Sensing Colonial Ports and Global History: Agency, Affect, Temporality

cpagh-logo

CALL FOR PAPERS [Deadline: 4 February 2019]

 

Sensing Colonial Ports and Global History: Agency, Affect, Temporality

2 May (full day) and 3 May (half day) 2019

TORCH, The Oxford Research Centre in the Humanities

University of Oxford

 

Keynote Speakers:

Leila Fawaz (History, Tufts University)

Benjamin Walton (Music, University of Cambridge)

 

Sensing Colonial Ports and Global History is an interdisciplinary two-day conference organised by the Colonial Ports and Global History (CPAGH) Network in TORCH Oxford (https://torch.ox.ac.uk/cpagh). Its aim is to cross-examine three key concepts – agency, affect and temporality – that are increasingly central to anthropological, historical, musicological and sociological thought about colonial port cities. In doing so, it also explores anew the implications of the ‘colonial port city’ for global history, both in and beyond the academy.

Within this framework, the conference will centre around three main concerns. The first relates to issues of agency and power, notably the ways in which actors and institutions interacted with different connections and connectors, as well as with disruptions and disruptors. On the one hand, we seek to further the critical study of colonial power and power relations between port cities. Taking into consideration the five ‘scapes’ Arjun Appadurai (1990) has identified for narrating patterns of globalisation, we also seek explorations of the ways in which colonial power demonstrated itself in different port cities. On the other hand, we seek, too, to move beyond the study of colonial ports as a tool to explain connections, and to examine port cities in their own right, thereby highlighting hitherto understudied voices, and uncovering new perspectives on connections and disruptions. In other words, we seek to explore how people in port cities variously experienced, navigated, negotiated as well as expressed in local vocabularies what ‘global’ connections and the ‘colonial port city’ were and meant in their everyday lives.

Second, the conference will highlight the role of senses in researching colonial histories. Taking our cue from Hearing History (Smith 2004), what does it mean to not only tune but also sense into an extended, yet uneven geography of colonial ports? The interconnectedness of these global hubs can detract from their significance as nodes shaped locally, and translocally, by an extensive range of affective registers. Their distinct performativities, listening practices and multi-sensory environments, for example – coupled with the various ways in which such registers are (not) documented, experienced and/or contested – raise intriguing questions about the role of the senses both within and across the colonial ports, and their implications for rethinking the so-called globality of the colonial ports. Furthermore, how might these ports – when ‘sensed’ as nodal cultures – more broadly inform the re/writing of global history with their particular affective registers?                                                         

Last but not least, we hope to bridge between new research on time, temporality and global history. The weight of historical inquiry on time has fallen heavily on Western Europe, where imperial expansion and advanced production and communication technologies revolutionised time-keeping practices and temporal habits. As the movement to regulate time across nations, empires end hemispheres grew stronger, it came into conflict with maritime as well as local regional temporalities that had been associated with the community, religion, environment, seasonal cycles and the sea regimes. Situated at the crossroads between local cultures and the increasingly regulated temporal regimes applied to trade and governance, port cities represent spaces that can facilitate and reveal tensions in the global transformation of time. How did the emerging rhythms of work and civic life in port cities come into contact with the existing ideas and practices of time? How was time negotiated between the increasing pressure of standardisation, and the environmentally and socially-embedded temporal traditions? To what extent did multiple understandings of time create a virtual spatio-temporal dissociation between port cities and their hinterland? Participants are encouraged to explore these questions, as well as connections and exchanges between temporal cultures that emerged in various port cities in the era of European imperialism.

We are delighted to have two distinguished keynote speakers: Leila Fawaz, Issam M. Fares Chair of Lebanese & Eastern Mediterranean Studies at Tufts University, whose broad expertise encompasses migration, trade and war in the modern Middle East;and Benjamin Walton, Senior Lecturer in Music at the University of Cambridge, whose rich expertise extends from touring opera troupes beyond Europe to the globalisation of opera in and beyond the nineteenth century.  

Scholars working in Anthropology, History, Musicology, Sociology and other related disciplines in the Humanities and Social Sciences, who are interested in presenting at the conference, are asked to send an abstract of 250–400 words and a brief (1–2 page) CV to cpagh@torch.ox.ac.uk by Monday, 4 February 2019. We strongly encourage submissions from researchers from underrepresented backgrounds. Co-authored papers (with no more than two speakers) are also welcome.  

Sonic Circulations 1900-1950, Senate House, London, June 2019


Sonic Circulations 1900-1950: Musical Thought, Scientific Fantasies, Global Contexts

CfP Deadline: 15 January 2019

Senate House, University of London, 24-25 June 2019, in association with the Institute of Musical Research.

Confirmed keynote speakers: James Q. Davies (University of California, Berkeley), Gascia Ouzounian (University of Oxford)

Conference respondents: Gundula Kreuzer (Yale University), John Tresch (The Warburg Institute, London)

From the first human flight in 1903, to the aftermath of the 1945 atomic bombings of Hiroshima and Nagasaki, science and technology in the first half of the twentieth century veered between the utopian and the malevolent. Conceived as idea, as material, and as praxis, science and technology prompt questions about mediation, ethics, marginalisation, space, and power. The time is ripe to interrogate the place of sound and music within the social worlds, political structures, and discourses of the early twentieth century, a period shaped by global uncertainty, military conflict, human displacement, and the legacies of scientised colonialism.

This conference, the second meeting of the ‘Sonic Circulations’ research network, will explore the intersections of scientific, technological, and musical discourses in the global contexts of the first half of the twentieth century. We invite a wide range of papers positioned at the nexus of (ethno)musicology, cultural studies, STS, history of science, and sound studies. Responding to intensifying scholarly preoccupation with science, technology, and music in the Enlightenment and nineteenth century, this conference seeks to cast our attentions forward in time, bringing together scholars from diverse fields and academic contexts. In particular, submissions are encouraged to foreground social dynamics, to bring questions of power or historical erasure to bear where science, technology, and music meet, to interrogate hegemonies, or to expand the range of critical/theoretical perspectives and voices that might be mobilised in this field, particularly beyond those from overrepresented geographical centres.

Proposals for individual papers (20 minutes + questions) or panels (90 minutes) are warmly invited. Abstracts may address, but need not be limited to:

– Modernity and temporality: futures and pasts

– Performing, staging, screening, and writing science, technology, music, and modernity

– Materials (including technologies of music: acoustics, recording, radio, scores etc)

– Abstractions, ideologies, metaphors (e.g. reciprocity between ideas in techno-scientific and musical thought and practice)

– People/agents, for instance relationships between scientists, technologists, musical thinkers, performers and others

– Power, coloniality (including labour, race, class, gender)

– Transnational perspectives, conflict and war

– Ethics and philosophy

– (Inter)-discipline and methodology

Abstracts of no more than 350 words should be sent to soniccirculations@gmail.com by 15 January 2018. Please include title, name, institutional affiliation (if applicable), and a short biography (50-80 words). Applicants will be notified of the outcome by mid-February.

There will be a registration fee for the conference, covering refreshments and lunches.

Programme Committee: Emily I. Dolan (Harvard University), Arman Schwartz (King’s College, London), Emily MacGregor (Harvard University/Royal Holloway, University of London).

For further queries please contact Dr Emily MacGregor: Emily.MacGregor@rhul.ac.uk

http://www.soniccirculations.com/londonconference

@SonCircNetwork

Popular songs in the 19th Century

organized by

Centro Studi Opera Omnia Luigi Boccherini, Lucca

Palazzetto Bru Zane – Centre de musique romantique française, Venice

 

LUCCA, Complesso Monumentale di San Micheletto

30 November – 2 December 2019

CALL FOR PAPERS

The Centro Studi Opera Omnia Luigi Boccherini of Lucca and Palazzetto Bru Zane – Centre de musique romantique française, Venice are pleased to invite submissions of proposals for the symposium «Popular songs in the 19th Century», to be held in Lucca, Complesso Monumentale di San Micheletto, from 30 November to 2 December 2019.

Even if its manifestation differs within the cultural areas in which it appears, the vogue of “popular song” seems to become a transnational phenomenon around the years 1820-1830. Following a period of political affirmation and education via the use of songs (during the French Revolution), this repertoire draws on traditional songs that, although often older (sometimes as old as the fifteenth century), are revived. The political and esthetic purposes of these productions remain to be investigated on a european scale.

The aim of this conference is multifaceted: from the investigation of the history of the nineteenth-century song from the beginning of the century up to the First World War, through evaluation and assessment of the repertoire, of the public and of the performance venues, to the isolation and identification of points of contact between different cultures from a global geographical perspective (Francophone, English-speaking, German, Italian, Spanish).

The possible answers to the essential question ‘What is popular song?’ acquire a central role in this context, since they concern not only its physical manifestations–the circumstances and places of performance of this repertoire–but also its meaning and significance: how the repertoire itself reflects the society of its origins.

The programme committee encourages submissions within the following areas, although other topics are also welcome:

  • The Definition of “Popular Song” in the Nineteenth Century
  • The Literary Sources of the Repertoire
  • Musical Influences on the Repertoire
  • The Different Genres of Popular Song
  • Authors, Performers and Public
  • The Types of Entertainment Venues
  • The Production System of the Song in the Nineteenth Century
  • The Geography of the Song in Urban Spaces
  • Dissemination Through Editions, Press, etc.
  • The Cultural and Social Role of Popular Song

Programme Committee:

  • Roberto Illiano (Centro Studi Opera Omnia Luigi Boccherini)
  • Étienne Jardin (Palazzetto Bru Zane – Centre de musique romantique française)
  • Fulvia Morabito (Centro Studi Opera Omnia Luigi Boccherini)
  • Michela Niccolai (LaM, Université libre de Bruxelles et IHRIM, Lyon2, Lyon)
  • Massimiliano Sala (Centro Studi Opera Omnia Luigi Boccherini)

Keynote Speakers:

  • Derek Scott (University of Leeds)
  • Michela Niccolai (LaM, Université libre de Bruxelles et IHRIM, Lyon2, Lyon)

The official languages of the conference are English, French and Italian. Papers selected at the conference will be published in a miscellaneous volume.

Papers are limited to twenty minutes in length, allowing time for questions and discussion. Please submit an abstract of no more than 500 words and one page of biography.

All proposals should be submitted by email no later than ***Sunday 28 April 2019*** to <conferences@luigiboccherini.org>. With your proposal please include your name, contact details (postal address, e-mail and telephone number) and (if applicable) your affiliation.

The committee will make its final decision on the abstracts by the half of May 2019, and contributors will be informed immediately thereafter. Further information about the programme, registration, travel and accommodation will be announced after that date.

For any additional information, please contact:

Dr. Massimiliano Sala

conferences@luigiboccherini.org

www.luigiboccherini.org

RASMB-IMS 2019 Conference: MUSICAL AND CULTURAL OSMOSES IN THE BALKANS

Bucharest, 2–6 September, 2019

Call for Papers

The National University of Music in Bucharest in collaboration with the IMS Regional Association for the Study of Music of the Balkans announce an International Musicological Conference on the subject Musical and Cultural Osmoses in the Balkans. The conference will take place at the National University of Music Bucharest, on 2–6 September, 2019.

The purpose of the International Musicological Conference is to promote interaction, research, discussion and intercultural dialogue among musicologists, ethnomusicologists, researchers and students from Romania, the Balkans and other countries with an interest on the different local musical traditions in South-East Europe and their interactions to the Mediterranean and broader region.

The conference strongly encourages debating subjects such as art music in the Balkans and its interactions with Western Europe traditions, Byzantine and Post-Byzantine chant, methodologies and new trends in Musicology and Ethnomusicology/Music Anthropology of the Balkans, current issues and approaches in Music Education in the Balkans, music and political regimes.

Proposal may address (but are not limited to) the following categories that fall under the topic of the conference:

  1. Art Music in the Balkans
  2. Byzantine and post-Byzantine chant
  3. Musical encounters: Silk roads across Mediterranean area to Asia
  4. Ethnomusicology – Anthropology
  5. Methodologies and new trends in Musicology and Music Theory
  6. Music and politics

The official conference language is English. However, participants can present in Romanian, 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 the following email address: IMS2019bucharest@unmb.ro with the subject line: Musical and Cultural Osmoses in the Balkans.

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.

Important dates:

  • Abstracts of proposals/panels: no later than 31 December 2018
  • Notification of approval: no later than 28 February 2019
  • Submission of finalised papers (only in cases of translated papers from Romanian to English): no later than 1 August 2019

Registration fees:

Participants: 30 Euros (10 Euros for students, including PhD candidates)

Date and venue:

Bucharest, 2–6 September, 2019, National University of Music Bucharest, 33 Știrbei Vodă Str., Sector 1, 010102 Bucharest, Romania (http://www.unmb.ro).

Contact information:

Further instructions and details will soon be posted on the conference webpage: ims2019bucharest.ro.
See also: http://www.musicology.org/networks/ra/rasmb
Announcements will also appear on the webpage of the National University of Music Bucharest (http://www.unmb.ro) and the New Europe College (http://www.nec.ro).

Music and the Internet: a Joint Study Day of the RMA & BFE

– CALL FOR PAPERS –
Music and the Internet
A Joint Study Day of the RMA & BFE
University of Oxford
Saturday 8th December 2018
Keynote Speaker: Prof. Georgina Born
Roundtable Speakers: TBC

Since the turn of the millennium, music and the Internet have become increasingly entangled with one another. For many Internet users, the musical web has become an integral part of everyday life, while worldwide digitization initiatives have transformed musical production practices and modes of consumption. In their recent Music & Letters article, Georgina Born and Christopher Haworth note that the Internet ‘multiplies music’s discursive and social mediation, engendering new online entities, practices, and relations, which may themselves augment, publicize, and globalize offline forms’. Alluding to new research directions, they reason that the study of Internet-mediated music ‘necessitates interdisciplinary approaches that integrate digital methods with both ethnography and history’ (Born & Haworth 2018: 603, 647).

Responding to these developments, this BFE & RMA study day seeks to foster dialogue between musicologists and ethnomusicologists who are interested in the online mediation of music and novel methodological approaches that support its study. How is the Internet involved in the formation of musical and political subjects? What can we learn from online interactions between artists and fans, performers and audiences? Why have musical memes become a contagious aspect of popular culture in the current decade? In what ways does the Internet afford renewed interest in music making among large corporations? Who are the users that make use of the musical web, and on whose terms do they play and listen?

We invite proposals for papers of 20-minutes, which will each be followed by 10 minutes of discussion. The keynote address will be given by Professor Georgina Born and the day will conclude with a roundtable on digital research methodologies. We particularly welcome papers by graduate students and early career researchers.

Prospective paper topics may include (but are not limited to):

 The online consumption of music: YouTube, Spotify, SoundCloud, etc.
 The transformation of music economies and the emergence of the digital music commodity
 Emancipation, control, and the politics of Internet use
 The materialities and social meanings of digital music technologies
 Online communities and the construction of celebrity personae
 Internet-mediated music genres
 Interdisciplinary approaches to musical memes and user-generated content
 The use of smartphones for music creation and dissemination
 Internet piracy and reconfigurations of Intellectual Property
 Digital methodologies: using the Internet for ethnographic and musicological inquiry

Paper titles and abstracts of 250 words should be sent to musicinternetoxford@gmail.com by 9th September 2018.

Notification of acceptance will be sent by 7th October 2018.

Programme Committee:

Pablo Infante-Amate (University of Oxford), Edward Spencer (University of Oxford), Georgina Born (University of Oxford), Eric Clarke (University of Oxford)

Study Day Website: https://musicinternetoxford.wordpress.com/

Música Analítica 2019: Porto International Symposium on the Analysis and Theory of Music

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CFP. Submission deadline: December 15, 2018

Música Analítica 2019:
Porto International Symposium on the Analysis and Theory of Music
Universidade Católica Portuguesa
Porto, Portugal: March 21–23, 2019

http://artes.porto.ucp.pt/pt/central-eventos/musica-analitica-2019-porto-international-symposium-analysis-and-theory-music

The Research Center for Science and Technology in the Arts (CITAR) at the School of Arts, Universidade Católica Portuguesa, invites the submission of paper proposals to Música Analítica 2019: Porto International Symposium on the Analysis and Theory of Music, taking place in Porto, Portugal, March 21-23, 2019.

The symposium promotes the notion of music as analysis and analysis as music – a gloss on “música analítica”- arguing that our discursive modes of analysis are not outside of music or simply an enriching addition we bring to it but rather integral to the way we may experience, conceive, and music. In short, implicit or explicit analysis is implicated in the way we reframe, process, and construct time and sound, including aspects such as gesture or communal experience into/as music.

The symposium’s thematic range is inclusive, welcoming submissions from a variety of perspectives on music analysis and theory (speculative, practical, historical) or attendant to the multifarious intersections with disciplines such as music history, composition, critical theory, ethnomusicology, performance, sound art, mathematics, cognitive sciences, and technology. In addition, pedagogical approaches that address methodological and social implications of music analysis are particularly encouraged.

Reflecting the scope of the meeting, the symposium will feature the following speakers:

Keynote Speakers:

  • Richard Cohn (Yale University)
  • Judit Frigyesi (Bar-Ilan University)
  • Sílvio Ferraz (Universidade de São Paulo)

Plenary Speakers:

  • Bianca Temes (Music Academy, Cluj)
  • Christopher Bochmann (Universidade de Évora)
  • Isabel Pires (CESEM, FCSH/Univ. Nova de Lisboa)
  • José Oliveira Martins (CITAR-EA/Univ. Católica Portuguesa)
  • Michiel Schuijer (Conservatorium van Amsterdam)
  • Miguel Ribeiro-Pereira (CITAR, ESMAE/Inst. Politécnico do Porto)
  • Moreno Andreatta (IRCAM, CNRS, UPMC-Paris)
  • Miguel Borges Coelho (ESMAE/Inst. Politécnico do Porto)
  • Naomi Waltham-Smith (University of Warwick)
  • Paulo Ferreira de Castro (CESEM, FCSH/Univ. Nova de Lisboa)
  • Steve Rings (University of Chicago)

SUBMISSION GUIDELINES
We invite scholars from various disciplines to contribute to this international symposium (the language of the symposium is English). Please send a proposal for an oral communication (20′ presentation +10′ discussion) no later than December 15, 2018, to the email: musicaanalitica2019@porto.ucp.pt. We project a response by Jan 5, 2019.

The proposal should consist of two separate pdf. files:

  • (1) Title of the communication and an abstract detailing your topic, approach, argument, and main findings, with a max. 350 words. Also include 5 keywords, and up to 8 bibliographic references. The file should have the designation [LAST NAME, proposal, MA2019].
  • (2) Information about the author(s): Name, Institutional affiliation, e-mail, title of the talk, and a short biographical note (max. 150 words). The file should have the designation [LAST NAME, info, MA2019]

__________

Organizing Committee

  • José Oliveira Martins (CITAR-EA/Universidade Católica Portuguesa)
  • Sofia Serra (CITAR-EA/Universidade Católica Portuguesa)
  • Daniel Moreira (CITAR, ESMAE/Instituto Politécnico do Porto)
  • Paulo Perfeito (CITAR, ESMAE/Instituto Politécnico do Porto)
  • Telmo Marques (CITAR, ESMAE/Instituto Politécnico do Porto)

Scientific Committee
[Plenary Speakers listed above are also SC members]

  • Adriana Lopes Moreira (Universidade de São Paulo)
  • Áine Heneghan (University of Michigan)
  • André Perrotta (CITAR-EA/Univ. Católica Portuguesa)
  • António Augusto Aguiar (ESMAE/Inst. Politécnico do Porto)
  • Antonio Grande (Conservatorio di Musica “G. Verdi” di Como)
  • Benoît Gibson (Universidade de Évora)
  • Carlos Caires (ESML/Instituto Politécnico de Lisboa)
  • Carlos Guedes (New York University, Abu Dhabi)
  • Catello Gallotti (Conserv. di Musica “Giuseppe Martucci” di Salerno)
  • Eduard Resina (Escola Superior de Música de Catalunya)
  • Gilberto Bernardes (INESC TEC/Univ. do Porto and Univ. de Aveiro)
  • Ildar Khannanov (Peabody Institute, Johns Hopkins University)
  • Jean-Pierre Bartoli (Sorbonne Université)
  • João Pedro d’Alvarenga (CESEM, Univ. Nova Lisboa)
  • João Pedro Paiva de Oliveira (Universidade de Aveiro)
  • John Koslovsky (Conservatorium van Amsterdam; Utrecht Univ.)
  • Manuel Pedro Ferreira, (CESEM, FCSH/Univ. Nova Lisboa)
  • Mário Baroni (Università di Bologna)
  • Mattia Bergomi (Fund. Champalimaud, Center for the Unknown)
  • Mine Dogantan-Dack (University of Cambridge)
  • Nicolas Meeùs (SBAM, and IReMus)
  • Paulo de Tarso Salles (Universidade São Paulo)
  • Pedro Pestana (CITAR-EA/Univ. Católica Portuguesa)
  • Robert Hasegawa (McGill University)
  • Rodolfo Coelho de Souza (Universidade de São Paulo)
  • Rui Penha (INESC TEC/Universidade do Porto)
  • Sanja Kiš Žuvela (University of Zagreb)
  • Sérgio Azevedo (ESML/Instituto Politécnico de Lisboa)
  • Sigrun Heinzelmann (University Mozarteum Salzburg)
  • Sławomira Zeranska-Kominek (University of Warsaw)
  • Thomas Noll (Escola Superior de Música de Catalunya)
  • Vasilis Kallis (University of Nicosia)

 

Music in the body – body in music: The body at the intersection of musical practice and discourse

      • Conference, 5th/6th of September 2019, Department of Musicology, Georg-August-University of Göttingen
    • Our body forms the basis of all musical acts, utterances and experiences. As sonic waves, music impacts the body immediately. Musical instruments vibrate through human bodily action. Notated scores become music through the bodies of their performers. The effects of a Rock’n’Roll classic manifest bodily through physical movement in dance. Despite the undeniable presence and importance of the body in music production and reception, the body has been marginalised in historical musicology. This neglect persists despite the attention to the body as medium and location of knowledge in other disciplines throughout the humanities and social sciences. The body enjoys critical scholarly discussion and analysis since the performative turn in fields such as affect-, gender- and performance-studies, and these fields are explored in popular music studies, Ethno-, and cultural musicology. But these approximations have yet to amount to a rethinking of music in terms of its corporeality. Musicology often operates within a conception of music that is anchored to autonomy aesthetics, which is characterised by a “marginalisation of the body through the autonomy of the mind” (Traudes 2012). Not only is the performing body conceived as a transparent medium, transporting the mind-driven intentions of the composer, but the listening ideal is moreover not one of bodily reaction, but intellectual reflection. Consequently, the ‘music itself’ remains within the notated work requiring a certain ideological reading. As musicologists, the current tasks facing us are to examine the effects this ignorance of the body has had on our understanding of music (history) and detailing strategies to overcome this inattention. Furthermore, the consequences of including the body in our thinking about music must be analysed and critically discussed.
    • This conference aims to open ways into a foundational critical discussion of the above, questioning how the body and (musical) knowledge can be conceptually connected. To what extent are musicological questions impacted by the topic’s prevalence in other disciplines? How can we think of the body as a central musicological category?
    • This conference will examine the bodily dimensions of historical, social, symbolical and cultural practice in music along two related sections: music production and reception. With this, the aim is to discuss how the conceptualisation of the body beyond the dualism of body and mind also helps thinking beyond musical dualisms. Understanding the body as a tool for analysis possibly allows the body to become an intersection of knowledge, agency, discourse and practice. In this respect, the body is a shared locus of musical reception, interpretation and production, and can overturn the dualism of production and reception. The conference will accommodate this idea of intersection by bringing the contributions of the two conference sections into dialogue.

1. Composing the Performance? – staging the body in and to music

    • Questions: Corporeality is perceivable in performance, in visible staging, and in performers’ behaviour while musicking. Can corporeality also be detected as a principle of expression inherent to music, as a body inscribed into (musical) text? How can the resulting blurring of composing, performing and listening body be grasped analytically? How can we understand the body as a tool for music analysis?
    • Possible topics:
      • Musical text as staging strategy for the performing body: musical notation as prescriptive medium for bodily action and movement
      • From transparent medium to en-composed body: blurring of inner-musical and performing body
      • Body as fabric and interface of performative action (sensorially, sensually or sensationally)
      • The role of the interpreter/performer in the body-mind-dualism
      • Perception and presentation of the body on stage
      • Body as analytical key concept: How are discursive norms for the body produced, how do those norms structure our perception and practice?
      • Influence of the body and its potential for movement on the development of sign systems for music notation

2. Historical configurations of listening bodies as intersecting spaces of outside and inside
Questions: How is the bodily listening apparatus related to body norms and body experiences? What relationship does the listening body have to multi-sensory outward space and to concepts of inwardness or the self?

Possible topics:

      • History of the ears and the auditive body
      • Historical construction of listening bodies: disciplining, forming, fashioning listening skills, listening knowledge and listening abilities in the context of repertoires and canons, socio-historical practice, ethical norms, political dynamics, aesthetic norms, the history of knowledge, medicine and psychology
      • bodily listening attitudes, listening roles, listening habits and listening practice
      • The bodily sensory apparatus, historically, culturally, socially located between outside and inside spaces. Sensory apparatus used as receiver, medium, communicator, black box, interface, performer, arranger, multiplier…
      • History of embodiment in sonic space
      • Production of the subject through bodily perception, history of the body-mind-dualism
      • Naturalisation and deconstruction of listening bodies

This call for papers is directed towards advanced postgraduate and doctoral students, post-docs and senior scholars. Contributions from different fields of musicology as well as transdisciplinary contributions are welcome.
Individual papers will last 20 minutes with 10 minutes of discussion. It is possible to apply with a panel proposal comprised of max. three individual 20-minute-papers. Conference languages are German and English. A conference publication is intended. Please submit a paper abstract in German or English (max. 300 words) along with a short biography (max. 100 words) until the 1st of November 2018 to one of the organisers. Contributors will be informed about paper acceptance by the end of December 2018.
Expenses for travel and accommodation may be covered depending on successful funding applications and cannot be guaranteed at this point.
We look forward to your submissions!

 

World of Bob Dylan

Overview

In 2016, the George Kaiser Family Foundation and the University of Tulsa jointly announced the acquisition of the Bob Dylan Archive–an extraordinary collection of material that includes over 6,000 items, including recordings, manuscripts, film, notebooks and much more.  These materials have already begun to open up new ways of understanding not just Dylan and his work, but the broader history of popular music both in America and around the world.  Tulsa is already home to the Woody Guthrie Center and will soon welcome OKPOP, which will house collections related to Leon Russell, Wanda Jackson, Roy Clark, Bob Wills, and more.  The Bob Dylan Archive will thus rest at the center of a rich array of resources focused on twentieth-century popular music of all kinds.

To help advance this work, the University of Tulsa’s Institute for Bob Dylan Studies, in cooperation with the Bob Dylan Archive, Gilcrease Museum, and the departments of English, Art, Music, and History, will host an international symposium on the Nobel Laureate from May 30 to June 2, 2019.  We aim to bring together scholars, critics, performers, collectors, and fans in order to help mark the arrival of the Bob Dylan Archive in Tulsa and continue the already lively inquiry into one of the world’s most innovative and influential artists.  The organizing committee now seeks proposals for papers, panels, and roundtable discussions on all aspects of Dylan’s work, context, influences, and legacy.

Rather than trying to work around a single theme, this symposium welcomes proposals on any topic related to Dylan’s music, art, life, and context.  We particularly encourage interdisciplinary proposals that work across fields such as literature, music, history, sociology, art, media studies, and biography.  We also welcome and encourage work in a variety of different formats including digital and artistic projects.  Keynote events will include a deep dive into the Archive’s treasures, discussions with musicians who toured with Dylan, and lectures by leading music writers and scholars.

Individual Proposals

The organizing committee welcomes proposals for 15 to 20-minutes papers and presentations.  To submit, please send a title, a 250-word abstract that summarizes the topic and complete contact information (name, email, and any institutional affiliation). The organizers will group these papers into panels.

Panel Proposals

Panels consist of three or four speakers focused on a common topic or idea.  To submit a panel proposal, the chair should send a 500-word abstract that includes a name for the session as well as presentation titles for each participant.  The chair and each proposed panelist should provide an email address and any institutional affiliation.

Roundtable Proposals

These special sessions are meant to encourage conversation, debate, and the exchange of ideas around broadly compelling topics (e.g. Cover Songs or Teaching Dylan).  Roundtables should be proposed by a single moderator and and may include up to five participants.  The focus should be on conversation among the panelists and the audience rather than on the delivery of prepared remarks.  Roundtable proposals should include 250-word summaries of the topic to be explored along with the names and email addresses of the chair and each participant.

Deadlines:

Sept 1               Submission Portal Opens

Jan 15              Paper, Panel, and Roundtable Submission Deadline

Feb 1                Registration Opens

Feb 15              Notification

For updates, please visit our website at: https://dylan.utulsa.edu/world-bob-dylan-symposium/

Follow us on Facebook: https://www.facebook.com/events/142550896607959/

 

isaScience 2018 “Participatory Approaches to Music & Democracy”

The conference isaScience 2018 is part of isa, the International Summer Academy of the mdw – University of Music and Performing Arts Vienna, Austria.

https://www.mdw.ac.at/isa/isascience
Conference date: 10–14 August 2018

Conference venue: Hotel Marienhof, Reichenau an der Rax, Austria

Keynote: David Hesmondhalgh, Professor for Media, Music and Culture, University of Leeds, UK

Organisers: Dagmar Abfalter, Marko Kölbl, Rosa Reitsamer, Fritz Trümpi

Over the last few decades, a rich body of literature has explored how individuals and groups use music as a resource to achieve social, cultural and political participation and to bring about social change in society. 
Studies have also investigated music’s use by political groups and parties in the past and present that impose 
authoritarian, neoliberal or even fascist political ideas. Finally, research is concerned with the promise and 
myth of democratization through technology in regard to music production, distribution and reception/appropriation.

The organisers of isaScience welcome papers on music and democracy from a wide range of disciplines 
(e.g. musicology, ethnomusicology, music sociology, cultural studies, queer studies, postcolonial studies, arts and cultural management) addressing (but not limited to) the following themes and topics:

  • Music’s role for historical revolts and revolutions, for propagating national and nationalistic identities in the long 19th century or music’s use in the name of “the people” during fascist and post-fascist periods;
  • Research on performance practices of minorities and marginalised groups that challenge and subvert 
dominant norms and classifications;
  • Democratizing dimensions of orally transmitted music traditions;
  • Grassroots, “bottom-up” and Do-it-Yourself approaches to music and performance propagated by social movements;
  • Research on music and activism: e.g. activist choirs, feminist and queer performance groups, anti-racist rock groups, singer-songwriters etc.
  • Participatory forms of “musicking” (Small) in local, translocal and virtual music “scenes”;
  • Documenting and preserving the “sounds of democracy” and “hidden” popular music’s past: studies on archives, museums and halls of fame;
  • Music, migration, border regimes and exile;
  • Representations of democracy in artistic practices (e.g. composing);
  • Research on “mediamorphosis” (e.g. electrification, digitalisation) and its effects for democratization: “new” possibilities of self-representation, modes of participation for consumers, and business models in the music and media industries;
  • Notions of “epistemic violence” (Spivak) in music research.

Please submit your abstracts (max. 300 words) for papers, panels and innovative formats and 
a short biography and institutional affiliation,

in English language until 15 March 2018 to isascience@mdw.ac.at.
Decisions on the acceptance of your proposal will be announced by 5 April 2018.

Complimentary funding for travel and accommodation
will be available to students and scholars in academic precarity.
Please submit your application after acceptance of your proposal to isascience@mdw.ac.at.

mdw – University of Music and Performing Arts Vienna will cover lunch and coffee breaks for the conference – no registration fee.
www.mdw.ac.at/isa/isascience

Iberian musical crossroads through the ages: Images of music-making in their transcultural exchanges

Fifteenth symposium of the ICTM Study Group on Iconography of the Performing Arts
organized by the Societat Catalana de Musicologia, Institut d’Estudis Catalans

Barcelona, 17–19 October 2018

Iberian peninsula—the home of Spanish, Catalan, Portuguese, Basque, and Galician peoples—has been a significant economic and political region through the history, which had been both conquered by the powers coming from elsewhere and generating its own forces exploring and conquering other regions and cultures in the world. From the Bronze Age onwards, explorers and traders used the peninsula as the crossroad between the Mediterranean and much of the rest of the world. The Phoenicians came to Iberia in the ninth century BC, and the Greeks followed two centuries later. The Romans conquest of Hispania started during the second Punic War in 206 BC and by the time of Augustus near the entire peninsula was under the control of Rome. During the Middle Ages, Al-Andalus with its Islamic administration was open to an import of Arab knowledge, philosophy, culture, arts and music. Later on, Spain and Portugal were the strongest naval powers in the world and their overseas explorations have radically altered both the old and new worlds: Spain influenced South American and Caribbean cultures, and even the Philippines; the Portuguese travellers, traders and conquerors reached Brazil, sailed along the African coast, and arrived all the way to India, Malacca, and Macao. Through the crown of Aragon, Catalonia experienced cultural exchanges within the western Mediterranean Sea and southern Italy. In addition to the overseas networks, cultural and artistic exchanges were also occurring in Europe through commercial and political ties, and also through marriages between the royal houses. Throughout the history pilgrims walking the Camino de Santiago, or visiting the shrines of Montserrat or Fatima were bringing with them songs, dances and instruments from all over Europe.

All these and many other explorations and migrations created a fertile framework for a rich exchange of musical ideas, sounds, forms, rhythms, dances, and instruments. The Barcelona conference of the ICTM Study Group on the Iconography of Performing Arts will examine visual sources documenting transborder and transcultural transmission of musical ideas between the peoples of the Iberian Peninsula and the rest of the world. Papers are invited concerning the following topics:

  • Sounds of the ancient world: The Iberian cultures in an exchange with other Mediterranean traditions
  • Islamic sounds in Al-Andalus
  • Music and dances of Spanish Sephardim
  • Music along the road: Travelers and pilgrimages in Spain and Portugal
  • The Borgia family as a mediator of musical life between Iberia, Rome and the Vatican
  • Music and explorers (Columbus, Vasco da Gama, trade routes to Latin America, Asia, Africa)
  • Portuguese ethnohistoric accounts about music of Brazil, Macao, and Estado da Índia
  • Spanish encounters with music cultures of pre-Colombian America
  • Music in Catholic missions of New Spain and in the Christianization of Goa
  • Exchanges between Catalonia and kingdoms of Naples and Sicily
  • Reception of the Italian opera in Spain and Portugal
  • Zarzuela and other music theater in Latin America
  • Spain as a topos in music exoticism (opera, operetta, ballet, dance); Orientalism in Spanish art
  • Exchanges of musical instruments between Iberian Peninsula and the rest of the world
  • Internal musical exchanges between the peoples of the Iberian peninsula
  • Spanish/Portuguese iconographic models used in Latin American decorative programs
  • Transcultural musical topics in the 20th- and 21st-century art
  • Proposals related to other transcultural music exchanges in the world may be also considered

English is preferred language for the conference presentations.
Abstracts of 250–300 words may be submitted before 2 April 2018 to:

Zdravko Blažeković
Research Center for Music Iconography
City University of New York, The Graduate Center
365 Fifth Avenue
New York, NY 10016-4309
zblazekovic@gc.cuny.edu

and

Jordi Ballester
Societat Catalana de Musicologia
Institut d’Estudis Catalans
Carrer del Carme 47
08001 Barcelona
Jordi.Ballester@uab.cat