Second Meeting of the European Platform for Artistic Research in Music (EPARM)
Hosted by the Academia Belgica and the Conservatorio Santa Cecilia, Rome, 10-12 May 2012
'Fuelling Creative Enquiry: sources and resources for artistic researchers'
The resources available to scientifically-oriented researchers in music are varied and plentiful. To offer a far from exhaustive list, they range across:
musical manuscripts and published scores
recordings of musical performances
accounts by composers
performers and concert attendees
preserved instruments and images of them in a range of iconographical artefacts
details of concert programmes
financial accounts itemising costs and a host of other details associated with musical events, and even dating clues provided by watermarks in the paper used by composers.
More recently, new technology has permitted, amongst other things, minutely detailed spectrographic analysis of recordings and the scanning of musicians’ brain activity while performing or listening to music.
Artistic research in music is predicated upon the crucial acceptance into this list of a very different kind of resource – the subjective understanding of the composer or performer him- or herself, both as it functions in the midst of the music-making act and as it can be re-captured in subsequent reflection. But is this merely a matter of adding one further implement to the music researcher’s toolkit, or might the reactions of artistic researchers to the toolkit as a whole differ from those in the music sciences? Indeed, does the very philosophy of artistic research demand a re-appraisal of all existing approaches and resources? What special resources do artistic researchers in music need and what should music academies and other institutions supporting artistic research be expected to provide? What are the roles of the historic collections of scores, musical instruments, images and documents held by many music academies in relation to artistic research; is the new discipline a distraction from these collections, or an opportunity for them to take on unprecedented relevance? At the other end of the historical spectrum, how should music academies refine their investment in new technologies so as best to serve the needs of artistic research; is technology an area where scientific and artistic researchers in music can find a common ground or just another domain for territorial rivalries?
The 2012 conference of the European Platform for Artistic Research in Music (EPARM) seeks to provide a stimulating environment for informed debate about these issues. It will take place in Rome, a city rich in musical associations, and where confrontations between past, present and future are especially apposite. Included in the conference itinerary will be a visit to the internationally significant, but potentially vulnerable, musical collections of the Conservatorio Santa Cecilia in Rome.
In preparation for the conference, proposals are now being invited for presentations relating to the theme outlined above. Proposals should take the form of a brief abstract of 300-400 words and should align with one of the categories below:
Case studies showing novel or distinctive uses of resources by artistic researchers in music, working at Masters, Doctoral or post-Doctoral levels
Proposals for dedicated training approaches in research methodology suitable for Masters and Doctoral students embarking upon artistic research projects
Examples from those responsible for research and study resources in music academies of ways in which their priorities are being shaped by, or are helping to shape, the emergence of artistic research in their institutions
Views from institutional leaders as to how artistic research impacts upon their responsibilities as overall resource providers and managers – as an extra burden or as a potential source of fresh income streams
Presentations of a polemical nature addressing the pros and cons of music academies adapting to the requirements of artistic research alongside their established commitments to learning and teaching and, where relevant, to more traditional research. Into this category might fall presentations suggesting collaborative models and/or coordination at national and European levels concerning the development of an appropriate infrastructure for artistic research
Other proposals falling outside any of the above categories but making a convincing argument for their relevance to the conference theme
Abstracts should be accompanied by an indication of which category the proposal addresses, a list of six keywords and short biography of the presenter(s). They should reach the selection committee by Monday 12th March 2012. The selection committee is formed from the EPARM Preparatory Working Group established following the inaugural meeting of the Platform in 2011 and coordinated by the Association Européenne des Conservatoires Académies de Musique et Musikhochschulen (AEC), currently as part of its ERASMUS Thematic Network for Music ‘Polifonia’ 2011-14.
All presenters selected whose home institution is a member of the AEC will be eligible for a reduced registration fee; student presenters from AEC member institutions will have their fees waived. Some assistance may be provided with travel and accommodation costs for presenters from member institutions, especially student presenters. Other selected presenters, not from AEC member institutions, will be offered a reduction on the non-member registration rate normally applicable.
EPARM 2012 is supported by funds from the European Commission delivered through its ERASMUS Lifelong Learning Programme whose support makes possible the functioning of ‘Polifonia’. The organisers gratefully acknowledge this support, whilst underlining that the final shape of the conference and the content of the presentations will reflect their views and those of the presenters and that the Commission cannot be held responsible for any use which might be made of information or opinions contained therein. The organisers also thank the Academia Belgica and Conservatorio Santa Cecilia in Rome for their generous support in providing a magnificent combined venue for the event.
mercoledì 29 febbraio 2012
CFP: Temporality: Issues of Change and Stasis in Music, CSU Long Beach, 21 Apr
CFP: “Temporality: Issues of Change and Stasis in Music”
California State University, Long Beach Graduate Music Conference
April 21, 2012
Submission Deadline: March 19, 2012
Distinguished Keynote: TBA
The Graduate Musicology Association of California State University, Long Beach is pleased to present its inaugural graduate conference. This year the theme is Temporality: Issues of Change and Stasis in Music. Students of all levels are invited to submit abstracts for papers interrogating the relationship of music and time via history, analysis, theory, and philosophy. The conference aims to attract scholars engaging questions of temporality in both text and context, with particular interest in papers pertaining to the following broad categories:
Time and Music Theory/Analysis (rhythm and meter, textual theory, philosophy, etc.)
Time and History (stylistic influence, biography, transmission and reception, etc.)
Time and Historiography (causality in music historiography, divergent models of music history, etc.)
Please note that this is a non-exhaustive list, and the conference committee welcomes abstracts on other related topics as well.
Performances: The conference coincides with the April 21 performance of Mozart's Le nozze di Figaro by the CSULB Opera Institute ($25/$15 students); as such, the conference committee welcomes submissions on Mozart, opera, and Figaro in particularalthough this is by no means a requirement for submission.
300-word abstracts should be sent to graduatemusicology at gmail.com, as anonymous document attachments. Please include in the e-mail your name, contact information, university and degree program, and A/V requirements. Readers will be coordinated by myself, Matthew Blackmar, and Robert Wahl.
Sean Dunnahoe (MA, CSULB)
President, Graduate Musicology Assocation, CSULB
Sean.Dunnahoe at student.csulb.edu
California State University, Long Beach Graduate Music Conference
April 21, 2012
Submission Deadline: March 19, 2012
Distinguished Keynote: TBA
The Graduate Musicology Association of California State University, Long Beach is pleased to present its inaugural graduate conference. This year the theme is Temporality: Issues of Change and Stasis in Music. Students of all levels are invited to submit abstracts for papers interrogating the relationship of music and time via history, analysis, theory, and philosophy. The conference aims to attract scholars engaging questions of temporality in both text and context, with particular interest in papers pertaining to the following broad categories:
Time and Music Theory/Analysis (rhythm and meter, textual theory, philosophy, etc.)
Time and History (stylistic influence, biography, transmission and reception, etc.)
Time and Historiography (causality in music historiography, divergent models of music history, etc.)
Please note that this is a non-exhaustive list, and the conference committee welcomes abstracts on other related topics as well.
Performances: The conference coincides with the April 21 performance of Mozart's Le nozze di Figaro by the CSULB Opera Institute ($25/$15 students); as such, the conference committee welcomes submissions on Mozart, opera, and Figaro in particularalthough this is by no means a requirement for submission.
300-word abstracts should be sent to graduatemusicology at gmail.com, as anonymous document attachments. Please include in the e-mail your name, contact information, university and degree program, and A/V requirements. Readers will be coordinated by myself, Matthew Blackmar, and Robert Wahl.
Sean Dunnahoe (MA, CSULB)
President, Graduate Musicology Assocation, CSULB
Sean.Dunnahoe at student.csulb.edu
PhD Studentships at SARC
PhD Studentships at SARC
We are pleased to announce a number of studentships available for applicants to the PhD programme at the Sonic Arts Research Centre, School of Creative Arts, Queen's University Belfast.
The postgraduate community in the School is one of the largest in the UK or Ireland (over 100 registered PhD students in 2011-12) with students working on a range of theoretical, historical, practice-based and technical projects. Studentships are available for both national and EU applicants for the 2012-2013 academic year. In addition, an interdisciplinary studentship in Composition and Identity (supervised by Dr Simon Mawhinney and Dr Fran Brearton) is available.
Anyone wishing to be considered for one of these awards should submit their PhD application so that it reaches us by 9th March 2012. Applications should be made on line, via the Queen's Postgraduate Applications Portal (https://dap.qub.ac.uk/portal/user/u_login.php)
For further information on the PhD programme at SARC please contact Professor Pedro Rebelo (p.rebelo@qub.ac.uk)
http://www.qub.ac.uk/schools/SchoolofCreativeArts/FundingScholarships/PostgraduateResearchFunding/#phdstudentships
http://www.sarc.qub.ac.uk
We are pleased to announce a number of studentships available for applicants to the PhD programme at the Sonic Arts Research Centre, School of Creative Arts, Queen's University Belfast.
The postgraduate community in the School is one of the largest in the UK or Ireland (over 100 registered PhD students in 2011-12) with students working on a range of theoretical, historical, practice-based and technical projects. Studentships are available for both national and EU applicants for the 2012-2013 academic year. In addition, an interdisciplinary studentship in Composition and Identity (supervised by Dr Simon Mawhinney and Dr Fran Brearton) is available.
Anyone wishing to be considered for one of these awards should submit their PhD application so that it reaches us by 9th March 2012. Applications should be made on line, via the Queen's Postgraduate Applications Portal (https://dap.qub.ac.uk/portal/user/u_login.php)
For further information on the PhD programme at SARC please contact Professor Pedro Rebelo (p.rebelo@qub.ac.uk)
http://www.qub.ac.uk/schools/SchoolofCreativeArts/FundingScholarships/PostgraduateResearchFunding/#phdstudentships
http://www.sarc.qub.ac.uk
CFP: The Art of Death and Dying, Univ. of Houston, Oct 2012
The Art of Death and Dying, University of Houston, October 25-27, 2012
The University of Houston Libraries, in partnership with the Blaffer Art Museum, the Cynthia Woods Mitchell Center for the Arts, the Department for Hispanic Studies, the Honors College and School of Art, will host a three day symposium titled "The Art of Death and Dying" on October 25-27, 2012.
We welcome scholars in all disciplines to submit paper proposals on literary, visual, and performing arts topics related to death and dying. Topics of the symposium include, but are not limited to:
Depictions or interpretations of death and dying in performing and visual arts
Depictions or interpretations of death and dying in literature
Depictions of death and dying in film, radio, and television
Commemoration of the dead in art, architecture and performance
Artifacts of death and dying as represented in archival or museum collections
Artistic depictions of the after life
Cultural death rituals
Cultural expressions of mourning
Death and dying in Latin American arts and culture
Readings of original creative material on the subject
Performances of original material on the subject
Presentation of original visual material on the subject
Memorial architecture
Cemetery design
Analysis of an artist's, architect's, performer's, filmmaker's or writer's work related to the subject
Proposals related to death in Latin American arts and visual culture are encouraged. The organizers will accept presentations in both Spanish and English.
Papers will be selected based upon the quality of the proposal (including merit of the topic, clarity of expression, and relevance to the conference theme), the proposal’s ability to provoke critical exchange and debate, and opportunities for interaction between participants that will enable attendees to engage in a truly interdisciplinary exchange of ideas and viewpoints.
Presenters will be afforded the opportunity for their symposium paper/presentation to be published in the Texas Digital Library. (http://www.tdl.org/#feature1)
Papers will be twenty minutes in length and will be followed by ten minutes of discussion. Abstracts of no more than 300 words should be submitted on the symposium website:
http://artofdeathanddying.blogspot.com/p/abstract-submission-form.html
The deadline for submissions is May 1, 2012.
The University of Houston Libraries, in partnership with the Blaffer Art Museum, the Cynthia Woods Mitchell Center for the Arts, the Department for Hispanic Studies, the Honors College and School of Art, will host a three day symposium titled "The Art of Death and Dying" on October 25-27, 2012.
We welcome scholars in all disciplines to submit paper proposals on literary, visual, and performing arts topics related to death and dying. Topics of the symposium include, but are not limited to:
Depictions or interpretations of death and dying in performing and visual arts
Depictions or interpretations of death and dying in literature
Depictions of death and dying in film, radio, and television
Commemoration of the dead in art, architecture and performance
Artifacts of death and dying as represented in archival or museum collections
Artistic depictions of the after life
Cultural death rituals
Cultural expressions of mourning
Death and dying in Latin American arts and culture
Readings of original creative material on the subject
Performances of original material on the subject
Presentation of original visual material on the subject
Memorial architecture
Cemetery design
Analysis of an artist's, architect's, performer's, filmmaker's or writer's work related to the subject
Proposals related to death in Latin American arts and visual culture are encouraged. The organizers will accept presentations in both Spanish and English.
Papers will be selected based upon the quality of the proposal (including merit of the topic, clarity of expression, and relevance to the conference theme), the proposal’s ability to provoke critical exchange and debate, and opportunities for interaction between participants that will enable attendees to engage in a truly interdisciplinary exchange of ideas and viewpoints.
Presenters will be afforded the opportunity for their symposium paper/presentation to be published in the Texas Digital Library. (http://www.tdl.org/#feature1)
Papers will be twenty minutes in length and will be followed by ten minutes of discussion. Abstracts of no more than 300 words should be submitted on the symposium website:
http://artofdeathanddying.blogspot.com/p/abstract-submission-form.html
The deadline for submissions is May 1, 2012.
domenica 26 febbraio 2012
BANDO VINCI 2012 UNIVERSITÀ ITALO-FRANCESE
BANDO VINCI 2012 UNIVERSITÀ ITALO-FRANCESE
È stato pubblicato il Bando Vinci 2012 volto a sostenere iniziative di cooperazione universitaria italo-francese.
Il testo del bando è disponibile al sito: http://www.universite-franco-italienne.org/appel+a+projets-it-20-bando+2012.html .
Scadenza per la presentazione on-line della candidatura: 2 aprile 2012 (ore 12:00 - mezzogiorno).
Scadenza per l'invio della documentazione cartacea: 6 aprile 2012 (farà fede il timbro postale).
È stato pubblicato il Bando Vinci 2012 volto a sostenere iniziative di cooperazione universitaria italo-francese.
Il testo del bando è disponibile al sito: http://www.universite-franco-italienne.org/appel+a+projets-it-20-bando+2012.html .
Scadenza per la presentazione on-line della candidatura: 2 aprile 2012 (ore 12:00 - mezzogiorno).
Scadenza per l'invio della documentazione cartacea: 6 aprile 2012 (farà fede il timbro postale).
sabato 25 febbraio 2012
CFP: Doing Fieldwork in Nightlife Scenes and EDMCs
Special edition of Dancecult: Journal of Electronic Dance Music Culture
Guest editor, Luis-Manuel Garcia | http://dj.dancecult.net/
This special edition of Dancecult seeks to address the fact that, although many EDM (Electronic Dance Music) projects have a significant ethnographic component, there are few methodological resources available to ethnographers of EDM scenes/cultures.
There is presently a near-total lack of pedagogical materials on nightlife or EDM-specific fieldwork, and even descriptive or critical writing that takes such fieldwork as a central theme is scant and fragmented. While some EDMC ethnographers describe and discuss their own fieldwork approach in the appendices and introductory chapters of their doctoral dissertations (and, less frequently, their monographs), these ruminations rarely come into critical dialogue with other EDMC ethnographers and thus do not actively engage in the development of a body of ethnographic methods in EDMC studies.
Certainly, there is no agreed-upon body of “best practices” or even “first principles” in the field of EDMC ethnography, in contrast to larger and older ethnographic disciplines, such as anthropology, sociology, folklore, oral history, etc. While one may rightly ask whether a unified pedagogy of ethnographic methods is desirable in such a diverse field, there are nonetheless several practical, ethical and legal considerations particular to EDMC-fieldwork that the young ethnographer should not have to face alone. These include such issues as:
- Exposing/endangering the identities of participants in scenes that often involve transgressive activities (e.g., drug consumption, sex, sartorial exuberance, genderfuck)
- Establishing trust in communities that are wary of researchers and journalists
- Addressing the ethnographic directive for gathering archival “evidence” (video, images, audio) while respecting local norms of privacy and cultural ownership
- Preventing one’s fieldwork activities from interfering with participants’ engagement with/enjoyment of music events
- Dealing with the practical limitations of fieldwork at EDM events (music, noise, lighting, etc.)
- Cultivating fieldwork contacts in a cultural milieu that has little to gain from collaborating with scholars (and, in some more privileged urban scenes, the complexities of “studying up”).
- Managing the financial costs of participant-observation in the “leisure/entertainment industry.”
- Managing the physical impact of the primarily nocturnal rhythms of EDM scenes, especially for researchers maintaining an academic “day job” as an educator or administrator.
Thus, this special edition of Dancecult seeks contributions from ethnographers of EDM—whatever their disciplinary background—to address this lacuna through elaboration, analysis, and dialogue.
// SUGGESTED THEMES //
The editor encourages that contributions be grounded in the author’s own fieldwork experiences and focused on a particularly relevant theme, rather than on fieldwork in general. Such themes might include (but are not limited to):
- gender and sexuality (of the researcher, of scene participants, of the community)
- race and ethnicity
- embodiment and dis/ability
- privacy and publicity
- money, capital, research budgets, fieldwork in consumer cultures
- professionalism and the view of the academe on doing "fun" research
- intoxication, illicit activities, and the notion of “risk”
- legal issues, law enforcement
- urban settings, rural settings, outdoor events
- tourism, resorts
- festivals and other large and/or regular events
- researching public funding, sponsorship, and private investment in EDM events
- working with promoters, club managers, organizers, etc. (especially in a competitive or secretive environment)
// SUBMISSIONS //
Feature Articles:
Feature Articles will be peer-reviewed and are 6000–9000 words in length (including endnotes, captions and bibliography).
For policies, see: http://dj.dancecult.net/index.php/journal/about/editorialPolicies#sectionPolicies
“From the Floor” Articles:
This special edition will also feature a special version of the From the Floor format: “Tales from the Field.” Submissions for this shorter format (750–2500 words) should relate one (illuminating / thought-provoking / exemplary / problematic / surprising) vignette from one’s own fieldwork, followed by brief and exploratory comments. This format will be of particular interest to scholars who wish to share some of the insights of their fieldwork, but are unable to devote the time necessary for a feature-length and argument-driven article.
See guidelines at the Section Policies link above
Articles must adhere to all style and formatting rules stipulated in the Dancecult Style Guide (DSG). Download it here: http://dj.dancecult.net/index.php/journal/about/editorialPolicies#custom1
Multimedia Submissions:
Dancecult encourages authors to complement their written work with audio and visual material. See the DSG for style and formatting requirements.
Language:
Although the language of publication in Dancecult is English, the editor strongly encourages submissions from non-Anglophone scholars and will be happy to provide linguistic/stylistic support during the writing process.
// DATES AND DEADLINES //
This special edition is proposed for publication in Dancecult in April/May 2013.
If interested, send a 250 word abstract (along with brief author bio) to
Luis-Manuel Garcia (theluisgarcia@gmail.com) by **APRIL 30th, 2012.**
If your abstract is accepted, the deadline for full article submission is
November 1st, 2012. Beyond that, the deadline for online submission to Dancecult
(for peer review) is February 1st, 2013.
Please send inquiries and expressions of interest to Luis-Manuel Garcia: theluisgarcia@gmail.com.
Guest editor, Luis-Manuel Garcia | http://dj.dancecult.net/
This special edition of Dancecult seeks to address the fact that, although many EDM (Electronic Dance Music) projects have a significant ethnographic component, there are few methodological resources available to ethnographers of EDM scenes/cultures.
There is presently a near-total lack of pedagogical materials on nightlife or EDM-specific fieldwork, and even descriptive or critical writing that takes such fieldwork as a central theme is scant and fragmented. While some EDMC ethnographers describe and discuss their own fieldwork approach in the appendices and introductory chapters of their doctoral dissertations (and, less frequently, their monographs), these ruminations rarely come into critical dialogue with other EDMC ethnographers and thus do not actively engage in the development of a body of ethnographic methods in EDMC studies.
Certainly, there is no agreed-upon body of “best practices” or even “first principles” in the field of EDMC ethnography, in contrast to larger and older ethnographic disciplines, such as anthropology, sociology, folklore, oral history, etc. While one may rightly ask whether a unified pedagogy of ethnographic methods is desirable in such a diverse field, there are nonetheless several practical, ethical and legal considerations particular to EDMC-fieldwork that the young ethnographer should not have to face alone. These include such issues as:
- Exposing/endangering the identities of participants in scenes that often involve transgressive activities (e.g., drug consumption, sex, sartorial exuberance, genderfuck)
- Establishing trust in communities that are wary of researchers and journalists
- Addressing the ethnographic directive for gathering archival “evidence” (video, images, audio) while respecting local norms of privacy and cultural ownership
- Preventing one’s fieldwork activities from interfering with participants’ engagement with/enjoyment of music events
- Dealing with the practical limitations of fieldwork at EDM events (music, noise, lighting, etc.)
- Cultivating fieldwork contacts in a cultural milieu that has little to gain from collaborating with scholars (and, in some more privileged urban scenes, the complexities of “studying up”).
- Managing the financial costs of participant-observation in the “leisure/entertainment industry.”
- Managing the physical impact of the primarily nocturnal rhythms of EDM scenes, especially for researchers maintaining an academic “day job” as an educator or administrator.
Thus, this special edition of Dancecult seeks contributions from ethnographers of EDM—whatever their disciplinary background—to address this lacuna through elaboration, analysis, and dialogue.
// SUGGESTED THEMES //
The editor encourages that contributions be grounded in the author’s own fieldwork experiences and focused on a particularly relevant theme, rather than on fieldwork in general. Such themes might include (but are not limited to):
- gender and sexuality (of the researcher, of scene participants, of the community)
- race and ethnicity
- embodiment and dis/ability
- privacy and publicity
- money, capital, research budgets, fieldwork in consumer cultures
- professionalism and the view of the academe on doing "fun" research
- intoxication, illicit activities, and the notion of “risk”
- legal issues, law enforcement
- urban settings, rural settings, outdoor events
- tourism, resorts
- festivals and other large and/or regular events
- researching public funding, sponsorship, and private investment in EDM events
- working with promoters, club managers, organizers, etc. (especially in a competitive or secretive environment)
// SUBMISSIONS //
Feature Articles:
Feature Articles will be peer-reviewed and are 6000–9000 words in length (including endnotes, captions and bibliography).
For policies, see: http://dj.dancecult.net/index.php/journal/about/editorialPolicies#sectionPolicies
“From the Floor” Articles:
This special edition will also feature a special version of the From the Floor format: “Tales from the Field.” Submissions for this shorter format (750–2500 words) should relate one (illuminating / thought-provoking / exemplary / problematic / surprising) vignette from one’s own fieldwork, followed by brief and exploratory comments. This format will be of particular interest to scholars who wish to share some of the insights of their fieldwork, but are unable to devote the time necessary for a feature-length and argument-driven article.
See guidelines at the Section Policies link above
Articles must adhere to all style and formatting rules stipulated in the Dancecult Style Guide (DSG). Download it here: http://dj.dancecult.net/index.php/journal/about/editorialPolicies#custom1
Multimedia Submissions:
Dancecult encourages authors to complement their written work with audio and visual material. See the DSG for style and formatting requirements.
Language:
Although the language of publication in Dancecult is English, the editor strongly encourages submissions from non-Anglophone scholars and will be happy to provide linguistic/stylistic support during the writing process.
// DATES AND DEADLINES //
This special edition is proposed for publication in Dancecult in April/May 2013.
If interested, send a 250 word abstract (along with brief author bio) to
Luis-Manuel Garcia (theluisgarcia@gmail.com) by **APRIL 30th, 2012.**
If your abstract is accepted, the deadline for full article submission is
November 1st, 2012. Beyond that, the deadline for online submission to Dancecult
(for peer review) is February 1st, 2013.
Please send inquiries and expressions of interest to Luis-Manuel Garcia: theluisgarcia@gmail.com.
venerdì 24 febbraio 2012
JOB: Williams College, Ethnomusicology (full time, one-year)
POSITION: The Department of Music at Williams College announces a one year visiting fulltime appointment in Ethnomusicology for the 2012-13 academic year.
DUTIES: Teach four courses for the general student, including a survey of world music, two courses related to African and African diaspora musics, and a fourth elective course.
An additional semester course or a Winter Study term course may also be possible depending on the successful candidate’s interests and qualifications. A complete listing of current courses and their descriptions can be viewed at http://music.williams.edu/courses.
QUALIFICATIONS: Doctorate in Ethnomusicology with particular expertise in the musics of Africa and the African diaspora preferred. Doctorate must be completed by fall of 2012. Teaching experience at the undergraduate level desirable.
APPLICATIONS: A letter of application, detailed resume and three letters of reference should be postmarked by March 16, 2012. All application materials must be in the form of hard copy submitted by regular mail. Please do not send additional supporting materials until requested.
Applications should be submitted to:
Marilyn Cole Dostie
Assistant to the Chair
Department of Music, Williams College
54 Chapin Hall Drive
Williamstown, MA 01267
DEPARTMENT: The Music Department has 10 full-time faculty and approximately 30 part-time Artist Associates. The Department maintains an active musical life with approximately 100 events each year including those by the Berkshire Symphony, Concert and Chamber Choirs, Jazz Ensemble, Zambezi Marimba Band, Symphonic Winds, Williams Chamber Players, I/O New Music, Student Symphony, student chamber groups, and visiting artists and ensembles. The Department provides courses for the general student as well as specialized courses for the music major. Further information is available at http://music.williams.edu/.
THE COLLEGE: Williams College is a coeducational liberal arts institution located in the Berkshire Hills of western Massachusetts with easy access to the culturally rich cities of Albany, Boston, and New York City. The College is committed to building and supporting a diverse population of approximately 2,000 students, and to fostering an inclusive faculty, staff and curriculum. Williams has built its reputation on outstanding teaching and scholarship and on the academic excellence of its students. Please visit the Williams College website (http://www.williams.edu).
Beyond meeting fully its legal obligations for non-discrimination, Williams College is committed to building a diverse and inclusive community where members from all backgrounds can live, learn, and thrive.
DUTIES: Teach four courses for the general student, including a survey of world music, two courses related to African and African diaspora musics, and a fourth elective course.
An additional semester course or a Winter Study term course may also be possible depending on the successful candidate’s interests and qualifications. A complete listing of current courses and their descriptions can be viewed at http://music.williams.edu/courses.
QUALIFICATIONS: Doctorate in Ethnomusicology with particular expertise in the musics of Africa and the African diaspora preferred. Doctorate must be completed by fall of 2012. Teaching experience at the undergraduate level desirable.
APPLICATIONS: A letter of application, detailed resume and three letters of reference should be postmarked by March 16, 2012. All application materials must be in the form of hard copy submitted by regular mail. Please do not send additional supporting materials until requested.
Applications should be submitted to:
Marilyn Cole Dostie
Assistant to the Chair
Department of Music, Williams College
54 Chapin Hall Drive
Williamstown, MA 01267
DEPARTMENT: The Music Department has 10 full-time faculty and approximately 30 part-time Artist Associates. The Department maintains an active musical life with approximately 100 events each year including those by the Berkshire Symphony, Concert and Chamber Choirs, Jazz Ensemble, Zambezi Marimba Band, Symphonic Winds, Williams Chamber Players, I/O New Music, Student Symphony, student chamber groups, and visiting artists and ensembles. The Department provides courses for the general student as well as specialized courses for the music major. Further information is available at http://music.williams.edu/.
THE COLLEGE: Williams College is a coeducational liberal arts institution located in the Berkshire Hills of western Massachusetts with easy access to the culturally rich cities of Albany, Boston, and New York City. The College is committed to building and supporting a diverse population of approximately 2,000 students, and to fostering an inclusive faculty, staff and curriculum. Williams has built its reputation on outstanding teaching and scholarship and on the academic excellence of its students. Please visit the Williams College website (http://www.williams.edu).
Beyond meeting fully its legal obligations for non-discrimination, Williams College is committed to building a diverse and inclusive community where members from all backgrounds can live, learn, and thrive.
CONF: Cage & Consequences, Berlin, Mar 2012
CONF: Cage & Consequences
International Symposium
19 to 21 March 2012
Berlin, Germany
www.CageSymposiumBerlin.de
To mark the centenary of the birth of John Cage (1912–1992), the
contemporary music festival MaerzMusik focuses on his work and its
influence on subsequent generations of artists. This area of artistic
exploration is accompanied by the symposium »Cage & Consequences« which
brings together leading international Cage scholars with distinguished
artists, composers and associates of Cage.
In English and German with simultaneous translation | Free admission
Haus der Berliner Festspiele | Schaperstraße 24 | 10719 Berlin
U Spichernstraße, Ausgang Bundesallee | Bus 204, 249 Rankeplatz
www.berlinerfestspiele.de
Eine Veranstaltung von Berliner Festspiele | MaerzMusik in Zusammenarbeit
mit Technische Universität Berlin – Fachgebiet Audiokommunikation, Freie
Universität Berlin – Sonderforschungsbereich 626 »Ästhetische Erfahrung im
Zeichen der Entgrenzung der Künste« und Berliner Künstlerprogramm des
DAAD. Gefördert aus Mitteln der Ernst von Siemens Musikstiftung.
International Symposium
19 to 21 March 2012
Berlin, Germany
www.CageSymposiumBerlin.de
To mark the centenary of the birth of John Cage (1912–1992), the
contemporary music festival MaerzMusik focuses on his work and its
influence on subsequent generations of artists. This area of artistic
exploration is accompanied by the symposium »Cage & Consequences« which
brings together leading international Cage scholars with distinguished
artists, composers and associates of Cage.
In English and German with simultaneous translation | Free admission
Haus der Berliner Festspiele | Schaperstraße 24 | 10719 Berlin
U Spichernstraße, Ausgang Bundesallee | Bus 204, 249 Rankeplatz
www.berlinerfestspiele.de
Eine Veranstaltung von Berliner Festspiele | MaerzMusik in Zusammenarbeit
mit Technische Universität Berlin – Fachgebiet Audiokommunikation, Freie
Universität Berlin – Sonderforschungsbereich 626 »Ästhetische Erfahrung im
Zeichen der Entgrenzung der Künste« und Berliner Künstlerprogramm des
DAAD. Gefördert aus Mitteln der Ernst von Siemens Musikstiftung.
CFP: American Handel Festival, Princeton Univ., Feb. 2013
Call for Papers – American Handel Festival 2013 at Princeton
The 2013 American Handel Festival will take place at Princeton University on February 21 – 24. The American Handel Society invites submission of abstracts for papers to be given in the academic sessions. Any topic connected with Handel's life and music is welcome, including seventeenth-century antecedents, Handel’s contemporaries in Germany, Italy or England, and the reception of Handel’s music. Abstracts of no more than 500 words may be sent by September 1, 2012 to Robert Ketterer, AHS Program Chair. Decisions by the programcommittee will be communicated by mid October of 2012.
In addition to the academic panels and lectures, festival events will include a performance of Handel's Dixit Dominus and Alessandro Scarlatti's Stabat Mater by the Princeton University Chamber Choir, conducted by Gabriel Crouch, and a concert by Henry Bicket and the English Concert. There will be an option onSunday, February 24th to hear Bicket conduct a performance of Handel’s Radamisto at Carnegie Hall.
Electronic submissions are preferred, and may be sent to robert-ketterer at uiowa.edu. Surface mail maybe sent to Prof. Robert Ketterer, Department of Classics, 210 Jefferson Building, The University of Iowa, Iowa City, IA 52245.
The 2013 American Handel Festival will take place at Princeton University on February 21 – 24. The American Handel Society invites submission of abstracts for papers to be given in the academic sessions. Any topic connected with Handel's life and music is welcome, including seventeenth-century antecedents, Handel’s contemporaries in Germany, Italy or England, and the reception of Handel’s music. Abstracts of no more than 500 words may be sent by September 1, 2012 to Robert Ketterer, AHS Program Chair. Decisions by the programcommittee will be communicated by mid October of 2012.
In addition to the academic panels and lectures, festival events will include a performance of Handel's Dixit Dominus and Alessandro Scarlatti's Stabat Mater by the Princeton University Chamber Choir, conducted by Gabriel Crouch, and a concert by Henry Bicket and the English Concert. There will be an option onSunday, February 24th to hear Bicket conduct a performance of Handel’s Radamisto at Carnegie Hall.
Electronic submissions are preferred, and may be sent to robert-ketterer at uiowa.edu. Surface mail maybe sent to Prof. Robert Ketterer, Department of Classics, 210 Jefferson Building, The University of Iowa, Iowa City, IA 52245.
JOB: New England Conservatory, Full-time Faculty Position
New England Conservatory: Full-time Faculty Position Announcement
Level and duties: Teach a combination of classroom courses in Jazz History, Theory, Ear Training, and Analysis within the Jazz Studies and Music History Departments with the strong possibility of teaching studio and coaching small jazz ensembles; attend promotionals (juries) and ensemble auditions for the Jazz Studies Department; participate in department meetings in both areas and on faculty committees; be assigned administrative work, as needed.
Qualifications: Musician and scholar of distinction who embraces a broad definition of jazz and has a diverse range of interests; committed teacher with a demonstrated record of success; Master of Music degree required with preference for PhD, DMA or commensurate academic experience; no primary instrument requirement or preference.
Salary: negotiable depending on qualifications and experience
Starting Date: Fall 2012
Applications will begin to be reviewed on March 1, 2012. For initial consideration candidates should send a letter of application, curriculum vitae, and two or more letters of recommendation to: Jazz Search Committee, jazzsearch at necmusic.edu
Level and duties: Teach a combination of classroom courses in Jazz History, Theory, Ear Training, and Analysis within the Jazz Studies and Music History Departments with the strong possibility of teaching studio and coaching small jazz ensembles; attend promotionals (juries) and ensemble auditions for the Jazz Studies Department; participate in department meetings in both areas and on faculty committees; be assigned administrative work, as needed.
Qualifications: Musician and scholar of distinction who embraces a broad definition of jazz and has a diverse range of interests; committed teacher with a demonstrated record of success; Master of Music degree required with preference for PhD, DMA or commensurate academic experience; no primary instrument requirement or preference.
Salary: negotiable depending on qualifications and experience
Starting Date: Fall 2012
Applications will begin to be reviewed on March 1, 2012. For initial consideration candidates should send a letter of application, curriculum vitae, and two or more letters of recommendation to: Jazz Search Committee, jazzsearch at necmusic.edu
mercoledì 22 febbraio 2012
ANNOUNCEMENT: Journal of the Society for American Music, new issue now available
JOURNAL OF THE SOCIETY FOR AMERICAN MUSIC, VOLUME 6 - ISSUE 01
http://journals.cambridge.org/action/displayIssue?jid=SAM&volumeId=6&issueId=01&seriesId=0
ARTICLES
“A Long Ways from Home?” Hampton Institute and the Early History of “Sometimes I Feel like a Motherless Child”
FELICIA M. MIYAKAWA
Journeys of an Immigrant Violinist: Jacques Oliveira in Civil War–Era New York and New Orleans
BRIAN C. THOMPSON
The Spirit inside Each Object: John Cage, Oskar Fischinger, and “The Future of Music”
RICHARD H. BROWN
REVIEWS
John Cage. By David Nicholls. Urbana: University of Illinois Press, 2007.
David W. Bernstein
Selected Piano Solos, 1928–1941. By Earl “Fatha” Hines; ed. Jeffrey Taylor. Recent Researches in American Music, vol. 56; Music of the United States of America, vol. 15. Middleton, WI: A-R Editions, 2006.
Brian Harker
Fantasies and Fugues for Organ and Pianoforte. By Charles Zeuner; ed. J. Bunker Clark. Recent Researches in American Music, vol. 61. Middleton, WI: A-R Editions, 2007.
N. Lee Orr
Leonard Bernstein: The Political Life of an American Musician. By Barry Seldes. Berkeley: University of California Press, 2009.
Leonard Bernstein: West Side Story. By Nigel Simeone. Farnham, Surrey, England: Ashgate, 2009. Working with Bernstein. By Jack Gottlieb. New York: Amadeus Press, 2010.
Samuel Barber: The Complete Solo Piano Music. John Browning, piano. Nimbus Records NI 2528 (2009).
Howard Pollack
(In)Habitation: Musical Settings of Margaret Atwood Poetry by American Women Composers. Eileen Strempel, soprano; Sylvie Beaudette, piano.Centaur Records CRC3002. 2010.
Stephanie Tingler
George Gershwin, Complete Music for Piano & Orchestra. Anne-Marie McDermott, piano; Dallas Symphony Orchestra; Justin Brown, conductor. Bridge CD 9252. 2008.
Larry Starr
Maiki Aiu Lake. Joy Chong-Stannard, director. PBS Hawaii, 2002. / Na Kamalei: The Men of Hula. Lisette Marie Flanary, director. Lehua Films, 2007.
C. K. Szego
http://journals.cambridge.org/action/displayIssue?jid=SAM&volumeId=6&issueId=01&seriesId=0
ARTICLES
“A Long Ways from Home?” Hampton Institute and the Early History of “Sometimes I Feel like a Motherless Child”
FELICIA M. MIYAKAWA
Journeys of an Immigrant Violinist: Jacques Oliveira in Civil War–Era New York and New Orleans
BRIAN C. THOMPSON
The Spirit inside Each Object: John Cage, Oskar Fischinger, and “The Future of Music”
RICHARD H. BROWN
REVIEWS
John Cage. By David Nicholls. Urbana: University of Illinois Press, 2007.
David W. Bernstein
Selected Piano Solos, 1928–1941. By Earl “Fatha” Hines; ed. Jeffrey Taylor. Recent Researches in American Music, vol. 56; Music of the United States of America, vol. 15. Middleton, WI: A-R Editions, 2006.
Brian Harker
Fantasies and Fugues for Organ and Pianoforte. By Charles Zeuner; ed. J. Bunker Clark. Recent Researches in American Music, vol. 61. Middleton, WI: A-R Editions, 2007.
N. Lee Orr
Leonard Bernstein: The Political Life of an American Musician. By Barry Seldes. Berkeley: University of California Press, 2009.
Leonard Bernstein: West Side Story. By Nigel Simeone. Farnham, Surrey, England: Ashgate, 2009. Working with Bernstein. By Jack Gottlieb. New York: Amadeus Press, 2010.
Samuel Barber: The Complete Solo Piano Music. John Browning, piano. Nimbus Records NI 2528 (2009).
Howard Pollack
(In)Habitation: Musical Settings of Margaret Atwood Poetry by American Women Composers. Eileen Strempel, soprano; Sylvie Beaudette, piano.Centaur Records CRC3002. 2010.
Stephanie Tingler
George Gershwin, Complete Music for Piano & Orchestra. Anne-Marie McDermott, piano; Dallas Symphony Orchestra; Justin Brown, conductor. Bridge CD 9252. 2008.
Larry Starr
Maiki Aiu Lake. Joy Chong-Stannard, director. PBS Hawaii, 2002. / Na Kamalei: The Men of Hula. Lisette Marie Flanary, director. Lehua Films, 2007.
C. K. Szego
ANNOUNCEMENT: Ethnomusicology Forum, new issue now available
Ethnomusicology Forum 20/3 (2011)
Special Issue: The Ethnomusicology of Western Art Music
http://www.tandfonline.com/toc/remf20/20/3
Introduction to the Special Issue: The Ethnomusicology of Western Art Music
Laudan Nooshin
Music Teachers as Missionaries: Understanding Europe's Recent Dispatches to Ramallah
Rachel Beckles Willson
The Orchestration of Civil Society: Community and Conscience in Symphony Orchestras
Tina K. Ramnarine
Classical Cult or Learning Community? Exploring New Audience Members’ Social and Musical Responses to First-time Concert Attendance
Melissa C. Dobson & Stephanie E. Pitts
Ethnographic Research into Contemporary String Quartet Rehearsal
Amanda Bayley
‘The Condition of Mozart’: Mozart Year 2006 and the New Vienna
Eric Martin Usner
Reflections on an Ethnomusicological Study of a Contemporary Western Art Music Composer
Pirkko Moisala
REVIEWS
Dancing with Devtas: Drums, Power and Possession in the Music of Garhwal, North India
Jones Jaime
Ritual and Music of North China: Volume 2, Shaanbei
Ruard Absaroka
Iranian Lullabies
Veronica Doubleday
Special Issue: The Ethnomusicology of Western Art Music
http://www.tandfonline.com/toc/remf20/20/3
Introduction to the Special Issue: The Ethnomusicology of Western Art Music
Laudan Nooshin
Music Teachers as Missionaries: Understanding Europe's Recent Dispatches to Ramallah
Rachel Beckles Willson
The Orchestration of Civil Society: Community and Conscience in Symphony Orchestras
Tina K. Ramnarine
Classical Cult or Learning Community? Exploring New Audience Members’ Social and Musical Responses to First-time Concert Attendance
Melissa C. Dobson & Stephanie E. Pitts
Ethnographic Research into Contemporary String Quartet Rehearsal
Amanda Bayley
‘The Condition of Mozart’: Mozart Year 2006 and the New Vienna
Eric Martin Usner
Reflections on an Ethnomusicological Study of a Contemporary Western Art Music Composer
Pirkko Moisala
REVIEWS
Dancing with Devtas: Drums, Power and Possession in the Music of Garhwal, North India
Jones Jaime
Ritual and Music of North China: Volume 2, Shaanbei
Ruard Absaroka
Iranian Lullabies
Veronica Doubleday
Call for Proposals Summer Workshop on Hearing, Seeing and Imagining: Music and the Visual Arts
Call for Proposals
Summer Workshop on
Hearing, Seeing and Imagining:
Music and the Visual Arts
28
th
– 31
st
August 2012
Herstmonceux Castle, East Sussex, England
The Institute for Music in Human and Social Development, Edinburgh College of Art, University of Edinburgh in
collaboration with Queen’s University, Canada and the Bader International Study Centre at Herstmonceux Castle,
invites proposals for an interdisciplinary summer workshop on the topic of ‘Hearing, Seeing and Imagining: Music
and the Visual Arts’. The aim of the meeting is to bring together composers, neuroscientists, visual artists,
historians, psychologists, theorists and musicians to consider the imaginative, interactive worlds of music and the
visual arts, which may include topics such as: sound and the moving image; the neural basis of musical and visual
imagery; representations of visual art in music and music in the visual arts; the arts and social engagement; graphic
scores and musical improvisation; creative practice; sensory integration; cognitive prediction and planning; and
synaesthesia. The meeting will include talks, workshops, discussions and musical performances and will take place
in the beautiful environment of Herstmonceux Castle, East Sussex.
Confirmed Presenters:
Prof. Pauline von Bonsdorff Rhythm, Play and Imagination
Prof. Chris Breward Art, Design and Music in Postwar Britain: Notes from an Exhibition
Dr Steven Brown Music's Influence on Empathy in Film and Dance: Towards a Neural Basis
Yati Durant Dramatic Comprehensibility in Improvised Music to Film
Diana Gilchrist Between the Notes: The Use of Portamento as an Expressive Gesture in
Classical Vocal Music
Prof. Andrea Halpern The Neural Basis of Musical Imagery
Dr Shelley Katz Gestural Control of Tempo in Simultaneous Computer and Human Generated
Performances
Prof. Simon Shaw-Miller Trompe l'oeil, Cubism & Violins: Representing Music
Prof. Peter Nelson Sound and Vision in Xenakis
Prof. Nigel Osborne Composing for the Moving Image
Dr Tom Tolley A Collection of Old Masters and Young Mistresses: Haydn’s Music, Prints and
the Visual Imagination
Dr Rebecca Schaeffer Auditory and Visual Imagination: Perspectives from Cognitive Neuroscience
Prof. Colwyn Trevarthen Narrating the Musicality of Imagination, from Infancy
Dr Margaret Walker Memoirs and Miniatures: Dance Iconography from 19th-Century India
Deadline for proposals: Friday 30
th
March 2012
For further details, please visit the workshop website:
www.music.ed.ac.uk/research/imhsd/HearingSeeingImagining2012/index.html
or contact Dr. Katie Overy at k.overy@ed.ac.uk or Dr. Karen M. Ludke at Karen.Ludke@ed.ac.uk
Summer Workshop on
Hearing, Seeing and Imagining:
Music and the Visual Arts
28
th
– 31
st
August 2012
Herstmonceux Castle, East Sussex, England
The Institute for Music in Human and Social Development, Edinburgh College of Art, University of Edinburgh in
collaboration with Queen’s University, Canada and the Bader International Study Centre at Herstmonceux Castle,
invites proposals for an interdisciplinary summer workshop on the topic of ‘Hearing, Seeing and Imagining: Music
and the Visual Arts’. The aim of the meeting is to bring together composers, neuroscientists, visual artists,
historians, psychologists, theorists and musicians to consider the imaginative, interactive worlds of music and the
visual arts, which may include topics such as: sound and the moving image; the neural basis of musical and visual
imagery; representations of visual art in music and music in the visual arts; the arts and social engagement; graphic
scores and musical improvisation; creative practice; sensory integration; cognitive prediction and planning; and
synaesthesia. The meeting will include talks, workshops, discussions and musical performances and will take place
in the beautiful environment of Herstmonceux Castle, East Sussex.
Confirmed Presenters:
Prof. Pauline von Bonsdorff Rhythm, Play and Imagination
Prof. Chris Breward Art, Design and Music in Postwar Britain: Notes from an Exhibition
Dr Steven Brown Music's Influence on Empathy in Film and Dance: Towards a Neural Basis
Yati Durant Dramatic Comprehensibility in Improvised Music to Film
Diana Gilchrist Between the Notes: The Use of Portamento as an Expressive Gesture in
Classical Vocal Music
Prof. Andrea Halpern The Neural Basis of Musical Imagery
Dr Shelley Katz Gestural Control of Tempo in Simultaneous Computer and Human Generated
Performances
Prof. Simon Shaw-Miller Trompe l'oeil, Cubism & Violins: Representing Music
Prof. Peter Nelson Sound and Vision in Xenakis
Prof. Nigel Osborne Composing for the Moving Image
Dr Tom Tolley A Collection of Old Masters and Young Mistresses: Haydn’s Music, Prints and
the Visual Imagination
Dr Rebecca Schaeffer Auditory and Visual Imagination: Perspectives from Cognitive Neuroscience
Prof. Colwyn Trevarthen Narrating the Musicality of Imagination, from Infancy
Dr Margaret Walker Memoirs and Miniatures: Dance Iconography from 19th-Century India
Deadline for proposals: Friday 30
th
March 2012
For further details, please visit the workshop website:
www.music.ed.ac.uk/research/imhsd/HearingSeeingImagining2012/index.html
or contact Dr. Katie Overy at k.overy@ed.ac.uk or Dr. Karen M. Ludke at Karen.Ludke@ed.ac.uk
lunedì 20 febbraio 2012
CFP: Principles of Music Composing: Links between Music and Visual Arts, Vilnius, Oct 2012
12th International Music Theory Conference
PRINCIPLES OF MUSIC COMPOSING:
Links between Music and Visual Arts
17-19 October 2012
Vilnius, Lithuania
Sub-themes:
Theoretical conceptions behind the links between music and visual arts
Psychophysiological insights on connection between sound and visual (traditional, contemporary, electronic, etc.)
Aesthetic assumptions on the synthesis of sound and visual (archaism, symbolism, abstractionism etc.)
Spatial and temporal semantics in music and fine arts (philosophical, semiotic, historical aspects)
Musical paintings and visual music of M. K. Ciurlionis and his contemporaries
Composers – painters (M. K. Ciurlionis, A. Schoenberg etc.)
Paper proposals (abstract together with a short biography) should be sent to Mr. Marius Baranauskas: pmc at lmta.lt . The abstract must not exceed 500 words. The duration of papers will be limited to 20 minutes.
The deadline for proposal submissions is June 10, 2012. The proposals will be reviewed by members of the organizing committee and all applicants will be notified of the outcome in the end of June 2012.
The main language of the conference is English.
The material of the conference – abstracts and papers will be published.
Conference website: http://pmc.lmta.lt
PRINCIPLES OF MUSIC COMPOSING:
Links between Music and Visual Arts
17-19 October 2012
Vilnius, Lithuania
Sub-themes:
Theoretical conceptions behind the links between music and visual arts
Psychophysiological insights on connection between sound and visual (traditional, contemporary, electronic, etc.)
Aesthetic assumptions on the synthesis of sound and visual (archaism, symbolism, abstractionism etc.)
Spatial and temporal semantics in music and fine arts (philosophical, semiotic, historical aspects)
Musical paintings and visual music of M. K. Ciurlionis and his contemporaries
Composers – painters (M. K. Ciurlionis, A. Schoenberg etc.)
Paper proposals (abstract together with a short biography) should be sent to Mr. Marius Baranauskas: pmc at lmta.lt . The abstract must not exceed 500 words. The duration of papers will be limited to 20 minutes.
The deadline for proposal submissions is June 10, 2012. The proposals will be reviewed by members of the organizing committee and all applicants will be notified of the outcome in the end of June 2012.
The main language of the conference is English.
The material of the conference – abstracts and papers will be published.
Conference website: http://pmc.lmta.lt
CONF: The Theory, Practice, and Business of Opera Today, Univ. of Leeds, Apr 2012
The updated programme and registration details for The Theory, Practice, and Business of Opera Today, to be held in Leeds, UK, on 12-14 April 2012, are now available via the conference website:
http://www.operaconference.leeds.ac.uk/
http://www.operaconference.leeds.ac.uk/
ANNOUNCEMENT: Opera Quarterly, new issue now available
Opera Quarterly 27/2-3, spring-summer 2011
http://oq.oxfordjournals.org/content/27/2-3.toc?etoc
A Note from the Guest Editors
Gundula Kreuzer and Clemens Risi
Articles
Mary Ann Smart
Resisting Rossini, or Marlon Brando plays Figaro
Gundula Kreuzer
Wagner-Dampf: Steam in Der Ring des Nibelungen and Operatic Production
David J. Levin
The Mise-en-scène of Mediation: Wagner's Götterdämmerung (Stuttgart Opera, Peter Konwitschny, 2000–2005)
Christopher Morris
Wagnervideo
Elizabeth Hudson
Moulin Rouge! and the Boundaries of Opera
Clemens Risi
Opera in PerformanceIn Search of New Analytical Approaches
Notes from the Stage
Gundula Kreuzer and Clemens Risi
An Introduction to Götz Friedrich and Joachim Herz's “MusiktheaterToward a Definition”
Götz Friedrich and Joachim Herz
MusiktheaterToward a Definition (1960)
Gundula Kreuzer and Clemens Risi
Regietheater in Transition: An Introduction to Barbara Beyer's “Interviews with Contemporary Opera Directors”
Interviews with Contemporary Opera Directors, Selected from Barbara Beyer's Warum Oper? Gespräche mit Opernregisseuren (2005)
Scholarship
Beth M. Snyder
Modernism after Wagner
Margaret R. Butler
Mozart on the Stage
Performance
Micaela K. Baranello
Richard Strauss: Salome
http://oq.oxfordjournals.org/content/27/2-3.toc?etoc
A Note from the Guest Editors
Gundula Kreuzer and Clemens Risi
Articles
Mary Ann Smart
Resisting Rossini, or Marlon Brando plays Figaro
Gundula Kreuzer
Wagner-Dampf: Steam in Der Ring des Nibelungen and Operatic Production
David J. Levin
The Mise-en-scène of Mediation: Wagner's Götterdämmerung (Stuttgart Opera, Peter Konwitschny, 2000–2005)
Christopher Morris
Wagnervideo
Elizabeth Hudson
Moulin Rouge! and the Boundaries of Opera
Clemens Risi
Opera in PerformanceIn Search of New Analytical Approaches
Notes from the Stage
Gundula Kreuzer and Clemens Risi
An Introduction to Götz Friedrich and Joachim Herz's “MusiktheaterToward a Definition”
Götz Friedrich and Joachim Herz
MusiktheaterToward a Definition (1960)
Gundula Kreuzer and Clemens Risi
Regietheater in Transition: An Introduction to Barbara Beyer's “Interviews with Contemporary Opera Directors”
Interviews with Contemporary Opera Directors, Selected from Barbara Beyer's Warum Oper? Gespräche mit Opernregisseuren (2005)
Scholarship
Beth M. Snyder
Modernism after Wagner
Margaret R. Butler
Mozart on the Stage
Performance
Micaela K. Baranello
Richard Strauss: Salome
CFP: SongArt Performance Research Group, Univ. of London, 21 June 2012
CALL FOR PAPERS/ PERFORMANCES (Reminder)
Deadline 1 March 2012
3rd Annual Meeting of the SongArt Performance Research Group, in
association with the Institute of Musical Research, London:
2012 Theme: “Lyric Song in Idea and Performance”
Venue: Chancellor’s Hall, Senate House, University of London
Date: Thursday, 21 June, 2012
Keynote Speaker: Professor Amanda Glauert (Royal College of Music)
The SongArt Performance Research Group warmly invites proposals for
papers, lecture-recitals, and collaborative workshops for our 3rd Annual
Meeting, which in 2012 will take the form of a single-day workshop
exploring the theme “Lyric Song in Idea and Performance”.
Further information:
The SongArt Performance Research Group: www.songart.co.uk
Institute of Musical Research: www.music.sas.ac.uk
Deadline 1 March 2012
3rd Annual Meeting of the SongArt Performance Research Group, in
association with the Institute of Musical Research, London:
2012 Theme: “Lyric Song in Idea and Performance”
Venue: Chancellor’s Hall, Senate House, University of London
Date: Thursday, 21 June, 2012
Keynote Speaker: Professor Amanda Glauert (Royal College of Music)
The SongArt Performance Research Group warmly invites proposals for
papers, lecture-recitals, and collaborative workshops for our 3rd Annual
Meeting, which in 2012 will take the form of a single-day workshop
exploring the theme “Lyric Song in Idea and Performance”.
Further information:
The SongArt Performance Research Group: www.songart.co.uk
Institute of Musical Research: www.music.sas.ac.uk
Call for Papers 4th MaM Meeting (Turin, June 28 & 29, 2012 )
Call for Papers 4th MaM Meeting (Turin, June 28 & 29, 2012 )
Call for papers:
The IMS study group “Music and Media” (MaM) will hold its fourth international meeting in Turin at the Università di Torino , as pre-conference to the IMS Rome 2012 conference. One of the themes will be ‘ Unheard Melodies : 25 years’. This session will thematize a retrospective on Claudia Gorbman’s groundbreaking book on the role of narrative film music.
Other areas of interest include (but are not limited to):
-(New) methodologies for the study of film soundtracks;
-Unheard melodies and New Media;
-Synchronisation;
-Non-canonical music and New Media.
Keynote speaker:
Claudia Gorbman ( University of Washington Tacoma )
Program committee:
Gianmario Borio (Università di Pavia), James Deaville (Carleton University, Ottawa), Anahid Kassabian (University of Liverpool), Michael Saffle ( Virginia Tech, Blacksburg), Emile Wennekes (Utrecht University), Luisa Zanoncelli ( Università di Torino ).
Academics, practitioners and postgraduate students are invited to submit papers proposals (20 minutes) . Each submission should include the following information: author(s) name(s), academic affiliation(s), e-mail address, title of presentation, abstract (300 words max.), a short CV, and a list of technological requirements (overhead, power point, etc).
All proposals must be submitted by 15 March 2012 to e.wennekes-AT-uu.nl
Organization: IMS study group “Music and Media” (MaM) and Università di Torino / University of Turin, Ph.D. Program in Film, Music and Performing Arts.
Location: Università di Torino / University of Turin,
Palazzo Nuovo
Auditorium Quazza,
Via S. Ottavio, 20
Dates: 28 & 29 June 2012
"Music and Media" was launched as an interdisciplinary and multidisciplinary forum on 4-5 July 2009 in Amsterdam. The IMS Directorium officially accepted MaM as a study group at the subsequent joint IAML/IMS conference. MaM welcomes a broad variety of subjects, methodologies and perspecitives. At the kick-off meeting participants from over ten countries presented 25 papers on subjects such as human-computer interface technologies, music in video games, music in film and television, radio plays, commercials, the nature of listenership et al. The second MaM conference took place at the Institute for Musicology and Media Studies, Humboldt University, Berlin, on 26-27 June 2010. There were three keynote lectures (Helga de la Motte; Philips Auslander; and Michael Saffle), and 23 other presentations. Papers were grouped into themed sections: Virtual Worlds, Performance and Technology, Politics, Film, and Radio. The presentations included work by three research groups, from Belgium, Italy and Berlin/Potsdam respectively, and 14 participants attended the workshop "Multimedia Art and Performance" (this outside the five instructors and professional musicians involved). Speakers were from Belgium, Canada, France, Germany, Italy, the Netherlands, Northern Ireland, England and the United States. There were 60 registered participants at the conference.
The meeting was funded by the DFG, the European Network for Musicological Research and the Humboldt-Universitäts-Gesellschaft.
Call for papers:
The IMS study group “Music and Media” (MaM) will hold its fourth international meeting in Turin at the Università di Torino , as pre-conference to the IMS Rome 2012 conference. One of the themes will be ‘ Unheard Melodies : 25 years’. This session will thematize a retrospective on Claudia Gorbman’s groundbreaking book on the role of narrative film music.
Other areas of interest include (but are not limited to):
-(New) methodologies for the study of film soundtracks;
-Unheard melodies and New Media;
-Synchronisation;
-Non-canonical music and New Media.
Keynote speaker:
Claudia Gorbman ( University of Washington Tacoma )
Program committee:
Gianmario Borio (Università di Pavia), James Deaville (Carleton University, Ottawa), Anahid Kassabian (University of Liverpool), Michael Saffle ( Virginia Tech, Blacksburg), Emile Wennekes (Utrecht University), Luisa Zanoncelli ( Università di Torino ).
Academics, practitioners and postgraduate students are invited to submit papers proposals (20 minutes) . Each submission should include the following information: author(s) name(s), academic affiliation(s), e-mail address, title of presentation, abstract (300 words max.), a short CV, and a list of technological requirements (overhead, power point, etc).
All proposals must be submitted by 15 March 2012 to e.wennekes-AT-uu.nl
Organization: IMS study group “Music and Media” (MaM) and Università di Torino / University of Turin, Ph.D. Program in Film, Music and Performing Arts.
Location: Università di Torino / University of Turin,
Palazzo Nuovo
Auditorium Quazza,
Via S. Ottavio, 20
Dates: 28 & 29 June 2012
"Music and Media" was launched as an interdisciplinary and multidisciplinary forum on 4-5 July 2009 in Amsterdam. The IMS Directorium officially accepted MaM as a study group at the subsequent joint IAML/IMS conference. MaM welcomes a broad variety of subjects, methodologies and perspecitives. At the kick-off meeting participants from over ten countries presented 25 papers on subjects such as human-computer interface technologies, music in video games, music in film and television, radio plays, commercials, the nature of listenership et al. The second MaM conference took place at the Institute for Musicology and Media Studies, Humboldt University, Berlin, on 26-27 June 2010. There were three keynote lectures (Helga de la Motte; Philips Auslander; and Michael Saffle), and 23 other presentations. Papers were grouped into themed sections: Virtual Worlds, Performance and Technology, Politics, Film, and Radio. The presentations included work by three research groups, from Belgium, Italy and Berlin/Potsdam respectively, and 14 participants attended the workshop "Multimedia Art and Performance" (this outside the five instructors and professional musicians involved). Speakers were from Belgium, Canada, France, Germany, Italy, the Netherlands, Northern Ireland, England and the United States. There were 60 registered participants at the conference.
The meeting was funded by the DFG, the European Network for Musicological Research and the Humboldt-Universitäts-Gesellschaft.
JOB POSITION: Research Fellow in Music with Artificial Intelligence
Research Fellow in Music with Artificial Intelligence
Job reference: A2462
Closing date: 16 March 2012
Salary £31,000 pa
FULL TIME, fixed term for 54 months (4.5 years)
Applications are invited for a Research Fellow in Music with AI at the Interdisciplinary Centre for Computer Music Research (ICCMR) in Plymouth University, UK (http://cmr.soc.plymouth.ac.uk/).
This appointment is part of an ambitious EPSRC-funded research project aimed at advancing our understanding of the relationship between emotions, patterns of brain activity and associated musical information. The objective is to build a Brain-Computer Music Interface (BCMI) system to monitor emotions, and modify them automatically and adaptively via a controlled computer music generation system. This project will be developed in collaboration with the Cybernetics Research Group at the University of Reading (Dr Slawomir J Nasuto).
Your main tasks will be (but not necessarily limited) to (a) design and implement intelligent algorithms for generating music in real-time, (b) provide technical assistance for composers-in-residence, (c) support the design of listening experiments and analysis of brain scanning data.
You will be expected to have an interdisciplinary background linking music technology, artificial intelligence and psychology of music, preferably with a PhD or equivalent, in an allied discipline. Solid computer programming skills and previous experience with implementation of algorithms for generative music in real-time, are essential requisites. Knowledge of experimental psychology methods and analysis of experimental data is welcomed. Familiarity with the burgeoning field of Brain-Computer Interface would be advantageous.
This is a full time position working 37 hours per week, and is fixed term for 54 months (4.5 years). The commencement date is 1 May 2012 or as soon as possible thereafter.
For more information and instructions for application please visit
http://www.plymouth.ac.uk/jobs
Or alternatively contact HR Recruitment Services quoting Job reference A2462:
+44 (0)1752 588255
jobs@plymouth.ac.uk
Job reference: A2462
Closing date: 16 March 2012
Salary £31,000 pa
FULL TIME, fixed term for 54 months (4.5 years)
Applications are invited for a Research Fellow in Music with AI at the Interdisciplinary Centre for Computer Music Research (ICCMR) in Plymouth University, UK (http://cmr.soc.plymouth.ac.uk/).
This appointment is part of an ambitious EPSRC-funded research project aimed at advancing our understanding of the relationship between emotions, patterns of brain activity and associated musical information. The objective is to build a Brain-Computer Music Interface (BCMI) system to monitor emotions, and modify them automatically and adaptively via a controlled computer music generation system. This project will be developed in collaboration with the Cybernetics Research Group at the University of Reading (Dr Slawomir J Nasuto).
Your main tasks will be (but not necessarily limited) to (a) design and implement intelligent algorithms for generating music in real-time, (b) provide technical assistance for composers-in-residence, (c) support the design of listening experiments and analysis of brain scanning data.
You will be expected to have an interdisciplinary background linking music technology, artificial intelligence and psychology of music, preferably with a PhD or equivalent, in an allied discipline. Solid computer programming skills and previous experience with implementation of algorithms for generative music in real-time, are essential requisites. Knowledge of experimental psychology methods and analysis of experimental data is welcomed. Familiarity with the burgeoning field of Brain-Computer Interface would be advantageous.
This is a full time position working 37 hours per week, and is fixed term for 54 months (4.5 years). The commencement date is 1 May 2012 or as soon as possible thereafter.
For more information and instructions for application please visit
http://www.plymouth.ac.uk/jobs
Or alternatively contact HR Recruitment Services quoting Job reference A2462:
+44 (0)1752 588255
jobs@plymouth.ac.uk
giovedì 16 febbraio 2012
CFP: Concepts and Practices of Choral Singing, Lund, Oct 2012
International Conference on the Concepts and Practices of Choral Singing
Lund, Sweden, October 17-20, 2012.
Deadline for proposals: March 30, 2012.
Conference language: English.
In order to make visible and available the contemporary dynamic development of choral research, this conference aims at encouraging communication between theory and practice. With the integration of the conference into Lund Choral Festival, the purpose is to highlight interdisciplinary investigations and interaction between practice-based and historical approaches in choral research. Researching choir culture demands and encourages a multitude of research strategies in different disciplines.
We welcome contributions that focus the interaction of choral concepts and practices since the 18th century, especially on the following themes:
1. Conceptualisations of Choral Practices and Musics
2. Theories and Methods of Choral Research
3. Psychological and Social Dimensions of Choral Singing
Confirmed keynote speakers:
Prof. Dr. Andreas C. Lehmann, Systematic Musicology and Music Psychology, University of Music, Würzburg
Prof. Karin Rehnqvist, Composition, Royal College of Music, Stockholm
Submission formats:
Scholars interested in presenting are kindly asked to submit a one-page abstract (max. 400 words). Please indicate for which session the paper is intended, include full contact information and a short CV.
Spoken papers: timeframe 30 minutes + 10 minutes questions and discussion.
Panel: Several papers may be submitted together with an overall theme. Timeframe to be decided.
Posters: Presentation and discussion of the poster at a poster session.
Abstracts should be sent to cif at korcentrumsyd.se. Notifications of acceptance will be sent after April 16.
Venue: Department of Arts and Cultural Sciences, Lund University, Biskopsgatan 7
Website will be updated: http://www.lundchoralfestival.org/?page_id=230
Conference convenors: Dr. Ursula Geisler, Department of Arts and Cultural Sciences, Lund University and Dr. Karin Johansson, Malmö Academy of Music, Lund University
Lund, Sweden, October 17-20, 2012.
Deadline for proposals: March 30, 2012.
Conference language: English.
In order to make visible and available the contemporary dynamic development of choral research, this conference aims at encouraging communication between theory and practice. With the integration of the conference into Lund Choral Festival, the purpose is to highlight interdisciplinary investigations and interaction between practice-based and historical approaches in choral research. Researching choir culture demands and encourages a multitude of research strategies in different disciplines.
We welcome contributions that focus the interaction of choral concepts and practices since the 18th century, especially on the following themes:
1. Conceptualisations of Choral Practices and Musics
2. Theories and Methods of Choral Research
3. Psychological and Social Dimensions of Choral Singing
Confirmed keynote speakers:
Prof. Dr. Andreas C. Lehmann, Systematic Musicology and Music Psychology, University of Music, Würzburg
Prof. Karin Rehnqvist, Composition, Royal College of Music, Stockholm
Submission formats:
Scholars interested in presenting are kindly asked to submit a one-page abstract (max. 400 words). Please indicate for which session the paper is intended, include full contact information and a short CV.
Spoken papers: timeframe 30 minutes + 10 minutes questions and discussion.
Panel: Several papers may be submitted together with an overall theme. Timeframe to be decided.
Posters: Presentation and discussion of the poster at a poster session.
Abstracts should be sent to cif at korcentrumsyd.se. Notifications of acceptance will be sent after April 16.
Venue: Department of Arts and Cultural Sciences, Lund University, Biskopsgatan 7
Website will be updated: http://www.lundchoralfestival.org/?page_id=230
Conference convenors: Dr. Ursula Geisler, Department of Arts and Cultural Sciences, Lund University and Dr. Karin Johansson, Malmö Academy of Music, Lund University
JOB: Ithaca College, Music theory / musicology (tenure-track)
ITHACA COLLEGE
SCHOOL OF MUSIC
MUSIC THEORY/MUSICOLOGY
The Ithaca College School of Music announces a full-time, tenure-eligible position in music theory and musicology at the rank of Assistant Professor, to begin fall 2012. Primary responsibility will be teaching music theory and 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.
Required qualifications: Completed doctorate in music theory or musicology at the time of application, demonstrably excellent full-time college teaching experience (at least one year beyond graduate assistant level), and evidence of potential for scholarship.
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 www.icjobs.org and submit a letter of application, vita, and the names and contact information for at least five professional references (at least one of the references should be able to speak to the candidate’s teaching). The application letter should specifically address how the applicant hopes to contribute to the music theory and Western history core as well as the types of integrative courses s/he could offer.
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 March 12, 2012.
SCHOOL OF MUSIC
MUSIC THEORY/MUSICOLOGY
The Ithaca College School of Music announces a full-time, tenure-eligible position in music theory and musicology at the rank of Assistant Professor, to begin fall 2012. Primary responsibility will be teaching music theory and 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.
Required qualifications: Completed doctorate in music theory or musicology at the time of application, demonstrably excellent full-time college teaching experience (at least one year beyond graduate assistant level), and evidence of potential for scholarship.
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 www.icjobs.org and submit a letter of application, vita, and the names and contact information for at least five professional references (at least one of the references should be able to speak to the candidate’s teaching). The application letter should specifically address how the applicant hopes to contribute to the music theory and Western history core as well as the types of integrative courses s/he could offer.
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 March 12, 2012.
AWARD: American Brahms Society, Geiringer Scholarship
Geiringer Scholarship
The American Brahms Society is seeking applicants for its Karl Geiringer Scholarship in Brahms Studies, which is awarded annually from the Society’s Karl Geiringer Fund in Brahms Studies as meritorious candidates present themselves. The competition is open to students in the final stages of preparing a doctoral dissertation written in English. Work relating to Brahms should form a significant thread within the dissertation, but it need not be the only one. The selection committee welcomes applications from students whose research might be concentrated instead on music by members of Brahms’s circle, on musical life in later nineteenth-century Vienna, and so forth. Only projects that demonstrate significant original thought and research will be deemed competitive. The decision to award the scholarship, which carries a stipend of $2,000, rests with the Board of Directors; the winner will be announced in November 2012, following the regular annual meeting of the Board.
Completed applications will consist of 1) a cover letter, including the applicant’s address, phone number, email address, and institutional affiliation; 2) a concise description of the project (no more than 500 words), in which the applicant’s methods and conclusions are stated clearly; and 3) a brief account (no more than 250 words) detailing the aspect of the project to be completed with assistance from the Karl Geiringer Scholarship, including travel plans, if appropriate. These materials should be submitted electronically as pdf files to the chair of the Geiringer Committee, Professor Ryan McClelland, Faculty of Music, University of Toronto at ryan.mcclelland@utoronto.ca no later than 1 May 2012. The application must be supported by two confidential letters of recommendation, including one from the dissertation advisor; these should be emailed to Prof. McClelland by 1 May. Finalists in the competition will be notified by 15 May and will be asked to submit a sample chapter
from
the dissertation.
The website of the American Brahms Society includes descriptions of the dissertations of previous winners: http://brahms.unh.edu/activities.html
The American Brahms Society is seeking applicants for its Karl Geiringer Scholarship in Brahms Studies, which is awarded annually from the Society’s Karl Geiringer Fund in Brahms Studies as meritorious candidates present themselves. The competition is open to students in the final stages of preparing a doctoral dissertation written in English. Work relating to Brahms should form a significant thread within the dissertation, but it need not be the only one. The selection committee welcomes applications from students whose research might be concentrated instead on music by members of Brahms’s circle, on musical life in later nineteenth-century Vienna, and so forth. Only projects that demonstrate significant original thought and research will be deemed competitive. The decision to award the scholarship, which carries a stipend of $2,000, rests with the Board of Directors; the winner will be announced in November 2012, following the regular annual meeting of the Board.
Completed applications will consist of 1) a cover letter, including the applicant’s address, phone number, email address, and institutional affiliation; 2) a concise description of the project (no more than 500 words), in which the applicant’s methods and conclusions are stated clearly; and 3) a brief account (no more than 250 words) detailing the aspect of the project to be completed with assistance from the Karl Geiringer Scholarship, including travel plans, if appropriate. These materials should be submitted electronically as pdf files to the chair of the Geiringer Committee, Professor Ryan McClelland, Faculty of Music, University of Toronto at ryan.mcclelland@utoronto.ca no later than 1 May 2012. The application must be supported by two confidential letters of recommendation, including one from the dissertation advisor; these should be emailed to Prof. McClelland by 1 May. Finalists in the competition will be notified by 15 May and will be asked to submit a sample chapter
from
the dissertation.
The website of the American Brahms Society includes descriptions of the dissertations of previous winners: http://brahms.unh.edu/activities.html
VACANCIES: Canterbury Christ Church PhD Scholarships
Canterbury Christ Church University
PhD Scholarships
We welcome applicants for full-time PhD scholarships (a stipend of £11,700 pa and free tuition for three years). Applications are invited across a range of subjects and themes, including MUSIC.
Further information and prospectus:
http://www.canterbury.ac.uk/StudyHere/Postgraduate/PostgraduateResearch/MPhilPhDScholarships.aspx
The closing date: 30th April 2012. Start date: 1st October 2012.
The Graduate School, Canterbury Christ Church University, Canterbury, CT1 1QU, UK,
e-mail: graduateschool@canterbury.ac.uk
The 2008 Research Assessment Exercise confirmed our Music department’s international standing. Research by nine members of staff was included, of which the great majority (75%) was judged to be at least internationally recognised, and 10% world- leading. The university has subsequently invested strongly in Music’s staffing and facilities, in order to support its growing international research reputation. Three new members of full-time staff were appointed in 2011-12 in order to develop the department’s research profile, including Professor John Irving as Head of Music and Performing Arts. From October 2012 we will enjoy substantial additional practical and seminar space (including a new building for Music and a refurbished concert hall). Significant targeted investment in the department’s research environment has allowed the development of a strong series of research seminars and the hosting of several recent international conferences, attended by Krzysztof Penderecki (2009) and Arvo Pärt (2011). The department is noted for its collaborative research work, most especially with the Sounds New Contemporary Music Festival, offering its postgraduate composers and performers opportunities to participate in masterclasses, performances and workshops with, for example, Jonathan Harvey, Mark Anthony Turnage, Peter Hill, the London Sinfonietta, and Ensemble Klang. In addition to the department’s team of expert academic staff, Visiting Professors of Composition include Sir Peter Maxwell Davies and Paul Patterson.
The successful candidate will pursue the PhD full time, with a specialism in musicology, performance or composition. The department’s key research strengths presently include twentieth-century music; theory and analysis; baroque and classical music; historical performance practice; performance studies (including performance pedagogy and performance psychology); composition. Candidates should hold a good first degree in Music and must apply for the PhD programme simultaneously or in advance of applying for an AHRC studentship. Further information about the Music Department at Canterbury Christ Church University are available at www.canterbury.ac.uk/arts-humanities/music/.
Home (UK) students and those EU students who have been resident in the UK for a minimum of three years are eligible for a full award comprising fees and an annual maintenance grant. Other EU students are eligible for a fees-only award. Please note that if you require a Tier 4 visa to study in the UK, you will not be eligible for this funding. To see if you would be eligible for a full or fees only award, and for further information on the AHRC Studentship scheme, please refer to the AHRC's website www.ahrc.ac.uk
For further information, please contact the PhD programme director, Dr Eva Mantzourani at eva.mantzourani@canterbury.ac.uk Application forms for the PhD programmes are available from, and should be returned direct to the Music Department, via Lucy Ross, at lucy.ross@canterbury.ac.uk (tel. 01227 782244).
PhD Scholarships
We welcome applicants for full-time PhD scholarships (a stipend of £11,700 pa and free tuition for three years). Applications are invited across a range of subjects and themes, including MUSIC.
Further information and prospectus:
http://www.canterbury.ac.uk/StudyHere/Postgraduate/PostgraduateResearch/MPhilPhDScholarships.aspx
The closing date: 30th April 2012. Start date: 1st October 2012.
The Graduate School, Canterbury Christ Church University, Canterbury, CT1 1QU, UK,
e-mail: graduateschool@canterbury.ac.uk
The 2008 Research Assessment Exercise confirmed our Music department’s international standing. Research by nine members of staff was included, of which the great majority (75%) was judged to be at least internationally recognised, and 10% world- leading. The university has subsequently invested strongly in Music’s staffing and facilities, in order to support its growing international research reputation. Three new members of full-time staff were appointed in 2011-12 in order to develop the department’s research profile, including Professor John Irving as Head of Music and Performing Arts. From October 2012 we will enjoy substantial additional practical and seminar space (including a new building for Music and a refurbished concert hall). Significant targeted investment in the department’s research environment has allowed the development of a strong series of research seminars and the hosting of several recent international conferences, attended by Krzysztof Penderecki (2009) and Arvo Pärt (2011). The department is noted for its collaborative research work, most especially with the Sounds New Contemporary Music Festival, offering its postgraduate composers and performers opportunities to participate in masterclasses, performances and workshops with, for example, Jonathan Harvey, Mark Anthony Turnage, Peter Hill, the London Sinfonietta, and Ensemble Klang. In addition to the department’s team of expert academic staff, Visiting Professors of Composition include Sir Peter Maxwell Davies and Paul Patterson.
The successful candidate will pursue the PhD full time, with a specialism in musicology, performance or composition. The department’s key research strengths presently include twentieth-century music; theory and analysis; baroque and classical music; historical performance practice; performance studies (including performance pedagogy and performance psychology); composition. Candidates should hold a good first degree in Music and must apply for the PhD programme simultaneously or in advance of applying for an AHRC studentship. Further information about the Music Department at Canterbury Christ Church University are available at www.canterbury.ac.uk/arts-humanities/music/.
Home (UK) students and those EU students who have been resident in the UK for a minimum of three years are eligible for a full award comprising fees and an annual maintenance grant. Other EU students are eligible for a fees-only award. Please note that if you require a Tier 4 visa to study in the UK, you will not be eligible for this funding. To see if you would be eligible for a full or fees only award, and for further information on the AHRC Studentship scheme, please refer to the AHRC's website www.ahrc.ac.uk
For further information, please contact the PhD programme director, Dr Eva Mantzourani at eva.mantzourani@canterbury.ac.uk Application forms for the PhD programmes are available from, and should be returned direct to the Music Department, via Lucy Ross, at lucy.ross@canterbury.ac.uk (tel. 01227 782244).
martedì 14 febbraio 2012
ANNOUNCEMENT: Organised Sound, new issue now available
ORGANISED SOUND, VOLUME 17 - ISSUE 01 (April 2012)
http://journals.cambridge.org/action/displayJournal?jid=OSO
Editorial
Ian Whalley and Ken Fields
Internet2 and Global Electroacoustic Music: Navigating a decision space of production, relationships and languages
Ian Whalley
Listening Through the Firewall: Semiotics of sound in networked improvisation
Roger Mills and Kirsty Beilharz
Rethinking Collaboration in Networked Music
Nicolas Makelberge
Imposing a Networked Vibrotactile Communication System for Improvisational Suggestion
Lauren Hayes and Christos Michalakos
Network Socio-Synthesis and Emergence in NOMADS
Matthew Burtner and Steven Kemper and David Topper
Composing for a Networked, Pulse-Based, Laptop Orchestra
David Ogborn
Building on the Foundations of Network Music: Exploring interaction contexts and shared robotic instruments
Owen Vallis and Dimitri Diakopoulos and Jordan Hochenbaum and Ajay Kapur
Tele-Media and Instrument Making
Bruce P. Gremo
Syneme: Live
Kenneth Fields
____________________________________
http://journals.cambridge.org/action/displayJournal?jid=OSO
Editorial
Ian Whalley and Ken Fields
Internet2 and Global Electroacoustic Music: Navigating a decision space of production, relationships and languages
Ian Whalley
Listening Through the Firewall: Semiotics of sound in networked improvisation
Roger Mills and Kirsty Beilharz
Rethinking Collaboration in Networked Music
Nicolas Makelberge
Imposing a Networked Vibrotactile Communication System for Improvisational Suggestion
Lauren Hayes and Christos Michalakos
Network Socio-Synthesis and Emergence in NOMADS
Matthew Burtner and Steven Kemper and David Topper
Composing for a Networked, Pulse-Based, Laptop Orchestra
David Ogborn
Building on the Foundations of Network Music: Exploring interaction contexts and shared robotic instruments
Owen Vallis and Dimitri Diakopoulos and Jordan Hochenbaum and Ajay Kapur
Tele-Media and Instrument Making
Bruce P. Gremo
Syneme: Live
Kenneth Fields
____________________________________
ANNOUNCEMENT: Tempo, new issue now available
TEMPO, VOLUME 66 - ISSUE 259 (Jan 2012)
http://journals.cambridge.org/action/displayJournal?jid=TEM
OUT OF THE SHADOWS AND SILENCES: THE LOTTA WENNÄKOSKI IN PROFILE
Tim Howell
HOW OLD! HOW NEW!: SOME NOTES ON SCHOENBERG'S PETRARCH SETTING FOR THE ‘SERENADE’, OP. 24
Edward Green
THE INTERACTION OF FORM AND MATERIAL IN SCHOENBERG'S KLAVIERSTÜCK OP. 33B
Hugh Collins Rice
‘THE SPACE OF THE SOUL’: AN INTERVIEW WITH SOFIA GUBAIDULINA
Ivan Moody
THE EVOLUTION OF FORM IN THE MUSIC OF ROGER REYNOLDS (I)
Michael Boyd
FIRST PERFORMANCES
BOOK REVIEWS
CD REVIEWS
http://journals.cambridge.org/action/displayJournal?jid=TEM
OUT OF THE SHADOWS AND SILENCES: THE LOTTA WENNÄKOSKI IN PROFILE
Tim Howell
HOW OLD! HOW NEW!: SOME NOTES ON SCHOENBERG'S PETRARCH SETTING FOR THE ‘SERENADE’, OP. 24
Edward Green
THE INTERACTION OF FORM AND MATERIAL IN SCHOENBERG'S KLAVIERSTÜCK OP. 33B
Hugh Collins Rice
‘THE SPACE OF THE SOUL’: AN INTERVIEW WITH SOFIA GUBAIDULINA
Ivan Moody
THE EVOLUTION OF FORM IN THE MUSIC OF ROGER REYNOLDS (I)
Michael Boyd
FIRST PERFORMANCES
BOOK REVIEWS
CD REVIEWS
lunedì 13 febbraio 2012
ANNOUNCEMENT: Music, Sound, and the Moving Image, new issue now available
Volume 5, Number 2 / Autumn 2011 of Music, Sound, and the Moving Image is now available on the liverpool.metapress.com website at http://liverpool.metapress.com/content/k42k34n26344/.
This issue contains:
Natural Sound in the Early Talkie Western
Luke Stadel
Throwing the Voice, Catching the Body: Opera and ventriloquism in Philip Glass/ Jean Cocteau's 'La Belle et la Bête'
Jelena Novak
Artless Singing
Claudia Gorbman
Book Reviews
This issue contains:
Natural Sound in the Early Talkie Western
Luke Stadel
Throwing the Voice, Catching the Body: Opera and ventriloquism in Philip Glass/ Jean Cocteau's 'La Belle et la Bête'
Jelena Novak
Artless Singing
Claudia Gorbman
Book Reviews
JOB: Harvard University, College Fellow in Musicology (one-year)
HARVARD UNIVERSITY • DEPARTMENT OF MUSIC
MUSIC BUILDING
CAMBRIDGE, MASSACHUSETTS 02138, USA
Tel: 617-495-2791 • Fax: 617-496-8081
The Department of Music is seeking applications for a College Fellow in musicology. Teaching duties will include a two-semester undergraduate survey course in music history, from medieval to modern (for non-majors) and a graduate seminar on a topic of choice. The Fellow will teach three courses over the course of two semesters. Twenty-five percent of the appointment is reserved for the Fellow’s own research. The Fellow may also advise and evaluate senior theses. A wide knowledge of music history and proven success as a teacher is critical. Candidates are required to have a Ph.D. or an equivalent terminal degree by the expected start date.
The appointment is for one year, with the possibility of renewal for a second year. Detailed information and a link to the online application are available at www.fas.harvard.edu/~facaff/cfp/. Complete applications, including letters of reference, must be submitted by March 15, 2012.
Harvard is an Equal Opportunity/Affirmative Action employer. Applications from women and minorities are strongly encouraged.
MUSIC BUILDING
CAMBRIDGE, MASSACHUSETTS 02138, USA
Tel: 617-495-2791 • Fax: 617-496-8081
The Department of Music is seeking applications for a College Fellow in musicology. Teaching duties will include a two-semester undergraduate survey course in music history, from medieval to modern (for non-majors) and a graduate seminar on a topic of choice. The Fellow will teach three courses over the course of two semesters. Twenty-five percent of the appointment is reserved for the Fellow’s own research. The Fellow may also advise and evaluate senior theses. A wide knowledge of music history and proven success as a teacher is critical. Candidates are required to have a Ph.D. or an equivalent terminal degree by the expected start date.
The appointment is for one year, with the possibility of renewal for a second year. Detailed information and a link to the online application are available at www.fas.harvard.edu/~facaff/cfp/. Complete applications, including letters of reference, must be submitted by March 15, 2012.
Harvard is an Equal Opportunity/Affirmative Action employer. Applications from women and minorities are strongly encouraged.
CONF: Harvard University Music Conference: Music / Technology / Media, Cambridge, 25 Feb 2012
Harvard Department of Music
Paine Hall, Room 9
Cambridge, Massachusetts
February 25, 2012
Morning Panel: 10:00-11:30 am
Dr. Christopher Hasty, Moderator
>From Hydraulis to Hyperorgan: The Pipe Organ, Technology and the Quest for Maximal Agency
Dr. Randall Harlow, Cornell University
Auto-Tune: Coming Clean
Marissa Steingold, University of California Los Angeles
Music Information Retrieval (MIR) and the Power of Suggestion
Damien McCaffery, University of Glasgow
***
Midday Panel: 1:00-2:30 pm
Dr. Ingrid Monson, Moderator
Virtual Mridangam: South Indian Percussion Education in the Internet Era
Rohan Krishnamurthy, Eastman School of Music, University of Rochester
Sounding Reserves: Potentiality, Political Economics, and Protest Song in the Digital Archive
Margaret Bissler, The Ohio State University School of Music
Electric Desert: The Electric Guitar, the mp3, and the Moorish Griot in Nouakchott
Phil Babcock, Tufts University
***
Afternoon Panel:L 3:00-4:30 pm
Dr. Sindhu Revuluri, Moderator
Science, Technology, and Sound Design in Gojira/Godzilla (Honda, 1954)
Brooke McCorkle, University of Pennsylvania
Virtue/Virtuosity/Virtuality
Mike D'Errico, University of California Los Angeles
Staging the Backstage at “The Met: Live in HD”
James Steichen, Princeton University
***
Keynote Address: 5:00-6:00 pm
Analog vs. Digital: Technocultural Choice and the Hip-hop DJ
Dr. Mark Katz, University of North Carolina Chapel Hill
Reception to follow
Paine Hall, Room 9
Cambridge, Massachusetts
February 25, 2012
Morning Panel: 10:00-11:30 am
Dr. Christopher Hasty, Moderator
>From Hydraulis to Hyperorgan: The Pipe Organ, Technology and the Quest for Maximal Agency
Dr. Randall Harlow, Cornell University
Auto-Tune: Coming Clean
Marissa Steingold, University of California Los Angeles
Music Information Retrieval (MIR) and the Power of Suggestion
Damien McCaffery, University of Glasgow
***
Midday Panel: 1:00-2:30 pm
Dr. Ingrid Monson, Moderator
Virtual Mridangam: South Indian Percussion Education in the Internet Era
Rohan Krishnamurthy, Eastman School of Music, University of Rochester
Sounding Reserves: Potentiality, Political Economics, and Protest Song in the Digital Archive
Margaret Bissler, The Ohio State University School of Music
Electric Desert: The Electric Guitar, the mp3, and the Moorish Griot in Nouakchott
Phil Babcock, Tufts University
***
Afternoon Panel:L 3:00-4:30 pm
Dr. Sindhu Revuluri, Moderator
Science, Technology, and Sound Design in Gojira/Godzilla (Honda, 1954)
Brooke McCorkle, University of Pennsylvania
Virtue/Virtuosity/Virtuality
Mike D'Errico, University of California Los Angeles
Staging the Backstage at “The Met: Live in HD”
James Steichen, Princeton University
***
Keynote Address: 5:00-6:00 pm
Analog vs. Digital: Technocultural Choice and the Hip-hop DJ
Dr. Mark Katz, University of North Carolina Chapel Hill
Reception to follow
ANNOUNCEMENT: Musica Humana, new issues now available
The latest two issues of Musica Humana are now available.
VOL. 3, NO. 1 (SPRING, 2011)
Special Issue: Reflections on Acousmatic Listening
Edited by Youn Kim and Yuanzheng Yang
Andrew F. Jones - Introduction: From Acousmatic Split to Technologized Splatter
Earle H. Waugh and Michael Frishkopf - Technology, Change, and the Music of Sufi Chanting in Egypt
Victor A. Vicente - Strange New Worlds? Musical Instruments and Cultural and Temporal Coding in Indian and Turkish Science-Fiction Film
Su Yin Mak - Pitching the Sale: A Cross-cultural Comparison of Operatic *Topoi* in Television Commercials
Fumitaka Yamauchi - Policing the Sounds of Colony: Documentary Power and the Censorship of Korean Recordings in the Age of Performative Reproduction
James A. Steintrager - Metal Machines, Primal Screams, Horrible Noise, and the Faint Hum of a Paradigm Shift in Sound Studies and Sonic Practice
Andy Hamilton - The Acousmatic Thesis and the Nature of Rhythm
VOL. 2, NO. 2 (AUTUMN, 2010)
Jim Samson - Greece and Its Neighbors
Joe Wolfe and Emery Schubert - Did Non-vocal Instrument Characteristics Influence Modern Singing?
Christina Gier - Berg’s Weininger, Intertextuality, and "Seele, wie bist du schöner," op. 4
Beate Kutschke - Culturologically-oriented Musicology and the Model of the Natural Sciences
For submissions, subscriptions, and more information on Musica Humana, please contact us: musicahumanajournal at gmail.com -- or visit our website: http://www.musicologykorea.org/musicahumana.htm
EDITORIAL BOARD
Youn Kim (Editor), Giorgio Biancorosso (Review Editor), Philip V. Bohlman, Ian Cross, Robert O. Gjerdingen, Hermann Gottschewski, Christian Kaden, Jean-Jacques Nattiez, Hee Sook Oh, Uwe Seifert
VOL. 3, NO. 1 (SPRING, 2011)
Special Issue: Reflections on Acousmatic Listening
Edited by Youn Kim and Yuanzheng Yang
Andrew F. Jones - Introduction: From Acousmatic Split to Technologized Splatter
Earle H. Waugh and Michael Frishkopf - Technology, Change, and the Music of Sufi Chanting in Egypt
Victor A. Vicente - Strange New Worlds? Musical Instruments and Cultural and Temporal Coding in Indian and Turkish Science-Fiction Film
Su Yin Mak - Pitching the Sale: A Cross-cultural Comparison of Operatic *Topoi* in Television Commercials
Fumitaka Yamauchi - Policing the Sounds of Colony: Documentary Power and the Censorship of Korean Recordings in the Age of Performative Reproduction
James A. Steintrager - Metal Machines, Primal Screams, Horrible Noise, and the Faint Hum of a Paradigm Shift in Sound Studies and Sonic Practice
Andy Hamilton - The Acousmatic Thesis and the Nature of Rhythm
VOL. 2, NO. 2 (AUTUMN, 2010)
Jim Samson - Greece and Its Neighbors
Joe Wolfe and Emery Schubert - Did Non-vocal Instrument Characteristics Influence Modern Singing?
Christina Gier - Berg’s Weininger, Intertextuality, and "Seele, wie bist du schöner," op. 4
Beate Kutschke - Culturologically-oriented Musicology and the Model of the Natural Sciences
For submissions, subscriptions, and more information on Musica Humana, please contact us: musicahumanajournal at gmail.com -- or visit our website: http://www.musicologykorea.org/musicahumana.htm
EDITORIAL BOARD
Youn Kim (Editor), Giorgio Biancorosso (Review Editor), Philip V. Bohlman, Ian Cross, Robert O. Gjerdingen, Hermann Gottschewski, Christian Kaden, Jean-Jacques Nattiez, Hee Sook Oh, Uwe Seifert
CFP: WagnerWorldWide: Reflections, Bayreuth, Dec 2013
WagnerWorldWide: Reflections
The Research Institute for Music Theater Studies (Schloss Thurnau), University of Bayreuth, in collaboration with the University of South Carolina (USA) and the University of Bern (Switzerland), is convening an international conference between 12-15 December 2013 to conclude the www2013: project. Starting in 2011, the www2013: project has been examining the current significance of the Wagner phenomenon through five overarching themes that link social, political, ideological and aesthetic aspects of the 19th and 21st centuries, as follows: Environment and Nature / Gender and Sexuality / Media and Film / History and Nationalism / Globalization and Markets
Instead of individual sections dealing with the five themes individually, the conference seeks to create networks between the themes as they relate to each other both historically and geographically. Since the Thurnau conference is scheduled to take place at the end of 2013, this will also provide an opportunity to reflect on the anniversary year by examining not only its aesthetic and intellectual results but also to examine the ways in which Wagner was remembered, memorialized, and celebrated.
The conference will also continue to explore the topics already elaborated during the 2011-12 lecture series WagnerWorldWide:Bayreuth that inaugurated the project (the complete lecture series is available on YouTube). The following is a list of possible topics:
· Reflections on the anniversary year: what happened, where, why, and what is the state of Wagner Studies?
Ø Reflections on the memorial locations (Bayreuth, Leipzig, Dresden, Munich): are there remnants or traces of Wagner today?
Ø Reflections on the locations of commemoration: which cities (other than the ones with concrete ties to Wagner's biography) were involved with the Wagner anniversary, what kinds of programs did they organize, and why?
Ø Reflections on the modalities of the anniversary. Has the notion of the festival been updated or become banal? And what was the character of the commemorations?
· Eco-critical Reflections: Can Wagner help us formulate an ecological approach to music and theater?
· Reflecting on Media: New technologies mean that Wagner is being mediated and distributed in new ways. How has this impacted opera as an institution?
· Reflecting on Economics: Wagner as an image or a brand? What is the interaction between the economic exploitation of "Wagner" and the cultural perception of the Wagner phenomenon?
· Reflecting on Politics, History and Nationalism: is there any friction between current political structures and the revolutionary potential as theorized in the 19th century by Wagner and others? How do we see Wagner today, given his ideological appropriation during the 20th century, most notably by German nationalists?
· Reflecting on Gender and Sexuality: How relevant for our own time is the gender-crossing and transgressive sexuality in Wagner's work? Is Wagner's depiction of gender and sexuality relevant or obsolete?
· Sociological reflections: what is the public for Wagner's works in 2013? Is it only comprised of rich old people? If so, how can a younger generation be convinced that Wagner has something to offer them?
The organizers welcome unusual, unexpected, and/or creative proposals which offer new and refreshing approaches to Wagner and that address the concept WagnerWorldWide:Reflections. Please send abstracts (250 words) in English by 31 July 2012. The conference language is English. All those who have already participated in the www2013: project are welcome as are those who have not so far been involved in any of the events. Younger members of the academic community (including advanced graduate students) are particularly encouraged to send proposals. Further information about the entire project, as well as updated information about the Thurnau conference can be found on the www2013: http://www.cas.sc.edu/www2013/overview. Send 250-Word abstract and a short curriculum vitae, including institutional affiliation (if any) and full contact information to Prof. Dr. Anno Mungen, fimt.thurnau at uni-bayreuth.de . Anno Mungen (Bayreuth), Ivana Rentsch (Zürich), Arne Stollberg (Bern), Nicholas Vazsonyi (Columbia/USA).
The Research Institute for Music Theater Studies (Schloss Thurnau), University of Bayreuth, in collaboration with the University of South Carolina (USA) and the University of Bern (Switzerland), is convening an international conference between 12-15 December 2013 to conclude the www2013: project. Starting in 2011, the www2013: project has been examining the current significance of the Wagner phenomenon through five overarching themes that link social, political, ideological and aesthetic aspects of the 19th and 21st centuries, as follows: Environment and Nature / Gender and Sexuality / Media and Film / History and Nationalism / Globalization and Markets
Instead of individual sections dealing with the five themes individually, the conference seeks to create networks between the themes as they relate to each other both historically and geographically. Since the Thurnau conference is scheduled to take place at the end of 2013, this will also provide an opportunity to reflect on the anniversary year by examining not only its aesthetic and intellectual results but also to examine the ways in which Wagner was remembered, memorialized, and celebrated.
The conference will also continue to explore the topics already elaborated during the 2011-12 lecture series WagnerWorldWide:Bayreuth that inaugurated the project (the complete lecture series is available on YouTube). The following is a list of possible topics:
· Reflections on the anniversary year: what happened, where, why, and what is the state of Wagner Studies?
Ø Reflections on the memorial locations (Bayreuth, Leipzig, Dresden, Munich): are there remnants or traces of Wagner today?
Ø Reflections on the locations of commemoration: which cities (other than the ones with concrete ties to Wagner's biography) were involved with the Wagner anniversary, what kinds of programs did they organize, and why?
Ø Reflections on the modalities of the anniversary. Has the notion of the festival been updated or become banal? And what was the character of the commemorations?
· Eco-critical Reflections: Can Wagner help us formulate an ecological approach to music and theater?
· Reflecting on Media: New technologies mean that Wagner is being mediated and distributed in new ways. How has this impacted opera as an institution?
· Reflecting on Economics: Wagner as an image or a brand? What is the interaction between the economic exploitation of "Wagner" and the cultural perception of the Wagner phenomenon?
· Reflecting on Politics, History and Nationalism: is there any friction between current political structures and the revolutionary potential as theorized in the 19th century by Wagner and others? How do we see Wagner today, given his ideological appropriation during the 20th century, most notably by German nationalists?
· Reflecting on Gender and Sexuality: How relevant for our own time is the gender-crossing and transgressive sexuality in Wagner's work? Is Wagner's depiction of gender and sexuality relevant or obsolete?
· Sociological reflections: what is the public for Wagner's works in 2013? Is it only comprised of rich old people? If so, how can a younger generation be convinced that Wagner has something to offer them?
The organizers welcome unusual, unexpected, and/or creative proposals which offer new and refreshing approaches to Wagner and that address the concept WagnerWorldWide:Reflections. Please send abstracts (250 words) in English by 31 July 2012. The conference language is English. All those who have already participated in the www2013: project are welcome as are those who have not so far been involved in any of the events. Younger members of the academic community (including advanced graduate students) are particularly encouraged to send proposals. Further information about the entire project, as well as updated information about the Thurnau conference can be found on the www2013: http://www.cas.sc.edu/www2013/overview. Send 250-Word abstract and a short curriculum vitae, including institutional affiliation (if any) and full contact information to Prof. Dr. Anno Mungen, fimt.thurnau at uni-bayreuth.de . Anno Mungen (Bayreuth), Ivana Rentsch (Zürich), Arne Stollberg (Bern), Nicholas Vazsonyi (Columbia/USA).
venerdì 10 febbraio 2012
International Society for Music Information Retrieval Conference 2012 - 2nd CFP
*ISMIR 2012 Call for Participation
*13th International Society for Music Information Retrieval Conference
http://ismir2012.ismir.net
8th and 12th of October 2012
Porto, Portugal
(organised by INESC Porto, in partnership with the TNSJ in Porto)
The annual Conference of the International Society for Music Information
Retrieval (ISMIR) is the world's leading research forum on processing,
searching, organizing and accessing music-related data. The revolution
in music distribution and storage brought about by digital technology
has fueled tremendous research activities and interests in academia as
well as in industry. The ISMIR Conference reflects this rapid
development by providing a meeting place for the discussion of
MIR-related research, developments, methods, tools and experimental
results. Its main goal is to foster multidisciplinary exchange by
bringing together researchers and developers, educators and librarians,
as well as students and professional users.
ISMIR 2012 will feature
introductory and in-depth tutorials
oral and poster presentations of research papers
invited talks reflecting the true interdisciplinary nature of MIR research
a late-break/demo session
a music programme
*-----PAPERS-----
*
ISMIR 2012 welcomes paper submissions for oral or poster presentation in
the (non-exclusive) areas of:
content-based querying and retrieval
database systems, indexing and query
fingerprinting and digital rights management
music transcription and annotation
music signal processing
sound source separation in music signals
score following, audio alignment and music synchronization
optical music recognition
melody and motives
rhythm, beat, tempo and form
harmony, chords and tonality
timbre, instrumentation and voice
performance analysis
modification and transformation of music data
computational musicology
music perception and cognition
emotion and aesthetics
applications of MIR to the performing arts and multimedia
automatic classification
genre, style and mood analysis
similarity metrics
music summarization
user interfaces and user models
music recommendation and playlist generation
text and web mining
knowledge representation, social tags and metadata
libraries, archives and digital collections
evaluation and annotation issues
methodological and philosophical issues
social, legal, ethical and business issues
applications to traditional/folk/ethnic music
To ensure a high quality of the contributions, all papers will go
through a double-blind selection process with at least three reviewers
per submission.
Paper submissions must be no more than 6 pages long when formatted with
the conference template, and in PDF. Accepted papers will be designated
by the Program Committee to be presented either as posters or as
lectures. All accepted papers have the same status, assignment as poster
or lecture is not indicative of the relevance or potential impact but on
the type of content and way to better reach the intended audience.
More details on http://ismir2012.ismir.net/authors/submission#paper
*-----MUSIC-----
*
ISMIR 2012 welcomes submissions of musical works for selection and
possible inclusion in the conference's concert programme. We
particularly encourage works that explore the notion of music
information in the widest sense of the term. As the use of technology in
music creation develops across composition and performance practices,
structured data plays an increasingly important role in the processing
of musical materials, their analysis and their manifestation in a live
environment. From the use of timbral analysis in spectral music to the
design of live improvisation systems, the handling of information is
critical to the role technology plays in music.
The aim of ISMIR 2012 concert programme is two-fold: to encourage the
use of Music Information Retrieval (MIR) techniques in the creation of
new music and to explore music that can suggest novel ideas for research
in the MIR ï¬ eld.
The music programme in the conference will be centred around two curated
concerts. Professional musicians will be available to perform the pieces.
Submitted musical works will go through a selection process by the
conference music chairs and music curators.
More details on http://ismir2012.ismir.net/music/
*-----TUTORIALS-----
*
The first day of ISMIR 2012 will consist of parallel sessions of
tutorials, each lasting three hours and concentrating on a single topic.
The tutorials are intended to provide a stimulating coverage of that
topic appealing to a general audience.
More details on http://ismir2012.ismir.net/authors/submission#tutorial
*-----LATE-BREAK/DEMOS-----
*
As in previous years, ISMIR 2012 will also include a special track for
demos and late-breaking news, with a later deadline than the main
paper/poster track. Demos consist of live, hands-on presentations of
working software which incorporate MIR algorithms or are relevant to MIR
research. Late-breaking news are quite the opposite: unpolished,
not-quite-understood-yet puzzles and findings that may barely hold
together, but are guaranteed to foster debate and discussion. Both are
things better interacted with than lectured about.
While recent years have seen a majority of submissions in the demo
category, we will endeavor to reach a better balance of both types of
submissions this year. In particular, we envision to differentiate the
presentation format for demos and late-breaking news - the former, in
the walk-around exhibition style that has been successful at previous
ISMIRs; the latter, in a more participative, un-conference style.
Details will be posted at a later date.
Both types of submissions will consist of extended abstracts of 1-2
pages, which will be peer-reviewed in a double-blind manner by members
of the programme committee like the submissions for the main paper
track. In the case of demo submissions, abstracts should describe what
the typical user scenario will be as well as the technical requirements
for the presentation. In the case of late-breaking news, abstracts
should make the case of why the result is inspirational and topical for
the MIR community.
More details on http://ismir2012.ismir.net/authors/submission#latebreak
*-----COMMITTEE-----
*
Conference Chairs: Fabien Gouyon (INESC Porto) and Carlos Guedes (INESC
Porto)
Scientific Chairs: Perfecto Herrera (UPF, Barcelona), Luis Gustavo
Martins (UCP, Porto), Meinard Mueller (MPI, Saarbrucken)
Music Chair: Carlos Guedes (INESC Porto) and Pedro Rebelo (SARC, Belfast)
Music Curators: Francois Pachet (Sony CSL, Paris), Daniel Teruggi
(INA-GRM, Paris)
Tutorial Chair: Emilia Gómez  (UPF, Barcelona)
Late-break/Demo Chair: Jean-Julien Aucouturier (LEAD, Dijon)
MIRrors Chair: Perfecto Herrera (UPF, Barcelona)
Local Organisation: U-Mind Lda
*-----CONFERENCE PROCEEDINGS-----
*
Printed proceedings will be provided, at an extra (reasonable) cost, to
participants who specifically ask for them. (Note the deadline for
printed proceedings request.)
*-----IMPORTANT DATES-----
*
Tutorials deadline: 12th March 2012
Notification of acceptance for Tutorials: 13th April 2012
Papers/Posters and Music deadline: 13th April 2012
Notification of acceptance for Papers/Posters and Music: 8th June 2012
Early registration starts: 8th June 2012
Deadline for camera-ready papers: 18th June 2012
Author registration deadline: 17th August 2012
Printed proceedings request deadline: 17th August 2012
Late-break/demos deadline: 24th August 2012
Notification of acceptance for Late-break/demos: 7th September 2012
Participant registration deadline: 14th September 2012
Conference Dates: 8th-12th October 2012
*-----VENUE-----
*
Porto is Portugal's second city. The city is located in the estuary of
the Douro river in northern Portugal. The largest city in the region,
Porto is considered the economic and cultural heart of the entire
region. Porto's highlights include the historic centre, declared a World
Heritage Site by UNESCO, its dramatic modern architecture, and of course
great food and wine (including the famous Port wine).
The conference will take place in the São Bento da Vitória Monastery,
a classified National Monument since 1977. (See
http://www.tnsj.pt/home/msbv/ for more information).
*-----STAY UP-TO-DATE-----
*
RSS: http://ismir2012.ismir.net/about/news/news/RSS
Twitter: http://twitter.com/#!/ismir2012
Facebook: https://www.facebook.com/pages/Ismir2012/232998570098530
*13th International Society for Music Information Retrieval Conference
http://ismir2012.ismir.net
8th and 12th of October 2012
Porto, Portugal
(organised by INESC Porto, in partnership with the TNSJ in Porto)
The annual Conference of the International Society for Music Information
Retrieval (ISMIR) is the world's leading research forum on processing,
searching, organizing and accessing music-related data. The revolution
in music distribution and storage brought about by digital technology
has fueled tremendous research activities and interests in academia as
well as in industry. The ISMIR Conference reflects this rapid
development by providing a meeting place for the discussion of
MIR-related research, developments, methods, tools and experimental
results. Its main goal is to foster multidisciplinary exchange by
bringing together researchers and developers, educators and librarians,
as well as students and professional users.
ISMIR 2012 will feature
introductory and in-depth tutorials
oral and poster presentations of research papers
invited talks reflecting the true interdisciplinary nature of MIR research
a late-break/demo session
a music programme
*-----PAPERS-----
*
ISMIR 2012 welcomes paper submissions for oral or poster presentation in
the (non-exclusive) areas of:
content-based querying and retrieval
database systems, indexing and query
fingerprinting and digital rights management
music transcription and annotation
music signal processing
sound source separation in music signals
score following, audio alignment and music synchronization
optical music recognition
melody and motives
rhythm, beat, tempo and form
harmony, chords and tonality
timbre, instrumentation and voice
performance analysis
modification and transformation of music data
computational musicology
music perception and cognition
emotion and aesthetics
applications of MIR to the performing arts and multimedia
automatic classification
genre, style and mood analysis
similarity metrics
music summarization
user interfaces and user models
music recommendation and playlist generation
text and web mining
knowledge representation, social tags and metadata
libraries, archives and digital collections
evaluation and annotation issues
methodological and philosophical issues
social, legal, ethical and business issues
applications to traditional/folk/ethnic music
To ensure a high quality of the contributions, all papers will go
through a double-blind selection process with at least three reviewers
per submission.
Paper submissions must be no more than 6 pages long when formatted with
the conference template, and in PDF. Accepted papers will be designated
by the Program Committee to be presented either as posters or as
lectures. All accepted papers have the same status, assignment as poster
or lecture is not indicative of the relevance or potential impact but on
the type of content and way to better reach the intended audience.
More details on http://ismir2012.ismir.net/authors/submission#paper
*-----MUSIC-----
*
ISMIR 2012 welcomes submissions of musical works for selection and
possible inclusion in the conference's concert programme. We
particularly encourage works that explore the notion of music
information in the widest sense of the term. As the use of technology in
music creation develops across composition and performance practices,
structured data plays an increasingly important role in the processing
of musical materials, their analysis and their manifestation in a live
environment. From the use of timbral analysis in spectral music to the
design of live improvisation systems, the handling of information is
critical to the role technology plays in music.
The aim of ISMIR 2012 concert programme is two-fold: to encourage the
use of Music Information Retrieval (MIR) techniques in the creation of
new music and to explore music that can suggest novel ideas for research
in the MIR ï¬ eld.
The music programme in the conference will be centred around two curated
concerts. Professional musicians will be available to perform the pieces.
Submitted musical works will go through a selection process by the
conference music chairs and music curators.
More details on http://ismir2012.ismir.net/music/
*-----TUTORIALS-----
*
The first day of ISMIR 2012 will consist of parallel sessions of
tutorials, each lasting three hours and concentrating on a single topic.
The tutorials are intended to provide a stimulating coverage of that
topic appealing to a general audience.
More details on http://ismir2012.ismir.net/authors/submission#tutorial
*-----LATE-BREAK/DEMOS-----
*
As in previous years, ISMIR 2012 will also include a special track for
demos and late-breaking news, with a later deadline than the main
paper/poster track. Demos consist of live, hands-on presentations of
working software which incorporate MIR algorithms or are relevant to MIR
research. Late-breaking news are quite the opposite: unpolished,
not-quite-understood-yet puzzles and findings that may barely hold
together, but are guaranteed to foster debate and discussion. Both are
things better interacted with than lectured about.
While recent years have seen a majority of submissions in the demo
category, we will endeavor to reach a better balance of both types of
submissions this year. In particular, we envision to differentiate the
presentation format for demos and late-breaking news - the former, in
the walk-around exhibition style that has been successful at previous
ISMIRs; the latter, in a more participative, un-conference style.
Details will be posted at a later date.
Both types of submissions will consist of extended abstracts of 1-2
pages, which will be peer-reviewed in a double-blind manner by members
of the programme committee like the submissions for the main paper
track. In the case of demo submissions, abstracts should describe what
the typical user scenario will be as well as the technical requirements
for the presentation. In the case of late-breaking news, abstracts
should make the case of why the result is inspirational and topical for
the MIR community.
More details on http://ismir2012.ismir.net/authors/submission#latebreak
*-----COMMITTEE-----
*
Conference Chairs: Fabien Gouyon (INESC Porto) and Carlos Guedes (INESC
Porto)
Scientific Chairs: Perfecto Herrera (UPF, Barcelona), Luis Gustavo
Martins (UCP, Porto), Meinard Mueller (MPI, Saarbrucken)
Music Chair: Carlos Guedes (INESC Porto) and Pedro Rebelo (SARC, Belfast)
Music Curators: Francois Pachet (Sony CSL, Paris), Daniel Teruggi
(INA-GRM, Paris)
Tutorial Chair: Emilia Gómez  (UPF, Barcelona)
Late-break/Demo Chair: Jean-Julien Aucouturier (LEAD, Dijon)
MIRrors Chair: Perfecto Herrera (UPF, Barcelona)
Local Organisation: U-Mind Lda
*-----CONFERENCE PROCEEDINGS-----
*
Printed proceedings will be provided, at an extra (reasonable) cost, to
participants who specifically ask for them. (Note the deadline for
printed proceedings request.)
*-----IMPORTANT DATES-----
*
Tutorials deadline: 12th March 2012
Notification of acceptance for Tutorials: 13th April 2012
Papers/Posters and Music deadline: 13th April 2012
Notification of acceptance for Papers/Posters and Music: 8th June 2012
Early registration starts: 8th June 2012
Deadline for camera-ready papers: 18th June 2012
Author registration deadline: 17th August 2012
Printed proceedings request deadline: 17th August 2012
Late-break/demos deadline: 24th August 2012
Notification of acceptance for Late-break/demos: 7th September 2012
Participant registration deadline: 14th September 2012
Conference Dates: 8th-12th October 2012
*-----VENUE-----
*
Porto is Portugal's second city. The city is located in the estuary of
the Douro river in northern Portugal. The largest city in the region,
Porto is considered the economic and cultural heart of the entire
region. Porto's highlights include the historic centre, declared a World
Heritage Site by UNESCO, its dramatic modern architecture, and of course
great food and wine (including the famous Port wine).
The conference will take place in the São Bento da Vitória Monastery,
a classified National Monument since 1977. (See
http://www.tnsj.pt/home/msbv/ for more information).
*-----STAY UP-TO-DATE-----
*
RSS: http://ismir2012.ismir.net/about/news/news/RSS
Twitter: http://twitter.com/#!/ismir2012
Facebook: https://www.facebook.com/pages/Ismir2012/232998570098530
CONF: Lopéra comique entre deux genres, Paris, 14 June 2012
International conference at the Maison des Sciences de l’Homme in Paris, June 14, 2012
“L’opéra comique entre deux genres“
chair: Maria Birbili (Maison des Sciences de l’Homme)
- 09.30: Patrick Taieb (Université Motpellier III): Les contraintes de produc-tion pour l'opéra-comique dans les théâtres de province au XIXème siècle par rapport à Paris
- 10.30: Philip Gossett (University of Chicago): Rossini’s Le Comte Ory: bet-ween different genres
-11.30: coffee break
chair: Sieghart Döhring (Schloß Thurnau)
- 11.50: Thomas Betzwieser (Universität Bayreuth): Ferdidand Hérolds Le pré aux clercs: Ein Werk zwischen opéra comique und Grand opéra
- 12.50: Maria Birbili (Maison des Sciences de l’Homme): L'étoile du Nord de Giacomo Meyerbeer: un opéra entre deux genres
- 13.50: lunch break
chair: Jürgen Maehder (Freie Universität Berlin)
- 15.00: Hugh Macdonald (Washington University Saint Louis): The drama-turgy of spoken dialogue in Thomas’ Mignon
- 16.00: Sieghart Döhring (Schloß Thurnau): Die Dramaturgie und die Einfüh-rung von Prosa in Massenet’s Manon
- 17.00: coffee break
chair: Gérard Condé
- 17.30: Leslie Wright (University of Hawaii at Manoa): The influence of grand opéra in Bizet’s Carmen
- 18.30: Jürgen Maehder (Freie Universität Berlin): Die Strukturen im Libretto und Partitur in Charpentiers Louise
- 19.30: Round Table: Was the decline of the opéra-comique related to the genre’s interaction with grand opéra?
“L’opéra comique entre deux genres“
chair: Maria Birbili (Maison des Sciences de l’Homme)
- 09.30: Patrick Taieb (Université Motpellier III): Les contraintes de produc-tion pour l'opéra-comique dans les théâtres de province au XIXème siècle par rapport à Paris
- 10.30: Philip Gossett (University of Chicago): Rossini’s Le Comte Ory: bet-ween different genres
-11.30: coffee break
chair: Sieghart Döhring (Schloß Thurnau)
- 11.50: Thomas Betzwieser (Universität Bayreuth): Ferdidand Hérolds Le pré aux clercs: Ein Werk zwischen opéra comique und Grand opéra
- 12.50: Maria Birbili (Maison des Sciences de l’Homme): L'étoile du Nord de Giacomo Meyerbeer: un opéra entre deux genres
- 13.50: lunch break
chair: Jürgen Maehder (Freie Universität Berlin)
- 15.00: Hugh Macdonald (Washington University Saint Louis): The drama-turgy of spoken dialogue in Thomas’ Mignon
- 16.00: Sieghart Döhring (Schloß Thurnau): Die Dramaturgie und die Einfüh-rung von Prosa in Massenet’s Manon
- 17.00: coffee break
chair: Gérard Condé
- 17.30: Leslie Wright (University of Hawaii at Manoa): The influence of grand opéra in Bizet’s Carmen
- 18.30: Jürgen Maehder (Freie Universität Berlin): Die Strukturen im Libretto und Partitur in Charpentiers Louise
- 19.30: Round Table: Was the decline of the opéra-comique related to the genre’s interaction with grand opéra?
FWPS: NEH Summer An NEH Summer Institute for College and University Faculty, "Roman Comedy in Performance, " June-July 2012
An NEH Summer Institute for College and University Faculty, "Roman Comedy in Performance," will be held in Chapel Hill, North Carolina from June 24th through July 20th, 2012. Co-directed by Professors Sharon L. James (University of North Carolina at Chapel Hill) and Timothy J. Moore (University of Texas at Austin), the NEH Summer Institute will give NEH Summer Scholars (twenty-two university or college faculty members and three graduate students) the opportunity to discuss the performance practice and social significance of Roman Comedy with leading experts in the field and to practice scholarship through performance, producing their own performances of scenes from the plays of Plautus and Terence. The NEH Summer Scholars for this Institute will include non-classicists as well as classicists, and no knowledge of Latin is required. Participants will receive a stipend of $3,300. Applications are due by March 1, 2012. For more information, consult http://nehsummer2012romancomedy
.web.unc.edu/ or write to either co-director:sljames at email.unc.edu or timmoore at mail.utexas.edu.
NEH Summer Institute: Roman Comedy in Performance: http://nehsummer2012romancomedy.web.unc.edu/
.web.unc.edu/ or write to either co-director:sljames at email.unc.edu or timmoore at mail.utexas.edu.
NEH Summer Institute: Roman Comedy in Performance: http://nehsummer2012romancomedy.web.unc.edu/
CFP: AMS Allegheny Chapter, Geneva College, Beaver Falls, 14 Apr 2012
CALL FOR PAPERS
Spring 2012 Meeting of the Allegheny Chapter
of the American Musicological Society
Saturday, April 14, 2012
Geneva College
Beaver Falls, PA
We are pleased to announce the spring meeting of the Allegheny Chapter of the American Musicological Society, which will take place on Saturday, April 14, 2012, at Geneva College. Proposals are invited for papers or other scholarly presentations on any subject of musicological interest. All presentations should be 20-25 minutes to allow for discussion. An abstract of not more than 300 words, along with the proposed title and list of any audio-visual equipment necessary for your presentation should be submitted by February 29. They may be sent by email or regular mail to
Dr. Randall Goldberg (regoldberg at ysu.edu)
Dana School of Music
Youngstown State University
One University Plaza
Youngstown, OH 44555
Student proposals must be accompanied by a written assurance from their adviser or other faculty member that their papers are ready for presentation at a professional meeting.
Spring 2012 Meeting of the Allegheny Chapter
of the American Musicological Society
Saturday, April 14, 2012
Geneva College
Beaver Falls, PA
We are pleased to announce the spring meeting of the Allegheny Chapter of the American Musicological Society, which will take place on Saturday, April 14, 2012, at Geneva College. Proposals are invited for papers or other scholarly presentations on any subject of musicological interest. All presentations should be 20-25 minutes to allow for discussion. An abstract of not more than 300 words, along with the proposed title and list of any audio-visual equipment necessary for your presentation should be submitted by February 29. They may be sent by email or regular mail to
Dr. Randall Goldberg (regoldberg at ysu.edu)
Dana School of Music
Youngstown State University
One University Plaza
Youngstown, OH 44555
Student proposals must be accompanied by a written assurance from their adviser or other faculty member that their papers are ready for presentation at a professional meeting.
Call for Proposals: Folklore Studies
Call for Book Proposals
The University of Illinois Press, the University Press of Mississippi, and the University of Wisconsin Press, in cooperation with the American Folklore Society and with the support of the Andrew W. Mellon Foundation, invite proposals to a workshop at the 2012 conference of the American Folklore Society for authors working on their first book. Up to six authors will be selected to participate in a full day of intensive activities devoted to critiquing and developing their individual projects. Projects selected for the workshop will be candidates for publication in the Presses' collaborative series, Folklore Studies in a Multicultural World, which aims to publish exceptional first books that emphasize the interdisciplinary and/or international nature of the field of folklore. Because of the volume of submissions, it is not possible for the participating presses to offer detailed responses to each proposal submitted. Only those candidates selected for the workshop will receive
a detailed response.
Proposals may be submitted via e-mail between January 1, 2012 and April 1, 2012, to fsmw@uillinois.edu. For complete submission guidelines, please see www.folklorestudies.org
The University of Illinois Press, the University Press of Mississippi, and the University of Wisconsin Press, in cooperation with the American Folklore Society and with the support of the Andrew W. Mellon Foundation, invite proposals to a workshop at the 2012 conference of the American Folklore Society for authors working on their first book. Up to six authors will be selected to participate in a full day of intensive activities devoted to critiquing and developing their individual projects. Projects selected for the workshop will be candidates for publication in the Presses' collaborative series, Folklore Studies in a Multicultural World, which aims to publish exceptional first books that emphasize the interdisciplinary and/or international nature of the field of folklore. Because of the volume of submissions, it is not possible for the participating presses to offer detailed responses to each proposal submitted. Only those candidates selected for the workshop will receive
a detailed response.
Proposals may be submitted via e-mail between January 1, 2012 and April 1, 2012, to fsmw@uillinois.edu
JOB: Rider University, Popular Music and Music Technology (tenure-track)
Rider University
Assistant Professor of Popular Music and Music Technology
Westminster College of the Arts of Rider University, through its School of Fine and Performing Arts, announces an opening for a full-time, tenure-track appointment in Music at the rank of Assistant Professor, beginning September 1, 2012 on the University's Lawrenceville campus.
Applicants should possess a terminal degree in music (Ph.D., D.M.A., D.M.), and have a specialty in contemporary American popular music and music technology. The candidate's research and scholarly activity should reflect emphasis in multiple popular cultural media studies, including music, film, television and technology. A broad classroom experience with music and cultural studies is expected. Additional experience with traditional (non-popular music) courses is preferred.
The teaching load is six sections per academic year. Responsibilities will include teaching courses in American/International popular music, culture, technology, and theory. In addition, the successful candidate will be expected to assist the department through advising, recruitment, participation in departmental and school activities, and development of our dynamic program in popular music.
All applicants must complete an on-line application at http://www.rider.edu/offices/human-resources , "Employment Opportunities; Create Application" and attach a letter of interest, curriculum vitae, a statement of teaching philosophy and goals, and a detailed statement of professional experience, as well as research/professional goals and needs. Undergraduate and graduate transcripts as appropriate and three letters of recommendation are also required and can be sent separately to: Manager of Employment, Rider University, 2083 Lawrenceville Road, Lawrenceville, NJ 08648. Please reference position 315453.
_______________________________________________
Assistant Professor of Popular Music and Music Technology
Westminster College of the Arts of Rider University, through its School of Fine and Performing Arts, announces an opening for a full-time, tenure-track appointment in Music at the rank of Assistant Professor, beginning September 1, 2012 on the University's Lawrenceville campus.
Applicants should possess a terminal degree in music (Ph.D., D.M.A., D.M.), and have a specialty in contemporary American popular music and music technology. The candidate's research and scholarly activity should reflect emphasis in multiple popular cultural media studies, including music, film, television and technology. A broad classroom experience with music and cultural studies is expected. Additional experience with traditional (non-popular music) courses is preferred.
The teaching load is six sections per academic year. Responsibilities will include teaching courses in American/International popular music, culture, technology, and theory. In addition, the successful candidate will be expected to assist the department through advising, recruitment, participation in departmental and school activities, and development of our dynamic program in popular music.
All applicants must complete an on-line application at http://www.rider.edu/offices/human-resources , "Employment Opportunities; Create Application" and attach a letter of interest, curriculum vitae, a statement of teaching philosophy and goals, and a detailed statement of professional experience, as well as research/professional goals and needs. Undergraduate and graduate transcripts as appropriate and three letters of recommendation are also required and can be sent separately to: Manager of Employment, Rider University, 2083 Lawrenceville Road, Lawrenceville, NJ 08648. Please reference position 315453.
_______________________________________________
mercoledì 8 febbraio 2012
Musica e cinema: VII Simposio "La Creación Musical en la Banda Sonora"
VII Simposio "La Creación Musical en la Banda Sonora"
UNIVERSIDAD DE OVIEDO - FACULTAD DE FISLOSOFÍA Y LETRAS OVIEDO, 13 -14 DE DICIEMBRE DE 2012
martes 7 de febrero de 2012
VII SIMPOSIO INTERNACIONAL LA CREACIÓN MUSICAL EN LA BANDA SONORA
UNIVERSIDAD DE OVIEDO
FACULTAD DE FISLOSOFÍA Y LETRAS
OVIEDO, 13 -14 DE DICIEMBRE DE 2012
La séptima edición del Simposio Internacional La creación musical en la banda sonora, organizado por la Universidad de Oviedo, pretende continuar la estela de ediciones anteriores celebradas en la Universidad de Salamanca y consolidarse como foro de referencia para el estudio de la música en los medios audiovisuales, un campo de creciente interés para la musicología, así como para otras disciplinas como la comunicación audiovisual, la sociología y los estudios culturales.
Esta edición aborda temáticas ya arraigadas en ediciones anteriores, tales como la relación de géneros musicales concretos con el cine, el análisis historiográfico de diferentes etapas de la música cinematográfica en España, metodologías de análisis del audiovisual y propuestas didácticas de la música audiovisual. Además, el VII Simposio pretende reunir propuestas de estudio sobre música en televisión, videoclip, videojuegos, música en Internet, así como las nuevas prácticas de producción y consumo derivadas del entorno digital.
Dirección: Dr. Eduardo Viñuela Suárez (Universidad de Oviedo)
Comité científico:
Dra. Celsa Alonso González (Universidad de Oviedo)
Dra. Teresa Fraile Prieto (Universidad de Extremadura)
Dr. Joaquín López González (Universidad de Granada)
Dra. Matilde Olarte Martínez (Universidad de Salamanca)
Dr. Jaume Radigales Babí (Universitat Ramón Llull)
Conferenciantes invitados
Dra. Anahid Kassabian (Institute of popular Music, University of Liverpool)
Dr. Josep Lluís i Falcó (Universitat de Barcelona)
Destinatarios: Alumnado universitario de Historia y Ciencias de la Música, Historia del Arte, Comunicación Audiovisual y Humanidades en general; alumnado de otras especialidades interesado en el tema; alumnado de los Conservatorios de Música; profesorado de educación primaria y secundaria; profesores, compositores y profesionales del sector musical.
CONVOCATORIA DE COMUNICACIONES
Queda abierto el plazo para la presentación de comunicaciones o posters.
- Las propuestas de participación incluirán el título de la propuesta, nombre y apellidos del/a autor/a, filiación institucional, datos de contacto y un resumen de un máximo de 300 palabras. Se indicará si la propuesta es para comunicación o póster.
- Las propuestas deben ser enviadas antes del 31 de marzo de 2012 por correo electrónico a la dirección simposiobso@gmail.com
- Las comunicaciones tendrán una duración máxima de 20 minutos.
- Los idiomas de las propuestas son español e inglés.
- El Comité Científico valorará las propuestas y el 15 de mayo se comunicará la aceptación de las comunicaciones.
- El VII Simposio ofrece la posibilidad de presentar paneles colectivos organizados previamente, que aglutinarán tres o cuatro comunicaciones complementarias con temática común. La persona que coordine el panel será la encargada de presentar la propuesta, enviando el título del panel, el nombre de quienes participan en el mismo con sus respectivas propuestas de comunicación y un resumen global del contenido del panel de un máximo de 300 palabras. En este caso no es necesario que cada participante en el panel envíe una propuesta personal, ya que la temática de su intervención quedará recogida en el resumen del panel.
Lugar de celebración: Campus de Humanidades, Facultad de Filosofía y Letras, C/ Teniente Alfonso Martínez s/n 33011 – Oviedo.
martedì 7 febbraio 2012
Conference Announcement: Music Library Association 81st Annual Meeting in Dallas, TX
Conference Announcement: Music Library Association 81st Annual Meeting in Dallas, TX
The Music Library Association (MLA) will hold its 81st Annual Meeting in Dallas, TX at the Fairmont Dallas Hotel from February 15-18, 2012. This year's meeting will feature plenary sessions devoted to jazz collections at the University of North Texas and Wrangling the Information Universe, as well as smaller sessions on copyright issues, access to music materials, and a full range of musical topics. Job seekers can take advantage of the Placement Service and Résumé and Cover Letter Review Service, and first time meeting attendees will want to enjoy the First Time Attendees Buffet on Wednesday evening, February 15, 2012.
For more information about MLA's 81st Annual Meeting, please go to MLA's conference website at http://mla2012.musiclibraryassoc.org/home.
The Music Library Association (MLA) will hold its 81st Annual Meeting in Dallas, TX at the Fairmont Dallas Hotel from February 15-18, 2012. This year's meeting will feature plenary sessions devoted to jazz collections at the University of North Texas and Wrangling the Information Universe, as well as smaller sessions on copyright issues, access to music materials, and a full range of musical topics. Job seekers can take advantage of the Placement Service and Résumé and Cover Letter Review Service, and first time meeting attendees will want to enjoy the First Time Attendees Buffet on Wednesday evening, February 15, 2012.
For more information about MLA's 81st Annual Meeting, please go to MLA's conference website at http://mla2012.musiclibraryassoc.org/home.
FWPS: Queen's University, Belfast, Postdoctoral Fellowship in Irish Song, PhD Studentship in Irish Song
1. Postdoctoral Fellowship in Irish Song
This post, funded by AHRC, is available immediately for 3 years to carry out work on a project entitled 'An Historical Typology of Irish Song: Transmission, Performance and Cultural Memory'.
Details:
http://www.jobs.ac.uk/job/ADW495/research-fellow-in-irish-song/
2. PhD Studentship in Irish Song
DEL doctoral studentship in ‘An interdisciplinary study of song, poetry and opera in the early eighteenth century’
Supervisors: Dr Moyra Haslett and Dr Sarah McCleave
Eligibility: UK residents
Details:
http://www.qub.ac.uk/schools/SchoolofEnglish/NewsandEvents/Title,279653,en.html
This post, funded by AHRC, is available immediately for 3 years to carry out work on a project entitled 'An Historical Typology of Irish Song: Transmission, Performance and Cultural Memory'.
Details:
http://www.jobs.ac.uk/job/ADW495/research-fellow-in-irish-song/
2. PhD Studentship in Irish Song
DEL doctoral studentship in ‘An interdisciplinary study of song, poetry and opera in the early eighteenth century’
Supervisors: Dr Moyra Haslett and Dr Sarah McCleave
Eligibility: UK residents
Details:
http://www.qub.ac.uk/schools/SchoolofEnglish/NewsandEvents/Title,279653,en.html
Funded Ph.D. Studentships at City University London
Funded Ph.D. Studentships at City University London
The City University London is offering up to 70 funded Research
Studentships to begin in October 2012.
The Music Informatics Research Group in the Department of Computing
at City University would particularly like to encourage PhD applications
in the area of Sound and Music Computing and Informatics.
Research interests in the Music Informatics Research Group include:
- machine learning applied to music and sound
- music information retrieval
- computational musicology
- semantic music representation and processing
- intelligent systems and user interfaces for music and sound applications,
such as music e-learning, recommendation, etc.
Information about the Music Informatics Research Group and
the Research Studentship application procedures can be found
online at
http://www.city.ac.uk/informatics/school-organisation/department-of-computing/research/music-informatics-group
and
http://www.city.ac.uk/research/resdegrees/studentships.html
The closing date for applications is the 9th March 2011.
If you are interested in applying, please get in touch with
Tillman Weyde to discuss further details.
--
Dr. Tillman Weyde
School of Informatics
City University London
London
United Kingdom
http://soi.city.ac.uk/~sa746
The City University London is offering up to 70 funded Research
Studentships to begin in October 2012.
The Music Informatics Research Group in the Department of Computing
at City University would particularly like to encourage PhD applications
in the area of Sound and Music Computing and Informatics.
Research interests in the Music Informatics Research Group include:
- machine learning applied to music and sound
- music information retrieval
- computational musicology
- semantic music representation and processing
- intelligent systems and user interfaces for music and sound applications,
such as music e-learning, recommendation, etc.
Information about the Music Informatics Research Group and
the Research Studentship application procedures can be found
online at
http://www.city.ac.uk/informatics/school-organisation/department-of-computing/research/music-informatics-group
and
http://www.city.ac.uk/research/resdegrees/studentships.html
The closing date for applications is the 9th March 2011.
If you are interested in applying, please get in touch with
Tillman Weyde to discuss further details.
--
Dr. Tillman Weyde
School of Informatics
City University London
London
United Kingdom
http://soi.city.ac.uk/~sa746
ANNOUNCEMENT: Popular Music, new issue now available
POPULAR MUSIC, VOLUME 31 - ISSUE 01
http://journals.cambridge.org/action/displayJournal?jid=PMU
Mala Bizta Sochal Klu: underground, alternative and commercial in Havana hip hop
Geoff Baker
All the young dudes: educational capital, masculinity and the uses of popular music
Andrew Branch
Virtual liveness and sounding cyborgs: John Oswald's ‘Vane’
Paul Sanden
MacIntyre, Bourdieu and the practice of jazz
Mark Banks
Contextual incongruity and musical congruity: the aesthetics and humour of mash-ups
Ragnhild Brøvig-Hanssen and Paul Harkins
‘Nor did I socialise with their people’: Patti Smith, rock heroics and the poetics of sociability
Daniel Kane
Fandom as a religious form: on the reception of pop music by Cliff Richard fans in Liverpool
Anja Löbert
The promotional state ‘after neo-liberalism’: ideologies of governance and New Zealand's pop renaissance
Michael Scott and David Craig
More than just music: the seven dimensions of the Eurovision Song Contest
Irving Wolther
Charles Edward Hamm (1925–2011)
Dale Cockrell
Björk. By Nicola Dibben. Bloomington and Indianapolis: Indiana University Press, 2009. 224 pp. ISBN 978-0-253-22065-3
Sarah Boak
Britpop and the English Music Tradition. Edited by Andy Bennett and Jon Stratton. Farnham: Ashgate, 2010. 225 pp. ISBN: 978-0-7546-6805-3
Martin Cloonan
Learning, Teaching, and Musical Identity: Voices across Cultures. Edited by Lucy Green. Bloomington and Indianapolis: Indiana University Press, 2011. ISBN 978-0-253-22293-0
Chris Doll
Cultural Seeds: Essays on the Work of Nick Cave. Edited by Karen Welberry and Tanya Dalziell. Aldershot: Ashgate, 2009. ISBN 978-0-754-66395-9
Wendy Fonarow
Black Sabbath and the Rise of Heavy Metal Music. By Andrew L. Cope. Farnham, Surrey: Ashgate, 2010. 172 pp. ISBN 978-0-7546-6881-7
Faster for the Master! Exploring Issues of Religious Expression and Alternative Christian Identity Within the Finnish Christian Metal Music Scene. By Marcus
Moberg. Turku: Åbo Akademi University Press, 2009. 320 pp. ISBN 978-951-765-492-0
Kimi Kärki
Dub in Babylon. By Christopher Partridge. London and Oakville: Equinox Publishing, 2010. 319 pp. ISBN 918-1-84553-312-0 (pb)
Shara Rambarran
Cajun and Zydeco Dance Music in Northern California: Modern Pleasures in a Postmodern World. By Mark DeWitt. Jackson: University of Mississippi Press, 2008. ii + 280 pp., index, photos. ISBN 978-1604730906
Joel E. Rubin
The Republic of Love: Cultural Intimacy in Turkish Popular Music. By Martin Stokes. Chicago, IL and London: University of Chicago Press, 2010. 219 pp. ISBN 978-0-226-77505-0 (hb); 978-0-226-77506-7 (pb)
Thomas Solomon
http://journals.cambridge.org/action/displayJournal?jid=PMU
Mala Bizta Sochal Klu: underground, alternative and commercial in Havana hip hop
Geoff Baker
All the young dudes: educational capital, masculinity and the uses of popular music
Andrew Branch
Virtual liveness and sounding cyborgs: John Oswald's ‘Vane’
Paul Sanden
MacIntyre, Bourdieu and the practice of jazz
Mark Banks
Contextual incongruity and musical congruity: the aesthetics and humour of mash-ups
Ragnhild Brøvig-Hanssen and Paul Harkins
‘Nor did I socialise with their people’: Patti Smith, rock heroics and the poetics of sociability
Daniel Kane
Fandom as a religious form: on the reception of pop music by Cliff Richard fans in Liverpool
Anja Löbert
The promotional state ‘after neo-liberalism’: ideologies of governance and New Zealand's pop renaissance
Michael Scott and David Craig
More than just music: the seven dimensions of the Eurovision Song Contest
Irving Wolther
Charles Edward Hamm (1925–2011)
Dale Cockrell
Björk. By Nicola Dibben. Bloomington and Indianapolis: Indiana University Press, 2009. 224 pp. ISBN 978-0-253-22065-3
Sarah Boak
Britpop and the English Music Tradition. Edited by Andy Bennett and Jon Stratton. Farnham: Ashgate, 2010. 225 pp. ISBN: 978-0-7546-6805-3
Martin Cloonan
Learning, Teaching, and Musical Identity: Voices across Cultures. Edited by Lucy Green. Bloomington and Indianapolis: Indiana University Press, 2011. ISBN 978-0-253-22293-0
Chris Doll
Cultural Seeds: Essays on the Work of Nick Cave. Edited by Karen Welberry and Tanya Dalziell. Aldershot: Ashgate, 2009. ISBN 978-0-754-66395-9
Wendy Fonarow
Black Sabbath and the Rise of Heavy Metal Music. By Andrew L. Cope. Farnham, Surrey: Ashgate, 2010. 172 pp. ISBN 978-0-7546-6881-7
Faster for the Master! Exploring Issues of Religious Expression and Alternative Christian Identity Within the Finnish Christian Metal Music Scene. By Marcus
Moberg. Turku: Åbo Akademi University Press, 2009. 320 pp. ISBN 978-951-765-492-0
Kimi Kärki
Dub in Babylon. By Christopher Partridge. London and Oakville: Equinox Publishing, 2010. 319 pp. ISBN 918-1-84553-312-0 (pb)
Shara Rambarran
Cajun and Zydeco Dance Music in Northern California: Modern Pleasures in a Postmodern World. By Mark DeWitt. Jackson: University of Mississippi Press, 2008. ii + 280 pp., index, photos. ISBN 978-1604730906
Joel E. Rubin
The Republic of Love: Cultural Intimacy in Turkish Popular Music. By Martin Stokes. Chicago, IL and London: University of Chicago Press, 2010. 219 pp. ISBN 978-0-226-77505-0 (hb); 978-0-226-77506-7 (pb)
Thomas Solomon
ANNOUNCEMENT: Journal of Musicological Research, new issue now available
Journal of Musicological Research
Volume 31, Issue 1, 2012
http://www.tandfonline.com/toc/gmur20/31/1
ARTICLES
Battling Romantic and Modernist Phantoms: Strauss's Don Quixote and the Conflicting Demands of Musical Modernism
Andrew H. Weaver
Concerning Chopin's “Enigmatical” Finale in the Sonata in B Minor, Op. 35
Roland Jackson
REVIEWS
Jann Pasler, Composing the Citizen: Music as Public Utility in Third Republic France
Elinor Olin
Graham Johnson, Gabriel Fauré: The Songs and Their Poets
Stephen Rumph
Joël-Marie Fauquet, César Franck
R. J. Stove
Volume 31, Issue 1, 2012
http://www.tandfonline.com/toc/gmur20/31/1
ARTICLES
Battling Romantic and Modernist Phantoms: Strauss's Don Quixote and the Conflicting Demands of Musical Modernism
Andrew H. Weaver
Concerning Chopin's “Enigmatical” Finale in the Sonata in B Minor, Op. 35
Roland Jackson
REVIEWS
Jann Pasler, Composing the Citizen: Music as Public Utility in Third Republic France
Elinor Olin
Graham Johnson, Gabriel Fauré: The Songs and Their Poets
Stephen Rumph
Joël-Marie Fauquet, César Franck
R. J. Stove
CFP: The Philosophy of Performance: Art in Modern Society, Univ. of Notre Dame, South Bend, Apr 2012
Call for Abstracts
Conference:
The Philosophy of Performance: Art in Modern Society
University of Notre Dame
April 27-28, 2012
Deadline for Abstract Submissions
March 1, 2012
Keynote Speakers
Musicology: Richard Taruskin, University of California, Berkeley
Philosophy: Peter Kivy, Rutgers University
Performance: Mark Beudert, University of Notre Dame
Conference Theme
Within living memory, classical music was viewed as a vital source of political identity, marked by informed performances embodying a living style. These performances were presented to audiences that (in the words of the film philosopher Christian Metz) shared “the same ideology” as composers and performers, thus “filling the [auditoriums]; that is how the machine keeps turning.” This “machine” was recognized as being of measurable economic benefit for the community. Today it is viewed as a luxury to be discarded in periods of economic adversity, depriving the community of the richness art brings to our daily spiritual communal lives.
Over the past six years, the position of performance of opera (the most inclusive and expensive of the arts) has flourished on the Notre Dame campus. This is due to the animating philosophy behind Opera Notre Dame: the study of performance is an ideal subject for a liberal arts campus, the microcosm of society. The study at Notre Dame not only focuses on the conservatory-level “how” of performance. It engages as well the “what” and the “why” of performance, the definition of the act and the examination of its purpose in our common life.
This sort of study of performance of classical music is rare. To foster this study, this conference will bring an international group of distinguished scholars and practitioners in musicology, philosophy, and performance to a campus full of students already engaged in comprehensive study. They will assemble for a groundbreaking gathering devoted to the study of art in our culture through an academic investigation of issues surrounding the artistic, economic, political, and spiritual act of performance.
Submission Guidelines
Abstract submission is open to any scholar interested in any aspect of The Philosophy of Performance from undergraduate students enrolled at an accredited institution of higher education to senior tenured professors. We welcome papers from all disciplines: Anthropology, Literary Studies, Film Studies, Theater Studies, Sociology, Theology, Cultural Studies, Gender Studies, History, etc, as well as Musicology and Philosophy. For an abstract to be considered for acceptance, it must be no more than 4000 characters in length and it must be submitted no later than 15 March 2012 either to:
mbeudert at nd.edu
or by registering at (cut and paste into browser):
https://notredame-web.ungerboeck.com/spa/spa_p1_authors.aspx?oc=10&cc=111060603651
For information about registration, go to (cut and paste into browser):
https://notredame-web.ungerboeck.com/coe/coe_p1_all.aspx?oc=10&cc=ALLREG
Conference:
The Philosophy of Performance: Art in Modern Society
University of Notre Dame
April 27-28, 2012
Deadline for Abstract Submissions
March 1, 2012
Keynote Speakers
Musicology: Richard Taruskin, University of California, Berkeley
Philosophy: Peter Kivy, Rutgers University
Performance: Mark Beudert, University of Notre Dame
Conference Theme
Within living memory, classical music was viewed as a vital source of political identity, marked by informed performances embodying a living style. These performances were presented to audiences that (in the words of the film philosopher Christian Metz) shared “the same ideology” as composers and performers, thus “filling the [auditoriums]; that is how the machine keeps turning.” This “machine” was recognized as being of measurable economic benefit for the community. Today it is viewed as a luxury to be discarded in periods of economic adversity, depriving the community of the richness art brings to our daily spiritual communal lives.
Over the past six years, the position of performance of opera (the most inclusive and expensive of the arts) has flourished on the Notre Dame campus. This is due to the animating philosophy behind Opera Notre Dame: the study of performance is an ideal subject for a liberal arts campus, the microcosm of society. The study at Notre Dame not only focuses on the conservatory-level “how” of performance. It engages as well the “what” and the “why” of performance, the definition of the act and the examination of its purpose in our common life.
This sort of study of performance of classical music is rare. To foster this study, this conference will bring an international group of distinguished scholars and practitioners in musicology, philosophy, and performance to a campus full of students already engaged in comprehensive study. They will assemble for a groundbreaking gathering devoted to the study of art in our culture through an academic investigation of issues surrounding the artistic, economic, political, and spiritual act of performance.
Submission Guidelines
Abstract submission is open to any scholar interested in any aspect of The Philosophy of Performance from undergraduate students enrolled at an accredited institution of higher education to senior tenured professors. We welcome papers from all disciplines: Anthropology, Literary Studies, Film Studies, Theater Studies, Sociology, Theology, Cultural Studies, Gender Studies, History, etc, as well as Musicology and Philosophy. For an abstract to be considered for acceptance, it must be no more than 4000 characters in length and it must be submitted no later than 15 March 2012 either to:
mbeudert at nd.edu
or by registering at (cut and paste into browser):
https://notredame-web.ungerboeck.com/spa/spa_p1_authors.aspx?oc=10&cc=111060603651
For information about registration, go to (cut and paste into browser):
https://notredame-web.ungerboeck.com/coe/coe_p1_all.aspx?oc=10&cc=ALLREG
lunedì 6 febbraio 2012
I SEMINARIO DE MÚSICA Y GÉNERO
I SEMINARIO DE MÚSICA Y GÉNERO
CENTRO DE ESTUDIOS DE LA MUJER (USAL)
MUSICOLOGÍA FEMINISTA (MUS-FEM/SIBE)
Música y Género.
La consolidación de un campo de investigación emergente.
Directoras: Matilde Olarte Martínez
Laura Touriñán Morandeira
-------------------------------------------CENTRO DE ESTUDIOS DE LA MUJER (USAL)
MUSICOLOGÍA FEMINISTA (MUS-FEM/SIBE)
Música y Género.
La consolidación de un campo de investigación emergente.
Directoras: Matilde Olarte Martínez
Laura Touriñán Morandeira
El grupo Musicología feminista (MUS-FEM) de la Sociedad de Etnomusicología (SIBE) colabora en el I Seminario de Música y Género, celebrado en el Centro de Estudios de la Mujer de la Universidad de Salamanca (USAL).
El seminario se celebrarán los días 10 y 20 de febrero de 2012.
El día 10 se presentará oficialmente el Dossier "Música y estudios sobre las mujeres" publicado por la prestigiosa revista TRANS. Revistas Transcultural de Música, de la SIBE.
Más información en: "Retos de la Músicologia feminista hoy".
Programa 10 F (resúmenes) - Programa general 10 y 20 F
http://musicologiafeminista.ning.com/profiles/blogs/i-seminario-m-sica-y-g-nero-salamanca-2012
-----------------------------------------------------PROGRAMA
Viernes 10 de Febrero de 2012
10:30-11:00. Inauguración. Dña. Mª Esther Martínez Quinteiro (Directora del Centro de
Estudios de la Mujer de la Universidad de Salamanca, CEMUSA) y Dña. Matilde Olarte
Martínez (Profesora Titular de la Universidad de Salamanca. Directora del Master
Universitario de Música Hispana).
11:00- 12:00. Ponencia inaugural. Dr. Josemi Lorenzo Arribas (Instituto de Investigaciones
Feministas. Universidad Complutense de Madrid): “Música, cuerpo y autoría. Cuestiones en
torno a la Musicología y el Feminismo”.
12:00-12:30. Pausa.
12:30-13:30. Dra. María Palacios Nieto (Profesora Ayudante Doctora en la Universidad de
Salamanca): “La Teoría Queer y las posibilidades en la Musicología de Género”.
13:30-14:30. Ponencia. Dra. Dña. Susan Campos Fonseca (Coordinadora del Grupo de
Trabajo Musicología Feminista de la SIBE): “Retos de la Musicología feminista hoy”.
14:30-17:00. Comida.
17:00-18:30. II Sesión de Mesa Redonda: “Nuevas propuestas para el estudio de Música y
Género”.
17:00-17:20. Valeska Cabrera Silva.
17:20-17:40. Silvana Longueira Matos.
17:40-18:00. Judith Helvia García Martín.
18:00-18:15. Pausa.
18:15-20:30. I Sesión de Mesa Redonda: Presentación del dossier “Música y estudios sobre
las mujeres. XX aniversario de Feminine Endings (1991-2011)” (Trans 15, 2011). Presiden la
mesa: Josemi Lorenzo Arribas, Nieves Hernández Romero, Susan Campos Fonseca y Eduardo
Viñuela Suárez. Ponencia: Eduardo Viñuela Suárez (Profesor de Musicología de la
Universidad de Oviedo): “Música y Género en la música popular urbana”.
Lunes 20 de Febrero de 2012
10:30-11:30. Ponencia. Hyacinthe Ravet.
11:30- 13:30. II Sesión de Mesa Redonda: “Nuevas propuestas para el estudio de Música y
Género”.
11:30-11:50. Margarita Canet Riera.
11:50-12:10. Urbano Ruiz-Alejos.
12:10-12:30. Raúl Ángulo Díaz.
12:30-12:50. Ana Sofía Sousa Vieira
12:50-13:10. Ana Belén Muñoz Fernández
13:15-16:00. Comida.
16:00-17:00. Ponencia. Laura Touriñán Morandeira (Universidad de Salamanca): “El origen
de la creación artístico-musical socio-identitaria en Marcial del Adalid: la influencia intelectual
femenina en su obra”.
17:00-18:00. Ponencia. Dña. Mª Enriqueta Frontera Zunzunegui (Jefe de Proceso. Servicio
de Bibliotecas de la Universidad de Salamanca): “El universo femenino de Kurt Schindler: la
científica Pilar de Madariaga Rojo (1903-1995)”.
18:00-18:15. Pausa.
18:15-19:30. Ponencia de clausura. Dra. Dña. Matilde Olarte Martínez (Profesora Titular de
la Universidad de Salamanca): “Mujer e informante del ciclo vital: nuevas fuentes en torno a la
voz y al silencio en el anonimato de la España rural de los años 20”.
http://www.sibetrans.com/noticias.php?a=ficha&id=361
sabato 4 febbraio 2012
II Cogreso de Educación e Investigación Musical
II CONGRESO DE EDUCACIÓN E INVESTIGACIÓN MUSICAL
Innovación, motivación y creatividad en la enseñanza musical.
Madrid, 2 y 3 de Marzo de 2012.
Programa: http://ceimus.es/programa
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