TENOR 2015: First International Conference on New Technologies for Music Notation and Representation

Paris, France, 29-30 May 2015
University of Paris-Sorbonne / Ircam

The first International Conference on New Technologies for Music Notation and Representation is dedicated to issues in theoretical and applied research and development in Music Notation and Representation, with a strong focus on computer tools and applications, as well as a tight connection to music creation.

Until very recently, the support provided by the computer music to the field of symbolic notation remained fairly conventional. However, recent developments indicate that the field of tools for musical notation is now moving towards new forms of representation. Moreover, musical notation, transcription, sonic visualization, and musical representation are often associated in the fields of musical analysis, ethnology, and acoustics. The aim of this conference is to explore all of recent mutations of notation and representation in all domains of music.

Topics of interest

Musical creation

  • Notation in electronic and electroacoustic music
  • Notations for interactive music
  • Notation for sound installations
  • Notation for the multimedia and mixed arts
  • Live coding

Musical notation

  • Innovative computer applications for music notation
  • Languages for music notation
  • Gesture notation
  • Notation and mobile devices
  • Exchange formats for music notation
  • Online tools and languages for music notation and representation

Analysis, notation & pieces studies

  • Analysis of contemporary notations
  • Semiotic of new notation forms
  • Ontology of the notation of interactive music
  • Data mining, music notation corpus, databases

Representation, transcription

  • Sound visualization
  • Interactive representation
  • Transcription in ethnomusicology and representation of non-written musics
  • Non-western or ancient music trans-notation
  • Representation and transcription in acoustic ecology and sound landscape
  • Optical music recognition

Listening, teaching

  • Listening guides
  • Live and offline annotation
  • Notations for music pedagogy

Submission

Information & submission: http://tenor2015.tenor-conference.org.
Deadline for papers submission: January 15, 2015.

With the collaboration of:

Institut de Recherche en Musicologie, CNRS UMR 8223
Université Paris-Sorbonne
Ircam
LAM, Lutheries – Acoustique – Musique, UPMC
GRAME, Centre national de création musicale, Lyon
AFIM, Association Française d’Informatique Musicale

North Atlantic Fiddle Convention Conference

CALL FOR PAPERS
North Atlantic Fiddle Convention
October 13-17, 2015
Cape Breton Island (Sydney & Baddeck, Nova Scotia)
Celtic Colours International Festival / Cape Breton University
Trans-Atlantic Transactions

Music and dance are means by which we share culture and identity, and exchange knowledge. The theme of Trans-Atlantic Transactions is designed to frame wide-ranging explorations of fiddling and related dance traditions as expressive forms that are shared, exchanged, and disseminated, and which provide endless opportunities for dialogue.
The idea of “transaction” can be understood broadly to embrace the exchange of repertoires and styles within and between traditions, regions, generations, and populations. Transaction may also be used to reflect upon the impact of economic forces on fiddling and dancing, from the demands of recording and touring, to the expectations placed on it by the entertainment industry and tourism.

We invite papers and panels which examine the themes of giving, taking, exchanging, and transacting as they apply to fiddling and dancing across the North Atlantic region. Some topic areas may include, but are not limited to:
• Adoption and Appropriation: Where and when would these terms be appropriate for the
circulation of fiddle and dance styles and repertoires?
• Exchanging of Repertoire: How are tunes exchanged among different or separate fiddling traditions, and what transformations or modifications are made when they are?
• Transactions Among Instruments: The fiddle repertoire has been adopted by flautists,
banjoists, accordionists, pianists, guitarists, and many others. In some cases, like the bagpipes, the fiddle and pipes mutually share repertoire. How do instruments like these reshape fiddle tunes, and what do they give back to fiddling traditions?
• Vocal Music: What transactions and exchanges occur between repertoires of fiddling, dancing and vocal music? How much has one affected another in particular traditions?

• “Blàs” (“Flavour,” “accent”): What exchanges happen between the spoken language of a culture and the rhythm, cadence, or “accent” of fiddle or dance style?

• Interactions: What are the interactions among performers, between soloists and
accompanists, between dancers and fiddlers?
• Migration: How have exchanges of population, both recent and past, affected the circulations of styles and repertoires?
• Mediation: What negotiations are made when fiddling and dancing become mass mediated, and respond to commercial priorities?
• Vocation vs. Avocation: What are the issues around the rewards of fiddling and dancing, and in which contexts? What are the range of economies involved in fiddling and dancing, from communal sharing to barter to professionalism and the pursuit of various sources of revenue?

Though we encourage presentations that engage with our theme, the program committee will gladly receive proposals for presentations on any aspect of fiddling and its dance-related cultures.

Given the setting of the conference, on Cape Breton Island, and its partnership with the Celtic Colours International Festival (Friday October 9 to Saturday October 17, 2015), we anticipate that this theme will be fruitful as we reflect on fiddling in the Old World and the New, and across many different populations and histories. Delegates will have opportunities to see many Celtic Colours International Festival performances, workshops, and events, and experience the Island’s many sights and sounds over the course of the conference.

The first half of the conference will be held in Sydney (October 13-14), and the latter half in Baddeck, Nova Scotia (October 16-17), offering a full experience of the Cape Breton’s exciting urban and beautiful rural locales. October 15 will be organized as a day of touring.

As we will be applying for funding support, submissions for academic papers will need to include:
• presenter’s full name, institutional affiliation, department, student status (if applicable), and contact information;
• presentation title;
• two abstracts: one 250 words, and one 100-150 words MAXIMUM;
• a list of degrees earned, specifying discipline;
• a list of recent positions and any positions relevant to NAFCo;
• a list of recent publications and any publications relevant to NAFCo; and
• a 100 word biography.

The submission deadline is November 15, 2014. Submissions should be sent to the email address below, and will be submitted to blind peer review.
Email: NAFCO2015@cbu.ca
Website: www.celtic-colours.com/nafco2015/
Mail: North Atlantic Fiddle Convention
c/o The Centre for Cape Breton Studies
PO Box 5300
1250 Grand Lake Road
Sydney, Nova Scotia B1P 6L2 CANADA

Work & Play: Economies of Music

Work & Play: Economies of Music

The Harvard Graduate Music Forum Conference    •    20–21 February 2015

Keynote:  Robin James (UNC Charlotte)

Round Table:  Verena Andermatt Conley, Robin James, Sindhumathi Revuluri, Kay Kaufman Shelemay

 

- Call for Proposals -

This interdisciplinary conference takes as its premise that music is inseparable from the economic conditions of its production and consumption. Through presentations, lecture-recitals and composers’ colloquia, we seek to explore the intersections of music and economics from a diverse array of perspectives including labor, practice, material culture, and capital.

Questions include but are not limited to:

  • How do musicians and their employers understand musical labor, and how does this impinge on issues of amateurism, professionalism, and institutionalization?
  • How have shifting economic systems — for instance, from patronage to mass consumption, or from liberalism to neoliberalism — altered the place of music in society?
  • How have issues such as postcolonialism, the North-South economic divide, and globalization, intersected with various musical practices to forge divergent models of economies of music?
  • Where does music succeed and where does it fail in transforming economic relations?
  • What are the economic consequences of the material means of musics’ dissemination, such as manuscripts, published scores, phonograph recordings, streaming and live performance?
  • How do questions of cultural and economic capital combine in appraisals and contestations of musical value?
  • How has music symbolically represented economics and status? What is music’s role in this endeavour today?

- Submissions -

We welcome submissions from current graduate students on these and related topics. We seek proposals on all repertoires, musical practices and historical periods, and representing a broad set of methodologies. Formats for presentation include:

  • 20-minute papers, audiovisual presentations, or exploratory text works, with 10 minutes for discussion
    Please submit abstracts of a maximum of 350 words and, where appropriate, up to 4 additional pages for figures. Please add a short statement regarding AV requirements.
  • 30-minute composer colloquia, performances, or lecture-recitals, with 15 minutes for discussion
    Please submit details of the work to be presented in a maximum of 350 words and, where appropriate, links to relevant sound recordings and/or scores or supplementary documentation.

Deadline for proposals: 5 December 2014

Please e-mail submissions to: harvardgmf2015@gmail.com

For more information please visit: http://projects.iq.harvard.edu/gmf2015

Pacific Northwest (PNW) Graduate Music Conference 2015

CALL FOR PAPERS (Submission deadline: December 1, 2014)

25th Annual Pacific Northwest (PNW) Graduate Music Conference:

University of British Columbia, Vancouver, BC

February 21–22, 2015

The 25th Annual Pacific Northwest Graduate Music Conference is taking place at the University of British Columbia (UBC) School of Music, February 21–22, 2015, in Vancouver, BC.

This conference provides an excellent forum for young music scholars in various sub-disciplines to exchange ideas and present original research. Professor Nathan Hesselink (UBC) will deliver the keynote talk, “Bring On the Night: Rhythmic Play, Compositional Intent, and Communication in the Music of The Police”.

The program committee encourages submissions from graduate students (or advanced undergraduates) in musicology, theory, ethnomusicology, music education, performance, and composition. Presentations will be 20 minutes, followed by a 10-minute question period. Lecture recitals of up to 30 minutes are also welcome.

Presentations must consist of research that has not previously been published or presented at a national conference. Individuals may submit more than one abstract, but only one may be accepted for presentation. Submissions should be sent by email to pnw.music.2015 [at] gmail [dot] com no later than December 1st, 2014. The body of the email should include the submitter’s name, email address, and institutional affiliation. Abstracts should be attached as PDF or Word files, be free of any identifying information, and not exceed 300 words. If necessary, supporting diagrams and figures are permitted (max. 3 pages).

If you have any questions, please feel free to contact the committee at pnw.music.2015 [at] gmail [dot] com.

 

The PNW 2015 Program Committee:

Antares Boyle (Music Theory)

Christina Hutten (Music History)

Kirk King (Ethnomusicology)

Grant Sawatzky (Music Theory)

Christian Congregational Music: Local and Global Perspectives

CALL FOR PAPERS

Deadline for proposals: 12 December 2014
Conference dates: 4-7 August 2015
Conference website: http://congregationalmusic.org
Venue: Ripon College Cuddesdon, Oxford, United Kingdom


Congregational music-making is a vital and vibrant practice within Christian communities worldwide. It reflects, informs, and articulates convictions and concerns that are irreducibly local even as it flows along global networks. Congregational song can unify communities of faith across geographical and cultural boundaries; however, it can also be used to mark divisions between Christians of different denominations, cultural backgrounds, and social classes, and to negotiate or articulate difference in relation to religious outsiders. We therefore cannot understand the meanings, uses, and influences of congregational music within Christianity without exploring both its local contexts and its translocal, transnational, and global circulation.

The third biennial Christian Congregational Music conference will be held in 2015. Its goal is to expand the avenues of scholarly inquiry into congregational music-making by bringing together world-class scholars and practitioners to explore the varying cultural, social, and spiritual roles church music plays in the life of various Christian communities around the world. To this end, the conference facilitates a multifaceted dialogue among participants from a variety of academic disciplines, including musicology, ethnomusicology, theology, anthropology, history, and education.

The 2015 conference is focused on a sustained reflection about the theoretical perspectives and methodological approaches used to study congregational music. What new methodological approaches—whether from the hard sciences, social sciences, humanities, or theological disciplines—can be brought to bear on timely research questions, such as congregational music’s relation to indigenization, transnationalism, religious experience, and ethics? What new understandings about congregational music are generated with the introduction of theoretical perspectives from, for example, gender studies, postcolonial thought, neuroscience, or political economy? Although the Programme Committee will prioritise papers that bring new insights to any aspect of theory or methodology, papers addressing other topics relevant to Christian congregational music are also welcomed.

We are now accepting proposals (maximum 250 words) for individual papers and for organised panels consisting of three papers. The online proposal form can be found on the conference website at http://congregationalmusic.org/content/proposals.

Proposals must be received by 12 December 2014.

Notifications of acceptance will be sent by 26 January 2015, and conference registration will begin on 31 January 2015. Further instructions and information will be made available on the conference website at http://congregationalmusic.org.

Magnified & Sanctified: The Music of Jewish Prayer

AHRC “Care for the Future” Theme, Performing the Jewish Archive

University of Leeds, UK, Tuesday 16 – Friday 19 June 2015

 For the first time in Britain an International Academic Conference is being devoted to the music of Jewish prayer. Internationally acclaimed scholars in Jewish liturgical music will lead the programme presented jointly by the School of Music, University of Leeds and the Academic Wing of the European Cantors Association. The conference is organised in association with the international research project Performing the Jewish Archive, funded by the Arts and Humanities Research Council. 


KEYNOTE SPEAKERS

  • Professor Emeritus Eliyahu Schleifer, Professor of Sacred Music and Director of the School of Sacred Music at HUC-JIR/Jerusalem
  • Professor Mark Kligman, Professor of Jewish Music University of California, Los Angeles
  • Professor Rabbi Jeffrey Summit, Research Professor, Tufts University, nr Boston 

CALL FOR PAPERS

The English music scholar Percy Scholes wrote in the Oxford Companion to Music: ‘Throughout the ancient history of the Jewish people we find music mentioned with a frequency that perhaps exceeds that of its mention in the history of any other people. Music not only impresses itself on the daily life of the Jewish people through religious observance, but it is a dominant feature of the Jews’ cultural expression of their own milieu over centuries and more recently of the wider community in which they live.  Music for the Jews is an indelible part of their existence’.

This conference will explore recent research into aspects of Jewish liturgical music. This could include Hebrew Psalmody, Cantillation, Jewish modes and melodies, Piyyutim, Missinai Tunes and synagogue composition, both cantorial and choral in areas where Jewish communities have flourished across the globe and through the centuries.  It will also examine current trends and issues and the interface between Jewish liturgical music and the musics of the wider Christian, Muslim and other societies.

Proposals for 20-minute papers with 10 minutes for discussion (which may include relevant musical presentations) are invited. Papers that make use of original archival sources, or that reinterpret known sources, will be particularly welcome, though all relevant areas of investigation will be considered. We also invite suggestions for round table sessions of c.60 or 90 mins.

THE OFFICIAL LANGUAGE OF THE CONFERENCE IS ENGLISH. It is envisaged that selected papers will be published in a volume of proceedings.

PLEASE SEND AN ABSTRACT OF up to 300 WORDS by 10 November 2014, to the Conference Director, Dr Stephen Muir S.P.K.Muir@leeds.ac.uk. Your proposal should include the title of your presentation, your name and institutional affiliation and contact details, and a biography of up to 150 words. Please indicate whether your presentation includes live or recorded musical illustrations, and the technical support required.

THE PROGRAMME COMMITTEE will make its decisions by 10 December 2014, and contributors will be informed soon thereafter.

SABBATH AND EUROPEAN CANTORS CONVENTION All delegates to the International Conference are invited to join with the European Cantors Convention in special choral Sabbath with guest cantors and choirs on Friday night 19 and Saturday 20 June. Delegates might also like to attend the Convention which will take place immediately following on Sunday 21 and Monday 22 June.

FOR ADDITIONAL INFORMATION, please contact the Conference Director Stephen Muir S.P.K.Muir@leeds.ac.uk  (Information about the programme, registration fees, travel and accommodation will be announced by the end of December 2014). Bursaries covering all or part of the conference fee may be offered to students.

CONFERENCE WEBSITE


CONFERENCE COMMITTEE

Dr Stephen Muir Senior Lecturer in Music, School of Music University Leeds

Dr Alexander Knapp Head, ECA Academic Wing. Research Associate, Department of Music SOAS University of London (retired Joe Loss Lecturer in Jewish Music, SOAS),

Dr Malcolm Miller Associate Fellow of the Institute of Musical Research, University of London

Geraldine Auerbach MBE Conference coordinator


INTERNATIONAL ADVISORY BOARD INCLUDES

Keynote speakers:

Professor Emeritus Eliyahu Schleifer – Jerusalem

Professor Mark Kligman – Los Angeles

Professor Rabbi Jeffrey Summit – nr Boston

and

Professor Philip Bohlman – Chicago

Professor Edwin Seroussi – Jerusalem

 

 

Musical Transitions to European Colonialism in India and the Malay World: Conference

10-11 April 2015, King’s College London
You are warmly invited to attend the final major conference of the European Research Council project “Musical Transitions to European Colonialism in the Eastern Indian Ocean.” 
For further information at this preliminary stage, please see the project website: http://www.kcl.ac.uk/artshums/depts/music/research/proj/mutran/index.aspx
Alternatively, please email the Principal Investigator, Dr Katherine Schofield: katherine.schofield@kcl.ac.uk

9th Conference on Interdisciplinary Musicology

9th Conference on Interdisciplinary Musicology
Abstract submission deadline: 05 August 2014
Conference dates: December 4-6, 2014

http://www.sim.spk-berlin.de/cim14

National Institute for Music Research, Berlin, Germany

Technology is omnipresent in our lives and it plays an important role in contemporary social development, particularly in the so-called Westernized world. The role of technology in our daily life is even more so remarkable with the increasing ubiquity of technology, specially computing technology, in various activities of our contemporary society, music being a notable example. Yet, there is no single universally accepted definition of “technology”.

CIM14 will be aimed at all discourses on the interplay between technology and music, including collaborations between sciences and humanities, interactions between academic research and musical practice, and interdisciplinary combinations that are innovative, unusual, and creative.

Conference Sessions & Topics:

Please visit the conference site for a list of suggested topics including: Technology in Musicology, Ethnomusicology, Music- Education, Sociology, Anthropology, Psychology, Philosophy, Sound Recording and Technology of Musical- Instruments, Composition and Practice.

We are particularly interested in new emerging fields of technology in music research and practice, which could form a session on New Emerging Technologies, which might include: Music Neurotechnology, Neuromusicology & Neuro-inspired Music Theory, Evolutionary Computing in Music & Musicology, Computational Ethnomusicology and Unconventional Computing in Music.

Submission of papers:

CIM14 welcomes papers addressing the relationship between music and technology in a way or another. An important ranking criterion for the peer reviewing process will be the interdisciplinary nature of the paper.

Please see the online submission page for more information including important details about the submission format:

http://www.sim.spk-berlin.de/cim14submission

The Study of Musical Experiences: Data Collection, Interpretation and Analysis

Grieg Research School in Interdisciplinary Music Studies (GRS) invites Ph.D. candidates and other researchers to a research course focusing on methods and methodology as related to the collection of data material and the analysis of data material.

Dates: November 25th -28th, 2014

Location: University of Bergen, Norway

 

The course will be taught through lectures and workshops. Topics covered will include:

Methods of Data collection

  • Interviews: procedures and process
  • Interpersonal Process Recall Method
  • Working with focus groups: methods, concepts and practicialities
  • Workshops will focus on how to write interview guidelines, issues of reflexivity and practical conduct of interviews

Methods of Data Analysis

  • Interpretation of empirical material in qualitative music studies
  • The role of theory in the process of interpreting data.
  • Can hermeneutics be used as an analytical method?
  • Understanding the social dimension of reflexive methodology
  • “HyperRESEARCH” as a tool for analysis. Introduction and Workshop

The lecures and workshops will be given by David Hebert, Kari Holdhus, Kirsti Malterud, Randi Rolvsjord and Brynjulf Stige.

Candidates are invited to present work in progress from the fields of music education, music therapy, musicology and music performance/creative practice. For more information about the course, please visit the GRS website.

 

Abstract submission: Send the abstract to liv.qvale@uni.no

Deadline for submission of abstract: Wednesday October 15th, 2014

 

Registration: online registration here. Closing date for registration: Friday November 14th

 

Please contact us at liv.qvale@uni.no if you have any queries.

A Laboratory of Spring

Call For Papers
September 27-28, 2014
Centre For Philosophical Research & Department of the History of Art and Culture, Nicolaus Copernicus University, Torun, Poland

We invite you to participate in the symposium A LABORATORY OF SPRING devoted to the research on contemporary music and dance, as well as to their socio-cultural context – in the age after “The Rite of Spring” by Igor Stravinsky.
Research Areas: Musicology; Choreography and Dance Studies; Philosophy of Music; Cultural Studies; History of Art; History of Music; Psychology of Music; Sociology of Music; Ethnomusicology, Cognitive Science of Music; others related.
Key Speakers: Richard Taruskin (University of California, Berkeley), Pieter C. van den Toorn (University of California, Santa Barbara)

Thematic Section I:
– “The Rite of Spring”
– Igor Stravinsky
– Vaclav Nijinksy

Thematic Section II:
– creation and perception of contemporary music/dance
– cultural, social, and political context of music of last century
– empirical research on music and dance
– (new) philosophy of new music
– does music/dance express anything?
– others related

Deadlines
Abstract submission: June 30
Notification of acceptance: July 15
Registration fee: September 10
Booking the accommodation with organizers’ help: September 10

Language: English

Registration: http://avant.edu.pl/en/symposium

Organizers: Department of the History of Art and Culture, Nicolaus Copernicus University (local co-organizer), Centre For Philosophical Research (main organizer).

The symposium is supported by the Ministry of Science and Higher Education.

The symposium website: http://avant.edu.pl/en/symposium