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CfP: Creativity and Intimate Partnership (German Studies Association, Oakland, CA, 7-10 October 2010)

Conventional definitions of artistic genius have framed the creative process as an individual male’s solitary battle for creative self-expression. However, more recent scholarship, such as the work of Whitney Chadwick and Isabelle de Courtivron, has shown that partnership often spurred mutual creativity. We are interested in organizing a panel to offer new perspectives on how collaboration has enhanced the creative process by considering the roles filled by “significant others” – lovers, partners, and friends. Furthermore, we hope to revisit how these partnerships have been portrayed by shifting the focus from the accomplishments of the individual male to a more nuanced appreciation of the ways that the creative output of both parties was shaped by mutual support and inspiration.

We welcome papers from all disciplines of German history and the arts, particularly visual arts, architecture, theater, and music. Please email abstracts of 200 words to Zoë Lang (zlang at arts.usf.edu) and Megan Brandow-Faller (mmf34 at georgetown.edu) by February 1, 2010.

See http://www.thegsa.org/ for details about the GSA Annual meeting.

Call for Papers: Music and Media, Berlin, 26-27 June 2010

The IMS study group "Music and Media" (MaM) invites abstracts for papers in the fields of musicology and media studies. Papers should address the role of music in film, television, computer and video games, radio, live performances involving audiovisual media and other subjects related to the work of this study group. Please send your abstracts in RTF or MS Word format to Tobias Plebuch, tobias.plebuch at culture.hu-berlin.de by Feb 28, 2010. Your submission should include the following information: author(s), academic affiliation, e-mail address, title of your presentation, the abstract (300 words max.) and technical requirements (piano, overhead, power point, etc).

The conference will take place at the Institute for Musicology and Media Studies, Humboldt University, Berlin, 26-27 June 2010. Helga de la Motte (Berlin) will be opening the meeting with a key note lecture on music and audiovisual cognition. The program committee includes Jin Hyun Kim, James Deaville, Michael Saffle, Tobias Plebuch and Emile Wennekes. Please consult the Institute's website for updated information on the meeting at http://www.muwi.hu-berlin.de/

"Music and Media" was launched as an interdisciplinary and multidisciplinary forum on July 4–5, 2009, in Amsterdam. The IMS Directorium officially accepted MaM as a study group at the subsequent joint IAML/IMS conference. MaM welcomes a broad variety of subjects, methodologies and perspecitves. At the kick-off meeting participants from over ten countries presented 25 papers on subjects such as human-computer interface technologies, music in video games, music in film and television, radio plays, commercials, the nature of listenership et al. See also http://www.wwclassicsonline.com/mam.html

The eighth annual conference of the Society for Musicology in Ireland will be hosted by the School of Creative Arts at the University of Ulster’s Magee Campus in Derry/Londonderry (Northern Ireland) between 7 and 9 May 2010.

Proposals are invited for 20-minute research papers on any aspect of musicology, broadly defined; for complete, coherent sessions of three or four 20-minute papers; or for roundtables involving four or more participants. Particularly welcome are proposals addressing one or other of the conference themes:

Music for stage and screen (embracing music for moving image, opera, musical theatre)

Contemporary music and sound art (their interactions with each other and with the academy)

Jazz and traditional musics (new directions in scholarship).

Proposals should be sent as e-mail attachments (.doc or .docx or .pdf) to c.newark at ulster.ac.uk:

· as abstracts of no more than 300 words for individual papers

· in the form of a rationale (c. 300 words) by the convenor and an individual mini-abstract (c. 150 words) for each contribution by other participants for complete sessions or roundtables.

All proposals should in addition include:

· the full name and institutional affiliation of each participant

· a full list of audiovisual and other requirements (data projector, CD/DVD player, VHS player, piano, etc.).

The deadline for receipt of proposals/abstracts is the end of January 2010.

CALL FOR PAPERS

International Society for the Promotion and Research of Wind Music. Proposals for papers or lecture-performances are invited for the 19th international conference on wind music of the International Society for the Promotion and Research of Wind Music (IGEB) to be held in Oberschützen, Austria, Thursday, July 22 to Tuesday, July 27, 2010. The conference celebrates the twentieth anniversary of the Pannonische Forschungsstelle of the Institute Oberschützen, Kunstuniversität Graz.

The deadline for proposals is January 29, 2010.

Papers focusing on the theme of the conference, "Wind Music Research and Musicology" are especially invited, but papers on any aspect of wind music and research in progress are welcome. The lectures can represent the entire field of humanities in relation to wind music — not only musicology, but also ethnology, philosophy, sociology, and educational sciences. Presentations should not exceed 20 minutes, leaving 10 minutes for discussion. Papers will be considered for future publication in the Alta Musica series.

Registration materials and further information about the conference may be found at www.igeb.net.

Oberschützen is a lovely little town near the Hungarian border in Burgenland, Austria. In addition to concerts and special events, side trips will include a visit to Raiding, the birthplace of Franz Liszt, and Esterházy, the home of Franz Joseph Haydn.

A specially selected panel of experts, having reviewed dissertations submitted for consideration, will award the Fritz Thelen Prize to the scholar having completed an outstanding doctoral dissertation in the field of wind music, who will present a paper on his/her research.

Benjamin Britten in Context

Liverpool Hope University
11 – 12 June 2010

‘Benjamin Britten in Context’

As we approach the centenary of the composer’s birth, this conference will examine and contextualise the work of Benjamin Britten. It is hoped that selected papers will be published in a new collection by Boydell & Brewer. Sessions will be built around the following themes:

Britten and collaboration

Throughout Britten’s life he worked with a number of distinguished artists and thinkers, including W.H. Auden, John Grierson, Alberto Cavalcanti, Paul Rotha, William Coldstream Mifanwy Piper, Montagu Slater et al. These sessions will explore the nature and outcomes of those collaborations.

Britten and modernism

Although a product of the English Musical Renaissance, Britten’s interest in European musical developments and his desire to seek out a wider frame of stylistic reference will be reconsidered.

Britten and Englishness

The issue of artistic tensions in Britten’s compositional style are amplified by personal tensions in the composer’s life. Although essentially English in outlook and identity, Britten’s pacifism and homosexuality forced him into temporary exile during the war years. These sessions will explore the nature of Englishness in Britten’s music in the context of his sense of community and national identity.

Speakers and session convenors will include:

Paul Banks (Royal College of Music)
David Crilly (Liverpool Hope)
J.P.E. Harper-Scott (RHUL)
Philip Reed (English National Opera)

Abstracts of around 250 words for twenty-minute papers should be sent to Dr David Crilly at crillyd at hope.ac.uk, to arrive no later than 1 February 2010. The schedule will be published on March 1, 2010.

The conference will also include a number of social and musical events, including a conference dinner and a performance of Britten's music by Joanna MacGregor et al.

A Reminder that the deadline (November 30th) for this edited collection is approaching:

Noise, Audition, Aurality: Histories of the Sonic World(s) of Europe, circa 1500-1945

Contributions are invited for a proposed collection of essays exploring the soundscapes of Europe from c.1500 to 1945. The collection seeks to develop existing and open up new areas of interdisciplinary scholarship from a range of fields including (but not limited to) musicology, urban geography, history, the history of architecture, literary studies, cultural studies, psychoanalysis, psychology and anthropology, and will build on existing work in acoustic ecology, the sociology of noise and histories and historiographies of noise, audition and aurality. We will favour contributions that deal with historically-informed topics in the following areas (although this is by no means an exclusive list):

. The noise-sound-music nexus
. Urban/rural soundscapes
. Public/private soundscapes
. The acoustic ecology of communities
. Legal histories of noise
. Noise, music and the body
. Listening and the erotic
. Political economies of noise
. Noise, music and landscape
. Theories of hearing and listening
. Historical acousmêtres
. Historiographies of noise, audition and aurality
. Technologies of sound reproduction and their histories

Prospective contributors should send a 250-word abstract and a short biography to Ian Biddle (i.d.biddle at ncl.ac.uk) by no later than November 30, 2009. If your contribution is chosen, we will require your finished chapter by April 19, 2010.

If you have any queries please also contact Ian Biddle at the email address above.

Opera and Nation. International Musicological Conference, Budapest & Gyula (Hungary), 4-7 November 2010

The Institute for Musicology of the Hungarian Academy of Sciences is pleased to announce an international conference to commemorate the bicentenary of the birth of Ferenc Erkel (7 November 1810), founder of Hungarian National Opera both as a genre and an institution.

The conference will be held in the Institute for Musicology of the Hungarian Academy of Sciences (Palais Erd dy), Budapest (4-5 November), and in the Municipal Library of Gyula, place of birth of the composer in the South-East part of the Great Hungarian Plain (6 November). Return journey to Budapest and departure on 7 November.

Members of the programme committee:
Prof. Dr. Sieghart Döhring, Emeritus of the Forschungsinstitut für Musiktheater an der Universtät Bayreuth, President of the Europäischen Musiktheaterakademie; Prof. Dr. Franco Piperno, Dean, Università di Roma, La Sapienza, Facoltà di Lettere e Filosofia; Prof. Dr. Tibor Tallián, Director of the Institute for Musicology of the Hungarian Academy of Sciences

The organisers would like to put up for discussion the multifaceted relationship of opera as a genre, as well as an institution, to the reality and ideality of the nation and the national in European context, chronologically restricted to the ‘long 19th century’. Presentations exploring the following topics are especially encouraged:

• What is national in opera: Contemporary ideas and notions
• Outstanding personalities
• Opera in the context of national theatre
• Opera and historicism; the epic and the sacral
• Opera, nationality and cosmopolitism
• Opera and politics
• Opera, folklore, folklore imaginaire
• Related national musical genres for the stage

Official languages of the conference: English, German. Papers should not be longer than twenty minutes. Proposals, including a 250-word abstract, should be sent as e-mail attachments by 31 January 2010 to the following address:

opera2010 at zti.hu

Revised versions of the papers will be considered for publication in Studia Musicologica.

Call for Papers
Bethlehem Conference on Moravian History and Music
October 14­17, 2010

This conference, sponsored by Moravian College, the Moravian Archives in Bethlehem, and the Moravian Music Foundation, explores Moravian history and music from the fifteenth to twentieth centuries in Europe, the Americas, Asia, Africa, and Australia within its context. We are now accepting proposals for panels, individual papers, lecture/demonstrations and performances relating to current research in Moravian history and music, but special consideration will be given to the following topics:

1. The history of the Unitas Fratrum during the 15th – 17th centuries: hymnody, music and worship practice; question of continuity and discontinuity with the Moravian Church of the 18th century
2. 250th anniversary of the death of Count Nikolaus von Zinzendorf (1700-60): his role in Moravian history, theology, and music; the reorientation of the Moravian Church after his death; Zinzendorf in historiography
3. Musical anniversaries such as John Gambold (1760–95): composer of vocal works and keyboard sonatas; Johann Daniel Grimm (1719–60): musician and teacher, instrumental in compiling the 1755 chorale book; Christian Gottfried Geisler (1730–1810): composer and organist at the Moravian church in Zeist for more than 50 years; John Christian Malthaner (1810–73): piano builder, based in Bethlehem
4. Moravians in the Transatlantic World: missions, trade, communication
5. Instruments and instrumental music: the role of the collegium musicum; use of instruments in worship of the Moravian Church
6. Iconography: the role of art in the Moravian communities; artists; iconography of Moravian worship and music; images included in early hymnals
7. Moravians and the body: gender, sexuality, identity, behavioral roles, encounter with the “other”
Please send a proposal of no more than 300 words by April 1, 2010 to: hlempa at moravian.edu or hbinford at moravian.edu
The program committee will notify accepted applicants by May 1, 2010. For more information and updates: <http://www.moravianconferences.org>

Dr. Heikki Lempa Dr. Hilde Binford
Department of History Department of Music

Moravian College, 1200 Main Street, Bethlehem, PA 18018, USA
Tel. 610-861-1315 • Fax 610-625-7919

“NON-NATIONALIST” RUSSIAN OPERA: INTERNATIONAL SYMPOSIUM

17 November 2010
Supported by Leeds University Centre for Opera Studies.
To be held at the Howard Assembly Room at Opera North, Leeds, UK

The rise of nationalism in nineteenth-century Russian opera completely eclipsed the works of composers who did not actively engage in nationalist discourse, or whose operas did not display particular Russian musical style. Such are Sergey Taneyev’s Oresteia, Anton Arensky’s Rafael, as well as a number of works by César Cui, Anton Rubinstein, Rimsky-Korsakov, Rachmaninov, Tchaikovsky, and others. This one-day symposium will address the “other” side of Russian opera as represented by stage works that cannot so readily be subsumed under the theme of national identity.
The keynote presentation will be given by Marina Frolova-Walker, author of the recent Russian Music and Nationalism: From Glinka to Stalin (2007).

The conference will close with the UK premiere of the first act of Taneyev’s Oresteia, supported by the Opera North and patrons Vladimir Ashkenazy and Steven Isserlis.

Conference Committee:

Dr. Anastasia Belina, Prof. Derek Scott, Dr. Stephen Muir, Dr. George Kennaway, and Simon Desbruslais.

Proposals (250 words) are invited for individual papers (20 minutes, with 10 minutes discussion).

DEADLINE for proposals: 5pm (GMT), Monday 1 March 2010

All submissions to be sent by email to Dr. Anastasia Belina, at a.belina at leeds.ac.uk

Jazz Perspectives invites proposals for a special themed issue:

Duke’s Place: Revisiting Ellington in the Twenty-First Century

Edited by Walter van de Leur (Professor, University of Amsterdam and the Conservatory of Amsterdam, the Netherlands) and John Howland (Assistant Professor, Rutgers University, USA, and Editor in Chief of Jazz Perspectives)

In the last several decades, a steady stream of publications, conferences, and essays dealing with the music of Duke Ellington have appeared. In addition, Ellington’s professional and personal life has been mapped in a number of biographies, day-by-day itinerary chronicles, and discographies. With some notable exceptions, the larger share of this work has been aimed at Ellington aficionados, and therefore has tended to avoid engagement with modern critical perspectives. Furthermore, most of these studies have placed great emphasis on just two parts of his output: his pre-1945 work; and his extended compositions and larger, often collaborative, suites. Since the initial mid-century attempts to assess Ellington’s music from a more theoretical viewpoint (e.g., by Gunther Schuller, et al.), the academic field of jazz studies has undergone far-reaching changes, especially over the last two decades. These so-called “new jazz studies” have centered on a more interdisciplinary approach to
jazz historiography, and such critical developments have also paralleled significant advances in the methodologies of jazz theory.

The purpose of this special Jazz Perspectives issue is to look at the current state of Ellington studies. From the late 1920s, the Ellington orchestra’s music has been a central pillar in the emergence and development of jazz historiography. In the wake of the expanded critical perspectives offered by the new jazz studies and recent jazz theory, the journal calls for new perspectives on both old and new questions concerning both this musical legacy and its relation to jazz historiography. Such topics might range from issues of canonization, to the construction of historical narratives, to the meaning and relevance of the Ellington orchestra’s music, or new strategies to analyze this music.

We hope for scholarship that covers new ground or revisits old concerns from new critical perspectives, and we especially welcome essays that look at the Ellington orchestra’s post-1945 music and history, Ellington’s work with his sidemen and collaborators, and also both his more commercial fare and Ellington’s responses to new media and a changing postwar musical landscape. We furthermore seek articles that offer inspiring and critical readings of his music.

Submissions

Essays should be between 8,000 and 12,000 words, including footnotes or endnotes. Submissions should be sent by email to Walter van de Leur (WvandeLeur at planet.nl) and John Howland (jlhowland at mac.com). Questions are welcome and should be addressed to both Walter van de Leur and John Howland. Longer pieces will be considered only after consultation. The deadline for submissions will be noon on January 31, 2010.

CHOPIN AND LISZT: Two Composers and their Relation to the Parisian Musical Scene

International Conference

ORGANISED BY: Centro Studi Opera Omnia Luigi Boccherini, Lucca, in collaboration with Palazzetto Bru Zane, Venice

DATES: 2-4 December 2010
LOCATION: Lucca (Italy), Palazzo Ducale

Call for papers

The Centro Studi Opera Omnia Luigi Boccherini of Lucca (<http://www.luigiboccherini.org>), in collaboration with Palazzetto Bru Zane - Centre de musique romantique française (<http://www.bru-zane.com>), under the auspices of the Provincia di Lucca, the Comune di Lucca, and the Association angevine Franz Liszt, is pleased to invite submissions from scholars of proposals for the symposium on Chopin e Liszt: due compositori a confronto nell’universo musicale parigino / Chopin and Liszt: Two Composers and their Relation to the Parisian Musical Scene / Chopin et Liszt : deux compositeurs face à face sur la scène musicale parisienne to be held in the Palazzo Ducale, Lucca, from Thursday 2 until Saturday 4 December 2010. The Symposium aims to investigate different facets of the life and works of the two composers, in the context of the Parisian scene during the nineteenth century. The programme committee encourages submissions within the following areas, although other topics are welcome
:

  • Chopin, Liszt and 19th-century Parisian art
  • Chopin’s and Liszt’s oeuvre in the context of the contemporary musical aesthetic
  • Liszt’s orchestral works
  • Chopin, Liszt and the ‘French Piano School’
  • Chopin, Liszt and musical nationalism
  • Chopin, Liszt: performers of different styles
  • The Contemporary Reception of Chopin’s and Liszt’s music

The official languages of the conference are English, French, and Italian. Papers selected at the conference will be published in a volume of proceedings. Papers are limited to twenty minutes in length, allowing time for questions and discussion. Please submit an abstract of no more than 500 words and one page of biography. All proposals should be submitted by email no later than Monday 5 April 2010 to Luca Sala <gro.inirehccobigiul|lc#gro.inirehccobigiul|lc>. Please include with your proposal your name, contact details (postal address, e-mail and telephone) and (if applicable) your affiliation.
The committee will make its final decision on the abstracts by the 15th of May 2010, and contributors will be informed immediately thereafter. Further information about the programme, registration, travel and accommodation will be announced by the end of June 2010.

For additional information about the conference, see <http://www.luigiboccherini.org/CLCONF>

The Music Department at Dalhousie University wishes to announce that applicants from all disciplines and all nationalities are eligible for Killam Postdoctoral Fellowships at Dalhousie University. The Killam is a highly competitive two-year fellowship designed to enable promising new graduates to continue work on their research at Dalhousie University. Interested candidates may obtain detailed information about the program and application forms from the university’s Faculty of Graduate Studies website at http://killamtrusts.dal.ca/apply/postdoctoralfellows/. Candidates are asked to include in their applications a letter of support from the proposed supervisor with whom the candidate hopes to work. Candidates are responsible for contacting potential supervisors for support. Prof. Jennifer Bain (jennifer.bain at dal.ca), the Musicology Graduate Coordinator, will be happy to advise on appropriate supervisors in the Music Department. The application deadline is December 15. bold text

Colloque international organisé par l'Université de Genève.
11 au 13 novembre 2010 à l'Université de Genève, Faculté de psychologie et des Sciences de l'éducation.

The Institute of Musical Research, University of London, is pleased to announce an international conference on The Symphony Orchestra as Cultural Phenomenon

1–3 July 2010, Institute of Musical Research, University of London, Senate House

Conference abstract: Edward Elgar described the symphony orchestra as ‘the mighty engine, the vehicle of the highest form of art ever known to the world’, and from the 1880s onwards this widely held belief gave orchestral music a prominent place in British musical life. In the 21st century, however, such a position is perhaps no longer tenable.

Call for papers: The Programme Committee warmly welcomes proposals focusing on economic, political, social and cultural developments connected with the symphony orchestra and their effects on composers, performers, conductors, producers, artistic directors, back-room staff, recording engineers, public and private broadcasters, recording companies, publishers, critics, scholars, audiences, listeners, viewers, fundraisers, patrons, arts councils, and so forth; or the ‘outcomes’ of their activity, including, but not limited to, such things as scores, recordings, concerts, lectures, essays, books, criticism, interviews, commissions and contracts. Those submitting proposals may also wish to address the relationship between historical context and place (such as venues, cities, and countries), or the formation and dissemination of ideas about the orchestra.

Proposals of 250 words maximum are invited for the following:

· Papers (20 minutes maximum, with 10 minutes discussion)

Proposals of 650 words maximum are invited for the following:

· Themed paper sessions of three or four papers (to include a proposal of 300 words maximum outlining the purpose of the themed session, along with brief explanations of each of the individual papers to be included – each paper to be 20 minutes maximum plus ten minutes discussion)

DEADLINE for proposals: 5pm (GMT), Monday, 30 November 2009

Results Announced: mid-January 2010

Preliminary Programme: mid-January 2010

Please submit by email, in an attachment including your full name and contact details, to the IMR Administrator Mrs Valerie James:
[music at sas.ac.uk]

Proposals will be anonymised before consideration by the Programme Committee.

Programme Committee: Stephen Cottrell (Goldsmiths College, University of London), Rachel Cowgill (Liverpool Hope University), Jonathan Cross (University of Oxford), John Irving (Institute of Musical Research), Jann Pasler (University of California, San Diego), Julian Rushton (University of Leeds), Derek B. Scott (University of Leeds).

Convenors: Duncan Boutwood (University of Leeds), Roddy Hawkins (University of Leeds).

Please email Roddy Hawkins with any queries: r.w.m.hawkins at leeds.ac.uk

Details: http://music.sas.ac.uk/imr-events/imr-conferences-colloquia-performance-events/the-symphony-orchestra-as-cultural-phenomenon.html#c1420

International Conference: Hanns Eisler
Institute of Musical Research, University of London
April 19-20, 2010

Conference convenors: Erik Levi (Royal Holloway University of London), Albrecht Dümling (International Hanns Eisler Society, Berlin) and Michael Haas (Jewish Museum, Vienna)

Keynote speaker: Professor David Blake, University of York

We welcome submission of papers on the work of Hanns Eisler (1898-1962), widely regarded as one of Schoenberg’s most talented pupils and a pioneer of applied music during the Weimar Republic. As an exile from Nazi Germany, Eisler spent most of the 1930s and in Denmark, England and finally the USA before returning to Europe to take up residency in the newly-founded German Democratic Republic.

The conference, probably one of the first on Eisler to be held in the English speaking world, has two broadly-based themes:

1) Eisler and England
2) topics of general interest related to the work of Eisler.

Proposals for papers are now invited. Papers should be of 20 minutes duration, and the proposal should be presented as an abstract of not more than 250 words. Please submit by email, in an attachment including your full name, contact details and (if applicable) your affiliation, to the IMR Administrator Mrs Valerie James, at music at sas.ac.uk

Proposals will be anonymised before consideration by the conference convenors.

DEADLINE for proposals: 5pm (GMT), 25 November 2009

Results Announced: mid-December 2009

Preliminary Programme: mid-December 2009

www.music.sas.ac.uk

MELLON POSTDOCTORAL
TEACHING FELLOWSHIPS
In the Humanities and Humanistic Social Sciences 2010-2012

The School of Arts and Sciences invites applicants for three two-year postdoctoral teaching fellowships in the humanities and humanistic social sciences. Fellows will teach one course per term. Eligibility is limited to applicants who will have received their Ph.D. within two years prior to the time they begin their fellowship at Penn (August, 2008 or later). $49,828 stipend. Application deadline: November 30, 2009. We are especially seeking one fellow in Philosophy (short description of desired areas here) and one in English literature (short description of desired areas here).

For guidelines and application, see the School of Arts and Sciences website [http:www.sas.upenn.edu/deans-office/Mellon] or write:

Office of the Dean
School of Arts and Sciences
University of Pennsylvania
116 College Hall
Philadelphia, PA 19104-6377

The University of Pennsylvania is an equal opportunity/affirmative action employer; women and minority candidates are strongly encouraged to apply.

With the electronic journal "Act: Zeitschrift für Musik & Performance",
the Research Institute for Music Theatre Studies in Thurnau
(Forschungsinstitut für Musiktheater in Thurnau, fimt) presents an
international and interdisciplinary publication intended to provide a
platform for essays, reviews and columns at the intersection of the
disciplines musicology, theatre studies, dance studies and media
studies. _Act_ places particular value on methodological plurality and on
supporting young academics.

The object of our interest is the entire spectrum of music theatre,
above all with regard to performance contexts. Work positioned within
individual disciplines as well as at their methodological boundaries is
encouraged. Objects currently underrepresented in research are also to
be illuminated.

The range of themes in _Act_ correspondingly embraces all cultural
expressions in the field between music and performativity such as:

  • opera, operetta, musical theatre
  • dance theatre, spoken theatre
  • music theatre of the 20th and 21st century
  • performance art
  • concert culture, performance culture
  • visual arts
  • phenomena of pop culture and everyday performance
  • film, television, radio, internet and video games

We invite all authors with an interest in these questions and themes to
submit their essays to us.

Act will appear twice a year as an internet journal. As well as two to
five essays and an editorial, each issue will contain a review section
(in the form of review essays) and a section for columns and
announcements. As an open-access journal, Act is free of charge both for
authors and readers. Contributions will be made available in online and
print versions and archived on document servers.

All essays received will be submitted to a fully anonymous peer review
process.

Contributions should not exceed 45000 characters including spaces. The
submission deadline is 11 January 2010. The first issue will appear in
spring / summer 2010. For further information please contact Knut
Holtsträter, email: act at uni-bayreuth.de / +49 9228 99 605 - 10.

CALL FOR PAPERS

Music and Philosophy: A Royal Musical Association Study Day in association with the British Society of Aesthetics

Saturday 20th February 2010

Department of Music, King’s College London

Keynote speakers:

Prof Mark Evan Bonds (University of North Carolina at Chapel Hill)
Prof Andrew Bowie (Royal Holloway, University of London)
Prof Julian Dodd (University of Manchester)

This study day will offer a chance for musicologists and philosophers to share and discuss work in the hope of fostering a dialogue between the two disciplines. Proposals of up to 500 words are invited for individual papers (20 minutes) and collaborative papers (up to 30 minutes). Collaboration between persons from different disciplines would be especially welcomed. Topics of interest might include (but are not limited to):

- interactions between music and philosophy (including historical connections)
- ontology and music
- music, meaning, and language
- perception and expression
- performance, authenticity, and interpretation

Please send proposals by e-mail to Tomas McAuley (tomas.mcauley at kcl.ac.uk) or Dr Víctor Durà-Vilà (victor.dura_vila at kcl.ac.uk). Postgraduate students are particularly encouraged to submit. The deadline for proposals is Friday 4th December 2009.

40th International Ballad Conference

Meertens Institute, Amsterdam
Maritime Institute, Terschelling

The 40th International Ballad Conference of the Kommission für Volksdichtung is to be held in Amsterdam and Terschelling (Netherlands),
Monday morning, 5 July, to Saturday morning, 10 July 2010.
The conference is being hosted by the Meertens Institute, Amsterdam.

http://www.meertens.knaw.nl/cms/index.php?option=com_content&view=article&id=143102%3A5-10-juli-2010&catid=15%3Aagenda&Itemid=70&lang=en

Call for Papers

Ballad conferences are open to ethnologists, (ethno-)musicologists, literary historians and other scholars. The main theme of this conference is WATER. We welcome papers on maritime, coastal and insular music cultures, shanties and other songs of sailors and fishermen, ballads about the sea, lakes, rivers, waterfalls, sources and fountains, rain and draught, beaches, banks and bridges, swimming, shipwrecks, drowning, floods, fishes, sea monsters, mermaids etc. Other possible issues include performance, literacy vs. orality, language and identity, and ballad history, preferably in connection with the main theme.

Papers will be limited to 20 minutes. Abstracts of up to 300 words, together with requests for technical equipment, should be submitted by 4 JANUARY 2010 to prof. dr Louis Peter Grijp. The author’s address, affiliation and contact details should be clearly stated, together with a brief account of the author’s career and research interests.

For further information, contact the Conference Organisers:
prof. dr Louis Peter Grijp (+ 31 20 4628536, louis.grijp at meertens.knaw.nl, drs Martine de Bruin (+31 20 4628513, martine.de.bruin@meertens. knaw.nl) and Marieke Lefeber MA (+31 20 4628579, marieke.lefeber at meertens.knaw.nl)
P.O. Box 94264, NL-1090 GG Amsterdam, Fax + 31 20 4628555
Joan Muyskenweg 25, NL-1096 CJ Amsterdam

Sights & Sounds
Interrogating the Music Documentary
University of Salford
June 4-5, 2010

In the fall of 1894, W. K.L. Dickson assisted Thomas Edison in his experimentation with sound film. He shot a sequence in which one man plays a violin before the recording phonograph horn while two others dance. Might this be the first music documentary?

In the years since, numerous works have been produced that consist of narrative formulations of musical history; portraits of individuals or groups; replications of musical events; meditations on musical genres or transformative occasions. A number of these works have become renowned in their own right, such as D.A. Pennebaker’s Don’t Look Back (1967) or the Maysles Brothers Gimme Shelter (1970). Others have become as famous as the events they depict, including Steve Binder’s The T.A.M.I. Show (1964) Michael Wadleigh’s Woodstock (1970). Still more have placed a name and a face to previously unknown musicians, as did Paul Justman’s Standing in the Shadow of Love (2002) with Motown Records’ Funk Brothers. Some have provoked controversy as much as they have drawn audiences, like Ken Burns’ PBS series Jazz (2001). Some have attached a conceptual framework to a genre and a group and incorporated an argument about that material, including Julian Temple’s The Filth and the Fury (2000).

The conference will interrogate this body of film and welcomes submissions on works in any media: radio, television or film. We are interested in issues that include but are not limited to narrative strategy, visual articulation, ideological analysis, star imagery, gender dynamics, race, We are particularly interested in studies that challenge normative story-telling strategies, familiar and hence deflated visual approaches, or wish to topple canonic formations of musical production that have been perpetuated through their presentation in various media.

The conference will feature appearances by filmmakers (to be announced) and showings at the Cornerhouse Theatre, located in Manchester. We hope as well to commission selected papers from the conference for publication in a volume, the first such anthology of approaches to the genre of music documentary.

Deadline for submissions: December 14, 2009

Announcement of program: January 4, 2010

Please send proposals of no more than 500 words by e-mail to both of the following addresses

d.sanjek at salford.ac.uk b.halligan at salford.ac.uk

Conference Chairs:
David Sanjek, Professor of Music Ben Halligan. Senior Lecturer
Director, Popular Music Research Centre School of Performance
School of Music
University of Salford

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