Research Hands on FLUTE

Research Hands on FLUTE

Research ‘Hands on’ FLUTE is a meeting dedicated to the area of the flute, and is unique due to its symbiosis between two types of meetings: the convention, of an artistic nature which concentrates on a particular instrument (such as the British Flute Society Convention 2016, for example) and the traditional academic research conference, but focusing on an instrumental area. ‘Hands on’ Flute aims to bridge the gap between artistic production and academic research, creating opportunities to combine the artists’ and the researchers’ knowledge, for mutual benefit. This first meeting will take place at the University of Aveiro from April 10th to 13th, 2017.

 

Call for Proposals

The University of Aveiro, INET-md (Institute of Ethnomusicology, Centre for Studies in Music and Dance) and the Associação Portuguesa de Flautas, will host the research meeting Research ‘Hands on’ FLUTE, in Aveiro, Portugal, from the 10th to the 13th of April, 2017.

This research meeting aims to bring artistic production and academic research closer together, creating opportunities to combine the artists’ and the researchers’ knowledge, which will have benefits for all. The invited keynotes speakers and performers, who have already confirmed, are: Sophie Cherrier; Paolo Taballione; Mario Caroli; Sibel Pensel; Berten Dhollander; Monica Finco; Christine Erlander Beard; Michele Gori; Stefano Parrino; Francesco Parrino; Qi Wang; Marco Gaudino; Luca Bellini (as soon as new names are confirmed they will be added to this list).

This first edition in 2017 focuses on the vast instrumental area of the flute – historical and modern performance practices, repertoire, pedagogy, aesthetics, ethnomusicology, history, analysis, organology and interpretation. Proposals that centre on performance practices as research are particularly welcome. Lecture-recitals are the most natural format for these proposals.

The conference organisers accept submissions in Portuguese and Spanish, although English is preferable. Proposals that focus on the above aspects are particularly encouraged, although other proposals may also be accepted, once they lie within the general theme of the meeting. Proposals that focus on any research area relating to flute performance will also be considered.

Proposals should be submitted via the platform Easy Chair, formatted according to the nature of the proposal (in order to fulfil the form, the applicants should first create an Easy Chair account):

  • Lecture Recitals: The abstract should include information regarding the duration of the presentation, which may be between 30 and 45 minutes, and a short artistic CV of the presenter(s). These submissions may also include a link to a Youtube video of the proposed performance (you may choose to upload your video as ‘unlisted’, ‘private viewing’ or ‘public viewing’). The link must be included in the field ‘other documents’ on the platform. The proposer must also specify any technical requirements or materials necessary for the recital.
  • Papers: Communications will be of a 20 minute duration. The abstract should contain a maximum of 350 words.
  • Recitals: Recitals will have a maximum duration of 30 minutes. You must send a recording/demo, which will be evaluated by the Artistic and Scientific Commission. Please include a short artistic CV of the performer(s). These submissions must include a link to a Youtube video of the proposed performance (you may choose to upload your video as ‘unlisted’, ‘private viewing’ or ‘public viewing’). The link must be included in the field ‘other documents’ on the platform. You must also specify any technical requirements or materials necessary for the recital.
  • Panels: In addition to the abstract and/or media, please send details regarding the panel participants, including their institutional affiliations, and the themes of each individual presentation. The total duration of the panel, including debate, should not exceed 90 minutes.
  • Presentation of Projects: The organising committee does not stipulate any particular model for these abstracts, but recommends that the proposals include information regarding the context, objectives, methods and results.
  • Demonstration of pedagogical approaches: These demonstrations should be of a 20 minute duration. Abstracts must not exceed 350 words.
  • Workshops: Please send a description and the duration of your proposed workshop.
  • Performative Installations: Abstracts should not exceed 350 words. Please use the field ‘other documents’ on the Easy Chair platform to upload your technical/material requirements. The installations could be made available during the four days of the meeting.

Should you have any queries (registration, travel, accommodation), please do not hesitate to contact us at deca-hands_on@ua.pt

Important Deadlines

The deadline for proposal submission is February 15th, 2017.

The acceptance of proposals, following a process of evaluation by the scientific and artistic commission, will be communicated no later than February 28th, 2017, with proposals from outside Europe being notified as quickly as possible.

The selected authors will be invited to submit an article or recording to the book of conference proceedings (with audio-visual support). All articles and recordings must be submitted by April 30th, 2017.

 

Organization

Associação Portuguesa de Flautas (APF)

Departamento de Comunicação e Arte

Instituto de Etnomusicologia Centro de Estudos em Música e Dança (INET-md)
Universidade de Aveiro

Image

Álvaro Sousa

Conference on Music and Eye-Tracking

Music & Eye-Tracking – What eye movements, pupil dilation, and blinking activity tell us about musical processing

We are very pleased to announce the call for abstract submissions to the conference on “Music and Eye-tracking“ (MET), which will be held 17th-18th of August 2017 at the Max-Planck-Institute for Empirical Aesthetics in Frankfurt, Germany. Our goal is to bring together the leading experts from psychology, all fields of music research, sociology, cultural sciences, and neuroscience, united in the interest to investigate musical processing using eye-tracking methodology or combining eye-tracking with other methods. Submission is open until 1st April.

 

For full details please visit our website at http://ae.mpg.de/met17

 

The 33rd European Seminar in Ethnomusicology (ESEM) – Ethnomusicology in the 21st Century

The 33rd European Seminar in Ethnomusicology (ESEM)

September 5-9, 2017

International Research Center for Traditional Polyphony of the Vano Sarajishvili Tbilisi State Conservatoire, Tbilisi (Georgia)

The deadline for the submission of abstracts: 15 March 2017

Ethnomusicology in the 21st century faces many new challenges. One of these is how we might give adequate expression to the wide range of functions for traditional music in contemporary society. To meet this challenge ethnomusicology has become ever more multi-thematic and multifaceted. It remembers its earlier roles, but at the same time it seeks new approaches and methodologies to address newly emerging tendencies of the modern world. Today we probably should talk about “ethnomusicologies” rather than a single “ethnomusicology”, since the range of disciplinary interests is now so wide, from the musical traditions of inaccessible, pre-modern peoples, surviving in the most isolated regions of the world, to multiply transformed and commercialized modern forms.

This is why we have decided to present the topics of the 2017 ESEM meeting under the common umbrella title “Ethnomusicology in the 21st Century”.

 

Topics of the seminar

  1. Ethnomusicologies in the 21st century: new research and methods

As a relatively new discipline, ethnomusicology has been subject to constant change, but following major modifications to the political map of the World during the last two decades of the 20th century, the changes have become more radical. Today, we speak about “ethnomusicologies”, signaling a multifaceted theoretical and methodological scholarly field and practice within and beyond academia, and one that involves various scholarly traditions around the world. However, despite the emphasis on diversity and the global flow of concepts and ideas, we can still trace an historical trajectory through which the set of discourses and practices associated with the “First world” approach prevail. Ethnomusicology itself has played an important role in decolonizing dominant approaches to the Western art music canon, and partly for this reason it has gained global prominence. In the spirit of the many current voices within the field calling for the decolonizing of our discipline, this topic invites a discussion of more diverse, more complex ethnomusicologies in the 21stcentury. It seeks to draw attention to a reflexive view of the present, but at the same time to enable future approaches to ethnomusicology in response to a world of ongoing change.

  1. Welcome to the Second World: Ethnomusicology in Former Communist Countries

In the 20th century the “iron curtain” divided Europe for many years, and this had a major impact on the field of (ethno)musicology not only in Europe but worldwide. The so-called »cold war approach«, involved complex relations of power and knowledge, represented by two polarized ideologies and approaches to the discipline, crudely mapped as “East” and “West”, schools and much influenced by the prevailing context of dichotomized public and political discourses. 28 years after the collapse of Berlin Wall, we may ask how questions of the bipolar world, totalitarianism, colonial and imperial legacies are re-narrated in ethnomusicological scholarly discourses in Europe East and West. Rather than maintaining a conceptual division between “East” and “West”, over-emphasized in scholarly deliberations and public discourses, we prefer to focus on the mutual constitution of Western and Eastern ethnomusicological scholarly traditions. We invite papers that thematize cultural representations of “European East and West” in ethnomusicological scholarship, focusing on cooperation and exchange, on mutual access to new trends and achievements, and on dominant topics and approaches before and after 1989. Papers addressing either changing approaches to, or perpetuation of, the old/new boundaries, divisions, and discourses of “European East/ and West” in today’s world are also welcomed.

  1. Market Economy Politics: The Many Faces of Traditional Music and Dance

In the 21st century, the larger part of the world has become a sphere of free market economies. Although the economic status of different countries and regions is far from equal, this new reality has certainly changed the way traditional music and dance, together with their performers and researchers, function in today’s societies, more and more subservient to the law of profit. Traditional culture, music and dance have become attractive “products” in themselves, actively negotiated by music industry promoters, filmmakers, lawyers and performers, and widely exploited by the tourist industry in advertising national products and brands. Within this topic we would like to discuss the benefits and dangers of commercialization, its impact on traditional music and dance, and the potential role of the ethnomusicologist in shaping the “supply and demand” process.

 

Proposals

The Program Committee encourages the submission of proposals for individual papers, panels and posters

  • Individual paper – 20 minutes + 10-minute discussion,
  • Panel presentation – 90-minute presentations including discussion
  • Poster presentations, with a special session in which each panelist will have 10 minutes for his/her presentation. Presentations should be sent in advance in the required format.

Proposals including a 300-word abstract, full name and contact details of the presenter (as an attachment in word-file, not pdf) should be e-mailed to Prof. Rusudan Tsurtsumia polyphony@conservatoire.edu.ge

The deadline for the submission of abstracts: 15 March 2017

Announcement of a draft program: 1 May 2017

Program Committee
Dr. Rusudan Tsurtsumia (Georgia) (polyphony@conservatoire.edu.ge)
Dr. Joseph Jordania (Australia/Georgia) (josephjordania@yahoo.com.au)
Dr. Ewa Dahlig-Turek (Poland) (Ewa.Dahlig-Turek@ispan.pl)
Dr. Ana Hofman (Slovenia) (hofman.ana@gmail.com)

Symposium on Music, Education and Social Inclusion

London, 20th-21st July 2017

A symposium is to be held at the School of Oriental and African Studies (SOAS) in London on July 20th and 21st 2017 to launch the Music, Education and Social Inclusion Study Group under the auspices of the ICTM.

Founding members include musicians, senior scholars and academics from Africa, Europe, the Caribbean, North America and Asia, reflecting the multicultural nature of the collective.

Historically excluded groups such as women and girls, ethnic minorities, vulnerabilities including disabilities and other marginalities have been systematically un- or under-represented in education, reflecting wider socially discriminatory practices that in turn are perpetrated and transmitted within the school system, shaping society at large beyond schools and academic institutions.

The symposium will focus on exploring multifaceted educational practices in relation to a wider spectrum of broader issues and thinking, such as:
• Education and Representation
• Issues of Identity in Education
• Social inclusion and Education
• Education and International Development
• Ethnomusicology, Transmission Practices (teaching/learning) and Social Inclusion
Other topics that might sit well within the broader agenda are welcome and encouraged.

Papers should be 20 minutes long, followed by 10 minutes of discussion and Q&A. Abstracts should be from 200 to 250 words in length and written in English; other languages might be considered on a case-by-case basis and only where the level of English is not sufficient to express concepts fully.
Alternative presentations – other than individual papers – are welcome and length can be negotiated on a case-by-case basis. Submissions in other forms (such as video) should be no longer than 5 minutes.

In order to make participation inclusive, and aware that traveling might not be an option for many who are interested in participating, a limited number of remote presentations through Skype will be considered, so applicants are encouraged to apply even in case they might not be able to attend in person.

Deadline for submission of proposals is March 1st, 2017; please submit abstracts to Keith Howard (kh@soas.ac.uk) or Sara Selleri (Sara_Selleri@soas.ac.uk). Participants will be notified by the end of April 2017.

The Sixth International Research and Practical Conference for Undergraduate, Graduate and Postgraduate Students “Ethnomusicology: History, Theory and Practice”

Dear colleagues,

On May 15–18, 2017 the Department of Ethnomusicology, the Center for Folklore and Ethnography named after A. M. Mekhnetsov and the Cabinet for Traditional Folk Music at St. Petersburg State Conservatory named after N. A. Rimsky-Korsakov hold The Sixth International Research and Practical Conference for Undergraduate, Graduate and Postgraduate Students “Ethnomusicology: History, Theory and Practice”. The event is dedicated to the 155th anniversary of St. Petersburg State Conservatory and the 90th anniversary of the Cabinet for Music Ethnography at St. Petersburg State Conservatory named after N. A. Rimsky-Korsakov foundation.

The main event of the Conference is The Sixth International Research Work Competition among Undergraduate, Graduate and Postgraduate Students. Laureates will be awarded diplomas of 1st, 2nd and 3rd degrees.

Sample topics for competitive paper presentations are:

  • History of ethnomusicology;
  • Calendar ritual folklore specifics;
  • Songs and laments for wedding rituals: function, style, typology;
  • Music epos and its diversity in ethnic culture;
  • Traditional folk song and dance specifics;
  • Traditional folk music instrument, piece and musician: problems of systematical approach;
  • Lyrical songs: style, structure and content;
  • Research in local folk songs traditions;
  • Composer and folklore;
  • Folklore in the modern world: problems of teaching and performance.

The jury could recommend awarded papers for publication in academic journals of  St. Petersburg State Conservatory named after N. A. Rimsky-Korsakov and other educational organizations.

Conference program include:
– competitive papers presentations;
– round table dedicated to 155th anniversary of Rimsky-Korsakov St. Petersburg State Conservatory and 90th anniversary of the Cabinet for Music Ethnography at Rimsky-Korsakov St. Petersburg State Conservatory foundation;
– master classes and open lectures of leading specialists in ethnomusicology, folkloristics, study of traditional folk instruments, ethnography and ethnology;
– master classes in traditional folk singing and instrumental playing in Russia and abroad;
– round table dedicated to relevant problems in professional training in the field of ethnomusicology, traditional folk sings and instrumental performance in modern conditions;
– concert of traditional folk music ensembles of secondary and higher educational organizations of Russia and abroad;
– presentation of academic, educational and methodological publications and multimedia projects related to traditional folk music culture;
– exhibition of digital and printed publications (CD, DVD), related to traditional folk music culture and prepared by the Department of Ethnomusicology, the Center for Folklore and Ethnography named after A. M. Mekhnetsov.

The deadline for applicants to participate in the conference is April 1, 2017. Samples of applications and conditions for participation in the conference are in the Regulations. Applications are accepted at: e_redkova@mail.ru (for Evgenia Redkovа) and antost@yandex.ru (for Anton Ostapenko).

The Organization Committee is searching for the opportunity to cover fees for staying at guest rooms of Conservatory’s hostel (ul. Doblesti, d. 22). Travel expenses are due to the sending party. Online participation (by Skype) is possible.

Contacts of the Organization Committee representatives:
Galina Lobkova, the head of the Department of Ethnomusicology at the Faculty of Musicology of St. Petersburg State Conservatory named after N. A. Rimsky-Korsakov. Tel.: 8 (812) 571-29-47, e-mail: galina-lobkova@yandex.ru
Eugenia Redkova, associate professor of the Department of Ethnomusicology, the head of the Cabinet for Traditional Folk Music of St. Petersburg State Conservatory named after N. A. Rimsky-Korsakov. Tel.: 8 (812) 312-04-68, +7-911-213-07-12, e-mail: e_redkova@mail.ru
Anton Ostapenko, specialist in folklore at the Center for Folklore and Ethnography named after A. Mekhnetsov of St. Petersburg State Conservatory named after N. A. Rimsky-Korsakov. Tel.: +7-952-261-89-77, e-mail: antost@yandex.ru.

Future Sound of Pop Music

Symposium,
Bern (CH), November 30 – December 3, 2017
Bern University of the Arts

New technologies, new interfaces and controllers have significantly altered the sound world of pop music in recent years. In current pop songs, electronic sounds and effects are dominant. The sound aesthetic of pop music has also undergone a major shift from the 1960s to the present day. Initially, pop music invested in a few distinctive distinguishing features such as distortion, but today it features complex electronic constructions based on samples, virtual instruments and effects.

The significance of individual sounds – their origins, their development and their future – has until now rarely been an object of research in popular music. This symposium will discuss how the sound aesthetic of popular music has changed over the past decades. It will debate how sounds have been created, how they are employed, and how they are constantly being renewed and replaced by new sounds. Last but not least, the symposium will discuss the future of sounds in pop music by addressing the following questions:

  • How are sounds modified, manipulated and transformed today, and how will this be done in the future?
  • What role do new interfaces and controllers play in the development of new sounds?
  • What do current sound generators offer?
  • What new sound generators might we expect in the future?
  • How will pop music sound, 10 or 20 years from now?

The following keynote speakers have been invited:

  • Dr John Chowning (San Francisco)
  • Dr Lippold Haken (Illinois)
  • Dr Edmund Eagan (Ottawa)
  • Dr Wayne Marshall (Boston)
  • Bruno Spoerri (Zurich)
  • Annie Goh (London)

Furthermore there is a Call open up to May 1, 2017.

Conference website
https://www.futuresoundofpopmusic.net/

International Music Research Summer School 2017

June 13-16th 2017
Oslo, Norway

INVITATION

Welcome to the International Music Research Summer School, which will take place in Oslo June 2017. The event is a collaboration between Grieg Research School (Western Norway), the Norwegian Academy of Music and the University of Oslo, Dept. of Musicology. The theme of the Summer School is “Music 2020: Interdisciplinarity, Innovation, Impact”.

Please see the attached invitation and our website for more information:

http://www.uib.no/en/rs/grieg/103187/music-2020-interdisciplinarity-innovation-impact

We welcome participation from any active researchers and musicians, particularly those working in fields such as musicology, music education, music therapy and artistic research.

Important Dates

  • Registration Opens: 1st March 2017
  • Registration Closes: 2nd May 2017
  • Deadline for submission of Abstracts: 3rd April 2017 – please forward to Morten.Norheim@uib.no

Please contact Morten Norheim if you have any questions.

South Asia and Its Diaspora: Musical Performances in the Cultures of Decolonization

CALL FOR PAPERS

CONFERENCE

SOUTH ASIA AND ITS DIASPORA: MUSICAL PERFORMANCES IN THE CULTURES OF DECOLONIZATION

The Horniman Museum and Gardens, 100 London Road, Forest Hill, London, SE23 3PQ,, UK

4 November 2017

KEYNOTE SPEAKER: PROFESSOR TINA K. RAMNARINE

Decolonization is a creative process, as well as a historical and political one. Interdisciplinary critical attention to creative processes offers insights into the cultures of decolonization. This conference reflects on these creative processes by focusing on the musical performances of South Asia and its Diaspora. It takes a broad view of musical performances, encompassing auditory experiences in cross-arts projects and sacred expressions. It is hosted in connection with the Horniman Museum’s forthcoming summer series, featuring the diversity of South Asian music, as well as its creative resonances with contemporary culture in the UK. Music, dance, installations and film screenings will highlight creative practices ranging from traditional music to urban electronic experimental projects. In addition, the series will promote community engagement as musicians perform on various instruments housed within the museum. The programme will extend to the centre of Forest Hill – all culminating with a carnival: the Horniman Mela. This conference informs critical listening and thinking around these performance events.
A principal aim is to highlight current research on South Asian and diasporic musical performances, especially in relation to decolonization since 2017 marks 70 years of Indian Independence and the centenary of the abolition of Indian indentureship. Historical, ethnographic and literary perspectives on music are welcomed.
Possible areas for consideration include but are not limited to the following:
• How is traditional practice sustained in the cultures of decolonization?
• What kinds of cross-arts creative innovations emerge from decolonizing relationships between South Asia, the South Asian Diaspora and the UK?
• How do creative exchanges create new performance and listening contexts, and new genres?
• How do external factors shape local performance and consumption, and how do global economic markets and circulations impact on them? How do symphony orchestras and electronic music, for example, shape contemporary South Asian and diasporic practices?
• What kinds of revival processes shape creative expression and instrument building?
• What is the intellectual responsibility of performance-based scholars in engaging with community projects and re-assessing Commonwealth relationships?

Programme Committee
Margaret Birley, Horniman Museum; Dr Maria del Pilar Kaladeen, Centre for Postcolonial Studies, School of Advanced Studies, University of London; Dr Barley Norton, Goldsmiths, University of London.

Potential contributors are invited to submit abstracts of up to 300 words to Margaret Birley via email (attached as a word document) to mbirley@horniman.ac.uk. The deadline for submissions is 10th April. Authors will be notified of their participation by 15th June.

The conference is co-sponsored by the Royal Anthropological Institute. Online booking for the conference will shortly be opening on the Horniman Museum website www.horniman.ac.uk

Conference registration fee – £20.00
Student registration fee – £10.00
Speakers will not be charged a registration fee.

ISSTA 2017 International Festival and Conference on Sound in the Arts, Science and Technology

Sept 7th-8th 2017

Dundalk Institute of Technology

Dundalk, Ireland

Website: http://issta.ie/call-for-submission-2017/

 

Keynotes

Peter Kirn (Editor–in–Chief, CDM: Create Digital Music) http://cdm.link/

Dr Theresa Dillon (Artist–Researcher, Professor of City Futures at Watershed and University of the West of England, Bristol) http://www.polarproduce.org

 

Deadline for submissions

Submissions are due Monday 3rd April. Notifications will be sent by Friday 9th June.

 

ISSTA 2017: Sound–Makers: technologies, practices and cultures

Creative audio and visual practices are increasingly moving from the digital sphere into the ‘real’ world––moving from bits to atoms (Ishii and Ullmer, 1997)––as physical computing technologies continue to become more widely affordable and accessible. Custom–made and repurposed controllers, gestural interfaces and intentionally hackable or reconfigurable instruments now support the creation and control of music and audio-visual media outside the mouse and keyboard paradigm and beyond normative models based on previously–established practices.

These technologies are increasingly being championed by grassroots movements which are driven by the designers, makers and creators who build and use them. Maker groups, festivals and social spaces––frequently more diverse and inclusive than established communities within academia and industrial R&D––have emerged to engage new creators and audiences through music, visual and sound art performances. Spanning disciplines such as controllerism, modular synthesis, interface design, circuit bending and live sound art, many practitioners and researchers are increasingly looking beyond code, bringing, integrating sensors and soldering within their classroom, stage and studio practices.

The Irish Sound, Science and Technology Association (ISSTA) invites makers, creators, performers, thinkers and researchers to come together to share their insights on this emerging field.

Perspectives on our call may include (but are not limited to) the following:

  • New creative approaches using self-designed or hacked controllers
  • Maker movements and the democratisation of technology
  • The gendering of maker spaces/hackspaces and/or other questions of inclusivity or exclusion
  • Communities and maker spaces/hackspaces: chronicling experiences of establishing maker spaces and scenes
  • Open culture and creative technologies: sharing code, technologies and practices
  • Making/hacking and sustainability: installations and electronic music practices using recycled equipment
  • The Global West (or North) and the rest? Differences in global experiences of maker culture and spaces
  • Maker/hacker approaches and developments in education

We welcome the submission of papers, artworks, compositions/performances and workshops on these ideas and related topics for presentation at the 7th ISSTA International Festival and Conference on Sound, 7th-8th September 2017, at Dundalk Institute of Technology (DkIT).

Full call and submission details here: http://issta.ie/call-for-submission-2017/

 

Location

Equidistant between Belfast and Dublin, with excellent flight, public transport and motorway connections with both cities, DkIT is an education hub for creative technologies in Ireland’s Eastern Corridor region.

 

Call conditions

Submissions are due Monday 3rd April. Notifications will be sent by Friday 9th June.

The call is open to all practitioners regardless of nationality.

Participants are responsible for their own travel and accommodation and, where relevant, transport of materials; as a small, subscriber–funded organization, we are unable to provide artists’ fees but we do aim to keep registration fees as low as possible. Registration for ISSTA 2017 is required for participation.

 

Registration Costs

Registration fees are as follows:
• Professional: €70 (€40 registration + €30 ISSTA membership)
• Postgraduate student: €50 (€30 registration + €20 ISSTA membership)
• Undergraduate student or unwaged: €25 (€15 registration + €10 ISSTA membership)
• Non-members €80

 

Chairs

Chair of ISSTA 2017: Dr Niall Coghlan

Chair of Papers/Posters: Dr Caroline O’Sullivan

Chair of Workshops: Rory Walsh, Kelly McErleane

Chair of Sound Art/Installations: David Stalling, Kieran Nolan

Chair of Music: Dr Neil O’Connor, Claire Fitch

 

ISSTA board

President: Dr Linda O Keeffe (Lancaster University)

Vice–President: Dr Brian Bridges (Ulster University)

Treasurer: Dr Jacqueline Walker (University of Limerick)

Secretary: Dr Alan Dormer (University of Limerick)

Web/PR Editor: Dr Stephen Roddy (Trinity College Dublin)

Sources and Archives in Screen Sound Studies

Dates: 1-2 June 2017, University of Huddersfield UK
Proposal deadline: 20 March 2017
Website: https://screensoundsources.wordpress.com/

As research on screen sound and music continues to expand, the questions, methodologies, and objects of study that researchers face become increasingly diverse. Source materials, including production documentation, musical scores and sketches, papers and ephemera, and audiovisual materials, play a significant yet problematic role. Materials may be difficult to access, and they frequently reveal working practices that challenge traditional notions of autonomy, authorship, and creativity in music studies. In addition, archival-based research has often formed a separate area of concern: its emphasis on industry processes, technologies, and documentation of creative practice can sometimes feel disconnected from the discipline’s various approaches to textual analysis.

Sources and Archives in Screen Sound Studies aims to open up and progress dialogue around the challenges of access, study, and integration of these materials and concerns. Around 20 places are available at the symposium, which is free of charge and supported by the Leverhulme Trust, the British Academy, and the University of Huddersfield. Some funding will also be available to assist with travel and accommodation costs for participants, and researchers at all career stages and from any relevant disciplinary background are encouraged to apply.

We aim to foster collaboration and opportunities for discussion around the role and significance of source materials in all aspects of sound and moving image research, including film and television musicology, ludomusicology, voice and/or sound studies, and practice research in composition or performance. Issues discussed might include, but are not limited to:

  • Archival formats and materials: preservation, training, access, and dissemination
  • The interface of process documentation with textual analysis
  • Source materials as creative stimulus
  • Archives, scholars, and the wider public
  • Analysing aesthetics in an industrial context
  • Training needs and provision for audiovisual researchers
  • Pedagogical approaches to archival material
  • Archiving the current practices of institutions and individuals
  • Copyright and ‘fair use’ of source materials

Researchers, archivists, and other potential participants are invited to submit a 250-word outline of their proposed contribution to the symposium by 20 March 2017. These can include traditional presentations (20 minute papers, 10 minute provocations, or pre-formed panels), but we are also keen to explore alternative formats, which might include: presentation of particular case study materials for group discussion; proposals for reading or discussion groups; training or good practice workshops; or creative work or performances that engage with source or archival materials. We also invite statements of more general interest in participating as a discussant at the symposium: please provide an outline of the way these issues relate to your own research projects, practices, and/or training needs. We would be particularly interested to hear from people who might be able to make elements of their own archival acquisitions or holdings available to participants for the duration of the event (via secure digital download/conference packs), which could serve as case studies, working models, or practical discussion points.

Committee: Dr Catherine Haworth (University of Huddersfield); Dr Nathan Platte (University of Iowa); Ben Winters (Open University). Please send all correspondence to Catherine Haworth.