IMSEA Conference 2019

Location: Suzhou, China
Dates: October 18–20, 2019

The IMS Regional Association for East Asia (IMSEA) warmly invites all music researchers to submit proposals for their fifth biennial conference, to be hosted by the School of Music at Soochow University, China, from October 18 to 20, 2019. All topics of musical scholarship are welcome, including those reflecting historical, ethnographic, analytical, sociological, and cognitive methods, especially presentations of an inter-disciplinary and/or inter-regional character. Participants need not currently reside or work in East Asia.

Official website (including CFP): http://imsea2019.music.suda.edu.cn

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

cpagh-logo

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

An Interdisciplinary Conference at TORCH, The Oxford Research Centre in the Humanities

2–3 May 2019 (Thursday full day & Friday half day)

St Luke’s Chapel, Radcliffe Observatory Quarter

University of Oxford

https://torch.ox.ac.uk/event/sensing-colonial-ports-and-global-history-agency-affect-temporality-an-interdisciplinary-confe

 

Keynote Speakers:

Leila Fawaz (History, Tufts University)

Benjamin Walton (Music, University of Cambridge)

 

Registration closed 

Enquiries: cpagh@torch.ox.ac.uk

 

Organised by the Colonial Ports and Global History Network at the University of Oxford, this exciting interdisciplinary conference brings together scholars from such disciplines and fields as Archaeology, Area Studies, English, History, Italian and Comparative Literature, Music, Sociology and Visual Anthropology.

The aim of the conference is to cross-examine three key concepts – agency, affect and temporality – that are increasingly central to scholarly 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.

In addition to the four panels of individual papers, there will also be a World Café workshop for all of the attendees, with featured presenters and topics.   

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. 

On 2 May, lunch and tea/coffee will be provided. On 3 May, tea/coffee will be provided.

Programme

2 MAY (THURSDAY)

8:45–9:00 Registration and Arrival

9:00–9:20 Welcome Remarks

Julia Binter and Yvonne Liao (University of Oxford)

9:20–11:20 World Café Workshop 

Chair: Julia Binter (University of Oxford)

Featured presenters and topics:

 

Michael Leadbetter, Phacharaphorn Phanomvan, and Michael Yeo (University of Oxford)

What are port cities, and how should they be studied?

Moderator: Hatice Yıldız

 

David Martínez-Robles (Universitat Oberta de Catalunya)

Rethinking colonial agency: The case of treaty ports

Moderators: Yvonne Liao and Min-Erh Wang

 

Ana Cristina Mendes (University of Lisbon)

Touring Mare Nostrum: The ethics of researching colonial port cities and sea travels in the Mediterranean  

Moderator: Olivia Durand

 

Aaron Jaffer (National Maritime Museum)

Redressing silences in the archive 

Moderator: Katharina Oke

 

11:20–11:50 Coffee Break

 

11:50–13:20 Panel 1

Consuming Colonial Ports: Consumption of Goods and Questions of Agency

Chair: Olivia Durand (University of Oxford)

 

Elizabeth Schmidt (University of California, Santa Barbara)

‘Sundry Sorts of Merchants Goods’: Consuming the Empire in Eighteenth-Century Philadelphia

Mikko Toivanen (European University Institute)

Babel in the streets, Berlioz at the club: Mapping Class and Culture in Mid-Nineteenth-Century Singapore and Batavia through Soundscapes

Emma Bond (University of St Andrews)

Playing with the Sugar Histories of Greenock

 

13:20–14:00 Lunch

 

14:05–15:35 Panel 2

Timing Colonial Ports: Global Time and Local Temporalities

Chair: Hatice Yıldız(University of Oxford)

 

David Irving (ICREA & Institució Milà i Fontanals–CSIC, Barcelona)

Temporality, Aesthetics, and Musical Novelty in Early Modern Colonial Port Cities

Nancy Cushing (University of Newcastle, Australia)

The Time Ball and the Time Gun: Marking Time in a Colonial Port City

 Jessica Fernández de Lara Harada (University of Cambridge)

Summer Grass, Traces of the Brave Ones’ Dream: Harada Hatsu on the recollection of a sense of a timeless Japan in Chiapas, Mexico

 

15:35–15:50 Coffee Break

 

15:50–16:50 Keynote: Leila Fawaz (Tufts University)

Chair: Hatice Yıldız

Reflecting on the port cities of the Levant during the Late Ottoman Period

 

18:00– Conference Dinner at Pierre Victoire for presenters and keynote speakers

 

3 MAY (FRIDAY)

8:15–8:30 Arrival

8:30–10:00 Panel 3

Experiencing Colonial Ports: Forming Global Bodies

Chair: Katharina Oke (King’s College London)

 

Debbie Onuoha (Humboldt University of Berlin)

Lagos, Lagos: Navigating Personal Histories between Two Port Cities on Film

Manikarnika Dutta (Wellcome Unit, University of Oxford)

‘Portals of Death’: European Seamen in the Colonial Port Cities of Calcutta and Bombay

Katherine Roscoe (University of Liverpool)

Embodied Experience and Unfree Labour in Port Cities: Convict Workers in Sydney and Gibraltar

 

10:00–10:20 Coffee Break

 

10:20–11:50 Panel 4

Sensing Colonial Ports: Affective Registers

Chair: Min-Erh Wang (University of Oxford)

 

Aatreyee Ghosh (Leiden University)

Looking from the Verandah: Interrogating the Border-Spaces of Port Towns Canton and Batavia through the Historical Fiction of Amitav Ghosh and David Mitchell

Alexander Petrov (Institute of World History, Russian Academy of Sciences)

The Development of Colonial Ports in Russian America

Nagihan Haliloğlu (Ibn Haldun University, Istanbul)

Sensing and Resisting the Colonial Port in Istanbul in Leonard Woolf and Halide Edib’s Writing

 

12:00–13:00 Keynote: Benjamin Walton (University of Cambridge)

Chair: Yvonne Liao

Port Opera

 

13:00–13:10 Closing Remarks

Facilitator: Olivia Durand

 

 

Sonic Circulations 1900-1950, King’s College London, June 2019


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

King’s College London, Strand Campus, 24-25 June 2019, in association with the Institute of Musical Research, and the Music and Letters Trust.

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.

The provisional programme is now available.

See also the full CfP.

The registration fee for the two days is £100 (reduced rate of £50 for students/unwaged), covering refreshments and lunches. Register here (or here for reduced rate).

Programme Committee: Emily I. Dolan (Harvard University), Arman Schwartz (King’s College, London), Emily MacGregor (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 22 February 2019
  • Notification of approval: no later than 22 March 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

Screen Shot 2018-10-13 at 00.04.58.png

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

International Conference, Department of Musicology Göttingen

4th-6th of September 2019

Despite the attention the body has received in the humanities, social and cultural studies as knowledge storage and transmitter, the body has not been available for a comprehensive concept of music in a musico-historiographical perspective. Corporeality has been considered in musicological approaches into affect, gender and performance. But a comprehensive theoretical grounding of a corporeal concept of music remains to be completed. 

The conference aims to join the discussions in the varying theoretical perspectives on the body and its present musicological currency. It will explore pathways into a fundamental debate on the body as a central musicological category, on the application on musical objects and practices and on the changes this brings to epistemic foundations of musicology.

Attendance is free of charge. Please register via email!

Organisation:

Dr. Christine Hoppe
Christine.Hoppe@phil.uni-goettingen.de

Sarah Avischag Müller MSt.
Sarah-Avischag.Mueller@phil.uni-goettingen.de

University of Göttingen
Department of Musiology
Kurze Geismarstraße 1
D-37073 Göttingen
Germany

Tel. +49 (0)551 39-25071

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