2015 SEMPRE conference on Music and Health/postgraduate study day

Paper and poster submissions are invited for the 2015 SEMPRE conference on Music and Health/postgraduate study day, Glasgow Caledonian University, 21st and 22nd October 2015.

See the call for papers at:

http://www.smhn.hss.ed.ac.uk/sites/default/files/sempre_smhn_2015_call_for_papers.pdf

Submissions are invited for:

The SEMPRE Study day on Music Psychology and Education, Wed 21st October. This day is for postgraduate students and we invite work which focuses on music psychology and/or music education, but which may encompass a variety of related disciplines. Submissions should take the form of a 200 word abstract which clearly describes the research area and its relevance to music psychology or music education.

The SEMPRE Conference on Music and Health, Thursday 22nd October. Music is fundamental to human social life around the world, and there is growing evidence that music can have a profound influence upon health and wellbeing. Submissions are invited on research which explores the relationship between music and health, and which may encompass music listening, music performance, music therapy, community music or other topics which clearly relate to the conference theme. Submissions should take the form of a structured 300 word abstract, using the format:  Aims, methods, results, conclusions.

 

The deadline for submissions for the study day and conference is Monday July 20th 2015. Please submit abstracts to Don Knox, conference organiser at d.knox at gcu.ac.uk

 

The study day and conference are organised in association with the Scottish Music and Health Network (SMHN). Delegates from the SEMPRE events on 21st and 22nd are also invited to attend the third meeting of the SMHN on Friday 23rd Oct.

Further details on registration, delegate fees and the venue will be released soon via the SMHN website:

http://www.smhn.hss.ed.ac.uk/

Hearing the Voice, Hearing the Soul

Please note that registration is open for the following symposium.

Delegates may view the programme and register at this link:

http://www2.warwick.ac.uk/fac/arts/ren/about_us/centrestaff/researchfellows/prins/hearingsymposium

Hearing the Voice, Hearing the Soul

International Research Symposium organised by Jacomien Prins

5th June 2015, 9.30am-6.30pm at Warwick University, the Institute of Advanced Study (IAS), Millburn House, Millburn Hill Road, Coventry

Symposium theme
Just as music has fascinated scholars in the Western world continuously for thousands of years, so time and again they have felt the need to explain its power. During the Renaissance a revival of interest for ancient theories about the power of music began. Many philosophers, humanists and music theorists writing about music found themselves caught in the Plato-Aristotle controversy. They had to make a choice between two radically different theories of the constitution of the human soul: a Platonic one, originating from the Timaeus, which stated that music has a great influence on the human soul because they are somehow similar, and an Aristotelian one, originating from On the Soul, which did not postulate any special relationship between music and the soul. Privileging one philosophical model over the other brought along entirely different beliefs about the nature of music, what it does, or what it should do. The body of doctrine around these two sources, combined with Christian ideas about music and the soul and all kinds of medical and music-theoretical ideas was pervasive till the beginning of the seventeenth century. And yet, by the beginning of the eighteenth century, to learn about music’s power meant turning not to these ancient sources and their reception, but to works on the soul such as Descartes Passions of the Soul and Hobbes’ Human Nature. The purpose of this symposium is to track and to interrogate the nature, life span, and eventual radical transformation and/or demise of ancient, medieval, and Renaissance conceptions of the belief in music’s deep connections with human life.

Queries: j.w.prins@warwick.ac.uk<mailto:j.w.prins@warwick.ac.uk>

The conference is part-funded by the Royal Music Association (RMA), and is supported by the University of Warwick’s Humanities Research Centre (HRC), Institute of Advanced Study (IAS), and Centre for the Study of the Renaissance (CSR).

2nd RMA MPSG Workshop on Philosophy of Human+Computer Music

University of Sheffield, Wednesday 27 May 2015

We warmly invite you to participate in this one day RMA Music and Philosophy Study Group workshop, to discuss philosophical questions raised by human+computer music.

On the musical side, fundamental issues raised by the production and reception of this music are often obscured in the literature by a focus on technical details of system construction or function. Meanwhile, philosophical work on music is typically focused on acoustic instrumental/vocal works, and arguably has yet fully to engage with the challenges raised by current movements in human+computer music. This is especially the case when human+computer music does not conform to the established work-concept and/or pitch-based structures.

The keynote event will be a performance discussion session, featuring Pete Furniss on clarinet+computer. Pete’s expert live performance will provide tangible examples for debate: the exact nature of the music can be interrogated and its potential changeability questioned.

Call for papers:

We invite papers on topics related to human+computer music. Relevant themes include but are not limited to:

  • The ontology of human+computer music systems (are human+computer musics bound to lead to what Georgina Born has labelled ‘strange ontologies’?)
  • The agency (or lack thereof) of systems and their designers
  • Authorial responsibility in largely improvised musical works (especially where the computer is ‘autonomous’ in performance)
  • The possibility of interpretation when music is not conventionally specified
  • The metaphysical space of the work / performer / listener interface
  • The aesthetics of computer-mediated music
  • Do computers destroy any musical ‘frame’ and, thereby, aesthetic, as Joanna Demers has suggested?
  • Cyborg agency in musical performance
  • The audibility of algorithms
  • Posthuman music
  • The term ‘human+computer music’ and possible alternatives

Papers will be 20 minutes long. Abstracts of no more than 300 words should be sent to m.summers@sheffield.ac.uk by 27 April 2015. Notification will follow soon after, no later than 4 May 2015.

The event will begin with coffee at 10.30am and close with a gin and tonic reception at 5.30pm, with lunch served mid-way through.

It will cost £25 (£15 students) for non-RMA members and £20 (£10 students) for RMA members.

Registration details will be available in the coming days here: http://www.musicandphilosophy.ac.uk/2nd-workshop-on-philosophy-of-humancomputer-music/

Details of the previous workshop can be found here: https://humancomputermusicphilosophy.wordpress.com

Organisers:

Dr. Adam Stansbie and Mark Summers, Department of Music, University of Sheffield
Tom Hewitt, Department of Music, Open University
Dr. David Roden, Department of Philosophy, Open University

Generously sponsored by: 

CHase       ahpgrf    WP-Header-21

3º Congresso Brasileiro de Iconografia Musical

Salvador, Bahia, Brasil – 20 a 24 de Julho de 2015

“ICONOGRAFIA, MÚSICA E CULTURA: RELAÇÕES E TRÂNSITOS”

 

A Comissão Organizadora do 3º Congresso Brasileiro de Iconografia Musical, promovido pelo RIdIM-Brasil em colaboração com o Universidade Federal da Bahia, lembra aos interessados que o prazo para envio de propostas de comunicações a serem apresentadas durante o referido congresso a ser realizado em Salvador, Bahia, de 20 a 24 de julho de 2015 continua em aberto.

 

As propostas (inéditas e inseridas em algum dos tópicos previstos que incluem diversos aspectos correlatos às disciplinas envolvidas) devem ser enviadas até 31 de maio de 2015 na forma de resumo (até 300 palavras) pelo sistema de submissão online disponível em www.portaleventos.mus.ufba.br (clicando no link do congresso).

 

Mais informações pelo site http://www.ridim-br.mus.ufba.br/3cbim2015/

 

DATAS IMPORTANTES:

Submissão de resumos online – 3 de fevereiro a 31 de maio de 2015

Avaliação por pares – 1º a 25 de junho de 2015

Publicação dos Resultados – 30 de junho de 2015

Publicação online (pdf) do caderno de resumos – 30 de junho de 2015

Envio da versão final dos textos aprovados – até 30 de agosto de 2015

Realização do evento – 20 a 24 de julho de 2015

 

Muito atenciosamente,

Dr. Pablo Sotuyo Blanco

Presidente do 3º CBIM

#STRAYHORN2.0: An Interdisciplinary Symposium Celebrating the Centennial of Billy Strayhorn

#STRAYHORN2.0: An Interdisciplinary Symposium Celebrating the Centennial of Billy Strayhorn
Cleveland State University, November 20–21, 2015
William “Billy” Strayhorn (1915–67) achieved international recognition as one of the greatest American-born composers and pianists of the 20th century. A native of Dayton, Ohio, Strayhorn spent most of his formative years in Pittsburgh, Pennsylvania, where he attended the public schools, studied privately, and distinguished himself as a gifted keyboard artist. Many remember Strayhorn as Duke Ellington’s trusted colleague, a member of the Ellington Orchestra, and the composer of many of the group’s signature works, including “Take the A Train” and “Satin Doll.” However, less is known about his work prior to the Ellington collaborations and his recordings with other artists during his tenure with the Ellington Orchestra.
The list of possible presentation topics for the #STRAYHORN2.0 SYMPOSIUM includes, but is not limited, to Strayhorn’s education; personal life (i.e. his childhood and challenges associated with being an openly gay man); environmental influences (i.e. Strayhorn and the Harlem Renaissance, Strayhorn and modernism); compositions and arrangements; discography; performance study; musical influence and legacy; Ellington-Strayhorn collaborations (i.e. issues of authorship); Strayhorn and other musicians; filmography; multi-media, and new media projects.
Scholars, performing artists, and other professionals are invited to submit 350-word proposals and a short biography by May 10, 2015 to the conference organizers Michael Baumgartner and Regennia N. Williams (both Cleveland State University):
Decisions regarding submissions will be announced by June 10, 2015. Participants will be invited to revise their papers for possible publication in an edited volume.  Keynote speaker, concerts, exhibition, and other events around the symposium TBD.

Sacred Songs: Religion, Spirituality and the Divine in Popular Music Culture

Institute of Contemporary Music Performance, London UK.

Thursday 30th July 2015.

Sacred Songs: Religion, Spirituality and the Divine in Popular Music Culture

The University of Central Lancashire, the Institute of Contemporary Music Performance and the University of Chichester are pleased to invite submissions of proposals for the symposium The Sacred in Popular Music that will take place at The Institute of Contemporary Music Performance on Thursday 30th July 2015.

The conference committee invites all academics and university professionals, composers, musicologists and practitioners with a special interest in the relationship between the sacred and popular music to submit proposals related specifically to this issue.

We are especially interested in the variety of approaches to the subject, and these may include, but not restricted by:

  • Role of religion in lives of artists within the popular music genre
  • The incorporation of popular music in sacred ceremonies
  • Religious metaphor in popular music
  • Incorporation of religion within popular music practice
  • Fandom as a form of worship
  • Divinity and rock stardom (rock stars’ homes as sites of pilgrimage, etc)
  • Pop memorabilia as holy relics

Presentations may consist of individual papers (20 minutes) and lecture-recitals (40 minutes).

Those interested are encouraged to send proposals up to 500 words (excluding musical examples) via email to Georgina Gregory or Mike Dines at GGregory@uclan.ac.uk or mike.dines@icmp.co.uk. Please include one page of biography.

In addition, proposals should also include the following details:

  • Full title of the paper
  • Full name, contact details (email address, telephone number, postal address), and institutional affiliation (if any)
  • Audio/visual requirements

The committee’s decision will be announced by the beginning of July at the latest.

RMA Music and Philosophy Study Group Conference

London, 17–18 July 2015

The Fifth Annual Conference of the RMA Music and Philosophy Study Group will take place on Friday 17th and Saturday 18th July 2015 at King’s College London.  The conference is being co-hosted by the Departments of Music and Philosophy at King’s College London and the Institute of Musical Research, University of London.  It is being held in collaboration with the Music and Philosophy Study Group of the American Musicological Society and De Musica – Laboratório de Estética e Filosofia da Música in Brazil.

Confirmed keynote speakers include: Christopher Peacocke (Columbia) and Kay Kaufman Shelemay (Harvard University).  Confirmed plenary panelists are Mark Evan Bonds (University of North Carolina at Chapel Hill), Simon Frith (University of Edinburgh) and Hannah Ginsborg (University of California, Berkeley).

The call for papers has closed; however, further details of the conference are available at www.musicandphilosophy.ac.uk/conference-2015.

The event is generously supported by King’s College London, the Institute of Musical Research, Trinity Laban Conservatoire of Music and Dance, the University of Hull, the British Society of Aesthetics, the Royal Musical Association, and Mind Association.

Minimalism Unbounded! The Fifth International Conference on Minimalist Music, Turku and Helsinki, September 2015

24–27 September 2015

Organised jointly by the University of Turku in Turku and the Sibelius Academy (University of the Arts) in Helsinki

In this conference we will encourage new debates about the sounds and cultural meanings of minimalist music.

Usually associated with the North American style propagated since the 1960s by composers like Steve Reich, Philip Glass, Terry Riley and La Monte Young, the influence of minimalism on musical life and cross-arts practices extends beyond these now canonical figures and arguably also predates them. This conference will continue to direct focused attention towards the core repertory, but will also encourage work which challenges our assumptions about the boundaries of the style and its significance.

Minimalism Unbounded! will focus above all on the relevance of the minimalist style in the 21st century. The influence of minimalism is especially evident in music performed in multimodal and cross-artistic settings, including film, musical theatre, sound, installation and performance art. It has disseminated and transformed beyond its reductive origins in the musical avant-garde and is today heard in diverse settings, some of them recognisably postminimalist, informed by environmental concerns, inspired by spiritual or mystical ideas, and permeating popular styles and forms including film scores, ambient and drone music, glitch and IDM.

We cordially invite submissions on a broad range of topics representing different disciplinary and interdisciplinary approaches. We welcome musicologists and composers, cultural theorists and philosophers, inter-arts researchers and music theorists with a view to stimulating lively debate about the past and current state of the art in minimalist music and cognate artistic practices.

We especially welcome work which

  • extends our understanding of minimalism as a sonic, social and cultural practice in the 21st century
  • offers new perspectives on the core minimalist repertory
  • opens new pathways to understanding minimalism as a musical and cross-arts phenomenon, especially how the style has migrated between genres, media and forms
  • offers new perspectives on the different traditions and influences on the style, including precursors of minimalism
  • sheds new light on minimalism in the Nordic region
  • discusses examples of postminimalism which have taken the style in new directions, including drone music and music that draws on alternative tuning systems
  • addresses the rich terrain of intersections of minimalism with popular music and culture, ranging from pop art to IDM.

Conference website: http://www.utu.fi/minimalism

Keynote speakers (details to be posted later)

  • Robert Fink
  • Jelena Novak

Guest composer (details to be posted later)

  • Kyle Gann

Programme committee

  • John Richardson (Chair)
  • Susanna Välimäki (Vice-Chair, University of Turku)
  • Juhani Nuorvala (Vice-Chair, Sibelius Academy)
  • Petri Kuljuntausta
  • John Pymm
  • Pwyll ap Siôn

Registration

The conference fee includes participation in the conference, lunch and other refreshments, the conference programme, a book of abstracts and other relevant material, transportation between Turku and Helsinki, and admission to concerts.

Conference participation fee

  • members of the Society for Minimalist Music: 120€
  • delegates who are not members of the Society for Minimalist Music: 150€
  • University of Turku and Sibelius Academy students (not including food and refreshments): 20€
  • conference dinner (not included in the registration fee): 40€

Proposals for individual papers, sessions and workshops should be submitted using the online form at this address: www.utu.fi/minimalism-unbounded

All proposed papers, panels, workshops and posters will be subject to peer review. Proposals for individual presentations should not exceed 20 minutes in length with an additional 10 minutes allocated for questions and discussion. Panel proposals should be for a maximum of 90 minutes, workshops a maximum of 120 minutes. Proposals will be accepted only via the online portal.

  • Deadline for proposals: March 30th
  • Applicants will be notified of the programme committee’s final decisions by May 15th, 2015

Minimalism Unbounded! will be a dynamic academic and cultural event staged in two cities, Turku and Helsinki. It will include performances of recent and older music, workshops for composers, public talks and debates, and high-level academic presentations and discussions.

The first two days of the conference will take place at the University of Turku, situated in the beautiful city of Turku on the country’s south west coast, a major cultural centre and the former capital of Finland; the final two days will take place at the Sibelius Academy, in Helsinki’s state of the art Music Centre. Travel between the two locations is included in the conference fee (the journey takes approx. 2 hrs). The organisers will post information about travel and accommodation in good time prior to notifications of accepted papers and sessions.

The conference is organised jointly by the Department of Musicology at the University of Turku and the Sibelius Academy in Helsinki. It is supported by the Society for Minimalist Music and the International Institute for Popular Culture at the University of Turku.

Contact email: minimalism@utu.fi

FOR CRYIN’ OUT LOUD: Music and Politics

Call for Papers
FOR CRYIN’ OUT LOUD: Music and Politics
Utrecht, 6-8 September 2015
(Gaudeamus and Utrecht University)

Music has always been inextricably bound up with society. Philosophical debates about the affect and ethicality of music date back to the Politeia, where Plato discussed the corrupting and moralizing powers of music on the soul, its ability to instigate certain behaviour that needed to be regulated by the state.

In his recent book Composing Dissent, Robert Adlington discusses Dutch composed music of the sixties within its political context. Composers including Peter Schat and Louis Andriessen were involved in protest groups, campaigns directed against established musical institutions and the formation of innovative types of ensembles. With their music, they were actively (re)acting on society.

In Sound, Music, Affect: Theorizing Sonic Experience, Marie Thompson and Ian Biddle discuss the influence of popular music in the 2010-11 riots that occurred in response to plans for public spending cuts and tuition increases in the UK. The music ‘that was mobilizing the protesters had no overt political content’ and therefore, according to the media, was not ‘political’. However, its role during the protests did not lie in musical semantics, but in its mobilizing capacity, its power to connect, install a sense of collectivity, its energy and its usage in a particular space.

These are only a few examples of music’s role within and society. Yet, in particular, composers and musicians in the realm of ‘contemporary classical music’ have been accused of losing contact with society. Their political commitment and involvement with society seems to be more and more disconnected. This does not mean that music nowadays is not deeply rooted in society, less reflective, or non-ethical. On the contrary, as Marcel Cobussen and Nanette Nielsen argue in Music and Ethics, ‘[m]usic contributes to a better understanding of one’s place within the world, and (thus) to an ethical sensibility’ and ‘[t]he role, function and position of music in contemporary society exceed the aesthetical realm; music has more to offer to humanity than various kinds of aural entertainment, or of beauty for beauty’s sake. Alongside its social, religious, political and economic roles, music is also an active participant in ethical concerns’.

The conference FOR CRYIN’ OUT LOUD: Politics, organised by Gaudeamus Muziekweek and the musicology department of Utrecht University, will address
the interplay between music and society. How does the one reflect/react/influence the other and vice versa? Can music be political? Confirmed keynote speaker is dr. Robert Adlington (University of Nottingham).

Academics, practitioners (composers, sound artists and designers, performers and musicians), as well as postgraduate students are invited to submit proposals for papers (max. duration of 20 minutes). Academic as well as artistic contributions can be accepted. Each submission should include the following information: author(s) name(s), academic affiliation(s), e-mail address, title of presentation, abstract (300 words max.), a short CV, and a list of technological requirements (overhead, power point, etc).

All proposals must be submitted by 15 April 2015 to
e.wennekes-AT-uu.nl

The conference will contain a concert program. Events will be announced in the build-up to the conference.

Conference committee
Prof. dr. Emile Wennekes (Utrecht University; Music and Media Study Group,
International Musicological Society)
Dr. Robert Adlington (University of Nottingham)
Dr. Marcel Cobussen (Leiden University; Journal of Sonic Studies)
Stefan Prins, PhD (Composer)
Jan Nieuwenhuis (Gaudeamus Muziekweek; Journal of Sonic Studies)