Gabriel Fauré: Effable and Ineffable

23-25 October 2015
University of Washington, Seattle

Carlo Caballero (University of Colorado)
Stephen Rumph (University of Washington)

Abstract deadline:  December 30, 2014

CALL FOR PAPERS

Despite his popularity beyond the academy, Gabriel Fauré remains the least discussed of major composers.  Fittingly, philosopher Vladimir Jankélévitch esteemed him a paragon of music’s alleged ineffability.  Beloved by performers and audiences, yet seemingly inaccessible to scholars, Fauré’s works provide a unique focal point for rethinking the relationship between music and discourse.  This interdisciplinary conference aims to open new keyholes onto Fauré’s notoriously (and gloriously) elusive art, addressing questions provoked by Jankélévitch’s philosophy of l’ineffable musical:  Why does Fauré’s music resist analysis?  What accounts for his marginal status in music histories?  How can his music reshape our practice as critics?  The weekend will include master classes and recitals, and a fully staged orchestral production of Fauré’s seldom heard opera Pénélope.  Keynote speakers include Sander Goldberg (University of Oregon), Roy Howat (Royal Academy of Music, London), Steven Huebner (McGill University), Sylvia Kahan (CUNY-Staten Island), Jay Lutz (Oglethorpe University), Jann Pasler (University of California at San Diego), and Steven Rings (University of Chicago).

We welcome papers on all aspects of Fauré’s music, cultural contexts, and reception.  Please send abstracts (350 words or less) and a short c.v. (both PDF) to Carlo Caballero (barcarolle@comcast.net).

North Atlantic Fiddle Convention Conference

CALL FOR PAPERS
North Atlantic Fiddle Convention
October 13-17, 2015
Cape Breton Island (Sydney & Baddeck, Nova Scotia)
Celtic Colours International Festival / Cape Breton University
Trans-Atlantic Transactions

Music and dance are means by which we share culture and identity, and exchange knowledge. The theme of Trans-Atlantic Transactions is designed to frame wide-ranging explorations of fiddling and related dance traditions as expressive forms that are shared, exchanged, and disseminated, and which provide endless opportunities for dialogue.
The idea of “transaction” can be understood broadly to embrace the exchange of repertoires and styles within and between traditions, regions, generations, and populations. Transaction may also be used to reflect upon the impact of economic forces on fiddling and dancing, from the demands of recording and touring, to the expectations placed on it by the entertainment industry and tourism.

We invite papers and panels which examine the themes of giving, taking, exchanging, and transacting as they apply to fiddling and dancing across the North Atlantic region. Some topic areas may include, but are not limited to:
• Adoption and Appropriation: Where and when would these terms be appropriate for the
circulation of fiddle and dance styles and repertoires?
• Exchanging of Repertoire: How are tunes exchanged among different or separate fiddling traditions, and what transformations or modifications are made when they are?
• Transactions Among Instruments: The fiddle repertoire has been adopted by flautists,
banjoists, accordionists, pianists, guitarists, and many others. In some cases, like the bagpipes, the fiddle and pipes mutually share repertoire. How do instruments like these reshape fiddle tunes, and what do they give back to fiddling traditions?
• Vocal Music: What transactions and exchanges occur between repertoires of fiddling, dancing and vocal music? How much has one affected another in particular traditions?

• “Blàs” (“Flavour,” “accent”): What exchanges happen between the spoken language of a culture and the rhythm, cadence, or “accent” of fiddle or dance style?

• Interactions: What are the interactions among performers, between soloists and
accompanists, between dancers and fiddlers?
• Migration: How have exchanges of population, both recent and past, affected the circulations of styles and repertoires?
• Mediation: What negotiations are made when fiddling and dancing become mass mediated, and respond to commercial priorities?
• Vocation vs. Avocation: What are the issues around the rewards of fiddling and dancing, and in which contexts? What are the range of economies involved in fiddling and dancing, from communal sharing to barter to professionalism and the pursuit of various sources of revenue?

Though we encourage presentations that engage with our theme, the program committee will gladly receive proposals for presentations on any aspect of fiddling and its dance-related cultures.

Given the setting of the conference, on Cape Breton Island, and its partnership with the Celtic Colours International Festival (Friday October 9 to Saturday October 17, 2015), we anticipate that this theme will be fruitful as we reflect on fiddling in the Old World and the New, and across many different populations and histories. Delegates will have opportunities to see many Celtic Colours International Festival performances, workshops, and events, and experience the Island’s many sights and sounds over the course of the conference.

The first half of the conference will be held in Sydney (October 13-14), and the latter half in Baddeck, Nova Scotia (October 16-17), offering a full experience of the Cape Breton’s exciting urban and beautiful rural locales. October 15 will be organized as a day of touring.

As we will be applying for funding support, submissions for academic papers will need to include:
• presenter’s full name, institutional affiliation, department, student status (if applicable), and contact information;
• presentation title;
• two abstracts: one 250 words, and one 100-150 words MAXIMUM;
• a list of degrees earned, specifying discipline;
• a list of recent positions and any positions relevant to NAFCo;
• a list of recent publications and any publications relevant to NAFCo; and
• a 100 word biography.

The submission deadline is November 15, 2014. Submissions should be sent to the email address below, and will be submitted to blind peer review.
Email: NAFCO2015@cbu.ca
Website: www.celtic-colours.com/nafco2015/
Mail: North Atlantic Fiddle Convention
c/o The Centre for Cape Breton Studies
PO Box 5300
1250 Grand Lake Road
Sydney, Nova Scotia B1P 6L2 CANADA

Keele Music Analysis Conference 2015

The Keele Music Analysis Conference (Wednesday 8 to Friday 10 July 2015, Keele University, UK) welcomes proposals for papers on any aspect of theory, analysis and criticism relating to music and musical practices of any genre, style or period.

Proposals in the following categories will be considered:

- Papers (20 minutes maximum, with 10 minutes for discussion)
– Paper sessions (three or four papers, each of 20 minutes maximum, with 10 minutes per paper for discussion)
– Roundtable discussions (up to 6 participants, each giving a short position paper, followed by a general discussion, total running time of 90 or 120 minutes)
– Recitals, lecture-recitals and lectures illustrated by sound diffusions or audio-visual screenings (maximum duration 90 minutes)

Keynote speakers at KeeleMAC:

Professor Amanda Bayley (Bath Spa)
Professor James Hepokoski (Yale)
Professor David Neumeyer (Texas)

The conference will include a plenary roundtable ‘Women and Analysis’ with speakers including Professor Janet Schmalfeldt (Tufts), Dr Laurel Parsons (Victoria, Chair of the Society for Music Theory Committee on the Status of Women) and Professor Amanda Bayley.

The Editorial Board of Music Analysis will be pleased to discuss publication opportunities with speakers and delegates at the conference.

Proposal Instructions / Guidelines

Abstracts and proposals should be prepared as follows:

– For individual papers: up to 250 words
– For paper sessions: 250-word (maximum) summary and up to 200 words for each session participant
– For roundtable discussions: 250-word (maximum) and up to 150 words for each panel participant
– For recitals, lecture-recitals and lectures illustrated by sound diffusions or audio-visual screenings: 250 word (maximum) summary, plus participant CVs and recordings / scores / other details of works to be included in the event (contact organiser to discuss)

Further information for applicants:

– Only one proposal of each type is permitted per applicant
– Proposals should not substantially duplicate presentations being given at conferences or other events proximate in time or place to KeeleMAC
– All proposals must be sent by email as a MS Word or pdf attachment to keelemac2015@keele.ac.uk.
– Proposals need not be anonymised

Programme Committee:
Professor William Drabkin, Professor Julian Horton, Dr Anne Hyland, Professor Barbara Kelly, Dr Nicholas Reyland (Chair), Dr Kenneth Smith, Dr Edward Venn, Dr Alastair Williams

DEADLINE FOR PROPOSAL SUBMISSION: 5 JANUARY 2015

Applicants will be informed of the outcome of their proposal(s) by 9 February 2015

SMA Music Analysis Summer School

Keele University
6-7 July 2015 – preceding Keele Music Analysis Conference (8-10 July 2015)

Guest tutors:

Professor Amanda Bayley (Bath Spa)

Professor. James Hepokoski (Yale)

Professor David Neumeyer (Texas)

Building on the great success of its previous Summer Schools, the Society for Music Analysis is organising another summer school at Keele University, 6-7 July 2015. The residential course will be open to both national and international applicants, and will provide a unique forum for advanced study in theory and analysis in the UK. It will segue into the Keele Music Analysis Conference (KeeleMAC, 8-10 July2015), convened by Dr Nicholas Reyland (Keele), to which applicants are warmly invited to submit paper proposals.

Designed as an intensive programme run in small seminar and tutorial groups, the 2015 Summer School will be taught by international experts in performance studies, sonata theory and screen music – the three topics that will be the focus of its seminars and tutorials.

Attendance will be capped at c. 20 students. To be considered for a place, please submit a two-page CV including details of your academic qualifications and publications (if any), plus a short statement (up to 250 words) concerning your current work and how a place on the Summer School would assist it, to information@sma.ac.uk by 5 January 2015. Documents should be sent in Word or .pdf format. The Summer School is open to current masters and doctoral students, and to scholars within two years of completing a doctorate. Applicants will be informed of their proposal’s outcome by 9 February 2015.

The Editorial Board of Music Analysis has provided a subvention that will offer successful music students free accommodation and meals at the Summer School: participants need only cover the cost of their travel to Keele. If they intend to stay for KeeleMAC, Summer School participants will have to register and pay for the conference (student rate) separately.

Feedback on previous SMA Summer Schools:

‘Classes were intensive and interactive, taking the form of small seminar groups rather than lectures, and encouraged an equal exchange of ideas, transcending the usual tutor/student hierarchy. The SMA merits our gratitude and praise for spearheading such a valuable initiative, and one which is set to evolve and (one hopes) to become a permanent fixture in its calendar of events.’ (Dr Anne Hyland, Manchester University).

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Dr Shay Loya, Information Officer, Society for Music Analysis, www.sma.ac.uk

Work & Play: Economies of Music

Work & Play: Economies of Music

The Harvard Graduate Music Forum Conference    •    20–21 February 2015

Keynote:  Robin James (UNC Charlotte)

Round Table:  Verena Andermatt Conley, Robin James, Sindhumathi Revuluri, Kay Kaufman Shelemay

 

- Call for Proposals -

This interdisciplinary conference takes as its premise that music is inseparable from the economic conditions of its production and consumption. Through presentations, lecture-recitals and composers’ colloquia, we seek to explore the intersections of music and economics from a diverse array of perspectives including labor, practice, material culture, and capital.

Questions include but are not limited to:

  • How do musicians and their employers understand musical labor, and how does this impinge on issues of amateurism, professionalism, and institutionalization?
  • How have shifting economic systems — for instance, from patronage to mass consumption, or from liberalism to neoliberalism — altered the place of music in society?
  • How have issues such as postcolonialism, the North-South economic divide, and globalization, intersected with various musical practices to forge divergent models of economies of music?
  • Where does music succeed and where does it fail in transforming economic relations?
  • What are the economic consequences of the material means of musics’ dissemination, such as manuscripts, published scores, phonograph recordings, streaming and live performance?
  • How do questions of cultural and economic capital combine in appraisals and contestations of musical value?
  • How has music symbolically represented economics and status? What is music’s role in this endeavour today?

- Submissions -

We welcome submissions from current graduate students on these and related topics. We seek proposals on all repertoires, musical practices and historical periods, and representing a broad set of methodologies. Formats for presentation include:

  • 20-minute papers, audiovisual presentations, or exploratory text works, with 10 minutes for discussion
    Please submit abstracts of a maximum of 350 words and, where appropriate, up to 4 additional pages for figures. Please add a short statement regarding AV requirements.
  • 30-minute composer colloquia, performances, or lecture-recitals, with 15 minutes for discussion
    Please submit details of the work to be presented in a maximum of 350 words and, where appropriate, links to relevant sound recordings and/or scores or supplementary documentation.

Deadline for proposals: 5 December 2014

Please e-mail submissions to: harvardgmf2015@gmail.com

For more information please visit: http://projects.iq.harvard.edu/gmf2015

Music in Video Games Study Afternoon

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University of Southampton, 21 October 2014

The Music Department at the University of Southampton are hosting a Music in Video Games Study Afternoon on Tuesday 21 October 2014 (3pm) in Building 2/Room 1083, Highfield Campus, Southampton SO17 1BJ. This event is open to the public and admission is free.

Music in Video Games Study Afternoon
·       William Gibbons (Texas Christian University) ‘Remixed Metaphors: Manipulating Classical Music and its Meanings in Video Games’
·       Tim Summers (University of Oxford) ‘Playing against the Rules: Game Music’s Challenge to Musicology’.
·       Mark Sweeney (University of Oxford) ‘Songs of Skyrim: Folk Music and Identity in The Elder Scrolls V’
·       K.J. Donnelly (University of Southampton) ‘Play is Purposeless Art: What is Video Game Music?’
For further details, contact Hettie Malcomson: h.malcomson@soton.ac.uk
Or visit: http://www.southampton.ac.uk/music/news/index.page?

Exploring the Romantic Piano Concerto

15-17 July 2015
School of Music, University College Dublin
Call for Papers

WWW.CONCERTO2015.COM

The piano concerto as a genre occupied a privileged position on concert programmes throughout the nineteenth century. During this time, it assumed various guises from the virtuoso concertos pioneered by pianist composers such as Cramer, Steibelt, Dussek, and Liszt, to the symphonic concertos of Schumann, Mendelssohn, Brahms, and a host of others.

Today, the piano concerto continues to have a lively and engaging presence both on concert programmes and in the recorded repertoire. This is nowhere more evident than in the Romantic Piano Concertos series published by the record label Hyperion, the rich repertoire of which currently runs into an excess of sixty volumes. Scholarship on the nineteenth-century piano concerto, however, lags far behind its performative counterpart. Although recent research has begun to uncover the sheer diversity of the genre throughout the long-nineteenth century, the concerti of Mozart, Beethoven and a small number of later composers continue to dominate the performing, pedagogical, and scholarly canons. This narrowing of focus can be attributed to commercial, social, cultural, political and philosophical causes, which give rise to a myriad of fascinating questions in cultural history, analysis, aesthetics and historiography.

This conference explores the piano concerto in the long-nineteenth century by way of highlighting its contemporary importance and addressing its posthumous neglect. It seeks both to reconsider neglected repertoire from a vast array of composers including Dussek, Cramer and Field to Stenhammer and Medtner, to challenge and reinvigorate received scholarship in the area, and to provide fresh contexts for those more canonical works from Beethoven to Rachmaninov.

The programme committee welcomes proposals from scholars working in a wide variety of fields, including historical musicology, theory and analysis, aesthetics, performance studies, cultural history and the sociology of music. Themes of inquiry include, but are not limited to:
• questions of canon formation;
• the piano concerto and commercial life;
• issues of musical form;
• genre and virtuosity;
• archival studies;
• gender studies;
• musical centres and peripheries;
• the piano concerto and the history of the piano.

Keynote Speaker Professor Claudia Macdonald (Oberlin College Conservatory of Music)

Deadline for submissions: 31st January 2015 19h00 GMT

• Please submit title and abstract in one document.
• A biography, including the title of your paper, should be attached as a separate document with each abstract.
• Individual paper abstracts (including lecture recitals) should be no longer than 300 words.
• Themed session proposals should include a 300-word rationale for the session as a whole, and a 300-word abstract for each paper. (Themed sessions should have a maximum of four papers.)
• All abstracts and proposals should be submitted as a Microsoft Word document or as a PDF.

Papers and lecture recitals will be twenty minutes in duration followed by ten minutes for questions and discussion.

Proposals should be sent to the programme committee: concerto2015@ucd.ie

All applicants will be informed of the outcome of the Call for Papers by 20th March 2015.

Programme committee:
Majella Boland (University College Dublin), Nicole Grimes (Royal Holloway, University London), Paul Higgins (University College Dublin), Julian Horton (Durham University), Fionnuala Moynihan (Maynooth University), Benedict Taylor (University of Edinburgh).

Pacific Northwest (PNW) Graduate Music Conference 2015

CALL FOR PAPERS (Submission deadline: December 1, 2014)

25th Annual Pacific Northwest (PNW) Graduate Music Conference:

University of British Columbia, Vancouver, BC

February 21–22, 2015

The 25th Annual Pacific Northwest Graduate Music Conference is taking place at the University of British Columbia (UBC) School of Music, February 21–22, 2015, in Vancouver, BC.

This conference provides an excellent forum for young music scholars in various sub-disciplines to exchange ideas and present original research. Professor Nathan Hesselink (UBC) will deliver the keynote talk, “Bring On the Night: Rhythmic Play, Compositional Intent, and Communication in the Music of The Police”.

The program committee encourages submissions from graduate students (or advanced undergraduates) in musicology, theory, ethnomusicology, music education, performance, and composition. Presentations will be 20 minutes, followed by a 10-minute question period. Lecture recitals of up to 30 minutes are also welcome.

Presentations must consist of research that has not previously been published or presented at a national conference. Individuals may submit more than one abstract, but only one may be accepted for presentation. Submissions should be sent by email to pnw.music.2015 [at] gmail [dot] com no later than December 1st, 2014. The body of the email should include the submitter’s name, email address, and institutional affiliation. Abstracts should be attached as PDF or Word files, be free of any identifying information, and not exceed 300 words. If necessary, supporting diagrams and figures are permitted (max. 3 pages).

If you have any questions, please feel free to contact the committee at pnw.music.2015 [at] gmail [dot] com.

 

The PNW 2015 Program Committee:

Antares Boyle (Music Theory)

Christina Hutten (Music History)

Kirk King (Ethnomusicology)

Grant Sawatzky (Music Theory)

Christian Congregational Music: Local and Global Perspectives

CALL FOR PAPERS

Deadline for proposals: 12 December 2014
Conference dates: 4-7 August 2015
Conference website: http://congregationalmusic.org
Venue: Ripon College Cuddesdon, Oxford, United Kingdom


Congregational music-making is a vital and vibrant practice within Christian communities worldwide. It reflects, informs, and articulates convictions and concerns that are irreducibly local even as it flows along global networks. Congregational song can unify communities of faith across geographical and cultural boundaries; however, it can also be used to mark divisions between Christians of different denominations, cultural backgrounds, and social classes, and to negotiate or articulate difference in relation to religious outsiders. We therefore cannot understand the meanings, uses, and influences of congregational music within Christianity without exploring both its local contexts and its translocal, transnational, and global circulation.

The third biennial Christian Congregational Music conference will be held in 2015. Its goal is to expand the avenues of scholarly inquiry into congregational music-making by bringing together world-class scholars and practitioners to explore the varying cultural, social, and spiritual roles church music plays in the life of various Christian communities around the world. To this end, the conference facilitates a multifaceted dialogue among participants from a variety of academic disciplines, including musicology, ethnomusicology, theology, anthropology, history, and education.

The 2015 conference is focused on a sustained reflection about the theoretical perspectives and methodological approaches used to study congregational music. What new methodological approaches—whether from the hard sciences, social sciences, humanities, or theological disciplines—can be brought to bear on timely research questions, such as congregational music’s relation to indigenization, transnationalism, religious experience, and ethics? What new understandings about congregational music are generated with the introduction of theoretical perspectives from, for example, gender studies, postcolonial thought, neuroscience, or political economy? Although the Programme Committee will prioritise papers that bring new insights to any aspect of theory or methodology, papers addressing other topics relevant to Christian congregational music are also welcomed.

We are now accepting proposals (maximum 250 words) for individual papers and for organised panels consisting of three papers. The online proposal form can be found on the conference website at http://congregationalmusic.org/content/proposals.

Proposals must be received by 12 December 2014.

Notifications of acceptance will be sent by 26 January 2015, and conference registration will begin on 31 January 2015. Further instructions and information will be made available on the conference website at http://congregationalmusic.org.

Composing American Opera

“Composing American Opera”

A Scholarly Symposium and Performance Event
Towson University  |  Towson, Maryland
Saturday, February 21, 2015

The Department of Music at Towson University will host a daylong symposium devoted to “Composing American Opera.” The symposium will include two panels of scholarly papers and feature a keynote address delivered by eminent opera composer Kirke Mechem examining “The Composer as His Own Librettist.” The event will conclude with a performance of rare arias and scenes from 19th and early 20th-century American operas and a fully staged production with orchestra of Randall Thompson’s only opera Solomon and Balkis. Abstracts of scholarly papers are invited from interested participants exploring any aspect of operatic composition, production, performance, or reception of works created by American composers or operas composed in the United States.

For further details and the full call for papers, visit http://www.towson.edu/music/americanopera.asp

A small honorarium will be offered to accepted presenters.

Deadline for submissions: 21 November 2014
Acceptances will be confirmed by 25 November 2014

Direct questions to Dr. Aaron Ziegel (aziegel at towson.edu)