SONOLOGIA 2016

São Paulo / Brazil (22-25 NOVEMBER)

CALL FOR PAPERS

* DEADLINE 5 JUNE 2016*

SONOLOGIA’16OUT-OF-PHASE

International sound studies conference organised by NuSom – Research Centre on Sonology

22-25 November, 2016  São Paulo

For the past few years, we have seen the development and appearance of research departments, books, journals and other forms of scholarship and institutional endeavours dedicated to what we now know as sound studies. This encompasses the study of warfare and politics of sound; cultural and technological critiques; sound art and associated praxis; urban phonography and acoustic ecology; sonic epistemologies; new musicology and historically situated reflections.

In this sense, we feel that is high time to promote work done both nationally and in Latin America. In doing so, we hope to establish fruitful dialogues with researchers coming from other parts of the world, and create a platform for an interdisciplinary, deconstructive and archaeological approach that expands the discussion on the above thematics.

The terminology of sound studies itself – ‘SONOLOGIA’ – here  reflects the local academic culture and our interest in having in this event (besides the already above mentioned), researchers from different areas of study: music technology; anthropology; philosophy; gender studies; cultural, performance and media studies; experimental, popular and contemporary music.

Themes and topics

The ‘out of phase’ theme, while referring to a technical and theoretical jargon in sound, encompasses a strong metaphorical stance towards the need to incorporate views that are of out-of-sync or in opposite polarity regarding a possible familiarity in contemporary sonic theory and practice.  Thus, we are inviting submissions that can refer to, but are not limited to, the following topics:

  •         postcolonial historiographies that counter euro-american narratives and describe the importance of other geographically situated musical/sonic practices, not only in the development of a regional experimental/contemporary music scene,  but also in the wider history of such practices;
  •         practice-based artistic research and/or musicological reports of music, sound art (improvisation, composition, performance, installation, radio, field recording, performance, site-specific endeavours) or other post-medium/hybrid artwork;
  •         case studies that describe and reflect on the processes involved in the transfer of knowledge, technology and creative practices between different geographical realities (relating to music/sound);
  •         critical insights into the politics of sound: demarcation and regulation of territories and communities, online and public activism, noise abatement, sonic warfare and torture;
  •         research projects or case studies that promote the accessibility of music technology software/hardware, through repurposing old/novel technologies or using open-source platforms;
  •         discussions related to technical, social and poetic aspects regarding the role of technology in music and sound art production;
  •         inter or trans-disciplinary methodological papers that describe the study of sound/music and its pertinence to other fields;
  •         ethnographic inquiries that describe the national and institutional frameworks that support contemporary/experimental music and sound art making;
  •         expanded epistemic and multimodal accounts of knowing the world through feminist, queer, trans, race or(and) other non-normative/binary listening perspective(s);
  •         inquiries that problematise discursive and practical tropes in contemporary sonic artworks that deal with place, nature and human/non-human entities;
  •         discussion(s) regarding the mediation of composers’/artists’ presence (authorial and physical) in making/presenting music or art;

Individual papers and presentations

As stated above, we wish to bring a diverse of range of researchers, coming from different disciplines and locations in order to present original scholarship from a multi-vocal and global framework. All proposals will be submitted to a review process by an appointed scientific committee.

Please submit your extended abstract (in English) of max. 1 page full and half (A4) and a short bio (50 words) no later than June 5th, 2016 by 11:59pm Pacific Standard Time (GMT -3) via sonologia@usp.br. Please allow 24-48 hours for confirmed reception.

Selected presentations will need to submit camera-ready papers (in English) by October 16th with a provided (by us) ODT/ MS Word templates (up to 8 pages long in A4 format).

Selected submissions will be published in the conference proceedings, under an ISSN reference and archived using the OJS platform.

After the conference, 12 papers will be considered for a special edition of Interference: A Journal of Audio Culture, guest-edited by Rui Chaves and Lílian Campesato.

Format

We are open to different types of presentations, that reflect the critical and creative necessities of theoretical or practice-based research.  The official language of the event is English, although simultaneous interpreting – regarding English to Portuguese – will be available to all. In certain cases, the presenters may request simultaneous interpreting for Portuguese to English.

Important Dates

Submission: June 5, 2016 by 11:59pm Pacific Standard Time (GMT -3)

Selected papers announcement: July 24, 2016

Camera-ready paper/program note deadline: October 16

For any questions regarding the submission process, please contact us at sonologia@usp.br

http://www2.eca.usp.br/sonologia

Royal Musical Association Annual Conference 2019

Royal Musical Association 55th Annual Conference

Wednesday 4 to Friday 6 September 2019 at Manchester

Hosted jointly by the University of Manchester and the Royal Northern College of Music. Contacts: Prof. Thomas Schmidt thomas.schmidt@manchester.ac.uk and Prof. Barbara Kelly Barbara.Kelly@rncm.ac.uk.

The conference aims to celebrate the quality and diversity of current scholarship and research in music by bringing together as many as possible from home and abroad with an interest in the investigation and discussion of the subject’s many branches. The gathering is a vital complement to the impressive range of specialist musical conferences, symposia, study days, and training sessions taking place around the world. Through it the RMA seeks to encourage networking and the provision of opportunities for RMA members, officers, and councillors to meet with each other, and for students and new entrants to the world of musical scholarship and research to meet leaders in the field and vice versa. The conference programme includes the RMA Dent Medal award and lecture, the Le Huray lecture, and the Annual General Meeting.

The conference announcement and Call for Proposals are expected in September 2018.

Music and the Middlebrow

An international and interdisciplinary conference exploring the relationship between musical culture and the middlebrow.

Keynotes: Joan Shelley Rubin and Richard Taruskin

Confirmed participants:

  • Peter Franklin (University of Oxford)
  • Nicholas Mathew (University of California, Berkeley)
  • Roger Parker (King’s College London)
  • Philip Rupprecht (Duke University)
  • Laura Tunbridge (University of Oxford)
  • Heather Wiebe (King’s College London)
  • Alexandra Wilson (Oxford Brookes University)

Organizers: Christopher Chowrimootoo (University of Notre Dame) and Kate Guthrie (University of Southampton)

Time: 22-24 June 2017

Place: University of Notre Dame, London Global Gateway, 1 Suffolk Street, London, SW1Y 4HG

A call for papers will be issued in June 2016. For more information, please visit our website.

Cervantes’ Musics: From Musical Heritage to Musical Reception (XVI-XXI Centuries)

International Conference: “Las músicas de Cervantes: del patrimonio histórico a su recepción musical (siglos XVI-XXI) / Cervantes’ musics: from historical heritage to musical reception (XVI-XXI centuries)

Ciudad Real (Spain). University of Castilla-La Mancha. 21-23 September 2016.

International Conference promoted by the Economy and Competitiveness Ministry and  the Spain’s Public Agency for Cultural Action. Centenary of Cervantes’s Death.

Web: http://www.cidom.es/lasmusicasdecervantes

Introduction

Considering historical music heritage and the musical reception of literary works, we welcome proposals for papers on any aspect of theory, analysis and criticism about the presence of music in Cervantes’ texts, and, at the same time, related to the musical works -operas, instrumental musical, concert songs, program music, urban music, etc…- inspired in different ways by Cervantes’ plays, novels, poems or characters.

Keynote Speakers: 

Eduardo Urbina (Texas A&M University), Antonio Martín Moreno (Granada University), Antonio Ezquerro (CSIC), Luis Antonio González Marín (CSIC), Silke Leopold (Universität Heidelberg), Paulino Capdeón (Castilla-La Mancha University), Juan José Pastor (Castilla-La Mancha University)

Aspects to be considered

Proposals on the following subjects will be considered:

– Historical sources about musical context of Cervantes’ time.

– Organology and symbolic aspects of musical iconography

– Musical Contrafacta and Parodia in Cervantes’ text and  contemporary writers

– Songs, villancicos and romances in his pastoral texts and in the literature of his time.

– Italian musical influence in Cervantes’ works and in the writers of his time.

– The poets of the Golden Age and the Music Vihuela (Garcilaso or Cetina in the Mudarra’s, Valderrábano’s or Narvaez’s books)

– Dances and bailes in Cervantes’ works: theory and tradition.

– The voice as a musical instrument in the theater and the novel of the Golden Age. Historical Singing Treatises and symbolical issues.

– Sephardic songs in Golden Age Century, particularly in Cervantes’ works.

– Musical Treatises in Cervantes’ Time.

– Emblemmata Musical Iconography and its presence in Cervantes and other writers of his time.

– Musical Paremiology and musical voices in Cervantes’ texts: El Tesoro de la Lengua of Covarrubias.

– Musical Characters and jobs and professions in Cervantes’ novels and plays.

– Cervantes’ musical reception from XVIIth century to the present days: opera, zarzuela, chamber music, solo instrument; symphonies, concert songs, program musica, narrator and orchestra, contemporary music and urban musics.

Deadline for proposal submission: 15 July 2016

All the proposals must be sent by email as a MS Word or pdf attachment to cidom@uclm.es . Papers (20 minutes maximum). 500 words (maximum) summary and 3 keywords. Applicants will be informed of the outcome of their proposa by 31 July. All the papers accepted will be published in Editorial Alpuerto in a book in the collection “Patrimonio e Investigación Musical”.

Program Committee: 

Eduardo Urbina (Texas A&M University); Silke Leopold (Universität Heidelberg); Joachim Steinheuer (Universität Heidelberg); Matilde Olarte Martínez (Universidad de Salamanca); José María García Laborda (Universidad de Salamanca); Antonio Martín Moreno (Universidad de Granada); Victoriano Pérez Mancilla (Universidad de Granada); Joaquín López Gónzález (Universidad de Granada); Luis Antonio González Marín (CSIC); Antonio Ezquerro (CSIC), Antonio J. Alcázar Aranda (Universidad de Castilla-La Mancha); Paulino Capdepón Verdú (Universidad de Castilla-La Mancha) y Juan José Pastor Comín (Universidad de Castilla-La Mancha); Inés María Monreal Guerrero (Universidad de Valladolid).

Organizing Committee: 

José Vicente Salido; Pedro Victorio Salido; Virginia Sánchez, Marta Nieto, Francisco López, Juan Bautista Canadillas, Silvia Nogales, Silvia Fernández, Elisa Colino.

OBERTO Conference 2016: Operatic Acting

Oxford Brookes University, Thursday 8 September 2016

Without acting, there would be no opera. And yet for centuries opera theorists and critics have debated the relative importance of music and drama in the art-form, usually positioning drama as music’s servant. In the past the technical competence of singers, who wanted to ensure a flawless delivery of their vocal lines, was sometimes seen as being at odds with the realistic depiction of actions on stage or the convincing embodiment of a character’s psychological state. ‘Park and bark’ or ‘stand and deliver’ have become bywords for stereotypical operatic acting that – developments in recent decades notwithstanding – still surface in popular and professional discourses about opera. Mark Twain went so far as to claim that ‘there isn’t often anything in the Wagner opera that one would call by such a violent name as acting; as a rule all you would see would be a couple of … people, one of them standing still, the other catching flies.’

The perceived superiority of music over drama is reflected in the focus of much academic work on opera: studies of how singers or even extras and choruses act are few and far between. Yet the subject of operatic acting is a fascinating one, not least because demands on the acting abilities of singers have increased in recent decades. Modern directors and composers often require artists to perform athletic or acrobatic acts while singing, and the ‘stand and deliver’ approach is now largely considered old-fashioned or even unacceptable on the operatic stage. In the wider media, meanwhile, the physical appearance of singers is widely (and sometimes voyeuristically) discussed, but the way in which they bring characters and dramatic situations to life is not.

This conference, organised by the OBERTO opera research unit at Oxford Brookes University, aims to examine the manifold ways in which opera, singing, performance, acting, body image, drama and dramaturgy interact. We invite proposals for individual 20-minute presentations, panel discussions and alternative format sessions such as lecture-recitals or poster presentations. We welcome contributions not only from academics but also from performers and opera industry or media professionals. Past OBERTO conferences have facilitated lively debates between academics, practitioners and members of the general public, and we would like to continue this tradition.

Topics might include (but are not restricted to):

  • Case studies in the history of operatic acting
  • Composers’ / librettists’ conceptions of how particular roles should be acted
  • Varying perceptions of ‘good acting’ in different national repertoires and staging traditions
  • The relationship between opera and spoken theatre past and present
  • The influence of cinema on operatic acting / opera singers in films
  • Critical / audience responses to operatic acting
  • Changing conceptions of dramatic and psychological realism in opera
  • The dramatic demands placed upon singers today: live relays and the ‘close up’
  • Regietheater and acting
  • Drama training for singers
  • The singer’s appearance and its relationship to operatic drama

Please send abstracts of no more than 250 words to Dr Alexandra Wilson at alexandra.wilson@brookes.ac.uk by 1 June 2016. We will endeavour to notify contributors by the end of June and publicise the full programme in early July. The conference website is at: https://obertobrookes.com/conference/ 

Modus-Modi-Modality

INTERNATIONAL MUSICOLOGICAL CONFERENCE

Modus-Modi-Modality

Nicosia, Cyprus, 6-10 September, 2017

 

The Music Program of the Department of Arts, European University Cyprus, in collaboration with the IMS Regional Association for the Study of Music on the Balkans announce an International Musicological Conference on the subject Modus-Modi-Modality.  The conference will take place at European University Cyprus, on 6-10 September, 2017.

The purpose of the International Musicological Conference is to promote interaction, research, discussion and intercultural dialogue among musicologists from Cyprus, Greece, the Balkans and other countries with an interest in the diverse thematic axes of the conference, emphasising concepts and parameters such as tradition, identity, diversity, new trends, musical cultures as perceived through a geographical and chronological spectrum ranging from ancient Greek music, to Byzantine music  and the musical avant-garde in the Mediterranean, Balkans and broader region.

Proposals may address (but do not need to be limited to) the following categories that fall under the thematic triptych Modus-Modi-Modality:

 

  1. Art Music in the Balkans

Historiography of Music in the Balkans

Perception and research on art music in the Balkans

Opera and cultural interchanges in the Balkans

Traditions, Influences, Identities and New Trends

Music Iconography

Musical avant-garde in the Balkans

 

  1. Art Music in Greece and Cyprus

Historiography of Neohellenic and Cypriot art Music

Perception and research on art music in Greece and Cyprus

Music Iconography

Tradition and Identity

Greek musical avant-garde

 

 

  1. Byzantine and post-Byzantine music

Palaeography, performance practice and didactics

Byzantine Hymnography

Byzantine Musicology in the Balkans

Secular music and Byzantine musical instruments

Interactions of Byzantine music with other music cultures

Current research programmes and instrumenta studiorum.

 

  1. Ethnomusicology – Anthropology

Musics of the world.  Music of the Balkan countries and of the broader Mediterranean region

Modus-Modi-Modality: Musics and cultural traditions of the Balkan countries

Greek and Cypriot folk and popular music

Methodologies and documentation/preservation of traditional music

New trends

 

  1. Cultural and sociological studies in the Balkans and the Mediterranean

Music and politics

Cultural interchanges and exchanges

Revolutionary movements and music influences

 

  1. Ancient Greek Music

Ancient Greek mythology and its influence over the years

Stage music for ancient Greek drama in Western culture.

Concepts of music theory from Greek antiquity to the present.

Modus-Modi-Modality: Ancient Greek imprint in Western culture.

 

  1. Current Musicological issues in Cyprus, Greece and the Balkans

Music technology and cultural traditions

 

  1. Current Music Theory issues: Modus-Modi-Modality

Concepts of music theory in the Balkans

Concepts of music theory in Neohellenic and Cypriot Music

 

  1. Current Issues and Approaches in Music Education in the Balkans

 

Official conference language is English.  However, participants can present in Greek, having submitted prior to the conference and at a set deadline a translation of the final paper in English.

 

Proposals are invited for:

  • 20-minute Papers
  • Panels of up to four presentations (90 minutes).

 

Abstracts of 20-minute papers should not exceed 300 words and Panels’ proposals should contain the description of the panel’s subject (no more than 100 words) and an abstract (no more than 300 words) for each paper included in the panel.

All proposals should be sent electronically as an attachment to Dr Georgia Petroudi (G.Petroudi@euc.ac.cy), Dr Evi Nika-Sampson (euinikas@otenet.gr) or Dr Georgios Christofi (G.Christofi@euc.ac.cy) with the subject line: Modus-Modi-Modality.  The attachment should include the following information as well:

  • Name(s) of the author(s) and institution affiliation (if applicable)
  • Type of proposal
  • Title of the paper/panel proposal
  • Short biographical note of the author(s) (100 words)

 

Full audiovisual equipment and adequate technical support is available for all presentations. A grand piano is also available in the conference room.

 

Important dates:

  • Abstracts of proposals-panels: no later than 31 December 2016
  • Notification of approval: no later than 30 January 2017
  • Submission of finalised papers (only in cases of translated papers from Greek to English): no later than 20 August 2017

 

Registration fees:

Participants: 50 Euros

Audience and students: 20 Euros

 

Date and Venue:

6-10 September 2017

Cultural Centre, European University Cyprus

6 Diogenous Street,

Engomi, P.O. Box: 22006,

1516, Nicosia

Cyprus

 

Contact information:

For updates on the conference, and any other enquiries visit: www.modality2017conference.com.  Announcements will also appear on the webpage of European University Cyprus (www.euc.ac.cy) and the School of Music Studies at Aristotle University of Thessaloniki (www.mus.auth.gr)

 

Organising committee:

Evi Nika-Sampson, Professor (Chair), School of Music Studies, Aristotle University of Thessaloniki

Katy Romanou, Associate Professor, Department of Arts, European University Cyprus

Maria Alexandru, Assistant Professor, School of Music Studies, Aristotle University of Thessaloniki

Georgios Sakallieros, Assistant Professor, School of Music Studies, Aristotle University of Thessaloniki

Georgia Petroudi, Assistant Professor, Department of Arts, European University Cyprus

George Christofi, Lecturer, Department of Arts, European University Cyprus

Potheini Vaiouli, Lecturer, Department of Arts, European University Cyprus

Alexandros Charkiolakis, Head of the Erol Ucer Music Library, Lecturer, MIAM – Istanbul Technical Unviersity

 

 

Middle East and Central Asia Music Forum

Friday 13th May 2016, 9.45am-6pm

‘Soundspaces of the Middle East and Central Asia: Exploring the Intersection of Sound Studies and Ethnomusicology in the Middle East and Central Asia’

Convened by the Music Department at City University London in conjunction with the Institute of Musical Research

Venue: City University London, Music Department, Room AG09, College Building, St John Street, London EC1V 4BP

All welcome and admission is free but advance registration is requested for planning purposes.

http://www.city.ac.uk/events/2016/may/middle-east-and-central-asia-music-forum

Provisional Schedule

9.45am                  Welcome 

Session 1, 9.50am – 11.30am

Meri Kyto (University of Tampere, Finland): ‘Negotiating the Acoustic Community: A sonic ethnography of a housing cooperative in Istanbul’

Ruard Absaroka (SOAS) ‘ Sounding Islam in Chinese Central Asia: Methodologies and perspectives’

and Rachel Harris (SOAS): ‘Islamic Extremism, Song and Dance, and Sonic Territoriality: Contesting the Xinjiang Soundscape’

11.30-11.50                  Tea/Coffee

Session 2, 11.50 – 1.10pm

Rachel Beckles Willson (Royal Holloway, University London) ‘Beyond “isolation wrapped in layers of silence”: when an oud is a place that narrates. [This paper will include extracts from Telling Strings, a documentary film by Anne-Marie Haller (2007) featuring Palestinian musician Kamilya Jubran.]

Abigail Wood (University of Haifa): ‘The Cantor and the Muezzin’s Duet at the Western Wall: contesting sound spaces on the frayed seams of the Israel-Palestine conflict’

Lunch (not provided)     

Session 3, 2.15pm – 4.15pm

ROUNDTABLE: Exploring the Intersection of Sound Studies and Ethnomusicology in the Middle East and Central Asia: Opportunities and Challenges

Seth Ayyaz (City University London)

Aaron Einbond (City University London)

Jason Stanyek (University of Oxford)

Elizabeth Tolbert (Johns Hopkins University)

Abigail Wood (University of Haifa)

4.15-4.30pm            Tea/Coffee

Session 4, 4.30-6.30pm

 

Seth Ayyaz (City University London): ‘On The Admissibility of Sound’: dual processes, a triple helix and three speculations on the Islamic sonic-social’

Stefan Williamson Fa (UCL): ‘Loudspeakers and Chains: public ritual and Shi’i soundscapes in Northeastern Anatolia’

Mohsen Shahrnazdar (Tehran Soundscapes project) title tbc

We are also hoping to including a screening of the film ‘Telling Strings’ (Anne-Marie Heller, Switzerland, 2007), during the day.

The Middle East and Central Asia Music forum has been running since 2007 and is open to researchers, students and anyone interested in the music and culture of the region. In the spirit of fostering dialogue and interdisciplinarity, we hope that the issues discussed at the forum will be of interest to a broad audience, including musicologists, ethnomusicologists and other researchers in the arts, humanities and social sciences. In addition, we welcome those working on other aspects of Middle Eastern and Central Asian culture broadly speaking (dance, visual arts, media, film, literature, etc.)

The Forum is convened by Dr Laudan Nooshin, City University London (l.nooshin@city.ac.uk) and Dr Rachel Harris, SOAS (rh@soas.ac.uk)

Log In, Live On – Music and Cyberculture in the Age of the Internet of Things

CALL FOR PAPERS
October 7 – 8 2016 FCSH-New University of Lisbon – Portugal

Organization: CysMus (Group for Advanced Studies in Music and Cyberculture) of SociMus (Advanced Studies in Sociology of Music), CESEM (Sociology and Musical Aesthetics Research Center) FCSH-UNL

The conference’s aim is to join researchers, specialists, artists, students, producers, and other interested parties, in the discussion of transdisciplinary topics and problems regarding the politic economy of music in digital communicational paradigms, in the era of the Internet of Things (IoT). This global system, seen as a network of objects, devices and services, that share information and skills, is, increasingly, a central aspect in the construction of everyday life.

With the dissemination of domestic Internet and digital applications, equipments and contents, the modes and behaviors of musical production, circulation and listening have been reconfigured in a persistent and radical way. This process sees the emergence of the peer-to-peer system, the iPod and the increase of portable listening devices, social networks and streaming, the proliferation of blogs and all kinds of online forums, the intense dissemination of musical composition software and equipment (as well as the expansion of DIY practices), the increment of production and consumption of digital audiovisual media with a wide circulation and access, such as music videos, videogames, reality shows, tv series and other television contents, animations, advertisements and other audiovisual products.

This conference seeks to inquire about the construction of realities, subjectivities and communities based on music as an essential structural element. It proposes an exploration of the aspects of production, circulation, collaborative practices, transformation and ‘remediation’, co-creation and capitalization of musical and audiovisual contents in online platforms, in the context of complex networks of cybercommunities, taking into account the sociability between users, consumers, creators and companies.

The topics to be discussed are, among others:
• the uses of music in digital audiovisual contents and processes (videogames, tv series, movies, advertisements, music videos, etc.); dramaturgy and soundscapes in the symbolic economy of the IoT;

• music in the transformation or reproduction of modes of subjectivity and alterity in the cyberworld;

• cybercommunities and fans, politics of interactivity and convergence / divergence among users, consumers, creators and companies;

• music and the production of symbolic value and representations, from the Web 2.0 to the IoT;

• the mobility of devices that allow musical listening (mobile music) and its role in the construction of everyday life;

• modes of circulation and sharing of audiovisual contents in several online platforms and systems (such as streaming, liveblogging, youtube, social networks), co-production and co-creation of audiovisual contents by users;

• internet culture, celebrity, visibility and reality programs;

• transformations of professional statuses and profiles in music and its relation with new copyright laws, as well as new modes of production and circulation of musical and audiovisual contents;

The conference will take place in Faculdade de Ciências Sociais e Humanas of UNL, organized by CysMus/SociMus, of CESEM (Sociology and Musical Aesthetics Research Center)

All interested in participating are invited to send a proposal (maximum 200 words), biographical note (maximum 150 words) and 5 keywords until 30th April 2016, to cysmusportugal [at] gmail.com with the subject “Log In Live On”. The organization will announce the results before the end of May.

Coordenation: Paula Gomes Ribeiro, Joana Freitas, Júlia Durand
Scientific committee: António de Sousa Dias (ESART-IPCB), João Pedro Cachopo (CESEM/FCSH – UNL), Jelena Novak (CESEM/FCSH – UNL), José Luís Ferreira (ESML/IDEA-CESEM), Mário Vieira de Carvalho (CESEM/FCSH – UNL), Paula Gomes Ribeiro (CESEM/FCSH – UNL), Tomás Henriques (SUNY College at Buffalo NY/CESEM).

Tbilisi International Musicological Conference (TIMC) – “Challenges and Perspectives of Musicology”

7-9 April, 2017

Vano Sarajishvili Tbilisi State Conservatoire, Tbilisi, Georgia

The deadline for registration, submission of proposals and short bio is 30 September, 2016.

 

Official languages of the Conference are English and Georgian. All the papers will be published after the conference in both English and Georgian.

 

Call for papers

The Tbilisi International Musicological Conference is biennial conference on recent developments and future trends in Musicology. We welcome submissions that focus on any one or combination of the following:

  1. Musical education: traditions and perspectives
  2. Problems of theory and history of music
  3. Interdisciplinary research
  4. Music in the monocultural and multicultural society

Theme of the round table: “Musicology in the 21 century – without or with borders?”

 

Proposals

Proposals from all areas of musicology and related music studies are invited for the following:

  • Individual papers – will be twenty minutes in duration, to be followed by ten minutes for questions and discussion.
  • Poster presentations should be ten minutes in duration (in Power point presentation format), to be followed by 5 minutes for questions and discussions.
  • Round table sessions will be 90-120 minutes in duration, including time for discussion. Round table sessions will comprise a panel of up to four people, each presenting a position paper (no more than 10 minutes), followed by a discussion.

 

All proposals should include:

  • Title
  • Indication of format
  • Proposer’s name, affiliation, short bio – no more than 100 words
  • Abstract (for individual paper) / description of the project (for poster) – no more than 250 words,
  • Contact e -mail
  • AV requirements

After getting a notification of acceptance presenter must send full text of paper (no more than 7 pages – font size 12, with 1.5 spacing, margins 2 cm) which should be translated for conference.

All materials should be sent to e-mail: science@conservatoire.edu.ge

 

Timeline

Closing date for online registration, abstract and short bio30 September, 2016

Deadline for papers  – 16 December, 2016.

Notification of acceptance: 9 January,  2017

Conference: 7-9 April, 2017

 

 

 

Contacts and other information

For any additional information, please contact:

e-mail: science@conservatoire.edu.ge

Phone: +995 322 98 71 88

website: www.conservatoire.edu.ge

facebook: Research Department

 

 

Conference Fees:

 50 – for scholars

€ 30 – for PhD students

 

The program of the conference also includes workshops, concert and cultural program.

 

 

Confluences, Connections, and Correspondences: Music and Visual Culture Conference

Confluences, Connections, and Correspondences: Music and Visual Culture Conference, University of Toronto, ON, Canada

Conference Dates: October 13–14, 2016 in Toronto, ON, Canada

Abstract Submission Deadline: July 17, 2016

Keynote Speakers:

Tim Shephard (The University of Sheffield)

Joseph L. Clarke (University of Toronto)

The publication of The Routledge Companion to Music and Visual Culture in 2014 reexamined the diversity and breadth of interdisciplinary study of music and the visual arts, drawing together the various threads of scholarship that have emerged over the past two decades. The 2016 “Confluences, Connections, and Correspondences: Music and Visual Culture Conference” will reflect on the issues and questions raised by this significant publication. Drawing on various theories, methodologies, and frameworks, this conference seeks to bring together wide-ranging, multidisciplinary, and inclusive approaches to the study of these disciplines in conjunction with one another.

We invite proposals for individual papers and themed sessions examining aspects of music, visual culture, and related fields across broad-ranging media, geographical regions, and time periods. Possible topics may include, but are not limited to, the following:

  • Art and music
  • Art history and musicology
  • Music and dance
  • Music and drama studies
  • Music and film studies
  • Music and new media
  • Music and painting
  • Music and screen media
  • Music and theatre
  • Music in art
  • Notation as visual form
  • Performance and performativity
  • Sound and architecture
  • Sound and colour
  • Sound and space
  • Sound art
  • Sound sculpture
  • Spectatorship and participation
  • Synaesthesia
  • Visual communication

Proposals:

Individual paper (20-minute presentation): 300 words abstract

Themed session (90- or 120-minute session): 250 words introduction and 200 words abstract for each paper

Proposals and current CVs should be submitted to Samantha Chang (musicandvisual@gmail.com) by July 17, 2016. Selected speakers will be notified by July 31, 2016. The conference programme will be announced in August 2016.

Keynote Speakers:

Tim Shephard is a Lecturer in Musicology at the University of Sheffield, Visiting Research Fellow at the Centre for Music, Gender and Identity at the University of Huddersfield, and co-editor of The Routledge Companion to Music and Visual Culture (Routledge, 2014).

Joseph L. Clarke is Assistant Professor of Modern Architecture (18th–21st Century) at the University of Toronto and his current book project, Reverberation: Sound and Architectural Modernity, 1750–1900, explores how acoustic research has influenced the spatial ideas and auratic pretensions of modern architecture.

Conference Committee: Samantha Chang (Chair), Lauryn Smith, Elizabeth R. Mattison

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