Rhythm Changes Conference 2019

RHYTHM-CHANGES-conference-logo-small

The Sixth Rhythm Changes Conference: Jazz Journeys will take place at the University of Music and Performing Arts Graz in Austria from 11 to 14 April 2019.

Keynote Speakers

Prof. Jason Stanyek (University of Oxford)

Prof. Marie Buscatto (University of Paris 1 Panthéon Sorbonne)

Closing Address

Prof. Alan Stanbridge (University of Toronto)

 

We invite paper submissions for Jazz Journeys, a four-day multidisciplinary conference bringing together leading researchers across the arts and humanities. The event will feature academic papers, panels, roundtables, and poster sessions, as well as an exciting programme of performances by students and staff of the Jazz Institute of the University of Music and Performing Arts Graz.

Jazz has typically been the music of journeys and mobility. Its history is inseparable from global patterns of migration and changing demographics, as well as new forms of media communication and cultural production. The music speaks as much to dreams of escape as it does to the desire to put down roots; it continually seeks new pathways to meaning, even as it reinforces old boundaries. Jazz Journeys seeks to critically explore how ideas of mobility, movement, travel, exchange, voyaging, border-crossing and odyssey have shaped – and continue to shape – debates about the music’s past and future. We welcome papers addressing the conference theme from multiple perspectives, including cultural studies, musicology, cultural theory, music analysis, jazz history, media studies, and practice-based research. Within the general theme of Jazz Journeys, we have identified several sub-themes. Please clearly identify which theme you are referring to in your proposal.

 

Journeys — Mobility and Travels

This theme addresses hemispheric or global cultural movements in jazz, from the legacies of transatlantic slavery to the emergence of jazz communities throughout the world. We invite papers that engage with the different kinds of journeys that musicians undertake, from stylistic development to their involvement in the processes of migration and mobility, cross-cultural exchange, colonialism, and empire(s).

Journeys — Journées

This theme explores jazz as a companion to everyday life in private and public spaces, in the light of changing modes of interaction with the music. Are new technologies and platforms such as Spotify and Facebook changing the way we deal with jazz? How does jazz feature as a soundtrack to our ordinary existence? How do such regular interactions (or the avoidance of such interactions) reveal ideas about the meaning and value of jazz?

Journeys — Journal — Diary: History, Narrative, (Auto)biography

This theme explores the ways in which the experience of music is captured and the story of jazz told, from dominant narratives to (auto)biographies, popular tales to hidden histories. We welcome papers that interrogate dominant forms of causal and linear narration and engage with the ways in which the stories of jazz are written, adapted and changed through time. The theme seeks to engage with the underlying values that shape understandings of jazz and influenced what is celebrated and what ignored.

Journeys — Journals — Research

Fifty years ago, the founding of Jazzforschung / Jazz Research and Beiträge zur Jazzforschung / Studies in Jazz Research in Graz positioned jazz studies as an important area of musicology and related disciplines. We invite papers that explore the gaps, limitations and tensions in our understanding of jazz research, as well as new directions in the field.

Journeys — Journalism, Media and Technologies

This theme investigates the role of writing, mediatisation and technological change in the production, dissemination, and experience of jazz. We invite papers focusing on the ways in which ideas, sounds and images about the music circulate globally between artists, critics, audiences, and producers.

Journeys — Time(s) and Temporalities

This theme explores concepts of time and temporality in jazz, from the uses of multiple tempos and time signatures to theories and practices of repetition and revision. We invite papers that respond to the different times, temporalities, tempos, moments, instances, junctures, speeds, passages, and movements in and out of time that characterise jazz history and its practices.

Journeys — The Seductions of Alliteration

This theme addresses the many journeys in language, sound, gesture, and image that shape our understanding of jazz, including spontaneous writing, creative writing from the Harlem Renaissance, and Beat literature. We welcome papers that experiment with how to get from A to B, that sound out new ways of speaking of and thinking about jazz, and envision new practices and processes of writing about, and performing with, the music.

 

Please submit proposals (max. 250 words), including a short biography (max. 50 words) and institutional affiliation, as a Word document to Christa Bruckner-Haring at rhythmchanges@kug.ac.at.

The deadline for proposals is 15 September 2018; outcomes will be communicated to authors by 15 October 2018. All paper submissions will be considered by the conference committee, consisting of Christa Bruckner-Haring (Chair), André Doehring, Nicholas Gebhardt, George McKay, Loes Rusch, Catherine Tackley, Walter van de Leur and Tony Whyton.

Jazz Journeys continues to build on the legacy of the research project Rhythm Changes: Jazz Cultures and European Identities (2010–2013), which was funded as part of the Humanities in the European Research Area (HERA) Joint Research Programme. In the spirit of Rhythm Changes, the project team continues to develop networking opportunities and champion collaborative research in transnational jazz studies.

Updates on the conference and information about travel and accommodation will be available at http://www.rhythmchanges.net and https://www.facebook.com/jazzresearch/.

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Musica Scotica Annual Conference 2019

Musica Scotica logo

The Annual Conference of The Musica Scotica Trust will take place at the Tolbooth, Stirling on Friday May 3rd to Sunday May 5th 2019. The conference organisers welcome papers on all aspects of the music of Scotland and the Scottish diaspora. In 2019, as a particular theme, we will celebrate the 60th birthday of the composer James MacMillan, who will be present at the conference. The conference will also feature a performance of MacMillan’s music.

 

We invite submissions for:

individual papers (20 min. including any music examples)

lecture recitals (30 min.) (piano available)

themed sessions (1.5 hours in total)

panel or round-table discussions (1 hour)

poster presentations

 

We would particularly welcome papers on the music of James MacMillan any aspect of his compositional processes, or on Scottish influences on his music, such as pre-Reformation choral music, Robert Carver, Gaelic psalm-singing, pibroch, folk song, music in the Catholic Liturgy etc. As in previous years, we also welcome papers on any other aspect of music in or from Scotland, and of any genre. In line with the Trust’s aim of supporting and nurturing those engaged in early career research, we particularly encourage submissions from younger researchers.

 

Please send abstracts (max. 300 words), including a title, along with a short biography (max. 100 words) as an RTF, Pages or Word file to:

musicascotica@n-ism.org

Please also use this address for any queries.

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The closing date for receipt of proposal abstracts is Wednesday 31st October and acceptances will be notified by early December. We anticipate that the cost for the full conference will be in the region of £99 (£50 – concessions) with rates for half or single day participation available. Information on local accommodation will be available for participants.

Towards Best Practice: Teaching Singing in Higher Education – Core competencies

Saturday 22nd September 2018 The London College of Music hosts a one day conference with top researchers and voice practitioners Dr Gillyanne Kayes, Janice Chapman, Prof. Johan Sundberg, Tori Burnay, Dr Susan Yarnall, Dr Denise Borland and Ali Bell.

The day will be relevant to teachers of all genres especially those working in higher education or preparing students to enter HE including Musical Directors. Researchers and students of singing teaching will also benefit by way of poster submissions with a prize awarded by Compton Publishing (see below for details).

Topics covered include being a singing teacher, examining the current model, myths and misconceptions, acoustics, rehabilitation, the psychology of one-to-one teaching, new developments in France, and a round table discussion. Light refreshments and a buffet lunch provided. The BAPAM voice care initiative

Delegate fee £50 (including lunch and refreshments).

To book a place go to http://www.lcme.uwl.ac.uk/events

Posters up to A2 to be submitted along with conference booking fee by Monday September 10th

For more information http://www.lcme.uwl.ac.uk/events

CALL FOR POSTERS

Deadline: noon on 16th July 2018

The Programme Committee welcomes proposals for individual posters, in any areas of scholarship related to teaching singing and pedagogic practice in Higher Education.

The following non-exhaustive list indicates some of the intended themes of the conference:

  • Teaching models
  • Psychology of Teaching
  • Voice Care
  • Vocal acoustics
  • Pedagogic Practice

Proposals of no more than 300 words should be sent as a Word attachment (including details of author(s), affiliations (University, Conservatoire/College, Orchestra, Chamber Ensemble etc.), contact details etc.), to ivor.flint@uwl.ac.uk to arrive before the deadline of noon on 16th July 2018. Proposals will be reviewed anonymously, so please submit a second version of your proposal with all names and institutional affiliations removed.

The Conference Committee, will respond to authors by Wednesday 18th July.

Oper im Wechselspiel der Medien: Transformationsprozesse der Oper durch Digitale Medien und das Filmische/Audi-Visuelle in Zeiten von Krisen und Reformen

Veranstalter:                          Bayerische Akademie der Wissenschaften

Veranstaltungsort:                  Bayerische Akademie der Wissenschaften, München

Veranstaltungsdatum:            17. Januar 2019

 

Call for Papers

Der aktuelle Krisendiskurs europäischer Theater und Musiktheater befasst sich neben Fragen zur Finanzierung und zum demographischen Wandel u.a. auch mit den Herausforderungen, die die rasante Entwicklung der Neuen Medien hervorbringen.[i]Daher widmet sich dieser Workshop der Frage: Welche Rolle spielen die Digitalen Medien und das Filmische/Audio-Visuelle bei den Transformationsprozessen der Oper als Gattung und Institution?

 

Themenkomplex A: Transformationsprozesse in der Oper als Institution

Héctor Pérez, Associate Professor für audio-visuelle Kommunikation und Ästhetik, konstatiert, dass nach den 1990er Jahren nun eine zweite Phase der Bedrohung von live Opernaufführungen durch audiovisuelle Technologien anstehe und verweist damit auf eine für diesen Workshop zentrale und kontrovers zu diskutierende Debatte. Dabei sei auf der einen Seite auf die neuesten Streaming-Möglichkeiten von Opern, wie z.B. durch die digitalen Angebote der MET verwiesen und auf der anderen Seite auf die neue Mobilität der Verwendung von Streaming-Angeboten auf Computern, Tablets oder Smartphones.[ii]

Die Musikwissenschaftler*innen Carolyn Abbate und Roger Parker diskutieren kritisch die Bedeutung des Internets als neues und sich permanent erweiterndes „easy access“-Archiv von internationalen Opernaufführungen (historisch und aktuell). Während Abbate/Parker negativ hervorheben, dass die Hoffnung auf ein neues Publikum, durch die mediale Präsenz im Internet nicht erfüllt werde,[iii]artikulieren gerade kleinere Operngesellschaften, wie z.B. wie die kanadische City Opera Vancouver oder Tapestry Opera, durchaus positive Effekte durch soziale Medien. Sie verweisen sowohl auf eine erhöhte Visualität des Operngenres und ihrer eigenen Produktionen als auch auf eine bessere Kommunikation mit ihrem Publikum.[iv]

Mit Blick auf die Institutionen stellen sich somit folgende Fragen: Wie werden digitalen Medien (Streamings von Mitschnitten, Making Offs, Trailern auf Homepages und in sozialen Netzwerken) durch Operngesellschaften und Komponisten für neue Vermarktungs- und Kommunikationsstrategien eingesetzt? Wer nutzt welche Kanäle? Haben Operngesellschaften eine multi-channel bzw. multi-platform Strategie?

 

Themenkomplex B: Transformationsprozesse der Oper als Gattung

Carolyn Abbate und Roger Parker suggerieren, dass die Oper aktuell womöglich einen evolutionären turn zum Filmischen nehme und eine „art-for-the screen“ werde. Sie beobachten dies sowohl in den Operninstitutionen selbst, die institutionell Internetstreamings HD-Übertragungen verwenden, als auch bei neuen Konzeptionsformen von Opern, die sich am Filmischen orientieren.[v]Im Workshop soll erörtert werden, welche ästhetischen Verfahren verwendet werden und welche neuen (Hybrid-)Formen für die Bühne, DVD oder das digitale Netz entstehen können.

Um den neuen Facettenreichtumanzudeuten, sei hier nur exemplarisch auf die Inszenierung der Zauberflöte mit Elementen des Stummfilms und des Comicromans an der Komischen Oper Berlin durch den Intendanten Barrie Kosky und die britische Theatertruppe „1927“, die opera-documentary Fig Treedes kanadischen Regisseurs John Greyson, die südafrikanische, filmische Adaption Unogumbe – Noye’s Fludde des „Isango Ensembles“, die Vocaloid Opera The Ende am Theatre du Chatelet in Paris, die Internetoper Die Affäre Manondes Gelsenkirchener Musiktheaters oder die interaktive Musiktheater PerformanceA Magnificent Crossbreeding of Protein and Tinplatevom Attenborouch Centre for the Creative Arts verwiesen.

 

Themenkomplex C: Transformationsprozesse der Aufführungskultur und Rezeption

Mit den neuen Formaten und ihrer neuen Ästhetik stellt sich auch die Frage nach neuen Rezeptionsweisen und deren soziokulturellen Dimensionen. Welches Potenzial haben digitale Medien für einen Wandel im Opernpublikum? Ob und in welcher Form findet ein Wandel der musiktheatralen Aufführungskultur im Sinne des Theaterwissenschaftlers Wolf-Dieter Ernst statt?[vi]Und kann dies zu einem Wandel des Operndiskurses als Elitenkultur führen?

 

Es wird besonders zu Vorträgen eingeladen, die sich folgenden Aspekten widmen:

 

  • Digitale Medien in Opernaufführungen / Konzeptionsformen von Opern, die sich am Filmischen orientieren
  • Neue (Hybrid-)Formen von Opern und ihre neuen Rezeptionsweisen
  • Medienästhetik möglicher Hybride
  • Wandel musiktheatraler Aufführungskultur
  • neue Vermarktungs- und Kommunikationsstrategien von Operninstitutionen in und außerhalb Europas
  • Public-Screenings, digitale Angebote der MET / Streaming-Angebote
  • Potenzial medialer Innovationen für freie Opernszene
  • Wandel des Operndiskurses als Elitenkultur durch mediale Innovationen

 

Bitte senden Sie Abstracts (max. 2000 Zeichen) für einen 20minütigen Beitrag im thematischen Rahmen des Workshops und die Angabe der benötigten technischen Voraussetzungen für den Vortrag, sowie eine Kurzvita (max. 500 Zeichen) inklusive Kontaktdaten bis 8. Juli 2018 per E-Mail an Lena van der Hoven (Lena.van-der-Hoven@uni-bayreuth.de). Gleichermaßen willkommen sind Beiträge aus den Geistes- und Sozialwissenschaften (Musik-, Medien-, Theater- und Kulturwissenschaft). Nachwuchswissenschaftler*innen seien nachdrücklich zu einer Bewerbung aufgefordert. Die ausgewählten Referent*innen werden bis zum 15. Juli 2018 benachrichtigt und das Konferenzprogramm unter http://www.badw.de/veranstaltungen.htmlund http://www.prof-musikwissenschaft.uni-bayreuth.de/de/index.htmlonline veröffentlicht. Für die ausgewählten Referent*innen können voraussichtlich im begrenzten Umfang die Reisekosten (im Inland) sowie die Übernachtungskosten erstattet werden.

[i]Vgl. DFG-Projekt „Krisengefüge der Künste“ (http://www.theaterwissenschaft.uni-muenchen.de/forschung/krisengefuege/index.html), Internationale Konferenz: „Systemische Krisen im europäischen Theater“ (https://www.goethe.de/ins/gb/de/ver.cfm?fuseaction=events.detail&event_id=21131063), Sarah Zalfen,Staats-Opern? Der Wandel von Staatlichkeit und die Opernkrisen in Berlin, London und Paris am Ende des 20. Jahrhunderts, München / Berlin 2011 (Die Gesellschaft der Oper. Musikkultur europäischer Metropolen im 19. und 20. Jahrhundert, 7), Vorwort.

[ii]ebd. S. 7-8.

[iii] Vgl. Carolyn Abbate / Roger Parker, A history of opera: the last four hundred years, London u.a. 2015,S. 549ff.

[iv]Vgl. Richard Turp / Vincent Turp, Terms of Engagement: As New Technologies Redefine the Way We Communicate, Opera Companies Are Tuning Their Marketing Programs into the Fast Paced World of Social Media, in: Opera Canada 58 (2017), Nr.1, S. 33-37.

[v]Vgl. Carolyn Abbate / Roger Parker, A history of opera: the last four hundred years, London u.a. 2015, S. 565.

[vi]Vgl. Wolf-Dieter Ernst, Institutionelle Dramaturgie und digitale Oper,in: Die Musikforschung (2016), Heft 4, S. 380–392, hier S. 387.

Eighth Annual Meeting | Il Gusto Italiano: Italian Style and Transalpine Exchanges in Early Keyboard Music

May 13–15, 2019
Sam Houston State University School of Music, Huntsville, Texas, U.S.A.

Call for Proposals

Admired, imitated, and heatedly debated, the concept of Italian style and taste plays an essential role in the history of keyboard music. The Historical Keyboard Society of North America (HKSNA) dedicates its eighth annual meeting to all aspects of Italian style and its international reception throughout the centuries, including—but not limited to—composition and improvisation, music theory and basso continuo, instrument making, pedagogy, and temperaments. Hosted by the Center for Early Music Research and Performance (CEMRAP) at the Sam Houston State University School of Music (Huntsville, Texas), three days of events (Monday through Wednesday, May 13– 15, 2019) will include paper presentations, lecture-recitals, and mini-recitals, evening concerts, and an exhibition of publications, recordings, and instrument makers’ work. A limited number of presentations and sessions on historical keyboard topics that are not directly related to the theme of the conference, will be considered. Please submit all proposals through the following electronic submission forms:

Paper Presentation: https://goo.gl/forms/iD9QXXJ3L47e3P9W2
Lecture Recital: https://goo.gl/forms/Fr4Dn5ZUnkit4L9j1
Mini Recital: https://goo.gl/forms/ApvdZBseV8OplEEg2
Themed Session: https://goo.gl/forms/D0s7bErhvM26zp8V2

The deadline is October 15, 2018. Presentations of all formats are limited to 25 minutes. Paper and lecture-recital proposals require an abstract of no more than 2,500 characters. For mini-recitals, submit complete program information and provide links to up to two representative recordings pertaining to the proposal. Performers not intending to bring their own instruments or to make arrangements to use exhibitors’ instruments may perform on the instruments listed below. All proposals must include a short biographical statement (no more than 1,500 characters) for all presenters.

Notification of accepted proposals will be made by November 15, 2018. Presenters must be members of HKSNA and must register for the conference. Presenters must also cover their own travel and other expenses. Further information, as it becomes available, will be posted on the society’s website http://www.historicalkeyboardsociety.org.

HKSNA 2019 also welcomes exhibitors to showcase their instruments, products, and services in the conference. Furthermore, instrument makers are invited to submit proposals for maintenance workshops, etc. Please direct inquiries and proposals to hksna2019@gmail.com.

Available Instruments
Harpsichords
Flemish Single by Gerald Self, GGAA to d3, 8’8’, lute stop, 415/440 Hz, delrin plectra.
Flemish Double after Couchet by Joel Katzman, GGAA to e3, 8’8’4’, 415/440 Hz, quill plectra.
Italian Single after Celestini by Joel Katzman, GGBB to d3, 8’8’, 392/415/440 Hz, strung in brass, quill plectra.

Fortepiano
Paul McNulty after Walter & Son c. 1804, FF to c4, 430 Hz, knee levers for moderator (left) and dampers (right).

Organ
Italian “organo di legno” (all pipes cypress wood), Giovanni Pradella after 17th-century models, C–d3 chromatic, 440 Hz, 1/4 comma meantone. Disposition: Principale 8’, Ottava 4’, Decimaquinta 2’, Flauto stoppo 8’, Flauto in ottava 4’, Fiffaro (voce umana) 8’ (treble).

Program Committee
Mario Aschauer, chair, Sam Houston State University
David Kelzenberg, HKSNA president
Carol lei Breckenridge, HKSNA vice-president
Sonia Lee, HKSNA immediate past president
Maria Luisa Baldassari, Conservatorio Rossini Pesaro
Massimiliano Guido, Università degli studi di Pavia

Self-Borrowing in Nineteenth-Century Italian Opera: A Reconsideration

The Department of Music at Maynooth University is pleased to host the international symposium Self-Borrowing in Nineteenth-Century Italian Opera: A Reconsideration.

Date: 30 November 2018

Submission deadline: 21 September 2018

Conference website: https://www.maynoothuniversity.ie/music/events/self-borrowing-nineteenth-century-italian-opera-reconsideration

Venue: Department of Music, Logic House, Maynooth University

Inquiries: Candida.Mantica@mu.ie

Keynote Speaker: Prof. Emanuele Senici (Università di Roma La Sapienza)

Confirmed Invited Speakers: Prof. Francesco Izzo (University of Southampton); Prof. Giorgio Sanguinetti (Università di Roma Tor Vergata)

Call for Papers

Defined as the re-use of pre-existing music in a new work by the same author, self-borrowing has received significant attention from scholars of nineteenth-century Italian opera. Whereas in the past emphasis fell mostly on close readings of individual operas, recent research has addressed this practice from a wider perspective, showing how a thorough examination of self-borrowings can provide insight into composers’ creative processes, style, and the relation between words, music, and drama. The border between self-borrowing and originality has also been questioned, and the study of self-borrowing has reinforced the point that musical detail in this repertory is worthy of analytical investigation. Still, the broader contextual and conceptual implications of self-borrowing remain largely unexplored. The aim of this symposium is to consider the practice of self-borrowing not only as a compositional phenomenon, but also as an indicator of historical and socio-cultural transformations in the industry of nineteenth-century Italian opera.

The conference committee welcomes proposals exploring any aspect of self-borrowing. We particularly encourage contributions taking this practice as a vantage point from which to explore redefinitions of the mechanisms of production and circulation of nineteenth-century Italian opera; their repercussions on the idea of the operatic event; and the encounter of Italian opera with other European theatrical systems.  Topics of interest include, but are not limited to:

  • Print culture
  • Re-workings and translations
  • The emergence of the operatic canon
  • Censorship
  • Italian opera as an artwork
  • Reception
  • Genre

Submission guidelines

To be considered, please submit an abstract (300 words for individual papers and lecture/recitals; 400 for paired papers; 500 words for panels), and – in a separate document – a biography (100 words) to Self-Borrowing2018@mu.ie by September 21, 2018. Please do not include your name or any other identifying information in the abstract. Presenters will be notified by September 30, 2018 as to the status of their submission. For any other queries, please feel free to contact the conference organiser, Dr Candida Mantica, at Candida.Mantica@mu.ie.

Possible presentation formats include, but are not limited to:

  • individual papers of 20 minutes
  • paired papers
  • panels (90 minutes for 3 papers, including QA)
  • lecture/recitals

Conference languages: English, French, Italian

Conference Committee

Chair: Dr Candida Mantica (Irish Research Council Postdoctoral Fellow, Maynooth University)

Dr Antonio Cascelli (Maynooth University)

Prof. Francesco Izzo (University of Southampton)

Prof. Christopher Morris (Maynooth University)

 

The Multivalent Voice in Transcultural Music-making

Call for Papers:

The Multivalent Voice in Transcultural Music-Making

Istanbul Technical University, 11-13 April 2019

An international conference hosted by the Dr Erol Üçer Centre for Advanced Studies in Music, Istanbul Technical University (ITU MIAM), in partnership with the European Research Council-funded project ‘Beyond East and West: Developing and Documenting an Evolving Transcultural Musical Practice.’

Voice, ‘the original instrument’ (Joan La Barbara, 1976), has served as a bedrock and conduit for music, language, and thought.  Indeed, the human voice is so fundamental to our experience that we even process instrumental music via systems related to vocal production.  Voices, conceived here in the plural, serve not only as the grist for musical and semantic discourse, but also act as central channels for the exchange of ideas and musics across cultures.

Cosmopolitan Istanbul provides the ideal setting for focusing on vibrant intersections of Eurogenetic art music with tradition-based genres of contemporary Turkey, Asia, and North Africa.  In twenty-first century music, increasing numbers of practitioners are making conscious efforts to cross cultural boundaries by engaging in processes of mixing, collaborating, protecting, negotiating, and creating new music that draws inspiration from various traditions.  By facilitating free exchange amongst a diverse gathering of composers, ethnomusicologists, musicologists, performers, and theorists, we hope to attain deeper insights into ‘voices’ and their centrality in key questions of identity, aesthetics, and usage in inter- and trans-cultural music making.

We invite proposals for papers (20 minutes), lecture/performance demonstrations (30 minutes), workshops (30 or 50 minutes), audiovisual work (up to 20 minutes), or panel sessions (90 minutes including discussion) that focus on transcultural music in relation to both physical and metaphysical voices, addressing mixtures related to maqam, raga, and other art traditions, as well as ‘folk,’ ‘traditional,’ and ‘low-technology’ musics.  Topics related to the following concerns are especially encouraged:

  • Practical demonstrations of creative methodologies for transcultural music-making
  • Vocal mimesis
  • Analyses of microsound and nuance in vocal and instrumental music, including:
    • Timbre, ornamentation, voice production, tuning (e.g. Anatolian gırtlak, süslemelerçarpma)
    • Vocal staging and digital voice processing
  • Improvisation and collective composition
  • Intercultural uses of notation, transcription, and arrangement
  • Voice(s) and migration
  • Musics associated with pastoralist (e.g. Yörük) and peripatetic (e.g. Abdal) groups
  • Technology and embodiment
  • Aesthetics, affect, and spiritualities
  • Ethical and political concerns
  • The singing voice in relation to concepts such as ethnicity, gender, and identity
  • The composer’s voice
  • Presence and authenticity in voicing
  • Individual/collective relationships.

Languages of the conference (and for abstracts): English and Turkish.

Deadline: Please send a 250-word abstract to Argun Çakır – argun.cakir@bristol.ac.uk – with the subject heading ‘Multivalent Voice-Abstract,’ by 30 September 2018, indicating the format of your proposal.  Abstracts for panel sessions should be 250 words for each contributor, as well as a panel description of 100 words.  We will announce acceptances by 1 November 2018.

Keynote speakers:

  • Sandeep Bhagwati, composer, Professor of Music, Concordia University, Montreal
  • Nina Eidsheim, Professor of Musicology, University of California, Los Angeles
  • Denise Gill, Assistant Professor of Ethnomusicology, and of Islam & the Arts, Stanford University.

Programme committee:  Prof. Amanda Bayley, Bath Spa University; Dr. Robert Oliver Beahrs, Istanbul Technical University (ITU);  Argun Çakır, University of Bristol; Assoc. Prof. Tolgahan Çoğulu, ITU; Dr. Michael Ellison, University of Bristol; Assoc. Prof. Yelda Özgen Öztürk, ITU; Assoc. Prof. Robert F. Reigle; Dr. Will Sumits, ITU; Assoc. Prof. E. Şirin Özgün Tanır, ITU; Dr. Paul A. Whitehead, ITU; Dr. Jeremy Woodruff, ITU.

Website:  To be announced.

Conference fee:  Full conference, 3 days: 375-Turkish Lira; 2 days: 250-TL; 1 day: 125-TL.  Free for students, both international and local.

We gratefully acknowledge funding from the European Research Council (ERC) under the European Union’s Horizon 2020 research and innovation programme (Grant no. 648810), and Istanbul Technical University, Dr. Erol Üçer Centre for Advanced Studies in Music (ITU MIAM).

Doing metal, being punk, doing punk, being metal: hybridity, crossover and difference in punk and metal subcultures

Call for Papers

Doing metal, being punk, doing punk, being metal: hybridity, crossover and difference in punk and metal subcultures.

Punk Scholars Network 5th Annual Conference and Postgraduate Symposium

De Montfort University Leicester, December 13-14th 2018

Hosted by the Punk Scholars Network in conjunction with the International Society for Metal Music Studies, Punk and Post-Punk, Metal Music Studies, Media and Communication Research Centre and Intellect Books.

Metal and punk cultures have long shared musical and cultural similarities. From Motörhead’s ubiquitous global presence, and the complex amalgam of Thrash Metal, Doom Metal, American Hardcore, Straight Edge, Japanese-based Burning Spirits, Black Metal, and DiY cultural production, one can see a plethora of hybridised and reinterpreted global music scenes. Indeed, the pervasive influence of metal and NWOBHM from the mid-1980s onwards has had an irreversible and notable effect on both punk and metal musical and cultural aesthetics (see Glasper, forthcoming, 2018). In spite of their broadly separate academic literatures, from their competing inceptions in the mid to late- 1970s, punk and metal music studies have shared common historical, theoretical and methodological approaches. In spite of Waksman’s timely and excellent (2009) This Ain’t No Summer of Love: Conflict and Crossover in Heavy Metal and Punk, little subsequent academic research into the crossover between metal and punk has been undertaken.

The principle aim of this interdisciplinary conference is to critically reflect upon points of similarity, difference and hybridity in global punk and metal subcultures. The Punk Scholars Network and The International Association of Metal Music Studies would like to invite new and established scholars in punk and metal music studies to critically interrogate similarities and differences, and to share their research. Not every paper needs to discuss both punk and metal: we hope that the presentation of research on the same panels to a mixed audience will allow a unique opportunity for researchers to cross perceived genre boundaries and learn from each others methodologies and trajectories.

Topics of interest for submission include, but are not limited to: Metal and/or punk histories Genre boundaries Cross genre authenticities Gender, hegemony in metal and/or punk cultures Ethics/moral codes: differences and similarities in metal and/or punk cultures Ethnicities and contested identities in metal and punk Geographies, crossover and hybridity in punk and metal music scenes Crossovers between metal and/or punk Aesthetic crossovers in local and global punk/metal scenes Political narratives in punk and metal music ‘Negatologies’: bullying, marginalisation, drugs and violence in punk and/or metal cultures (Gordon, 2018) Conceptual crossover and difference The aesthetics of virtuosity and simplicity in metal and punk The curation of punk and metal bands on festival bills Legacies Hybrid cultures, audience research and ethnographies of metal and/or punk cultures The policy and political economy of metal and punk record labels Musical production, instrumentation and aesthetics Art and design in metal and/or punk

Abstracts of no more than 250 words should be sent to the following email address by September 16th 2018

metalpunkDMU@gmail.com

SPARC Symposium 2018: Socio-Sonic

London (UK), 14-15 September 2018

This symposium will take a cross-disciplinary approach, digging deeper into sonic sociality. While the social aspects of music-making are well-documented, the sociality of sound is less often discussed in detail. The SPARC Symposium 2018 will bring together practitioners and researchers from a wide variety of musical and non-musical backgrounds for two days of spoken presentations, discussion, installation, film screenings and performances.

Keynote: Maria Lisogorskaya (Assemble)

Invited Participants include: BLATT3000, Toby O’Connor, Ansgar Endress, Eloise Ruth Garland, Corey Mwamba, Sam MacKay, Matilde Meireles, Pedro Rebelo & Fiona Magowan, Georgia Rodgers, Lauren Redhead, Malcolm Philips, Rupert Cox

For more information, including registration details, please visit: https://sparc.london/events/sociosonic

 

Sound Practice and Research at City (SPARC) is an independent research centre hosted by City, University of London. SPARC contributes to the interdisciplinary field of 21st Century sound practice in all its magnificent plurality. Its members work at the boundaries between improvisation, performance, sound art and composition. SPARC promotes dialogue, debate and creative activity in sound and composition practices through the production of new creative work, publications, multi.modal recordings, public fora and new collaborative relationships.

Keep up to date with SPARC events at https://www.sparc.london/events/ or follow us on twitter @SPARC_london

Spain and Constructions of Musical Exoticism

CALL FOR PAPERS – SYMPOSIUM
Spain and Constructions of Musical Exoticism

WHEN: Friday 30 November – Saturday 1 December 2018
WHERE: Melbourne Conservatorium of Music, University of Melbourne

Further information about the event will be made available on the conference website:  finearts-music.unimelb.edu.au/sme2018

Far from being tied to a fixed, unchanging set of musical styles or gestures, musical representations of Spain have proved to be dynamic and multi-faceted constructs thriving across a range of periods and genres. While they have coloured the landscape of Western music since the 1500s, evocations of Spain gained momentum from the eighteenth century, and found new modes of expression with the rise of musical exoticism. Spanish composers, performers and impresarios have also been interlocutors in the promulgation of this exoticism, which has in turn influenced Hispanic musical styles and identities, and at times been a conduit for the broader dissemination of the musics of the New World.

We invite proposals for 20-minute papers that engage with different facets and manifestations of musical exoticism in relation to Spain. Papers may address repertories or issues relating to (but not limited to) the following areas:

  • Western art music
  • Opera, dance and theatrical spectacle
  • Popular musics
  • Flamenco, the guitar and images of Spain
  • Auto-exoticism and Spanish musical identity
  • Intertextuality and modernist exoticisms
  • Literature, the visual arts, film and musical representations of Spain
  • Early music and historical performance practice

Please submit an abstract of not more than 250 words, with a brief biographical note of not more than 100 words, to ekertesz@unimelb.edu.au by 1 August 2018.

Papergivers will be notified by 10 August, but please indicate in your submission if you need earlier notification.

Registration will be free of charge, but we regret that no travel subsidies are available.

Michael Christoforidis and Elizabeth Kertesz
Melbourne Conservatorium of Music, University of Melbourne
[Conference convenors]