Sound::Gender::Feminism::Activism::2016 WHITE NOISE

A research event at London College of Communication, University of the Arts London, November 11th – 12th 2016

We are delighted to announce a call for the 3rd Sound::Gender::Feminism::Activism research event to take place in London on November 11th and 12th 2016.

Sound::Gender::Feminism::Activism is a bi-annual research event initially established in 2012 as a network for researchers, artists and performers working within intersectional fields of sound, gender, feminism and activism. SGFA::2012 delivered presentations and audio-visual artworks from thirty-six researchers, artists and performers from the UK, Europe, United States and Australia. SGFA::2014 incorporated performances, lectures, workshops and presentations from over thirty global participants. A publication that celebrates the presentations and participants from the previous two events will be launched at SGFA::2016.

SGFA::2016 seeks to query an expanded concept of White Noise. Working out from white noise’s original sonic conception of a random frequency, broad-based signal that masks everything else, white noise is all around us. White Noise is what Jennifer Stoever-Ackerman has termed a “sonic protocol” an often unquestioned norm based upon “culturally specific and socially constructed conventions that shape how sound is made, used and interpreted at a given moment”.

SGFA::2016 invites submissions for both twenty and ten minute contributions relating to the question;

How does whiteness, transmitted as an often sub-audible yet ubiquitous frequency, establish and maintain perceptual limits of what and who can be heard and how can this be changed?

How can we “confront and broadcast the underlying whiteness of the field and of the generic terms that provide so much currency in it: terms like “the listener,” “the body,” “the ear” and so on” (Stadler 2015) in ways that do not replicate racism, colonialism and gender violence but rather enable the audible transmission of alternative histories, forms, relations and ways of being.

SGFA::2016 will expand upon the previous research events through a combination of presentation formats over the course of two days; both twenty minute formal research papers and ten minute emerging researcher/artist presentations for the sharing of recent or ongoing work are sought.
This is an open call and we welcome responses from all relevant disciplines and will accept a variety of formats from academic presentations, proposals for artworks and documentation of artworks to more experimental contributions.

Please send expressions of interest, including the theme, topic and format of your presentation of around 200 words and a short biography of no more than 200 words by Friday 8th July, 2016 to SGFA2016@crisap.org.

Kindly supported by http://www.crisap.org

Brian Boydell Centenary Conference

Call For Papers: Brian Boydell Centenary Conference
Friday 23 – Saturday 24 June 2017
The Long Room Hub, Trinity College Dublin
CFP Deadline: Friday 3 February 2017

Contact: boydell100@gmail.com

Born in Dublin in 1917, Brian Boydell was one of Ireland’s major 20th century composers. As a musicologist, he published seminal research on music in 18th century Dublin. As a broadcaster, performer, adjudicator, public lecturer, an often outspoken agitator for music, singing teacher, Professor of Music at Trinity College Dublin, one of the founders of the Music Association of Ireland and long-time member of the Arts Council, his influence on music and music education in Ireland was significant. An honorary DMus of the National University of Ireland (1974) and Fellow of the Royal Irish Academy of Music (1990), he was elected to Aosdána, the affiliation of creative artists in Ireland, in 1984.

To mark his centenary, a conference will be held on Friday 23/Saturday 24 June 2017 in The Long Room Hub, Trinity College Dublin, with a recital of his music in the Royal Irish Academy of Music, to re-evaluate his contributions to Irish musical, artistic and academic life, and their place within the wider contexts of musical, cultural and artistic developments in Ireland in the 20th century. Confirmed speakers are Professor Barra Boydell, who will give a special address, and Peter Murray, Director of the Crawford Art Gallery Cork, who will present a guest lecture on Brian Boydell’s paintings.

Proposals are invited for the following:

  • Individual papers
  • Joint papers (maximum 2 speakers)
  • Lecture recitals
  • Themed sessions
  • Panel discussions (up to a maximum of 6 speakers)

Proposal details:

All proposals should be submitted as one file in Microsoft Word or PDF format:

Individual papers of 20 minutes in duration followed by 10 minutes for questions and discussion. Proposals should include:

  • title of paper
  • abstract of no more than 250 words
  • name, contact details and affiliation
  • a brief biography (max. 100 words)
  • any technical requirements

Joint papers of 20 minutes in duration followed by 10 minutes for questions and discussion. Proposals should include:

  • overall title of presentation and abstract (max. 150 words)
  • titles of individual papers
  • individual abstracts of no more than 250 words
  • names, contact details and affiliations
  • a brief biography for each presenter (max. 100 words)
  • any technical requirements

Lecture recitals of 30 minutes (including performance) followed by 10 minutes for questions and discussion. Proposals should include:

  • overall title of lecture recital and abstract/proposal of no more than 250 words
  • name(s), contact detail(s) and affiliation(s)
  • a brief biography for each presenter (max. 100 words)
  • any technical requirements

Themed sessions of 90 minutes (3 papers) or 120 minutes (4 papers) including questions and discussion, and Panel discussions of 90 minutes (up to a max. of 6 speakers, each presenting a position paper followed by questions and discussion). Proposals should include:

  • overall title of presentation and abstract/proposal (max. 250 words)
  • titles of individual papers and abstracts of no more than 250 words
  • name, contact details and affiliation of convenor
  • names, contact details and affiliations of proposed presenters
  • a brief biography for the session/panel convenor and each proposed presenter (max. 100 words each)
  • any technical requirements

Deadline for submission of proposals is Friday 3 February 2017.

All proposals should be submitted as a Microsoft Word or PDF attachment to Dr Barbara Jillian Dignam by email at boydell100@gmail.com It is envisaged that notification of the conference committee’s decision will be communicated by March 2017. A conference website will be launched shortly.

Proposals might consider (but are not limited to) Brian Boydell’s contributions under any of the following areas:

  • the re-examination and assessment of his compositions – individually and collectively – and their place within Irish music of the 20th century and the wider context
  • his musicology and other writings
  • his work as a performer: conductor of the Dublin Orchestral Players for over twenty years, founder and director of the Dowland Consort, singer, oboist, and occasional conductor of the Radio Éireann/RTÉ Symphony Orchestra
  • his teaching, professorship at TCD, public lectures, adjudicating at music festivals and numerous radio and television broadcasts
  • as agitator for music, through the Music Association of Ireland, the Arts Council, Forás Éireann and other bodies to which he contributed
  • his place within the wider context of Irish artistic and cultural life in the 20th century

Brian Boydell’s papers, including his original scores, musical notebooks, radio broadcast scripts, and his extensive correspondence with musicians, musical and cultural bodies, and others covering many decades in Irish musical life, are held in the library of Trinity College Dublin and remain a largely untapped resource. The Contemporary Music Centre also holds copies of his scores. His work as an artist in the early 1940s before he devoted himself fully to music were highlighted in the recent exhibition ‘The Language of Dreams’ at the Crawford Art Gallery, Cork. See also Gareth Cox, Axel Klein and Michael Taylor (eds.) The life and music of Brian Boydell (2004), and the Encyclopaedia of Music in Ireland (EMIR).

Conference committee:

Prof. Barra Boydell, Dr Barbara Jillian Dignam (Chair, Maynooth University), Dr Kerry Houston (DIT Conservatory of Music and Drama), Roy Stanley (Trinity College Dublin), Marie Moran (Royal Irish Academy of Music), Dr Gareth Cox (Mary Immaculate College, University of Limerick)

For further information on the conference, submission process or any other queries, please contact the conference committee chair, Dr Barbara Jillian Dignam, at boydell100@gmail.com

Also follow our conference posts on Twitter https://twitter.com/Boydell100 and Facebook https://www.facebook.com/boydell100/

False Alarm: Aurality, Errancy and Voice

25-26 June, King’s College London

Conference/Concert

False Alarm will discuss forms of mishearing – be they creative, accidental or hallucinatory – as well as false differences or resemblances between the sounds of non-human and human bodies, as embedded within the aurality and errancy of voice. The conference will explore this idea in three sections: (1) acoustic ecology and atmosphere, (2) affect, and (3) plasticity of voice. A two-day event, the conference will include talks, and a concert.

Talks by Lynne Kendrick (Central School of Speech and Drama), Martha Feldman (University of Chicago), Michael Bull (University of Sussex), Julian Henriques (Goldsmiths, University of London), Lisa Blackman (Goldsmiths, University of London), Sophie Scott (University College London), Nina Power (University of Roehampton), Anna Kvicalova (Max Planck Institute of History of Science), Peter Cusack (London College of Art and Communication), Aura Satz (Royal College of Art), and Joe Banks (Audiovisual artist and author of the book Rorschach Audio – Art & Illusion for Sound).

Performances by Atau Tanaka (Goldsmiths, University of London), Patricia Alessandrini (Goldsmiths, University of London), Seth Ayyaz (City University of London), and EXAUDI Vocal Ensemble (London).

Atau Tanaka’s performance is supported by the MetaGesture Music project, under the European Research Council grant FP7-283771.

For programme information please see:
http://www.kcl.ac.uk/artshums/depts/music/eventrecords/2016/False-Alarm.aspx

For booking please see:

http://estore.kcl.ac.uk/browse/product.asp?compid=1&modid=2&catid=169

 

http://estore.kcl.ac.uk/browse/product.asp?compid=1&modid=2&catid=169

Wagner’s Parsifal and the Challenge to Psychoanalysis – Day Conference

In our conference ‘Wagner, Freud and the End of Myth’ (2013) we argued that by taking the mythic dimension and bringing it into the human realm, Wagner anticipated Freud in his depiction of unconscious processes of the mind. It could be said that Freud and Wagner were dealing with the same stuff – the “fundamental psychosexual issues that affect us all” as Barry Millington put it, and for that reason a fruitful dialogue can exist between their two bodies of work.

The present conference is entirely devoted to Wagner’s final masterpiece, Parsifal, and explores whether this sublime, troubling and contentious work prefigures psychoanalytic insight or resists psychoanalytic interpretation. As a story of compassion and redemption, which nevertheless describes a world of perversion and mental anguish, what can Parsifal tell us about the secret springs of human desire and the conflicts of human nature? And how did Wagner manage to create it?

For programme and tickets please click here
For more information about ‘Freud and Wagner’ please click here

You might also like to know that on Saturday 2nd July we will be screening Syberberg’s film of Parsifal, introduced by Patrick Carnegy. Further information on the Freud Museum website next week.

IV International Congress: Music and Audio-Visual Culture: MUCA

From 16-18 February 2017, the University of Murcia will host the Fourth International Congress: Music and Audio-Visual Culture MUCA, to provide a forum to scientific exchange with participation of composers, visual artists and researchers from several national and international universities.

We welcome proposals for individual papers (in English or Spanish) in order to promote new perspectives and dialogue about the main topics. Proposals should include:

– Abstract (250-300 words)

– Institutional affiliation (if applicable), brief biography and email address.

– Audiovisual required.

Topics for the paper presentation (not exclusive):

  • Music and film.
  • Music and television.
  • Music in advertising.
  • Music and videogames.
  • Music and the Internet.
  • Prosumers and media.
  • Musical analysis in audiovisual culture.
  • Music and technology.
  • Digitization, globalization and new ways of marketing.
  • Teaching music in audiovisual culture.

After reviewed by the Scientific Committee, the main contributions will be published on a volume which will collect the event arising scientific production.

Deadline for accepting proposals: November 6, 2016.

Further information: www.congresomuca.com

Vocality/Instrumentality 2017

Saturday 14 January – Sunday 15 January 2017, University of Huddersfield

A conversation about music-making for performers, composers, musicologists of all persuasions, philosophers, educationalists, sociologists, anthropologists, psychologists, and innocent bystanders.

Is not the voice always already intervening, as a sounded body that searches for its place, one that projects forward to incite response?

– Brandon LaBelle, Lexicon of the Mouth (2014)

  • What and where is a musical voice?
  • Why do we encourage instrumental musicians to ‘sing’ on their instruments? Whose voices should they be emulating and how?
  • To what extent and for what purpose might the voice be understood as an instrument, or the instrument as a voice?
  • What kinds of historically situated models of vocality should be considered in the performance of vocal or instrumental music?
  • Which musical communities glorify or reject vocality as a model for the ‘musical’?
  • What is the nature of the relationship between instrumentality and vocality in the practice of music performance?

For Vocality/Instrumentality 2017, we extend an invitation to researchers and performers from a broad range of fields both within and outside of the musicological spectrum who wish to engage with questions that relate, in a variety of creative ways, to ideas about ‘vocality’ and ‘instrumentality’ in connection with music performance.  Papers and presentations might, for example, frame ‘voice’ or ‘instrument’ as literal, physiological entities, as metaphors or models for musicians, as cultural constructs, as a kind of vocality or instrumentality from a specific historical moment, or as actors in philosophical problems.  They might examine specific voices or vocal identities in an effort to locate the presence and meaning of vocality in relation to the act of musical performance by instrumentalists, or alternatively, consider the concept of instrumentality and its relationship with the voice and vocal music-making.  Presenters could explore aspects of the music-making practices of any time period, and are encouraged to respond imaginatively to the proposed theme.

Highlights of the weekend will include a keynote presentation by Professor Lydia Goehr (Professor of Philosophy, University of Columbia New York), and a series of live performances featuring instruments and voices.

We look forward to welcoming the international academic community to Huddersfield in January 2017 and to stimulating conversation, sharing ideas and thinking creatively in an open-minded and interdisciplinary musical environment.

Deadline for submission of proposals: Friday 7 October 2016.

Proposals of papers or presentations in lecture-recital formats (30 min presentation with 10 minute question period for both formats) will be considered for inclusion in the conference schedule.  Panel proposals are welcome, as are proposals of concerts, short performances or installations that connect to the conference theme.  Posters will also be displayed for the duration of the conference.

Additionally, there will be sessions devoted specifically to postgraduate research statement presentations.  These will allow ample time for discussion and useful feedback on both content and presentation style to be provided to postgraduate researchers by other conference delegates and an invited expert panel.  Current students whose research is musically situated and who would like to apply to make a 10 min presentation in one of these sessions can feel free to propose a topic in their area of research, whether or not it connects directly with the conference theme.  Postgraduate work is, of course, welcome throughout the conference, and not only in these sessions.

For all information, latest updates, and details on how to submit a proposal, please visit our website: Vocality/Instrumentality 2017

Women and Education in the Long 18th Century Workshop

Call for Papers & Participation

Glasgow Women’s Library, September 8, 2016

Women made many valuable contributions to education in the long 18th century including, working as teachers, governesses and instructing their younger siblings. Key components of their education included the arts, particularly but not limited to music. The Women and Education in the Long 18th Century workshop aims to bring together researchers and artists who work in this broad but important subject, spanning several topics including gender history, music, theatre, dance, literature, and education. Confirmed speakers include Kirsteen McCue, (University of Glasgow), Mark Towsey, (University of Liverpool), Katrina Faulds, Penelope Cave (University of Southampton). The day will also include musical performances featuring music played and composed by and for eighteenth-century women.

The workshop will take place in collaboration with the Glasgow Women’s Library, a vibrant information hub housing a lending library, archival collections, and contemporary and historical artefacts relating to women’s lives, histories, and achievements. The organisation aims to create a vibrant platform between researchers, arts practitioners, and the general public. The Glasgow Women’s Library host a number of different events across the city and are keen for further proposals for collaboration working across a variety of mediums including literature, performing arts, visual arts, heritage, film, politics, and dialogue.

The purpose of the workshop is to create dialogue and collaboration resulting in an edited volume and/or special issue of a journal. We will also encourage discussion between contributors for collaboration on further grant applications.

Areas the workshop might address include:

Music – pedagogy – engagement with teaching – experience of learning – family – women’s roles – women and study – traditional values – images and narratives of study – performance – institutional learning – private education – influential women – men’s influence on women’s education – women’s influence on men’s education-changing cultural dynamics – history and re-writing history-historiography.

Call for participation: workshop September 8, 2016

The study day will take place on Thursday September 8, 2015 at the Glasgow Women’s Library.

The workshop will be structured around 10-minute presentations by participants and some longer papers from invited speakers. There will also be a roundtable to discuss some of the issues arising from the presentations, areas for further collaboration, and arrangements for publications. The workshop is free event and lunch is provided.

Abstracts: deadline Friday July 8, 2016, 5pm

Abstracts should be 250 words in length for a 10 minutes presentation, outlining how your proposed presentation meets the aims of the workshop. Please email your proposal by 5pm on Friday July 8, 2016 to arts-welec@glasgow.ac.uk, including any institutional affiliation and your contact details. The decision regarding invitations to participate in the workshop will be based on the fit of the different proposals with the desire to stimulate innovative dialogues between participants. Postgraduate and early career researchers are particularly encouraged to attend.

For more information, please see our website welecblog.wordpress.com. @WELECwkshop

Medieval Latin Song Conference

Medieval Latin Song from c. 800 to c. 1200

Saturday 2 July 2016, 9am-5pm; concert from 7:30-9pm, pre-concert talk from 7pm

Venue: Old Library, Pembroke College, Cambridge, CB2 1RF

Organized by Dr Sam Barrett (University of Cambridge)

This one-day interdisciplinary conference is dedicated to Latin song not routinely performed in the liturgy from the Carolingian era through to the New Song repertories recorded from c. 1100 onwards. The opening address is to be given by Professor C. Stephen Jaeger and the concluding paper by Professor David Ganz. Invited papers will be given by scholars of medieval music based at the Universities of Cambridge and Würzburg, including Professor Susan Rankin, Dr Sam Barrett, Dr Elaine Stratton Hild, Dr David Catalunya and Dr Konstantin Voigt. For a full list of papers, see https://performinglostsongs.wordpress.com/conference/programme/

In the evening from 7:30pm, a concert of recently reconstructed songs from Boethius’ Consolation of Philosophy will be given by Benjamin Bagby, Hanna Marti and Norbert Rodenkirchen. A pre-concert talk on the processes of reconstruction will by given by Dr Sam Barrett at 7pm.

Registration for the conference is £20 (£10 for concessions, £5 for students). Please use the booking form:

https://www.eventbrite.co.uk/e/medieval-latin-song-from-c-800-to-c-1200-tickets-25676226284

Tickets for the evening concert (£20, £15 for concessions, £5 for students) may be purchased at: https://www.eventbrite.co.uk/e/the-consolation-of-song-tickets-25599998284 Those attending the conference who are not students may purchase tickets at the concessionary price.

For further information, please contact: Dr Sam Barrett, sjb59@cam.ac.uk

Piano Accompaniment in Practice

 

Call for Papers & Pianists
Piano Accompaniment in Practice
A Symposium with Masterclass by Malcolm Martineau OBE
 
 
Middleton Hall & Recital Room
University of Hull, UK
 
 
Friday 11th & Saturday 12th November 2016
 
 
Recent years have seen significant developments in studies on chamber ensemble rehearsal and performance; however, the function of the pianist in the duo chamber ensemble and, more specifically, in their capacity as a piano accompanist, is still a relatively unexplored area of research. The purpose of this two-day symposium is to bring together researchers and practitioners to explore piano accompaniment practices. The event will feature renowned soprano Sarah Fox and international piano accompanist Malcolm Martineau OBE who will present both a Friday lunchtime concert as well as a concert on Friday evening presented in conjunction with Hull Chamber Music. In addition, Mr Martineau will conduct a masterclass for pianists and their duo partners following the Friday lunchtime concert. The Saturday symposium will include spoken presentations (20 minutes), poster presentations and lecture-recitals (30 minutes) relating but not restricted to the following aspects of piano accompaniment:
 
·         instrumental and/or vocal accompaniment
·         the pianist in the duo chamber ensemble context
·         the pianist as a collaborative artist
·         pedagogical and empirical studies
·         techniques, skills and attributes
·         perceptions and expectations
 
The Friday masterclass will focus on piano accompaniment skills and techniques through work with selected duo ensembles (instrumental/vocal with piano). The selection process will include consideration of programming with the aim to incorporate as many different duo combinations as possible in the class. The masterclass will be in 30-minute slots, therefore a short excerpt (up to 5 minutes) from any duo work is the recommended duration for participants. Applications should be submitted by duo ensembles (instrumentalist/vocalist and pianist) and should include a short statement (250 words) detailing ensemble experience and proposed repertoire for the masterclass with supporting video file of a recent duo performance (up to 10 minutes duration).
 
Submission deadline for symposium abstracts (250 words) for spoken/poster presentations and lecture-recitals as well as masterclass participation applications: Friday 1 July 2016. Contributions are welcome from researchers and practitioners at all levels, and are especially encouraged from postgraduate students and practitioners or researchers early on in their careers.
 
For further information or to apply to participate, please contact the Symposium Organiser:
Evgenia Roussou, School of Drama, Music & Screen, University of Hull, HU6 7RX, UK

New Perspectives About The Concert

Dear colleagues:

The research group ‘Music in Spain: Composition, Reception and Performance’ (MECRI) invites you to attend the forthcoming International Seminar on ‘New Perspectives About the Concert: Spaces, Musical Programming, Criticism and Performance’ (Universidad de La Rioja, 2-3 June 2016).

The seminar makes part of the activities of the R&D Project ‘Musicology Applied to the Classical Concert in Spain (18th-21st centuries). Historical, Productive, Performative and Ideological Aspects’ (Ministerio de Economía y Competitividad, Spain, ref. HAR2014-53143-P).

For more information, check out our website:

http://www.unirioja.es/mecri/CongresoUR2016.shtml

Kind regards,

The MECRI team