La Giornata di Studi “Un ‘altro’ Novecento: Benjamin Britten”, che si svolgerà a Roma il 17 e 18 gennaio 2014, è promossa da Assonanze (Gruppo di studio e ricerca degli studenti di Musicologia, Sapienza) e coordinata dalla Sezione scenico-musicale del Dipartimento in intestazione e dal Dottorato in Storia e Analisi delle culture musicali della Sapienza, Università di Roma.
Oggetto della ri essione sarà l’alterità del linguaggio musicale di Benjamin Britten rispetto alle Avanguardie
del secondo Novecento. Verrà esplorata la prospettiva di quest'autore proli co, spesso trascurato dalla musicologia, che ha seguito ostinatamente il percorso di un viandante solitario e inquieto. Particolare attenzione sarà riservata ad alcuni aspetti della produzione del compositore britannico in aperto contrasto con le tendenze dell’era post-bellica:
• il brillante eclettismo del teatro musicale – composita la drammaturgia, spesso spinta ai confini
del genere; penetrante lo sguardo sui problemi sociali, libero il linguaggio che segue la diversità;
• la ripresa e la rielaborazione creativa di forme della tradizione classica europea;
• il rapporto con il mondo poetico-letterario inglese e l’attenzione nei confronti della musicalità e
della comprensibilità del verso;
• l’interazione proficua con materiali, tecniche e forme drammaturgiche delle musiche dell’estremo
Oriente, sintetizzate con elementi della tradizione occidentale in uno stile personale.
Giovani dottori di ricerca, dottorandi e studenti magistrali in discipline musicali sono invitati a inoltrare via
posta elettronica le loro proposte entro il 22 settembre 2013 (con un abstract di 25 righe, circa 2300 caratteri spazi inclusi), che verranno selezionate dal comitato scienti co entro il 13 ottobre 2013.
Si segnala che le relazioni non dovranno superare la durata di 20 minuti, compresi eventuali ascolti musicali.
Il comitato scientifico è formato dai proff. Franco Piperno, Emanuele Senici, Andrea Chegai, Antonio Rostagno, Susanna Pasticci e dai rappresentanti di Assonanze dott. Federico Vizzaccaro e Daniele Mastrangelo.
Il coordinamento organizzativo della Giornata di studi è a cura di Assonanze.
Per l’invio degli abstracts (muniti di nominativo, dati anagra ci, istituzione di provenienza e recapiti del
mittente) o per informazioni sulla giornata di studi: assonanze.sapienza@gmail.com
Università degli Studi di Roma “La Sapienza”
Dipartimento di Studi greco-latini, italiani, scenico-musicali
CF 80209930587 PI 02133771002
P.le Aldo Moro, 5 cap 00185 Roma
T (+39) 06 49913786-787 F (+39) 06 491609
www.disp.let.uniroma1.it
venerdì 28 giugno 2013
JOB: New Zealand School of Music, ethnomusicology (lecturer/senior lecturer)
Lecturer/Senior Lecturer in Ethnomusicology
Kelburn Campus
Wellington, New Zealand
The New Zealand School of Music, a joint venture of Massey University and Victoria University of Wellington, seeks applicants for a permanent appointment as Lecturer/Senior Lecturer in Ethnomusicology (U.S. equivalent to Assistant/Associate Professor). The position will be based at Victoria University in Wellington, the thriving arts and cultural capital of New Zealand.
The New Zealand School of Music is deeply committed to the idea of music as an essential human activity that informs our social and cultural interactions and identities in powerful ways. The NZSM has a long tradition of ethnomusicology, involving undergraduate study and advanced postgraduate work, and areas of strength with Maori, Pacific Island, Indonesian, and New Zealand musics, and in addition to its programmes in musicology, performance, and composition. The NZSM intends to make further advances in ethnomusicology and is committed to a high level of expertise in teaching and research that crosses disciplinary boundaries and speaks to a broad range of practices in music studies. The area of specialty is open, although the NZSM may give preference to candidates who have a strong background in music cultures of the Asia/Pacific region, who are sensitive to fostering musics in the local community, and who will consider ways to enhance the study of music at the NZSM across th
e bre
adth of its programmes. An interdisciplinary critical perspective, reflecting the multiple facets of contemporary ethnographic practices in music, would be an advantage.
The successful candidate will have completed a PhD in ethnomusicology or a related field, have a high level of teaching experience at the university level, and demonstrate the ability to maintain an international profile in research. The appointment will commence on 1 February 2014. Women and minorities are strongly encouraged to apply.
Applications should include a cover letter describing qualifications for the position and a detailed CV. Candidates should also arrange for three letters of reference emailed separately to: recruit@nzsm.ac.nz. Two representative samples of scholarly writing must also be included with the initial application and should be e-mailed separately to the HR Coordinator: recruit@nzsm.ac.nz. Enquiries about the application process and materials should be directed to the HR Coordinator, recruit@nzsm.ac.nz.
Informal academic enquiries about the position may be directed to the search committee chair, Dr. Brian Diettrich.
Applications close 5pm NZST, 31 July 2013
Victoria University of Wellington is an EEO employer and actively seeks to meet its obligations under the Treaty of Waitangi.
For more information and to apply online visit http://vacancies.vuw.ac.nz
Reference A178-13Z
Kelburn Campus
Wellington, New Zealand
The New Zealand School of Music, a joint venture of Massey University and Victoria University of Wellington, seeks applicants for a permanent appointment as Lecturer/Senior Lecturer in Ethnomusicology (U.S. equivalent to Assistant/Associate Professor). The position will be based at Victoria University in Wellington, the thriving arts and cultural capital of New Zealand.
The New Zealand School of Music is deeply committed to the idea of music as an essential human activity that informs our social and cultural interactions and identities in powerful ways. The NZSM has a long tradition of ethnomusicology, involving undergraduate study and advanced postgraduate work, and areas of strength with Maori, Pacific Island, Indonesian, and New Zealand musics, and in addition to its programmes in musicology, performance, and composition. The NZSM intends to make further advances in ethnomusicology and is committed to a high level of expertise in teaching and research that crosses disciplinary boundaries and speaks to a broad range of practices in music studies. The area of specialty is open, although the NZSM may give preference to candidates who have a strong background in music cultures of the Asia/Pacific region, who are sensitive to fostering musics in the local community, and who will consider ways to enhance the study of music at the NZSM across th
e bre
adth of its programmes. An interdisciplinary critical perspective, reflecting the multiple facets of contemporary ethnographic practices in music, would be an advantage.
The successful candidate will have completed a PhD in ethnomusicology or a related field, have a high level of teaching experience at the university level, and demonstrate the ability to maintain an international profile in research. The appointment will commence on 1 February 2014. Women and minorities are strongly encouraged to apply.
Applications should include a cover letter describing qualifications for the position and a detailed CV. Candidates should also arrange for three letters of reference emailed separately to: recruit@nzsm.ac.nz. Two representative samples of scholarly writing must also be included with the initial application and should be e-mailed separately to the HR Coordinator: recruit@nzsm.ac.nz. Enquiries about the application process and materials should be directed to the HR Coordinator, recruit@nzsm.ac.nz.
Informal academic enquiries about the position may be directed to the search committee chair, Dr. Brian Diettrich.
Applications close 5pm NZST, 31 July 2013
Victoria University of Wellington is an EEO employer and actively seeks to meet its obligations under the Treaty of Waitangi.
For more information and to apply online visit http://vacancies.vuw.ac.nz
Reference A178-13Z
CFP: The Work and Ideas of Jani Christou, Goldsmiths College, Univ. of London, 16 Nov 2013
A One-Day Conference on the Work and Ideas of Jani Christou: CALL FOR PAPERS
Deadline for proposals: FRIDAY 26 JULY 2013
Conference Date: Saturday 16 November 2013
Conference Venue: Goldsmiths College, University of London. London – UK.
We warmly invite paper submissions for this one-day international conference, to be held at Goldsmiths, University of London. The conference will offer an opportunity for those with an interest in Jani Christou’s music and philosophy to share and discuss work, in the hope of furthering dialogue in this area. Paper submissions on all topics related to the area of Christou’s music and philosophy are welcome. Collaboration between persons from different disciplines, including theatre and performance, psychology, philosophy etc. would be especially welcomed.
The Conference
Jani Christou is a major Greek composer whose untimely death in 1970 at the age of 44 brought to an end an unusual career in which, in its final stage, avant-garde musical and theatrical materials and means were, in quite remarkable ways, brought into conjunction with Christou's deep immersion in philosophical and psychological studies. Interest in his challenging and speculative, but always vividly and thoroughly imagined, output has recently increased, particularly among a young generation of musicians and scholars. Yet Christou's work remains imperfectly, and only very patchily, known and understood, especially outside Greek-speaking communities.
Our conference seeks to improve international understanding of this composer's compositions and the thinking that lay behind them. It includes a showing of Costis Zouliatis's important new film on the composer, accompanied by an introduction to it by its director; this will replace the usual keynote address in an imaginative and scholarly fashion, offering the coup of presenting this film's British premiere.
In addition, a workshop based around Christou's scores will give an opportunity for performers and scholars to explore new forms of interaction between creative practice and musicological scholarship. The event will culminate in an evening concert, led (as is the workshop) by the experienced Christou performer and scholar, Andriana Minou, and presented by an international team of expert players, singers, actors and film-makers.
Proposals of up to 300 words are invited for 20-minute presentations with 10 minutes of questions. Please also include a short biographical note of around 100 words. Proposals should be submitted by email in a word document/ PDF attachment and sent to:
christoulondon at gmail.com
Maria Yerosimou, Conference Organiser
Andriana Minou, Workshop and Concert Director
Keith Potter, Advisor
Deadline for proposals: FRIDAY 26 JULY 2013
Conference Date: Saturday 16 November 2013
Conference Venue: Goldsmiths College, University of London. London – UK.
We warmly invite paper submissions for this one-day international conference, to be held at Goldsmiths, University of London. The conference will offer an opportunity for those with an interest in Jani Christou’s music and philosophy to share and discuss work, in the hope of furthering dialogue in this area. Paper submissions on all topics related to the area of Christou’s music and philosophy are welcome. Collaboration between persons from different disciplines, including theatre and performance, psychology, philosophy etc. would be especially welcomed.
The Conference
Jani Christou is a major Greek composer whose untimely death in 1970 at the age of 44 brought to an end an unusual career in which, in its final stage, avant-garde musical and theatrical materials and means were, in quite remarkable ways, brought into conjunction with Christou's deep immersion in philosophical and psychological studies. Interest in his challenging and speculative, but always vividly and thoroughly imagined, output has recently increased, particularly among a young generation of musicians and scholars. Yet Christou's work remains imperfectly, and only very patchily, known and understood, especially outside Greek-speaking communities.
Our conference seeks to improve international understanding of this composer's compositions and the thinking that lay behind them. It includes a showing of Costis Zouliatis's important new film on the composer, accompanied by an introduction to it by its director; this will replace the usual keynote address in an imaginative and scholarly fashion, offering the coup of presenting this film's British premiere.
In addition, a workshop based around Christou's scores will give an opportunity for performers and scholars to explore new forms of interaction between creative practice and musicological scholarship. The event will culminate in an evening concert, led (as is the workshop) by the experienced Christou performer and scholar, Andriana Minou, and presented by an international team of expert players, singers, actors and film-makers.
Proposals of up to 300 words are invited for 20-minute presentations with 10 minutes of questions. Please also include a short biographical note of around 100 words. Proposals should be submitted by email in a word document/ PDF attachment and sent to:
christoulondon at gmail.com
Maria Yerosimou, Conference Organiser
Andriana Minou, Workshop and Concert Director
Keith Potter, Advisor
MSc in Digital Music Processing at Queen Mary, University of London
We still have a few places for 2013/4 on our MSc programme in Digital Music Processing at Queen Mary, University of London. You will graduate with an understanding of today's leading edge music technologies, with the potential to become a pioneer in developing future generations of technologies.
What's involved?
This masters provides advanced interdisciplinary training in digital music processing. The programme includes specialist modules and projects in:
The programme is taught by members of the Centre for Digital Music, a world leading multi-disciplinary research group emphasizing adventurous scientific research and development in music and audio technology, broadly conceived to include areas such as music informatics, instruments and interfaces for expressive performance and music perception and cognition. The centre houses over 60 researchers including 13 academics, 15 research fellows, 35 research students and regular national and international visitors.
What next?
The MSc is available as a 1 year full-time programme or as a 2 year part-time distance learning programme. For further information and to apply see: http://www.eecs.qmul.ac.uk/
What's involved?
This masters provides advanced interdisciplinary training in digital music processing. The programme includes specialist modules and projects in:
- machine listening
- music analysis and synthesis
- sound engineering
- music perception and cognition
- musical performance and expression
- musical instruments and interfaces
- computational creativity
- interaction design
- relating music processing to other media
- business technology strategy
- the semantic web
The programme is taught by members of the Centre for Digital Music, a world leading multi-disciplinary research group emphasizing adventurous scientific research and development in music and audio technology, broadly conceived to include areas such as music informatics, instruments and interfaces for expressive performance and music perception and cognition. The centre houses over 60 researchers including 13 academics, 15 research fellows, 35 research students and regular national and international visitors.
What next?
The MSc is available as a 1 year full-time programme or as a 2 year part-time distance learning programme. For further information and to apply see: http://www.eecs.qmul.ac.uk/
Dr Marcus T Pearce -- Lecturer in Sound and Music Processing Queen Mary, University of London Mile End Road, London E1 4NS, UK Tel: +44 (0)20 7882 5352 Web: http://webprojects.eecs.qmul.ac.uk/marcusp MCL: http://music-cognition.eecs. qmul.ac.uk/ MSc in Media Arts Technology http://bit.ly/x3tX9C MSc in Digital Music Processing http://bit.ly/zb21lm
CFP: Judith Tick Fellowship
Society for American Music (http://american-music.
Call for Proposals: Judith Tick Fellowship
Deadline: August 15, 2013
The Society for American Music invites submissions for the Judith Tick Fellowship. The deadline is August 15, 2013.
Please refer to the SAM webpage link for more information and submission instructions: http://american-
Any questions should be sent to Melissa de Graaf, the committee chair.
venerdì 21 giugno 2013
FWP: Ohio State University, Music Cognition
Post-Doctoral Fellowship in Music Cognition
School of Music, Ohio State University
The School of Music at the Ohio State University is pleased to
offer a Post-doctoral Fellowship in Music Cognition.
The fellowship provides one year of support for full-time music
research, with the possibility of renewal for a second year.
Candidates may choose their own program of research, although
the successful applicant is likely to also engage in one or
more collaborative projects with OSU faculty and graduate students.
Preference is given to studies in listening, performance,
analysis, modeling, and cross-cultural phenomena. The fellowship
is designed to further a candidate's training and research
experience in music cognition and systematic approaches to music
scholarship. Candidates must have completed a doctoral degree
at the time the fellowship begins.
The Fellowship is open to any individual who has been awarded
a doctoral degree within the past seven years, and who did not
receive an MFA or doctorate from the Ohio State University.
Untenured faculty at other institutions are eligible to apply.
The salary is in the range of $40,000 per annum.
The deadline for receipt of applications is July 22, 2013.
The fellowship begins September 1, 2013.
Applications should include a covering letter and curriculum
vitae. The covering letter should include (1) a description
of the candidate's background, training, recent scholarly
interests, and career goals, and (2) a research plan that specifies
the candidate's proposed area of research.
Two confidential letters of recommendation should be sent separately.
All application materials should be sent to:
Prof. David Huron
huron.1 at osu.edu
School of Music, Ohio State University
The School of Music at the Ohio State University is pleased to
offer a Post-doctoral Fellowship in Music Cognition.
The fellowship provides one year of support for full-time music
research, with the possibility of renewal for a second year.
Candidates may choose their own program of research, although
the successful applicant is likely to also engage in one or
more collaborative projects with OSU faculty and graduate students.
Preference is given to studies in listening, performance,
analysis, modeling, and cross-cultural phenomena. The fellowship
is designed to further a candidate's training and research
experience in music cognition and systematic approaches to music
scholarship. Candidates must have completed a doctoral degree
at the time the fellowship begins.
The Fellowship is open to any individual who has been awarded
a doctoral degree within the past seven years, and who did not
receive an MFA or doctorate from the Ohio State University.
Untenured faculty at other institutions are eligible to apply.
The salary is in the range of $40,000 per annum.
The deadline for receipt of applications is July 22, 2013.
The fellowship begins September 1, 2013.
Applications should include a covering letter and curriculum
vitae. The covering letter should include (1) a description
of the candidate's background, training, recent scholarly
interests, and career goals, and (2) a research plan that specifies
the candidate's proposed area of research.
Two confidential letters of recommendation should be sent separately.
All application materials should be sent to:
Prof. David Huron
huron.1 at osu.edu
AWARDS: Society for Music Theory, Popular Music Interest Group, Outstanding Publication Awards
The Outstanding Publication Award from the Society for Music Theory’s Popular Music Interest Group exists to acknowledge the best article, essay, or book involving the theory and/or analysis of popular music. Any work published within two years of the application deadline is eligible, and publications can be nominated both by the authors themselves and by other scholars. Forthcoming works are not eligible.
2013 marks the inaugural year of a second award. The Adam Krims Award is specifically for junior scholars, no more than seven calendar years after the author’s receipt of the Ph.D. (or, in the case of someone who does not hold a Ph.D., before the author reaches the age of forty).
The prizes for both awards will be given at the Society for Music Theory conference each year during the PMIG business meeting. A three-person Award Committee consisting of a) the PMIG chair; b) the previous year’s winner of each award; and c) a volunteer scholar appointed by the PMIG chair (if necessary) will determine the awards. The 2013 committee consists of Allan Moore, Joti Rockwell, and Anna Stephan-Robinson. Previous award recipients are ineligible to compete for the same award in subsequent years.
Applicants and those wishing to nominate publications should send a citation and, if possible, electronic copies of the work to the PMIG chair. If electronic copies are not available, the committee requests hard copies for each member. Contact the PMIG chair (Anna Stephan-Robinson) for mailing addresses.
The deadline for the 2013 award nominations is June 23, 2013.
For more information on the PMIG, please visit our web page at http://popmusic.
2013 marks the inaugural year of a second award. The Adam Krims Award is specifically for junior scholars, no more than seven calendar years after the author’s receipt of the Ph.D. (or, in the case of someone who does not hold a Ph.D., before the author reaches the age of forty).
The prizes for both awards will be given at the Society for Music Theory conference each year during the PMIG business meeting. A three-person Award Committee consisting of a) the PMIG chair; b) the previous year’s winner of each award; and c) a volunteer scholar appointed by the PMIG chair (if necessary) will determine the awards. The 2013 committee consists of Allan Moore, Joti Rockwell, and Anna Stephan-Robinson. Previous award recipients are ineligible to compete for the same award in subsequent years.
Applicants and those wishing to nominate publications should send a citation and, if possible, electronic copies of the work to the PMIG chair. If electronic copies are not available, the committee requests hard copies for each member. Contact the PMIG chair (Anna Stephan-Robinson) for mailing addresses.
The deadline for the 2013 award nominations is June 23, 2013.
For more information on the PMIG, please visit our web page at http://popmusic.
The Noises of Art Conference Call for Papers/Performances & Presentations
The Noises of Art Conference
Aberystwyth Arts Centre, 4-6 September 2013
Call for Papers/Performances & Presentations Deadline:
For both paper and virtual presentations and the Postgrad strand
July 1st 2013
Please send submissions and any queries to Sophie Bennett:
sob@aber.ac.uk
For more details please visit our website: http://noisesofart.weebly.com/
The conference addresses what is arguably the most prolific, varied, and ground-breaking period in the coming together, exchange, and mutual influence of visual art and sound-based practices (such as music and the spoken word).
Organized by the School of Art in collaboration with the Courtauld Institute of Art, London and Aberystwyth Arts Centre.
Aberystwyth Arts Centre, 4-6 September 2013
Call for Papers/Performances & Presentations Deadline:
For both paper and virtual presentations and the Postgrad strand
July 1st 2013
Please send submissions and any queries to Sophie Bennett:
sob@aber.ac.uk
For more details please visit our website: http://noisesofart.weebly.com/
The conference addresses what is arguably the most prolific, varied, and ground-breaking period in the coming together, exchange, and mutual influence of visual art and sound-based practices (such as music and the spoken word).
Organized by the School of Art in collaboration with the Courtauld Institute of Art, London and Aberystwyth Arts Centre.
Call For Authors: Music in the social and Behavioral Sciences - An Encyclopedia
CALL FOR AUTHORS: Music in the Social and Behavioral Sciences: An Encyclopedia
Music in the Social and Behavioral Sciences is the definitive reference resource that takes a broad interdisciplinary approach to the nexus between music and the social sciences. The encyclopedia fills a library market gap by looking at how music affects human beings and their interactions in the world. The interdisciplinary nature of the work provides a starting place for students to situate the status of music within the social sciences in fields like anthropology, communications, psychology, sociology, sports, political science, and economics as well as biology and the health sciences. This reference work contains approximately 450 articles in two large volumes, richly illustrated with photographs and video and audio clips in the online edition, which provide the sociological context for students to examine the importance of music in today’s society. The signed articles, with cross-references and Further Readings are accompanied by pedagogical elements, including the Reader’s Guide, Chronology of Music, Resource Guide, Glossary, and thorough Index.
This comprehensive project will be published by SAGE Reference and will be marketed to academic and public libraries as a print and digital product available to students via the library’s electronic services. The General Editor, who will be reviewing each submission to the project, is Dr. Bill Thompson, Macquarie University.
We are currently making assignment with a deadline of September 30, 2013
If you are interested in contributing to this cutting-edge reference, it is a unique opportunity to contribute to the contemporary literature, redefining sociological issues in today’s terms. Moreover, it can be a notable publication addition to your CV/resume and broaden your publishing credits. SAGE Publications offers an honorarium ranging from SAGE book credits for smaller articles up to a free set of the printed product for contributions totaling 10,000 words or more.
The list of available articles is already prepared, and as a next step we will e-mail you the Article List (Excel file) from which you can select topics that best fit your expertise and interests. Additionally, Style and Submission Guidelines will be provided that detail article specifications.
If you would like to contribute to building a truly outstanding reference with Music in the Social and Behavioral Sciences, please contact me by the e-mail information below. Please provide your CV or a brief summary of your academic/publishing credentials in related disciplines.
Thanks very much.
Michele Chase
Author Manager
mercoledì 19 giugno 2013
New web site, Cantorate database
NEW WEBSITE OF INTEREST TO:
Jewish Music
Ethnomusicology
Musicology
Music Theory
Cantors and Synagogue Musicians
Jewish Studies
Religious Studies
American Studies
http://cantorate.wesleyan.edu
This site contains all the raw data of the 1984-86 NEH-funded project “History of the American Cantorate,” directed by Mark Slobin.
• over 100 listenable oral history interviews of cantors
• the listenable 93-cantor core sample of sung selections of 8 liturgical texts, a first in Jewish music studies;
• the questionnaire survey responses of hundreds of cantors and lay leaders;
• letters solicited from rabbis about working with cantors;
• research reports and data summaries commissioned for the project;
• ongoing addition of archival documentation of the American cantorate.
The book Chosen Voices: The Story of the American Cantorate (Univ. of Illinois Press, 1989) summarizes this work, but the actual database has not been available till now.
This is a joint project of Wesleyan University (Mark Slobin) and Hebrew Union College-Jewish Institute of Religion (Mark Kligman)
The site will be continuously expanded with new data on the topic of the American cantorate.
Contact: mslobin at wesleyan.edu
Jewish Music
Ethnomusicology
Musicology
Music Theory
Cantors and Synagogue Musicians
Jewish Studies
Religious Studies
American Studies
http://cantorate.wesleyan.edu
This site contains all the raw data of the 1984-86 NEH-funded project “History of the American Cantorate,” directed by Mark Slobin.
• over 100 listenable oral history interviews of cantors
• the listenable 93-cantor core sample of sung selections of 8 liturgical texts, a first in Jewish music studies;
• the questionnaire survey responses of hundreds of cantors and lay leaders;
• letters solicited from rabbis about working with cantors;
• research reports and data summaries commissioned for the project;
• ongoing addition of archival documentation of the American cantorate.
The book Chosen Voices: The Story of the American Cantorate (Univ. of Illinois Press, 1989) summarizes this work, but the actual database has not been available till now.
This is a joint project of Wesleyan University (Mark Slobin) and Hebrew Union College-Jewish Institute of Religion (Mark Kligman)
The site will be continuously expanded with new data on the topic of the American cantorate.
Contact: mslobin at wesleyan.edu
lunedì 17 giugno 2013
CFP: Music, Marxism, and the Frankfurt School, University College Dublin, July 2014
CALL FOR PAPERS
Music, Marxism, and the Frankfurt School
University College Dublin
2-4 July 2014
CFP Deadline: 31 Dec 2013
The group of intellectual left-wing German thinkers known as the Frankfurt
School, active in Frankfurt from the late-1920s and later in the US and
Germany, focused their critical attention on culture, asking how it
affected people’s political outlook and activities. Their powerful
admixture of philosophy, sociology, and cultural critique played a key role
in modernism in the German cultural sphere. Their conception of culture as
a repository of new values continues to impact and influence how we in the
twenty-first century think about art and culture, particularly music.
The international conference “Music, Marxism, and the Frankfurt School”
will give sustained attention to the rich and fascinating interaction
between music and the socio-cultural and aesthetic theory of Marxist
writers in the Austro-German sphere, including members of the Frankfurt
School. The conference committee welcomes submissions from a diverse field
of interdisciplinary scholars, as outlined in the Call for Papers. The
Keynote Lecture will be delivered by Professor Max Paddison (Durham
University). The conference is hosted by the School of Music, University
College Dublin. It is sponsored and co-funded by the FP7 Marie Curie
Actions of the European Commission, and is carried out in association with
the Society for Musicology in Ireland, and the Department of Music,
University of California, Irvine. The deadline for submissions is 31
December 2013. Please see http://www.
further details.
Music, Marxism, and the Frankfurt School
University College Dublin
2-4 July 2014
CFP Deadline: 31 Dec 2013
The group of intellectual left-wing German thinkers known as the Frankfurt
School, active in Frankfurt from the late-1920s and later in the US and
Germany, focused their critical attention on culture, asking how it
affected people’s political outlook and activities. Their powerful
admixture of philosophy, sociology, and cultural critique played a key role
in modernism in the German cultural sphere. Their conception of culture as
a repository of new values continues to impact and influence how we in the
twenty-first century think about art and culture, particularly music.
The international conference “Music, Marxism, and the Frankfurt School”
will give sustained attention to the rich and fascinating interaction
between music and the socio-cultural and aesthetic theory of Marxist
writers in the Austro-German sphere, including members of the Frankfurt
School. The conference committee welcomes submissions from a diverse field
of interdisciplinary scholars, as outlined in the Call for Papers. The
Keynote Lecture will be delivered by Professor Max Paddison (Durham
University). The conference is hosted by the School of Music, University
College Dublin. It is sponsored and co-funded by the FP7 Marie Curie
Actions of the European Commission, and is carried out in association with
the Society for Musicology in Ireland, and the Department of Music,
University of California, Irvine. The deadline for submissions is 31
December 2013. Please see http://www.
further details.
CFP: Hobsbawm, Newton und Jazz, Mainz, Nov 2013
Call for Papers - Conference "Hobsbawm, Newton und Jazz"
15.-16. November 2013, Mainz
Organised by the “Music and Youth Culture” research project (Department of Musicology, Johannes Gutenberg-Universitaet) and the Contemporary History study group (Department of History, Johannes Gutenberg-Universitaet)
His name is associated with brilliant concepts and lucid, clear-cut analyses: Eric J. Hobsbawm, who died in 2012 at the age of 95, was undoubtedly one of the most respected historians of the “age of extremes”, as he described the 20th century. Far less known than the output of his historiographical work is the fact that Hobsbawm dealt with jazz throughout his life. He understood jazz as an aesthetic as well as a socio-cultural, political, and historical phenomenon, most prominently in his collection of essays Uncommon People: Resistance, Rebellion, and Jazz (1998). Moreover, in 1958 Hobsbawm had published a monograph on the subject too: The Jazz Scene. Although this study still can be read as analytically and methodically striking, Hobsbawm did not publish it in his own name, but chose the allusive pseudonym Francis Newton.
At this conference, open to a variety of disciplines, Hobsbawm’s work will be considered from a multi-perspective view with The Jazz Scene being at the centre of discussion. Possible questions and topics (amongst many others) to be explored: Why did Hobsbawm engage so intensely with jazz and why did he do so at this particular time? Who is the “auteur” of The Jazz Scenethe historian or the jazz fan? To what extent can Hobsbawm’s work on jazz be connected to his historiographical work? What assumptions and ways of thinking does Hobsbawm engage in The Jazz Scene? Other possible contributions might address related topics: Does Hobsbawm understand jazz as an emancipatory or even revolutionary phenomenon, and to what extent does he follow Marxist interpretations? How does Hobsbawm relate jazz to “the other arts” (cf. chapter 9 of The Jazz Scene)? Since Hobsbawm seems to regard jazz as a subcultural phenomenon, how does he treat aspects of race, class, and gender within this conte
xt? A
nd to what extent might the use of the term “scene” anticipate the widely discussed subcultural theories of the 1970s and ’80s?
Proposals (max. 1,500 characters, incl. spaces) for presentations of up to 30 minutes in length should be submitted by e-mail by 15 July 2013 to:
hindrich at uni-mainz.de and linsenmann at uni-mainz.de.
Conference languages are German and English.
15.-16. November 2013, Mainz
Organised by the “Music and Youth Culture” research project (Department of Musicology, Johannes Gutenberg-Universitaet) and the Contemporary History study group (Department of History, Johannes Gutenberg-Universitaet)
His name is associated with brilliant concepts and lucid, clear-cut analyses: Eric J. Hobsbawm, who died in 2012 at the age of 95, was undoubtedly one of the most respected historians of the “age of extremes”, as he described the 20th century. Far less known than the output of his historiographical work is the fact that Hobsbawm dealt with jazz throughout his life. He understood jazz as an aesthetic as well as a socio-cultural, political, and historical phenomenon, most prominently in his collection of essays Uncommon People: Resistance, Rebellion, and Jazz (1998). Moreover, in 1958 Hobsbawm had published a monograph on the subject too: The Jazz Scene. Although this study still can be read as analytically and methodically striking, Hobsbawm did not publish it in his own name, but chose the allusive pseudonym Francis Newton.
At this conference, open to a variety of disciplines, Hobsbawm’s work will be considered from a multi-perspective view with The Jazz Scene being at the centre of discussion. Possible questions and topics (amongst many others) to be explored: Why did Hobsbawm engage so intensely with jazz and why did he do so at this particular time? Who is the “auteur” of The Jazz Scenethe historian or the jazz fan? To what extent can Hobsbawm’s work on jazz be connected to his historiographical work? What assumptions and ways of thinking does Hobsbawm engage in The Jazz Scene? Other possible contributions might address related topics: Does Hobsbawm understand jazz as an emancipatory or even revolutionary phenomenon, and to what extent does he follow Marxist interpretations? How does Hobsbawm relate jazz to “the other arts” (cf. chapter 9 of The Jazz Scene)? Since Hobsbawm seems to regard jazz as a subcultural phenomenon, how does he treat aspects of race, class, and gender within this conte
xt? A
nd to what extent might the use of the term “scene” anticipate the widely discussed subcultural theories of the 1970s and ’80s?
Proposals (max. 1,500 characters, incl. spaces) for presentations of up to 30 minutes in length should be submitted by e-mail by 15 July 2013 to:
hindrich at uni-mainz.de and linsenmann at uni-mainz.de.
Conference languages are German and English.
CFP: Music, Sound, Affect: AMS Music and Philosophy Study Group, Pittsburgh, Nov 2013
CFP: Music, Sound, Affect
Recent years have witnessed what has been described as an “affective turn” in the humanities. Inspired especially by the philosophy of Gilles Deleuze and by various strains of psychology and psychoanalysis, scholars in a number of humanistic disciplines have elaborated a conception of affect as a field of intensities that are pre-personal, prior to or apart from meaning, extra-subjective, pre-linguistic, inhuman, and so on. This year’s meeting of the AMS Music and Philosophy Study Group seeks to offer a forum for critical reflection upon the significance of this affective turn for music studies. We invite contributions that consider avenues of research that are opened up by a concern with affect, as well as ways in which the affective turn allows us to reconceive old themes and problems. We also encourage submissions that explore the possible pitfalls and shortcomings that affect theory might present for music studies, or the special challenges that music and sound may presen
t to
this body of thought.
For the full CFP, please follow the following link: http://musicandphilosophy.
If you have any questions about this event, please contact Stephen Decatur Smith, or contact any other member of the MPSG Organizing Board.
MPSG Chair:
Stephen Decatur Smith (Stony Brook University), stephen.d.smith at stonybrook.edu
MPSG Organizing Board:
Seth Brodsky (University of Chicago)
Amy Cimini (University of Pennsylvania)
Joanna Demers (University of Southern California) Michael Gallope (University of Chicago)
Brian Kane (Yale University)
Tamara Levitz (UCLA)
Jairo Moreno (University of Pennsylvania)
Holly Watkins (Eastman School of Music)
Recent years have witnessed what has been described as an “affective turn” in the humanities. Inspired especially by the philosophy of Gilles Deleuze and by various strains of psychology and psychoanalysis, scholars in a number of humanistic disciplines have elaborated a conception of affect as a field of intensities that are pre-personal, prior to or apart from meaning, extra-subjective, pre-linguistic, inhuman, and so on. This year’s meeting of the AMS Music and Philosophy Study Group seeks to offer a forum for critical reflection upon the significance of this affective turn for music studies. We invite contributions that consider avenues of research that are opened up by a concern with affect, as well as ways in which the affective turn allows us to reconceive old themes and problems. We also encourage submissions that explore the possible pitfalls and shortcomings that affect theory might present for music studies, or the special challenges that music and sound may presen
t to
this body of thought.
For the full CFP, please follow the following link: http://musicandphilosophy.
If you have any questions about this event, please contact Stephen Decatur Smith, or contact any other member of the MPSG Organizing Board.
MPSG Chair:
Stephen Decatur Smith (Stony Brook University), stephen.d.smith at stonybrook.edu
MPSG Organizing Board:
Seth Brodsky (University of Chicago)
Amy Cimini (University of Pennsylvania)
Joanna Demers (University of Southern California) Michael Gallope (University of Chicago)
Brian Kane (Yale University)
Tamara Levitz (UCLA)
Jairo Moreno (University of Pennsylvania)
Holly Watkins (Eastman School of Music)
AWARD: Oxford Bibliographies Graduate Student Article Award
Nominations are now open for the 2013-14 Oxford Bibliographies Graduate Student Article Award. It only takes a couple of minutes to nominate your students. Instructions and a form may be found here:
http://www.
Nominated students will be invited to apply for the award; winners will be invited to write an article for Oxford Bibliographies. The deadline for nominations is July 15. If you have any questions or comments, please don’t hesitate to contact me.
Anna-Lise Santella | Editor, Grove Music Online and Oxford Reference
Oxford University Press | 198 Madison Avenue | New York 10016
anna-lise.santella@oup.com | +1 (212) 743-8322
www.oxfordmusic.com | www.oxfordbibliographies.com | www.oxfordhandbooks.com
twitter: OUPMusic | OUP Music blog: http://blog.oup.com/category/
http://www.
Nominated students will be invited to apply for the award; winners will be invited to write an article for Oxford Bibliographies. The deadline for nominations is July 15. If you have any questions or comments, please don’t hesitate to contact me.
Anna-Lise Santella | Editor, Grove Music Online and Oxford Reference
Oxford University Press | 198 Madison Avenue | New York 10016
anna-lise.santella@oup.com | +1 (212) 743-8322
www.oxfordmusic.com | www.oxfordbibliographies.com | www.oxfordhandbooks.com
twitter: OUPMusic | OUP Music blog: http://blog.oup.com/category/
giovedì 13 giugno 2013
JOB: Warburg Institute, Research Assistant in Art History for the AHRC-funded Project 'The Production and Reading of Music Sources, 1480-1530 (PRoMS)'
Vacancy:
Research Assistant in Art History for the AHRC-funded Project 'The Production and Reading of Music Sources, 1480–1530 (PRoMS)'. Details at http://warburg.sas.ac.uk/home/
Dr François Quiviger
Curator of Digital Resources, Assistant Librarian,
The Warburg Institute, School of Advanced Study, University of London
http://warburg.sas.ac.uk/
The University of London is an exempt charity in England and Wales and a charity registered in Scotland (reg.no. SC041194)
Research Assistant in Art History for the AHRC-funded Project 'The Production and Reading of Music Sources, 1480–1530 (PRoMS)'. Details at http://warburg.sas.ac.uk/home/
Dr François Quiviger
Curator of Digital Resources, Assistant Librarian,
The Warburg Institute, School of Advanced Study, University of London
http://warburg.sas.ac.uk/
The University of London is an exempt charity in England and Wales and a charity registered in Scotland (reg.no. SC041194)
mercoledì 12 giugno 2013
Call for Papers: Irony and/in Music
CFP: This is the Sound of Irony: Music, Politics and Popular Culture
Edited collection of essays with Ashgate’s Popular and Folk Music Series
The Oxford English Dictionary defines irony as "a figure of speech in which the intended meaning is the opposite of that expressed by the words used." Music challenges this construction through the unique properties of its semantic indeterminacy, performance practices and re-appropriation for new ends. The subfield of music and irony is just beginning to be defined although it has been used, implied and decried by composers, performers, listeners and critics for centuries.
Irony in music is perhaps nowhere more effective than when it is/was employed as a means of destabilizing the powerful, challenging norms or creating dissent. This collection of essays addresses a variety of musical ironies found in the ‘notes themselves,’ in the text or subtext, and though performance, reception or criticism. Concerning popular music and art music for popular ends, this interdisciplinary volume invites contributors to engage with any of the myriad existing irony theories, to bend them to the unique medium of music, and to create new discourse for this most multifaceted of devices.
Currently, I am seeking articles in the following areas, but inquiries are always welcome.
Pre-1900 / turn of the century
Hip hop
Music and technology
Please send a 250-300 word proposal with a short bio by 28 June. Full drafts of 6000 words (including notes) will be due 9 August 2013.
Best,
Katherine L. Turner, editor
KLTurner5@uh.edu
Edited collection of essays with Ashgate’s Popular and Folk Music Series
The Oxford English Dictionary defines irony as "a figure of speech in which the intended meaning is the opposite of that expressed by the words used." Music challenges this construction through the unique properties of its semantic indeterminacy, performance practices and re-appropriation for new ends. The subfield of music and irony is just beginning to be defined although it has been used, implied and decried by composers, performers, listeners and critics for centuries.
Irony in music is perhaps nowhere more effective than when it is/was employed as a means of destabilizing the powerful, challenging norms or creating dissent. This collection of essays addresses a variety of musical ironies found in the ‘notes themselves,’ in the text or subtext, and though performance, reception or criticism. Concerning popular music and art music for popular ends, this interdisciplinary volume invites contributors to engage with any of the myriad existing irony theories, to bend them to the unique medium of music, and to create new discourse for this most multifaceted of devices.
Currently, I am seeking articles in the following areas, but inquiries are always welcome.
Pre-1900 / turn of the century
Hip hop
Music and technology
Please send a 250-300 word proposal with a short bio by 28 June. Full drafts of 6000 words (including notes) will be due 9 August 2013.
Best,
Katherine L. Turner, editor
KLTurner5@uh.edu
martedì 11 giugno 2013
JOB: University of Alabama, music theory (one-year, full-time temporary instructor)
POSITION
Instructor of Music Theory. The School of Music at the University of
Alabama invites applications for a full-time temporary instructor.
This position is a non-tenure earning, 1-year appointment with the
possibility of renewal based upon availability of funding, performance,
and need.
RESPONSIBILITIES
The successful candidate will teach undergraduate core music theory
courses and supervise graduate teaching assistants who teach
musicianship. In addition, the successful candidate will teach upper
divisional undergraduate theory and graduate courses as needed.
QUALIFICATIONS
Ph.D. or D.M.A. in theory or composition is required; candidates
currently working on dissertations will be considered.
Successful college teaching experience is required.
APPLICATION INFORMATION
To apply for this position, please visit the University of Alabama
web-site at http://www.faculty.ua.edu/ . The University of Alabama
is an Equal Opportunity/Affirmative Action employer and actively
seeks diversity among its employees. Women and minority candidates
are strongly encouraged to apply. Prior to hiring, the final
candidate(s) will be required to successfully pass a pre-employment
background investigation.
Review of applications will begin as they arrive and continue until
the position is filled. In order to ensure full consideration,
please apply no later than June 15, 2013. Applications should include
a letter of application, a curriculum vitae, and at least three
letters of recommendation.
Applicants should send materials to:
Chair, Theory Search Committee
The University of Alabama
School of Music
Box 870366
Tuscaloosa, AL 35487-0366
APPOINTMENT DATE August 16, 2013
Instructor of Music Theory. The School of Music at the University of
Alabama invites applications for a full-time temporary instructor.
This position is a non-tenure earning, 1-year appointment with the
possibility of renewal based upon availability of funding, performance,
and need.
RESPONSIBILITIES
The successful candidate will teach undergraduate core music theory
courses and supervise graduate teaching assistants who teach
musicianship. In addition, the successful candidate will teach upper
divisional undergraduate theory and graduate courses as needed.
QUALIFICATIONS
Ph.D. or D.M.A. in theory or composition is required; candidates
currently working on dissertations will be considered.
Successful college teaching experience is required.
APPLICATION INFORMATION
To apply for this position, please visit the University of Alabama
web-site at http://www.faculty.ua.edu/ . The University of Alabama
is an Equal Opportunity/Affirmative Action employer and actively
seeks diversity among its employees. Women and minority candidates
are strongly encouraged to apply. Prior to hiring, the final
candidate(s) will be required to successfully pass a pre-employment
background investigation.
Review of applications will begin as they arrive and continue until
the position is filled. In order to ensure full consideration,
please apply no later than June 15, 2013. Applications should include
a letter of application, a curriculum vitae, and at least three
letters of recommendation.
Applicants should send materials to:
Chair, Theory Search Committee
The University of Alabama
School of Music
Box 870366
Tuscaloosa, AL 35487-0366
APPOINTMENT DATE August 16, 2013
Call for papers - Music and Voice: Expression, Perception and Induction of Emotion
Dear all,
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-
Best regards,
Eduardo Coutinho
Music Focus
Swiss Center for Affective Sciences
University of Geneva, Switzerland
CFP: Medieval and Renaissance Studies, New College, Sarasota, Mar 2014
The nineteenth biennial New College Conference on Medieval and Renaissance Studies will take place 6–9 March 2014 in Sarasota, Florida. The program committee invites 250-word abstracts of proposed twenty-minute papers on topics in European and Mediterranean history, literature, art, music and religion from the fourth to the seventeenth centuries. Interdisciplinary work is particularly appropriate to the conference’s broad historical and disciplinary scope. Planned sessions are welcome; please see the new guidelines at http://www.
In memory of the conference’s founder Lee Daniel Snyder (1933–2012), we are pleased to announce the establishment of the Snyder Prize, which will be awarded for the first time in 2014. The prize carries an honorarium of $400 and will be given to the best paper presented at the conference by a junior scholar. Further details are available at the conference website.
The conference will be held on the campus of New College of Florida, the honors college of the Florida state system. The college, located on Sarasota Bay, is adjacent to the John and Mable Ringling Museum of Art, which will offer tours arranged for conference participants. Sarasota is noted for its beautiful public beaches, theater, food, art and music. Average temperatures in March are a pleasant high of 77F (25C) and a low of 57F (14C).
More information will be posted on the conference website as it becomes available, including submission guidelines, prize details, plenary speakers, conference events, and area attractions:
http://www.
The deadline for abstracts is 15 September 2013. Send inquiries to:< info at newcollegeconference.org > and abstracts to:
< abstracts at newcollegeconference.org >
PLEASE SHARE THIS ANNOUNCEMENT WITH INTERESTED COLLEAGUES.
In memory of the conference’s founder Lee Daniel Snyder (1933–2012), we are pleased to announce the establishment of the Snyder Prize, which will be awarded for the first time in 2014. The prize carries an honorarium of $400 and will be given to the best paper presented at the conference by a junior scholar. Further details are available at the conference website.
The conference will be held on the campus of New College of Florida, the honors college of the Florida state system. The college, located on Sarasota Bay, is adjacent to the John and Mable Ringling Museum of Art, which will offer tours arranged for conference participants. Sarasota is noted for its beautiful public beaches, theater, food, art and music. Average temperatures in March are a pleasant high of 77F (25C) and a low of 57F (14C).
More information will be posted on the conference website as it becomes available, including submission guidelines, prize details, plenary speakers, conference events, and area attractions:
http://www.
The deadline for abstracts is 15 September 2013. Send inquiries to:< info at newcollegeconference.org > and abstracts to:
< abstracts at newcollegeconference.org >
PLEASE SHARE THIS ANNOUNCEMENT WITH INTERESTED COLLEAGUES.
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