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

SONOLOGIA 2016

 CALL FOR PAPERS

* DEADLINE 19 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 19, 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

Arts Without Borders? Perspectives on Collaboration and Interdisciplinarity in and through the Arts

 

Call for Papers

Arts Without Borders? Perspectives on Collaboration and Interdisciplinarity in and through the Arts

An international conference hosted by the University of the Arts Helsinki and CERADA (Center for Educational Research and Academic Development in the Arts), Finland

October 19-22, 2016

We are experiencing a renaissance in the power of the arts, even where political will is lacking. Artists increasingly make their own futures and work collaboratively across disciplines. Dimensions of creativity and innovation, empowered learning, distributed and ethical leadership, and entrepreneurship and activism, all of which are embedded within artistic practices, are being recognized as critical to contemporary societies in diverse ways. At the same time arts institutions in Higher Education, many of which have operated as small organizations focused on a single discipline, are starting to merge and to collaborate at interdisciplinary levels. This trend raises many questions about purpose and principles, and indeed in some contexts arts organisations are resisting pressures to merge, seeing these being driven by finance and bureaucracy, and perceiving a threat to their own core purpose and quality.

This international conference will explore the potential and challenges of interdisciplinarity, and the full scope of the performing and visual arts in discovering new territories and evolving beyond existing paradigms. Through the event we aim to set agendas and mobilize global networks, generating dialogue and exchange between researchers, arts practitioners, and professionals from a wide range of disciplines including education, psychology, health care, organizational management and leadership.

Conference themes

  • Collaborative processes, conflict and leadership: leveraging individual and collective expertise, empowering new knowledge and enabling the full potential of the arts
  • Improvisation, creativity and innovation: exploring tensions between traditional and contemporary practices, notated repertoire and making new work.
  • Connecting the arts beyond their own disciplines: new visions for breaking through professional silos and embracing diversity
  • Rethinking paradigms of purpose in the arts: dimensions of quality, entrepreneurship, impact and activism

Keynotes

Efva Lilja, choreographer http://www.efvalilja.se

Helen Marriage, director, Artichoke http://www.artichoke.uk.com

(The full list of keynotes will be announced at a later date).

We welcome the following categories of proposals related to the Conference themes

  1. Research papers & performance papers
  2. Practical workshops
  3. Symposia
  4. Individually tailored proposals

The deadline to submit an abstract proposal is January 11, 2016

All outcomes will be known by March 14, 2016

Proposals for papers will be peer reviewed and proposals for performances and workshops will be included on the basis of quality, engagement and relevance to the strands. Abstracts should be written in English, and should be around 400 words.

Conference Organising Committee            University of the Arts Helsinki, Finland

  • Professor Helena Gaunt Sibelius Academy
  • Patrick Furu Sibelius Academy
  • Professor Heidi Westerlund Sibelius Academy
  • Kai Lehikoinen Theatre Academy
  • Professor Riikka Stewen Academy of Fine Arts

(Full Peer Review Scientific Committee to be confirmed)

Please find the proposal guidelines on the Conference website and submit your abstract using the electronic form provided:

http://www.uniarts.fi/arts-without-borders

For further details please contact: Katja Thomson katja.thomson@uniarts.fi

 

 

 

 

(Per)Forming Art: Performance as Research in Contemporary Artworks

20 Sep 15

University of Leeds

The acts of composing and performing are central processes to the formation of a musical work. Performance is a medium through which music is formed. It is a significant part of a work’s compositional process and, as such, forms a symbiotic relationship with the act of composing. An iterative cycle between performance and composition comes about when the composer performs their own work and/or composes through performance. Performance in this manner can be seen as a form of practice-based research that can guide the compositional process.

This RMA conference focuses on performance as a type of compositional technique and as a mode of practice-based research for the act of composing a work. Primarily engaging with music of the twentieth and twenty-first centuries, ‘(Per)Forming Art’ invites proposals for a series of lecture-recitals by composers to demonstrate their research through performance. Such disciplines include, but are not limited to, acoustic composition, electronic composition, composing with improvisation, live coding. Presenters and delegates will have the opportunity to meet other researchers, performers, and composers as well as learn about a variety of approaches, techniques, and processes relevant to the formation of an artwork.

Proposals are invited for forty-minute lecture-recital slots (thirty minutes for presenting and performing followed by ten minutes for questions and answers). Composers may perform their own works or invite performers to accompany them (performers will not be provided by the conference).

Possible topics include, but are not limited to:

  • Performance as practice-based research of compositional techniques in general
  • Performance as an actual technique for composing music
  • How performing other works can inform the compositional process of one’s own work and/or how one engages with performance as a compositional technique
  • How engaging with other performers performing other works can inform the compositional process of one’s own artwork.
  • Live coding and its influence on compositional practice
  • Improvisation and its influence on compositional practice
  • Performance as a unifying medium between separate artistic disciplines within interdisciplinary artworks
  • Performance as a technique for composing a work vs performing a ‘finished’ composed work

Presenters will also be asked to perform in the conference concert on the evening of the conference. The artwork(s) they perform should be related to (if not the same as) their lecture-recital topic. Proposed lecture-recitals should be emailed as abstracts (of up to 500 words, and with titles) to the (Per)Forming Art Symposium (performingartsymposium@gmail.com) no later than Monday 6th July, 2015.

Lecture-recital proposals should include the following details: name, institutional affiliation (if any), email address, any special requests such as AV requirements.

Further information can be found here.

15th International conference “Principles of Music Composing: Phenomenon of Melody”

This is the15th International Conference “Principles of Music Composing”which will take place in Vilnius, Lithuania during 14-16 October 2015.

This year we are focusing on the phenomenon of melody, as the conference is dedicated to the 140th anniversary of birth of M.K. Čiurlionis, who is renowned for his melodic talent.

Suggested sub-themes:

1. Theoretical conception of the phenomenon of melody:

 a) Differentiation of concepts related to the melody: monody, voice, themes, cantilena, line, horizontal, etc.

b) definition of permanent constants in melody: archetype, structures, functions, communication, etc.

c) analysis of relation between melody and composing principle (compositional entirety), typological schemes

2. Melody in context of European polyphony

3. Differences in paradigms between melody and Eastern monody.

4. Melody in modern compositional practice:

a) new melodic interval relations

b) linearism and verticality

c) melodic rhythm (activation of rhythm)

d) sonorisation of melodic process

5. Melody in the works of contemporary Lithuanian and other Western composers

6. Ethnic melodic features in the works of M.K. Čiurlionis

 

Paper proposals (abstract and short biography) should be submitted to Mr. Andrius Maslekovas via email a.maslekovas@yahoo.com . The abstract must not exceed 500 words. Duration of The presentation will be limited to 20-25 minutes.

The deadline for proposal submission is 16 August 2015 . The proposals will be reviewed by the scientific committee and all applicants will be notified about the outcome by the end of July 2015.

The main languageof the conference is English.

The material of conference will be published.

For more information please contact the coordinator of the conference Mr.Andrius Maslekovas a.maslekovas@yahoo.com  

http://pmc.lmta.lt/EN

Perspectives on the Reception of the work of Roberto Gerhard


INTERNATIONAL CONFERENCE
PERSPECTIVES ON THE RECEPTION OF THE WORK OF ROBERTO GERHARD  

Universidad de Alcalá, Salón de Actos, Rectorado de la Universidad de Alcalá,
6th and 7th June 2013

Conference Sponsors: Universidad de Alcalá and University of Huddersfield

The aim of the conference is to shed light on the reception of Gerhard’s work, by critics, audiences and his fellow musicians and composers. How did the reception of both his compositions and writings vary from place to place and time to time and what were the reasons for this? Which works proved most influential and how were specific composers and other individuals changed by his work? The conference may also include papers on other Gerhard-related topics.

Researchers are invited to submit proposals in the form of an abstract, in English, of no more than 250 words (other Gerhard-related topics will also be welcome).

Organizing Committee:

  • Prof. Paloma Ortiz-de-Urbina (Coordination)
  • Prof. Michael Russ
  • Prof. Monty Adkins
  • Dr. Carlos Duque
  • Mr. Trevor Walshaw

The language for the conference will be English and papers will be 20 minutes, followed by 10 minutes discussion. Please note: there are no parallel sessions.

The proceedings will be published by the University of Huddersfield.

6th June 2013, 20h: Concert at the Aula de Música by Elena Gragera & Antón Cardó

Deadline for abstract submissions: 2 April 2013. Please submit proposals by email to:

Dr. Carlos Duque: musicalia@musicalia.com and
Prof. Paloma Ortiz-de-Urbina: paloma.urbina@uah.es

Further information is available on the Gerhard website: : robertogerhard.com

 

The Music of Simon Holt

The Institute of Musical Research in collaboration with London College of Music presents

The Music of Simon Holt

A one day symposium to celebrate his music with concerts and lectures

 

Convenors: Dr. Martin Glover, Mr. Osvaldo Glieca

Venue:  Chancellor’s Hall, Senate House

Date:  21th May 2013

Time: 2.00pm to 8.30pm

Keynote Speakers: Anthony Gilbert and Simon Holt

 

Call for Papers:

The symposium will convene to celebrate the music of Simon Holt, who is now widely recognized as one of today’s eminent British composers. Since the second half of 1980s he has gained considerable international recognition. Regarded in some circles as a ‘British expressionist’, his music is, none-the-less without obvious stylistic reference points; rather the listener is inevitably drawn into an innovative and profound experience of poetry in sound.

The organizers are looking for a number of high quality presentations on Holt’s music, whether in the form of analysis on particular works, exploration in broader terms of the new territories his music maps out or contextual studies that relate the music to current theoretical and philosophical positions on the music of today.

Proposals should be presented in the first place in the form of 300 – 400 word abstracts, accompanied by brief biographical notes on the contributor.

Proposals are to be submitted by March 22th 2013 by email to:

 martin.glover@uwl.ac.uk

Tel: +44  (0) 208 280 0225

or by post:

Dr. Martin Glover
London College of Music
Room 302
University of West London
St. Mary Road
London
W5  5RF
UK

Tracking the Creative Process in Music

T R A C K I N G T H E C R E A T I V E P R O C E S S I N M U S I C

I n t e r n a t i o n a l C o n f e r e n c e – 2 n d e d i t i o n

10-12 October 2013

Observatoire interdisciplinaire de création et de recherche en musique
Faculty of Music, Université de Montréal

Languages : French/English

This conference, whose first edition was organized by Nicolas Donin and Vincent Tiffon in Lille (France) in 2011, brings together researchers interested in artistic creativity and the study of processes of musical and sound creation of the past and present. Researchers working on this cluster of problems from a wide variety of specialities (history, music analysis, genetic criticism, psychology, cognitive sciences, sociology, ethnomusicology, anthropology, etc.) are invited to assess the different methodologies developed in last thirty years in their respective areas in an interdisciplinary perspective. Each approach contributes in its own way to the advancement of our understanding of the procedures, techniques, knowledge and know-how employed by musicians involved in creative projects.

With the epistemological paradigm shifts that musicology underwent at the end of the last century, the notion of ‘creative process’ has been enriched. Sketch studies has extended its scope beyond notated works of art music. Today this field includes all (learned and popular) contemporary musical repertories as well as the oral, technological and collaborative dimensions of the creative process in music. There is growing interest, for example, in the function of improvisation and of gesture in the creative process, in the collective and collaborative dimensions of artistic work, in the redefinition of the roles of the composer and the performer, in the evolution of the metier of the studio technician/producer/computer music designer and in the strategies of documentation, transmission and future performance of works for combined instrumental and electronic means as well as interactive works, etc. The complexity and the multidimensionality of this field of study requires new analytical tools and new research methods at the crossroads of analytical musicology, social science and other scientific disciplines–between field work and cognitive experimentation.

This broadening of the field also provides a new context for genetic studies of works and composers from the Western musical canon. Whether based on historical archives or on the collection of empirical data, studies of the creative process in music share many of the same methodological requirements, descriptive vocabulary and models of creative action. This conference therefore aims to be a forum in which the most recent results produced by the well established tradition of sketch studies can meet the complementary or alternative paradigms emerging from other repertores or approaches.

CALL FOR PROPOSALS

Each conference talk proposal, in French or English, must include the following elements:

• First and last name of presenter
• Institutional Affiliation
• Short biography of presenter (maximum 150 words)
• Mailing Address, telephone number and email address
• Title of proposed conference talk
• Abstract, 800 to 1200 words in length, clearly presenting the subject, the main discipline in which the talk is inscribed, the theories and models of creative processes described in the talk, the goals, the methodology used and the results of the study
• Selected Bibliography (3 to 8 references) and main sources used (archives, experimental or ethnographic data, etc.).

PROGRAM COMMITTEE

• Joseph Auner (Tufts)
• Rémy Campos (CNSMDP / HEM Genève / CMBV)
• Pascal Decroupet (Nice)
• François Delalande (GRM)
• Irène Deliège (Bruxelles)
• Nicolas Donin (Ircam)
• Michel Duchesneau (UdeM)
• Daniel Ferrer (CNRS)
• Jonathan Goldman (Victoria)
• Philip Gossett (Chicago)
• Catherine Guastavino (McGill)
• Antoine Hennion (Mines ParisTech)
• Martin Kaltenecker (Paris-VII)
• William Kinderman (Urbana-Champaign)
• Serge Lacasse (Laval)
• Jerrold Levinson (Maryland)
• Eric Lewis (McGill)
• Felix Meyer (Paul Sacher Stiftung)
• Stephen McAdams (McGill)
• Ingrid Monson (Harvard)
• Jean-Jacques Nattiez (UdeM)
• Christoph Neidhöfer (McGill)
• Emmanuelle Olivier (CNRS)
• John Rink (Cambridge)
• Friedemann Sallis (Calgary)
• Jacques Theureau (CNRS)
• Vincent Tiffon (Lille)
• Caroline Traube (UdeM)
• Elena Ungeheuer (Würzburg)
• Philippe Vendrix (CNRS)

ORGANIZING COMMITTEE

• Nicolas Donin
• Michel Duchesneau
• Jonathan Goldman
• Catherine Guastavino
• Caroline Traube

DEADLINE FOR PROPOSALS

The proposals must be received no later than 1 December 2012 as an email attachment MSWord file sent to tcpm2013@oicrm.org

The conference talk proposals will be evaluated by the Program Committee, composed of specialists from several countries. Notification of acceptance will be sent to applicants within 12 weeks.

ORGANISING INSTITUTIONS

• OICRM: Observatoire interdisciplinaire de création et de recherche en musique.
• IRCAM: Institut de Recherche et de Coordination Acoustique/Musique (Paris), Analysis of Musical Practices Research team.
• With the collaboration of the Faculty of Music, Université de Montréal, and the CIRMMT (Centre for Interdisciplinary Research in Music Media and Technology), McGill University.

WEB SITE

A conference web site will be online in fall 2012.

Website of the previous Conference: http://tcpm2011.meshs.fr/