ANNOUNCEMENT: Research group "Music in Spain in the Modern Era: Composition, Reception and Performance"

Dear colleagues,

We are glad to announce the new website of the Research Group 'Music in Spain in the Modern Era: Composition, Reception and Performance' ('Música en España en la Edad Moderna: composición, recepción e interpretación'), which is available in English and Spanish:

http://www.unirioja.es/mecri/index_eng.shtml

The group’s main research interest is the musical activity –composition, performance and reception– in Spain during the late-seventeenth and eighteenth centuries, paying particular attention to chamber music, both vocal and instrumental. We address these issues bearing in mind the various connections between Spain and the rest of Europe, and applying recent study approaches developed in the fields of the social history of music, the history of musical genres and performance studies.

The website contains information on the different activities fostered by the group, such as research projects, scientific meetings, publications and collaborations with international research groups. Do not miss the news section on the right-hand side of the website, where you will find, among other announcements, the CFP for the forthcoming International Colloquium "Instrumental Music in the Iberian World 1760-1820" (deadline 1 march).

We hope that you find it interesting.

With all best wishes,

Ana Lombardía
Universidad de La Rioja
Dpto. de Ciencias Humanas-Área de Música
ana.lombardia at unirioja.es
Research Group/ Grupo de Investigación: http://www.unirioja.es/mecri

CFP: Ethnomusicology Review Vol. 18 (deadline extended)

Call for Papers:

Ethnomusicology Review is now accepting submissions for Volume 18, scheduled for publication in Fall 2013. Our online format allows authors to rethink how they use media to present their argument and data, moving beyond the constraints of print journals. We encourage submissions that make use of video, audio, color photographs, and interactive media. 

The submission deadline is March 15, 2013.

 

Sounding Board submissions:

In addition to the annual volume, we are accepting submissions to the Sounding Board page. The Sounding Board publishes content on a weekly basis and includes four columns:

 - What's Goin' On (book and media reviews, editorials)

 - Notes from the Field (brief essays from scholars currently engaged in fieldwork)

 - From the Archives (noteworthy highlights from ethnomusicology archives)

 - Space is the Place (on the intersection between jazz studies and ethnomusicology)

Submission deadlines are rolling; please contact the editors.

 

Full guidelines for submission: ethnomusicologyreview.ucla.edu/submission-guidelines

 

 

Ethnomusicology Review

2539 Schoenberg Music Building

Box 951657

Los Angeles, CA 90095-1657

ethnomusicologyreview.org

emreview@ucla.edu

 

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

The University of Arizona School of Music invites applications for a tenure-track full-time Assistant Professor position in Musicology with a specialty in the field of American Music. Preferred secondary area of expertise is in music industry studies. Other areas may be considered.

The committee will consider applicants in any area of American Music with the potential for distinguished scholarship and creative teaching at the undergraduate and graduate levels. There is flexibility in our consideration of the secondary area. All qualified scholars are invited to apply.

Please see the complete job listing at: https://www.uacareertrack.com/

AWARDS: RIdIM [Music Iconography] Thesis and Lecture Awards

Association RIdIM would like to announce a new opportunity for early career scholars: The Lloyd Old and Constance Old Thesis and Lecture Awards in Music, Dance & Theatre in Visual Culture by Early Career Scholars.

We invite you to read the announcement and application instructions on the RIdIM web site at http://www.ridim.org/old_award.php

CFP: Recital and Urban Setting in the Nineteenth Century, La Spezia, July 2013

RECITAL AND URBAN SETTING IN THE NINETEENTH CENTURY

http://www.luigiboccherini.org/alkan.html

International Conference
Organized by
Centro Studi Opera Omnia Luigi Boccherini, Lucca
Società dei Concerti, La Spezia;
In association with
Palazzetto Bru Zane - Centre de musique romantique française, Venice

DATES: 11-13 July 2013
LOCATION: LA SPEZIA (Italy), CAMEC
CFP Deadline: 15 March 2013


PROGRAMME COMMITTEE

·    Andrea Barizza, La Spezia; Richard Bösel, Rome; Etienne Jardin, Paris/Venice;  Roberto Illiano, Lucca; Fulvia Morabito, Lucca;  Massimiliano Sala, Lucca; Rohan H. Stewart-Macdonald, Leominster, UK

KEYNOTE SPEAKERS

·      Richard Bösel (Istituto Storico Austriaco, Rome)

·      Laure Schnapper (EHESS, Paris)

The official languages of the conference are English, French, and Italian. Papers selected at the conference will be published.

All proposals should be submitted by email no later than ***Saturday 15 March 2013*** to <conferences@luigiboccherini.org>. With your proposal please include your name, contact details (postal address, e-mail and telephone number) and (if applicable) your affiliation.

For any additional information, please contact:

Dr. Massimiliano Sala, Via Pelleria, 25, I-55100 Lucca (Lu)
conferences at luigiboccherini.org

www.luigiboccherini.org

Kurt Weill Book Prize - Call for Nominations

Kurt Weill Book Prize - Call for Nominations

The Kurt Weill Foundation welcomes nominations for the 2013 Kurt Weill Book Prize for distinguished scholarship in music theater since 1900 (including opera), for works first published in calendar years 2011 and 2012. Two 2013 Kurt Weill Prizes will be awarded: a cash prize of $5,000 to the author of the winning book entry; and a prize of $2,000 to the author of the winning article entry.

Media may include not only print (book, major scholarly article in a journal, chapter or essay, critical edition), but also audio-recording, video-recording, multi-media projects, and on-line publications, provided there is a tangible scholarly component. Edited multi-author collections of essays are not eligible in the book category, although single essays from such collections may be nominated in the article category. Works addressing the American music theater are particularly encouraged.

There are no citizenship or language restrictions. Nominations are solicited from individuals, publishers, scholarly societies, and institutions, but self-nominations are encouraged as well. The address of the author and five copies of the nominated work must be submitted before 30 April 2013 to the Kurt Weill Foundation for Music, 7 East 20th Street, 3rd Floor, New York, NY 10003, USA. For further information, contact Carolyn Weber at the Kurt Weill Foundation at (212) 505-5240 or e-mail the Foundation atkwfinfo@kwf.org.

Kate Chisholm

Manager of Promotion and Special Projects

The Kurt Weill Foundation for Music

7 E 20^th Street

New York, NY 10003-1106

Tel: (212) 505-5240 / Fax: (212) 353-9663

kchishom@kwf.org

www.kwf.org

FWP: University of Tennessee, Knoxville, Marco Institute for Medieval and Renaissance Studies

Marco Institute for Medieval and Renaissance Studies
University of Tennessee, Knoxville
Dunford Hall, sixth floor
915 Volunteer Blvd.
Knoxville, TN 37996-4065

POSTDOCTORAL FELLOW. The Marco Institute for Medieval and Renaissance Studies at the University of Tennessee, Knoxville, invites applications for the 2013-2014 Jimmy and Dee Haslam Postdoctoral Fellowship, a one-year fellowship to be held August 1, 2013 to July 31, 2014 and renewable for one year. The Haslam Fellowship is open to untenured scholars in any field of late antique, medieval or Renaissance studies whose work falls in the period 300-1700 C.E. The Institute hopes to attract a scholar of outstanding potential with an innovative research plan, who will participate fully in the intellectual life of the Marco community throughout the academic year. During the course of the year, the Fellow will teach one upper-division undergraduate class and one graduate seminar in his or her field of expertise. Seminars will preferably use primary source materials. The Fellow receives a $1,000 travel stipend and is eligible to apply for additional travel and research funding through t
 he In
stitute. Salary is $40,000 and includes full benefits.

Online application form, curriculum vitae, detailed research plan (2 single-spaced pages), and two letters of reference must be submitted by April 1, 2013. To apply, please visit the link: https://ut.taleo.net/careersection/ut_knoxville/jobdetail.ftl?lang=en&job=1300000031, which takes you to Marco’s specific posting on UT’s online application program. You will be able to complete the online form after registering. The online application provides you with opportunities to upload your c.v. and research plan. Please ask referees to send recommendations under separate cover by email attachment (Word or pdf preferred) to Heather Hirschfeld, Riggsby Director, Marco Institute for Medieval and Renaissance Studies, at marco at utk.edu. Recommendations should also be received by April 1, 2013.

Information on the Marco Institute is available at http://web.utk.edu/~marco/. The University of Tennessee is an EEO/AA/Title VI/Title IX/Section 504/ADA/ADEA institution in the provision of its education and employment programs and services. All qualified applicants will receive equal consideration for employment without regard to race, color, national origin, religion, sex, pregnancy, marital status, sexual orientation, gender identity, age, physical or mental disability, or covered veteran status.

JOB: University of Hartford (Hartt School), music history (tenure-track)

The Department of the History and Literature of Music at The Hartt School is looking for an
enthusiastic and collegial teacher and scholar to teach a talented population of undergraduate
and graduate students, someone who shares The Hartt School’s values of high standards of
performance and learning.

Qualifications: Applicants must have a completed doctorate or ABD, a strong record of
publication in historical musicology or clear evidence of the potential for establishing such a
record. Equally important is a demonstrated commitment to inspiring undergraduate students to
a deeper understanding and appreciation of the canon of Western musical history. Essential
qualities for this position are exceptional teaching, communication and interpersonal skills. The
University of Hartford is an open and welcoming community, which values diversity in all its
forms. In addition, the university aspires to have its faculty and staff reflect the rich diversity of
its student body and the Hartford region. Candidates committed to working with diverse
populations and conversant in multicultural issues are encouraged to apply.

Responsibilities: Successfully teach a range of general and specialized Music History courses at
the undergraduate and graduate levels; serve on departmental, school and university
committees; supervise Senior and Master’s theses and DMA essays; and examine candidates for
doctoral degrees. Successful applicants are expected to remain active in pedagogical and/or
scholarly pursuits and seek opportunities for peer-reviews and publication. Also expected is an
active presence in appropriate professional organizations.

For further details, see

www.hartford.edu/mhsearch.pdf

CFP (journal articles): Echo: a Music-Centered Journal

Echo: A Music-Centered Journal Call for Content

Echo: A Music-Centered Journal seeks submissions for publication.  Echo’s purpose is to create a forum for discussion about music and culture that includes voices from diverse backgrounds and disciplines, and we are particularly interested in work that advances interdisciplinary approaches.  We welcome work that addresses music in diverse social contexts, not confined to any geographically, historically, or methodologically bounded genre.

In addition to the traditional written journal articles and book, film, and recording reviews, we are seeking original digital content for online publication.  We encourage submissions that take advantage of the capabilities of online publishing, and offer innovative alternatives to traditional modes of academic writing.  All submissions, regardless of medium, will be subject to peer review.

Suggestions include:

- recorded performances or lectures
- interviews (with musicologists, composers, performers, etc.) (written or recorded)
- conversations/roundtables (written or recorded)
- vlogs (video blogs)
- podcasts
- interactive instructional sites or apps
- reviews of apps for music production, websites, and other digital media, or any of the above

The deadline for submissions is April 1, 2013.  Please send all submissions, including media, to echojour at humnet.ucla.edu.

CFP (journal articles): Finnish Journal of Music Education

Call for Papers: The Finnish Journal of Music Education – Special Issue

The Finnish Journal of Music Education invites proposals for general and themed issues. In 2013, the journal invites articles especially on learning and teaching of fundamentals of music, music theory, ear-training, and music history, as well as on subjects relating to their development.

The learning and teaching of the subjects contributing to general musicianship are in transition. Illuminating this, the articles of the special issue might address
- new pedagogical practices and methods in music theory, music history, or ear-training,
- curricula and subject integration,
- combinations of formal and informal learning,
- pertaining innovations in and applications of music education technology,
- relating philosophical issues in music and education, or
- the relationship between teaching and learning the subjects, on the one hand, and research in education and music, on the other.

The refereed articles will be published in the second issue of the current volume (volume 16), guest edited by docent, Ph.D. Juha Ojala of the University of Oulu (juha.ojala at oulu.fi). For the referee process, please send the manuscripts  to the editorial assistant by June 15, 2013 (marja.heimonen at siba.fi).

The FJME is a refereed journal publishing articles and reviews on the research and practice of music education. The languages of publication are Finnish, Swedish and English. Articles in domestic languages are accompanied by an English summary of no more than 200 words. We kindly ask the authors to pay attention to the instructions for contributors at <http://www2.siba.fi/musiikkikasvatuslehti/index.php?id=43&la=en>.

The articles are blind-reviewed by researchers with relevant topical and methodological expertise. If you have questions concerning the special issue, the journal, or the article manuscripts, please contact the guest editor, or managing editor Heidi Westerlund (heidi.westerlund at siba.fi) or editorial assistant Marja Heimonen (marja.heimonen at siba.fi).

Call for participation: International Summer School on Musical Understanding

The Music Mind Machine research centre and the Department of Music, University of Sheffield, will host coming July (8^th-11^th) an International Summer School on Musical Understanding: Philosophical, Psychological and Neuroscientific approaches. 

Confirmed speakers are Corrado Sinigaglia (University of Milan); Katie Overy (University of Edinburgh); Tuomas Eerola (University of Jyväskylä); Nikki Dibben and Renee Timmers (University of Sheffield).

The Summer school will focus on: 

1) Interdisciplinary approaches to musical understanding

2) Mirror neurons and the enactive aspects of musicality

3) Emotional feedback in musical experience

What phenomenological experiences are connected to musical engagement and understanding? What is the role of the bodily motor knowledge in the sense-giving process of musical comprehension? What faculties underlie musical understanding and how are these reflected in neuroscientific and psychological findings? 

The summer school will investigate musical understanding from philosophical, psychological and neuroscientific perspectives and will address the raised questions through presentations, discussions, reading groups, and analysis of empirical work conducted before and during the summer school. The aim of the school is to provide an opportunity to engage with cutting edge research, interact with leading academics and participate actively in debate, research design, analysis and presentation.

Open to graduate students with a clear interest and familiarity with psychology of music. 

We would be most grateful if you could circulate this email among your colleagues and students.

Please have a look at the official Summer School's webpage for further information:

http://www.sheffield.ac.uk/music/research/mmm/mmmsummerschool/index

Thank you very much for your time and consideration

All the very best

--

The International Summer School on Musical Understanding Committee (A. Schiavio, Y. Arthurs, S. Bramley, T. Veltri, Dr. N. Dibben and Dr. R. Timmers)

Department of Music, University of Sheffield

34, Leavygreave Road, Sheffield, S3 7RD    

CFP (articles): Rivista di Analisi e Teoria Musicale: Can we talk of a passacaglia principle?

Call for papers: Si può parlare di un principio-passacaglia? / Can we talk of a passacaglia principle?

Deadline: 31 May 2013


The recent revival of Formenlehre devoted substantial efforts to the discussion of sonata form(s), often from opposed – and sometimes conflicting – angles. Different theories have been developed concerning what we might call the “sonata principle”.

This special issue of Rivista di Analisi e Teoria Musicale is intended to address a similar topic in respect of the passacaglia.

We invite the submission of abstracts which will address this issue from any perspective and with respect to any repertory. You may wish to respond to one of the following possibilities:

is it worthwhile distinguishing between passacaglia and chaconne (cf. Couperin’s ‘Chaconne ou Passacaille’)? Does a common “principle” (what we have provisionally called “passacaglia principle”) exist in both genres? Which elements can be considered distinctive features?

what is the relationship between the passacaglia principle and variation form?

how pervasive is the combination of passacaglia and lament (cf. Purcell’s ‘When I am laid in earth’, Ligeti’s Horn trio)? Is this connection essential to the principle?

is a teleological/narrative process intrinsic to the principle, or is it a later development (cf. Brahms IV, last movement)?

what is to be gained from viewing popular song’s harmonic loops as passacaglia-derived (cf. My Chemical Romance’s ‘Famous last words’)?

does a relationship exist between the passacaglia principle and the practices of oral tradition? Is it worthwhile connecting this relationship to the question of the origin of the passacaglia principle?

Deadline for submission of abstracts is 31 May 2013. If selected, you will be asked to submit your paper by 31 January 2014. Submitted papers will then be subject to the normal refereeing process.

Abstracts (in English or Italian, 800-1000 words, bibliography excluded) should be sent by attachement (in PDF format) to: editor.ratm at libero.it

Details: http://www.gatm.it

Call for papers - Music and Voice: Expression, Perception and Induction of Emotion

The Swiss Center for Affective Sciences invites submissions on the theme of “Music and Voice: Expression, Perception and Induction of Emotion” for a special issue to be published in May 2014 (online first publication with citable DOI upon acceptance) in the Journal of Interdisciplinary Music Studies (JIMS).  

Rather than focusing on a particular discipline, the goal of this volume is to bring together relevant multi- and trans-disciplinary insights focused on the expression and perception of emotion in Music and Voice, as well as on the processes and mechanisms that facilitate emotional induction. We particularly encourage transdisciplinary submissions that promote an integrated study of Music and Voice. 

Scholars conducting relevant research are encouraged to submit a full research paper by the 1st of August 2013. More information about this special issue and a detailed call for papers can be found at http://www.affective-sciences.org/mve (and also attached to this email).

Best regards,

Eduardo Coutinho

Music Focus

Swiss Center for Affective Sciences

University of Geneva, Switzerland

http://www.affective-sciences.org/

JOB: University of Music and Performing Arts Graz, university assistant (0.75-time)

The University of Music and Performing Arts Graz (Austria), Institute for Music Aesthetics, seeks to appoint from the nearest possible date for four years an

0.75 university assistant

in line with § 26 of the „Kollektivvertrag für die Arbeitnehmer/innen der Universitäten“ in Austria. The minimum salary per month is at present 1.899,00 € before tax and social security deductions (14 times p.a.). Relevant work experience can result in a higher salary.

General requirement for hiring

MA completed in musicology, philosophy or another relevant discipline

Special requirements for hiring

excellent MA degree, promising high potential in research,

intention and ability to produce a PhD thesis in the field of music aesthetics during the period of four years,

an interest to relate philosophical methods and empirical insights that concern aesthetics to each other.

Suitable candidates are invited to apply in writing by
5 March 2013

mentioning GZ 14/13 in the cover letter, to: Personalservice der Universität für Musik und darstellende Kunst Graz, Leonhardstraße 15, A-8010 Graz, Austria, Europe. Application materials must include CV, certificates of academic degrees, and a short piece of academic writing.

Informal enquiries may be made to Professor Andreas Dorschel, Head of Institute, by e-mail: andreas.dorschel at kug.ac.at.

Equality of opportunity is University policy.

The University aims to increase the representation of women among faculty. In case of equal qualification of candidates, a female candidate will be preferred.

If equally qualified, candidates with special needs will be preferred.

Costs of travel and accomodation arising for attendance at the job interviews cannot be reimbursed.

CFP: Mediterranean Music Conference, Univ. of Nicosia, Sep 2013

Third Biennial Mediterranean Music Conference
Univ. of Nicosia, 19-21 Sep 2013
CFP Deadline: 1 May 2013

The Cyprus Music Institute and the University of Nicosia invite proposals for the Third Biennial Mediterranean Music Conference.

Description: The Mediterranean has long fascinated scholars as a location of cultural activity, even though geographical boundaries and unifying cultural characteristics have doggedly eluded clear definitions. The fundamental ambiguities facing any construction of the Mediterranean as a cultural space have given rise to one of the central themes of Mediterranean music studies: whether and to what extent one may differentiate Music of the Mediterranean from Music in the Mediterranean. Music of the Mediterranean would seem to encompass several indigenous traditions whose cross-fertilization over time might be expected to have led to the emergence of distinctly Mediterranean qualities. Conversely, any consideration of music in the Mediterranean must surely recognize the region’s ongoing historical role as a nexus of musical cosmopolitanism, which does not necessarily or explicitly reflect contact with local traditions. The purpose of the Biennial Mediterranean Music Conference i
 s not
 to address these problems directly, but rather to create an academic space that fully reflects this ambiguity of Mediterranean musical life. To that end, the conference provides a venue for intellectual exchange between scholars interested in music of the Mediterranean and music scholars of any category who are working in the Mediterranean.

Dates: 19-21 September 2013

Keynote Speakers:

Marcello Sorce Keller, Chair of the ICTM Study Group, “Mediterranean Music Studies”

Reinhard Strohm, University of Oxford

Guidelines for proposals: Proposals of up to 500 words should be sent as Microsoft Word attachments to Kenneth O. Smith, chair of the organizing committee, at smith.k at unic.ac.cy.

Deadline for Proposals: 1 May 2013. Applicants will receive a response no later than 15 May.

Conference Fee: €60, with reduced fee of €30 for students and auditors.

For more information, go to:

http://unic.ac.cy/nqcontent.cfm?a_name=newsholder&ar_id=2158&newsType=external

CFP: SysMus13, September 12-14, 2013, Genoa, Italy

SysMus13 – Call for Papers

Sixth International Conference of Students of Systematic Musicology

CasaPaganini-InfoMus Research Center (DIBRIS-University of Genoa, Italy) is pleased to host the Sixth International Conference of Students of Systematic Musicology (SysMus13), this coming September 12^th-14^th, 2013. Organized by graduate students, the SysMus conference series allows young researchers in the field of systematic musicology at the master’s and doctoral levels to present their work in the form of papers, poster sessions and online publications. SysMus13 also provides participants with the opportunity to enjoy two keynotes given by internationally renowned specialists, Professors Peter Keller (University of Western Sydney) and Frank Pollick (University of Glasgow), and to meet colleagues from around the world.

All research involving meaning, description, and technological mediation of music can be related to musicology. However, the complexity of musical engagement in socio-cultural contexts engenders different networks of research and knowledge, with distinct interdisciplinary configurations, methods and specializations. Systematic musicology specifically deploys this methodological diversity so as to approach each musicological question with a specific configuration of methods. In doing so, systematic musicology often bridges methodological foundations of sciences with critical analysis from the humanities. It promotes the study of aesthetics, semiotics, and cultural studies by incorporating empirical and data-oriented methods into the methodological framework. It relies on paradigms from different disciplines as diverse as the philosophy of aesthetics, theoretical sociology, semiotics, and music criticism, combined with strategies derived from empirical psychology, acoustics, physiology, neurosciences, cognitive sciences, computing, and others. Please visit the website of the SysMus conference series for more information on the scope, methods and aims of systematic musicology: https://sites.google.com/site/sysmusconference/

Graduate students are encouraged to submit an abstract (max. 500 words) for either a spoken paper or a poster presentation byApril 15, 2013. Papers should be twenty minutes in length followed by a question period of ten minutes. Poster presentations will offer the possibility to discuss one’s research in greater depth. The SysMus13 conference language is English.

Abstracts will be evaluated by an international review committee consisting of doctoral and post-doctoral students representing an array of subfields of systematic musicology. The committee will announce its decisions based on double-blind peer review by June 15, 2013. Further information about the abstract submission process and SysMus13 is available online at the conference website:http://www.infomus.org/Events/SysMus13/index.php?lang=eng

Please distribute this call for papers as widely as possible. We hope to welcome you in Genoa!

Donald Glowinski, Chair

On behalf of the SysMus13 Intl. Conference of Students of Systematic Musicology

JOB: Grinnell College, musicology/early music (one-year)

GRINNELL COLLEGE.  One-year leave replacement position in Music (Musicology/Early Music), starting Fall 2013.  Assistant Professor (Ph.D. or DMA) preferred, Instructor (ABD) possible.  Grinnell College is a highly selective undergraduate liberal arts college where music (both performance and academics) plays an important role in the curriculum.  The Music Department has a large collection of early instruments and superb facilities in the Bucksbaum Center for the Arts.  The successful candidate should demonstrate excellence and experience in two main areas: 1) academic scholarship/classroom teaching of music history and 2) performance/directing of Early Music.  Expertise in both vocal and instrumental performance of Early Music is desirable (especially harpsichord).  The College's curriculum is founded on a strong advising system and close student-faculty interaction, with few college-wide requirements beyond the completion of a major.  The teaching schedule of five courses over two semesters will include a music appreciation course for non-majors (fall), a two-semester survey of Western music history for majors, and directing the Collegium Musicum both semesters.

In letters of application, candidates should discuss their interest in developing as a teacher and scholar in an undergraduate, liberal-arts college that emphasizes close student-faculty interaction. They also should discuss what they can contribute to efforts to cultivate a wide diversity of people and perspectives, a core value of Grinnell College.  To be assured of full consideration, all application materials should be received by February 28, 2013.

Please submit applications online by visiting our application website at https://jobs.grinnell.edu. Candidates will need to upload a letter of application, curriculum vitae, transcripts (copies are acceptable), statement of teaching philosophy, sample syllabi, and provide email addresses for three references.  For Recordings/Videos under Optional Documents, candidates can either submit a URL or they can mail materials to: Music Search Committee, ATTN: Pam Poynter, 1108 Park Street, Grinnell, Iowa 50112-1690. Questions about this search should be directed to the search chair, Professor Jennifer Williams Brown, atMusicSearch@grinnell.edu or 641-269-4262.

Grinnell College is an equal opportunity/affirmative action employer committed to attracting and retaining highly qualified individuals who collectively reflect the diversity of the nation. No applicant shall be discriminated against on the basis of race, national or ethnic origin, age, gender, sexual orientation, gender identity and expression, marital status, religion, creed, disability or veteran status. For further information about Grinnell College, see our website at http://www.grinnell.edu.

European Platform for Artistic Research in Music (EPARM) - AEC European Association of Conservatoires - CNSMD Lyon, 18-20 April 2013, Call for Presentations

EPARM III, Lyon, April 18-20 2013

Between Madness and Method: the research dimension in creativity and the creative dimension in research

Creativity and research share many characteristics - for example, they both deal with how ideas can be presented with novel variations and in new combinations. However, they reflect these shared characteristics in ways that that are shaped differently by their respective natures; so, for example, the creative impulse in research generally manifests itself in a more consciously rigorous and systematic way than the originality that expresses itself in the creativity of the artist.
Artistic research has yet to achieve a comparable stability in terms of method to the well-established norms of more traditional research. This may be something that will develop with time, but it may also reflect the special character of a research approach that is specifically rooted in the artistic sensibility and in artistic working practices.  Artistic research is therefore a particularly interesting locus within which to explore the relationship between creativity and research.
With this in mind, the third edition of EPARM aims to explore the rich but ambiguous territory that exists between the ‘madness’ of artistic creation and the ‘method’ of research.  In doing so, it recognises the importance of method in most artistic creation, and of inspiration – the ‘Eureka’ moment – in the trajectory of much research.  Most importantly, it hopes to pinpoint areas in this territory where the growing range of activities that go under the name of artistic research might be located and better understood – both in relation to each other and in comparison with pure artistic practice and pure ‘scientific’ research.

To stimulate proposals for presentations, the following propositions are offered as encouragement and/or provocation:
•       Research methods pervert artistic practice
•       Artistic idiosyncrasy perverts research objectivity
•       Artistic ‘madness’ and research ‘method’ are incompatible/are two sides of the same coin
•       The greater the ‘madness’, whether in artistic creation or research, the greater the requirement for method
•       Artistic development equals/does not equal artistic research
•       Method in artistic research can/should never be rigorous
•       There is no room for creative ‘madness’ in 2nd-Cycle curricula; there is room for creative ‘madness’ in 3rd-Cycle programmes

We are looking for presentations that react to one or more of these propositions and which combine verbal explanation with actual artistic demonstration. Other than some basic pre-selecting on the basis of relevance to the theme of the Platform, we propose to gather all the proposals from those attending and have the participants make their final selection by means of the ‘bar camp’ technique.  The intention is that all proposers will have the opportunity to make a brief ‘pitch’ about their presentation on the first evening and those receiving the most support from delegates will go forward to give their actual presentation during sessions timetabled throughout the remainder of the event.  Only if the number of potentially relevant proposals so far exceeds the available time as to make the bar camp session unworkable will we make any further preliminary selection.

The meeting will also feature a keynote and two further presentations from specially invited guest presenters.
If you are interested in making a proposal for a presentation, please submit this to Sara Primiterra at events@aec-music.eu by 17th February 2013. Proposals should be based upon a timescale of 30 minutes with the first 10 minutes being uninterrupted presentation and the remaining 20 being interactive between presenter and audience. Your proposal should include the following:
•       Name of presenter(s)
•       Institutional affiliation (if any)
•       Nature of artistic component: live performance, audio/video recording, etc.
•       Brief description (up to 330 words) of content of presentation
•       Brief explanation (up to 150 words) of how it demonstrates the use of artistic and/or research methods

You should also be ready to make a two-minute pitch on the first day of the EPARM event in April 2013, explaining why you believe your proposal should be among those chosen by delegates.  Based on the votes of those present, you will either be given a presentation slot or, if unsuccessful, encouraged to attend the presentations that have been selected and, where appropriate, introduce aspects of the material you have prepared into the 20-minute interactive portions of these.
Those presentations that are selected will be recorded and, subject to editorial screening, will be posted online as ‘proceedings’ of the event, along with the presentations of the invited speakers.  In addition, those not selected as presenters will be invited to submit by the end of May 2013 written or recorded versions of what they would have presented.  These, too, will be editorially screened, after which successful submissions will be added to the online posting as ‘virtual’ proceedings.  In this way, all proposals received by February 2013 will have the opportunity to be considered for inclusion in the proceedings of this third edition of EPARM, which we hope to disseminate by summer 2013.
EPARM 2013 will follow on immediately from the International Colloquium on Music & Dance being mounted by the Conservatoire National Supérieur de Musique et Danse de Lyon.  Delegates who are able to do so are warmly invited to register for both events.

www.aecinfo.org/lyon