University of Graz, Austria – 26-28 September 2019
What does it mean for musical cognition to be embodied? The aim of this conference is to foster collaborations between scholars working in the humanities and the sciences to critically engage with this question, and explore the main theoretical, empirical, and performative challenges that embodiment poses in the musical domain. CIM19 provides a meeting point for those who wish to reflect upon, and interpret, the social, historical, epistemological, artistic, and even political aspects that emerge when embodiment is adopted as explanatory tool in musical contexts. CIM19 promotes interdisciplinary scholarship at the crossroads of musicology and other disciplines, and invites submission for analysis, critical reflection, experimental reports, and discussion of different aspects of embodiment in relation to music, from diverse epistemological standpoints.
Fred Cummins (University College Dublin, Ireland)
Renee Timmers (The University of Sheffield, UK)
Anthony Chemero (University of Cincinnati, USA)
Dylan van der Schyff (Oxford University, UK)
· The role of action for musical meaning
· Music analysis, historical musicology, and musical subjectivity. Where is the body?
· The links between creativity, emotion, culture, and embodiment
· Religion, rituals, and joint music-making
· Perception of musical sounds as embodied
· Dance and the phenomenology of music-related movements
· The body-mind problem in musical consciousness
· Embodiment in music philosophy and ethnomusicology
· Evo-devo debates and the embodied mind
· Implications for music technology
· Embodied cognition and the foundations of musical learning
Call for Papers
Submissions of abstracts for oral presentations will be accepted from the 1st of December 2018. If accepted, participants could choose between presenting in Graz, or remotely (e.g. via Skype). We encourage the latter should travel include flights. By explicitly addressing the conference theme “embodiment in music”, each submission must bring together and combine (aspects of) the following two broad areas:
1) Humanities, e.g., Philosophy, Linguistics, Ethnology and Anthropology, Semiotics, Theology, Performance studies, Music theory, Composition, Archaeology, Cultural studies, Literary studies, and Music history.
2) Sciences, e.g., Acoustics, Neurolinguistics, Neuro-musicology, Biology, Computing, Mathematics, Perception, Psychoacoustics, Empirical psychology, Statistics and computer science, Music therapy, and Cognitive science.
Abstracts should begin with a title and names and affiliations of the author(s). The main text should be structured with the following headings:
· Background in X (first discipline, e.g., “Anthropology”)
· Background in Y (second discipline, e.g., “Instrumental performance”)
· Aims (this should be the shortest section)
· Main contribution (this should be the longest section)
· Implications for musicological interdisciplinarity
The total length of each submission, including title, authors, headings and references, must not exceed 1000 words. Please submit your proposals to andrea.schiavio(AT)uni-graz.at (subject: abstract CIM19).
Abstract submission deadline: 1st February 2019. Registration will be open from May 2019.
Andrea Schiavio, chair
Annemarie Seither Preisler
Elli Xypolitaki (student assistant)
Please feel free to contact Andrea Schiavio for any info – andrea.schiavio(AT)uni-graz.at (subject: info CIM19).