JOB: College at Brockport, State University of New York, musicology etc. (visiting asst. professor)

The College at Brockport, State University of New York, is a leading comprehensive public college in New York. We focus on educating the whole student by providing rigorous classroom learning as well as student-faculty engagement in educationally purposeful activities outside the classroom and exceptional co-curricular programs and support services. Our commitment to the student experience is evidenced by our culture of global learning, diversity, and community and civic engagement. This fosters an inclusive environment where students learn to welcome and embrace differences and develop personal responsibility for their future success. We especially welcome candidates who can contribute to the diversity and excellence of the academic community through research, teaching, and service.

The College at Brockport, State University of New York, invites applications for faculty positions to begin in the 2013-2014 academic year. Assistant Professors are full-time, tenure track positions and require a terminal degree in field. Visiting/Clinical Assistant Professors are non-tenure track positions. For additional information about each position and individual requirements, visit our web-site at https://www.brockportrecruit.org.

SCHOOL OF THE ARTS, HUMANITIES AND SOCIAL SCIENCES

Theatre/Delta College

Vocal Music, Music Theory & Musicology Specialist - Visiting Assistant Professor

CFP: Color in Medieval France, Paris, June 2013

Color in Medieval France
10th Annual Symposium of the IMS-Paris, 27-29 June 2013

The International Medieval Society in Paris (IMS-Paris) is soliciting abstracts for individual papers and proposals for complete sessions for its 2013 interdisciplinary symposium organized around the theme of Color in medieval France.

This symposium welcomes papers about color from all disciplines.  Topics may include:  color in music (notation, embellishment, use of mode); approaches to color in philosophy and theology; the symbolics and meaning(s) of color(s) in social history and literature; the economics of color, the lexis of color; and approaches to color and light in medieval science and art.

Proposals of 300 words or less (in English or French) for a 20-minute paper should be e-mailed to contact at ims-paris.org no later than 1 December 2012. Each should be accompanied by full contact information, a CV, and a list of audiovisual equipment you require.

Priority will be given to papers that address the French or francophone Middle Ages. Please be aware that the IMS-Paris submissions review process is highly competitive and is carried out on a strictly blind basis. The selection committee will notify applicants of its decision by e-mail by 20 December 2012.

Titles of accepted papers will be made available on the IMS-Paris web site. Authors of accepted papers will be responsible for their own travel costs and conference registration fee (35 euros, reduced for students, free for IMS-Paris members).

For more information about the IMS-Paris, and the full Call for Papers, please visit our website: http://www.ims-paris.org.

JOB: University of Geneva, musicology

Professeur-e ordinaire ou professeur-e associé-e en Musicologie

https://jobs.icams.unige.ch/www/wd_portal.show_job?p_web_site_id=1&p_web_page_id=10201

Description du poste

Poste en musicologie moderne et contemporaine (17e-20e siècles), à 100% soit 6 heures de cours et de séminaires par semaine. Ces heures seront réparties entre les programmes BA (bachelor) et MA (master) de l’Unité de musicologie du Département d’histoire de l’art et de musicologie, ainsi que, le cas échéant, des programmes interdisciplinaires et postgrades.

Le-la candidat-e retenue sera appelé-e à développer au niveau national et international des recherches dans ses domaines de spécialisation. Il-elle aura également la responsabilité de diriger des travaux de recherche des étudiants.

Il-elle assumera les tâches de gestion et d’organisation.

Titre et compétences exigés

TITRE EXIGE :

Doctorat ès lettres ou titre jugé équivalent.

Pour ce poste en musicologie moderne et contemporaine (17e-20e siècles), la préférence sera donnée à un-e candidat-e de renommée internationale, pouvant démontrer une spécialisation philologique reconnue, une excellente intégration dans les réseaux de recherche, et des qualifications dans la collaboration avec d’autres milieux (interdisciplinarité, conservatoire, services à la Cité). Une bonne expérience de la pratique musicale est indispensable.

Entrée en fonction

1er août 2013 ou date à convenir

Contact

Les dossiers de candidature constitués d’une lettre de motivation, d’un curriculum vitae détaillé comprenant une liste des publications, une copie du diplôme le plus élevé, doivent être adressés, en 13 exemplaires, avant le 31 octobre 2012 à la Faculté des Lettres, Secrétariat du décanat, Uni Bastions, Rue de Candolle 5, CH-1211 Genève 4, auprès duquel des renseignements complémentaires peuvent être obtenus sur le cahier des charges et les conditions.

L'Université de Genève offre des conditions d’engagement motivantes dans un cadre de travail stimulant. En nous rejoignant, vous aurez l'occasion de mettre en valeur vos compétences ainsi que votre personnalité et contribuer activement au rayonnement d'une Institution fondée en 1559.

Dans une perspective de parité, l'Université encourage les candidatures du sexe sous-représenté.

CFP: The Idea of North (American Comparative Literature Association), Univ. of Toronto, Apr 2013

CFP: The Idea of North

The Idea of North
American Comparative Literature Association, University of Toronto,
April 4-7, 2013
Seminar Organizer: Brent Wetters (Brown University)
Deadline for submissions: November 1, 2012
Website: http://www.acla.org/acla2013/the-idea-of-north/

In 1967, Glenn Gould produced a radio documentary, The Idea of North –
a one-hour program of interviews exploring practical and philosophical
views of the Canadian north.  Describing the significance of the
north, Gould wrote, "Something really does happen to most people who
go north – they become at least aware of the creative opportunity
which the physical fact of the country represents and – quite often, I
think come to measure their own work and life against that staggering
creative possibility: they become, in effect, philosophers." In the
subsequent years, the question of the north has become ever more
urgent, as it has become the site where the world’s changing climate
is felt most acutely.  As ice melts, new contested spaces are opened
for exploration, travel, and research. Gould’s Idea of North is also
situated on its own contested terrain. It is, as Gould’s says, a
"documentary which views itself as a drama," but it is also music.
This seminar aims to bring together a variety of approaches and
disciplines that each seeks to understand the north in its own way.

Topics might include:

- Glenn Gould’s Idea of North
- Literary evocations of the north (i.e. Frankenstein, Robert Service,
Mandelstam, Auden, Nabokov, Pullman)
- Utopian fantasies of the north (i.e. Hitler’s polar obsession)
- Contested borders of the arctic
- Musical representations of the north
- The north as it relates to Heidegger, Agamben, and “the open.”

To submit a proposal, please visit http://acla.org/submit/index.php,
enter your paper proposal, and select "The Idea of North" from the
drop-down menu. Please contact Brent Wetters directly
(bwetters at medusarecords.org) for more information or to informally
discuss proposals prior to submission.

CFP: Music and Diplomacy, Tufts Univ./Harvard Univ., Mar 2013

CALL FOR PAPERS: MUSIC AND DIPLOMACY

Tufts University and Harvard University, March 1-2, 2013

How does music (its concepts, practices, and institutions) shape the exercise of diplomacy, the pursuit of power, and the conduct of international relations? Scholars are increasingly asking these questions from a variety of disciplinary standpoints. While some have highlighted the ritual function of European court entertainments in the development of modern diplomatic practices, others have pondered the construction of (a)political meaning in musical events. From the musical performance of political conflict to the cultural conditions of peacemaking, scholars and practitioners have investigated the purposes and effects of music as “cultural diplomacy,” “public diplomacy,” “soft,” “smart,” and/or “sticky” power. Diplomatic patronage of all kinds of music (from opera to jazz to hip hop), the music-making of diplomats themselves, and the development of celebrity diplomacy have raised further questions about the politicized consumption of music.

This conference aims to provide a forum for interdisciplinary dialogue among scholars from various historical standpoints and diverse disciplines, including (but not limited to): musicology and ethnomusicology, government (international relations, political theory), peace studies, cultural studies, history, sociology, psychology, literature, and communication.

Keynote speakers include Danielle Fosler-Lussier, Associate Professor of Music at The Ohio State University.

We invite abstracts of no more than 300 words, sent as email attachments to musicanddiplomacy atgmail.com. Please include contact information and affiliation (if any) in your abstract, as well as anticipated audio equipment needs. The deadline for submissions is November 19. Revised versions of papers will be considered for an edited volume planned for publication.

The conference is hosted by the Center for the Humanities at Tufts University and the Mahindra Humanities Center at Harvard University, with support from the Mellon Foundation.

Co-organizers: Rebekah Ahrendt, Mark Ferraguto, Damien Mahiet

Reminder - CFP: Musicology and the Present

Musicology and the Present

Lewis and Clark College, Portland, Oregon

April 20^th, 2013

Journalists have long declaimed the precarious state of classical music, deploring its perpetually imminent demise while suggesting various approaches to its salvation. Recent decades have seen musicologists join the chorus as well, releasing titles like Who Needs Classical Music? and Why Classical Music Still Matters. Given the persistence of this topic in journalism and academia, classical music would seem to be in its death throes.

While such discourse emphasizes the decline of a nineteenth century canon and its institutions, it disregards the aesthetic and institutional realities of contemporary concert music. This conference will explore contemporary classical music’s sounds, structures and institutions, through diverse scholarly approaches to the work of younger composers; the idea of new music “scenes”; and the ongoing processes of institutionalization and canon formation in the 21^st century. We seek perspectives on the state of art music that both engage and go beyond the pervasive rhetoric of its demise.

Given musicologists' role in the classroom and our potential to influence public debate, disciplinary obligations to art music's present must not be limited to activism on behalf of the traditional canon. Accordingly, it is explicitly not the conference's aim to look for "solutions" to any purported crisis in classical music. Instead, by considering classical music’s present, we hope to assess its immediate future, as well as its future in musicological debates.

Topics might include, but are not limited to:

- the historiography of classical music's "demise"

- new music and patronage

- contemporary music historiography

- alternative canon formation

- textbooks, pedagogy, and new music

- the academy and the concert hall

- the state of conservatory training

- globalism, pluralism, and the internet

The keynote speaker will be Robert Fink, Professor and Chair of Musicology at UCLA.

The conference will take place at Lewis and Clark College in Portland, Oregon on April 20, 2013. Abstracts of no more than 300 words should be emailed to Marianna Ritchey (mritchey@lclark.edu) and Andrea Moore (amoray@ucla.edu) by September 30, 2012. 

JOB: University of Illinois at Chicago, Theory/Jazz (tenure-track)

Music Theory/Jazz Artist

UNIV. ILLINOIS AT CHICAGO  - Assistant Professor, Theory/Jazz
Instructor, tenure track.  Responsibili-ties: teach undergraduate
common practice and 20th century theory, ear-training, counterpoint,
analysis, and/or jazz theory; teach applied lessons; direct jazz combo
or big band as appropriate; professional and creative activity as well
as instruction. All faculty expected to serve on committees and assist
in student ad-vising and recruitment.  Minimum qualifications: earned
doctorate; distinguished record as scholar and/or performing jazz
artist and jazz composer; significant record of teaching common
practice theory and per-formance courses at the college level.
Desirable: fluency in notation software; grant-seeking record; record
of successful student recruiting and multi-disciplinary collaboration.
 Ideal candidate will help define De-partment’s curricular initiatives
in both common practice and jazz curricula, participate in
interdisciplinary activities, be able to work with students and
faculty from diverse backgrounds, and participate in Chicago arts
community while maintaining a professional career. Begin: 8/13.  Send
detailed letter of application, curriculum vitae, and contact
information for three professional references via the UIC job board at
https://jobs.uic.edu/. For full consideration, applications must be
received by December 1, 2012.  More in-formation:  email Prof. Marc
Mellits at mmellits at uic.edu.  UIC is an Affirmative Action-Equal
Opportunity Employer committed to diversity.

JOB: Middle Tennesse State University, Director, School of Music

Middle Tennessee State University seeks a visionary leader to oversee the growth and development of its dynamic School of Music. The director will serve as the principal academic, artistic, and executive officer for the school. This is an academic year position; opportunities exist for summer administrative compensation. The successful candidate will be qualified for associate or full professor and tenure, hold an earned doctorate in music or equivalent professional and administrative experience, have a substantive administrative record, and have a track record of demonstrated success in institutional development. The faculty are looking for a candidate with a distinguished record of teaching in music and the ability to inspire, enable, and support successful pedagogy, evidence of advocacy that would support the School and its diverse musical and academic programs within the college, university, local community, and externally, a strong record in research or creative activity

 , out
standing interpersonal skills, experience in personnel management, familiarity with NASM standards, a strong record in recruitment and retention, evidence of collaborative efforts between disciplines and communities, a demonstrated commitment to undergraduate and graduate education, and an appreciation of music of diverse cultures. Start date: August 1, 2013. To apply for this position, go tohttp://mtsujobs.mtsu.edu and follow the instructions on how to complete an application, attach documents, and submit online. Review of applications begins October 29, 2012 and continues until position is filled. Rank and salary are commensurate with education and experience. Proof of U.S. citizenship or eligibility for U.S. employment will be required prior to employment (Immigration Control Act of 1986). Clerly Act crime statistics for MTSU available at http://police.mtsu.edu/crime_statistics.htm. EO/AA employer.

The School of Music at MTSU is a comprehensive, rapidly growing program with 35 full-time and 48 adjunct faculty members serving approximately 365 music majors studying in 10 undergraduate and 8 graduate music concentrations in a university of 26,000 students; over 4,000 students enroll in music courses each year. The School presents more than 200 concerts each year, and features the Stones River Chamber Players, a faculty ensemble, a Jazz Artist Series, and other events. MTSU ensembles include a wide range of orchestral, wind band, choral, jazz, chamber and specialty ensembles, as well as opera workshop. MTSU carries the designation of All-Steinway School.

MTSU is located in Murfreesboro, a city of 100,000 just 35 miles southeast of Nashville. The university's music programs are accredited by the National Association of Schools of Music, and the school is home to the Center for Popular Music, a leading archive and research center for American vernacular music. For more information on music at MTSU, visit the School of Music's website: www.mtsumusic.com.

Felicia M. Miyakawa, Ph.D.
Director of Graduate Studies, MTSU
email: fmiyakaw at yahoo.com
Felicia.Miyakawa at mtsu.edu

JOB: Ithaca College, music theory and musicology (tenure-track)

The Ithaca College School of Music is seeking applications for a full-time, tenure-eligible position in music theory and musicology at the rank of Assistant Professor, to begin fall 2013. Primary responsibility will be teaching music theory, aural skills and/or Western music history courses for music majors. The successful candidate will also teach interdisciplinary, integrative, and collaborative courses designed primarily but not exclusively for non-music majors.


Completed doctorate in music theory or musicology by August 16, 2013, demonstrably excellent full-time college teaching experience (at least one year beyond graduate assistant level), and evidence of potential for scholarship required. Preference will be given to applicants with teaching experience in at least two of the following subject areas: music theory, aural skills, and musicology. Applications from scholars who possess experience and expertise in teaching classes in vernacular or non-Western music and in classes that address issues of identity and ethnicity in music are especially welcome.


Interested individuals should apply online at apply.icjobs.org and attach a cover letter, CV, and a list containing the contact information for at least three professional references. Questions about online application may be directed to the Office of Human Resources at (607) 274-8000. Review of applications will begin immediately. To ensure full consideration, complete applications should be received by December 1, 2012.

Since its founding in 1892 as a conservatory, the School of Music earns its reputation as one of the best in the nation, offering a superb blend of full-time resident faculty, performance opportunities, state-of-the-arts facilities, access to liberal arts courses, and success in career placement. It’s a place where students work with world-class professionals every day to become world-class professionals themselves.


Ithaca College, a comprehensive residential campus community of 7000 students, offers a learning experience that combines the best of the liberal arts and professional education. Our new strategic plan IC 20/20 positions us to offer a truly distinct integrative learning experience that allows us to graduate students who are ready for the personal, professional, and global challenges of our age. We seek candidates who embrace integrative learning and want to be a part of this exciting time in Ithaca College history.


Nestled in the heart of New York State’s scenic Finger Lakes region, Ithaca College sits atop South Hill overlooking picturesque Cayuga Lake and is just minutes away from the city center. Combining small town warmth and charm with the vibrancy of a college community, the thriving and culturally diverse city of Ithaca has been rated by Kiplinger’s as one of the top 10 places to live in the U.S. To learn more about Ithaca College, visit us at www.ithaca.edu.

Ithaca College continually strives to build an inclusive and welcoming community of individuals, with diverse talents and skills from a multitude of backgrounds, who are committed to civility, mutual respect, social justice, and the free and open exchange of ideas. Successful candidates will demonstrate an ability to teach in ways that value the varied learning needs and interests of a culturally diverse student population and that reflect a commitment to encouraging the success of all students.

Peter Silberman
Assistant Professor of Music Theory
Ithaca College

CFP (journal articles): Evental Aesthetics, special issue: Aesthetic Practices Developed Prior to 1700

CALL FOR AUTHORS

Evental Aesthetics 2, no.1 (2013)

Aesthetics Before 1700

**Deadline: February 1, 2013**

We're pleased to invite submissions for our forthcoming issue on aesthetic practices developed prior to 1700.

We welcome authors from any discipline, and topics based on the aesthetic practice of any culture.  Neither philosophical perspectives nor artworks proposed for analysis need originate in Western cultures, although they may of course do so.

We welcome both full-length articles (4,000-10,000 words, excluding endnotes) and Collisions (1,000-2,000 words).  Collisions are brief, but well-written and intellectually rigorous, responses to aesthetic experiences that raise philosophical questions for discussion, but that do not necessarily enact the discussion in full.  More information on Collisions is available at  http://eventalaesthetics.us2.list-manage.com/track/click?u=b14151dd6bc0930f213369f1a&id=b4a644ba53&e=041685ba1f.

Suggested topics include, but are not limited to:

* Aesthetic concerns in Pre-Socratic Greek philosophy
* Definitions of, and relationships between, beauty and ethics
* Aesthetic aspects of ancient cosmologies
* Prehistoric art
* Philosophical accounts of art, and what we would now call aesthetic matters, by ancient and pre-modern authors
* Evaluations of newer reflections on pre-1700 aesthetic theories
* Newer aesthetic theories based on practices developed before 1700
* Analyses of art, literature, music, everyday aesthetic practices made in any culture before 1700
* Aesthetic analyses of pre-1700 religious practices
* The use of pre-1700 aesthetic practices, artworks, or ideas in more recent art, literature, music, cinema, everyday practices, and aesthetic theories.
* Other topics pertaining to aesthetic practices developed before 1700 are also welcome.

Submission Requirements:

* Please send your submissions electronically in MS Word format (doc or docx files), double-spaced in a legible font, in accordance with The Chicago Manual of Style (endnotes, please).
* Be sure to accompany your submission with an abstract (max. 250 words), a bibliography, and at least 5 keywords that may be used as search terms.
* Articles must be in English, but we welcome either American or British spelling provided the submission remains consistent throughout.
* All submissions must be formatted for blind review, which means that the author's name, affiliation, contact information, and biographical details should not appear anywhere on your document, neither in the file name nor in the text.
* Before submitting, please review our submission requirements, review procedures, and copyright policy athttp://eventalaesthetics.us2.list-manage.com/track/click?u=b14151dd6bc0930f213369f1a&id=0f3234a5a2&e=041685ba1f and ensure that your submission meets all posted requirements.  Submissions that do not meet the requirements cannot be considered for publication.
* Please email your submission to eventalaesthetics at gmail.com, by February 1, 2013.  Questions may be directed to the Editors at the same address.

Thank you for your interest in Evental Aesthetics.

CFP: International Musicological Competitions, Center for New Technology in the Arts, Lithuanian Academy of Music and Theatre

Center for New Technology in the Arts “Art-parkING”
www.artparking.org
General partner: Lithuanian Academy of Music and Theatre

International Musicological Competitions
Interdisciplinary Studies in Music.
New Approaches, Methods and Conceptions
Deadline – March 1st, 2013

In the contemporary world, interdisciplinary studies have become a major resource for knowledge transformation and development, facilitating the expansion of individual methodologies to other areas of expertise.
By initiating a Competition in the field of musicology, the Center for New Technologies in the Arts “Art-parkING” aims to draw people’s attention to common cultural paradigms and to trace new ways and innovative ideas in this field.
The Competition is organized for two levels of participants:
1. Those who have a bachelor and masters degree (and equivalents)
2. Doctoral studies (and equivalents), postdoctoral level and all under the age of 35.

All questions about participation, media contacts and collaboration are to be sent to competition atartparking.org
For any questions contact Lidia Ader: +79117657640 (Russia)

General information about the competition is available on www.artparking.org

CFP (essay proposals): Listening Spaces: 21st Century Perspectives on Music, Technology, and Culture

Call For Essay Proposals

Listening Spaces: 21st Century Perspectives on Music, Technology, and Culture seeks proposals for writings to be included in a volume of new critical essays.  The Listening Spaces Project is funded by a multi-year grant in conjunction with Carnegie Mellon University's Center for the Arts in Society (http://www.cmu.edu/cas/media%20initiave/listening%20spaces/index.html) and the Frank-Ratchye STUDIO for Creative Inquiry (http://studioforcreativeinquiry.org/projects/listening-spaces.)

Our goal is to examine the multiple ways people listen to, consume, and produce music and sound in an increasingly digital world.  Technologies such as social networks, recommendation algorithms, virtual cloud storage, and portable listening devices increasingly mediate both personal and communal experiences with music; while such technologies may be convenient, their unexamined use raises ethical, socio-political, and philosophical questions. The Listening Spaces anthology seeks essays engaging with these questions and others posed by emergent musical and social technologies.

The volume seeks essays in the following areas:

·       Modern media listening, storing, and sharing practices in comparison to past methods (mix tapes, portability, headphone culture, physical versus digital media)
·       The social and/or psychological motivations for sharing or recommending music
·       The relationship between, social networks, on-line identity formation and music discovery and consumption.
·       Human music recommendations versus algorithm-driven recommendations, music recommendation algorithms and marketing, or trust and accuracy in recommendation.
·       Factors influencing recommendation: tagging, FOAF descriptions, personalization, social networks, catalogued music content, mood
·       Media formats and playback technologies
·       Sampling, mashups, file-sharing, and other legal issues pertaining to digital music use
·       Online musical communities (forums, message boards, Twitter, Facebook, Spotify, etc.)
·       The impact of social networks and digital technologies on the creation of music and/or artists' interactions with listeners

The volume's editors will consider submissions across a range of writing styles and scholarly methods in order to achieve a collection of the most compelling and readable essays. Scholars at any rank, advanced doctoral students, journalists, and independent intellectuals are invited to submit.

Submissions:  Send C.V. and 500 word proposal (with contact information) to Eds. Richard Purcell and Richard Randall: listeningspaces at gmail.com.

Deadline: November 1st, 2012 

JOB: University of Richmond, musicology (tenure-track)

The Music Department at the University of Richmond invites applications for a new tenure-track assistant professor position in musicology or ethnomusicology specializing in American vernacular music beginning August 2013.  The teaching load is five courses per year, consisting of a mixture of classes for general students and music majors or minors. Connections across departments and programs are a strength of the University of Richmond curriculum and applicants who can offer interdisciplinary courses are strongly desired.  A Ph.D. is required; ABDs will be considered but the candidate must have completed the Ph.D. by the start date.  Any scholarly specialty in American vernacular music will be considered.  Candidates must demonstrate the potential for excellence in teaching and research. Performance background desired, though not required.  For more information on the department see http://music.richmond.edu.

Applicants should apply online at https://www.urjobs.org using the Faculty (Instructional/Research) link.  Applicants are asked to submit a cover letter, a statement of teaching interests and philosophy, evidence of teaching effectiveness (if available), a description of current and planned research programs, and a current curriculum vitae. Additionally, applicants should arrange to have three letters of
recommendation (including at least one that addresses teaching effectiveness or potential) sent to: Gene Anderson, Chair, Department of Music, University of Richmond, VA 23173. Review of applications will begin October 22 and will continue until the position is filled. Members of the search committee will conduct preliminary interviews at the joint AMS/SMT/SEM Conference in New Orleans, November 1-4, 2012.

The University of Richmond is a highly selective, private institution that is committed to developing a diverse workforce and student body and to supporting an inclusive campus community. We strongly encourage applications from candidates who will contribute to these goals.

JOB: University of North Florida, musicology (asst. professor)

University of North Florida
Assistant Professor of Musicology/Coordinator

The UNF Music Flagship Program seeks a musicology scholar with research interests complementary to those of the current faculty. Initial assignment will include teaching undergraduate courses within the music history sequence, world music, literature and musicology topics; Additional duties will include the development and instruction of graduate music history courses; maintaining an active program of research and scholarly publication. Demonstrated success in applied teaching is welcome.

All faculty in the College of Arts and Sciences are expected to engage in scholarly research and creative activities.  Ph.D. in Musicology required.

https://www.unfjobs.org/applicants/jsp/shared/position/JobDetails_css.jsp?postingId=274279

CFP: Western Classical Music Pedagogy: Music theory, Analysis and Techniques of Composition, Univ. of London, 27 Mar 2013

Western Classical Music Pedagogy:  Music theory, Analysis and Techniques of Composition

This one-day conference will take place at Chancellor's Hall, Senate House, University of London (under the auspices of the Institute of Musical Research: music.sas.ac.uk) on Wednesday March 27, 2013 from 10.00-18.00.

Papers of 10 or 20 minutes duration, demonstrations and round table events are invited on undergraduate music pedagogy. Subjects may include, but are not limited to, the use of 'pastiche' writing, voice-leading and Schenkerian approaches, music history and analysis, pedagogical methodologies, critical use of textbooks, the use of technology, the relationship between academic studies and music performance, and the relationship between the Conservatoire and University environment.

Keynote speakers:

Professor Michael Spitzer (University of Liverpool), and

Jeremy Summerly (Sterndale Bennett Lecturer in Music, Royal Academy of Music)

An abstract of no more than 200 words should be sent to Dr Robert Sholl ( r.sholl at ram.ac.uk ) by November 30, 2012.

Programme Committee: Dr Timothy Jones, Dr Anthony Gritten, Dr Alex Hills, Dr Robert Sholl

CFP (journal articles): Special Issue on Artistic Research in Music, Svensk tidskrift för musikforskning (Swedish Journal of Musicology)

Call for Papers

Special Issue on Artistic Research in Music

Part of the 2013 issue of Svensk tidskrift för musikforskning (Swedish Journal of Musicology, STM) will be devoted to the subject of artistic research in music. We encourage submissions on aspects of the theories, methods, significance, possibilities, challenges etc. of this branch of music research. Suitable topics include but are not limited to the following:

• What characterizes, or should characterize, artistic research in music in relation to other kinds of music research?
• What important phenomena/issues has artistic research in music yet to deal with, and how could this be accomplished?
• How can artistic research in music develop and communicate artistic knowledge?
• How can artistic research in music be combined with other kinds of music research?
• ”Interpretation” is part of the practice of musicians as well as of musicologists. What are the similarities and differences between these kinds of interpretation? Can they be combined in a fruitful way?
• What challenges does artistic research in music face?
• How can universities take advantage of the competence of researching musicians?
• How can the results of artistic research in music be implemented within musical life?

STM is a printed, peer-reviewed journal issued once a year by the Swedish Society for Musicology. STM accepts contributions in Swedish, Norwegian, Danish, English and German. All authors contributing to the special feature section on artistic research in music are encouraged to write in English or German.

The submission deadline is 15 January, 2013. The issue will be published in June, 2013.

For more information, please view the full CFP: http://musikforskning.se/stm/CFP_STM_English.pdf

20 Semptember, 2012
Tobias Lund, Editor-in-Chief
email: tobias.lund at kultur.lu.se
musikforskning.se/stm