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

18th Biennial IASPM Conference Back to the Future: Popular Music and Time

*Versão em português abaixo*

*Versión en español abajo*

Please find below the call for papers for the 18th Biennial IASPM Conference (English, Portuguese and Spanish versions). Scroll to the very end for details of the Conference Academic Committee and Conference Organizing Committee. The CFP is also available on the website: http://www.iaspm.net/18th-biennial-iaspm-conference. The conference website will be up in a couple of months.

=== === ===

Back to the Future: Popular Music and Time

18th Biennial IASPM Conference

29 June – 3 July 2015

Universidade Estadual de Campinas

São Paulo, Brazil

Whether in relation to rhythms, eras, live performances, lyrics, identities, politics, scenes, production, or changing technologies, the topic of time can be linked to popular music in a variety of ways. The compartmentalising of sounds into genres, the ageing of audiences, and the shifting sands of the music industry all invoke notions of the temporal. For the 18th Biennial IASPM Conference, we invite researchers and practitioners to submit proposals for presentations that engage with the theme of time. We encourage proposals dealing with one of the following strands:

– Ageing Times: fandom and memory; musicians’ biographies; archiving and remastering; ageing bodies; ageing technologies; recycling repertoires.

– Historical and Social Times: contextual times; local and global histories and counter-histories; fashion, retro and revival trends; timelessness; sampling and other forms of sonic genealogies, re-circulations and surrogations.

– Modern Times: new sounds; new technologies; futurism; music industry strategies; mobile media.

– Phenomenological Times: creative process; performance deployment; gesture, affect and listening experience; cross-time productions, collaborations and performances.

– Structural Times: rhythm, tempo, groove, swing, beat and the various ways of conceptualizing the duration of sound; periodicity and repetition; flow and cadence; being in/out of time and sync; relationships between noise and silence(s).

There will be the options of: panels (of 3 or 4 presenters), individual papers, film/video presentations, or poster sessions.

Panels

Proposals of organized panels are strongly recommended (two-hour long sessions with four papers, or three papers and a discussant). Each session should leave at least 30 minutes for discussion or for comments by a discussant immediately following the presentations. The panel organizer should submit the panel abstract and all individual abstracts (200 words each) in one document, with a full list of participant names and email addresses. Where an independently submitted abstract appears to fit a panel, the Academic Committee may suggest the addition of a panelist.

Papers

We invite abstracts of no longer than 200 words, including five keywords for programming purposes. Individual paper presentations are 20 minutes long to be followed by 10 minutes of discussion.

Film/video session

Recently completed films introduced by their author and discussed by conference participants may be proposed. Submit a 200-word abstract including titles, subjects, and formats, and indicate the duration of the proposed films/videos and introduction/discussion.

Poster session

A space where presenters can exhibit posters, that remain on hand for a scheduled period for discussion, will be provided. A 200-word abstract by the poster’s author, including five keywords for programming purposes, must be submitted.

Submission

Please email your abstract as a Word doc attachment to iaspm15@iaspm.net. Please name the file with your surname. The following format should be used:

– Name, affiliation and contact email address

– Type of presentation (select one from: panel, individual paper, film/video, poster)

– Title of presentation (and panel if applicable)

– Strand (select one from: Ageing Times / Historical and Social Times / Modern Times / Phenomenological Times / Structural Times)

– Abstract

– Five keywords

– Bio (80 words maximum)

Papers will be accepted in English, IASPM’s official language, and Portuguese and Spanish, IASPM Latin America’s official languages. For submissions in Portuguese and Spanish, an additional abstract in English is required, and, if selected, an English visual presentation is to be screened while presenting.

Questions about the organization of panels should be directed to the Chair of the Academic Committee, Goffredo Plastino: chair@iaspm.net. Suggestions for other possible events at the Conference should be directed to the Chair of the local Organizing Committee, Rafael dos Santos: rdsantos@unicamp.br

Each participant must be a member of IASPM: http://www.iaspm.net/how-to-join. Each participant may present only one paper at the Conference, but may also preside over a panel or serve as a discussant.

Deadlines

Deadline for receiving abstracts: 31 May 2014

Acceptance/rejection letters: 30 September 2014

Opening registration: 1 October 2014

Deadline for “early bird” registration (US$ 150): 1 February 2015

Program draft: 1 March 2015

Conference fee payment deadline (US$ 200): 2 April 2015

Final program: 31 May 2015

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De volta pro futuro / Back to the Future: Música popular e tempo

XVIII Congresso Bienal da IASPM

29 de junho a 3 de julho de 2015

Universidade Estadual de Campinas

São Paulo, Brazil

Seja em relação a ritmos, eras, performances ao vivo, letras de canção, identidades, política, cenas, produção, ou mudanças tecnológicas, o tema do tempo pode ser ligado à música popular de várias maneiras. A compartimentalização dos sons em gêneros musicais, o envelhecimento do público, e as areias movediças da indústria da música, tudo invoca noções de temporalidade. Para o 18º Congresso bienal da IASPM, convidamos pesquisadores e profissionais (músicos, productores, etc.) a submeter propostas de apresentação relacionados com o tema do tempo. Encorajamos propostas nos seguintes eixos temáticos:

– Tempo de envelhecimento / Ageing Times: fãs e memória; biografias de músicos; envelhecimento corporal; envelhecimento de tecnologias; arquivar e remasterizar; reciclagem de repertórios.

– Tempo histórico e social / Historical and Social Times: contexto temporal; histórias locais e globais; contra-histórias; moda; tendências retrô e de renascimento; atemporalidade; sampling e outras formas de genealogias sonoras, recirculação e substituições.

– Modernidade / Modern Times: novos sons; novas tecnologias; futurismo; estratégias da indústria da música; mídia móvel.

– Tempo fenomenológico / Phenomenological Times: processos criativos; desdobramentos de performance(s); gesto, afeto e experiências de escuta; produções, colaborações e performances cross-time.

– Tempo estrutural / Structural Times: rítmo, andamento, groove, balanço (swing), tempo/pulso (beat) e as várias maneiras de conceituar a duração do som; periodicidade e repetição; fluxo e cadência; estar no ou fora do tempo e sincronização (sync); relações entre ruído e silencio(s).

Haverá a opção de: paineis (de 3 ou 4 comunicações), apresentações individuais, apresentação de filme/vídeo, e sessão de posteres.

Paineis

Propostas de paineis organizados são fortemente recomendadas (sessões de duas horas com quatro artigos, ou três artigos e um debatedor). Cada sessão deverá deixar pelo menos 30 minutos para discussão geral ou para a análise de um debatedor logo após as apresentações. O organizador do painel deve submeter o resumo geral do mesmo e todos resumos individuais (máximo 200 palavras) em um documento único, incluindo a lista completa de participantes e endereços eletrônicos. Quando um resumo independente se encaixar em um painel, o comitê organizador poderá sugerir sua adição.

Apresentações individuais

Convidamos a submissão de resumos de no máximo 200 palavras, incluindo cinco palavras-chave. Apresentações individuais terão a duração de 20 minutos seguidos de 10 minutos de discussão.

Filme/video

Filmes/videos recentemente concluídos apresentados por seu autor e discutidos pelos participantes da conferência podem ser propostos. Enviar um resumo de 200 palavras, incluindo título, assunto e formato, além de indicar a duração tanto do filme/vídeo proposto quanto da introdução/discussão.

Sessão de pôsteres

Será fornecido um espaço onde os apresentadores poderão expor seu poster e permanecer à disposição por um período programado para a discussão. Um resumo de no máximo 200 palavras, incluindo cinco palavras-chave, deverá ser submetido pelo autor do poster.

Submissão

Favor enviar resumo como arquivo Word, intitulado com seu sobrenome, para iaspm15@iaspm.net. O formato seguinte deve ser usado:

– Nome, instituição, e-mail

– Tipo de apresentação (selecionar entre: painel, comunicação individual, filme/video, poster)

– Título da comunicação (e painel se aplicável)

– Eixo temático (selecionar entre: Tempo de envelhecimento / Tempo histórico e social / Modernidade / Tempo fenomenológico / Tempo estrutural)

– Resumo

– Cinco palavras-chave

– Bio (máximo de 80 palavras)

Resumos serão aceitos em inglês, a língua oficial da IASPM; e português e espanhol, línguas oficiais da IASPM latinoamericana. Para submissões em português e espanhol, um resumo (abstract) adicional em inglês é mandatório. Se selecionada, a comunicação em português ou espanhol deverá ser acompanhada por projeção visual concomitante em inglês.

Todos os participantes deverão ser sócios da IASPM: http://www.iaspm.net/how-to-join. Cada participante poderá apresentar somente um trabalho no Congresso, mas podera também dirigir uma sessão ou servir como debatedor.

Em caso de dúvidas, os interessados na organização de paineis devem entrar em contato com o Diretor do Comitê Acadêmico, Goffredo Plastino: chair@iaspm.net. Sugestões para eventos possíveis no Congresso devem ser enviados para o Presidente do Comitê Organizador local, Rafael dos Santos: rdsantos@unicamp.br

Prazos

Prazo para submissão de propostas: 31 de maio de 2014

Cartas de aceite: 30 de setembro de 2014

Inscrições no congresso: a partir de 1º de outubro de 2014

Inscrição “early bird” (US$ 150): 1º de fevereiro de 2015

Programa preliminar: 1º de março de 2015

Prazo final para pagamento de inscrição (US$ 200): 2 de abril de 2015

Programa Final: 31 de maio de 2015

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De vuelta al futuro / Back to the Future: Música popular y tiempo

18º Congreso bienal IASPM

29 de junio al 3 de julio de 2015

Universidade Estadual de Campinas

São Paulo, Brasil

Ya sea en relación con ritmos, eras, performances en vivo, letras de canciones, identidades, política, escenas, producción, o cambios tecnológicos, el tema del tiempo puede ser vinculado con la música popular de varias maneras. La compartimentalización de sonidos en géneros musicales, el envejecimiento de los públicos, y las arenas movedizas de la industria de la música, todo invoca nociones de temporalidad. Para el 18º Congreso bienal de IASPM, invitamos a investigadores y profesionales (músicos, productores, etc.) a enviar propuestas de presentación relacionadas con el tema del tiempo. Alentamos propuestas en cualquiera de los siguientes ejes temáticos:

– Tiempo de envejecimiento / Ageing Times: fans y memoria; biografías de músicos; envejecimiento corporal; envejecimiento de tecnologías; archivos y remasterización; reciclajes de repertorios.

– Tiempo histórico y social / Historical and Social Times: contexto temporal; historias locales y globales; contra-historias; moda; tendencias retro y de revitalización; atemporalidad; sampleo y otras formas de genealogías sonoras, recirculación y sustituciones.

– Modernidad / Modern Times: nuevos sonidos; nuevas tecnologías; futurismo; estrategias de la industria da música; medios móviles.

– Tiempo fenomenológico / Phenomenological Times: procesos creativos; despliegue de la performance; gesto, afecto y experiencias de escucha; producciones, colaboraciones y performances cross-time.

– Tiempo estructural / Structural Times: ritmo, tempo, groove, swing, pulso y las varias formas de concebir la duración del sonido; periodicidad, repetición; flujo y cadencia; estar a/ fuera de tiempo y sincronización; relaciones entre ruido y silencio(s).

Se aceptarán propuestas de paneles (3 o 4 ponentes), ponencias individuales, filmes/videos y posters.

Paneles

Se recomiendan fuertemente las propuestas de paneles de dos horas (de cuatro ponencias o de tres ponencias más comentador). Cada sesión deberá considerar al menos 30 minutos para la discusión general o para el análisis de un comentador luego de las presentaciones. El organizador del panel debe proponer un resumen de panel y todos los resúmenes individuales (máximo de 200 palabras) en un único documento, incluyendo la lista completa de participantes con sus correos electrónicos. Si alguna propuesta individual coincidiera con el tema de un panel, el comité organizador se reserva el derecho sugerir su inclusión.

Ponencias individuales

Invitamos propuestas de resúmenes de un máximo de 200 palabras más cinco palabras clave. Las ponencias individuales tendrán una duración de 20 minutos seguidos de 10 minutos de discusión.

Filme/video

Filmes/videos recientemente terminados podrán ser presentados por su autor y discutidos para ser exhibidos y discutidos por los participantes del congreso. Los resúmenes de 200 palabras deben incluir el título, asunto y formato, además de indicar la duración prevista tanto para exhibición como para discusión.

Posters

Un espacio para exponer posters será proporcionado, así como un tiempo para presentación y discusión. El autor del poster deberá enviar un resumen de 200 palabras máximo, con cinco palabras clave.

Sumisión de propuestas

Por favor envíe su resumen como documento Word adjunto al correo electrónico iaspm15@iaspm.net. Asigne su apellido como nombre del documento, que deberá contener en su interior:

– Nombre, afiliación institucional y dirección de correo electrónico de contacto

– Tipo de presentación (elija una de los siguientes: panel / ponencia / filme o video / poster)

– Título lo de la presentación (y panel, si se aplica)

– Eje temático (elija uno de los siguientes: Tiempo de envejecimiento / Tiempo histórico y social / Modernidad / Tiempo fenomenológico / Tiempo estructural)

– Resumen

– Cinco palabras clave

– Biografía (80 palabras máximo)

Los resúmenes serán aceptados en inglés, lengua oficial de IASPM, portugués y español, lenguas oficiales de la rama latinoamericana de IASPM. Para las sumisiones en portugués y español, un resumen (abstract) adicional en inglés es requerido. De ser seleccionada, toda ponencia en portugués o español deberás ser acompañada por una proyección visual simultánea en inglés.

Todos los participantes deberán ser socios de IASPM: http://www.iaspm.net/how-to-join. Cada participante podrá presentar solamente una propuesta en el congreso, aunque podrá también dirigir una sesión o actuar como comentador.

En caso de dudas, los interesados en la organización de paneles deben contactar al Director del Comité Académico, Goffredo Plastino: chair@iaspm.net. Sugerencias relativas a eventos posibles en el Congreso deben ser enviadas al Presidente del Comité Organizador local, Rafael dos Santos: rdsantos@unicamp.br

Fechas

Plazo para sumisión de propuestas: hasta el 31 de mayo de 2014

Cartas de aceptación: 30 de septiembre 2014

Inscripción: a partir del 1º de octubre de 2014

Inscripciones tempranas ($150): 1º de febrero de 2015

Programa preliminar: 1º de marzo de 2015

Plazo final para inscripción ($200): 2 de abril de 2015

Programa final: 31 de mayo de 2015

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Academic Committee / Comitê Acadêmico / Comité Académico

Owen Chapman, Sue Miller, Ed Montano, Lutgard Mustaers, Goffredo Plastino, Catherine Rudent, Oliver Seibt, Jennifer Lynn Stoever-Ackerman, Támas Tófalvy, Martha Ulhôa, Haekyung Um.

Organizing Committee / Comitê Organizador / Comité Organizador

Rafael dos Santos (Chair / Presidente), Evandro Marques, Julio Mendívil, Vinicius Moreno Correa, Eduardo Paiva, Esdras Rodrigues, José Roberto Zan, with the / com o / con el IASPM Executive Committee.