màrius Bernadó Tarragona, Germán Gan Quesada, Juan Miguel González Martínez, Leticia Sánchez de Andrés, Karlos Sánchez Ekiza y Alejandro Vera Aguilera
COMITÉ ORGANIZADOR
Rosario Álvarez, Ignacio Hurtado, Ana Llorens, Javier Marín López, Pablo L. Rodríguez Fernández, Thomas Schmitt.
SECRETARÍA
Ignacio Hurtado (Secretaría de la SEdeM). Horario: de lunes a viernes de 10.00 a 14:00 h. C/ Carretas, 14 - 4º i. 28012 Madrid. Tfno.: 915231712, dirección electrónica: sedem@sedem.es.
giovedì 26 gennaio 2012
AWARD: Latin American Musicology Prize "Samuel Claro Valdes"
CONVOCATORIA AL VIII PREMIO LATINOAMERICANO DE MUSICOLOGÍA "SAMUEL CLARO VALDÉS" 2012 El Instituto de Música de la Pontificia Universidad Católica de Chile convoca a concurso para la adjudicación del VIII Premio Latinoamericano de Musicología "Samuel Claro Valdés" 2012
Los artículos deberán enviarse por correo electrónico, en formato PDF, a la secretaría del Instituto de Música (mguentuc [at] uc.cl), con el asunto “Postulación VIII premio Samuel Claro Valdés”.
El plazo límite para el envío es el 1 de junio de 2012.
Full details: http://www.uc.cl/artes/html/html_mus/frset_mus2.html
Los artículos deberán enviarse por correo electrónico, en formato PDF, a la secretaría del Instituto de Música (mguentuc [at] uc.cl), con el asunto “Postulación VIII premio Samuel Claro Valdés”.
El plazo límite para el envío es el 1 de junio de 2012.
Full details: http://www.uc.cl/artes/html/html_mus/frset_mus2.html
Reminder: Call for Paper ECLAP, eLibrary for Performing Arts
Call for paper
ECLAP 2012 Conference on
Information Technologies for Performing Arts, Media Access and Entertainment
7-9 May 2012, Florence, Italy
Conference web page: http://www.eclap.eu/conference
Deadline of the Call for Paper Submission: 1, February 2012
Call for papers: http://www.eclap.eu/drupal/?q=node/65309
Registration form and page
Location: Convitto della Calza, Florence, Italy
It has been a long history of Information Technology innovations within the Cultural Heritage areas. The Performing arts has also been enforced with a number of new innovations which unveil a range of synergies and possibilities. Most of the technologies and innovations produced for digital libraries, media entertainment and education can be exploited in the field of performing arts, with adaptation and repurposing. Performing arts offer many interesting challenges and opportunities for research and innovations and exploitation of cutting edge research results from interdisciplinary areas. For these reasons, the ECLAP 2012 can be regarded as a continuation of past conferences such as AXMEDIS and WEDELMUSIC (both pressed by IEEE and FUP). ECLAP is a European Commission project to create a social network and media access service for performing arts institutions in Europe, to create the e-library of performing arts, exploiting innovative solutions coming from the ICT.
The ECLAP conference is open to researchers, professionals, industries, institutions, technicians and practitioners in the area of performing arts and information technologies, media entertainment; technology enhanced learning, intelligent media systems, acoustic systems, cultural heritage, and many others. The ECLAP conference should become a place where institutions, industries and European Commission and Europeana projects in the areas of cultural heritage can find a place to collaborate and present results. Thus, we invite all the interested groups to organize a workshop/section into ECLAP conference providing their proposal. Exhibition section offers settings (booth and tables) to host demonstrators. Demo and poster sections will be also organized.
The conference is going to have a general track and a set of workshops/sections and panels, and excellent keynote speakers. The conference will be constituted by selected top level papers, which will be published in the proceedings pressed by Florence University Press, with ISBN, and promoted in the most relevant indexing engines.
Topics of the General track on Performing Arts, Media Access and Entertainment, but not limited to, are reported in the following (while other topics can be proposed as well):
• Indexing and search, filtering, information retrieval
• Cross media and multimedia mining
• Media Annotations and tagging, solutions and interfaces
• Mobile solutions and tools
• Cloud based mobile solutions
• Creative technologies
• Sentiment analysis
• Multimodal interactive systems
• Recommendations and suggestions
• Media grid processing and semantic computing
• IPR management and business models
• Data and media protection
• Linked Open Data and Media, aggregated media
• Intelligent information management
• Personalization and profiling, user behavior analysis
• Live Performance technologies and solutions
• Emotion recognition and exploitation
• Audio processing and tools for large events and installations
• Video analysis, indexing and summarization
• Social media technologies and solutions
• Story telling models and tools
• 3D and 4D technologies and tools
• Brain interfaces and interactions
• Collective intelligence analysis and exploitation
• Augmented reality solutions
• Multilingual and natural language processing
• Collaborative and cooperative systems
• Metadata quality, mapping and ingestion models and tools
• Speech processing and understanding
• Content production models and tools
Papers will be subjected to the review and selection of the ECLAP Program Committee members.
Papers format and submission: the paper submission (for all the sessions and workshops) has to be maximum of 6 pages in two columns ECLAP format. Submissions have to be original and not submitted and/or published in other journals or conferences. The submission has to be performed by sending via email the paper in PDF with the ECLAP format to info@eclap.eu. Only the papers accepted by the Programme Committee will be presented at the ECLAP 2012 Conference and publisched in the conference proceedings.
Deadlines:
• Submission of papers to the general track: 1 February 2012 (ECLAP format)
• Submission of papers to the Workshops/Sections: 1 February 2012 (ECLAP format)
• Submission of proposal for the Exposition: 1 February 2012
• Response to the Authors: 15 February 2012
• Response for the exposition area: 15 February 2012
• Camera ready version in PDF with the correct format: 3 March 2012
• Conference: 7-9 May 2012
*Please pass this announcement on to friends and colleagues who might find it of interest.*
Célyne van Corven
La Bellone, House of Performing Arts in Brussels
ECLAP 2012 Conference on
Information Technologies for Performing Arts, Media Access and Entertainment
7-9 May 2012, Florence, Italy
Conference web page: http://www.eclap.eu/conference
Deadline of the Call for Paper Submission: 1, February 2012
Call for papers: http://www.eclap.eu/drupal/?q=node/65309
Registration form and page
Location: Convitto della Calza, Florence, Italy
It has been a long history of Information Technology innovations within the Cultural Heritage areas. The Performing arts has also been enforced with a number of new innovations which unveil a range of synergies and possibilities. Most of the technologies and innovations produced for digital libraries, media entertainment and education can be exploited in the field of performing arts, with adaptation and repurposing. Performing arts offer many interesting challenges and opportunities for research and innovations and exploitation of cutting edge research results from interdisciplinary areas. For these reasons, the ECLAP 2012 can be regarded as a continuation of past conferences such as AXMEDIS and WEDELMUSIC (both pressed by IEEE and FUP). ECLAP is a European Commission project to create a social network and media access service for performing arts institutions in Europe, to create the e-library of performing arts, exploiting innovative solutions coming from the ICT.
The ECLAP conference is open to researchers, professionals, industries, institutions, technicians and practitioners in the area of performing arts and information technologies, media entertainment; technology enhanced learning, intelligent media systems, acoustic systems, cultural heritage, and many others. The ECLAP conference should become a place where institutions, industries and European Commission and Europeana projects in the areas of cultural heritage can find a place to collaborate and present results. Thus, we invite all the interested groups to organize a workshop/section into ECLAP conference providing their proposal. Exhibition section offers settings (booth and tables) to host demonstrators. Demo and poster sections will be also organized.
The conference is going to have a general track and a set of workshops/sections and panels, and excellent keynote speakers. The conference will be constituted by selected top level papers, which will be published in the proceedings pressed by Florence University Press, with ISBN, and promoted in the most relevant indexing engines.
Topics of the General track on Performing Arts, Media Access and Entertainment, but not limited to, are reported in the following (while other topics can be proposed as well):
• Indexing and search, filtering, information retrieval
• Cross media and multimedia mining
• Media Annotations and tagging, solutions and interfaces
• Mobile solutions and tools
• Cloud based mobile solutions
• Creative technologies
• Sentiment analysis
• Multimodal interactive systems
• Recommendations and suggestions
• Media grid processing and semantic computing
• IPR management and business models
• Data and media protection
• Linked Open Data and Media, aggregated media
• Intelligent information management
• Personalization and profiling, user behavior analysis
• Live Performance technologies and solutions
• Emotion recognition and exploitation
• Audio processing and tools for large events and installations
• Video analysis, indexing and summarization
• Social media technologies and solutions
• Story telling models and tools
• 3D and 4D technologies and tools
• Brain interfaces and interactions
• Collective intelligence analysis and exploitation
• Augmented reality solutions
• Multilingual and natural language processing
• Collaborative and cooperative systems
• Metadata quality, mapping and ingestion models and tools
• Speech processing and understanding
• Content production models and tools
Papers will be subjected to the review and selection of the ECLAP Program Committee members.
Papers format and submission: the paper submission (for all the sessions and workshops) has to be maximum of 6 pages in two columns ECLAP format. Submissions have to be original and not submitted and/or published in other journals or conferences. The submission has to be performed by sending via email the paper in PDF with the ECLAP format to info@eclap.eu. Only the papers accepted by the Programme Committee will be presented at the ECLAP 2012 Conference and publisched in the conference proceedings.
Deadlines:
• Submission of papers to the general track: 1 February 2012 (ECLAP format)
• Submission of papers to the Workshops/Sections: 1 February 2012 (ECLAP format)
• Submission of proposal for the Exposition: 1 February 2012
• Response to the Authors: 15 February 2012
• Response for the exposition area: 15 February 2012
• Camera ready version in PDF with the correct format: 3 March 2012
• Conference: 7-9 May 2012
*Please pass this announcement on to friends and colleagues who might find it of interest.*
Célyne van Corven
La Bellone, House of Performing Arts in Brussels
JOB: Oberlin College, endowed professorship
The Conservatory of Music at Oberlin College invites applications for an endowed tenure-track professorship, beginning in the 2012-2013 academic year.
The Oberlin College Conservatory of Music, founded in 1865, is the nation's oldest continuously operating conservatory, and the only major music school in the country linked with a preeminent liberal arts college. Students are enrolled in undergraduate programs leading to the Bachelor of Music in performance, composition, music education, music history, historical performance, electronic and computer music, and jazz studies. Graduate programs leading to the Master of Music in conducting, historical performance, opera theater, Master of Music Education and Master of Music in Teaching are available. Performance and artist diplomas are also offered.
The Fredrick R. Selch Professor will be a teacher-scholar specializing in music of the United States and offering classes at all levels of the curriculum in both the Conservatory of Music and the College of Arts and Sciences. Additionally, the Selch Professor will be closely involved in the promotion and use of the Frederick R. Selch Collection of American Music History as a resource for teaching and research. In addition to a research specialty in some aspect of American music, the ability to teach in a cognate area of musicology or ethnomusicology is also strongly desired.
The Division of Musicology at Oberlin offers both a major and minor for students interested in the advanced study of musicology and/or ethnomusicology, as well as course work for music majors in the Conservatory of Music and musical studies majors in the College of Arts and Sciences. The Division also offers non-major courses for students in the College. All members of the Division are expected to participate actively as faculty advisors and in the general committee life of the institution. An overview of the Division is available at http://new.oberlin.edu/conservatory/departments/musicology/.
The Selch Collection of American Music History, a major instrument collection and music archive, is described at http://www.oberlin.edu/kohl/collection-selch.html. The Selch Professor will be expected to teach courses based on the holdings of the Collection and to join with its curatorial staff in maintaining its dynamic presence in the musical community.
Qualifications: Ph.D. in musicology or ethnomusicology; demonstrated record of teaching excellence; established record of publication and scholarly research in American music. Archival experience and the ability to teach in a cognate musical area are both desired.
Interested persons should submit a letter of interest, curriculum vitae, and letters of recommendation to Dean David H. Stull, Oberlin College Conservatory of Music, 77 West College St., Oberlin, OH 44074. Review of applications will commence March 1, 2012, and those received after that date will be considered until the position is filled. The appointment will be filled at a rank and salary commensurate with experience and qualifications.
Oberlin College is an Equal Opportunity/Affirmative Action Employer committed to creating an institutional environment free from discrimination and harassment based on race, color, sex, marital status, religion, creed, national origin, disability, age, military or veteran status, sexual orientation, family relationship to an employee of Oberlin College, and gender identity and expression.
The Oberlin College Conservatory of Music, founded in 1865, is the nation's oldest continuously operating conservatory, and the only major music school in the country linked with a preeminent liberal arts college. Students are enrolled in undergraduate programs leading to the Bachelor of Music in performance, composition, music education, music history, historical performance, electronic and computer music, and jazz studies. Graduate programs leading to the Master of Music in conducting, historical performance, opera theater, Master of Music Education and Master of Music in Teaching are available. Performance and artist diplomas are also offered.
The Fredrick R. Selch Professor will be a teacher-scholar specializing in music of the United States and offering classes at all levels of the curriculum in both the Conservatory of Music and the College of Arts and Sciences. Additionally, the Selch Professor will be closely involved in the promotion and use of the Frederick R. Selch Collection of American Music History as a resource for teaching and research. In addition to a research specialty in some aspect of American music, the ability to teach in a cognate area of musicology or ethnomusicology is also strongly desired.
The Division of Musicology at Oberlin offers both a major and minor for students interested in the advanced study of musicology and/or ethnomusicology, as well as course work for music majors in the Conservatory of Music and musical studies majors in the College of Arts and Sciences. The Division also offers non-major courses for students in the College. All members of the Division are expected to participate actively as faculty advisors and in the general committee life of the institution. An overview of the Division is available at http://new.oberlin.edu/conservatory/departments/musicology/.
The Selch Collection of American Music History, a major instrument collection and music archive, is described at http://www.oberlin.edu/kohl/collection-selch.html. The Selch Professor will be expected to teach courses based on the holdings of the Collection and to join with its curatorial staff in maintaining its dynamic presence in the musical community.
Qualifications: Ph.D. in musicology or ethnomusicology; demonstrated record of teaching excellence; established record of publication and scholarly research in American music. Archival experience and the ability to teach in a cognate musical area are both desired.
Interested persons should submit a letter of interest, curriculum vitae, and letters of recommendation to Dean David H. Stull, Oberlin College Conservatory of Music, 77 West College St., Oberlin, OH 44074. Review of applications will commence March 1, 2012, and those received after that date will be considered until the position is filled. The appointment will be filled at a rank and salary commensurate with experience and qualifications.
Oberlin College is an Equal Opportunity/Affirmative Action Employer committed to creating an institutional environment free from discrimination and harassment based on race, color, sex, marital status, religion, creed, national origin, disability, age, military or veteran status, sexual orientation, family relationship to an employee of Oberlin College, and gender identity and expression.
Research Fellow at University of Stavanger Norway
Research Fellow in Literacy Studies
Closing date for applications: February 27, 2012.
The University of Stavanger invites applications for a three-year doctorate scholarship in Literacy Studies at the Faculty of Humanities in the Department of Music and Dance, beginning September 1, 2012.
The title of the project is “Music Reading in a Musical Context”.
The research fellow will have his/her work in the fields within the project "Music reading in a musical context". This project builds on the experience and knowledge that eye movement studies of note reading represents. The project has the ambition to develop a theory about note reading in classical music as literacy based skill, monitoring/describing note reading skills in the interface between individual and environment, based on studies of skill performance in the present. The project has character of basic scientific research challenging assumptions about the relationships between notation, conventionality and exercise in the field of classical music, while exploring the empirical relationship between the individual and the conventionality in a performance situation. The research fellow can enter the already described subprojects and develop these, or describe other subprojects that can be part of the project “Music reading in a musical context”.
Applicants must have a master degree in music performance, musicology, literacy studies or corresponding qualifications. It is necessary to have obtained an average grade of B or better in order to qualify. The appointee must be able to work independently and as a member of a team, be creative and innovative. The research fellow must have a good command of both oral and written English.
The research fellow will be admitted to the doctoral program at the University of Stavanger on an agreement to complete the doctorate within the duration of the scholarship.
The program will mainly be carried out at the University of Stavanger, apart from a period of study abroad at a recognized and relevant center of research.
The research fellow is salaried according to the State Salary Code, l.pl 17.515, code 1017, LR 20, ltr 48, of NOK 391.300,- per annum.
The position provides for automatic membership in the Norwegian Public Service Pension Fund, which guarantees favorable retirement benefits. Members may also apply for home investment loans at favorable interest rates.
Project description and further information about the position can be obtained from Dr. Per Dahl telephone +47 51 83 40 64, email per.dahl@uis.no, or from Head of department Dag Jostein Nordaker, telephone +47 51 83 40 23, email dagjostein.nordaker@uis.no.
Information about appointment procedures can be obtained from Kristine Nordbø Røgenes, telephone tlf +47 51 83 35 16, email kristine.n.rogenes@uis.no.
The University is committed to a policy of equal opportunity in its employment practices.
The application must contain the following documents and material and be submitted in two copies:
• CV
• the form "Utvidet søkerskjema" (Information to be made available to the applicants)
• certificates/diplomas
• references
• list of publications
• up to 15 publications
• any other documentation that the applicant considers relevant
and be addressed to:
University of Stavanger
Faculty of Arts and Education
4036 Stavanger
The application should be marked st.id 30043702.
Closing date for applications is February 27, 2012.
Closing date for applications: February 27, 2012.
The University of Stavanger invites applications for a three-year doctorate scholarship in Literacy Studies at the Faculty of Humanities in the Department of Music and Dance, beginning September 1, 2012.
The title of the project is “Music Reading in a Musical Context”.
The research fellow will have his/her work in the fields within the project "Music reading in a musical context". This project builds on the experience and knowledge that eye movement studies of note reading represents. The project has the ambition to develop a theory about note reading in classical music as literacy based skill, monitoring/describing note reading skills in the interface between individual and environment, based on studies of skill performance in the present. The project has character of basic scientific research challenging assumptions about the relationships between notation, conventionality and exercise in the field of classical music, while exploring the empirical relationship between the individual and the conventionality in a performance situation. The research fellow can enter the already described subprojects and develop these, or describe other subprojects that can be part of the project “Music reading in a musical context”.
Applicants must have a master degree in music performance, musicology, literacy studies or corresponding qualifications. It is necessary to have obtained an average grade of B or better in order to qualify. The appointee must be able to work independently and as a member of a team, be creative and innovative. The research fellow must have a good command of both oral and written English.
The research fellow will be admitted to the doctoral program at the University of Stavanger on an agreement to complete the doctorate within the duration of the scholarship.
The program will mainly be carried out at the University of Stavanger, apart from a period of study abroad at a recognized and relevant center of research.
The research fellow is salaried according to the State Salary Code, l.pl 17.515, code 1017, LR 20, ltr 48, of NOK 391.300,- per annum.
The position provides for automatic membership in the Norwegian Public Service Pension Fund, which guarantees favorable retirement benefits. Members may also apply for home investment loans at favorable interest rates.
Project description and further information about the position can be obtained from Dr. Per Dahl telephone +47 51 83 40 64, email per.dahl@uis.no, or from Head of department Dag Jostein Nordaker, telephone +47 51 83 40 23, email dagjostein.nordaker@uis.no.
Information about appointment procedures can be obtained from Kristine Nordbø Røgenes, telephone tlf +47 51 83 35 16, email kristine.n.rogenes@uis.no.
The University is committed to a policy of equal opportunity in its employment practices.
The application must contain the following documents and material and be submitted in two copies:
• CV
• the form "Utvidet søkerskjema" (Information to be made available to the applicants)
• certificates/diplomas
• references
• list of publications
• up to 15 publications
• any other documentation that the applicant considers relevant
and be addressed to:
University of Stavanger
Faculty of Arts and Education
4036 Stavanger
The application should be marked st.id 30043702.
Closing date for applications is February 27, 2012.
mercoledì 25 gennaio 2012
MuSA 2012 - Call for Papers
Third International Symposium on
Music/Sonic Art: Practices and Theories
MuSA 2012 - Karlsruhe (IMWI)
7-8 July, 2012
Hochschule für Musik, Karlsruhe - Institut für Musikwissenschaft und Musikinformatik (IMWI)
Am Schloss Gottesaue 7, 76131 Karlsruhe
CALL FOR PAPERS:
We are pleased to announce the Third International Symposium on Music and Sonic Art: Practices and Theories (MuSA), an interdisciplinary two-day event to be held in Karlsruhe, Germany. The dates of the Symposium are 7-8 July 2012.
Proposals for sessions and individual papers for the Third International Symposium on Music and Sonic Art: Practices and Theories are invited from academics, independent researchers, practitioners and post-graduate students. Presentation formats include both academic research papers (including research in progress) and reports on practice-based work or educational programmes. The symposium also encourages workshops and presentations in which performance forms an integral part. All papers will be ‘blind’ peer-reviewed. The symposium language will be English.
THEME and TOPICS:
The principal aim of MuSA 2012 is to advance interdisciplinary investigations between music, sonic arts and other disciplines such as dance, theatre, digital media, visual arts and architecture. As in MuSA 2010 and MuSA 2011 we believe that an interdisciplinary approach to musicology (defined broadly) is of benefit to the research community. Music embraces many theoretical positions as well as cultural, social practices and contemporary musicology reflects this diversity. There will be three distinct (though related) themes to MuSA 2012:
First, we welcome presentations in ‘traditional’ subject areas such as historical/critical musicology, performance studies, aesthetics, analysis and ethnomusicology. What, for example, are the qualitative differences for performers in a rehearsal and the final concert? Can a composition or a performance be regarded as ‘research’ properly speaking, or is a form of textual commentary necessary? What metaphors (if any) do performers use to explain their processes? What strategies are appropriate to an analysis of ‘open’ forms? How can the concept of the ‘formless’ be applied to music/sonic art?
Second, as the symposium’s title suggests, we hope to encourage the submission of papers investigating relationships (and possible tensions) between music and sonic/sound art. For example, to what extent can the practices and theories of music inform sonic art (and vice versa) or is it more beneficial for sonic art to draw on the aesthetics of gallery-based fine art practice? How does the role of technology manifest itself in both music and/or sonic art? Can a sound installation located within a gallery space form part of a musicological discourse? The role of the performer, expression, embodiment, the nature of the instrument, the status of the score… these are vitally important shared concerns and would benefit from interdisciplinary discussions.
Third, presentations are also invited from scholars who are researching the connections between music/sonic art and disciplines such as architecture, painting, theatre and literature. Are the blank canvases of Rauschenberg comparable to Cage’s ‘4:33’? Do the constraints employed by literary groups such as OuLiPo relate to algorithmic composition? Finally, are proportions evident in architecture - Baroque, Classical, Modern - consciously applied in contemporaneous music?
These are, therefore, the three themes of the symposium. However, a paper dealing with any subject area that is within the broad remit of the symposium will be welcomed.
ABSTRACT FORMAT:
Please submit an abstract of approximately 300 words as an e-mail attachment to Prof. Dr. Mine Doğantan-Dack (m.dack@mdx.ac.uk). As contributions will be ‘blind’ peer-reviewed, please do not include information that might facilitate identification from this abstract. In addition, please include separately the name(s) of the author(s), institutional affiliation (if any) and short biography (approximately 150 words). Deadline for receipt of abstracts is 15 April. Notification of acceptance will be sent by 30 April.
REGISTRATION:
The symposium fees are: €100 for delegates, €80 for presenters and €50 for students and others who qualify for concessions. Details for payment can be found on the symposium web site: http://web.me.com/johngeorgedack/MuSA_2012
If additional information is required please do not hesitate to contact Prof. Dr. Doğantan-Dack or any member of the symposium committee:
Prof. Dr. Mine Doğantan-Dack (Music Department, Middlesex University) – m.dack@mdx.ac.uk
Prof. Dr. Thomas A. Troge (Institut für Musikwissenschaft und Musikinformatik, Karlsruhe) - troge@hfm.eu
Dr. John Dack (Lansdown Centre for Electronic Art, Middlesex University) – j.dack@mdx.ac.uk
Christoph Seibert (Institut für Musikwissenschaft und Musikinformatik, Karlsruhe) –
seibert@hfm.eu
Prof Dr Mine Dogantan Dack
(BA, BM, MM, MA, MA, MPhil, PhD)
Research Fellow, Music
School of Arts Education
Department of Performing Arts
Middlesex University
Trent Park
Bramley Road
London N14 4YZ
Tel: +44 (0)20 8411 5716
m.dack@mdx.ac.uk
www.mdxpa.net
CMPCP Associate
www.cmpcp.ac.uk
Visiting Professor, IIAS
www.marmaratrio.com
Music/Sonic Art: Practices and Theories
MuSA 2012 - Karlsruhe (IMWI)
7-8 July, 2012
Hochschule für Musik, Karlsruhe - Institut für Musikwissenschaft und Musikinformatik (IMWI)
Am Schloss Gottesaue 7, 76131 Karlsruhe
CALL FOR PAPERS:
We are pleased to announce the Third International Symposium on Music and Sonic Art: Practices and Theories (MuSA), an interdisciplinary two-day event to be held in Karlsruhe, Germany. The dates of the Symposium are 7-8 July 2012.
Proposals for sessions and individual papers for the Third International Symposium on Music and Sonic Art: Practices and Theories are invited from academics, independent researchers, practitioners and post-graduate students. Presentation formats include both academic research papers (including research in progress) and reports on practice-based work or educational programmes. The symposium also encourages workshops and presentations in which performance forms an integral part. All papers will be ‘blind’ peer-reviewed. The symposium language will be English.
THEME and TOPICS:
The principal aim of MuSA 2012 is to advance interdisciplinary investigations between music, sonic arts and other disciplines such as dance, theatre, digital media, visual arts and architecture. As in MuSA 2010 and MuSA 2011 we believe that an interdisciplinary approach to musicology (defined broadly) is of benefit to the research community. Music embraces many theoretical positions as well as cultural, social practices and contemporary musicology reflects this diversity. There will be three distinct (though related) themes to MuSA 2012:
First, we welcome presentations in ‘traditional’ subject areas such as historical/critical musicology, performance studies, aesthetics, analysis and ethnomusicology. What, for example, are the qualitative differences for performers in a rehearsal and the final concert? Can a composition or a performance be regarded as ‘research’ properly speaking, or is a form of textual commentary necessary? What metaphors (if any) do performers use to explain their processes? What strategies are appropriate to an analysis of ‘open’ forms? How can the concept of the ‘formless’ be applied to music/sonic art?
Second, as the symposium’s title suggests, we hope to encourage the submission of papers investigating relationships (and possible tensions) between music and sonic/sound art. For example, to what extent can the practices and theories of music inform sonic art (and vice versa) or is it more beneficial for sonic art to draw on the aesthetics of gallery-based fine art practice? How does the role of technology manifest itself in both music and/or sonic art? Can a sound installation located within a gallery space form part of a musicological discourse? The role of the performer, expression, embodiment, the nature of the instrument, the status of the score… these are vitally important shared concerns and would benefit from interdisciplinary discussions.
Third, presentations are also invited from scholars who are researching the connections between music/sonic art and disciplines such as architecture, painting, theatre and literature. Are the blank canvases of Rauschenberg comparable to Cage’s ‘4:33’? Do the constraints employed by literary groups such as OuLiPo relate to algorithmic composition? Finally, are proportions evident in architecture - Baroque, Classical, Modern - consciously applied in contemporaneous music?
These are, therefore, the three themes of the symposium. However, a paper dealing with any subject area that is within the broad remit of the symposium will be welcomed.
ABSTRACT FORMAT:
Please submit an abstract of approximately 300 words as an e-mail attachment to Prof. Dr. Mine Doğantan-Dack (m.dack@mdx.ac.uk). As contributions will be ‘blind’ peer-reviewed, please do not include information that might facilitate identification from this abstract. In addition, please include separately the name(s) of the author(s), institutional affiliation (if any) and short biography (approximately 150 words). Deadline for receipt of abstracts is 15 April. Notification of acceptance will be sent by 30 April.
REGISTRATION:
The symposium fees are: €100 for delegates, €80 for presenters and €50 for students and others who qualify for concessions. Details for payment can be found on the symposium web site: http://web.me.com/johngeorgedack/MuSA_2012
If additional information is required please do not hesitate to contact Prof. Dr. Doğantan-Dack or any member of the symposium committee:
Prof. Dr. Mine Doğantan-Dack (Music Department, Middlesex University) – m.dack@mdx.ac.uk
Prof. Dr. Thomas A. Troge (Institut für Musikwissenschaft und Musikinformatik, Karlsruhe) - troge@hfm.eu
Dr. John Dack (Lansdown Centre for Electronic Art, Middlesex University) – j.dack@mdx.ac.uk
Christoph Seibert (Institut für Musikwissenschaft und Musikinformatik, Karlsruhe) –
seibert@hfm.eu
Prof Dr Mine Dogantan Dack
(BA, BM, MM, MA, MA, MPhil, PhD)
Research Fellow, Music
School of Arts Education
Department of Performing Arts
Middlesex University
Trent Park
Bramley Road
London N14 4YZ
Tel: +44 (0)20 8411 5716
m.dack@mdx.ac.uk
www.mdxpa.net
CMPCP Associate
www.cmpcp.ac.uk
Visiting Professor, IIAS
www.marmaratrio.com
martedì 24 gennaio 2012
CFP (reminder): Music: Cognition, Technology, Society, Cornell Univ., Ithaca, May 2012
“Music: Cognition, Technology, Society”
11-13 May 2012 Cornell University
Call for Papers
Technology plays a crucial role across a broad spectrum of sonic
activity, offering new cognitive frameworks and reshaping social
networks in ways that challenge the conventional binary of the
individual subject versus the collective. It mediates performance and
listening, provides new modes of analysis, and inspires musical
creation. It conditions our perception of sound as well as our ability
to change it, and is thus both an appropriate tool and topic of aural
research.
The nexus of social, cultural, and political issues in and around
music, cognition, and technology encompasses a range of
interdisciplinary approaches to the question of musical meaning, and
therefore this international conference will draw on a wide range of
scholarship from across multiple disciplines. We hope to integrate,
rather than simply collate, these different methodologies, inviting
papers that attempt to reconcile the hermeneutic and the performative,
the empirical and the abstract. To this end presenters will share
their papers with the other participants in their session two weeks
prior to the conference, in order to foster productive dialogue.
Keynotes will be given by Eric Clarke (University of Oxford), Ichiro
Fujinaga (McGill University) and Carol Krumhansl (Cornell University).
The guest composer will be Tod Machover (Massachusetts Institute of
Technology).
Abstracts of no more than 300 words must be submitted by 1 February
2012. Drafts of accepted papers must be submitted by 26 April 2012.
To submit abstracts, and for more information and a list of potential
paper topics, please visit our website at www.mcts2012.com
11-13 May 2012 Cornell University
Call for Papers
Technology plays a crucial role across a broad spectrum of sonic
activity, offering new cognitive frameworks and reshaping social
networks in ways that challenge the conventional binary of the
individual subject versus the collective. It mediates performance and
listening, provides new modes of analysis, and inspires musical
creation. It conditions our perception of sound as well as our ability
to change it, and is thus both an appropriate tool and topic of aural
research.
The nexus of social, cultural, and political issues in and around
music, cognition, and technology encompasses a range of
interdisciplinary approaches to the question of musical meaning, and
therefore this international conference will draw on a wide range of
scholarship from across multiple disciplines. We hope to integrate,
rather than simply collate, these different methodologies, inviting
papers that attempt to reconcile the hermeneutic and the performative,
the empirical and the abstract. To this end presenters will share
their papers with the other participants in their session two weeks
prior to the conference, in order to foster productive dialogue.
Keynotes will be given by Eric Clarke (University of Oxford), Ichiro
Fujinaga (McGill University) and Carol Krumhansl (Cornell University).
The guest composer will be Tod Machover (Massachusetts Institute of
Technology).
Abstracts of no more than 300 words must be submitted by 1 February
2012. Drafts of accepted papers must be submitted by 26 April 2012.
To submit abstracts, and for more information and a list of potential
paper topics, please visit our website at www.mcts2012.com
ANNOUNCEMENT: Musical Quarterly, new issue now available
The Musical Quarterly, Vol. 94, No. 4
December 2011
http://mq.oxfordjournals.org/content/vol94/issue4/index.dtl?etoc
Notes from the Editor
The Jewish Question in Music
Leon Botstein
Music and Culture
Debussy as National Icon: From Vehicle of Vichy's Compromise to French Resistance Classic
Jane F. Fulcher
Texts and Contexts
Another Look at the Curious Fifteenth-Century Hebrew-Worded Motet "Cados cados"
Don Harrán
The Early Enlightenment, Jews, and Bach
Raymond Erickson
Joachim's YouthJoachim's Jewishness
Robert W. Eshbach
December 2011
http://mq.oxfordjournals.org/content/vol94/issue4/index.dtl?etoc
Notes from the Editor
The Jewish Question in Music
Leon Botstein
Music and Culture
Debussy as National Icon: From Vehicle of Vichy's Compromise to French Resistance Classic
Jane F. Fulcher
Texts and Contexts
Another Look at the Curious Fifteenth-Century Hebrew-Worded Motet "Cados cados"
Don Harrán
The Early Enlightenment, Jews, and Bach
Raymond Erickson
Joachim's YouthJoachim's Jewishness
Robert W. Eshbach
Society for American Music, 2013 Conference Call for Seminar Topics
CALL FOR CONFERENCE SEMINAR TOPICS
The Society for American Music invites proposals for seminar topics for its 39th Annual Conference to be held in Little Rock, Arkansas, March 6-11, 2013. Seminar-format sessions are devoted principally to a moderated discussion of a specific theme or topic in American music that reflects a current preoccupation in the field, a recent hot-button issue, an important but neglected area of study, or a new field of research. Papers are read in advance to encourage in-depth investigation and to allow for themes and issues to be addressed extensively.
Topics and papers for seminars are selected in two stages. First, a coordinator proposes a topic. The program committee will vet the proposals (in consultation with the Board) and announce the two selected topics in advance of the annual conference in Charlotte in March, 2012. Second, the program committee will invite proposals for papers related to the chosen topics as part of the general call for papers (to be announced at the Charlotte meeting), for which the deadline this year will be in June.
SUMBMISSION GUIDELINES: Potential seminar coordinators should propose a broad topical theme in some area of American music. Topics, even those focusing on specific genres or regions, should ideally be issue-oriented and widely relevant. Topics from previous conferences may be found under Past Conferences at the SAM website: http://american-music.org/conferences/PastMeetingsAndConferences.php. Proposals should consist of a 500-word abstract describing the topic, a bibliography of pertinent scholarship (not included in the 500-word count), and a CV from the coordinator. The proposal should convey the breadth of the topic, with reference to relevant bibliographical sources. The coordinator submitting the proposal may identify or recommend to the program committee two or three potential panelists. If the topic is selected, the program committee will be under no obligation to accept papers identified or recommended by the coordinator. Each session will be 90 minutes long with no stated limit on the number of panelists. Submissions should be emailed to Steven Baur, chair of the 2013 program committee, at steven.baur@dal.ca on or before Monday, February 27, 2012.
The Society for American Music invites proposals for seminar topics for its 39th Annual Conference to be held in Little Rock, Arkansas, March 6-11, 2013. Seminar-format sessions are devoted principally to a moderated discussion of a specific theme or topic in American music that reflects a current preoccupation in the field, a recent hot-button issue, an important but neglected area of study, or a new field of research. Papers are read in advance to encourage in-depth investigation and to allow for themes and issues to be addressed extensively.
Topics and papers for seminars are selected in two stages. First, a coordinator proposes a topic. The program committee will vet the proposals (in consultation with the Board) and announce the two selected topics in advance of the annual conference in Charlotte in March, 2012. Second, the program committee will invite proposals for papers related to the chosen topics as part of the general call for papers (to be announced at the Charlotte meeting), for which the deadline this year will be in June.
SUMBMISSION GUIDELINES: Potential seminar coordinators should propose a broad topical theme in some area of American music. Topics, even those focusing on specific genres or regions, should ideally be issue-oriented and widely relevant. Topics from previous conferences may be found under Past Conferences at the SAM website: http://american-music.org/conferences/PastMeetingsAndConferences.php. Proposals should consist of a 500-word abstract describing the topic, a bibliography of pertinent scholarship (not included in the 500-word count), and a CV from the coordinator. The proposal should convey the breadth of the topic, with reference to relevant bibliographical sources. The coordinator submitting the proposal may identify or recommend to the program committee two or three potential panelists. If the topic is selected, the program committee will be under no obligation to accept papers identified or recommended by the coordinator. Each session will be 90 minutes long with no stated limit on the number of panelists. Submissions should be emailed to Steven Baur, chair of the 2013 program committee, at steven.baur@dal.ca on or before Monday, February 27, 2012.
FWPS: ACLS Public Fellows
ACLS Public Fellows
Stipend: $50,000 - $65,000 per year, depending on position
Tenure: Two years; start date July 2012
Applications accepted only through the ACLS Online Fellowship Application system (ofa.acls.org). The system will open on January 23, 2012. Please do not contact any of the organizations directly.
Application deadline: March 21, 2012
Notification of application status will occur by email in May 2012.
ACLS invites applications for the second competition of the Public Fellows program. The program will place 13 recent Ph.D.s from the humanities and humanistic social sciences in two-year staff positions at partnering organizations in government and the nonprofit sector. Fellows will participate in the substantive work of these organizations and receive professional mentoring. Compensation will be competitive with new professional employees of the hosting organization and will include health insurance for the fellow.
The program, made possible by a grant from The Andrew W. Mellon Foundation, aims to demonstrate that the capacities developed in the advanced study of the humanities have wide application, both within and beyond the academy.
ACLS seeks applications from Ph.D.s who have received their degrees in the last three years and who aspire to careers in administration, management, and public service by choice rather than circumstance. Competitive applicants will have been successful in both academic and extra-academic experiences.
Full details: http://www.acls.org/programs/publicfellows/
Stipend: $50,000 - $65,000 per year, depending on position
Tenure: Two years; start date July 2012
Applications accepted only through the ACLS Online Fellowship Application system (ofa.acls.org). The system will open on January 23, 2012. Please do not contact any of the organizations directly.
Application deadline: March 21, 2012
Notification of application status will occur by email in May 2012.
ACLS invites applications for the second competition of the Public Fellows program. The program will place 13 recent Ph.D.s from the humanities and humanistic social sciences in two-year staff positions at partnering organizations in government and the nonprofit sector. Fellows will participate in the substantive work of these organizations and receive professional mentoring. Compensation will be competitive with new professional employees of the hosting organization and will include health insurance for the fellow.
The program, made possible by a grant from The Andrew W. Mellon Foundation, aims to demonstrate that the capacities developed in the advanced study of the humanities have wide application, both within and beyond the academy.
ACLS seeks applications from Ph.D.s who have received their degrees in the last three years and who aspire to careers in administration, management, and public service by choice rather than circumstance. Competitive applicants will have been successful in both academic and extra-academic experiences.
Full details: http://www.acls.org/programs/publicfellows/
domenica 22 gennaio 2012
CFP (journal articles) / JOBS: SENSATE, a journal for experiments in critical media practice
SENSATE
a journal for experiments in critical media practice
http://sensatejournal.com/
SENSATE is a peer-reviewed, graduate-student-run journal for experiments in critical media practice. It aims to create, present, and critique innovative projects in the arts, humanities, and sciences and to build on the groundswell of pioneering activities in the digital humanities, scholarly publishing, and innovative media practice to provide a forum for scholarly and artistic experiments not conducive to the printed page.
SENSATE is currently accepting:
1. Submissions for publication (Due: February 8, 2012)
2. Applications (Due: February 1, 2012)
************
1. Call for Submissions:
Exploring new ways to archive, curate, and organize academic multimedia scholarship, SENSATE invites submissions of scholarship and art whose work is not conducive to the printed page. We experience the world through many forms and modes of mediation. SENSATE seeks to acknowledge these various forms and assert a place for scholarship that engages the viewer/reader/listener on multisensorial and multimodal levels. We encourage submissions that creatively bridge research and media-based work, and aim at going beyond an illustrative relation between text and image towards both solid and innovative modes of scholarship and artistic practice.
The integration of form and content is crucial to our mission and thus rather than a list of guiding questions we would like to offer a list of possible approaches that demonstrate efforts to unite form and content and to provoke inquiry through creative combinations of exposition and expression.
We are currently seeking work in any of the following categories/disciplines: artistic research, research as sensorial practice, visual anthropology, sensory ethnography, digital humanities, sound studies, multimedia mash-ups, media archeology, digital collections of audio and/or visual materials, digital cartography, performance and its documentation, and critically-inflected art in all media. Thematically, we are especially interested in the humanities and social sciences, but welcome projects in the sciences that entail similar approaches.
The above guides are not meant to be proscriptive, and we welcome submissions that extend beyond these possibilities. Queries about possible article content as well as submissions from graduate students are also encouraged.
Submissions are due by February 8, 2012 at which time the editors will make initial decisions.
Please use the Chicago Manual of Style for all citations.
Submit via our online form.
Contact us with any questions.
2. Call for Applications:
SENSATE is currently accepting applications to be a part of our team in three core areas: Web Design and Development, Editor/Producer, and Media and Outreach. Deadline for applications is February 1st. We are open to applications from individuals based outside of the Boston/Cambridge area. Complete job descriptions can be found on our website.
a journal for experiments in critical media practice
http://sensatejournal.com/
SENSATE is a peer-reviewed, graduate-student-run journal for experiments in critical media practice. It aims to create, present, and critique innovative projects in the arts, humanities, and sciences and to build on the groundswell of pioneering activities in the digital humanities, scholarly publishing, and innovative media practice to provide a forum for scholarly and artistic experiments not conducive to the printed page.
SENSATE is currently accepting:
1. Submissions for publication (Due: February 8, 2012)
2. Applications (Due: February 1, 2012)
************
1. Call for Submissions:
Exploring new ways to archive, curate, and organize academic multimedia scholarship, SENSATE invites submissions of scholarship and art whose work is not conducive to the printed page. We experience the world through many forms and modes of mediation. SENSATE seeks to acknowledge these various forms and assert a place for scholarship that engages the viewer/reader/listener on multisensorial and multimodal levels. We encourage submissions that creatively bridge research and media-based work, and aim at going beyond an illustrative relation between text and image towards both solid and innovative modes of scholarship and artistic practice.
The integration of form and content is crucial to our mission and thus rather than a list of guiding questions we would like to offer a list of possible approaches that demonstrate efforts to unite form and content and to provoke inquiry through creative combinations of exposition and expression.
We are currently seeking work in any of the following categories/disciplines: artistic research, research as sensorial practice, visual anthropology, sensory ethnography, digital humanities, sound studies, multimedia mash-ups, media archeology, digital collections of audio and/or visual materials, digital cartography, performance and its documentation, and critically-inflected art in all media. Thematically, we are especially interested in the humanities and social sciences, but welcome projects in the sciences that entail similar approaches.
The above guides are not meant to be proscriptive, and we welcome submissions that extend beyond these possibilities. Queries about possible article content as well as submissions from graduate students are also encouraged.
Submissions are due by February 8, 2012 at which time the editors will make initial decisions.
Please use the Chicago Manual of Style for all citations.
Submit via our online form.
Contact us with any questions.
2. Call for Applications:
SENSATE is currently accepting applications to be a part of our team in three core areas: Web Design and Development, Editor/Producer, and Media and Outreach. Deadline for applications is February 1st. We are open to applications from individuals based outside of the Boston/Cambridge area. Complete job descriptions can be found on our website.
giovedì 19 gennaio 2012
ANNOUNCEMENT: Renaissance Studies, new issue now available
Renaissance Studies 26/1, Feb 2012
http://onlinelibrary.wiley.com/doi/10.1111/rest.2012.26.issue-1/issuetoc
Introduction
Musical materials and cultural spaces
RICHARD WISTREICH
Articles
The order of the book: materiality, narrative and authorial voice in John Dowland's First Booke of Songes or Ayres
KIRSTEN GIBSON
The Ricreationi per monache of Suor Annalena Aldobrandini
LAURIE STRAS
Affordable splendour: editing, printing and marketing the Sarum Antiphoner (1519–20)
MAGNUS WILLIAMSON
My Ladye Nevells Booke: music, patronage and cultural negotiation in late sixteenth-century England
YAEL SELA TEICHLER
Revealing their hand: lute tablatures in early seventeenth-century England
ELIZABETH KENNY
‘E in rileggendo poi le proprie note’: Monteverdi responds to Artusi?
TIM CARTER
http://onlinelibrary.wiley.com/doi/10.1111/rest.2012.26.issue-1/issuetoc
Introduction
Musical materials and cultural spaces
RICHARD WISTREICH
Articles
The order of the book: materiality, narrative and authorial voice in John Dowland's First Booke of Songes or Ayres
KIRSTEN GIBSON
The Ricreationi per monache of Suor Annalena Aldobrandini
LAURIE STRAS
Affordable splendour: editing, printing and marketing the Sarum Antiphoner (1519–20)
MAGNUS WILLIAMSON
My Ladye Nevells Booke: music, patronage and cultural negotiation in late sixteenth-century England
YAEL SELA TEICHLER
Revealing their hand: lute tablatures in early seventeenth-century England
ELIZABETH KENNY
‘E in rileggendo poi le proprie note’: Monteverdi responds to Artusi?
TIM CARTER
CFP: Lyric Song in Idea and Performance, London, 21 June 2012
CFP: Lyric Song in Idea and Performance (London, 21 June 2012)
The SongArt Performance Research Group, in association with the Institute of Musical Research, School of Advanced Study, London, warmly invite proposals for papers, lecture-recitals, and collaborative workshop sessions for our 3rd Annual Meeting, which in 2012 will take the form of a single-day workshop exploring the theme “Lyric Song in Idea and Performance”.
Keynote Speaker: Professor Amanda Glauert (Royal College of Music)
The workshop offers an excellent opportunity for collaboration, and for the exchange of ideas between practitioners and theorists of song performance, literature, philosophy, theatre, composition, musicology and related disciplines. The workshop will feature traditional papers, combining these with alternate format sessions that will showcase performers and explore the articulation of the lyric in performance.
Central Research Question: What is the lyric and how do we make it?
Although the idea of the lyric presupposes poetry reaching out to music and music reaching out to poetry, the actual point of lyric intersection between the arts can remain remarkably elusive. Herder defined the lyric as preparing for the moment when we hear the poet’s ‘I sing’; a lyric must be made and tested through actions of performance and response. Unlike with the drama and the epic, it is hard to lay out the lyric’s generic traits in advance, except perhaps to indicate how it is neither of those two other modes of communication. How then can we make a lyric, or know when it has been made? What models can be found and how might these illuminate the essential art of lyric song performance?
This workshop aims to offer a platform for setting out and testing definitions of the lyric, through discussion of practical models from performers and composers (past and present), and through exploration of their implications for our idea of the lyric as a genre.
Guidelines for Proposals
Proposals (maximum 500 words) are invited for papers (20 minutes), lecture-recitals (30 minutes) and collaborative workshop sessions (45)
Please include a short biography (maximum 200 words) for each presenter.
Please submit proposals via email as a Word document attachment to: postbox at songart.co.uk
Please address any enquiries to Dr Kathryn Whitney: mail at kathrynwhitney.net
The deadline for receipt of proposals is 1 March, 2012.
We regret that we cannot cover expenses of invited speakers and performers.
Further information:
The SongArt Performance Research Group: www.songart.co.uk
Institute of Musical Research: www.music.sas.ac.uk
The SongArt Performance Research Group, in association with the Institute of Musical Research, School of Advanced Study, London, warmly invite proposals for papers, lecture-recitals, and collaborative workshop sessions for our 3rd Annual Meeting, which in 2012 will take the form of a single-day workshop exploring the theme “Lyric Song in Idea and Performance”.
Keynote Speaker: Professor Amanda Glauert (Royal College of Music)
The workshop offers an excellent opportunity for collaboration, and for the exchange of ideas between practitioners and theorists of song performance, literature, philosophy, theatre, composition, musicology and related disciplines. The workshop will feature traditional papers, combining these with alternate format sessions that will showcase performers and explore the articulation of the lyric in performance.
Central Research Question: What is the lyric and how do we make it?
Although the idea of the lyric presupposes poetry reaching out to music and music reaching out to poetry, the actual point of lyric intersection between the arts can remain remarkably elusive. Herder defined the lyric as preparing for the moment when we hear the poet’s ‘I sing’; a lyric must be made and tested through actions of performance and response. Unlike with the drama and the epic, it is hard to lay out the lyric’s generic traits in advance, except perhaps to indicate how it is neither of those two other modes of communication. How then can we make a lyric, or know when it has been made? What models can be found and how might these illuminate the essential art of lyric song performance?
This workshop aims to offer a platform for setting out and testing definitions of the lyric, through discussion of practical models from performers and composers (past and present), and through exploration of their implications for our idea of the lyric as a genre.
Guidelines for Proposals
Proposals (maximum 500 words) are invited for papers (20 minutes), lecture-recitals (30 minutes) and collaborative workshop sessions (45)
Please include a short biography (maximum 200 words) for each presenter.
Please submit proposals via email as a Word document attachment to: postbox at songart.co.uk
Please address any enquiries to Dr Kathryn Whitney: mail at kathrynwhitney.net
The deadline for receipt of proposals is 1 March, 2012.
We regret that we cannot cover expenses of invited speakers and performers.
Further information:
The SongArt Performance Research Group: www.songart.co.uk
Institute of Musical Research: www.music.sas.ac.uk
CFP (journal articles; deadline extended): Musicological Explorations
CALL FOR PAPERS (DEADLINE EXTENSION)
The University of Victoria’s peer-reviewed graduate student music journal, Musicological Explorations, is seeking essays from diverse areas of scholarship related to the study of music for possible inclusion in the journal’s thirteenth volume to be published in autumn 2012.
Musicological Explorations’ mandate is to provide a forum for scholarly work in musicology and related arts. The Editorial Board encourages graduate students and other scholars to submit previously unpublished articles on topics of musicology, music theory, performance practice, ethnomusicology, music education, and interdisciplinary studies. Announcements of conferences, symposia, and other musicological activities in North America are also welcome.
Guidelines for Submissions:
Articles should be should be in English, between 2000 and 6000 words in length, excluding citations and notes, and are to be directed as e-mail attachments to the editor, Iain Gillis, at mjournal at uvic.ca by Sunday, January 22, 2012, at 11:59p.m. as attachments in .doc/.docx or .pdf format. Receipt of submissions will be acknowledged within 72 hours; and selections for publication will be made in February 2012.
A cover letter should accompany the submission. Submissions are reviewed anonymously by the editorial committee; therefore, the author’s name should appear only in the cover letter, which should also include the author’s e-mail address.
Musical examples or other illustrations may appear in the body of the paper or may follow as appendices. They must be labeled clearly. The Editorial Board reserves the right to place these examples as publication layout requires, and to make other editorial suggestions.
Contributors are to refer to the Chicago Manual of Style, 15th ed., or to Kate L. Turabian’s A Manual for Writers of Term Papers, Theses, and Dissertations, 6th ed., for general matters of style and citation. Titles and foreign names should be italicized. Papers should include both footnotes and a bibliography.
If accepted for publication, authors should also be prepared to submit a short biography (max. 80 words) and an abstract (max. 250 words) for inclusion in the journal. Authors are responsible for obtaining permission to reprint all copyrighted material.
The University of Victoria’s peer-reviewed graduate student music journal, Musicological Explorations, is seeking essays from diverse areas of scholarship related to the study of music for possible inclusion in the journal’s thirteenth volume to be published in autumn 2012.
Musicological Explorations’ mandate is to provide a forum for scholarly work in musicology and related arts. The Editorial Board encourages graduate students and other scholars to submit previously unpublished articles on topics of musicology, music theory, performance practice, ethnomusicology, music education, and interdisciplinary studies. Announcements of conferences, symposia, and other musicological activities in North America are also welcome.
Guidelines for Submissions:
Articles should be should be in English, between 2000 and 6000 words in length, excluding citations and notes, and are to be directed as e-mail attachments to the editor, Iain Gillis, at mjournal at uvic.ca by Sunday, January 22, 2012, at 11:59p.m. as attachments in .doc/.docx or .pdf format. Receipt of submissions will be acknowledged within 72 hours; and selections for publication will be made in February 2012.
A cover letter should accompany the submission. Submissions are reviewed anonymously by the editorial committee; therefore, the author’s name should appear only in the cover letter, which should also include the author’s e-mail address.
Musical examples or other illustrations may appear in the body of the paper or may follow as appendices. They must be labeled clearly. The Editorial Board reserves the right to place these examples as publication layout requires, and to make other editorial suggestions.
Contributors are to refer to the Chicago Manual of Style, 15th ed., or to Kate L. Turabian’s A Manual for Writers of Term Papers, Theses, and Dissertations, 6th ed., for general matters of style and citation. Titles and foreign names should be italicized. Papers should include both footnotes and a bibliography.
If accepted for publication, authors should also be prepared to submit a short biography (max. 80 words) and an abstract (max. 250 words) for inclusion in the journal. Authors are responsible for obtaining permission to reprint all copyrighted material.
VACANCY: Canterbury Christ Church University AHRC Professional Preparation Master’s Studentship (Musical Performance or Composition)
Canterbury Christ Church University
AHRC Professional Preparation Master’s Studentship (Musical Performance or Composition)
Canterbury Christ Church University invites applications for an AHRC studentship in musical performance or composition. Funded by the Arts and Humanities Research Council, under the Professional Preparation Masters scheme, the award will cover course fees and (for UK award holders) provide a tax free stipend of £8,845 (2011-12 rates). The award will be held in the Department of Music and Performing Arts. The successful candidate’s programme will commence in September 2012, and last one calendar year.
The closing date for the AHRC studentship applications is 1 April 2012.
The 2008 Research Assessment Exercise confirmed our Music department’s international standing. Research by nine members of staff was included, of which the great majority (75%) was judged to be at least internationally recognised, and 10% world- leading. The university has subsequently invested strongly in Music’s staffing and facilities, in order to support its growing international research reputation. Three new members of full-time staff were appointed in 2011-12 in order to develop the department’s research profile, including Professor John Irving as Head of Music and Performing Arts. From October 2012 we will enjoy substantial additional practical and seminar space (including a new building for Music and a refurbished concert hall). Significant targeted investment in the department’s research environment has allowed the development of a strong series of research seminars and the hosting of several recent international conferences, attended by Krzysztof Penderecki (2009) and Arvo Pärt (2011). The department is noted for its collaborative research work, most especially with the Sounds New Contemporary Music Festival, offering its postgraduate composers and performers opportunities to participate in masterclasses, performances and workshops with, for example, Jonathan Harvey, Mark Anthony Turnage, Peter Hill, the London Sinfonietta, and Ensemble Klang. In addition to the department’s team of expert academic staff, Visiting Professors of Composition include Sir Peter Maxwell Davies and Paul Patterson.
The successful candidate will pursue the MMus full time, with a specialism in performance or composition. Candidates should hold a good first degree in Music and must apply for the MMus programme simultaneously or in advance of applying for an AHRC studentship. Further information about the Music Department at Canterbury Christ Church University are available at www.canterbury.ac.uk/arts-humanities/music/.
Home (UK) students and those EU students who have been resident in the UK for a minimum of three years are eligible for a full award comprising fees and an annual maintenance grant. Other EU students are eligible for a fees-only award. Please note that if you require a Tier 4 visa to study in the UK, you will not be eligible for this funding. To see if you would be eligible for a full or fees only award, and for further information on the AHRC Studentship scheme, please refer to the AHRC's website www.ahrc.ac.uk
For further information, please contact the MMus programme director, Dr Kim Burwell at kim.burwell@canterbury.ac.uk. Application forms for the MMus programmes are available from, and should be returned direct to the Music Department, via Lucy Ross, at lucy.ross@canterbury.ac.uk (tel. 01227 782244).
AHRC Professional Preparation Master’s Studentship (Musical Performance or Composition)
Canterbury Christ Church University invites applications for an AHRC studentship in musical performance or composition. Funded by the Arts and Humanities Research Council, under the Professional Preparation Masters scheme, the award will cover course fees and (for UK award holders) provide a tax free stipend of £8,845 (2011-12 rates). The award will be held in the Department of Music and Performing Arts. The successful candidate’s programme will commence in September 2012, and last one calendar year.
The closing date for the AHRC studentship applications is 1 April 2012.
The 2008 Research Assessment Exercise confirmed our Music department’s international standing. Research by nine members of staff was included, of which the great majority (75%) was judged to be at least internationally recognised, and 10% world- leading. The university has subsequently invested strongly in Music’s staffing and facilities, in order to support its growing international research reputation. Three new members of full-time staff were appointed in 2011-12 in order to develop the department’s research profile, including Professor John Irving as Head of Music and Performing Arts. From October 2012 we will enjoy substantial additional practical and seminar space (including a new building for Music and a refurbished concert hall). Significant targeted investment in the department’s research environment has allowed the development of a strong series of research seminars and the hosting of several recent international conferences, attended by Krzysztof Penderecki (2009) and Arvo Pärt (2011). The department is noted for its collaborative research work, most especially with the Sounds New Contemporary Music Festival, offering its postgraduate composers and performers opportunities to participate in masterclasses, performances and workshops with, for example, Jonathan Harvey, Mark Anthony Turnage, Peter Hill, the London Sinfonietta, and Ensemble Klang. In addition to the department’s team of expert academic staff, Visiting Professors of Composition include Sir Peter Maxwell Davies and Paul Patterson.
The successful candidate will pursue the MMus full time, with a specialism in performance or composition. Candidates should hold a good first degree in Music and must apply for the MMus programme simultaneously or in advance of applying for an AHRC studentship. Further information about the Music Department at Canterbury Christ Church University are available at www.canterbury.ac.uk/arts-humanities/music/.
Home (UK) students and those EU students who have been resident in the UK for a minimum of three years are eligible for a full award comprising fees and an annual maintenance grant. Other EU students are eligible for a fees-only award. Please note that if you require a Tier 4 visa to study in the UK, you will not be eligible for this funding. To see if you would be eligible for a full or fees only award, and for further information on the AHRC Studentship scheme, please refer to the AHRC's website www.ahrc.ac.uk
For further information, please contact the MMus programme director, Dr Kim Burwell at kim.burwell@canterbury.ac.uk. Application forms for the MMus programmes are available from, and should be returned direct to the Music Department, via Lucy Ross, at lucy.ross@canterbury.ac.uk (tel. 01227 782244).
VACANCY: Canterbury Christ Church University AHRC Doctoral Studentship (PhD) in Musicology, Performance or Composition
Canterbury Christ Church University
AHRC Doctoral Studentship (PhD) in Musicology, Performance or Composition
Canterbury Christ Church University invites applications for an AHRC studentship in musical performance or composition. Funded by the Arts and Humanities Research Council, under the Doctoral scheme, the award will cover course fees and (for UK award holders) provide an annual tax free stipend of £13,590 (2011-12 rates). The award will be held in the Department of Music and Performing Arts. The successful candidate’s programme will commence in September 2012; the award will be held full-time for three calendar years.
The closing date for the AHRC studentship applications is 1 April 2012.
The 2008 Research Assessment Exercise confirmed our Music department’s international standing. Research by nine members of staff was included, of which the great majority (75%) was judged to be at least internationally recognised, and 10% world- leading. The university has subsequently invested strongly in Music’s staffing and facilities, in order to support its growing international research reputation. Three new members of full-time staff were appointed in 2011-12 in order to develop the department’s research profile, including Professor John Irving as Head of Music and Performing Arts. From October 2012 we will enjoy substantial additional practical and seminar space (including a new building for Music and a refurbished concert hall). Significant targeted investment in the department’s research environment has allowed the development of a strong series of research seminars and the hosting of several recent international conferences, attended by Krzysztof Penderecki (2009) and Arvo Pärt (2011). The department is noted for its collaborative research work, most especially with the Sounds New Contemporary Music Festival, offering its postgraduate composers and performers opportunities to participate in masterclasses, performances and workshops with, for example, Jonathan Harvey, Mark Anthony Turnage, Peter Hill, the London Sinfonietta, and Ensemble Klang. In addition to the department’s team of expert academic staff, Visiting Professors of Composition include Sir Peter Maxwell Davies and Paul Patterson.
The successful candidate will pursue the PhD full time, with a specialism in musicology, performance or composition. The department’s key research strengths presently include twentieth-century music; theory and analysis; baroque and classical music; historical performance practice; performance studies (including performance pedagogy and performance psychology); composition. Candidates should hold a good first degree in Music and must apply for the PhD programme simultaneously or in advance of applying for an AHRC studentship. Further information about the Music Department at Canterbury Christ Church University are available at www.canterbury.ac.uk/arts-humanities/music/.
Home (UK) students and those EU students who have been resident in the UK for a minimum of three years are eligible for a full award comprising fees and an annual maintenance grant. Other EU students are eligible for a fees-only award. Please note that if you require a Tier 4 visa to study in the UK, you will not be eligible for this funding. To see if you would be eligible for a full or fees only award, and for further information on the AHRC Studentship scheme, please refer to the AHRC's website www.ahrc.ac.uk
For further information, please contact the PhD programme director, Dr Eva Mantzourani at eva.mantzourani@canterbury.ac.uk Application forms for the PhD programmes are available from, and should be returned direct to the Music Department, via Lucy Ross, at lucy.ross@canterbury.ac.uk (tel. 01227 782244).
AHRC Doctoral Studentship (PhD) in Musicology, Performance or Composition
Canterbury Christ Church University invites applications for an AHRC studentship in musical performance or composition. Funded by the Arts and Humanities Research Council, under the Doctoral scheme, the award will cover course fees and (for UK award holders) provide an annual tax free stipend of £13,590 (2011-12 rates). The award will be held in the Department of Music and Performing Arts. The successful candidate’s programme will commence in September 2012; the award will be held full-time for three calendar years.
The closing date for the AHRC studentship applications is 1 April 2012.
The 2008 Research Assessment Exercise confirmed our Music department’s international standing. Research by nine members of staff was included, of which the great majority (75%) was judged to be at least internationally recognised, and 10% world- leading. The university has subsequently invested strongly in Music’s staffing and facilities, in order to support its growing international research reputation. Three new members of full-time staff were appointed in 2011-12 in order to develop the department’s research profile, including Professor John Irving as Head of Music and Performing Arts. From October 2012 we will enjoy substantial additional practical and seminar space (including a new building for Music and a refurbished concert hall). Significant targeted investment in the department’s research environment has allowed the development of a strong series of research seminars and the hosting of several recent international conferences, attended by Krzysztof Penderecki (2009) and Arvo Pärt (2011). The department is noted for its collaborative research work, most especially with the Sounds New Contemporary Music Festival, offering its postgraduate composers and performers opportunities to participate in masterclasses, performances and workshops with, for example, Jonathan Harvey, Mark Anthony Turnage, Peter Hill, the London Sinfonietta, and Ensemble Klang. In addition to the department’s team of expert academic staff, Visiting Professors of Composition include Sir Peter Maxwell Davies and Paul Patterson.
The successful candidate will pursue the PhD full time, with a specialism in musicology, performance or composition. The department’s key research strengths presently include twentieth-century music; theory and analysis; baroque and classical music; historical performance practice; performance studies (including performance pedagogy and performance psychology); composition. Candidates should hold a good first degree in Music and must apply for the PhD programme simultaneously or in advance of applying for an AHRC studentship. Further information about the Music Department at Canterbury Christ Church University are available at www.canterbury.ac.uk/arts-humanities/music/.
Home (UK) students and those EU students who have been resident in the UK for a minimum of three years are eligible for a full award comprising fees and an annual maintenance grant. Other EU students are eligible for a fees-only award. Please note that if you require a Tier 4 visa to study in the UK, you will not be eligible for this funding. To see if you would be eligible for a full or fees only award, and for further information on the AHRC Studentship scheme, please refer to the AHRC's website www.ahrc.ac.uk
For further information, please contact the PhD programme director, Dr Eva Mantzourani at eva.mantzourani@canterbury.ac.uk Application forms for the PhD programmes are available from, and should be returned direct to the Music Department, via Lucy Ross, at lucy.ross@canterbury.ac.uk (tel. 01227 782244).
CFP: IMS Music and Media Study Group, Turin, June 2012
Call for papers:
The IMS study group “Music and Media” (MaM) will hold its fourth international meeting in Turin at the Università di Torino, as pre-conference to the IMS Rome 2012 conference. One of the themes will be ‘Unheard Melodies: 25 years’. This session will thematize a retrospective on Claudia Gorbman’s groundbreaking book on the role of narrative film music.
Other areas of interest include (but are not limited to):
-(New) methodologies for the study of film soundtracks;
-Unheard melodies and New Media;
-Synchronisation;
-Non-canonical music and New Media.
Keynote speaker:
Claudia Gorbman (University of Washington Tacoma)
Program committee:
Gianmario Borio (Università di Pavia), James Deaville (Carleton University, Ottawa), Anahid Kassabian (University of Liverpool), Michael Saffle (Virginia Tech, Blacksburg), Emile Wennekes (Utrecht University), Luisa Zanoncelli (Università di Torino).
Academics, practitioners and postgraduate students are invited to submit papers proposals (20 minutes). Each submission should include the following information: author(s) name(s), academic affiliation(s), e-mail address, title of presentation, abstract (300 words max.), a short CV, and a list of technological requirements (overhead, power point, etc).
All proposals must be submitted by 15 March 2012 to: e.wennekes at uu.nl
Organization: IMS study group “Music and Media” (MaM) and Università di Torino / University of Turin, Department of Art, Theater, Film and Music studies.
Location: Università di Torino / University of Turin,
Palazzo Nuovo
Auditorium Quazza,
Via S. Ottavio, 20
Dates: 28 & 29 June 2012
Additional info is at the web site: http://www.wwclassicsonline.com/en/mam.html
The IMS study group “Music and Media” (MaM) will hold its fourth international meeting in Turin at the Università di Torino, as pre-conference to the IMS Rome 2012 conference. One of the themes will be ‘Unheard Melodies: 25 years’. This session will thematize a retrospective on Claudia Gorbman’s groundbreaking book on the role of narrative film music.
Other areas of interest include (but are not limited to):
-(New) methodologies for the study of film soundtracks;
-Unheard melodies and New Media;
-Synchronisation;
-Non-canonical music and New Media.
Keynote speaker:
Claudia Gorbman (University of Washington Tacoma)
Program committee:
Gianmario Borio (Università di Pavia), James Deaville (Carleton University, Ottawa), Anahid Kassabian (University of Liverpool), Michael Saffle (Virginia Tech, Blacksburg), Emile Wennekes (Utrecht University), Luisa Zanoncelli (Università di Torino).
Academics, practitioners and postgraduate students are invited to submit papers proposals (20 minutes). Each submission should include the following information: author(s) name(s), academic affiliation(s), e-mail address, title of presentation, abstract (300 words max.), a short CV, and a list of technological requirements (overhead, power point, etc).
All proposals must be submitted by 15 March 2012 to: e.wennekes at uu.nl
Organization: IMS study group “Music and Media” (MaM) and Università di Torino / University of Turin, Department of Art, Theater, Film and Music studies.
Location: Università di Torino / University of Turin,
Palazzo Nuovo
Auditorium Quazza,
Via S. Ottavio, 20
Dates: 28 & 29 June 2012
Additional info is at the web site: http://www.wwclassicsonline.com/en/mam.html
Call for Papers MaM 2012 Torino
MaM IV, Turin, June 28 & 29, 2012
The IMS study group “Music and Media” (MaM) will hold its fourth international meeting in Turin at the Università di Torino, as pre-conference to the IMS Rome 2012 conference. One of the themes will be ‘Unheard Melodies: 25 years’. This session will thematize a retrospective on Claudia Gorbman’s groundbreaking book on the role of narrative film music.
Other areas of interest include (but are not limited to):
-(New) methodologies for the study of film soundtracks;
-Unheard melodies and New Media;
-Synchronisation;
-Non-canonical music and New Media.
Keynote speaker:
Claudia Gorbman (University of Washington Tacoma)
Program committee:
Gianmario Borio (Università di Pavia), James Deaville (Carleton University, Ottawa), Anahid Kassabian (University of Liverpool), Michael Saffle (Virginia Tech, Blacksburg), Emile Wennekes (Utrecht University), Luisa Zanoncelli (Università di Torino).
Academics, practitioners and postgraduate students are invited to submit papers proposals (20 minutes). Each submission should include the following information: author(s) name(s), academic affiliation(s), e-mail address, title of presentation, abstract (300 words max.), a short CV, and a list of technological requirements (overhead, power point, etc).
All proposals must be submitted by 15 March 2012 to e.wennekes-AT-uu.nl
Organization: IMS study group “Music and Media” (MaM) and Università di Torino / University of Turin, Department of Art, Theater, Film and Music studies.
Location: Università di Torino / University of Turin,
Palazzo Nuovo
Auditorium Quazza,
Via S. Ottavio, 20
Dates: 28 & 29 June 2012
http://www.wwclassicsonline.com/en/mam.html
The IMS study group “Music and Media” (MaM) will hold its fourth international meeting in Turin at the Università di Torino, as pre-conference to the IMS Rome 2012 conference. One of the themes will be ‘Unheard Melodies: 25 years’. This session will thematize a retrospective on Claudia Gorbman’s groundbreaking book on the role of narrative film music.
Other areas of interest include (but are not limited to):
-(New) methodologies for the study of film soundtracks;
-Unheard melodies and New Media;
-Synchronisation;
-Non-canonical music and New Media.
Keynote speaker:
Claudia Gorbman (University of Washington Tacoma)
Program committee:
Gianmario Borio (Università di Pavia), James Deaville (Carleton University, Ottawa), Anahid Kassabian (University of Liverpool), Michael Saffle (Virginia Tech, Blacksburg), Emile Wennekes (Utrecht University), Luisa Zanoncelli (Università di Torino).
Academics, practitioners and postgraduate students are invited to submit papers proposals (20 minutes). Each submission should include the following information: author(s) name(s), academic affiliation(s), e-mail address, title of presentation, abstract (300 words max.), a short CV, and a list of technological requirements (overhead, power point, etc).
All proposals must be submitted by 15 March 2012 to e.wennekes-AT-uu.nl
Organization: IMS study group “Music and Media” (MaM) and Università di Torino / University of Turin, Department of Art, Theater, Film and Music studies.
Location: Università di Torino / University of Turin,
Palazzo Nuovo
Auditorium Quazza,
Via S. Ottavio, 20
Dates: 28 & 29 June 2012
http://www.wwclassicsonline.
mercoledì 18 gennaio 2012
An Invitation to Contribute to John Cage Unbound
Dear Colleagues;
The John Cage Centennial is upon us. To celebrate Cage's legacy, The New York Public Library will soon launch John Cage Unbound - A Living Archive, an online multimedia resource devoted to the life and work of America's most influential composer. In partnership with the John Cage Trust and C.F. Peters, John Cage Unbound will feature select digital images of Cage's music manuscripts, correspondence, programs, photographs, and ephemera drawn from the vast holdings of NYPL's Music Division. The centerpiece of the project, however, will be a rich video archive of John Cage interpretation with a special emphasis on the preparation and performance of Cage's work.
This is where you come in. NYPL hopes that you, your colleagues, students, and peers will contribute to the archive by uploading your own videos (which can be quite informal and short) of Cage performances to the site. The videos will be integrated into the archive for public access with the intent to document the variety of interpretive practices Cage's work inspires and indeed demands.
For those of you who are leading or participating in coursework this Spring that may include John Cage, contributing to John Cage Unbound would be an ideal project. Any works by Cage are welcome and the staff of the NYPL Music Division are ready to offer you guidance if you need it, be it technical, logistical, or simply suggestions as to what works might be appropriate for you.
We do hope, however, that your videos will favor the process of creating the work over the performance. We believe such documentation will offer the public the greatest insight into the challenges and rewards that come with performing Cage's music. As you can see in the So Percussion and Margaret Leng Tan sample videos attached below, the musicians' narration provides this insight into their interpretation.
So Percussion
http://vimeo.com/34912581
Preparing the Piano for Bacchanale, with Margaret Leng Tan
http://vimeo.com/34911783
Please contact jonathanhiam@nypl.org with any questions you may have.
The John Cage Centennial is upon us. To celebrate Cage's legacy, The New York Public Library will soon launch John Cage Unbound - A Living Archive, an online multimedia resource devoted to the life and work of America's most influential composer. In partnership with the John Cage Trust and C.F. Peters, John Cage Unbound will feature select digital images of Cage's music manuscripts, correspondence, programs, photographs, and ephemera drawn from the vast holdings of NYPL's Music Division. The centerpiece of the project, however, will be a rich video archive of John Cage interpretation with a special emphasis on the preparation and performance of Cage's work.
This is where you come in. NYPL hopes that you, your colleagues, students, and peers will contribute to the archive by uploading your own videos (which can be quite informal and short) of Cage performances to the site. The videos will be integrated into the archive for public access with the intent to document the variety of interpretive practices Cage's work inspires and indeed demands.
For those of you who are leading or participating in coursework this Spring that may include John Cage, contributing to John Cage Unbound would be an ideal project. Any works by Cage are welcome and the staff of the NYPL Music Division are ready to offer you guidance if you need it, be it technical, logistical, or simply suggestions as to what works might be appropriate for you.
We do hope, however, that your videos will favor the process of creating the work over the performance. We believe such documentation will offer the public the greatest insight into the challenges and rewards that come with performing Cage's music. As you can see in the So Percussion and Margaret Leng Tan sample videos attached below, the musicians' narration provides this insight into their interpretation.
So Percussion
http://vimeo.com/34912581
Preparing the Piano for Bacchanale, with Margaret Leng Tan
http://vimeo.com/34911783
Please contact jonathanhiam@nypl.org with any questions you may have.
CFP (deadline extended): New Music & The North American Academy
Call for Papers: [DEADLINE EXTENDED TO WEDNESDAY, FEBRUARY 15, 2012]
New Music & The North American Academy
An Interdisciplinary Symposium
SUNY Potsdam, April 13 - 14, 2012
For many producers of new music, institutions of higher education provide an important source of patronage, employment, and shelter from the conservative tastes of the concert-going public. Meanwhile, countless conservatory and music department mission statements celebrate colleges and universities as necessary access points for community members to enjoy contemporary fine arts. As colleges and universities grow and assume new roles in the twenty-first century, relationships between new music and the academy are continually redefined. This symposium hopes to promote lively discussion of the rich history of these partnerships and speculation upon possible future directions.
Part of a series of events throughout the 2011-12 academic year, this meeting celebrates the 125th anniversary of the founding of the Crane School of Music at SUNY Potsdam. Throughout its history, the Crane School has been an active and enthusiastic player in the world of contemporary music. This history includes associations with many important musical figures of the 20th century, including conductors (Nadia Boulanger, Sarah Caldwell, Lukas Foss, Howard Hanson, Herman Scherchen, Robert Shaw, Leopold Stokowski, Michael Tilson Thomas) and composers from whom the Crane School has commissioned works (Norman Dello Joio, Libby Larsen, Vincent Persichetti, William Schuman, Virgil Thomson).
Possible topics for consideration include:
* Careers and lives of individuals (performers/conductors/composers) that have been affected by their involvement with such institutions
* Analysis/discussion of works by composers associated with the academy—particularly works that were commissioned by one or more institutions
* How do the politics of institutions translate to the inclusion, or exclusion, of individuals and aesthetic preferences?
* The role of new music in the music theory/history curriculum, with particular emphasis on how it contributes to music education programs
* How do the relationships involving North American institutions compare with their European counterparts?
Paper presentations will be twenty minutes in length, followed by ten minutes for questions. Lecture recitals and non-traditional presentations are both welcome and encouraged. The deadline for proposals is Wednesday, February 15, 2012.
Submissions should include:
1. A 250-word proposal submitted by e-mail in Word or PDF format to newmusicsymposium@potsdam.edu. Only electronic submissions will be accepted. Do not include any identifying information in the proposal itself. Please place any examples, figures, or bibliographies at the end of the proposal.
2. In the body of the e-mail, please list the author's name, address, telephone number, e-mail address, and affiliation, as well as all required equipment, such as piano, projector, CD player, etc.
More information may be found at the symposium website:
http://www.potsdam.edu/academics/Crane/125years/newmusicsymposium/index.cfm
New Music & The North American Academy
An Interdisciplinary Symposium
SUNY Potsdam, April 13 - 14, 2012
For many producers of new music, institutions of higher education provide an important source of patronage, employment, and shelter from the conservative tastes of the concert-going public. Meanwhile, countless conservatory and music department mission statements celebrate colleges and universities as necessary access points for community members to enjoy contemporary fine arts. As colleges and universities grow and assume new roles in the twenty-first century, relationships between new music and the academy are continually redefined. This symposium hopes to promote lively discussion of the rich history of these partnerships and speculation upon possible future directions.
Part of a series of events throughout the 2011-12 academic year, this meeting celebrates the 125th anniversary of the founding of the Crane School of Music at SUNY Potsdam. Throughout its history, the Crane School has been an active and enthusiastic player in the world of contemporary music. This history includes associations with many important musical figures of the 20th century, including conductors (Nadia Boulanger, Sarah Caldwell, Lukas Foss, Howard Hanson, Herman Scherchen, Robert Shaw, Leopold Stokowski, Michael Tilson Thomas) and composers from whom the Crane School has commissioned works (Norman Dello Joio, Libby Larsen, Vincent Persichetti, William Schuman, Virgil Thomson).
Possible topics for consideration include:
* Careers and lives of individuals (performers/conductors/composers) that have been affected by their involvement with such institutions
* Analysis/discussion of works by composers associated with the academy—particularly works that were commissioned by one or more institutions
* How do the politics of institutions translate to the inclusion, or exclusion, of individuals and aesthetic preferences?
* The role of new music in the music theory/history curriculum, with particular emphasis on how it contributes to music education programs
* How do the relationships involving North American institutions compare with their European counterparts?
Paper presentations will be twenty minutes in length, followed by ten minutes for questions. Lecture recitals and non-traditional presentations are both welcome and encouraged. The deadline for proposals is Wednesday, February 15, 2012.
Submissions should include:
1. A 250-word proposal submitted by e-mail in Word or PDF format to newmusicsymposium@potsdam.edu. Only electronic submissions will be accepted. Do not include any identifying information in the proposal itself. Please place any examples, figures, or bibliographies at the end of the proposal.
2. In the body of the e-mail, please list the author's name, address, telephone number, e-mail address, and affiliation, as well as all required equipment, such as piano, projector, CD player, etc.
More information may be found at the symposium website:
http://www.potsdam.edu/academics/Crane/125years/newmusicsymposium/index.cfm
JOB: Dickinson College, Visiting Asst. Professor of Music
Job Announcement: Visiting Assistant Professor of Music (Dickinson College, PA)
The Dickinson College department of music announces a one-year visiting position in musicology, with secondary experience in choral conducting. This is a full-time leave replacement for the 2012-13 academic year. Candidates with Ph.D. or ABD status in either musicology or ethnomusicology are encouraged to apply. The College is committed to building a representative and diverse faculty, administrative staff, and student body. We encourage applications from all qualified persons.
The successful candidate will teach a 5-course load consisting of: a seminar on a post-1750 topic of the candidate's choosing (fall); the second half of the classical music history survey, 1750-2001 (spring); an elective of the candidate's choosing (spring); and two semesters of choir (fall; spring). Dickinson College is a liberal arts institution, and thus many of our courses are tailored for majors as well as non-majors. The choir is an ensemble of approximately 70 singers that performs repertory from the post-Renaissance era, generally with accompaniment.
Candidates should submit a cover letter; CV; three letters of recommendation; a sample syllabus; and a description of their choral experience before March 1, 2012. All applicants should apply on-line at https://jobs.dickinson.edu. Letters of recommendation may alternatively be sent directly to Amy Wlodarski, PhD, Associate Professor of Music, wlodarsa at dickinson.edu ; Dickinson College, Music Department, P. O. Box 1773, Carlisle, PA 17013
The Dickinson College department of music announces a one-year visiting position in musicology, with secondary experience in choral conducting. This is a full-time leave replacement for the 2012-13 academic year. Candidates with Ph.D. or ABD status in either musicology or ethnomusicology are encouraged to apply. The College is committed to building a representative and diverse faculty, administrative staff, and student body. We encourage applications from all qualified persons.
The successful candidate will teach a 5-course load consisting of: a seminar on a post-1750 topic of the candidate's choosing (fall); the second half of the classical music history survey, 1750-2001 (spring); an elective of the candidate's choosing (spring); and two semesters of choir (fall; spring). Dickinson College is a liberal arts institution, and thus many of our courses are tailored for majors as well as non-majors. The choir is an ensemble of approximately 70 singers that performs repertory from the post-Renaissance era, generally with accompaniment.
Candidates should submit a cover letter; CV; three letters of recommendation; a sample syllabus; and a description of their choral experience before March 1, 2012. All applicants should apply on-line at https://jobs.dickinson.edu. Letters of recommendation may alternatively be sent directly to Amy Wlodarski, PhD, Associate Professor of Music, wlodarsa at dickinson.edu ; Dickinson College, Music Department, P. O. Box 1773, Carlisle, PA 17013
martedì 17 gennaio 2012
ANNOUNCEMENT: Early Music, new issue now available
Early Music: new issue now available: Vol. 39 no. 4, November 2011
http://em.oxfordjournals.org/content/vol39/issue4/index.dtl?etoc
EDITORIAL
Francis Knights and Nicholas Kenyon
ARTICLES
Winds, cupids, little zephyrs and sirens: Monteverdi and Le nozze di Tetide (1616–1617)
Tim Carter
‘In grembo a Citherea’: the representation of ingenium and ars in Claudio Monteverdi’s Tempro la cetra
Gordon Haramaki
An emblem of modern music: temporal symmetry in the prologue of L’Orfeo (1607)
Ilias Chrissochoidis
‘The high and lowe keyes come both to one pitch’: reconciling inconsistent clef-systems in Monteverdi’s vocal music for Mantua
Roger Bowers
‘His name will be called John’: reception and symbolism in Obrecht’s Missa de Sancto Johanne Baptista
Michael Alan Anderson
Significance and effect of the stile antico in Handel's oratorios
Minji Kim
‘The ripienists must also be at least eight, namely two for each part’: The Leipzig line of 1730some observations
Andreas Glöckner
J. S. Bach’s Trauer-Music for Prince Leopold: clarification and reconstruction
Andrew Parrott
OBSERVATION
BOOK REVIEWS
MUSIC REVIEWS
RECORDING REVIEWS
REPORTS
http://em.oxfordjournals.org/content/vol39/issue4/index.dtl?etoc
EDITORIAL
Francis Knights and Nicholas Kenyon
ARTICLES
Winds, cupids, little zephyrs and sirens: Monteverdi and Le nozze di Tetide (1616–1617)
Tim Carter
‘In grembo a Citherea’: the representation of ingenium and ars in Claudio Monteverdi’s Tempro la cetra
Gordon Haramaki
An emblem of modern music: temporal symmetry in the prologue of L’Orfeo (1607)
Ilias Chrissochoidis
‘The high and lowe keyes come both to one pitch’: reconciling inconsistent clef-systems in Monteverdi’s vocal music for Mantua
Roger Bowers
‘His name will be called John’: reception and symbolism in Obrecht’s Missa de Sancto Johanne Baptista
Michael Alan Anderson
Significance and effect of the stile antico in Handel's oratorios
Minji Kim
‘The ripienists must also be at least eight, namely two for each part’: The Leipzig line of 1730some observations
Andreas Glöckner
J. S. Bach’s Trauer-Music for Prince Leopold: clarification and reconstruction
Andrew Parrott
OBSERVATION
BOOK REVIEWS
MUSIC REVIEWS
RECORDING REVIEWS
REPORTS
lunedì 16 gennaio 2012
CFP: Lyrica Society at MLA, Boston, Jan 2013
For the 2013 Modern Language Association Convention--to be held in Boston on January 3rd through 6th, 2013, the Lyrica Society for Word/Music Relations and the Eugene O'Neill Society will be offering a joint session on Eugene O'Neill and Music. O'Neill uses music in many of his plays, and many of his plays have been set to music. We welcome 250 word abstracts on any aspect of O'Neill and music. Send abstracts to both DrJSDailey at aol.com and KEisen at tntech.edu by February 17, 2012.
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JOB (revised): Brooklyn College (CUNY), Music Education/World Music (asst. professor)
Job Title: Assistant Professor - Music Education (Conservatory of Music)
Location: Brooklyn College of the City University of New York
RESPONSIBILITIES --- REVISED --
The Conservatory of Music at Brooklyn College invites applications for a
tenure-track appointment (Assistant Professor), beginning in fall 2012.
Responsibilities: Coordinate music education, including placing and
supervising student teachers; supervise pre-practicum field experiences;
maintain and expand practicum sites and partnerships with public and private
schools; and participate in recruiting, auditioning, and advising students.
Teach graduate and undergraduate music education courses and methods classes.
Additional teaching assignments possible, based upon the special skills
and interests of the candidate. Participate in state, regional, and national
music education professional associations.
QUALIFICATIONS -- REVISED --
A doctorate in music education is required. ABD considered. Candidates
must have at least two years' experience in teaching music at the elementary
and/or secondary school levels. College teaching experience is preferred.
Ability to work in a culturally diverse, urban setting. A record of
ongoing research and publication in the field of music education is expected.
Candidates are expected to have a high degree of instrumental expertise
and to be able to teach music-education performance subjects. Also
required are the ability to teach successfully, interest in productive scholarship
or creative achievement, and ability to cooperate with others for the good
of the institution
COMPENSATION -- Commensurate with experience and credentials.
HOW TO APPLY
Please submit your application online as follows:
• Go to www.cuny.edu and click on “Employment”
• Click “Search job listings”
• Click on “More Options To Search For CUNY Jobs ”
• Search by Job Opening ID 4594
• Click on the “Apply Now” button.
Be sure to upload a cover letter (reference Job ID 4594) and curriculum
vitae as a single document in rtf, doc or pdf format. In addition, all
applicants should arrange for three confidential letters of recommendation to be
sent directly to:
Mr. Michael T. Hewitt
Assistant Vice President of Human Resources
Brooklyn College
2900 Bedford Avenue
Brooklyn, New York 11210-2889
-OR-
BCjobs at brooklyn.cuny.edu (in pdf format)
CLOSING DATE
Open until filled with the review of applications to begin after February
1, 2012. (Search reopened)
EQUAL EMPLOYMENT OPPORTUNITY
We are committed to enhancing our diverse academic community by actively
encouraging people with disabilities, minorities, veterans, and women to
apply. We take pride in our pluralistic community and continue to seek
excellence through diversity and inclusion. EO/AA Employer.
Location: Brooklyn College of the City University of New York
RESPONSIBILITIES --- REVISED --
The Conservatory of Music at Brooklyn College invites applications for a
tenure-track appointment (Assistant Professor), beginning in fall 2012.
Responsibilities: Coordinate music education, including placing and
supervising student teachers; supervise pre-practicum field experiences;
maintain and expand practicum sites and partnerships with public and private
schools; and participate in recruiting, auditioning, and advising students.
Teach graduate and undergraduate music education courses and methods classes.
Additional teaching assignments possible, based upon the special skills
and interests of the candidate. Participate in state, regional, and national
music education professional associations.
QUALIFICATIONS -- REVISED --
A doctorate in music education is required. ABD considered. Candidates
must have at least two years' experience in teaching music at the elementary
and/or secondary school levels. College teaching experience is preferred.
Ability to work in a culturally diverse, urban setting. A record of
ongoing research and publication in the field of music education is expected.
Candidates are expected to have a high degree of instrumental expertise
and to be able to teach music-education performance subjects. Also
required are the ability to teach successfully, interest in productive scholarship
or creative achievement, and ability to cooperate with others for the good
of the institution
COMPENSATION -- Commensurate with experience and credentials.
HOW TO APPLY
Please submit your application online as follows:
• Go to www.cuny.edu and click on “Employment”
• Click “Search job listings”
• Click on “More Options To Search For CUNY Jobs ”
• Search by Job Opening ID 4594
• Click on the “Apply Now” button.
Be sure to upload a cover letter (reference Job ID 4594) and curriculum
vitae as a single document in rtf, doc or pdf format. In addition, all
applicants should arrange for three confidential letters of recommendation to be
sent directly to:
Mr. Michael T. Hewitt
Assistant Vice President of Human Resources
Brooklyn College
2900 Bedford Avenue
Brooklyn, New York 11210-2889
-OR-
BCjobs at brooklyn.cuny.edu (in pdf format)
CLOSING DATE
Open until filled with the review of applications to begin after February
1, 2012. (Search reopened)
EQUAL EMPLOYMENT OPPORTUNITY
We are committed to enhancing our diverse academic community by actively
encouraging people with disabilities, minorities, veterans, and women to
apply. We take pride in our pluralistic community and continue to seek
excellence through diversity and inclusion. EO/AA Employer.
venerdì 13 gennaio 2012
Beethoven Conference - Call for Papers
University of Manchester Beethoven Conference
25-27 June 2012
Martin Harris Centre, University of Manchester
Call for Papers:
Beethoven has been an iconic figure of Western culture since the 19th century, and
continues to be the focus of research across a wide range of academic disciplines. The
aim of this three-day conference is to bring together postgraduates and scholars to
explore recent Beethoven research in all fields of study. The conference is hosted with
support from the Institute of Musical Research, and will involve collaboration with the
Royal Northern College of Music.
Proposals are invited for papers or lecture recitals on any topic about Beethoven; papers
relating to any of the following themes would be particularly welcomed:
Musical culture in the year 1812
Beethoven as a 19th-century cultural figure
The creative process (sketches and revisions)
Performing Beethoven
Translation of Beethoven documents
Each paper will be limited to 20 minutes, followed by 10 minutes of discussion and
questions. Proposals for 50-minute papers will also be considered. Proposed lecture
recitals can be either 20 minutes or 50 minutes.
Proposals should be limited to 250 words, and should be emailed to
manchesterbeethoven@gmail.com. Please also direct any enquiries to this address.
Proposals will be accepted until 29 February 2012. Successful applicants will be
informed by 16 March 2012.
Programme Committee: Barry Cooper, Erica Buurman, Siân Derry and Matthew Pilcher.
25-27 June 2012
Martin Harris Centre, University of Manchester
Call for Papers:
Beethoven has been an iconic figure of Western culture since the 19th century, and
continues to be the focus of research across a wide range of academic disciplines. The
aim of this three-day conference is to bring together postgraduates and scholars to
explore recent Beethoven research in all fields of study. The conference is hosted with
support from the Institute of Musical Research, and will involve collaboration with the
Royal Northern College of Music.
Proposals are invited for papers or lecture recitals on any topic about Beethoven; papers
relating to any of the following themes would be particularly welcomed:
Musical culture in the year 1812
Beethoven as a 19th-century cultural figure
The creative process (sketches and revisions)
Performing Beethoven
Translation of Beethoven documents
Each paper will be limited to 20 minutes, followed by 10 minutes of discussion and
questions. Proposals for 50-minute papers will also be considered. Proposed lecture
recitals can be either 20 minutes or 50 minutes.
Proposals should be limited to 250 words, and should be emailed to
manchesterbeethoven@gmail.com. Please also direct any enquiries to this address.
Proposals will be accepted until 29 February 2012. Successful applicants will be
informed by 16 March 2012.
Programme Committee: Barry Cooper, Erica Buurman, Siân Derry and Matthew Pilcher.
JOB: Furman University, musicology (tenure-track)
Position: Assistant Professor of Musicology - full-time, tenure track
Salary: Competitive, commensurate with experience and credentials
Duties: Coordinate the current departmental music history offerings; participate in the four-course sequence that addresses the stylistic development of Western art music; develop and teach upper-level curricular offerings for the music major; participate fully in the service of the university including student advising. The candidate will be expected to maintain an ongoing program of research and publication. Other duties are possible depending on the candidate’s strengths and interests. Teaching responsibilities may also include a seminar for first-year students.
Qualifications: The successful candidate will be a highly engaging scholar who brings an innovative approach to teaching, facilitates student research, and understands the environment of a top-tier undergraduate liberal arts institution. The candidate will demonstrate an active program of research and publication. Earned doctoral degree in musicology is expected.
Deadline: March 2, 2012 or until position filled. Interviews will take place beginning in late March, 2012.
Please indicate your interest by submitting a letter of application, curriculum vitae, three letters of recommendation, evidence of teaching excellence and scholarly activity, and official transcripts of all degree work. Candidates are strongly encouraged to submit materials electronically to musicology at furman.edu. Letters of recommendation should be submitted directly to Dr. Mark E. Britt, Chair, Department of Music, Furman University, 3300 Poinsett Highway, Greenville, SC 29613-1154. Hard copies of all materials are also acceptable.
Additional information about the Department and the University can be found at http://www.furman.edu.
Furman University is an Equal Opportunity employer committed to increasing the diversity of its faculty.
Salary: Competitive, commensurate with experience and credentials
Duties: Coordinate the current departmental music history offerings; participate in the four-course sequence that addresses the stylistic development of Western art music; develop and teach upper-level curricular offerings for the music major; participate fully in the service of the university including student advising. The candidate will be expected to maintain an ongoing program of research and publication. Other duties are possible depending on the candidate’s strengths and interests. Teaching responsibilities may also include a seminar for first-year students.
Qualifications: The successful candidate will be a highly engaging scholar who brings an innovative approach to teaching, facilitates student research, and understands the environment of a top-tier undergraduate liberal arts institution. The candidate will demonstrate an active program of research and publication. Earned doctoral degree in musicology is expected.
Deadline: March 2, 2012 or until position filled. Interviews will take place beginning in late March, 2012.
Please indicate your interest by submitting a letter of application, curriculum vitae, three letters of recommendation, evidence of teaching excellence and scholarly activity, and official transcripts of all degree work. Candidates are strongly encouraged to submit materials electronically to musicology at furman.edu. Letters of recommendation should be submitted directly to Dr. Mark E. Britt, Chair, Department of Music, Furman University, 3300 Poinsett Highway, Greenville, SC 29613-1154. Hard copies of all materials are also acceptable.
Additional information about the Department and the University can be found at http://www.furman.edu.
Furman University is an Equal Opportunity employer committed to increasing the diversity of its faculty.
How Performance Thinks: April 13th-14th 2012, Kingston practice.research.unit/PSi/The London Studio
Call for proposals:
How Performance Thinks
A two-day conference co-organized by the PSi Performance and Philosophy working group and Kingston University’s practice.research.unit
April 13th-14th 2012
The London Studio Centre, London
http://www.london-studio-centre.co.uk/
Keynote presenters will include:
Every house has a door
(Lin Hixson, Matthew Goulish, Bryan Saner, Stephen Fiehn, and Tim Kinsella)
Vida Midgelow
Joe Kelleher
Freddie Rokem
This conference hopes to bring together practitioners and scholars concerned with the question of how performance thinks from a wide range of overlapping perspectives and contexts including practice-as-research, professional practice and the emerging sub-field of ‘performance & philosophy’. Can performance be understood as a kind of thinking in its own right? What value might such an understanding have for performance and philosophical research, for academia and for practices operating outside the academy?
The idea of practice-as-research has achieved a growing institutional acceptance in international Higher Education institutions over the last decade, with funding councils, government bodies and academic institutions increasingly recognising the capacity of arts practices, as well as text-based research, to produce new knowledge. Likewise, in his recent book, Philosophers and Thespians, Freddie Rokem argues that the question of how, or in what ways, performance and theatre “think”, constitutes one of ‘the most urgent issues on the agenda of today’s institutions of higher education’ (Rokem 2010: 5). And yet, the tendency to treat performance as the mere application or exemplication of pre-existing ideas (for instance, from philosophy) remains a feature of scholarship in both Performance and Philosophy. In contrast, this conference will question: Can we extend or democratize, perhaps, our conception of what counts as ‘thought’ without rendering the term meaningless? To what extent can performance be understood as a way of thinking rather than as the illustration, application or demonstration of existing ideas – including philosophical ideas?
We invite 500-word proposals for practice-based and paper-based presentations on topics and questions including, but not limited to the following:
• Performance practice-as-research, performance as a contribution to knowledge
• Performance practice as a kind of thinking, including dance, theatre, performance art, Live Art, music, applied theatre, performance in everyday life etc.
• Practitioner knowledge and its dissemination: knowing-how and knowing-that
• Thinking as the process of making performance and/or performance as thinking through/with the audience
• Can performance be understood as a kind of thinking? If so, what are the benefits and risks of doing so, for performance and/or for philosophy?
• How does performance present ideas, create concepts or produce knowledge in itself?
• Do current definitions of ‘practice-as-research’ effectively capture how performance thinks?
• What do we mean by thought or thinking? How does including performance within the category of thinking affect other disciplines such as philosophy?
• Is thinking something that only humans can do? Or can we speak of non-human thinking?
• What, if anything, is distinct about how performance thinks? What are the forms of thought that are native or indigenous to performance (in contrast, perhaps, to those that belong to other disciplines)?
• How, specifically, do different kinds of performance think? Through the body? Through participatory experiences? Through duration and liveness? Through improvisation and devising?
• Is there a difference between the ways in which thinking occurs in and as solo and collaborative forms of performance?
If you require any particular technical support for the proposed presentation, please indicate this. The conference organizers welcome proposals for all modes of presentation and/or dissemination of research including performance, practical demonstration, papers, panels, dialogues and participatory forms.
NB. 1) You do not have to be a member of Performance Studies international (PSi), or of the PSi Performance and Philosophy working group to apply. 2) Presenters need to fund their own expenses for attending the conference - including travel, accommodation and delegate fee (likely to be approx £25 waged/£15 unwaged)
Deadline for proposals: February 1st 2012
Send to: laura.cull@northumbria.ac.uk
Enquiries can also be sent to Laura Cull at this email address or Professor John Mullarkey at j.mullarkey@kingston.ac.uk
How Performance Thinks
A two-day conference co-organized by the PSi Performance and Philosophy working group and Kingston University’s practice.research.unit
April 13th-14th 2012
The London Studio Centre, London
http://www.london-studio-centre.co.uk/
Keynote presenters will include:
Every house has a door
(Lin Hixson, Matthew Goulish, Bryan Saner, Stephen Fiehn, and Tim Kinsella)
Vida Midgelow
Joe Kelleher
Freddie Rokem
This conference hopes to bring together practitioners and scholars concerned with the question of how performance thinks from a wide range of overlapping perspectives and contexts including practice-as-research, professional practice and the emerging sub-field of ‘performance & philosophy’. Can performance be understood as a kind of thinking in its own right? What value might such an understanding have for performance and philosophical research, for academia and for practices operating outside the academy?
The idea of practice-as-research has achieved a growing institutional acceptance in international Higher Education institutions over the last decade, with funding councils, government bodies and academic institutions increasingly recognising the capacity of arts practices, as well as text-based research, to produce new knowledge. Likewise, in his recent book, Philosophers and Thespians, Freddie Rokem argues that the question of how, or in what ways, performance and theatre “think”, constitutes one of ‘the most urgent issues on the agenda of today’s institutions of higher education’ (Rokem 2010: 5). And yet, the tendency to treat performance as the mere application or exemplication of pre-existing ideas (for instance, from philosophy) remains a feature of scholarship in both Performance and Philosophy. In contrast, this conference will question: Can we extend or democratize, perhaps, our conception of what counts as ‘thought’ without rendering the term meaningless? To what extent can performance be understood as a way of thinking rather than as the illustration, application or demonstration of existing ideas – including philosophical ideas?
We invite 500-word proposals for practice-based and paper-based presentations on topics and questions including, but not limited to the following:
• Performance practice-as-research, performance as a contribution to knowledge
• Performance practice as a kind of thinking, including dance, theatre, performance art, Live Art, music, applied theatre, performance in everyday life etc.
• Practitioner knowledge and its dissemination: knowing-how and knowing-that
• Thinking as the process of making performance and/or performance as thinking through/with the audience
• Can performance be understood as a kind of thinking? If so, what are the benefits and risks of doing so, for performance and/or for philosophy?
• How does performance present ideas, create concepts or produce knowledge in itself?
• Do current definitions of ‘practice-as-research’ effectively capture how performance thinks?
• What do we mean by thought or thinking? How does including performance within the category of thinking affect other disciplines such as philosophy?
• Is thinking something that only humans can do? Or can we speak of non-human thinking?
• What, if anything, is distinct about how performance thinks? What are the forms of thought that are native or indigenous to performance (in contrast, perhaps, to those that belong to other disciplines)?
• How, specifically, do different kinds of performance think? Through the body? Through participatory experiences? Through duration and liveness? Through improvisation and devising?
• Is there a difference between the ways in which thinking occurs in and as solo and collaborative forms of performance?
If you require any particular technical support for the proposed presentation, please indicate this. The conference organizers welcome proposals for all modes of presentation and/or dissemination of research including performance, practical demonstration, papers, panels, dialogues and participatory forms.
NB. 1) You do not have to be a member of Performance Studies international (PSi), or of the PSi Performance and Philosophy working group to apply. 2) Presenters need to fund their own expenses for attending the conference - including travel, accommodation and delegate fee (likely to be approx £25 waged/£15 unwaged)
Deadline for proposals: February 1st 2012
Send to: laura.cull@northumbria.ac.uk
Enquiries can also be sent to Laura Cull at this email address or Professor John Mullarkey at j.mullarkey@kingston.ac.uk
CFP: Gender, Musical Creativity and Age, Univ. of Huddersfield, Oct 2012
CALL FOR PAPERS: ‘Gender, Musical Creativity and Age’
6-7 October 2012, University of Huddersfield, UK.
Hosted by the Centre for the Study of Music, Gender and Identity (MuGI). Director: Dr Lisa Colton. http://www.hud.ac.uk/mugi/
This interdisciplinary conference will take a broad approach to matters of representation and identity, examining the intersection of age and gender in relation to musical creativity across a wide range of historical periods and genres. Our keynote address will be given by Dr Sophie Fuller (Trinity Laban Conservatoire of Music and Dance; MuGI Visiting Research Fellow). We welcome proposals from all disciplinary backgrounds and methodologies, especially critical, analytical, ethnographic and empirical approaches, and musicians reflecting on their own creative practice in relation to issues of gender and age.
Possible areas for discussion include music, gender and age in relation to
• Creative ‘peaks’ and artistic development in composers and performers
• The concept of ‘early works’ or juvenilia
• Notions of generic or individual ‘late style’
• Representations of music and musicianship across various media
• Processes of ageing in music and musicians, including the ageing of stars and their fans
• The changing reception of performers and composers during their lifetimes and posthumously
• Subcultural participation, formation and identities
• Intersections of gender and age with other representations or categories of difference
• Participation in creative activity across boundaries of gender and age
• Creativity in educational settings and activities
• The dissemination of financial and cultural resources across various demographics
Papers will be 20 minutes long with additional time for questions. Proposals for lecture recitals, pre-formed panels or other non-traditional presentation formats are also welcome: please provide full details with your submission.
Abstracts of 200 words should be sent to Dr Catherine Haworth (c.m.haworth at hud.ac.uk) by 31 March 2012.
6-7 October 2012, University of Huddersfield, UK.
Hosted by the Centre for the Study of Music, Gender and Identity (MuGI). Director: Dr Lisa Colton. http://www.hud.ac.uk/mugi/
This interdisciplinary conference will take a broad approach to matters of representation and identity, examining the intersection of age and gender in relation to musical creativity across a wide range of historical periods and genres. Our keynote address will be given by Dr Sophie Fuller (Trinity Laban Conservatoire of Music and Dance; MuGI Visiting Research Fellow). We welcome proposals from all disciplinary backgrounds and methodologies, especially critical, analytical, ethnographic and empirical approaches, and musicians reflecting on their own creative practice in relation to issues of gender and age.
Possible areas for discussion include music, gender and age in relation to
• Creative ‘peaks’ and artistic development in composers and performers
• The concept of ‘early works’ or juvenilia
• Notions of generic or individual ‘late style’
• Representations of music and musicianship across various media
• Processes of ageing in music and musicians, including the ageing of stars and their fans
• The changing reception of performers and composers during their lifetimes and posthumously
• Subcultural participation, formation and identities
• Intersections of gender and age with other representations or categories of difference
• Participation in creative activity across boundaries of gender and age
• Creativity in educational settings and activities
• The dissemination of financial and cultural resources across various demographics
Papers will be 20 minutes long with additional time for questions. Proposals for lecture recitals, pre-formed panels or other non-traditional presentation formats are also welcome: please provide full details with your submission.
Abstracts of 200 words should be sent to Dr Catherine Haworth (c.m.haworth at hud.ac.uk) by 31 March 2012.
NYPL Short-term Fellowships, 2012-2013
Once again, The New York Public Library is delighted to announce the availability of short-term fellowships to support visiting scholars conducting research in the Library's unique research and special collections. Fellowships stipends up to $4,000 are available to scholars from outside the New York metropolitan area engaged in graduate-level, post-doctoral, or independent research. Scholars researching in the humanities including but not limited to art history, cultural studies, history, literature, performing arts and photography are welcome to apply.
Applicants must be United States citizens or permanent residents with the legal right to work in the U.S.
Read the guidelines to submit an application at https://fellowship-nypl.icims.com/jobs/intro
Fellowships will be held in the following divisions/units of the New York Public Library:
* New York Public Library for the Performing Arts
* Schomburg Center for Research in Black Culture
* Manuscripts and Archives Division
* Carl H. Pforzheimer Collection of Shelley and His Circle
* Dorot Jewish Division and Slavic, Baltic, and Eastern European Collections
* Henry W. and Albert A. Berg Collection of English and American Literature
* The Miriam and Ira D. Wallach Division of Art, Prints and Photographs
Application Deadline: March 18, 2012
Notification: May 1, 2012
Award Period: June 1, 2012-June 30, 2013
Applications received after March 18, 2012 will not be considered.
Questions about the fellowship should be sent to short.term@nypl.org.
Fellowship Announcement. The awarding of the fellowships will be announced by e-mail on or before May 15, 2012. Fellowship recipients and their research projects will be acknowledged on The New York Public Library website and in Library publicity.
Residency. Fellows must take up residency between June 1, 2012 and June 30, 2013. Fellows are expected to be in continuous residence for the duration of the fellowship award period as specified in the proposal.
Fellow's Report. Each fellow is required to write a brief statement about his or her project and work completed by the end of the residency, suitable for the Library's website.
Bob Kosovsky, Ph.D. -- Curator, Rare Books and Manuscripts, kos@panix.com
Music Division, The New York Public Library for the Performing Arts
blog: http://www.nypl.org/blog/author/44 Twitter: @kos2
Applicants must be United States citizens or permanent residents with the legal right to work in the U.S.
Read the guidelines to submit an application at https://fellowship-nypl.icims.com/jobs/intro
Fellowships will be held in the following divisions/units of the New York Public Library:
* New York Public Library for the Performing Arts
* Schomburg Center for Research in Black Culture
* Manuscripts and Archives Division
* Carl H. Pforzheimer Collection of Shelley and His Circle
* Dorot Jewish Division and Slavic, Baltic, and Eastern European Collections
* Henry W. and Albert A. Berg Collection of English and American Literature
* The Miriam and Ira D. Wallach Division of Art, Prints and Photographs
Application Deadline: March 18, 2012
Notification: May 1, 2012
Award Period: June 1, 2012-June 30, 2013
Applications received after March 18, 2012 will not be considered.
Questions about the fellowship should be sent to short.term@nypl.org.
Fellowship Announcement. The awarding of the fellowships will be announced by e-mail on or before May 15, 2012. Fellowship recipients and their research projects will be acknowledged on The New York Public Library website and in Library publicity.
Residency. Fellows must take up residency between June 1, 2012 and June 30, 2013. Fellows are expected to be in continuous residence for the duration of the fellowship award period as specified in the proposal.
Fellow's Report. Each fellow is required to write a brief statement about his or her project and work completed by the end of the residency, suitable for the Library's website.
Bob Kosovsky, Ph.D. -- Curator, Rare Books and Manuscripts, kos@panix.com
Music Division, The New York Public Library for the Performing Arts
blog: http://www.nypl.org/blog/author/44 Twitter: @kos2
Survey for music performers (amateurs, professionals, teachers, performance students)
Survey for music performers (amateurs, professionals, teacher, performance students)
We would like to know about your use of technology in music performance contexts (practicing, performing, teaching) and value a response from you even if you make very limited use of technology! By technology we mean video, audio, and MIDI recordings, as well as computer assisted feedback on performance using spectrograms, sound wave visualisation, and the like.
To participate in the survey, please go to: https://www.surveymonkey.com/s/VFB
The collected answers will be used for a review article on performance feedback systems and may be used in the future to outline a strategy for technology development.
The questionnaire takes 10 minutes. Really hope you will help out!
For questions or further information, please contact either of us.
Kind regards,
Renee Timmers (r.timmers@sheffield.ac.uk) and Makiko Sadakata (m.sadakata@donders.ru.nl)
Dr Renee Timmers
Lecturer in Psychology of Music
Department of Music, University of Sheffield
34 Leavygreave Road, Sheffield S3 7RD
Tel: 0114-2220477
Times Higher Education University of the Year
We would like to know about your use of technology in music performance contexts (practicing, performing, teaching) and value a response from you even if you make very limited use of technology! By technology we mean video, audio, and MIDI recordings, as well as computer assisted feedback on performance using spectrograms, sound wave visualisation, and the like.
To participate in the survey, please go to: https://www.surveymonkey.com/s/VFB
The collected answers will be used for a review article on performance feedback systems and may be used in the future to outline a strategy for technology development.
The questionnaire takes 10 minutes. Really hope you will help out!
For questions or further information, please contact either of us.
Kind regards,
Renee Timmers (r.timmers@sheffield.ac.uk) and Makiko Sadakata (m.sadakata@donders.ru.nl)
Dr Renee Timmers
Lecturer in Psychology of Music
Department of Music, University of Sheffield
34 Leavygreave Road, Sheffield S3 7RD
Tel: 0114-2220477
Times Higher Education University of the Year
International Conference "Theatre Between Tradition & Contemporaneity"
Dear Colleagues
It is our pleasure to invite you to take part in the International Conference
"Theatre Between Tradition & Contemporaneity"
December 17 - 21, 2012
at Retzhof Castle - Retzhof Educational Institute
in Leitring bei Leibnitz, Austria!
ABOUT THE CONFERENCE
"Theatre Between Tradition and Contemporaneity" is the professional conference researching the Bridge between Tradition and Contemporaneity in performing arts.
The conference is inviting professionals working in the field of music - musicians, composers, singers, music researchers, journalists and critics, music educators and teachers, music producers and promoters from all over the world interested in the research of traditional methods as applied to contemporary performing arts work. This meeting is a great opportunity to meet potential collaborators and partners - producers, theatre managers, theatre directors, choreographers, talent managers, arts agents, festival organizers and arts publishers from different countries.
The conference working language is English.
You are welcome to take part in the conference as a Speaker, Presenter, Participant, Observer!
At the moment the conference is accepting presentation proposals!
REGISTRATION FOR PRESENTERS AND SPEAKERS:
The conference offers a wonderful opportunity for music experts - musicians, music educators and teachers - to demonstrate their methods and techniques to the international audience.
PRESENTATION FORMATS:
practical workshop/master class, work in progress, performance fragment not requiring special technical conditions, reading/lecture, other way of demonstration offered by Speaker/Presenter can be considered.
SUBMISSION GUIDELINES:
the presentation proposal should be sent to iugte.projects@gmail.com and should include the following documents:
• Letter of motivation stating the conference title and dates describing the purpose of application - at least in one sentence
• Detailed CV
• Brief biography - max 100 words
• Title and format of presentation
• Brief overview of presentation - max 250 words
• Head shot and additional photo materials
Conference web page and registration conditions: http://www.iugte.com/projects/music
Photo gallery of the past events: http://www.iugte.com/photo
Speakers/Presenters of the past conferences:
http://www.iugte.com/documents/archives
We appreciate in advance if you could spread the word among your friends and colleagues.
Thank you very much, and have a great creative work in your field!
www.iugte.com
It is our pleasure to invite you to take part in the International Conference
"Theatre Between Tradition & Contemporaneity"
December 17 - 21, 2012
at Retzhof Castle - Retzhof Educational Institute
in Leitring bei Leibnitz, Austria!
ABOUT THE CONFERENCE
"Theatre Between Tradition and Contemporaneity" is the professional conference researching the Bridge between Tradition and Contemporaneity in performing arts.
The conference is inviting professionals working in the field of music - musicians, composers, singers, music researchers, journalists and critics, music educators and teachers, music producers and promoters from all over the world interested in the research of traditional methods as applied to contemporary performing arts work. This meeting is a great opportunity to meet potential collaborators and partners - producers, theatre managers, theatre directors, choreographers, talent managers, arts agents, festival organizers and arts publishers from different countries.
The conference working language is English.
You are welcome to take part in the conference as a Speaker, Presenter, Participant, Observer!
At the moment the conference is accepting presentation proposals!
REGISTRATION FOR PRESENTERS AND SPEAKERS:
The conference offers a wonderful opportunity for music experts - musicians, music educators and teachers - to demonstrate their methods and techniques to the international audience.
PRESENTATION FORMATS:
practical workshop/master class, work in progress, performance fragment not requiring special technical conditions, reading/lecture, other way of demonstration offered by Speaker/Presenter can be considered.
SUBMISSION GUIDELINES:
the presentation proposal should be sent to iugte.projects@gmail.com and should include the following documents:
• Letter of motivation stating the conference title and dates describing the purpose of application - at least in one sentence
• Detailed CV
• Brief biography - max 100 words
• Title and format of presentation
• Brief overview of presentation - max 250 words
• Head shot and additional photo materials
Conference web page and registration conditions: http://www.iugte.com/projects/
Photo gallery of the past events: http://www.iugte.com/photo
Speakers/Presenters of the past conferences:
http://www.iugte.com/
We appreciate in advance if you could spread the word among your friends and colleagues.
Thank you very much, and have a great creative work in your field!
www.iugte.com
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