Doctoral Dissertations in Musicology (DDM) is an international database of bibliographic records for completed dissertations and new dissertation topics in the fields of musicology, music theory, and ethnomusicology, as well as in related musical, scientific, and humanistic disciplines. It currently contains over 15,000 records, including the corrected and updated contents of all earlier printed editions of Doctoral Dissertations in Musicology and supplements contributed from musicological centers throughout the world. The database is fully searchable by many parameters.
If you have recently begun or completed your doctoral dissertation, please let us know! Is your dissertation included in the database? Check and let us know if it should be added.
You may find information on adding to and updating the database at the DDM web site:
http://www.ams-net.org/ddm/
Are you a member of the AMS? We've recently linked about two thousand dissertations in the database to AMS members. Log in to the AMS members-only pages (www.ams-net.org/login.php) and you'll see the link at the member home page. Please have a look and advise if an update or correction is needed. Thanks in advance!
Bob Judd
rjudd at ams-net.org
venerdì 30 novembre 2012
CFP (deadline extended): Women Composers Festival, Hartford, 9 March 2013
Women Composers Festival of Hartford Extends Call for Papers and Presentations Deadline
The WCForum is being presented during the 2013 festival as a means to explore the diverse body of works by women composers. The festival seeks papers and lecture-recitals that address any aspect of contributions by women composers, past or present. Possible presentations may include analyzation of individual works, discussion of instrument/voice-specific repertoire, discourse on particular musical genres, and other subjects pertinent to music by women composers. DEADLINE HAS BEEN EXTENDED TO DECEMBER 15.
Electronic submission of proposals is required. Entries must be received by Saturday, December 15 (We are extending the deadline due to storm recovery). All submissions will be peer-reviewed in an anonymous selection process. Individuals will be notified by email of the panel’s decision starting Tuesday, January 1. Accepted abstracts/proposals will be presented at the WCForum, to be held Saturday, March 9. All conference presenters are expected to register for a small fee (payable via Paypal). Travel funding is not available at this time.
Submission Guidelines
1. Individuals may send up to two proposals/abstracts.
2. Abstracts/Proposals must be 250-300 words.
3. Lecture-recital proposals must indicate performer(s) and include a sample recording of one or more works.
4. Abstracts must be accompanied with bibliography and musical examples (4-5), if applicable.
5. Abstracts/Proposals and additional materials must be submitted WITHOUT individual’s name or other identifying information.
6. Proposed talks and lecture-recitals must be a maximum of 30 minutes, including time for questions.
7. A list of technical requirements must be provided with the proposal/abstract. Please specify any equipment needed to present the talk or lecture-recital.
8. Include your contact info (name, address, phone, email), a short bio (100 words or less), and institutional affiliation in the email or as a separate file.
PDFs and mp3s should be emailed to submissions atwomencomposersfestivalhartford
Daniel Morel
Festival Director
Women Composers Festival of Hartford
http://www.
The WCForum is being presented during the 2013 festival as a means to explore the diverse body of works by women composers. The festival seeks papers and lecture-recitals that address any aspect of contributions by women composers, past or present. Possible presentations may include analyzation of individual works, discussion of instrument/voice-specific repertoire, discourse on particular musical genres, and other subjects pertinent to music by women composers. DEADLINE HAS BEEN EXTENDED TO DECEMBER 15.
Electronic submission of proposals is required. Entries must be received by Saturday, December 15 (We are extending the deadline due to storm recovery). All submissions will be peer-reviewed in an anonymous selection process. Individuals will be notified by email of the panel’s decision starting Tuesday, January 1. Accepted abstracts/proposals will be presented at the WCForum, to be held Saturday, March 9. All conference presenters are expected to register for a small fee (payable via Paypal). Travel funding is not available at this time.
Submission Guidelines
1. Individuals may send up to two proposals/abstracts.
2. Abstracts/Proposals must be 250-300 words.
3. Lecture-recital proposals must indicate performer(s) and include a sample recording of one or more works.
4. Abstracts must be accompanied with bibliography and musical examples (4-5), if applicable.
5. Abstracts/Proposals and additional materials must be submitted WITHOUT individual’s name or other identifying information.
6. Proposed talks and lecture-recitals must be a maximum of 30 minutes, including time for questions.
7. A list of technical requirements must be provided with the proposal/abstract. Please specify any equipment needed to present the talk or lecture-recital.
8. Include your contact info (name, address, phone, email), a short bio (100 words or less), and institutional affiliation in the email or as a separate file.
PDFs and mp3s should be emailed to submissions atwomencomposersfestivalhartford
Daniel Morel
Festival Director
Women Composers Festival of Hartford
http://www.
giovedì 29 novembre 2012
CFP: Sounds from Behind the Iron Curtain: Polish Music after World War II, Univ. of Southern California, Los Angeles, 6 Apr 2013
Sounds from Behind the Iron Curtain: Polish Music after World War II - A Musicology and Digital Humanities Conference
Univ. of Southern California, Los Angeles -- April 6, 2013
The Polish Music Center at USC’s Thornton School of Music invites submissions for “Sounds from Behind the Iron Curtain: Polish Music after World War II” – A Musicology and Digital Humanities Conference, which will take place April 6, 2013. We welcome participants from all disciplines interested in exploring any aspect of Polish music (defined as music of any genre and function produced in Poland and/or by Polish nationals) in the period of 1945 to the present. As the nature of the research material lends itself to interdisciplinary approaches and multi-media exploration, we especially encourage scholars making extensive use of digital technology in their research and presentation. Entirely digital presentations will be accommodated. Selected conference papers/presentations will be published online by the Polish Music Center following the event.
Suggested topics and research areas:
Post-war Modernism and its relationship to Folklore
Post-war Modernism and the musical legacy of Chopin (Szymanowski, Renaissance music, etc.)
Polish Jazz
'Warsaw Autumn' Contemporary Music Festivals
Polish Film Music
The Role of Music in Polish Theater
Music and Religion
Music and Memory
Music and War Trauma
Polish Rock (Punk, etc.)
Looking into the Orient
Music and Cold War Politics
Music and Democratic/Economic Change
The Revival of Klezmer Music
Polish Music in the Digital Age
Contributions are welcomed in the form of individual papers (20 minutes). Please send an abstract of up to 300 words to Ewelina Boczkowska at 2013polishmusicconference at gmail.com. All submissions must be received by Monday, December 31, 2012. Notification of acceptance will occur by January 15, 2013.
For more details, please visit http://www.usc.edu/dept/
Univ. of Southern California, Los Angeles -- April 6, 2013
The Polish Music Center at USC’s Thornton School of Music invites submissions for “Sounds from Behind the Iron Curtain: Polish Music after World War II” – A Musicology and Digital Humanities Conference, which will take place April 6, 2013. We welcome participants from all disciplines interested in exploring any aspect of Polish music (defined as music of any genre and function produced in Poland and/or by Polish nationals) in the period of 1945 to the present. As the nature of the research material lends itself to interdisciplinary approaches and multi-media exploration, we especially encourage scholars making extensive use of digital technology in their research and presentation. Entirely digital presentations will be accommodated. Selected conference papers/presentations will be published online by the Polish Music Center following the event.
Suggested topics and research areas:
Post-war Modernism and its relationship to Folklore
Post-war Modernism and the musical legacy of Chopin (Szymanowski, Renaissance music, etc.)
Polish Jazz
'Warsaw Autumn' Contemporary Music Festivals
Polish Film Music
The Role of Music in Polish Theater
Music and Religion
Music and Memory
Music and War Trauma
Polish Rock (Punk, etc.)
Looking into the Orient
Music and Cold War Politics
Music and Democratic/Economic Change
The Revival of Klezmer Music
Polish Music in the Digital Age
Contributions are welcomed in the form of individual papers (20 minutes). Please send an abstract of up to 300 words to Ewelina Boczkowska at 2013polishmusicconference at gmail.com. All submissions must be received by Monday, December 31, 2012. Notification of acceptance will occur by January 15, 2013.
For more details, please visit http://www.usc.edu/dept/
CFP: Chant and Culture, Univ. of British Columbia, Vancouver, Aug 2013
Call for Papers
The University of British Columbia's Committee for Medieval Studies presents
CHANT AND CULTURE
8th Annual Colloquium of The Gregorian Institute of Canada
August 6-9, 2013
University of British Columbia
Vancouver, British Columbia
The Gregorian Institute of Canada has focused from its inception on performance, providing a unique opportunity for scholars and performers from Canada and around the world to share and discuss their ideas, research, and experience. This year's theme—Chant and Culture—is inspired by an essay currently found in WILLIAM MAHRT's book, The Musical Shape of the Liturgy, and which also originally appeared as "Gregorian Chant as a Fundamentum of Western Musical Culture", (http://media.musicasacra.com/
Submissions on any topic of chant research are welcome, but paper and workshop proposals that address the broadly conceived colloquium theme—Chant and Culture— are particularly encouraged and will be favored over others in the selection process. Suggested topics include anything related to Mahrt's thesis: i.e., "Gregorian chant was not only the historical predecessor of a great development of polyphonic music; it was also the actual structural basis of the better part of medieval and renaissance sacred music. One could chart this history in great detail, but more interesting are the ways in which it played the role of a fundamentum, and the part it played in the development of a polyphonic fundamentum. From the high middle ages onward, there existed a polyphonic sacred music which used the materials and even the thought processes of each age. A creative interaction between the traditional fundamentals of sacred music and the ideas of the time is a hallmark of the entire history. If at times it seems that the ideas of the time prevailed, it must not be forgotten that polyphonic sacred music always existed in the context of some kind of performance of Gregorian chant as chant."
Please send a 250-word abstract to the program committee, chant at gregorian.ca. Abstracts may be sent and papers presented in either English or French. Conference papers will be limited to 30 minutes, followed by a 10-minute discussion period. Performance practice workshops will last 40 minutes.
The deadline for proposals is January 15, 2013.
For further information, registration, and conference updates, please visit the Gregorian Institute of Canada website atwww.gregorian.ca.
The University of British Columbia's Committee for Medieval Studies presents
CHANT AND CULTURE
8th Annual Colloquium of The Gregorian Institute of Canada
August 6-9, 2013
University of British Columbia
Vancouver, British Columbia
The Gregorian Institute of Canada has focused from its inception on performance, providing a unique opportunity for scholars and performers from Canada and around the world to share and discuss their ideas, research, and experience. This year's theme—Chant and Culture—is inspired by an essay currently found in WILLIAM MAHRT's book, The Musical Shape of the Liturgy, and which also originally appeared as "Gregorian Chant as a Fundamentum of Western Musical Culture", (http://media.musicasacra.com/
Submissions on any topic of chant research are welcome, but paper and workshop proposals that address the broadly conceived colloquium theme—Chant and Culture— are particularly encouraged and will be favored over others in the selection process. Suggested topics include anything related to Mahrt's thesis: i.e., "Gregorian chant was not only the historical predecessor of a great development of polyphonic music; it was also the actual structural basis of the better part of medieval and renaissance sacred music. One could chart this history in great detail, but more interesting are the ways in which it played the role of a fundamentum, and the part it played in the development of a polyphonic fundamentum. From the high middle ages onward, there existed a polyphonic sacred music which used the materials and even the thought processes of each age. A creative interaction between the traditional fundamentals of sacred music and the ideas of the time is a hallmark of the entire history. If at times it seems that the ideas of the time prevailed, it must not be forgotten that polyphonic sacred music always existed in the context of some kind of performance of Gregorian chant as chant."
Please send a 250-word abstract to the program committee, chant at gregorian.ca. Abstracts may be sent and papers presented in either English or French. Conference papers will be limited to 30 minutes, followed by a 10-minute discussion period. Performance practice workshops will last 40 minutes.
The deadline for proposals is January 15, 2013.
For further information, registration, and conference updates, please visit the Gregorian Institute of Canada website atwww.gregorian.ca.
4 Postdoctoral researchers and 4 PhD positions
4 Postdoctoral researchers and 4 PhD positions, NWO-sponsored Horizon project: ‘Knowledge and Culture’
The Netherlands Organization for Scientific Research (NWO) will be funding the Horizon research project ‘Knowledge and Culture’. This project will be carried out as a collaboration between the Leiden University Centre for Linguistics (LUCL), the Leiden University Centre for Arts in Society (LUCAS), the Meertens Institute (KNAW), and the University of Amsterdam (UvA). Prof. dr Johan Rooryck at the Leiden University Centre for Linguistics (LUCL) of the Faculty of Humanities at Leiden University will be coordinating the research project. For more information, please see the full description of the project at http://www.hum.leiden.edu/lucl/job-opportunities/vacancies-at-leiden-university.html
Knowledge and culture:
In various domains of cognitive science, a new paradigm holds that humans and non-human animals are born with a small set of hard-wired cognitive abilities that are task-specific, language-independent, and non-species-specific. These core knowledge systems are innate cognitive skills that have the capacity for building mental representations of objects, persons, spatial relationships, numerosity, and social interaction. In addition to core knowledge systems, humans possess species-specific, uniquely human abilities such as language and music.
The Netherlands Organization for Scientific Research (NWO) will be funding the Horizon research project ‘Knowledge and Culture’. This project will be carried out as a collaboration between the Leiden University Centre for Linguistics (LUCL), the Leiden University Centre for Arts in Society (LUCAS), the Meertens Institute (KNAW), and the University of Amsterdam (UvA). Prof. dr Johan Rooryck at the Leiden University Centre for Linguistics (LUCL) of the Faculty of Humanities at Leiden University will be coordinating the research project. For more information, please see the full description of the project at http://www.hum.leiden.edu/lucl/job-opportunities/vacancies-at-leiden-university.html
Knowledge and culture:
In various domains of cognitive science, a new paradigm holds that humans and non-human animals are born with a small set of hard-wired cognitive abilities that are task-specific, language-independent, and non-species-specific. These core knowledge systems are innate cognitive skills that have the capacity for building mental representations of objects, persons, spatial relationships, numerosity, and social interaction. In addition to core knowledge systems, humans possess species-specific, uniquely human abilities such as language and music.
The ‘core knowledge’ paradigm challenges scholars in the humanities to ask the question how nurture and culture build on nature. This project examines the way in which innate, non specifically human, core knowledge systems for object representation, number, and geometry constrain cultural expressions in music, language, and the visual arts. In this research program, four domains of the humanities will be investigated from the point of view of core knowledge: (1) music cognition; (2) language and number; (3) visual arts and geometry; (4) poetry, rhythm, and meter.
8 positions in 4 subprojects:
Subproject 1: Music cognition
teamleader: Prof.dr H. Honing (UvA)
1PhD student in music cognition
http://vacatures.leidenuniv.nl/wetenschappelijk/12-246-phd-student-in-music-cognition-.html
1 Postdoctoral researcher in music cognition/ linguistics
http://vacatures.leidenuniv.nl/wetenschappelijk/12-251-postdoctoral-researcher-in-music-cognition-linguistics-.html
Subproject 2: Language and Number
teamleader: Prof.dr S. Barbiers (Meertens Institute/ UU)
1PhD student in linguistics or cognitive science
http://vacatures.leidenuniv.nl/wetenschappelijk/12-247-phd-student-in-linguistics-cognitive-science-.html
1 Postdoctoral researcher in linguistics
http://vacatures.leidenuniv.nl/wetenschappelijk/12-252-postdoctoral-researcher-in-linguistics-.html
Subproject 3: Visual Arts and Geometry
teamleaders: Prof.dr.ir M. Delbeke (UGent) & Prof.dr C. van Eck (UL)
1PhD student in art history
http://vacatures.leidenuniv.nl/wetenschappelijk/12-249-phd-student-in-art-history-.html
1 Postdoctoral researcher in art history
http://vacatures.leidenuniv.nl/wetenschappelijk/12-254-postdoctoral-researcher-in-art-history-.html
Subproject 4: Poetry, rhythm, and meter
teamleader: Prof.dr M. van Oostendorp (Meertens Institute/ UL)
1PhD student in metrics
http://vacatures.leidenuniv.nl/wetenschappelijk/12-248-phd-student-in-metrics-.html
1 Postdoctoral researcher in metrics
http://vacatures.leidenuniv.nl/wetenschappelijk/12-253-postdoctoral-researcher-in-metrics-.html
Information
mercoledì 28 novembre 2012
JOB: University of Cincinnati, music theory (tenure-track)
Assistant Professor (212UC2948)
The Division of Composition, Musicology and Theory (CMT) of the University of Cincinnati, College-Conservatory of Music (CCM) seeks an outstanding candidate with a strong record of teaching and research for a tenure-track appointment as an assistant professor of music theory beginning in the fall semester of 2013. All areas of specialization will be considered. The CMT Division offers a wide range of graduate and undergraduate music theory courses. It enrolls 20 graduate music theory majors in PhD or MM programs, and offers required and elective courses for all students enrolled in music programs at CCM, a comprehensive conservatory of music. http://ccm.uc.edu/music/cmt.
Responsibilities: Emphasis will be upon teaching undergraduate and graduate courses in music theory and musicianship including supervision of teaching assistants; advising research in area(s) of expertise; maintaining an active program of research and scholarly publication; participating in divisional, college and university-wide committees, and other service.
Regular nine-month, tenure-track appointment at the rank of assistant professor. Salary will be commensurate with educational background and experience.
Job Description: On a full-time basis Faculty Members principal academic functions include teaching, discovering, creating and reporting knowledge.
Minimum Qualifications: Appropriate academic degree related to department specifications and prior academic experience. PhD in Music Theory by August 2013. Evidence of scholarly activity as demonstrated by conference presentations and/or publications and effective teaching at the college level required as defined by at least one year beyond graduate assistant level.
Ideal Qualifications: PhD in Music Theory completed outstanding record of scholarship and teaching, and evidence of an active research agenda. Experience in teaching large courses for undergraduate music majors is an asset.
To apply for position (212UC2948), please see www.jobsatuc.com
The University of Cincinnati is an affirmative action/equal opportunity employer. UC is a smoke-free work environment.
The Division of Composition, Musicology and Theory (CMT) of the University of Cincinnati, College-Conservatory of Music (CCM) seeks an outstanding candidate with a strong record of teaching and research for a tenure-track appointment as an assistant professor of music theory beginning in the fall semester of 2013. All areas of specialization will be considered. The CMT Division offers a wide range of graduate and undergraduate music theory courses. It enrolls 20 graduate music theory majors in PhD or MM programs, and offers required and elective courses for all students enrolled in music programs at CCM, a comprehensive conservatory of music. http://ccm.uc.edu/music/cmt.
Responsibilities: Emphasis will be upon teaching undergraduate and graduate courses in music theory and musicianship including supervision of teaching assistants; advising research in area(s) of expertise; maintaining an active program of research and scholarly publication; participating in divisional, college and university-wide committees, and other service.
Regular nine-month, tenure-track appointment at the rank of assistant professor. Salary will be commensurate with educational background and experience.
Job Description: On a full-time basis Faculty Members principal academic functions include teaching, discovering, creating and reporting knowledge.
Minimum Qualifications: Appropriate academic degree related to department specifications and prior academic experience. PhD in Music Theory by August 2013. Evidence of scholarly activity as demonstrated by conference presentations and/or publications and effective teaching at the college level required as defined by at least one year beyond graduate assistant level.
Ideal Qualifications: PhD in Music Theory completed outstanding record of scholarship and teaching, and evidence of an active research agenda. Experience in teaching large courses for undergraduate music majors is an asset.
To apply for position (212UC2948), please see www.jobsatuc.com
The University of Cincinnati is an affirmative action/equal opportunity employer. UC is a smoke-free work environment.
CFP: Recital and Urban Setting in the Nineteenth Century, La Spezia, July 2013
RECITAL AND URBAN SETTING IN THE NINETEENTH CENTURY
International Conference
LA SPEZIA, CAMEC
11-13 July 2013
http://www.luigiboccherini.
Organized by
Centro Studi Opera Omnia Luigi Boccherini, Lucca
Società dei Concerti, La Spezia
In association with
Palazzetto Bru Zane - Centre de musique romantique française, Venice
The conference aims to investigate the recital (defined as a concert given by both a single and a small group of performers) within the context of the transition from a rural society to an industrialized and urbanized one. The scientific committee encourages the submission of proposals that analyze the relationship between places, institutions, performers, recital repertory in Europe and beyond and their relation to the sociological, economical and technological dynamics associated with the period in question.
Two sessions will be devoted, respectively, to France as the nation that saw the initial flourishing of the recital, and Charles-Valentin Alkan, on the bicentenary of his birth. The programme committee encourages submissions within the following areas, although other topics are also welcome:
· The Roots of the Recital
· The Recital and the Growth of International Music Business
· The Recital and the Transformation of Urban Setting
· Capital Cities, Towns, Small Musical Centres and Institutions
· Concert Halls and Architectonical Conceptions
· The Recital and the Development of Technology
· The Recital and Masses
· The Recital and Press
· The Recital and Instruments Manufacturers, Publishers, Concert Agents
· The Recital in France
· Charles-Valentin Alkan
PROGRAMME COMMITTEE
· Andrea Barizza, La Spezia; Richard Bösel, Rome; Etienne Jardin, Paris/Venice; Roberto Illiano, Lucca; Fulvia Morabito, Lucca; Massimiliano Sala, Lucca; Rohan H. Stewart-Macdonald, Leominster, UK
KEYNOTE SPEAKERS
· Richard Bösel (Istituto Storico Austriaco, Rome)
· Laure Schnapper (EHESS, Paris)
The official languages of the conference are English, French, and Italian. Papers selected at the conference will be published in a miscellaneous volume. Papers are limited to twenty minutes in length,
allowing time for questions and discussion. Please submit an abstract of no
more than 500 words and one page of biography.
All proposals should be submitted by email no later than ***Saturday 15 March 2013*** to <conferences at luigiboccherini.org>. With your proposal please include your name, contact details (postal address, e-mail and telephone number) and (if applicable) your affiliation. The committee will make its final decision on the abstracts by the 1 April 2013, and contributors will be informed immediately thereafter. Further information about the programme, registration, travel and accommodation will be announced by the middle of April.
For any additional information, please contact:
Dr. Massimiliano Sala, Via Pelleria, 25, I-55100 Lucca (Lu)
conferences at luigiboccherini.org
www.luigiboccherini.org
International Conference
LA SPEZIA, CAMEC
11-13 July 2013
http://www.luigiboccherini.
Organized by
Centro Studi Opera Omnia Luigi Boccherini, Lucca
Società dei Concerti, La Spezia
In association with
Palazzetto Bru Zane - Centre de musique romantique française, Venice
The conference aims to investigate the recital (defined as a concert given by both a single and a small group of performers) within the context of the transition from a rural society to an industrialized and urbanized one. The scientific committee encourages the submission of proposals that analyze the relationship between places, institutions, performers, recital repertory in Europe and beyond and their relation to the sociological, economical and technological dynamics associated with the period in question.
Two sessions will be devoted, respectively, to France as the nation that saw the initial flourishing of the recital, and Charles-Valentin Alkan, on the bicentenary of his birth. The programme committee encourages submissions within the following areas, although other topics are also welcome:
· The Roots of the Recital
· The Recital and the Growth of International Music Business
· The Recital and the Transformation of Urban Setting
· Capital Cities, Towns, Small Musical Centres and Institutions
· Concert Halls and Architectonical Conceptions
· The Recital and the Development of Technology
· The Recital and Masses
· The Recital and Press
· The Recital and Instruments Manufacturers, Publishers, Concert Agents
· The Recital in France
· Charles-Valentin Alkan
PROGRAMME COMMITTEE
· Andrea Barizza, La Spezia; Richard Bösel, Rome; Etienne Jardin, Paris/Venice; Roberto Illiano, Lucca; Fulvia Morabito, Lucca; Massimiliano Sala, Lucca; Rohan H. Stewart-Macdonald, Leominster, UK
KEYNOTE SPEAKERS
· Richard Bösel (Istituto Storico Austriaco, Rome)
· Laure Schnapper (EHESS, Paris)
The official languages of the conference are English, French, and Italian. Papers selected at the conference will be published in a miscellaneous volume. Papers are limited to twenty minutes in length,
allowing time for questions and discussion. Please submit an abstract of no
more than 500 words and one page of biography.
All proposals should be submitted by email no later than ***Saturday 15 March 2013*** to <conferences at luigiboccherini.org>. With your proposal please include your name, contact details (postal address, e-mail and telephone number) and (if applicable) your affiliation. The committee will make its final decision on the abstracts by the 1 April 2013, and contributors will be informed immediately thereafter. Further information about the programme, registration, travel and accommodation will be announced by the middle of April.
For any additional information, please contact:
Dr. Massimiliano Sala, Via Pelleria, 25, I-55100 Lucca (Lu)
conferences at luigiboccherini.org
www.luigiboccherini.org
______________________________
lunedì 26 novembre 2012
CFP: Music and Spectacle, Univ. of Texas, Austin, 23 Mar 2013
CFP: GAMMA-UT, the Graduate Association for Music and Musicians at the University of Texas at Austin, announces its thirteenth annual conference, “Music and Spectacle,” to be held on Saturday, March 23, 2012 at The University of Texas at Austin. Graduate students from areas including music theory, musicology, ethnomusicology, education and learning, composition, performance, and related areas will meet to share their research.
This year’s keynote speaker is Todd Decker. Decker has written extensively on American popular music with emphases on Broadway, Hollywood film and television, the recorded music industry, and jazz. Decker’s current project deals with film music and sound in post-1978 Hollywood war films and considers issues of national identity, masculinity, the creation of new expressive registers in film music, archival research in post-studio films, and how movies can act as war memorials.
Call for Papers:
GAMMA-UT is soliciting student papers in the areas of music theory, musicology, ethnomusicology, and education and learning. Papers may deal with any aspect of music research and analysis. Prospective presenters should submit an abstract of 250 words or less for blind review to gammaut2013 at gmail.com by January 15, 2013.
“Music and Spectacle”
For the thirteenth annual conference, we are accepting paper submissions which consider the topic of Music and Spectacle. Conceiving of spectacle broadly to include the visual, aural, and technological, we welcome papers that consider elements of spectacle including: extravagant displays, performances of racial/sexual/gender identity, music and religious spectacle, music and violence, music and dance, music and film, technology and disembodiment.
Please include your name, email address, mailing address, institutional affiliation, student status, and any special needs for A/V equipment. Papers are to be approximately 20 minutes in length followed by a 10-minute discussion session. Applicants will be notified of the program committee’s decision via email by January 21, 2013.
Questions can be directed to the conference email: gammaut2013 at gmail.com
For more information please visit: http://gammaut.music.utexas.
This year’s keynote speaker is Todd Decker. Decker has written extensively on American popular music with emphases on Broadway, Hollywood film and television, the recorded music industry, and jazz. Decker’s current project deals with film music and sound in post-1978 Hollywood war films and considers issues of national identity, masculinity, the creation of new expressive registers in film music, archival research in post-studio films, and how movies can act as war memorials.
Call for Papers:
GAMMA-UT is soliciting student papers in the areas of music theory, musicology, ethnomusicology, and education and learning. Papers may deal with any aspect of music research and analysis. Prospective presenters should submit an abstract of 250 words or less for blind review to gammaut2013 at gmail.com by January 15, 2013.
“Music and Spectacle”
For the thirteenth annual conference, we are accepting paper submissions which consider the topic of Music and Spectacle. Conceiving of spectacle broadly to include the visual, aural, and technological, we welcome papers that consider elements of spectacle including: extravagant displays, performances of racial/sexual/gender identity, music and religious spectacle, music and violence, music and dance, music and film, technology and disembodiment.
Please include your name, email address, mailing address, institutional affiliation, student status, and any special needs for A/V equipment. Papers are to be approximately 20 minutes in length followed by a 10-minute discussion session. Applicants will be notified of the program committee’s decision via email by January 21, 2013.
Questions can be directed to the conference email: gammaut2013 at gmail.com
For more information please visit: http://gammaut.music.utexas.
FWPS: Intercollegiate Studies Institute
The Intercollegiate Studies Institute is now accepting applications for its 2013-2014 Graduate Fellowships Programs:http://home.isi.org/programs/
ISI offers the Richard M. Weaver Fellowship, the Western Civilization Fellowship, the Bache Renshaw Fellowship, and the Henry Salvatori Fellowship.
The Weaver Fellowship supports academics dedicated to liberal education broadly considered. The Weaver Fellowship pays tuition, a stipend of $5,000, and a $1,000 book award.
The Western Civilization Fellowship provides each recipient $20,000 for dissertation work related to the intellectual, economic, political, social, or religious heritage of Western Civilization.
The Salvatori Fellowship is designed for graduate students who are exploring both the principles of the Founding Fathers and the culture that formed their convictions and ideals. The Fellowship provides $10,000 to each recipient for graduate work related to the American Founding.
The Renshaw Fellowship, awards each recipient $12,000 toward doctoral study in education that will influence the discipline with the ideas, values, and institutions that are fundamental to America's Western tradition.
Please let qualified graduate students know about these opportunities. For more information about this year's fellowships you can email fellowships at isi.org or visit isifellowships.org. The postmark deadline for the graduate fellowship application materials is January 16, 2013.
Founded in 1953, ISI works “to educate for liberty” inspiring college students to discover, embrace and advance the principles and virtues that make America free and prosperous.
Intercollegiate Studies Institute 3901 Centerville Rd., Wilmington Delaware 19807
Phone: (800) 526-7022 or (302) 652-4600 | Fax: (302) 652-1760
ISI offers the Richard M. Weaver Fellowship, the Western Civilization Fellowship, the Bache Renshaw Fellowship, and the Henry Salvatori Fellowship.
The Weaver Fellowship supports academics dedicated to liberal education broadly considered. The Weaver Fellowship pays tuition, a stipend of $5,000, and a $1,000 book award.
The Western Civilization Fellowship provides each recipient $20,000 for dissertation work related to the intellectual, economic, political, social, or religious heritage of Western Civilization.
The Salvatori Fellowship is designed for graduate students who are exploring both the principles of the Founding Fathers and the culture that formed their convictions and ideals. The Fellowship provides $10,000 to each recipient for graduate work related to the American Founding.
The Renshaw Fellowship, awards each recipient $12,000 toward doctoral study in education that will influence the discipline with the ideas, values, and institutions that are fundamental to America's Western tradition.
Please let qualified graduate students know about these opportunities. For more information about this year's fellowships you can email fellowships at isi.org or visit isifellowships.org. The postmark deadline for the graduate fellowship application materials is January 16, 2013.
Founded in 1953, ISI works “to educate for liberty” inspiring college students to discover, embrace and advance the principles and virtues that make America free and prosperous.
Intercollegiate Studies Institute 3901 Centerville Rd., Wilmington Delaware 19807
Phone: (800) 526-7022 or (302) 652-4600 | Fax: (302) 652-1760
domenica 25 novembre 2012
CFP: 4th International Conference on Music and Minimalism, Long Beach CA, 3-6 October 2013 (Minimalism and the Left (Coast))
CFP: Fourth International Conference on Music and Minimalism, Long Beach, CA, 3-6 October 2013
You are kindly invited to submit proposals for the Fourth International Conference on Music and Minimalism, jointly hosted by UCLA and the California State University, Long Beach on the campus of CSULB in Long Beach, CA, 3-6 October 2013.
All scholars interested in music and minimalism are invited to submit paper proposals. The conference welcomes all papers concerning minimalist and post-minimalist music as well as the many subsequent styles they inspired, and is committed to the broadest methodological scope, including analytical, historical, cultural, philosophical, composer-centric, and performance-oriented presentations. In honor of the conference’s West Coast location, the organizers would especially like to encourage papers (or session proposals) on the theme of “Minimalism and the Left (Coast),” including such topics as:
• California minimalism (composers, labels, scenes, trends, institutions like the SF Tape Music Center, Cold Blue Recordings, etc.)
• Minimalism and the Pacific Rim (Japan, China, East Asia)
• Minimalism and Hollywood
• Countercultural minimalism (minimalism, popular music, altered consciousness)
• Minimalism and leftist (or rightist) politics (the 1960s and after)
The Society is also interested, as always, in new research on the core minimalist, post-minimalist, and “totalist” repertories; engagement with the work of lesser-known composers, especially from outside the USA, the United Kingdom, and Europe; and position papers on the larger implications of musical minimalism in contemporary world culture:
• The minimalist and post-minimalist “core” repertoire (Young, Reich, Riley, Glass, Adams, etc.)
• Minimalism outside the USA (Louis Andriessen, Simeon ten Holt, Gavin Bryars, Hans Otte, Eliane Radigue, Karel Goeyvaerts, Zoltan Jeney, Steve Martland, Kevin Volans, Jo Kondo, etc.)
• Global minimalism and world music (minimalism in East and South Asia, Australasia, Africa, and Latin America; the influence of these and other non-Western musics on minimalist composers in the West)
• Crucial but less public figures in the minimalist story: William Duckworth, Tony Conrad, Phil Niblock, Jon Gibson, Rhys Chatham, David Borden, Glenn Branca, Julius Eastman, Terry Jennings, John Luther Adams, Gavin Bryars, Rick Cox, Michael Jon Fink, Jim Fox, Peter Garland, Daniel Lentz, Ingram Marshall, Read Miller, Larry Polansky, David Rosenboom, Phillip Schroeder, Chas Smith, etc., etc.
• Minimalism, opera, new music theater (Robert Wilson, George Coates, Mikel Rouse, Paul Dresher, Rinde Eckert, etc.) and dance (Anna Halprin, Lucinda Childs, Meredith Monk, etc.)
• The significance of minimalist and post-minimalist music as cultural practice
• Minimalism, space, ecology, the environment (ambient music, John Luther Adams, deep listening, etc.)
• Minimalism, sexuality, and gender (female composers [Monk, Oliveros, Speech, Lockwood, Radigue, Ustvolskaya]; repetition, cyclic process, and gender; etc.)
• Aesthetics/listening/analysis: discussions of the particular ways in which minimalism invites listening attitudes and their impact on music analysis
• Minimalism, post-minimalism and their influence on contemporary music composition (see lecture recitals, below)
• The performance practice of minimalism and post-minimalism (see lecture recitals below)
Contributions are welcomed in the form of individual papers (20 minutes). Abstracts containing a maximum of 400 words should be sent as email attachments, by February 1, 2013, to LongBeach2013@
More information will be posted on the conference website: http://minimalismsociety.org/
You are kindly invited to submit proposals for the Fourth International Conference on Music and Minimalism, jointly hosted by UCLA and the California State University, Long Beach on the campus of CSULB in Long Beach, CA, 3-6 October 2013.
All scholars interested in music and minimalism are invited to submit paper proposals. The conference welcomes all papers concerning minimalist and post-minimalist music as well as the many subsequent styles they inspired, and is committed to the broadest methodological scope, including analytical, historical, cultural, philosophical, composer-centric, and performance-oriented presentations. In honor of the conference’s West Coast location, the organizers would especially like to encourage papers (or session proposals) on the theme of “Minimalism and the Left (Coast),” including such topics as:
• California minimalism (composers, labels, scenes, trends, institutions like the SF Tape Music Center, Cold Blue Recordings, etc.)
• Minimalism and the Pacific Rim (Japan, China, East Asia)
• Minimalism and Hollywood
• Countercultural minimalism (minimalism, popular music, altered consciousness)
• Minimalism and leftist (or rightist) politics (the 1960s and after)
The Society is also interested, as always, in new research on the core minimalist, post-minimalist, and “totalist” repertories; engagement with the work of lesser-known composers, especially from outside the USA, the United Kingdom, and Europe; and position papers on the larger implications of musical minimalism in contemporary world culture:
• The minimalist and post-minimalist “core” repertoire (Young, Reich, Riley, Glass, Adams, etc.)
• Minimalism outside the USA (Louis Andriessen, Simeon ten Holt, Gavin Bryars, Hans Otte, Eliane Radigue, Karel Goeyvaerts, Zoltan Jeney, Steve Martland, Kevin Volans, Jo Kondo, etc.)
• Global minimalism and world music (minimalism in East and South Asia, Australasia, Africa, and Latin America; the influence of these and other non-Western musics on minimalist composers in the West)
• Crucial but less public figures in the minimalist story: William Duckworth, Tony Conrad, Phil Niblock, Jon Gibson, Rhys Chatham, David Borden, Glenn Branca, Julius Eastman, Terry Jennings, John Luther Adams, Gavin Bryars, Rick Cox, Michael Jon Fink, Jim Fox, Peter Garland, Daniel Lentz, Ingram Marshall, Read Miller, Larry Polansky, David Rosenboom, Phillip Schroeder, Chas Smith, etc., etc.
• Minimalism, opera, new music theater (Robert Wilson, George Coates, Mikel Rouse, Paul Dresher, Rinde Eckert, etc.) and dance (Anna Halprin, Lucinda Childs, Meredith Monk, etc.)
• The significance of minimalist and post-minimalist music as cultural practice
• Minimalism, space, ecology, the environment (ambient music, John Luther Adams, deep listening, etc.)
• Minimalism, sexuality, and gender (female composers [Monk, Oliveros, Speech, Lockwood, Radigue, Ustvolskaya]; repetition, cyclic process, and gender; etc.)
• Aesthetics/listening/analysis: discussions of the particular ways in which minimalism invites listening attitudes and their impact on music analysis
• Minimalism, post-minimalism and their influence on contemporary music composition (see lecture recitals, below)
• The performance practice of minimalism and post-minimalism (see lecture recitals below)
Contributions are welcomed in the form of individual papers (20 minutes). Abstracts containing a maximum of 400 words should be sent as email attachments, by February 1, 2013, to LongBeach2013@
More information will be posted on the conference website: http://minimalismsociety.org/
CFP: Christian Congregational Music: Local and Global Perspectives, Ripon College Cuddesdon, Oxford, Aug 2013
------------------------------
Call for Papers Deadline - 14th December
------------------------------
Christian Congregational Music: Local and Global Perspectives Conference
Ripon College Cuddesdon, Oxford, United Kingdom
1-3 August 2013
Congregational music-making has long been a vital and vibrant practice within Christian communities worldwide. Congregational music reflects, informs, and articulates local convictions and concerns as well as global flows of ideas and products. Congregational song can unify communities of faith across geographical and cultural boundaries, while simultaneously serving as a contested practice used to inscribe, challenge, and negotiate identities. Many twenty-first century congregational song repertories are transnational genres that cross boundaries of region, nation, and denomination. The various meanings, uses, and influence of these congregational song repertoires cannot be understood without an exploration of these musics’ local roots and global routes.
This conference seeks to explore the multifaceted interaction between local and global dimensions of Christian congregational music by drawing from perspectives across academic disciplines, including anthropology, sociology, history, music studies, and theology. In particular, the conference welcomes papers addressing or engaging with one or more of the following six themes:
• The Politics of Congregational Singing
• Popular Music in/as Christian Worship
• From Mission Hymns to Indigenous Hymnodies
• Congregational Music in the University Classroom
• Towards a More Musical Theology
• A Futurology of Congregational Music
We are now accepting proposals (maximum 250 words) for individual papers and organised panels of three papers. Further details and a link to the online proposal form can be found on the conference website at http://www.rcc.ac.uk/index.
Proposals must be received by 14 December 2012.
Call for Papers Deadline - 14th December
------------------------------
Christian Congregational Music: Local and Global Perspectives Conference
Ripon College Cuddesdon, Oxford, United Kingdom
1-3 August 2013
Congregational music-making has long been a vital and vibrant practice within Christian communities worldwide. Congregational music reflects, informs, and articulates local convictions and concerns as well as global flows of ideas and products. Congregational song can unify communities of faith across geographical and cultural boundaries, while simultaneously serving as a contested practice used to inscribe, challenge, and negotiate identities. Many twenty-first century congregational song repertories are transnational genres that cross boundaries of region, nation, and denomination. The various meanings, uses, and influence of these congregational song repertoires cannot be understood without an exploration of these musics’ local roots and global routes.
This conference seeks to explore the multifaceted interaction between local and global dimensions of Christian congregational music by drawing from perspectives across academic disciplines, including anthropology, sociology, history, music studies, and theology. In particular, the conference welcomes papers addressing or engaging with one or more of the following six themes:
• The Politics of Congregational Singing
• Popular Music in/as Christian Worship
• From Mission Hymns to Indigenous Hymnodies
• Congregational Music in the University Classroom
• Towards a More Musical Theology
• A Futurology of Congregational Music
We are now accepting proposals (maximum 250 words) for individual papers and organised panels of three papers. Further details and a link to the online proposal form can be found on the conference website at http://www.rcc.ac.uk/index.
Proposals must be received by 14 December 2012.
CFP: Historical Perspectives on Music and Seafaring, Open Univ., London, 8 Feb 2013
CFP: Historical Perspectives on Music and Seafaring
The call for papers for the first colloquium of AHRC Research Networking project ‘Atlantic Sounds: Ships and Sailortowns’ is now open. The event will take place on Friday 8 February 2013 at The Open University in London, 1-11 Hawley Crescent, Camden Town, London NW1 8NP.
Music has always had an important presence in cross-cultural encounters around the Atlantic rim (including the Americas, Africa and the Caribbean), both on board ships and in sailortowns. Perhaps the most obvious subjects of study are the sea-songs devised to aid the hard physical labour of work on sailing ships but which also often emerged from experiences on shore, with many recalling the dangers and pleasures of life in port. Beyond these work songs, music has played various roles from mediating in early modern colonial encounters to providing entertainment. Musical traditions and musical instruments have been transported across the Atlantic and have subsequently impacted on music-making in ports and beyond. Music has also disseminated ideas about seafaring to the wider publics, particularly in popular song but also in art music. In modern times, the evolution of transatlantic leisure travel gave music an explicit role as entertainment for passengers but also provided oppo
rtuni
ties for the musicians on board to encounter diverse musical styles. The study of music on ships and in sailortowns informs not only our understanding of historical seafaring practices; but also provides a lens through which the nature of cross-cultural encounters and fusions, many of which pre-date mass immigration into Britain and our resultant multicultural society, can be examined.
We welcome proposals for 20-25 minute papers which address the relationships between music (of all styles and genres) and transatlantic seafaring in particular historical contexts. Please send abstracts of 200 words to atlantic-sounds at open.ac.uk by Friday 7 December 2012. Decisions will be notified before Christmas. You would be very welcome to attend the colloquium without offering a paper, but please email atlantic-sounds at open.ac.uk to reserve your place, as capacity is limited.
For more details about Atlantic Sounds please visit our website www.open.ac.uk/atlanticsounds , follow us on Twitter @AtlanticSounds and like our Facebook page www.facebook.com/atlantic.
The call for papers for the first colloquium of AHRC Research Networking project ‘Atlantic Sounds: Ships and Sailortowns’ is now open. The event will take place on Friday 8 February 2013 at The Open University in London, 1-11 Hawley Crescent, Camden Town, London NW1 8NP.
Music has always had an important presence in cross-cultural encounters around the Atlantic rim (including the Americas, Africa and the Caribbean), both on board ships and in sailortowns. Perhaps the most obvious subjects of study are the sea-songs devised to aid the hard physical labour of work on sailing ships but which also often emerged from experiences on shore, with many recalling the dangers and pleasures of life in port. Beyond these work songs, music has played various roles from mediating in early modern colonial encounters to providing entertainment. Musical traditions and musical instruments have been transported across the Atlantic and have subsequently impacted on music-making in ports and beyond. Music has also disseminated ideas about seafaring to the wider publics, particularly in popular song but also in art music. In modern times, the evolution of transatlantic leisure travel gave music an explicit role as entertainment for passengers but also provided oppo
rtuni
ties for the musicians on board to encounter diverse musical styles. The study of music on ships and in sailortowns informs not only our understanding of historical seafaring practices; but also provides a lens through which the nature of cross-cultural encounters and fusions, many of which pre-date mass immigration into Britain and our resultant multicultural society, can be examined.
We welcome proposals for 20-25 minute papers which address the relationships between music (of all styles and genres) and transatlantic seafaring in particular historical contexts. Please send abstracts of 200 words to atlantic-sounds at open.ac.uk by Friday 7 December 2012. Decisions will be notified before Christmas. You would be very welcome to attend the colloquium without offering a paper, but please email atlantic-sounds at open.ac.uk to reserve your place, as capacity is limited.
For more details about Atlantic Sounds please visit our website www.open.ac.uk/atlanticsounds , follow us on Twitter @AtlanticSounds and like our Facebook page www.facebook.com/atlantic.
OB: University of Northern Colorado, music theory (tenure-track)
Assistant Professor of Music, Music Theory -- Position Number: F99873
Position Description:
Assistant Professor of Music, Music Theory; full-time tenure-track position. Responsibilities include teaching
undergraduate and graduate level courses in music theory and aural skills, graduate advising, and thesis and dissertation advising. Additional teaching opportunities are possible depending upon needs of the School of Music and the candidate’s qualifications and interests.
Qualifications and Experience:
Minimum Requirements:
MA/MM and ABD with doctorate near completion. The candidate should show potential for taking a leadership
role in departmental operations and theory curriculum development. A minimum of one year’s full-time
experience teaching music theory and aural skills at the university level is required. Evidence of scholarly activity
leading toward a national research profile is also required.
Preferred Requirements:
Completed doctorate in Music with documented background and experience equivalent to a Ph.D. in Music
Theory. The candidate should have a minimum of two years’ full-time experience teaching music theory and aural
skills at the university level, a documented record of significant research in music theory (including conference
presentations and publications in scholarly journals), and potential for taking a leadership role in departmental
operations and theory curriculum development. Performance ability and interest will be viewed favorably.
Salary and Benefits:
Salary is commensurate with qualifications and experience. Benefits include health, life, and dental insurance,
tuition grants for spouses and dependents, as well as a selection of defined contribution retirement programs.
Start Date: August 19, 2013
Application Materials, Contact, and Application Deadline:
Review of applications will begin immediately and continue until position is filled.
Qualified candidates submit Cover Letter, Curriculum Vitae, and Three Letters of Reference electronically via the
internet by visiting https://careers.unco.edu. If you are unable to upload reference letters to the website, the three
letters of reference may be submitted electronically to monica.coverdale@unco.edu or mailed to Monica
Coverdale, University of Northern Colorado, PVA Dean's Office, Campus Box 30, Greeley CO 80639. Contact
Monica Coverdale, Administrative Aide to the Dean, monica.coverdale at unco.edu, with questions regarding
applying to this position.
Additional Requirements:
Satisfactory completion of a background check, educational check, and authorization to work in the United States is
required after a conditional offer of employment has been made.
Location and Environment:
The University of Northern Colorado is a research institution enrolling 12,000+ graduate and undergraduate students.
The university, founded in 1889, is located in Greeley, Colorado, which has a population of 95,000 and is situated an hour north of Denver and an hour east of Rocky Mountain National Park. The School of Music currently enrolls approximately 500 majors with 40 full-time and 20 part-time faculty. Further information about UNC and the City of Greeley is available at <http://www.unco.edu>.
Additional Information:
This position is contingent on funding from the Colorado State Legislature, approval by the Board of Trustees, and subject to the policies and regulations of the University of Northern Colorado. Federal regulations require that the University retain all documents submitted by applicants. Materials will not be returned or copied for applicants.
The University of Northern Colorado is an equal opportunity/affirmative action institution that does not discriminate on the basis of race, color, national origin, sex, age, disability, creed, religion, sexual preference or veteran status. For more information or issues of equity or fairness or claims of discrimination contact the UNC
AA/EEO/Title IX Officer at UNC Human Resource Services, Campus Box 54, Carter Hall 2002, Greeley, CO 80639, or call 970-351-2718.
Position Description:
Assistant Professor of Music, Music Theory; full-time tenure-track position. Responsibilities include teaching
undergraduate and graduate level courses in music theory and aural skills, graduate advising, and thesis and dissertation advising. Additional teaching opportunities are possible depending upon needs of the School of Music and the candidate’s qualifications and interests.
Qualifications and Experience:
Minimum Requirements:
MA/MM and ABD with doctorate near completion. The candidate should show potential for taking a leadership
role in departmental operations and theory curriculum development. A minimum of one year’s full-time
experience teaching music theory and aural skills at the university level is required. Evidence of scholarly activity
leading toward a national research profile is also required.
Preferred Requirements:
Completed doctorate in Music with documented background and experience equivalent to a Ph.D. in Music
Theory. The candidate should have a minimum of two years’ full-time experience teaching music theory and aural
skills at the university level, a documented record of significant research in music theory (including conference
presentations and publications in scholarly journals), and potential for taking a leadership role in departmental
operations and theory curriculum development. Performance ability and interest will be viewed favorably.
Salary and Benefits:
Salary is commensurate with qualifications and experience. Benefits include health, life, and dental insurance,
tuition grants for spouses and dependents, as well as a selection of defined contribution retirement programs.
Start Date: August 19, 2013
Application Materials, Contact, and Application Deadline:
Review of applications will begin immediately and continue until position is filled.
Qualified candidates submit Cover Letter, Curriculum Vitae, and Three Letters of Reference electronically via the
internet by visiting https://careers.unco.edu. If you are unable to upload reference letters to the website, the three
letters of reference may be submitted electronically to monica.coverdale@unco.edu or mailed to Monica
Coverdale, University of Northern Colorado, PVA Dean's Office, Campus Box 30, Greeley CO 80639. Contact
Monica Coverdale, Administrative Aide to the Dean, monica.coverdale at unco.edu, with questions regarding
applying to this position.
Additional Requirements:
Satisfactory completion of a background check, educational check, and authorization to work in the United States is
required after a conditional offer of employment has been made.
Location and Environment:
The University of Northern Colorado is a research institution enrolling 12,000+ graduate and undergraduate students.
The university, founded in 1889, is located in Greeley, Colorado, which has a population of 95,000 and is situated an hour north of Denver and an hour east of Rocky Mountain National Park. The School of Music currently enrolls approximately 500 majors with 40 full-time and 20 part-time faculty. Further information about UNC and the City of Greeley is available at <http://www.unco.edu>.
Additional Information:
This position is contingent on funding from the Colorado State Legislature, approval by the Board of Trustees, and subject to the policies and regulations of the University of Northern Colorado. Federal regulations require that the University retain all documents submitted by applicants. Materials will not be returned or copied for applicants.
The University of Northern Colorado is an equal opportunity/affirmative action institution that does not discriminate on the basis of race, color, national origin, sex, age, disability, creed, religion, sexual preference or veteran status. For more information or issues of equity or fairness or claims of discrimination contact the UNC
AA/EEO/Title IX Officer at UNC Human Resource Services, Campus Box 54, Carter Hall 2002, Greeley, CO 80639, or call 970-351-2718.
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