lunedì 30 aprile 2012
Adjunct Auxiliary Professor of Music History (one-year with possible renewal)
Closing date: Until qualified candidate selected
Shenandoah Conservatory at Shenandoah University seeks an exceptional pedagogue to teach Music History. This auxiliary adjunct appointment will begin August 16, 2012 through May 17, 2013.
Qualifications: The applicant must hold a Ph.D. in Musicology (or A.B.D. in Musicology) and have a record of successful undergraduate teaching.
Job description and responsibilities: The successful candidate will teach undergraduate Music History. The load will include two courses per semester in the undergraduate Music History sequence, including small-group lab sections as well as lecture. In addition to teaching responsibilities, the faculty member is encouraged to participate in departmental meetings.
About Shenandoah Conservatory & University: Shenandoah Conservatory was founded in 1875 and is located at the head of the historic Shenandoah Valley in Winchester, VA, 70 miles west of Washington DC. Over 700 students are enrolled in baccalaureate, masters, and doctoral curricula in the areas of music, theater, and dance, and are taught by over 125 faculty, of whom 59 are full-time. www.su.edu/conservatory. Shenandoah University is a diverse institution of approximately 3,600 students enrolled in baccalaureate, masters and doctoral curricula in business, arts and sciences, health professions and performing arts. Shenandoah University is an independent, coeducational institution affiliated with the United Methodist Church. Shenandoah University is accredited by the Southern Association of Colleges and Schools. Please visit www.su.edu for more information.
Shenandoah University reserves the right to hire contingent on budgetary guidelines. Candidate must successfully pass pre-employment post offer background check. Shenandoah University supports and encourages diversity in the workplace. Minorities are encouraged to apply. EOE.
Electronic submission of following items may be emailed to jshort at su.edu:
Cover letter, curriculum vita, and a list of three references
Auxiliary Adjunct, Music History Search
c/o Mrs. Joanna Short, Administrative Assistant
1460 University Drive
Winchester, VA 22601
RESPONSIBILITIES: Teach music history and music literature courses; coordinate history and literature for the music division; additional responsibilities may be assigned according to the candidate's abilities and the needs of the institution.
QUALIFICATIONS: The successful candidate will be an excellent and experienced musician and teacher with a commitment to liberal arts education. Teaching experience at the college or university level is highly preferred. Doctorate preferred, masters required.
APPLICATION: Send a letter of interest, curriculum vita, and the names, addresses, telephone numbers, and email addresses of at least three individuals who might knowledgeably endorse your application to:
Gary G. Gerber, Chair
Division of Music
410 Ouachita St., OBU Box 3676
Ouachita Baptist University
Arkadelphia, AR 71998-0001
APPLICATION DEADLINE: Screening will begin on May 15, 2012
The Division of Music is a part of the School of Fine Arts at Ouachita Baptist University. It is housed in the Mabee Fine Arts Center and has approximately 150 music majors. The Division of Music has 24 full-time faculty. Bachelor of Music degrees are offered in Performance, Worship Arts, Composition, Musical Theatre, and Music Education with emphasis in choral or instrumental music. In addition there is a Bachelor of Arts degree in music. The Division of Music is accredited by the National Association of Schools of Music.
Ouachita Baptist University is a private, liberal arts, church-related institution with approximately 1500 students. The University is located in Arkadelphia, Arkansas, approximately half way between Texarkana, Texas and Little Rock, Arkansas on Interstate 30. Faculty members are expected to share the institution's commitment to both academic and Christian excellence. The University is dedicated to the principle of academic freedom. For further information: http://www.obu.edu
Call for Authors:
Vol. 1 No. 3 (2012)
Theme: Urbanity and Industry
Deadline: 1 July, 2012
The Editors of "Evental Aesthetics", an independent, peer-reviewed, online journal dedicated to philosophy and art, are pleased to invite submissions for our forthcoming issue, to be entitled "Urbanity and Industry". The aim of this issue is to discuss philosophical questions arising from aesthetic experiences of the urban, the mechanical, the technological, the utile, and the polluted; and from art forms or cultural practices that developed in or rely upon urban or industrial environments and ideologies.
We welcome both full-length articles (4,000-10,000 words, excluding endnotes) and Collisions (1,000-2,000 words). Collisions are brief (but well-written and thoughtful) responses to aesthetic experiences that raise philosophical questions for discussion, but that do not necessarily enact the discussion in full. More information on Collisions is available at http://eventalaesthetics.net/forauthors/ .
Suggested topics include, but are not limited to:
* Art “about” urbanity and/or industry, e.g. photography of Edward
Burtynsky; works like Anne LeBaron's opera "Crescent City"
* Aesthetic and/or philosophical responses to urban and/or industrial
disasters, e.g. 3/11: the earthquake and nuclear fallout in Japan
* Arts unique to urban spaces, e.g. street art, breakdancing, public art
* Artistic and musical cultures devoted to or centered in particular
cities, e.g. the New York School
* Urban sound art, e.g. work by Max Neuhaus, Bill Fontana, Yann Novak
* Everyday aesthetics
* Aesthetics and ideologies of technology, machinery, productivity, connectivity
* Matters concerning space, e.g. as discussed by Henri Lefebvre
* Aesthetics of urban protest
**Before submitting, please review our submission requirements, formatting and style requirements, review procedures, and copyright policy at http://eventalaesthetics.net/forauthors/ .**
Email your submission to eventalaesthetics - at - gmail - dot - com, by July 1, 2012.
Student Conference on
Music, Multimedia and Electronics
18th June 2012
of Music, University of Leeds, United Kingdom
Open Call for Proposals
2012 welcomes the submission of a wide range of Sci-Arts research with
particular focus on Music, Multimedia and Electronics. Submissions fall into
four categories: (i) papers & presentations; (ii) posters; (iii)
demonstrations or installations (iv) live performance & composition. Details
and requirements for each category are specified below. All submissions will be
reviewed by the iscMME program committee.
for categories (i), (ii) and (iii) should be an abstract (500 words max)
detailing the research. This should be submitted as a pdf document via email to:
email@example.com. Please specify
your preferred submission category in the proposal.
(iv) submissions require a project description (200 words max), technical
specification and a web-link containing audio/video files of the work and/or
scores. All accepted works in this category will be performed at the Brudenell
Social Club, Leeds as part of the evening concert.
themes include but are not limited to: Transdomain
mapping/soniﬁcation/visualisation, instrument augmentation, computer music,
gesture analysis, networked and distributed performance, digital audio
processing and analysis, computer aided compositional tools, technology-enhanced
education, computational musicology, machine perception, physical computing,
algorithmic composition, live electronics, live coding, laptop performance,
electroacoustic and acousmatic composition, audio-visual works, digital
aesthetic, eTextiles, somatosensory systems, music imaging, new musical
interfaces, scientific research in music.
for submission: 18th May 2012
of acceptance: 1st June 2012
ready deadline for final papers, media and all performance material: 7th June
Rivista online di Studi Musicali - Online Journal of Musical Studies
Published by the Group for Music Analysis and Theory (G.A.T.M.)
in collaboration with the Dipartimento Beni culturali, musica e spettacolo (BEMUS),
University of Rome - Tor Vergata
G r u p p o A n a l i s i e T e o r i a M u s i c a l e
IX Convegno di Analisi e Teoria Musicale
Rimini, Istituto Musicale Pareggiato “G. Lettimi”, 13-15 Settembre 2012
Bando di partecipazione
La rivista Analitica e il Gruppo di Analisi e Teoria Musicale, in collaborazione con l’Istituto di Alta Formazione Artistica e Musicale “G. Lettimi”, la Sagra Musicale Malatestiana e il Comune di Rimini organizzano il Nono Convegno di Analisi e Teoria Musicale a Rimini, nei giorni 13, 14 e 15 Settembre 2012, presso i locali dell’Istituto “G. Lettimi” (Rimini, Via Cairoli 44).
Come nelle edizioni precedenti, il Convegno prevederà diverse sessioni di studio, alcune su temi specifici, altre su argomenti liberi. Tra le diverse sessioni previste, una riguarderà le teorie, i repertori, le forme e il linguaggio della musica afro-americana, mentre altre si concentreranno sui linguaggi, i repertori, le forme e le produzioni teoriche del Novecento. Nelle sessioni dedicate ad argomenti liberi si potranno proporre relazioni su temi che riguardano, ad esempio, l'analisi di un’opera o di uno stile, la discussione di una metodologia analitica o di una teoria musicale, uno studio sulla storia dell’analisi o sui rapporti tra analisi ed esecuzione, un’esperienza di didattica dell’analisi. Per la partecipazione al Convegno è necessaria l'iscrizione annuale al GATM. Alla fine del Convegno l'Istituto "G. Lettimi" rilascerà uno specifico attestato ai partecipanti; per i docenti di Conservatorio e delle Scuole Medie è stato richiesto al Ministero l’esonero dalle lezioni.
Chiunque sia interessato a partecipare al Convegno con una propria relazione potrà inviare un abstract della lunghezza di due cartelle, corrispondenti a 4000-6000 caratteri. Le proposte di relazione dovranno essere inviate all'indirizzo email del Comitato Scientifico (firstname.lastname@example.org) e dovranno pervenire entro il 20 Giugno 2012. L’abstract dovrà essere articolato come segue: titolo; stato attuale delle conoscenze sull’argomento; contenuti principali della comunicazione e obiettivi della ricerca; metodo analitico impiegato; apporti del proprio contributo rispetto allo stato attuale delle conoscenze. In aggiunta alle due cartelle, l’abstract dovrà anche contenere: bibliografia essenziale; eventuali esempi musicali; attrezzature richieste; nome, cognome, recapito, telefono e indirizzo email del mittente; breve curriculum (max 15 righe).
A ciascun intervento saranno concessi 40 minuti, dei quali 30 dedicati alla relazione (con eventuale utilizzo di power point) e 10 alla discussione. Si possono prevedere ascolti musicali su nastro o CD ed esemplificazioni al pianoforte. Il Comitato Scientifico del Convegno incoraggia la molteplicità delle metodologie e degli approcci, inclusi quelli trasversali a diversi campi d’indagine; il Comitato si riserva di privilegiare quelle relazioni nel cui contenuto siano presenti riferimenti alla letteratura musicologica internazionale di tipo analitico.
Il Comitato Scientifico del Convegno comunicherà i risultati della selezione ai diretti interessati entro il 30 Giugno 2012 Tutti gli abstract selezionati verranno pubblicati nel sito internet della rivista Analitica. Il Comitato si riserva di segnalare i lavori più interessanti per un’eventuale pubblicazione in formato cartaceo sulla Rivista di Analisi e Teoria Musicale (edizioni LIM) e in formato elettronico sul sito di Analitica. A tal fine la versione definitiva del testo dovrà pervenire all’organizzazione non oltre il 15 Novembre 2012 e sarà sottoposta a un gruppo di valutazione (referees) che potrà suggerire miglioramenti o adeguamenti alle esigenze editoriali delle riviste.
Comitato Scientifico del Convegno: Mario Baroni, Domenico Colaci, Rossana Dalmonte, Gian Luca Gardini, Enrico Meyer, Susanna Pasticci, Egidio Pozzi, Lorenzo Rinaldi, Giorgio Sanguinetti
martedì 24 aprile 2012
Call for Papers Symposium Borrowed Sounds, Original Melodies: Music Iconography as Mirror of New-World Societies
Borrowed Sounds, Original Melodies:
Music Iconography as Mirror of New-World Societies
To be held in the framework of
VII International Conference of the European Council for Social Research on Latin America, 12nd to 15th June 2013, Porto (Portugal)
Dra. Evguenia Roubina, Universidad Nacional Autónoma de México (México)
Dr. Javier Marín López, Universidad de Jaén (España)
Since mid-twentieh century, when several academics fields embarked on the exploration of the cultural universe of the Spanish and Portuguese Americas, music iconography started to be used as a source of information and support of ideas related to the processes, phenomenons and objects that characterized the New-World musics since the ‘encounter’ with the Iberians to the exploits of the Independences.
Writen from dissimilar perspectives and heterogeneous approaches, literature focused on the pictorial representations of music in the two Americas have gone beyond the dichotomy among image and fact just a few times, so music iconography has not been considered in all its value as constituent element of social and cultural identity of the people who created that sources.
With the aim to change this unjust omission, this Symposium will prove that music iconography, using analytical tools and sources shared with other fields of the humanistic and artistic knowledge –to whom are linked through several models of disciplinary integration– contributes to add new ideas around the multiplicity of roles that sound has in the discursive processes of configuration of identity and everyday life of the New-World societies.
Call for proposals
Proposals should be sent to the chairs by e-mail including:
- Author’s name and surname
- Institucional affiliation
- Postal address
- Proposed title and abstract (length around 300 words)
After the chairs select the proposals, the Organizing Committee of the VII International Conference CEISAL will contact the accepted authors by e-mail. Selected papers will be published digitally in the book Memoria, presente y porvenir en América Latina.
- Deadline for proposals: 10th June 2012
- Communication of accepted proposals: 20th June 2012
- Symposium: 12th-15th June 2013
- Presentation of the final version of the paper: 20th September 2013
Sonidos Prestados, Melodías Propias:
la Iconografía Musical como espejo de las sociedades novomundistas
En el marco del
VIII Congreso Internacional del Consejo Europeo de Investigaciones Sociales de América Latina (CEISAL), 12 al 15 de junio de 2013, Oporto (Portugal)
Dra. Evguenia Roubina, Universidad Nacional Autónoma de México (México)
Dr. Javier Marín López, Universidad de Jaén (España)
Desde mediados del siglo pasado, cuando diferentes disciplinas académicas se aventuraron en la exploración del universo cultural de las Américas hispana y lusitana, la iconografía de la música empezó a utilizarse como fuente de información y sustento de ideas de muy diversa índole formuladas en relación con los procesos, fenómenos y objetos que distinguían la música del Nuevo Mundo desde su encuentro con los ibéricos y hasta las gestas de independencia.
Realizados desde perspectivas disímiles y con enfoques heterogéneos, los trabajos que se han centrado en el análisis de representaciones figuradas de la música de las dos Américas en contadas ocasiones han podido rebasar la dicotomía de la imagen y el hecho musical, por no otorgar a la iconografía musical el valor del elemento constitutivo de la identidad social y cultural del pueblo creador de estas fuentes.
Con el propósito de enmendar tan inicua omisión, este simposio se abocará a demostrar que la iconografía musical, sirviéndose de herramientas analíticas y fuentes de estudio compartidas con otros campos del saber humanístico y artístico, a los que se vincula a través de diferentes modelos de integración disciplinaria, contribuye a generar conocimiento novedoso y fehaciente sobre la multiplicidad de papeles que la música ha desempeñado en los procesos discursivos de configuración de la identidad y el vivir cotidiano de las sociedades novomundistas.
Presentación de propuestas
Los interesados en participar en el simposio deberán enviar a los dos coordinadores, vía correo electrónico, la propuesta de su ponencia, que incluirá la siguiente información:
- Nombre y Apellidos
- Afiliación institucional
- Título de la ponencia propuesta y resumen en torno a 300 palabras
Tras la selección por los coordinadores científicos del simposio, el Comité Organizador del VII Congreso Internacional CEISAL notificará por correo electrónico a sus autores la aceptación de las ponencias. Los trabajos aceptados serán parte de la Edición Digital Memoria, presente y porvenir en América Latina.
- Límite para la admisión de los resúmenes: 10 de junio de 2012.
- Comunicación de resúmenes admitidos: 20 de junio de 2012.
- Celebración del Congreso: 12-15 de junio de 2013.
- Límite para entregar el texto íntegro de las ponencias: 20 septiembre de 2013.
Dr. Javier Marín López
Área de Música
Universidad de Jaén
Paraje Las Lagunillas, s/n
23071 JAÉN ES
Telf.: +34 953 213 374
Fax: +34 953 211 880
CFP (journal articles): The Future(s) of Music? - Notions of Prospective Musics in Utopian Movies and Literature
The Future(s) of Music? – Notions of Prospective Musics in Utopian
Movies and Literature
The famous Cantina Band scene from George Lucas’ Star Wars, featuring
an alien ensemble performing a foxtrott-like John Williams
composition, is just one of many examples: While film scores often
have provided an experimental ground for musical innovators – just
think of the trendsetting sound creations Oskar Sala and Bernard
Herrmann contributed to the late films by Alfred Hitchcock – diegetic
depictions of musical performances, i.e. those scenes in films where
the production or consumption of music is part of the story, often
draw on known musical idioms when the dramatic setting is explicitly
utopian. The paradox here is that there seems to be a decisive
difference between composing innovative film scores on the one hand
and imagining, picturing and sounding-out “the music of the future” on
the other. Or, is it futures?
Now that Holly- has been joined by Bolly-, Hallyu-, Nolly-, and
several other -woods from all around the globe, the Norient Academic
Online Journal (NAOJ) is looking for articles for its second volume
that address cinematic, theatrical / dramatic and / or literary
delineations of the future(s) of music and that pay particular
consideration to the specific positions, perspectives and artistic
strategies of its producers. NAOJ is looking for contributions that
reflect on the diversity of worldviews, on “aural imaginations” of
places, discuss markers of knowledge and power, or explore traces of
ethnocentrism, traditionalism, or parody in these various produced and
We also welcome ethnographic articles on popular musics from around the world.
Deadline for abstracts (maximum 200 words) is May 31st, 2012 and
should be submitted to
journal_submission at norient.com
For further information:
"Musical Heritage Today: Tradition, Memory, Discourse and Power"
Federal University of Rio de Janeiro / School of Music / Graduate Studies Program
Rio de Janeiro, Brazil, August 13–16, 2012
The III UFRJ_ISM 2012 proposes a reconceptualization of Musical Heritage, as well as a broadening and deepening of theoretical and methodological issues of musical research, seeking greater involvement in public policies and community actions concerning cultural goods and ways of knowing, making and creating through music. The theme "cultural heritage" or "musical heritage" has involved actions and issues related to the survey and the preservation of cultural goods, researching, promoting diversity and cultural value, the definition of tangible and intangible heritage, the construction of identities, heritage education programs, the democratization of access to musical heritage as a dimension of culture and knowledge, social inclusion, creative economies and intellectual property. It provides a renewing opportunity to discuss the extent to which musicological research and thinking in conjunction with technological innovations can contribute to public policies and institutional actions in complying with the various demands of construction of new knowledge in intersection with society. The Program and the Proceedings will be freely available at UFRJ website.
DEADLINE for proposals: May 13, 2012
Proposals (paper about 3,000 to 5,000 words, and a short bio) may be written in Portuguese, Spanish or English, and submitted as attached file (*.doc or *.rtf) by e-mail to sim at musica.ufrj.br.
For inquiries concerning submissions, please contact the Program Committee Chair, Dr. Maria Alice Volpe, at volpe at musica.ufrj.br.
For further details, please the UFRJ School of Music website http://www.musica.ufrj.br and the UFRJ Graduate Studies Program in Music website http://www.musica.ufrj.br/posgraduacao/index.php.
This study day will culminate in a concert including Debussy’s Chansons de Bilitis and Ravel’s Chansons Madécasses. We invite papers that address the theme of ‘Envoicing the Other’ as it relates to music or musical scholarship of any style or medium, and songs or works inspired by the same theme, using some or all of Ravel’s ensemble with the possible addition of fixed-medium or live electronics.
Please see website for more details: www.music.gla.ac.uk/envoicingtheother
lunedì 23 aprile 2012
CONF: The Composer Mieczylsaw Weinberg and Socialist Realism in the Brezhnev Era, Univ. of Hamburg, May 2012
An international symposium with concerts at the University of Hamburg, May 11 to 13, 2012
Mieczyslaw Weinberg (1919-1996) is currently being rediscovered all over the world as one of the most important Russian composers of the 20th century. Recordings and performances of his works are enjoying overwhelming success, for instance at the 2010 Bregenz Festival. A Polish Jew, in 1939 in order to escape the Nazis, Weinberg fled to the Soviet Union, where he enjoyed the patronage of such important figures as Dmitrj Shostakovich. Under Stalin he suffered anti-Semitic persecution and was imprisoned. It was not until Leonid Bre nev was in power between 1964 and 1982 that he increasingly enjoyed recognition and success, without ever being appointed a state composer. Rather, he appears to have found ways to come to terms with the governing artistic doctrine of Socialist Realism without sacrificing creativity. In order to be able to appreciate these ways, we need to compare the aesthetic standards we find in Weinberg’s works with the demands of the artistic doctrine. However,
cularly in the field of music, precisely what these demands were has by no means been clarified to the same extent for all its phases,. While we now have a very clear picture for the period under Stalin,this is far less the case for the subsequent years. By focusing in particular on the Brezhnev era, this is what the symposium intends to address. What influence did Socialist Realism have on music during this time? What did it postulate and how was it influenced by ideological oscillations? And how can we contextualize and interpret Weinberg’s oeuvre from this era? As this can only be discussed in an interdisciplinary context, representatives of art history, literature studies and history will also be participating in the symposium.
The symposion beginns with a Weinberg-portrait-concert on Friday May 11th, 7 p.m. in which chamber musical works by Weinberg are played. The lectures and discussions start on Saturday, May 12th, 9 a.m. The lectures as well as the concerts will be held in the music room of the Musicological Institute, Neue Rabenstrasse 13, 20354 Hamburg.
Further Information can be found on http://www.uni-hamburg.de/Musikwissenschaft/Weinberg_e.htm
CFP (journal articles): Journal of Musicological Research special issue: "Music and World War I: 100 Years Later"
The Journal of Musicological Research, a quarterly peer-reviewed journal published by Routledge, is seeking article submissions for a special issue on “Music and World War I: 100 Years Later” to appear in late 2013 or early 2014. Submissions may represent a variety of areas of inquiry that deal with different the types of music and the groups and populations affected by, or involved in, the Great War.
Topics are not limited to any particular area of scholarly study, but possible subjects might include the following:
Roles played by musicians and composers during the Great War
Music in the military
Music as a political tool
Songs and popular music
Songs from the trenches
Music on the home front
Submissions and questions should be sent to the Editor-in-Chief, Deborah Kauffman, at email@example.com. The deadline for submissions is December 31, 2012.
The official Call for Papers and complete submission guidelines can be found through the journal’s webpage: http://tandfonline.com/action/authorSubmission?journalCode=gmur20&page=paper.
Professor of Music History
University of Northern Colorado
Journal of Musicological Research
Campus Box 28
University of Northern Colorado
Greeley, CO 80639
deborah.kauffman at unco.edu
CFP: Session at Medieval Academy of America: Resounding Spaces: Defining Communities and Geographies through Song, Knoxville, Apr 2013
Session 12 in particular has a musicological orientation, and proposals from musicologists are encouraged. This session is entitled Resounding Spaces: Defining Communities and Geographies through Song [Session Organizer, Rachel Golden, University of Tennessee].
Any member of the Medieval Academy may submit a paper proposal, excepting those who presented papers at the annual meetings of the Medieval Academy in 2011 and 2012. Others may submit proposals as well but must become members in order to present papers at the meeting. Special consideration can be given to individuals whose specialty would not normally involve membership in the Academy.
Proposals should be submitted to Jay Rubenstein, preferably by e-mail to jrubens1 at utk.edu, or, on paper in two copies, to:
University of Tennessee
Department of History
6th Floor, Dunford Hall
Knoxville, TN 37996
The deadline is 15 May 2012.
*Please do not send proposals to session organizers or to the Academy office.
The complete Call for Papers, with additional information, submission procedures, and selection guidelines is available at: http://www.medievalacademy.org/pdf/CFP2013.pdf
The new librarian will be charged with creating an integrated, interactive educational environment within an inviting atmosphere. Curtis seeks a dynamic leader who will work collaboratively with faculty and administrators to realize the relevant portions of the school's strategic plan and to encourage the Curtis community to utilize the library as a gathering place for both individual and group learning and discovery.
The position of Director of Music Library Information Resources is full time, reporting to the vice president and dean. The Director currently supervises 5 full- and part-time library staff members. The Director also trains and supervises student assistants.
The Director is responsible for developing and managing the budget, staff and all administrative functions relating to the music library and archives of Curtis Institute of Music.
Additional responsibilities include:
* Maintaining the collection, including scores, books, periodicals, rare materials, sound recordings, and electronic resources
* Recommending and purchasing new resources for the collection, in collaboration with major faculty, liberal arts faculty and musical studies faculty, including scores (performance and research) and recordings
* Serving as a member of the school's Education Committee, and other committees as appropriate
* Reviewing and acknowledging gift materials to the library
For best consideration, interested and qualified applicants should electronically submit a resume, two professional references, and salary requirements to: firstname.lastname@example.org by June 1, 2012. Curtis offers a competitive salary, commensurate with experience, and an attractive benefits package. Position will be open until filled. No phone calls, please.
The Empirical Musicology Group in the School of the Arts and Media at the University of New South Wales is seeking expressions of interest for 4 month full time Research Associate Position (Academic Level A, approx $61,868 p.a. pro rata) in music cognition and related areas. The position will commence in August 2012. The applicant will be involved in an Australian Research Council project investigating emotional and cognitive responses to music. We are seeking an ambitious, team playing, collegial and hard working individual who is seeking to fast-track their research output. Non-local expressions will need to make their own visa, relocation and living arrangements as required. ! Interested individuals are invited to submit an EOI indicating if and how they meet the criteria below and a relevant, 2 page CV plus list of publications (if appropriate). A graduate degree qualification in at least one of the listed areas, and a strong foundation in music is essential.
Qualification in Music.
Qualification in Music Cognition.
Qualification in Engineering or Science.
Qualification in Psychology.
Qualification in Mathematics (with specialisation in statistics and time-series analysis).
Programming experience in Matlab and/or R Statistics Package.
Programming experience in Max/MSP.
Other programming and data manipulation experience! s.
Experience and designing, conducting, managing and analysing psychological experiments.
Ability to work effectively and independently in a team.
Ability to work to tight deadlines.
Motivation in rapid expansion of publication track record in a collaborative environment.
Motivation to apply for external funding.
Ability to complete and document projects.
Expressions of interest should be submitted to Emery Schubert by email (E.Schubert@unsw.edu.au) as a single attachment file (including response to criteria and CV), with the file name including the surname of the applicant, by Friday, May 18.
Dorottya Fabian (PhD, FAHA)
Associate Professor of Music
Empirical Musicology Group
PG Coordinator (http://sam.arts.unsw.edu.au/postgraduate/)
School of the Arts & Media
Webster Bldg Room 103
The University of New South Wales SYDNEY NSW 2052 AUSTRALIA
Phone: (+61-2) 9385 6954
Fax: (+61-2) 9385 6812
CRICOS Provider ID: 00098G
venerdì 20 aprile 2012
American Research Institute in Turkey / National Endowment for the Humanities Advanced Fellowships for Research in Turkey, 2013-2014. ARIT/NEH Advanced Fellowships cover all fields of the humanities, including prehistory, history, art, archaeology, literature, and linguistics as well as interdisciplinary aspects of cultural history for applicants who have completed their academic training. The fellowships may be held for terms ranging from four months to a full year. Stipends range from $16,800 to 50,400.
ARIT Fellowships for Research in Turkey, 2013-2014, pending funding. ARIT Fellowships are offered for research in ancient, medieval, or modern times, in any field of the humanities and social sciences. Post-doctoral and advanced doctoral fellowships may be held for various terms, from one to three months up to terms of a year. Stipends range from $4,000 to $16,000.
Applications for ARIT fellowships must be submitted to ARIT before November 1, 2012. The fellowship committee will notify applicants by late January, 2013.
Full details: http://ccat.sas.upenn.edu/ARIT
(riservato alla musicologia)
La sede tedesca dell’Ateneo Italo - Tedesco congiuntamente al Servizio Tedesco per lo Scambio Accademico (DAAD) conferisce anche per l’anno 2012 il Premio Ladislao Mittner. Il riconoscimento viene assegnato, ogni anno in un ambito disciplinare differente, a uno studioso italiano che abbia pubblicato almeno un’opera eccellente con riferimento contenutistico e/o metodologico alla Germania. Quest’anno il Premio sarà attribuito nel campo della musicologia.
Il bando si rivolge a cittadini italiani ambosessi, di età non superiore ai 49 anni (al momento della scadenza del bando), in possesso di un dottorato di ricerca. Il candidato dovrebbe essere impiegato presso un’università italiana come assegnista di ricerca, ricercatore, professore aggregato o ordinario. Accanto ai meriti curriculari e professionali verrà valutato l’impegno del candidato nella promozione al dialogo accademico, scientifico e culturale tra Italia e Germania. Il Premio intende essere un riconoscimento dei risultati scientifici già raggiunti dal candidato al momento del conferimento e, contestualmente, un incoraggiamento alla prosecuzione dell’attività di ricerca futura, rinnovata nel segno della cooperazione, dello scambio e del dialogo italo-tedesco.
Il Premio, finanziato dal Ministero Federale tedesco per l’Istruzione e la Ricerca (BMBF),consiste in una somma in denaro del valore di € 5.000 e una borsa di studio DAAD per un soggiorno di ricerca di un mese in Germania.
Le proposte di candidatura devono avvenire in forma scritta e, per poter essere valutate ai fini concorsuali, devono essere corredate della seguente documentazione:
- curriculum vitae del candidato
- elenco completo delle pubblicazioni del candidato
- una selezione delle pubblicazioni fino ad un massimo di n. 3 opere (libri, articoli, saggi): vengono accettati esemplari delle opere in fotocopia; per motivi di natura organizzativa le opere inviate non potranno essere restituite
- lettera di motivazione della proposta di candidatura (max 2 pagine) dell’attività di ricerca futura, rinnovata nel segno della cooperazione, dello scambio e del dialogo tra Italia e Germania.
Modalità di candidatura
La candidatura avviene esclusivamente su proposta di terzi. Le autocandidature non potranno essere accettate. Hanno diritto di proposta professori, ricercatori, docenti e lettori, impiegati presso atenei o conservatori italiani. La documentazione deve essere redatta o in tedesco o in inglese. Le proposte dovranno essere inviate entro il 21 maggio p.v. (farà fede il timbro postale di spedizione) al seguente indirizzo:
Centro Informazioni DAAD Roma
c/o Sapienza Università di Roma - Facoltà di Economia
Via del Castro Laurenziano 9, 00161 Roma
e-mail: email@example.com - tel.: 06 85301666
Selezione del vincitore
La selezione del vincitore avrà luogo in Italia a fine giugno e sarà operata da una commissione binazionale, composta da musicologi italiani e tedeschi. La commissione di selezione potrà anch’essa avvalersi del diritto di proposta di ulteriori candidature. Del candidato verranno valutati il valore della produzione scientifica, la relazione tra età e rendimento, il potenziale sviluppo futuro dei temi di ricerca scelti, e il suo impegno nella promozione delle relazioni italo-tedesche.
mercoledì 18 aprile 2012
Life and Works
Symposium, Weimar, Liszt School of Music, 12-13 October 2013
Call for Papers
Johann Ludwig Krebs (1713-1780) was probably Johann Sebastian Bach’s most important student. The son of Johann Tobias Krebs, he was baptized in Buttelstedt near Weimar and worked as an organ player first in Zeitz and later, from 1756 until his death, in Altenburg/Thuringia. As a composer Krebs’ music can be located within a musical style that was based on Bach’s techniques. However, it also adapted the new aesthetic premises that occurred in the decades of the middle of the eighteenth century. The record and maintenance of Bach’s works for organ are but a few of Krebs’ historical accomplishments. His oeuvre mainly consists of works for organ: these have already been the subject of musicological research, beginning in the middle of the twentieth century. By contrast, his masses, cantatas, motets, and arias, as well as his works for orchestra and chamber works, have so far received only little attention. Until now, these works have not been subject to analytical and hermeneutic
proaches, nor given contemporary contextualization.
On the occasion of the 300th anniversary of Johann Ludwig Krebs’ birth, the Academia Musicalis Thuringiae (AMT), the umbrella organization for Early Music in Thuringia, in cooperation with the Institute for Musicology Weimar-Jena, will organize a musicological symposium entitled Johann Ludwig Krebs (1713-1780): Life and Legacy. It will take place on 12 and 13 October 2013. The aim of the symposium is to foster musicological research on the composer, his works and his biographical environment.
We invite scholars from all disciplines to send an abstract of no more than 200 words as a Word document to symposium at amt-ev.de.
The deadline for submissions is 31 May 2012.
More information can be found on http://www.amt-ev.de/de/KrebsSymposium.php
Prof Dr Helen Geyer Dr. Christian Storch
Institute for Musicology Weimar-Jena Academia Musicalis Thuringiae e.V.
As part of the GÜLDENER HERBST – Festival of Early Music in Thuringia, the symposium will be accompanied by concerts that will include works by Johann Ludwig Krebs.
Academia Musicalis Thuringiae e.V., Lisztstr. 2a, 99423 Weimar, Germany, Tel. +49 (0)3643 493630, Fax +49 (0)3643 493634
martedì 17 aprile 2012
The Wesleyan University Music Department seeks a highly qualified teacher and scholar with strong skills in the teaching of Music Theory and History. This is a full-time one-year visiting position beginning July 1, 2012 with the possibility of annual renewal for an additional two years.
RANK: Visiting Instructor or Visiting Assistant Professor, commensurate with qualifications and experience.
SALARY: Commensurate with qualifications.
QUALIFICATIONS: Ph.D. completed or very near completion by July 1, 2012; teaching experience in a college or university environment.
DUTIES: Teaching introductory and advanced undergraduate music theory and history courses and a graduate seminar on comparative music theory. Advising majors and non-majors, and supervising undergraduate capstone projects. The teaching load is five courses per year.
INSTITUTION: The Music department’s courses range from introduction to music through graduate seminars, in a program that offers astrong undergraduate music major program, the MA in music, and the PhD in ethnomusicology, all with a long-standing interest in performance and cultural studies. Particular areas of strength include: experimental and digital, American, African, East Asian, Southeast Asian, South Asian, and European musics.
DEADLINE: Applications received by May 10, 2012 will receive full consideration.
APPLICATION: To apply, please visit www.wesleyan.edu/facultyopenings
Information concerning the Music Department may be found at www.wesleyan.edu/music
Additional inquiries may be directed to
Deb Shore, Administrative Assistant
297 Washington Terrace
Middletown, Connecticut 06459.
dshore at wesleyan.edu
Wesleyan University is an equal-opportunity and affirmative-action employer and welcomes applications from women and members of historically underrepresented minority groups. Inquiries regarding Title IX, Section 504, or any other non-discrimination policies should be directed to: Sonia Manjon, PhD, Chief Diversity Officer, 860-685-4771.
sabato 14 aprile 2012
Call for papers:
The Center for Indian Film Music Studies (CIFMS), the research wing of the School of Indian Film Music will hold its first annual conference on the 27th May 2012 at Chennai.
Studies on Indian film music are still in its rudimentary stage. There is neither a university program devoted to Indian film music nor a journal dedicated to the exploration of this phenomenon. Indian film music has received minimal consideration from international popular music studies and existing paradigms of popular music studies may not be adequate in
understanding the culture, economies, and histories of India’s film music. The new Center for Indian Film Music Studies is earnest about raising academic interest in Indian film music studies and facilitating knowledge synthesis between academics and practitioners. The CIFMS annual
conference is meant to foster scholarly conversations surrounding the emerging field of
Indian film music studies.
The conference theme “Plurality” thematizes the synthesis of multiple creative, technical, historical and socio-cultural influences that form the basis of creative music practice in Indian filmdom.
The main focus will center around creative musicology, technology and space.
Areas of interest include (but are not limited to):
- (New) methodologies for the study of film soundtracks/songs;
- Creativity and Performance;
- Collectivity and Synchronisation;
- Technology and production;
- Historical studies and evolution;
- Society and Culture
Pashcall de Paor (University of Glamorgan, United Kingdom)
Prof. Kristen Rudisell (Bowling Green State University, Ohio)
Divakar Subramaniam (University of Glamorgan/School of Indian Film
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). CIFMS will support remote paper presentations through Skype this year.
All proposals must be submitted by 01 May 2012 to
giovedì 12 aprile 2012
JOB: University of Texas at El Paso, world music, music literature, music history, ethnomusicology (tenure-track)
College of Liberal Arts - Music Department
Assistant Professor World Music, Music Literature, Music History, Ethnomusicology
POSITION DESCRIPTION: The Music Department at the University of Texas at El Paso (UTEP) is seeking to fill a tenure-track position beginning fall 2012. The successful candidate will participate in departmental activities and other duties as assigned by the department Chair.
ABOUT UTEP: UTEP is a research-intensive doctoral university in the United States with a Mexican-American majority student population, ranking second in the nation in awarding bachelors degrees to Hispanics. UTEP serves a large, bicultural population located on the U.S. Mexico border. Our students, who are approximately 75% Hispanic, mirror the population of this region and, increasingly, that of Texas and the United States. UTEP is increasingly recognized as a model in demonstrating that a university with a fundamental commitment to access can also achieve high levels of excellence in academic programs and research. UTEP's six academic colleges (Business Administration, Education, Engineering, Health Science, Liberal Arts and Science, and the School of Nursing) serve more than 22,600 students enrolled in 70 bachelors, 75 master's, and 19 doctoral degrees in a broad range of academic fields. For more information on our university, please visit the UTEP website (www.utep.edu/)
REQUIRED QUALIFICATIONS: An earned Doctorate in Musicology or Ethnomusicology, with world music experience, or related area in hand by start date (ABDs considered, if defense date is prior to start date); potential for publication in specialized area(s) while able to teach in a variety of music history, literature and culture courses; experience in secondary areas will also be considered.
PREFERRED QUALIFICATIONS: Teaching experience in both music major and general student classes
SALARY: Competitive and commensurate with experience
APPLICATION PROCEDURE: Review of applications will begin May 1, 2012 and applications will be accepted until the position is filled. Applicants should submit: a letter of interest; current curriculum vitae, transcripts, video/audio tapes representing various styles, and names/addresses/phone/e-mail for three references to:
Dr. Marcia Fountain, Coordinator
Music Literature/History Division
Department of Music
301 Fox Fine Arts Center
The University of Texas at El Paso
El Paso, TX 79968-0552
mfountai at utep.edu
The University of Texas at El Paso is an Equal Opportunity/Affirmative Action Employer. The University does not discriminate on the basis of race, color, national origin, sex, religion, age, disability, genetic information, veteran status, or sexual orientation in employment or the provision of services.
Apply Here: http://www.utep.edu
mercoledì 11 aprile 2012
Panel: “Music in the Eighteenth-Century Atlantic World”
Society for American Music 2013 Conference
Musical life in eighteenth-century America was indelibly shaped by Atlantic cultural currents. The same vessels that carried goods and people also transmitted music, and unprecedented expansion in the print sphere joined oral traditions to circulate music around the Atlantic world. Music connected nascent nations transatlantically; certain cities served as key destinations for musical migrants in the circum-Atlantic world; and individual locations became cis-Atlantic musical nodes whose local distinctiveness were tied to the broader cultural trends of the Atlantic world.
This session locates American music in the Atlantic world during the long eighteenth century. How did American musical practices change with the increasing availability of music from Europe? What music repertories traveled from the colonies to other destinations around the Atlantic Ocean? Did especially strong musical ties connect particular loci in the Atlantic world? What do transatlantic musical trends tell us about American cultural self-fashioning vis-à-vis the broader Atlantic world? We invite papers that draw on insights from the robust field of Atlantic History, and welcome topics that engage with the concepts of transatlantic, circum-Atlantic, and cis-Atlantic musical connections before the 1830s. These three concepts were first outlined by historian David Armitage in his introduction to The British Atlantic World, 1500-1800 (2002), and papers in dialogue with Armitage’s introduction are encouraged.
350-word proposals for 20-minute presentations should be sent to Glenda.Goodman@gmail.com by 14 May 2012.
martedì 10 aprile 2012
The University of Missouri-St. Louis, College of Education and the College of Fine Arts and Communication, Department of music, invites applications for a full-time, tenured or tenure track faculty appointment at the Associate Professor level in music education. Duties include: Directing the MME degree program, coordinating the BME degree program, teaching undergraduate and graduate instrumental music education courses, managing the Music Mac Computer Lab, recruiting students for the MME and BME degree programs, and scholarly/creative activities as a music educator. Active professional service and outreach are expected. Qualifications: Doctorate in music or music education, experience as a collegiate educator, K-12 experience, and expertise in preparing future music teachers required. Salary dependent upon experience. Appointment: Nine-month academic appointment in the College of Education and the College of Fine Arts and Communication, Department of Music. Appointm
o commence September 1, 2012.
Application procedure: Letter of application must include curriculum vitae, a minimum of three letters of recommendation or placement file, and graduate and undergraduate transcripts. No publication, CDs, DVDs or other supportive materials at this time. Paper and electronic submissions are welcome. Screening begins April 10, 2012; position open until filled. Women and minorities are encouraged to apply. The University of Missouri-St. Louis is an affirmative action, equal opportunity employer committed to excellence through diversity. Contact: Terry Alaniz, Search Committee Assistant, University of Missouri-St. Louis, Department of Music, One University Boulevard, St. Louis, MO 63121; telephone 314-516-5981; FAX 314-516-6593; email alanizt at umsl.edu.
CENTRAL EUROPEAN MUSICIANS AND THE BIRTH OF FRENCH PIANO VIRTUOSITY
Rome, Istituto Storico Austriaco and Villa Medici
11-13 October 2012
Centro Studi Opera Omnia Luigi Boccherini, Lucca/Pistoia; Istituto Storico Austriaco, Roma; Académie de France à Rome - Villa Medici
In association with
Palazzetto Bru Zane - Centre de musique romantique française, Venice; Haute École de Musique, Geneva
Richard Bösel, Rome; Rémy Campos, Geneva/Paris; Éric de Chassey, Rome; Alexandre Dratwicki, Venice; Pierre Goy, Geneva/Fribourg; Roberto Illiano, Lucca; Annick Lemoine, Rome; Fulvia Morabito, Lucca; Massimiliano Sala, Lucca; Rohan H. Stewart-MacDonald, Leominster (UK)
Leon PLANTINGA (Yale University, New Haven, CT); Rémy CAMPOS (Haute École de Musique de Genève / Conservatoire National Supérieur de Musique et de Danse de Paris); Pierre GOY (Haute École de Music de Genève /HEMU, Vaud Valais Fribourg)
The official languages of the conference will be English, French and Italian. Papers selected will be published in a miscellaneous volume.
All proposals should be emailed to operaomnia at luigiboccherini.org by no later than ***Sunday 25 April 2012***.
Massimiliano Sala, President
Centro Studi Opera Omnia Luigi Boccherini
operaomnia at luigiboccherini.org
Dr. Roberto Illiano, Presidente Edizione Nazionale Muzio Clementi
Segretario Generale Centro Studi Opera omnia Luigi Boccherini-Onlus
Via Lorenzo Nottolini, 162
S. Concordio contrada
rilliano at muzioclementi.com
Teach freshman music theory/aural skills (including supervising teaching assistants) and fundamentals of music for non-majors both fall and spring semesters. Teach graduate analytical techniques in fall, and either graduate orchestration or post-tonal theory in spring; possibly also secondary undergraduate composition lessons.
Ph.D. in music theory, or doctorate in composition/theory or composition; the degree must be completed by the starting date of the appointment
Demonstrated excellence as a teacher; keyboard competence
Teaching experience at the college or university level; significant professional activity in composition, or publications in music theory.
venerdì 6 aprile 2012
The Enduring Challenge of Rousseau’s Thought
Held by The Colorado College and
the Rousseau Association/Association Rousseau
Colorado Springs, Colorado, USA
December 13 – 15, 2012
The object of this conference is to celebrate the 300th anniversary of Rousseau's birth by bringing renewed attention to his genuine and yet at times still undervalued stature as a scientist, philosopher, and artist. We hope that the work presented will serve to showcase how very deeply and subtly Rousseau thought, to explore some of the complex problems that he treats so radically and profoundly, to bring to life the vigorous debates in which he is engaged with his most thoughtful contemporaries and predecessors, and to demonstrate the subtlety and depth of discipline that he brought to his many endeavors.
In accord with the spirit and past practice of the Rousseau Association, submissions are welcome in a wide variety of fields including, but not limited to, political philosophy, philosophy, music, history, the history of ideas, eighteenth-century studies, history of science, literature, and religious studies.
Proposals (title and short summary) in English or French, for papers (to be presented orally in 15-20 minutes) should be sent to the Conference Organizer, Eve Grace, preferably by email: egrace at coloradocollege.edu, or by fax at 719-389-6586, or by mail to: Eve Grace, Political Science Department, Colorado College, 14 East Cache la Poudre, Colorado Springs, CO 80903 USA.
The deadline for receipt of proposals is May 15, 2012. Proposals will be reviewed by the Steering Committee (Professors Eve Grace, Christopher Kelly, Ourida Mostefai, and John Scott), and a decision will be communicated by June 15th. A preliminary program for the conference will be available in September 2012.
CFP: Music and Power: Historical Problems and Perspectives in Russia, Eastern Europe and Eurasia, Miami Univ., Oxford, Feb-Mar 2013
Miami University (Oxford, Ohio)
February 28-March 2, 2013
Sponsored by the Havighurst Center for Russian and Post-Soviet Studies,
and the Departments of Music, the School of Fine Arts, and the Jewish Arts and Culture Series (Posen Foundation)
Organizers: Dr. Rebecca Mitchell, Dr. Ricardo Averbach and the Havighurst Center for Russian and Post-Soviet Studies
>From the time of Plato if not before, the fraught relationship between music and power has attracted commentary, discussion and debate. Focusing primarily on the lands of Russia, Eastern Europe and Eurasia, this conference will unite scholars from across the disciplines to examine how power relations and musical expression have mutually informed and shaped each other over time. Those in positions of power have traditionally sought to control music’s communicative and transformative potential – either by directly limiting it (perhaps most noticeably when censors have declared a work or composer “unsuitable” for ideological reasons), or by harnessing it for their own ends. But music has also been employed as a means of resisting or undermining power relations of all kinds. Thus while music and power are clearly entwined within the public sphere, this relationship has also found expression in more subtle forms of human interaction and has shaped the expression of multiple politi
relevant identities (national, ethnic, religious). This conference will address important questions regarding the multifaceted interrelationship between music and power, including but not limited to: Who decides what constitutes “suitable” music within a given social, political and historical context? What role has censorship played in shaping musical expression? How has music been implicated in abuses of power? How has music been used to advance imperialist ambitions? How did musical expressions of “national” unity support or undermine the political and social structures of multi-ethnic empires? What impact has musical nationalism had on the social and political contexts in which it emerged? How have identity politics shaped musical creativity? How has music been employed in resistance to social, cultural, national or hierarchical control?
We invite submissions from scholars interested in developing cross-disciplinary approaches to the study of music in human history and culture. In addition to scholarly discussion and exchange among panelists, the conference will include two keynote speakers: Dr. Richard Taruskin (UC-Berkeley) and Dr. James Loeffler (University of Virginia). A symphonic performance, conducted by Dr. Ricardo Averbach, will be held the evening of March 1, 2013 in Oxford.
We encourage proposals both from young researchers who have completed their dissertation research (ABD) and from established scholars in any field of the humanities or social sciences. As we plan to publish a conference volume based on papers presented, all participants will be required to submit their completed paper one month prior to the conference.
All presenters will be provided with accommodations in Oxford, ground transportation to and from the airport, and partial travel funding (up to $400 for domestic travel, $800 for international travel).
To be considered for the conference, submit an abstract of approximately 300 words and a short CV to mitcher3 at muohio.edu by September 1, 2012. Please include “2013 Music and Power Conference” in the subject line. Selected papers will be announced by October 1, 2012.
Inquiries may be directed to:
Dr. Rebecca Mitchell
The Havighurst Center
Harrison Hall Room 116
Oxford, Ohio, 45056-2816
mitcher3 at muohio.edu
Deadline for abstract submissions: June 1, 2012.
Beethoven scholars, including musicologists, theorists, and performers, are invited to submit proposals (one per author) for individual papers, lecture/demonstrations, or lecture/performances. Papers and presentations should not exceed 30 minutes. Ten minutes will be allotted for questions and discussion following the papers and presentations.
Papers and other presentations that will be included in the program of the New Orleans national AMS/SMT/SEM meeting may not also be given at the pre-conference.
1) For paper proposals: submit proposed abstract (350-400 words), and affiliation or status as independent scholar. Paper proposals should articulate the main aspects of the work clearly, position the work in reference to earlier work, and describe the work's significance.
2) For Lecture/Demonstrations: submit proposed abstract (limit 400 words), affiliation or status as independent scholar/performer(s), recording of proposed demonstration, and technical requirements. 3) For Lecture/Performances: submit proposed abstract (limit 400 words), title of work, name/affiliation or status as independent scholar, length of work, and program notes.
For all proposals, please indicate your keyboard and technical requirements.
Abstracts are to be submitted as an email attachment in Microsoft Word or Adobe PDF to: jbiermann at music.ua.edu
For more information, please check the following website, which will be updated regularly:
This conference is sponsored by the American Beethoven Society, the University of Alabama and the University of Illinois, and organized by Joanna Biermann (UA), William Kinderman (UIUC), David Levy (Wake Forest University), and William Meredith (American Beethoven Society, Ira F. Brilliant Center for Beethoven Studies and San Jose State University).
At Glasgow, fellowship holders will benefit from a proven peer group mentoring programme and have the opportunity to be transferred to an open ended lecturing contract, subject to performance and strategic fit.
Our fellowships are open to exceptional candidates from any discipline, including those with clinical qualifications, and are available in all four of our Colleges:
Medical, Veterinary and Life Sciences
Science and Engineering
To develop conduct and publish research in the field of 'Music as Cultural Practice' taking the lead or working in collaboration with colleagues, including management of the research programme; development and submission of research funding applications and conduct and publication of research at international level.
Deadline: Thursday, 31st May 2012
giovedì 5 aprile 2012
Il "Coro della Facoltà di Musicologia", in collaborazione con la Facoltà di Musicologia (Università di Pavia/Cremona) presenta un seminario di studi dedicato alla prassi esecutiva della polifonia vocale sacra nel secondo Cinquecento. Peculiarità del seminario è la presenza di musicologi e direttori di coro, entrambi specialisti del repertorio in esame, che analizzeranno da diverse prospettive i fattori che interagiscono nell'esecuzione della polifonia tardocinquecentesca.
L'incontro si terrà i prossimi 26-27-28 aprile, presso la Sala Conferenze della Biblioteca Statale di Cremona.
martedì 3 aprile 2012
Arts and Ethics, October 18-19, 2012
The 6th Verge Conference at the School of the Arts, Media + Culture
Trinity Western University, Langley, British Columbia, Canada
There is long history surrounding the relationship between the arts and
ethics. The arts affect individual identities, communities, and
relationships between people and their environments. Each theory of the
relation between arts and ethics leads to different views of the ways the
arts are experienced and gives rise to different responsibilities for
producers and experiencers of the arts.
This conference explores the relations between arts and ethics through
* Do artistic forms enact ethics? If so, are some artistic forms Œmore
ethical¹ than others?
* Are there ethical responsibilities to art?
* What ethical responsibilities do artists have?
* Do arts educators have ethical responsibilities?
* What is the distinction (if there is one) between Œarts and ethics¹ and
Œarts and morals/morality¹?
* Can the arts make communities Œmore ethical¹?
* Can the arts help or harm the development of ethical reasoning?
* How do the arts present ethical responses to real life situations?
* How have discourses about the arts ignored issues pertaining to ethics?
* Prof. Terry Lindvall, Virginia Wesleyan College
* Prof. Lambert Zuidervaart, Institute for Christian Studies and
University of Toronto
The deadline for proposals is June 15, 2012. For more information, visit
our website at: http://www.twu.ca/vergeconference
Hearing, Seeing and Imagining:
Music and the Visual Arts
28th – 31st August 2012, Herstmonceux Castle, East Sussex, England
The Institute for Music in Human and Social Development (IMHSD), Edinburgh College of Art, the University of Edinburgh, in collaboration with Queen’s University, Canada and the Bader International Study Centre (BISC) 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; graphic scores and musical improvisation; creative practice; the arts and social engagement; sensory integration; cognitive prediction and planning; and synaesthesia. The meeting will include talks, workshops, discussions
musical performances, held in the beautiful environment of Herstmonceux Castle. Deadline for proposals: Friday 6th April 2012. Three student scholarships are now available, covering the registration fee, meals and accommodation. For more information:
or contact Dr. Katie Overy: k.overy at ed.ac.uk or Dr. Karen M. Ludke: Karen.Ludke at ed.ac.uk
announce its call for proposals for the 2013 MLA Annual Meeting in San
Jose, California, February 27 – March 3, 2013!
Proposals should be submitted through the online form:
The deadline for submission is May 11, 2012.
The Otto Mayer-Serra Award for Music Research
The University of California Riverside and the Center for Iberian and Latin-American Music (CILAM) call for submissions for the Otto Mayer-Serra Award, given annually for the best unpublished article on Latin American music.
A single, undivided award of 1,500 USD; the award-winning essay will be published in the Latin American Music Review.
All scholars are eligible to apply, regardless of age, nationality or place of residence.
The winner will be selected by a committee of outside reviewers, nominated by CILAM. The names of the committee members will be made public after a decision has been reached. The committee’s decision is final and may not be appealed. If no submission is deemed worthy the prize may not be awarded. The committee may disqualify any participant who does not meet the requirements established by this call.
A completed application will consist of the following:
1. Authors of articles to be considered for the award should submit one complete copy in word doc or pdf format as an attachment to an email addressed to Leonora Saavedra (firstname.lastname@example.org). Articles should not exceed 40 pages, inclusive of references, illustrations, and musical examples. All material should be double-spaced, in 12-point Times New Roman Font, with margins of at least one inch.
2. To allow for the anonymous review of submissions, the author’s name should appear only in the cover letter, which should also contain the full title of the submission and all relevant contact information. Authors should avoid identifying themselves in the manuscript itself (title page, header, notes) or in the file information.
3. The article must be unpublished and written in Spanish or Portuguese and will be published correspondingly in either language.
Application deadline: June 1, 2012. The winner of the prize will be notified in September 2012.
After being notified, the winning author will submit publication-quality musical examples and illustrations in TIFF (300dpi) and the text in Word format. The author will be responsible for arranging the corresponding permits for publication.
The Otto Mayer-Serra Prize for Music Research was established in 2008 by Instrumenta Oaxaca, Gobierno del Estado de Oaxaca, Fundación para las Letras Mexicanas, Coordinación de Difusión Cultural UNAM, Instituto Nacional de Bellas Artes and Pauta.
lunedì 2 aprile 2012
Arnold Schoenberg Educational Visions 2012
Application deadline: May 25, 2012
A Comprehensive Three Day Workshop for Educators.
Wednesday Aug 22, Thursday Aug. 23 and Friday Aug. 24, 2012
Arnold Schoenberg Center, Vienna and Schoenberg House, Moedling
To obtain an application form for this workshop or to receive additional information including a detailed brochure please contact the Arnold Schoenberg Center, direktion at schoenberg.at ; or visit the Center’s website: www.schoenberg.at . The registration deadline is May 25, 2012.
See also: http://educationalvisionsvienna.com/ for details.
ANNOUNCEMENT / CFP (journal articles): Dutch Journal of Music Theory, new issue now available / call for submissions
In case your institution does not hold a subscription to this journal, a one-month free trial can be obtained by writing to the publisher, Amsterdam University Press, at email@example.com.
- Boudewijn Leeuwenberg, “De intertekstualiteit van John Lewis’s ‘Milano’” (in Dutch)
- Lieven Strobbe and Hans van Regenmortel, “Music Theory and Musical Practice: Dichotomy or Entwining?”
- Franz Zaunschirm, “Harmonisches Hören für Melodieinstrumente“ (in German)
- John Koslovsky, “Hold that Note! Teach the Pedal Point”
- Keith Salley, “On Fostering Critical Thinking in the Music Theory Classroom through Comparative Analysis and Debate”
- Michel Khalifa, “Een pleidooi voor duolessen muziekgeschiedenis/muziekanalyse” (in Dutch)
- Peter C. Sonderen, “A Modern Anacharsis Looks at Music Theory”
CALL FOR SUBMISSIONS
The 'Dutch Journal of Music Theory' is a tri-annual, peer-reviewed journal that embraces established and innovative music-theoretical perspectives on a wide range of musics, from both conventional repertoires to repertoires that usually fall outside the scope of music analysis. The editorial board welcomes submissions for articles and discussions to be scheduled for publication in November 2012 and May 2013. For more information about the 'Dutch Journal of Music Theory' as well as the guidelines for submission, see the journal’s website: www.djmt.nl.
Editor in Chief: Vincent Meelberg
Editorial Board: Jacques Boogaart (University of Amsterdam), Kristof Boucquet (University of Leuven), Karst de Jong (Royal Conservatory, The Hague; Escola Superior de Música de Catalunya, Barcelona), Suzanne Konings (Royal Conservatory, The Hague), Harm Langenkamp (Utrecht University), Vincent Meelberg (Radboud University Nijmegen), Steven Vande Moortele (University of Toronto), Martyn Smits (Fontys Conservatory, Tilburg), Job Spierings (Muziek Centrum Nederland), Barbara Titus (Utrecht University), Ida Vujovic (Royal Conservatory, The Hague), Stephan Weytjens (University of Leuven; Royal Flemish Conservatory, Antwerp), Jaap Zwart (Conservatory of Amsterdam)
The annual conference of the Israeli Musicological Society will take place on 26-27 June 2012 in Jerusalem and Tel Aviv, and will honor the recipients of the Israel Prize this year: Prof. Dalia Cohen and Prof. Ruth Katz.
Scholars are invited to submit proposals for paper sessions (a 20-minute paper plus 10-minute discussion) on any aspect of musical studies: art music and other types of music, in western and non-western cultures, music in Israel, music theory, music education, analysis, music cognition, etc.
We also welcome panel sessions organized by teams of scholars.
Proposals should include the title, name and affiliation with email address, and an abstract up to 400 words (600 words for an entire session).
Please send proposals to: imsconfe at gmail.com.
See also: http://israel-musicological-society.huji.ac.il/index.php?id=815
Deadline: 30 April 2012.