Position Available within MARCS - Career Development Fellowship

Ref 124/12 Career Development Fellowship, Experimental Psychology, MARCS Institute
MARCS Institute invites applications from highly motivated Researchers who have recently completed a PhD qualification in Psychology and research experience in experimental approaches to and quantitative analyses of, sound and music. We seek an energetic, forward thinking, dynamic, and innovative scholar to take on a Career Development Fellowship. The successful applicant is expected to be developing a strong international standing and research reputation and are required to submit a research and scholarly activity plan.
The position is concerned with empirical studies of perceptual and affective responses to music. We seek independent and innovative candidates trained in experimental psychology, who are also strongly interested in music. The successful applicant will work with a highly productive research team at MARCS Institute, and the project is lead by Drs Bailes, Dean and Stevens.
This is a full time, fixed term appointment for a period of two years with the possibility for a once only further fixed term appointment of two years (subject to satisfactory assessment). This position is located at the Bankstown Campus.
Remuneration Package: Academic Level A, Step 3-4 $86,942 to $92,239 p.a. (comprising Salary $73,467 to $77,943 p.a., 17% Superannuation and Leave Loading).
Note: There will be a 5% Salary increase effective from 11 May 2012.
Position Enquiries: Dr Freya Bailes, on (02) 9772 6811 or email f.bailes@uws.edu.au or contact Professor Roger Dean, on (02) 9772 6902 or email roger.dean@uws.edu.au.
Closing Date: 16 April 2012
Click here to view position description

For further information and information on how to apply, please go to - http://careers.uws.edu.au/Current-Vacancies

CFP (journal articles): Journal of Sonic Studies, special issue: Rethinking Theories of Television Sound

Call for Papers

Special Issue: Rethinking Theories of Television Sound (Deadline: May 31, 2012)

http://www.sonicstudies.org

Essays are invited for a special issue of the Journal of Sonic Studies that will reexamine the most persistent accounts of television sound, from the 1980s to the present, and reflect on these accounts in terms of contemporary changes in the production and consumption of television. Studies on television sound typically begin by emphasizing that the fundamental differences between film and television­differences in terms of structure, content, and modes of address­are a direct result of the fact that film privileges the eye over the ear, while television privileges the ear over the eye. This notion of television as a form of ‘illustrated radio’ became the basis of television sound studies, but the rise of high-definition television, widescreen receivers, and home entertainment systems challenged this notion by bringing the cinematic experience into the home. Following these technological developments, critics began to apply theories of film sound to the study of television by
focu
sing on the design of ‘underscores’ to convey emotional states and enhance narrative tension.

In recent years, television has undergone yet another major shift as the concept of ‘home cinema’ has been accompanied by radical changes in the way television is broadcast and received. With the rise of ambient television, portable devices, social media and web interfaces, television is now viewed in a much wider range of locations and contexts, which complicates these earlier approaches to the study of television sound. Viewers are increasingly watching television in public spaces, they are increasingly using portable devices that transmit sound over low-quality speakers or headphones, and they are increasingly using new media platforms that alter the context in which television is viewed by time-shifting, eliminating advertising, and isolating programs from broadcast flow, which de-emphasizes televisual ‘liveness.’ Portability, transferability, and access have thus become more important than the reproduction of a cinematic experience, which problematizes both the ‘illustra
ted r
adio’ and ‘home cinema’ models of television sound.

These contemporary changes demand that scholars once again reexamine and reevaluate the function of sound in the production, transmission, and reception of television programming, and we therefore invite proposals that examine the range of approaches used in sound recording and design in the contemporary ‘post-television’ era. Possible topics include, but are not limited to, the following:

- Are established theories of sound-image relations and television ‘orality’ still relevant?
- Are there ways of conceiving of television sound as more than simply the operation of soundtracks and music?
- What role does sound play in the spatial and temporal organization of televisual texts?
- Does television sound still play an interpellative role following the disappearance of traditional sound cues, such as applause and laugh tracks?
- What are the sound practices employed in the production of television ‘webisodes,’ which are intended to be viewed on alternate media platforms?
- What is the impact of new economic models (i.e. subscription and pay-per-view) on the production and reception of television sound?

Potential contributors are invited to submit completed essays by May 31, 2012. Submissions should be 5500-6000 words in length and they should be submitted as an attachment in .doc format. For more information, or to submit an essay, please contact our guest editors:

Carolyn Birdsall, University of Amsterdam: C.J.Birdsall at uva.nl
Anthony Enns, Dalhousie University: Anthony.Enns at dal.ca

The Journal of Sonic Studies (JSS) is a peer-reviewed, online, open access journal providing a platform for theorists and artists who would like to present relevant work regarding auditory cultures, to further our collective understanding of the impact and importance of sound for our cultures. The editors welcome both scholarly and artistic research. In both cases, priority is given to contributions that explicitly use the Internet as a medium, e.g. by inserting A/V materials, hyperlinks, and the use of non-conventional structures. The editors also expect all contributions to have a firm theoretical grounding. Submission guidelines can be found at sonicstudies.org/guidelines.

_______________________________________________

Second CFP - MuSA 2012

Third International Symposium on Music/Sonic Art: Practices and Theories
MuSA 2012 - Karlsruhe (IMWI), 7-8 July, 2012

Hochschule für Musik, Karlsruhe - Institut für Musikwissenschaft und Musikinformatik (IMWI)
Am Schloss Gottesaue 7,
76131 Karlsruhe

Keynote speaker: Trevor Wishart

Performances: ‘Encounters’ by Trevor Wishart (7/7/2012)
and the IMWI laptop-ensemble »Benoît and the Mandelbrots« (6/7/2012)

CALL FOR PAPERS:
We are pleased to announce the Third International Symposium on Music and Sonic Art: Practices and Theories (MuSA), an interdisciplinary two-day event to be held in Karlsruhe, Germany.

The principal aim of MuSA 2012 is to advance interdisciplinary investigations between music, sonic arts and other disciplines such as dance, theatre, digital media, visual arts and architecture. There will be three distinct (though related) themes to MuSA 2012:

First, we welcome presentations in ‘traditional’ subject areas such as historical/critical musicology, performance studies, aesthetics, analysis and ethnomusicology. Second, as the symposium’s title suggests, we hope to encourage the submission of papers investigating relationships (and possible tensions) between music and sonic/sound art. Third, presentations are also invited from scholars who are researching the connections between music/sonic art and disciplines such as architecture, painting, theatre and literature. Papers dealing with any subject area that is within the broad remit of the symposium will also be welcomed.


ABSTRACT FORMAT:
Please submit an abstract of approximately 300 words as an e-mail attachment to Prof. Dr. Mine Doğantan-Dack (m.dack@mdx.ac.uk). As contributions will be ‘blind’ peer-reviewed, please do not include information that might facilitate identification from this abstract. In addition, please include separately the name(s) of the author(s), institutional affiliation (if any) and short biography (approximately 150 words). Deadline for receipt of abstracts is 15 April. Notification of acceptance will be sent by 30 April.


REGISTRATION:
The symposium fees are: €100 for delegates, €80 for presenters and €50 for students and others who qualify for concessions.
Details for payment can be found on the symposium web site: http://web.me.com/johngeorgedack/MuSA_2012

If additional information is required please do not hesitate to contact Prof. Dr. Doğantan-Dack or any member of the symposium committee:

Prof. Dr. Mine Doğantan-Dack (Music Department, Middlesex University) – m.dack@mdx.ac.uk

Prof. Dr. Thomas A. Troge (Institut für Musikwissenschaft und Musikinformatik, Karlsruhe) - troge@hfm.eu

Dr. John Dack (Lansdown Centre for Electronic Arts, Middlesex University) – j.dack@mdx.ac.uk

Christoph Seibert (Institut für Musikwissenschaft und Musikinformatik, Karlsruhe) – seibert@hfm.eu

CFP (reminder): Ecomusicologies 2012: Pre-Conference (Live & Virtual) to the AMS/SEM/SMT 2012 Annual Meeting, New Orleans, Oct 2012

Ecomusicologies 2012: New Orleans, 30-31 October 2012
Pre-Conference (Live & Virtual) to the AMS/SEM/SMT 2012 Annual Meeting

The AMS Ecocriticism Study Group and the SEM Ecomusicology Special Interest Group would like to remind you that Ecomusicologies 2012 proposals are due 16 April 2012. Full CFP and submission instructions available at:
http://www.ams-esg.org/events/upcoming-events/ecomusicologies-2012

JOB: East Carolina University, Teaching Assistant Professor (one-year, renewable)

East Carolina University, School of Music
Teaching Assistant Professor
Vacancy # 001483

Position/Responsibilities: Supervise the expansion and refinement, design and implementation of distance education course offerings for the graduate and undergraduate music students, as well as service courses for non-music majors.
The successful candidate will be familiar with a variety of Web 2.0 teaching tools and approaches; will collaborate with current faculty on the development of a DE advanced graduate seminar in musical analysis; and will also teach DE courses from among the following: graduate theory review, pre-college courses in music fundamentals, and appreciation courses for the general university student on topics in the candidate's area of interest.

The School of Music, in the College of Fine Arts and Communication, has an enrollment of over 350 music majors and minors with over 60 faculty and staff. The Bachelor of Music is offered in music education, music therapy, performance, and theory-composition. The School offers a music minor, a jazz studies minor, and Suzuki and jazz certificates at the undergraduate level. The Master of Music is offered in music education, music therapy, pedagogy, performance, theory-composition, and graduate certificates in Suzuki Pedagogy and Advanced Performance Studies. The School is fully accredited by the National Association of Schools of Music.

East Carolina University, the third largest institution in the University of North Carolina System, is a research doctoral intensive university with an enrollment of over 28,000 students. The University is located in Greenville, North Carolina, a progressive and growing city of over 80,000 that serves as the cultural and economic center of North Carolina's historic Coastal Plain. Greenville is within easy driving distance of the Atlantic coast and the Research Triangle area of Raleigh, Durham, and Chapel Hill; as well as Richmond, Virginia and Washington, D.C.

Minimum Qualifications: Terminal degree in theory, composition, or musicology (PhD/DMA, ABD will be considered). All degrees should be from appropriately accredited institutions. Applicants must demonstrate evidence of excellence in teaching (prior university or college teaching experience is preferred), as well as an ability to foster creative and effective online instruction.

Fixed term, one year, renewable. Salary is commensurate with training and experience.

Screening will begin on April 12, 2012 and will continue until the position is filled. Candidates should submit a candidate profile and a letter of interest and curriculum vitae online. In addition, please have original transcripts and three recent letters of recommendation sent to:

Dr. Edward Jacobs, Chair
TCM Distance Education Specialist Search Committee
School of Music
East Carolina University
Greenville, NC 27858

Screening will begin April 12, 2012, and continue until position is filled.
Equal Opportunity / Affirmative Action Employer
View this job posting at https://ecu.peopleadmin.com/applicants/Central?quickFind=68084
Apply Here: http://www.Click2Apply.net/wd98vny

FWP: Goldsmiths, University of London: Noëlle Mann Scholarship

THE NOËLLE MANN SCHOLARSHIP

The Serge Prokofiev Foundation is offering a scholarship in memory of Noëlle Mann, founder of the Serge Prokofiev Archive and the Centre for Russian Music at Goldsmiths, who died in 2010. Due to Noëlle’s activities over many years, Goldsmiths has become an important centre for the study of Russian music in the UK, with several other research collections of Russian materials in addition to that of the Prokofiev Archive itself.

The award will be offered to a postgraduate research student in the Department of Music at Goldsmiths, starting in September 2012. Preference will be given to research projects dealing directly with an aspect of Serge Prokofiev’s life and/music, but topics related to Prokofiev and his work in its broader context will also be considered. Applications for the PhD Performance Pathway that conform to the above will also be considered.

The scholarship will be offered annually, giving the first awardee opportunity to be considered for funding for three years of study (full-time). The scholarship will be to the value of the current home/EU full-time tuition fee for the relevant PhD pathway. The scholarship will be paid directly to the awardee. For a part-time enrolment the award will be reduced by 50% per annum.

Please follow the link to the Centre for Russian Music and Prokofiev Archive web pages www.gold.ac.uk/crm for information about current research in Russian music and the various possibilities for research supervision.

Your application should be made online using the normal PhD application form: there is no separate application form for the scholarship. It should include a statement of up to 2,000 words explaining your intended research project, and how you see it fitting into the Department’s research profile for Russian music studies. For more information about the PhD programmes and application process: www.gold.ac.uk/pg/mphil-phd-music

In addition you should also send a copy to Kim Mulhall, the Departmental Senior Administrator, at the address below. Applications must be received by Thursday 31 May and must be clearly marked ‘Music PhD Prokofiev Scholarship 2012’. Interviews will be held during the week commencing Monday 18 June, and the successful applicant will be informed as soon as possible thereafter. For further enquiries please email Keith Potter, Director of Postgraduate Studies k.potter@gold.ac.uk.


Department of Music
Goldsmiths, University of London
Lewisham Way
New Cross
London
SE14 6NW

The Performer's Voice 2nd Symposium (Singapore) 25 - 28 Oct 2012 - Call for Presentations 15 April 2012

From the 25th - 28th of October, the Yong Siew Toh Conservatory of Music, National University of Singapore will host the second Performer's Voice Symposium, Horizons Crossing Boundaries.

The first international performance symposium in 2009 attracted 170 delegates from 22 countries (6 continents) and featured 65 presentations in relation to its four points of focus: Towards Performance; Beyond the Score; My Instrument - My Voice; Asian Voices. Subsequent to the initial symposium, a website was established ( theperformersvoice.org ) and a publication of selected proceedings edited by the symposium's convener Dr. Anne Marshman was published by Imperial College Press ( 'Performers' Voices Across Centuries and Cultures').

The second symposium brings together plenary speakers, performers and ensembles from four continents including Key Note Speaker Prof. John Rink (Cambridge); performers Joe Burgstaller (Peabody, USA), Colin Currie (UK), Paul Dean (ANAM, Australia), James Morrison (Australia), Qin Li-Wei (Singapore) , Melvyn Tan (UK / Singapore) ; presenters Darla Crispin (Orpheus Research Centre in Music, Belgium), Stephen Emmerson (Queensland Conservatorium, Australia), Michael Musgrave (Juilliard School, USA), Anothai Nitibhon (Silpakorn University, Thailand), Kia-Hui Tan (Ohio State, USA) and ensembles Ang Mo Faux, Orchestra of the Music Makers, Size Zero Opera and T'ang Quartet.


Call For Presentations

For details of the symposium, please visit http://www.nus.edu.sg/performersvoice

Building on the successes of the first symposium and on its points of focus, the specific theme for the 2012 symposium is Horizons Crossing Boundaries, as we seek to explore multifarious emerging continuums: from mainstream to experimental, notated to improvised, classical to jazz, world, alternative, pop and/or multi-media, acoustic to electronic, local traditional to contemporary global, canon to contemporary, performer to scholar, west to east and east to west.

Though interdisciplinary in scope, the symposium’s emphasis on the act of performance and the role of the performer gives it a distinct focus. Proposals with a clear emphasis on performance or involving elements of performance are preferred. Given the symposium's themes, presentations that draw on personal, reflective experience-based insights into performance are as encouraged as those shaped from more traditional approaches to research. The deadline for submission is Friday 15 April 2012.

CFP (journal articles): Portuguese Journal of Musicology

Call for Articles

Revista Portuguesa de Musicologia (RPM, nova série)
Portuguese Journal of Musicology (RPM, New Series)

The Portuguese Journal of Musicology (RPM, New Series) is an on-line refereed journal open to all areas of music research. It is co-published by the Portuguese Society for Music Research (SPIM) and by two research centres based at the Faculty of Social Sciences and Humanities of the Universidade Nova de Lisboa (Portugal), the Institute of Ethnomusicology – Centre for Studies in Music and Dance (INET-MD) and the Centre for the Study of Sociology and Aesthetics of Music (CESEM). The RPM New Series seeks to provide continuity to the journal initially published by the Portuguese Musicological Association in 1991.

RPM will be published twice annually (June and December), and will include major research articles as well as reviews of books, recordings and other media. English and Portuguese are the primary languages, but articles in Spanish, French and Italian will also be welcome.

The RPM will not consider articles that have been published elsewhere or that are currently under consideration by another journal.

Submission guidelines:

1. Article length should be between 5,000-10,000 words, including footnotes and references. However, both longer and shorter articles may also be considered.

2. Articles should be submitted in electronic form, as e-mail attachments. Figures, tables, and musical examples should be provided as separate files.

3. Please include, in separate attachments a covering file including the title of the article submitted, the author’s name and institutional affiliation (if any) and full contact details; a short abstract in English (between 100 and 250 words), including at least five keywords, and a biographical note of the author (around 60 words).

4. Because the peer review process is anonymous, the author’s name should not appear on any of the documents other than the covering file and the biographical note.

5. The authors are responsible for obtaining copyright permission for all the documents they propose for publication.

6. If the article is accepted for publication, the authors are required to format a final copy following the RPM style sheet.

Articles may be submitted at any time to:
rpm at spimusica.org

Please send all materials for review to:
Gabriela Gomes da Cruz
CESEM, Faculdade de Ciências Sociais e Humanas
Av. de Berna, 26-C
1069-069 Lisboa
Portugal
Or to e-mail: rpm at spimusica.org

Articles submitted by 31 May 2012 will be considered for the first issue of RPM (New Series).

New deadline for submission of abstracts-AVANCA | CINEMA 2012 Abstracts submission until 31 March 2012

New deadline for submission of abstracts-AVANCA | CINEMA 2012
Abstracts submission until 31 March 2012


AVANCA | CINEMA 2012
International Conference Cinema – Art, Technology, Communication
Date: 25 to 29 July, 2012
Place: Avanca – Portugal

For July, we have received proposals for papers of researchers and academics from 29 countries.
With double-blind peer review, papers selected by the Scientific Committee will be published as usual in the proceedings book. In 2011 the book had 1335 pages and we published in full the 168 papers selected.
The proceedings books of previous editions are available on the conference website and in specialty bookstore.

In case you have submitted abstracts and have not received any email of confirmation, please submit again. Due to a few problems in the website, some abstracts were not recorded in the database.

Topics

The authors are invited to submit works in the following topics mentioned below (but not restricted to these):

Cinema – Art
The arts and memory;
Performative arts;
Plastic arts and cinematography;
Critic and cinematography theory;
Screenplay writing and creativity;
Aesthetic and semiotic;
History and love of the cinema;
Literature and cinema;
Music and sound in cinema;

Cinema – Technology
Spaces architecture;
Subtitling, dubbing, and audio-description;
Idioms for minorities;
New technologies and cinema;
The place of internet;
Supports, formats and new “media”;

Cinema – Communication
Cinema and pedagogy;
Social Communication, public space and society;
Economy and marketing;
Academic and professional education;
Social Internet and filmic space;
Audiovisual policy;

Cinema – Cinema
Documental cinema;
Fiction between real image and animation;
Biographies, filmographies and genres;
Cinematographic and audiovisual production;

Abstracts submission should be made until 31 March 2012 through the entry form available at http://www.avanca.org/EN/call_resumos_en.html

More information in www.avanca.org

CONF: Musica / Memoria. Création polyphonique et oralité, Toulouse, Apr 2012

The FABRICA project in Toulouse (France) is organizing an international conference entitled "Musica / Memoria. Création polyphonique et oralité" that will be held at the Université de Toulouse - Le Mirail between April 24 and April 27.

Program of the conference and application online can be found here: http://blogs.univ-tlse2.fr/fabrica/

Further info: fabrica at univ-tlse2.fr

London International Piano Symposium - CFP

CALL FOR PAPERS

LONDON INTERNATIONAL PIANO SYMPOSIUM

08 - 10 February 2013
Royal College of Music, London, UK.

www.londoninternationalpianosymposium.co.uk

The first London International Piano Symposium will be hosted at the Royal College of Music 08-10 February, 2013. In this first of three symposia, we are keen to encourage submissions which reflect an interdisciplinary exchange of views on piano performance from across the arts and sciences.

We invite submissions which present original research on: evidence-based directives to enhance modern piano performance practice, scientific models of performance which will reflect the broad range of recent research in performance science, such as neuroscience, human movement sciences, and psychology, and research into inspirational performers and teachers past and present.

KEY DATES

01 July 2012: Paper/poster abstract submission deadline
01 September 2012: Notification of submission decision
01 October 2012: End of early registration
01 November 2012: Deadline for papers
08 February 2013: Start of LIPS 2013

SUBMISSIONS

Submissions are invited for

- Spoken papers
- Poster presentations

Abstracts should be between 250-300 words and give background, aims, main contribution and 5 keywords.
All other information is available via the website: www.londoninternationalpianosymposium.co.uk. Submissions should be made electronically to info@londoninternationalpianosymposium.co.uk by 1st July 2012.

CFP (journal articles): Current Musicology, Special Issue: Experimental Writing on Music

CFP Special Issue of Current Musicology: Experimental Writing on Music
Spring 2013
David Gutkin, Editor-in-Chief

For this issue we are looking for writing on music that departs from the implicit and explicit norms of academic music scholarship in favor of a more experimental or creative approach to language and form. “Experimental writing on music” is a broad criterion and we would like to keep it that way. Thus, the following should simply be taken as examples of some possible avenues to pursue:

-Writings that address relationships between music (or sound) and language not solely as a topic but in the immanent technique of the writing itself

-Innovative uses of language, graphics, or the materiality of text and page that facilitate novel ways of conceptualizing music

-Non-traditional music-theoretical analyses

-Pieces that deal with more broadly cultural and political aspects of music/sound in formally compelling ways

-Writings that might be out of place in other publications (this might include fragmentary or essayistic pieces)

If you have other ideas on how to write about (or with, in, through) music, please don’t think twice. “Experimental writing” does not mean that the music under consideration need be considered experimental. Digital/internet media may be used. Submissions may be of any length. Scholars of music, but also poets, philosophers, composers, dancers, visual artists and other writers are encouraged to submit. Submission Deadline is December 15, 2013.

Please submit to:
current-musicology at columbia.edu or djg2139 at columbia.edu

The CFP is also available at: http://jacket2.org/commentary/special-issue-current-musicology-experimental-writing-music

JOB: Loyola University in New Orleans, Visiting Instructor of Music History and Literature

JOB: Visiting Instructor of Music History and Literature, Loyola
University New Orleans

QUALIFICATIONS: Applicants should hold a Ph. D. in musicology, but ABD
candidates will be considered. Candidates must be able to teach a broad
range of topics. Demonstrated record of success in teaching at the
university level is required, preferably as instructor of record.

DUTIES: Duties include teaching of cross-disciplinary classes in the
undergraduate core curriculum, including the first-year seminar and honors
programs, with the possibility of selected undergraduate major courses as
well. Term of position is one academic year (two semesters, four courses
per semester), with possibility of renewal.

APPLICATION: Applicants should submit a letter of application, including
a list of possible course offerings, and a current CV; these materials may
be sent electronically. Three letters of reference (direct from
recommender or through placement office) should be mailed in hard copy.
Send materials to:

Alice V. Clark (avclark at loyno.edu)
Chair, Music History Search Committee
College of Music and Fine Arts, Campus Box 8
Loyola University
6363 St. Charles Avenue
New Orleans, LA 70118

Consideration of completed applicant files will begin on April 2, 2012 and
will continue until the position is filled. Loyola University New Orleans
is an Affirmative Action/Equal Opportunity Employer. Women and members of
minority groups are especially encouraged to apply.

CFP: Spanish musics and their [Western] Others: Negotiating identity and exoticism, Univ. of Melbourne, Dec 2012

SYMPOSIUM:

Spanish musics and their [Western] Others: Negotiating identity and exoticism

Friday 7 – Saturday 8 December 2012

The University of Melbourne, Australia

Western Music and entertainment have drawn on features of Spanish music and dance since at least the Napoleonic wars. In turn, constructions of musical exoticism based on Hispanic tropes have informed different manifestations of Spanish musical nationalism, as well as regional and popular musics of Spain. These “Spanish” musical identities have evolved and been reconfigured according to the dictates of competing cultural, political and social factors, yet Spain’s unique position and its enactment of cultural identity cannot easily be reconciled within current narratives of musical nationalism and exoticism.

Papers are invited that examine Spanish musical identity, engage with Western evocations of Spanish music, or explore such repertories in relation to constructions of nationalism and exoticism since 1800.

Papers may address repertories or issues relating to one of the following areas (or others related to the conference theme):
Western art music
Dance and theatrical spectacle
National and regional musics
Popular musics
Flamenco
Music and film

Please submit an abstract of not more than 250 words, with a brief biographical note, to Michael Christoforidis, by emailing mchri at unimelb.edu.au

by Monday 30 April 2012

Paper-givers will be notified by the mid-May, but if you need earlier notification, please indicate this in your submission.

There will be a publication of refereed proceedings.

Accommodation (2 nights) will be provided for international presenters.

CFP: Music and Theology in the European Reformations, Leuven, Sep 2012

CALL FOR PAPERS
Music and Theology in the European Reformations
KULeuven, House of Polyphony, 19–21 September 2012

Organised by the KULeuven Department of Musicology, the Faculty of Theology and Religious Studies, and the Alamire Foundation.

Theme:
This conference will bring together musicologists, theologians, biblical scholars and historians to promote interdisciplinary debate between these parallel areas of specialisation, focussed upon the musical and liturgical outcomes of the various strands of the Reformation of the sixteenth century: Lutheran, Calvinist, Catholic, and Radical. Papers of 30 minutes’ length are invited on relevant topics. Themes include:
Developments in Biblical exegesis in the sixteenth century and their musical outcomes
The musical and liturgical impact of the Lutheran, Calvinist, Catholic and Radical Reformations
Music and early Christian literature in the sixteenth century: the Sibylline oracles, the Ancient Theology and the revival of ancient music

Invited speakers include:
Andrew Pettegree (St Andrews)
Maarten Wisse (VU Amsterdam)
Inga Groote (Zurich)
Robin Leaver (Rider College, emeritus)
Risto Saarinen (Helsinki)
Thomas Schmidt-Beste (Bangor)
Hyun-Ah Kim (Toronto)
Michael Questier (Queen Mary, London)
Katelijne Schiltz (LMU, Munich)
Nils Holger Petersen (Copenhagen)
Henk Jan de Jonge (Leiden, emeritus)
Frank Dobbins (Goldsmith’s College, London, emeritus)

The preferred language of the conference is English, but other languages will also be considered. A special session for doctoral students will also take place. A published volume of proceedings is planned. The conference will take place at the “House of Polyphony,” the new headquarters of the Alamire Foundation, Leuven. Registration, covering conference materials, light refreshments and admission to a concert, will be EUR 80 (free to students and members of KULeuven).

Abstracts should be sent to Grantley McDonald (grantley.mcdonald[at]arts.kuleuven.be) before 15 May 2012.

Local organising committee:

David Burn, KULeuven
Peter De Mey, KULeuven
Grantley McDonald, KULeuven
Joseph Verheyden, KULeuven

CFP: The Rake's Progress: Stravinsky, Hogarth, Hockney, Auden, and Kallman, Univ. of Colorado, Boulder, Oct 2012

Call for Papers

Conference: The Rake's Progress: Stravinsky, Hogarth, Hockney, Auden, and Kallman

October 26-27, 2012
The University of Colorado at Boulder, Art Museum, College of Music, and Center for British and Irish Studies

To be held in conjunction with the CU-Boulder Opera's performances of The Rake's Progress and the CU Art Museum's exhibit, Hockney and Hogarth: Selections from the CU Art Museum's Collection of British Art (featuring Hockney's A Rake's Progress, 1961-63)

The program committee seeks papers relating to Stravinsky's music, Hogarth and Hockney's art, and/or Auden's and Kallman's libretto to The Rake's Progress. The conference seeks to be interdisciplinary, and will consider relevant papers from the standpoint of music history, musical analysis, art and art history, aesthetics, literary studies, and stagecraft. Papers will be limited to 20 minutes,
with ten minutes for further discussion.

Deadline for paper proposals: May 1, 2012
Notification for participation: June 15, 2012
Conference date: October 26-27, 2012

Those interested in participating are asked to submit a 500-word proposal in MsWord or pdf format. E-mail (by May 1, 2012) to:

CBISassistant at gmail.com

All conference events will be held in the Center For British Studies Room (Norlin Library, CU-Boulder)

Please direct any questions about the conference to conference organizers: Jeremy Smith (Director, Center for British and Irish Studies, CU-Boulder): jeremy.smith at Colorado.EDU
Keith Waters (Department of Music Theory, CU-Boulder): keith.waters at colorado.edu)

For further information, please see the conference website at:
http://www.colorado.edu/artssciences/british/rake/

The Center for British and Irish Studies at the University of Colorado at Boulder promotes research and teaching in all aspects of British and Irish life, culture, and history. The Center, the only one of its kind in the country, advocates an interdisciplinary approach to British and Irish Studies, joining the humanities and performing arts, the social sciences, and the professional fields. Within the University, the Center provides an intellectual focus for faculty members and students at all levels. It plays a vital role within its geographical region, serving people at colleges and universities throughout the Rocky Mountain/High Plains area. The Center also brings members of the academic world into contact with individuals and organizations in the community who are interested in contemporary or historical Britain and Ireland.

CFP: Chinese Instruments and Western Museums, Leiden, Sep 2012

CALL FOR CONTRIBUTIONS

WORKSHOP CHINESE INSTRUMENTS AND WESTERN MUSEUMS
LEIDEN, THE NETHERLANDS, 13-16 SEPT 2012

>From 13 to 16 September 2012 the CHIME Foundation and Leiden University in The Netherlands will host a workshop on the topic of Chinese Instruments and Western Museums. The aim is to share and exchange information in the realm of Chinese musical instruments, in an open, informal atmosphere. The meeting should be of interest to museum curators and others who work with instrument collections, and scholars active in the realm of Chinese instruments and instrumental music.

The meeting takes place in the wake of the initiation of the MIMO project (Musical Instrument Museums Online) which was started in September 2011. MIMO opened a public online access point to the musical instruments catalogues of the project’s affiliated museums in Europe (http://www.mimo-international.com/). This massive body of information will serve as a useful resource for the study of world music cultures. The database will hopefully benefit a wide group of users, including the source communities, music and creative industries and the general public. The MIMO project raises important issues related to music research, such as the relationship between academic study and the public exhibition of musical instrument collections, as well as the links between specific instrument collections in European museums, and how these items can continuously reshape the understanding of musical pasts and can open potential possibilities for future musical practices.

To facilitate exchange between museum curators and academic researchers, the CMA (Chinese Music Archive) of the Chinese University of Hong Kong, the CHIME Foundation in Leiden (European Foundation for Chinese Music Research) and Leiden University jointly organize the upcoming meeting in Leiden, which will feature individual papers, practical demonstrations, discussions, films and some performances. Museum curators, academic researchers and independent scholars are invited to submit proposals on, but not limited to, the following topics:

1. The relationship between Chinese musical instruments and European museums

2. Biographies of individual Chinese musical instruments and/or a special collection of Chinese instruments currently housed at European museums

3. Chinese musical instruments within and beyond museum display

4. Potential collaborative research and database creation projects

5. Chinese musical instruments and European (post)colonialism
The languages of the meeting will be English and Chinese. Please submit your abstract proposal for 20- to 30-minute presentations in English (max. 350 words) to ciwm2012 at gmail.com on or before 15 April 2012. There are possibilities for early acceptance of papers for those who need to rely on this for grant applications (please indicate need for urgent reply when you submit your abstract). The final result of our selection will be announced by 30 April 2012. If you have any questions, feel free to contact the organizers, Tsai Tsanhuang (thtsai at mac.com) and/or Frank Kouwenhoven (chime at wxs.nl).

CFP (articles): Act. Zeitschrift für Musik & Performance, Ars Acustica

Call for Articles

Act. Zeitschrift für Musik & Performance, Issue 4: Ars Acustica

For further information: http://www.act.uni-bayreuth.de/resources/CfA_Ars_Acustica.pdf
Also please follow us on facebook: https://www.facebook.com/Act.ZfMuP

Sound art, sound installation, performance art, audio plays (Hörstücke), modern radio drama (Neues Hörspiel), concrete poetry, and visual art & music – all have in common a claim to art that comes not only from the structure of an individual sub-area, but also from the mixing and intermingling of different arts. As the focus of our next issue, we would like to explore the question of the performativity of these different forms and genres. We therefore invite contributions that shed light on these subjects in terms of their performance situation.
We warmly welcome all authors who are interested in the issue to send their articles for consideration. Editorially-supported languages are German, English, French, and Italian.

In addition to scholars from different disciplines we would also like to invite composers, musicians, and artists to express their views through reflections on their own art or the art of others.

The contributions should not exceed 45,000 characters in length (including spaces). The deadline for articles is 15 June 2012. Please send in submissions by e-mail to act at uni-bayreuth.de

CFP: Italian Musicological Society, Milan, Oct 2012

XIX ANNUAL CONFERENCE OF SIDM, Milano, Conservatorio di musica “Giuseppe Verdi”, 19-21 OCTOBER 2012

CALL FOR PAPERS

The Nineteenth Annual Conference of the Italian Musicological Society will take place in Milan in collaboration with Conservatory of Music from 19 to 21 Oc­tober 2012. On October, 20 all members will gather for their annual meeting and election of governing boards.

Scholars from all over the world are invited to submit their paper proposals. Every topic in the field of musicological studies is accepted.

In the abstract (which has not to exceed 30 lines) please indicate the title of the proposed paper, the state of the art in your research field, with an outline of the project and the specific contribution to the current knowledge.

Along with the text please send also a short C/V (max 15 lines) and indicate the A/V equipment required.

The paper shall not exceed 25 minutes in duration (corresponding to an 8-page text containing to a maximum of 16000 characters). Scholars are not allowed to send more than one abstract. The abtsracts have to be sent to the e-mail address segreteria at sidm.it or – by mail – to the Società Italiana di Musicologia, Casella Postale 318 Ag. Roma Acilia, via Saponara 00125 Roma, Italy (please add on the envelope the indication “XIX Convegno Annuale”) no later than June 15, 2012.

Acceptance of papers will be notified by July, 10, 2012.

Please provide your full name, address, phone number, fax number and e-mail address. For further information about the conference please visit the web site: http://www.sidm.it.

CMMR 2012 workshop call for abstracts: Cross-Disciplinary Perspectives on Expressive Performance

Call for Abstracts (Paper and Performance Submissions)

AHRC Workshop: Cross-Disciplinary Perspectives on Expressive Performance
Computer Music Modeling and Retrieval (CMMR 2012) conference
Queen Mary, University of London
Tuesday, 19 June 2012, afternoon

Expression in performance is a challenging focus for study: though most musicians have an intuitive sense of what makes a performance expressive, emotive or creative, quantifying these concepts remains difficult. Persistent gaps between musical and scientific approaches to studying performance affect both fields, particularly in areas such as digital instrument design and musical pedagogy.

We invite submissions from any discipline in the engineering, sciences, social sciences, humanities and arts relating to how expression in performance can be modelled, supported or enhanced. Submissions should be in the form of a detailed abstract, 500 words maximum. Accepted authors will be asked to submit a paper of maximum 6 pages, outlining pertinent background, research questions, results and significance. Works in progress and position papers will be considered. Selected papers from the workshop will be invited to be expanded for publication in the refereed CMMR post-proceedings or in a journal special issue (details and format to be confirmed).

Each author will give a 10-minute oral presentation at the workshop. Demonstrations or musical performances are warmly welcomed in addition to (or in place of) the oral presentation. Some short performances may be possible during the workshop itself; performances will also be considered for an evening public concert following the workshop. A group discussion will follow the presentations, with the aim of identifying topics of future exploration across disciplines.

Topics of interest include, but are not limited to:

* How digital or augmented instruments can be used to capture and analyse expressive details of a performance.
* How a performer's or composer's understanding of creativity and expression can guide digital instrument design; performer-engineer collaborations on instrument creation.
* Links between musical performance and human-computer interaction, either from the perspective of modelling user behaviour or designing interactive systems.
* Measuring and modelling physical gesture or body language in performance.
* Music information retrieval techniques for extracting expressive nuances from audio recordings.
* Digital instruments or MIR techniques applied to musical pedagogy.
* Audience perception of the expressive content of a performance, especially as it relates to audio or video measurements.

Abstracts should be submitted using the CMMR 2012 Easy Chair portal. Be sure to select the "Expressive Performance Workshop" track:

https://www.easychair.org/conferences/?conf=cmmr2012

All abstracts should include the names and addresses of each author and any institutional affiliations. Submissions should be formatted as a PDF document, maximum 500 words not including names and affiliations.

Indicate in the comments with your submission whether you would like to present a demonstration or performance, and any technology needs beyond a basic projector and audio system.

If the abstract is accepted, at least one author is expected to register for and attend the workshop on 19 June 2012. Single-day and full-conference registration options will be available.

Deadline for abstracts: Tuesday 10 April 2012
Notification of acceptance: Friday 20 April 2012
Deadline for full papers: Friday 1 June 2012
Workshop date: Tuesday 19 June 2012

More information on CMMR 2012:
http://cmmr2012.eecs.qmul.ac.uk/

Please direct any queries to workshop organiser Andrew McPherson, andrewm@eecs.qmul.ac.uk.

Music & Shape conference: call for posters

Music and Shape Conference
www.cmpcp.ac.uk/musicandshape.html

Call for posters

12-14 July 2012, London

We are issuing a new call for POSTERS only. Submissions should be made electronically in Word or PDF format to daniel.leech-wilkinson@kcl.ac.uk. Please provide your name, postal and email addresses, and any institutional affiliation on the first page. Start your proposal on the second page and write no more than 300 words. All proposals should fully and clearly describe the topic of the poster presentation and should include the following information:

* Background
* Research questions
* Aims
* Summary of content
* Significance

The deadline for proposals is 1 April, and successful authors will be notified by 20 April with further information on the format of the poster presentation.

Note that there will not be a separate poster session. Posters will be available throughout the conference and we shall provide a schedule indicating when each author will be present, during specific coffee breaks, to answer questions.

For the Conference programme and abstracts see: www.cmpcp.ac.uk/musicandshape.html

CFP: Perspectives on Expressive Performance

Call for Abstracts (Paper and Performance Submissions)

AHRC Workshop: Cross-Disciplinary Perspectives on Expressive Performance
Computer Music Modeling and Retrieval (CMMR 2012) conference
Queen Mary, University of London
Tuesday, 19 June 2012, afternoon

Expression in performance is a challenging focus for study: though most musicians have an intuitive sense of what makes a performance expressive, emotive or creative, quantifying these concepts remains difficult. Persistent gaps between musical and scientific approaches to studying performance affect both fields, particularly in areas such as digital instrument design and musical pedagogy.

We invite submissions from any discipline in the engineering, sciences, social sciences, humanities and arts relating to how expression in performance can be modelled, supported or enhanced. Submissions should be in the form of a detailed abstract, 500 words maximum. Accepted authors will be asked to submit a paper of maximum 6 pages, outlining pertinent background, research questions, results and significance. Works in progress and position papers will be considered. Selected papers from the workshop will be invited to be expanded for publication in the refereed CMMR post-proceedings or in a journal special issue (details and format to be confirmed).

Each author will give a 10-minute oral presentation at the workshop. Demonstrations or musical performances are warmly welcomed in addition to (or in place of) the oral presentation. Some short performances may be possible during the workshop itself; performances will also be considered for an evening public concert following the workshop. A group discussion will follow the presentations, with the aim of identifying topics of future exploration across disciplines.

Topics of interest include, but are not limited to:

* How digital or augmented instruments can be used to capture and analyse expressive details of a performance.
* How a performer's or composer's understanding of creativity and expression can guide digital instrument design; performer-engineer collaborations on instrument creation.
* Links between musical performance and human-computer interaction, either from the perspective of modelling user behaviour or designing interactive systems.
* Measuring and modelling physical gesture or body language in performance.
* Music information retrieval techniques for extracting expressive nuances from audio recordings.
* Digital instruments or MIR techniques applied to musical pedagogy.
* Audience perception of the expressive content of a performance, especially as it relates to audio or video measurements.

Abstracts should be submitted using the CMMR 2012 Easy Chair portal. Be sure to select the "Expressive Performance Workshop" track:

https://www.easychair.org/conferences/?conf=cmmr2012

All abstracts should include the names and addresses of each author and any institutional affiliations. Submissions should be formatted as a PDF document, maximum 500 words not including names and affiliations.

Indicate in the comments with your submission whether you would like to present a demonstration or performance, and any technology needs beyond a basic projector and audio system.

If the abstract is accepted, at least one author is expected to register for and attend the workshop on 19 June 2012. Single-day and full-conference registration options will be available.

Deadline for abstracts: Tuesday 10 April 2012
Notification of acceptance: Friday 20 April 2012
Deadline for full papers: Friday 1 June 2012
Workshop date: Tuesday 19 June 2012

More information on CMMR 2012:
http://cmmr2012.eecs.qmul.ac.uk/

Please direct any queries to workshop organiser Andrew McPherson,andrewm@eecs.qmul.ac.uk.

CFP: Perspectives on Expressive Performance

Call for Abstracts (Paper and Performance Submissions)

AHRC Workshop: Cross-Disciplinary Perspectives on Expressive Performance
Computer Music Modeling and Retrieval (CMMR 2012) conference
Queen Mary, University of London
Tuesday, 19 June 2012, afternoon

Expression in performance is a challenging focus for study: though most musicians have an intuitive sense of what makes a performance expressive, emotive or creative, quantifying these concepts remains difficult. Persistent gaps between musical and scientific approaches to studying performance affect both fields, particularly in areas such as digital instrument design and musical pedagogy.

We invite submissions from any discipline in the engineering, sciences, social sciences, humanities and arts relating to how expression in performance can be modelled, supported or enhanced. Submissions should be in the form of a detailed abstract, 500 words maximum. Accepted authors will be asked to submit a paper of maximum 6 pages, outlining pertinent background, research questions, results and significance. Works in progress and position papers will be considered. Selected papers from the workshop will be invited to be expanded for publication in the refereed CMMR post-proceedings or in a journal special issue (details and format to be confirmed).

Each author will give a 10-minute oral presentation at the workshop. Demonstrations or musical performances are warmly welcomed in addition to (or in place of) the oral presentation. Some short performances may be possible during the workshop itself; performances will also be considered for an evening public concert following the workshop. A group discussion will follow the presentations, with the aim of identifying topics of future exploration across disciplines.

Topics of interest include, but are not limited to:

* How digital or augmented instruments can be used to capture and analyse expressive details of a performance.
* How a performer's or composer's understanding of creativity and expression can guide digital instrument design; performer-engineer collaborations on instrument creation.
* Links between musical performance and human-computer interaction, either from the perspective of modelling user behaviour or designing interactive systems.
* Measuring and modelling physical gesture or body language in performance.
* Music information retrieval techniques for extracting expressive nuances from audio recordings.
* Digital instruments or MIR techniques applied to musical pedagogy.
* Audience perception of the expressive content of a performance, especially as it relates to audio or video measurements.

Abstracts should be submitted using the CMMR 2012 Easy Chair portal. Be sure to select the "Expressive Performance Workshop" track:

https://www.easychair.org/conferences/?conf=cmmr2012

All abstracts should include the names and addresses of each author and any institutional affiliations. Submissions should be formatted as a PDF document, maximum 500 words not including names and affiliations.

Indicate in the comments with your submission whether you would like to present a demonstration or performance, and any technology needs beyond a basic projector and audio system.

If the abstract is accepted, at least one author is expected to register for and attend the workshop on 19 June 2012. Single-day and full-conference registration options will be available.

Deadline for abstracts: Tuesday 10 April 2012
Notification of acceptance: Friday 20 April 2012
Deadline for full papers: Friday 1 June 2012
Workshop date: Tuesday 19 June 2012

More information on CMMR 2012:
http://cmmr2012.eecs.qmul.ac.uk/

Please direct any queries to workshop organiser Andrew McPherson,andrewm@eecs.qmul.ac.uk.

ANNOUNCEMENT: Chalice Consort, 2012 Early Music Scholars Competition

You are invited to participate in the 2012 Early Music Scholars Competition ( http://www.chaliceconsort.org/emsc.html) which is hosted by Chalice Consort (www.chaliceconsort.org). The winners of this competition will be recognized at the Chalice Consort Early Music Conference (CCEMC, formerly called Early Music Mining Conference - http://www.chaliceconsort.org/ccemc.html) in San Francisco on April 14, 2012.

The Early Music Scholars Competition (EMSC) is a competition presented by Chalice Consort to foster the discovery and reconstruction of early music choral scores.

Chalice Consort is honored by the participation of our distinguished Panel at the CCEMC including early music specialists and Artistic Director of Chalice Consort, Davitt Moroney (UC Berkeley); David Trendell (King's College, London), Jeremy Summerly (Royal Academy of Music, London), Kerry McCarthy (Duke University) and Peter Poulos (University of Cincinnati).
Each scholar participating in this competition is asked to submit his/her editorial work of reconstruction of incomplete work (at least one voice part is missing) or a piece that is unpublished (either online or offline in modern edition), has never been publicly performed, and that complements the focal piece of the subsequent Chalice Consort Early Music Conference (CCEMC) (http://www.chaliceconsort.org/ccemc.html): Reges Tharsis by the 16th-century John Sheppard (c.1548-1611). From the submissions received, up to five pieces will be presented at the CCEMC, and from those, one will be selected for performance by Chalice Consort at a future concert.

At the conference, there will be a moderated discussion by the panel of early music specialists and directors after each piece has been sung. The presenting scholars will be invited to discuss their submitted piece and their editorial work at the conference. If you are unable to attend the conference in person, you will be able to submit a 20-mins video of your editorial work and argument as to why your piece should be the winning piece.

The attendees of the conference will vote for their favorite piece to be performed by Chalice Consort at a future concert.

If you have any questions, you are welcome to contact me at puretoneosprano at yahoo.com.

Rebekah Wu
Founder of Chalice Consort
(415) 875-9544
puretonesoprano at yahoo.com
http://www.chaliceconsort.org
Chalice Consort is a project of Community Initiatives (www.communityin.org).

CFP: New Zealand Musicological Society, Univ. of Auckland, Nov-Dec 2012

Conference of the New Zealand Musicological Society
Hosted in association with The University of Auckland School of Music

Voyages of Discovery

The University of Auckland School of Music, 6 Symonds Street, Auckland 1142, New Zealand, 30 November-2 December

Keynote speakers: James Webster (Cornell University)
Patricia Shehan Campbell (The University of Washington)

This conference seeks to investigate and promote the breaking of new ground within and between our fields of music study: musicology, ethnomusicology, popular music, jazz, and music education. ‘Voyages of Discovery’ relates here to intellectual travel; the charting of new territory within music disciplines; and interdisciplinary journeys.

Call for Papers

Conference presentations may take one of the following forms:
· Formal conference presentations (20 minutes, plus 10 minutes for questions)
· Interactive workshops (30 minutes)
· Lecture demonstrations/lecture recitals (20 minutes, plus 10 minutes for questions)
· Panel sessions (up to three participants and 90 minutes in duration)

Abstracts of no more than 250 words should be sent as a Word attachment to NZMSConference at auckland.ac.nz

Proposals for panel sessions should include abstracts for individual papers (where applicable), as well as a proposal for the session itself (up to 250 words each).

Please also include a title, and supply five keywords below your abstract. As abstracts will be screened anonymously by the selection committee, please omit your name from the Word file. In the body of your e-mail you should include your full name, your status (salaried permanent university staff member/student/private researcher/professional musician), your institutional affiliation where appropriate, and your home town/country.

Details for the student paper competition will be announced shortly.

Deadline for proposals: 10 June 2012

The selection committee consists of the following:
Martin Lodge (m.lodge at waikato.ac.nz) (University of Waikato)
Patricia Shehan Campbell (pcamp at uw.edu) (University of Washington)
W. Dean Sutcliffe (wd.sutcliffe at auckland.ac.nz) (University of Auckland)
Fiona McAlpine (fe.mcalpine at auckland.ac.nz) (Secretary of the New Zealand Musicological Society)
Richard Moyle (r.moyle at auckland.ac.nz) (University of Auckland)
Nancy November (n.november at auckland.ac.nz) (University of Auckland)
Inge van Rij (inge.vanRij at vuw.ac.nz) (President of the New Zealand Musicological Society)

For more information about the New Zealand Musicological Society, go to their web page (http://musicologynz.org.nz/).

Bando di selezione EURIAS Fellowship (2013-2014)

Bando di selezione EURIAS Fellowship (2013-2014)

Scadenza bando: 7 giugno 2012

http://www.isa.unibo.it/ISAIT/Proposte/EURIAS_2013-2014.htm
http://www.ias.unibo.it/ISA/Proposals/EURIAS_2013-2014.htm


Il programma di Fellowship degli Istituti di Studi Avanzati Europei (EURIAS) è un programma di mobilità per i ricercatori internazionali che offre 32 fellowship per l’anno accademico 2013-2014.

Il programma propone 10 mesi di residenzialità in uno dei 14 Istituti partecipanti: la diversità dei 14 ISA – che hanno concordato una procedura di selezione comune – offre una ampia gamma di possibili contesti di ricerca per gli studiosi provenienti da tutto il mondo.
Il programma supporta candidature sia di promettenti studiosi in una fase iniziale della loro carriera, sia di ricercatori senior. Per raggiungere gli standard del programma - diventati altamente competitivi - i candidati devono proporre una ricerca innovativa e concreta, per dimostrare l'abilità di creare al di là della singola specializzazione disciplinare.
Anche l'Istituto di Studi Avanzati (ISA) dell'Alma Mater Studiorum Università di Bologna partecipa al programma.

Durante il periodo di Fellowship, tutti gli ISA hanno concordato condizioni standard per gli EURIAS fellows, incluso il provvedere a un’indennità di vitto (di circa 26.000 euro per un fellow junior e 38.000 euro per un fellow senior), alloggio (o indennità di mobilità), un budget per la ricerca più la copertura delle spese di viaggio.

Le domande devono essere presentate online sul sito www.eurias-fp.eu, il termine di presentazione delle domande é il 7 giugno 2012.



CALL FOR APPLICATIONS
The European Institutes for Advanced Study (EURIAS) Fellowship Programme is an international researcher mobility programme offering 10-month residencies in one of the 14 participating Institutes: Berlin, Bologna, Brussels, Bucharest, Budapest, Cambridge, Helsinki, Jerusalem, Lyons, Nantes, Paris, Uppsala, Vienna, Wassenaar. The Institutes for Advanced Study support the focused, self-directed work of outstanding researchers. The fellows benefit from the finest intellectual and research conditions and from the stimulating environment of a multi-disciplinary and international community of first-rate scholars.
EURIAS Fellowships are mainly offered in the fields of the humanities and social sciences but may also be granted to scholars in life and exact sciences, provided that their proposed research project does not require laboratory facilities and that it interfaces with humanities and social sciences. The diversity of the 14 participating IAS offers a wide range of possible research contexts in Europe for worldwide scholars. Applicants may select up to three IAS outside their country of nationality or residence as possible host institutions.
The Programme welcomes applications worldwide from promising young scholars as well as from leading senior researchers. The EURIAS selection process has proven to be highly competitive. In order to match the Programme standards, applicants have to submit a solid and innovative research proposal, to demonstrate the ability to forge beyond disciplinary specialisation, to show an international commitment as well as quality publications in high-impact venues.
For the 2013-2014 academic year, EURIAS offers 36 fellowships (16 junior and 16 senior positions).
All IAS have agreed on common standards, including the provision of a living allowance (in the range of € 26,000 for a junior fellow and € 38,000 for a senior fellow), accommodation (or a mobility allowance), a research budget, plus coverage of travel expenses.

APPLICATION AND DEADLINE
– Applications are submitted online via www.eurias-fp.eu, where, you will find detailed information regarding the content of the application, eligibility criteria, selection procedure, etc.
– The deadline for application is June 7th, 2012. Late applications will not be considered.

SELECTION PROCEDURE
– Scientific assessment by two international referees
– Pre-selection by the EURIAS international Scientific Committee
– Final selection by the IAS academic boards
– Publication of results (December 2012)

CALENDAR OF ACTIONS
Application deadline June 7th, 2012
Results of the preselection by EURIAS Scientific Committee Mid-October, 2012
Publication of IAS final selections Mid-December, 2012
Arrival of fellows September/October 2013

ELIGIBILITY REQUIREMENTS
Degree
At the time of the application, researchers must be in possession of a doctoral degree plus 2 years of full-time research experience after the degree. Exception is made for Law scholars who are eligible with a Master +6 years of full-time research experience after the degree. (PhD training is not considered in the calculation of experience).
Nationality
Researchers from all countries are eligible to the programme but applicants cannot apply to an institute located in their country of nationality or residence. Exception is made for applicants who have not spent more than 12 months in their country of nationality or residence during the last 3 years prior to the application.
Disciplines
The programme is open to all disciplines in the fields of humanities and social sciences.
It also welcomes applications from the arts, life and exact sciences provided that:
• the research project does not require any intensive laboratory work,
• the research project interfaces with humanities and social sciences,
• the applicant has a proven capacity to dialogue with other scientific disciplines,
• the candidate applies to an IAS that welcome scholars outside the humanities and social sciences.
Applicants are strongly encouraged to check the IAS’ websites to learn more about the scientific orientation of the Institutes and their potential opening to disciplines outside the humanities and social sciences.
Age
There is no age limit for applying to EURIAS Fellowship Programme.

The Harry Partch Legacy: Call for Papers

CALL for PAPERS

The Harry Partch Legacy: Microtonal Constructions and Intercultural Dialogues
A Symposium and Festival

September 19–21, 2012
New England Conservatory and Northeastern University
Boston, MA

featuring
NewBand (Dean Drummond & Stefani Starin, Directors)
Bob Gilmore (Brunel University)
Kyle Gann (Bard College)
Danlee Mitchell (Harry Partch Foundation)
and others TBA

The composer Harry Partch (1901-74) is best known as a radically
individualistic musical experimentalist, an emblematic “American
maverick.” Seeking to create a music close to human speech, he found
himself "seduced into carpentry" to create an orchestra of unique
instruments and a substantial corpus of instrumental, vocal and
dramatic works. His 25-year career cut across composition, music
theory, and instrument building, and its conscious links to
music-making outside of Europe have attracted the attention of a
diverse following of listeners, musicians and scholars. This three-day
event, co-sponsored by Northeastern University and the New England
Conservatory of Music, will explore the continuing impact of Partch's
work, with a combination of academic conference sessions, interactive
workshops, and concert performances.

Proposals for papers, performances, or lecture-demonstrations may be
submitted on any aspect of Harry Partch and his music, drawing on
scholarly approaches from any relevant intellectual discipline, in any
of the following categories:

— Papers (20 minutes maximum, with 20 minutes for discussion]
— Paper sessions (three or four papers, each of 20 minutes maximum
with 20 minutes for discussion]
— Roundtable discussions (up to 5 participants, each giving a short
position paper, followed by a general discussion)
— Lecture-demonstrations (20 minutes maximum, with 20 minutes for discussion]

We particularly welcome papers or demonstrations examining:
—global and historical perspectives on Partch’s theories of intonation
—the influence of Chinese, Native American, and ancient Greek musics
on Partch's output
—issues in the construction (or reconstruction) of Partch’s instruments
—Partch’s place within (or outside) modernism and the American tradition(s)
—Partch as an example (or counterexample) for microtonal composers
—the tension between Partch’s simple-ratio harmonies and his
instruments’ inharmonic spectra
—traces of Partch in classical and popular music culture



PROPOSAL INSTRUCTIONS / GUIDELINES

Proposals should be prepared as follows:
- For individual papers: up to 250 words
- For paper sessions: 250-word (maximum) summary and up to 250 words
for each session participant
- For roundtable discussions: 250-word (maximum) and up to 150 words
for each panel participant
- For recitals, lecture-recitals and lectures illustrated by sound
diffusions or audio-visual screenings: 250 word (maximum) summary,
plus participant CVs and recordings / scores / other details of works
to be included in the event

In each case, proposals should include the title of the paper but not
the author's name or any other identifying information.

In the body of the email, list the title of the paper, and the
author's name, email address, telephone number, and institutional
affiliation, if any.

Attach the proposal in PDF or RTF format to an email to b.robison@neu.edu

DEADLINE FOR PROPOSALS: May 1, 2012
Successful applicants will be informed by June 1, 2012

Partch Symposium and Festival Planning Committee:
Anthony Paul De Ritis (Northeastern University)
Robert Labaree (New England Conservatory)
Brian Robison (Northeastern University)
Katarina Miljkovic (New England Conservatory)
Julia Werntz (New England Conservatory)

Program Committee:
Bob Gilmore (Brunel University)
Robert Labaree (New England Conservatory)
Brian Robison (Northeastern University)

Additional information will become available at:
http://www.music.neu.edu/harrypartch

For more information, contact Brian Robison: b.robison@neu.edu

CFP (reminder): "The Franco-Belgian Violin School from G. B. Viotti to E. Ysaye, " La Spezia, July 2012

The "Franco-Belgian Violin School" from G.B. Viotti to E. Ysaÿe
http://www.luigiboccherini.org/violinschool.html

International Conference
ORGANISED BY: Centro Studi Opera Omnia Luigi Boccherini, Lucca;
Società dei Concerti, La Spezia (Liguria);
in association with the Palazzetto Bru Zane-Centre de musique romantique française, Venice

DATES: 9-11 July 2012
LOCATION: La Spezia (Italy), CAMeC

SCIENTIFIC COMMITTEE:

Andrea Barizza (La Spezia), Alexandre Dratwicki (Venice), Lorenzo Frassà (Lucca), Roberto Illiano (Lucca), Fulvia Morabito (Lucca), Renato Ricco (Salerno), Massimiliano Sala (Lucca), Renata Suckowiejko (Krakow)

KEYNOTE SPEAKERS

* David Milsom (University of Huddersfield, UK)

* Renata Suchowiejko (Jagiellonian University, Krakow)

The official languages of the conference will be English, French and Italian. Papers selected for presentation at the conference will be published in a miscellaneous volume.

All proposals should be emailed to rilliano at muzioclementi.com by no later than ***Saturday 31 March 2012***.

If you have any questions, please contact:

Dr. Roberto Illiano, Presidente Edizione Nazionale Muzio Clementi
Segretario Generale Centro Studi Opera omnia Luigi Boccherini-Onlus
Via Lorenzo Nottolini, 162
S. Concordio contrada
I-55100 Lucca
rilliano at muzioclementi.com
www.luigiboccherini.org
www.muzioclementi.org

CFP for New Book Series on Rock, Pop, and Culture

Scarecrow Press announces a new book series on rock, popular music, and culture called Tempo: A Scarecrow Press Series on Rock, Pop, and Culture, and is accepting proposals for contributions to the series.

Drawing from the fields of cultural studies, sociology, media studies, performance/theater studies, music history, and literary studies, Tempo books will study an artist, genre or subgenre of rock or popular music within its cultural and historical context. Written for college-level audiences and general readers, Tempo books will present clear and engaging studies that assess musical and historical influences on artists and genres and their impact in turn on musical and social contexts.

Each volume will feature a dual timeline of the artist's life and major historical and cultural events during the artist's career and sections devoted to further reading and selected listening.

More information, guidelines, and submission details at: http://tempobooks.wordpress.com

Contacts:

Series Editor Scott Calhoun at tempo@scarecrowpress.com

Senior Acquisitions Editor Bennett Graff at bgraff@scarecrowpress.com

Bennett Graff will attend the Society for American Music's 38th annual conference March 12-14, 2012, in Charlotte, NC.

CFP: The Rake's Progress: Stravinsky, Hogarth, Hockney, Auden, and Kallman, Univ. of Colorado, Boulder, Oct 2012

Call for Papers

Conference:

The Rake's Progress: Stravinsky, Hogarth, Hockney, Auden, and Kallman

October 26-27, 2012
The University of Colorado at Boulder, Art Museum, College of Music, and Center
for British and Irish Studies

To be held in conjunction with the CU-Boulder Opera's performances of The
Rake's Progress and the CU Art Museum's exhibit, Hockney and Hogarth:
Selections from the CU Art Museum's Collection of British Art (featuring
Hockney's A Rake's Progress, 1961-63)

The program committee seeks papers relating to Stravinsky's music, Hogarth
and Hockney's art, and/or Auden's and Kallman's libretto to The Rake's Progress.
The conference seeks to be interdisciplinary, and will consider relevant papers
from the standpoint of music history, musical analysis, art and art history,
aesthetics, literary studies, and stagecraft. Papers will be limited to 20 minutes,
with ten minutes for further discussion.

Deadline for paper proposals: May 1, 2012
Notification for participation: June 15, 2012
Conference date: October 26-27, 2012

Those interested in participating are asked to submit a 500-word proposal in
MsWord or pdf format. E-mail (by May 1, 2012) to:

CBISassistant at gmail.com

All conference events will be held in the Center For British Studies Room (Norlin
Library, CU-Boulder)

Please direct any questions about the conference to conference organizers:
Jeremy Smith (Director, Center for British and Irish Studies, CU-Boulder):
jeremy.smith at Colorado.EDU
Keith Waters (Department of Music Theory, CU-Boulder):
keith.waters at colorado.edu)

For further information, please see the conference website at:
http://www.colorado.edu/artssciences/british/rake/

CFP: Sound and Performance, Gesellschaft für Theaterwissenschaft, Bayreuth, Oct 2012

SOUND AND PERFORMANCE – This is the title of the 11th Congress of the Gesellschaft
für Theaterwissenschaft (German Society for Theatre Studies) which is being held
from 4 to 7 October 2012 by the Institute for Music-Theatre Studies (Prof. Ernst, Prof.
Mungen) at the University of Bayreuth.

For focussed investigations into the specific aspects of SOUND AND PERFORMANCE, the
organisers suggest the following thematic panels.
1. Theory of sound and performance.
2. Aesthetics of sound und performance
3. Historiography of sound and performance
4. Politics of sound and performance
Suggestions for topics for talks (20 minutes + 10 minutes) or panels (90 minutes)
should be sent as abstracts of approximately 250 words in German or English, in
addition to brief information on your affiliation, to the following address by 15 May 2012.


Full details: www.sound2012.org

JOB: Colburn School of Music, musicology (part-time)

The Colburn School Conservatory of Music, Los Angeles, CA. Part-time Professor of Music History. Two or Three courses per academic year.

We are seeking a musicologist who is a dynamic classroom teacher committed to teaching and mentoring students in a conservatory environment. Primary area of specialization is flexible, but should focus on the Western classical repertoire. Classroom responsibilities will include teaching in the undergraduate music history sequence and the music history review (remedial course) at the master’s level. PhD or equivalent (or its imminent completion) required. Demonstrated successful teaching in music history required. Start Date: August 15, 2012. Application deadline: open until filled. Application review will begin March 15, 2012. Please send letter of application, CV, and three confidential letters of reference, teaching evaluations or other evidence of demonstrated excellence in instruction to The Colburn School's job website at: www.colburnschool.edu. All candidates wishing consideration should apply through the school's website to Mr. Richard Beene, Dean. Phone: 213-62
1-454
0. Fax: 213-613-0391. Email: hr at colburnschool.edu.