Low End Theories: Understanding Bass Music and Culture Study Day

It’s my great pleasure to formally open the Call for Participation for Low End Theories: Understanding Bass Music and Culture.

This will be a joint BFE/RMA Study Day at the University of Bristol next year, on Saturday 16 May 2020.

Keynote speaker: DJ Krust aka Kirk Thompson

Visit the website to read the CfP and join the mailing list for future updates: http://lowendtheories2020.wordpress.com/

The deadline for submissions is Friday 31 January 2020.

With a steadily increasing array of academic publications in the field reflecting bass music’s global popularity and value, we believe the organisation of an interdisciplinary conference on this topic in the lively city of Bristol is both timely and relevant to a broad audience.

Enquiries: lowendtheories2020@gmail.com

Facebook event: https://www.facebook.com/events/517207328794359/

Twitter: #LowEnd2020

Music and the Moving Image Conference 2020

Deadline for Submission: December 15th, 2019.

Conference at NYU Steinhardt: Friday May 29th – Sunday May 31st, 2020.

The annual Music and the Moving Image Conference encourages submissions from scholars and practitioners that explore the relationship between the entire universe of moving images (film, television, video games, iPhone, computer, and live performances) and that of music and sound through paper presentations. We encourage submissions from multidisciplinary teams that have been pooling their knowledge to solve problems or come up with a new perspective regarding music and moving images. 

The Keynote Speaker is Blake Neely (Composer for the DC Universe: The Arrow, The Flash, Supergirl, DC Legends of Tomorrow. IMDB)

Abstracts or synopses of papers (250 words or fewer) should be submitted by no later than December 15, 2019. You can submit via Jotform by clicking this link HERE. 

The program committee includes Daniel Goldmark — Case Western Reserve University (Tunes for ‘Toons: Music and the Hollywood Cartoon; California, 2005, Korngold and His World; Princeton, 2019), Jessica Shine — Cork Institute of Technology (‘Compilation Score and Transdiegetic Music: How Music Helps Give Voice to the Voiceless’; McFarland, 2018, “One Minute of Everything at Once”: How Music Shapes the World of BBC’s Peaky Blinders (2013)’. Musicology Research, 2017), Kate Galloway — Rensselaer Polytechnic Institute (Soundwalking and the Aurality of Stardew Valley: An Ethnography of Listening to and Interacting with Environmental Game Audio;” Routledge, 2019, “Remixing the Environment: Climate Change, Rhythm Science, and DJ Spooky’s Digging in the Landscapes;” Oxford, 2019.), John Covach — Eastman School of Music (What’s That Sound? An Introduction to Rock and Its History, 5th edition (Norton, 2018); The Cambridge Companion to the Rolling Stones (Cambridge University Press, 2019) and co-editors of Music and the Moving Image, Gillian B. Anderson — orchestral conductor (Rosita at the Venice Film Festival, Composing for the Cinema, Music for Silent Film 1892-1929: A Guide); and Assoc. Professor, Director & Chair, Ron Sadoff — New York University (The Moon and the Son / Co-editor of Routledge Companion to Screen Music and Sound). 

This year’s conference will run for three days, from Friday May 29th – Sunday, May 31st, with sessions until Sunday evening. The conference will run prior to the NYU Film Scoring Workshop in Memory of Buddy Baker (June 1st – June 13th, 2020).

E-mail mamiconference@nyu.edu for more information.

Music and Political Democratisation in Late Twentieth Century

Call for Papers

Music and Political Democratisation in Late Twentieth Century

18-19 June 2020

University of Huddersfield

https://musicdemocracystudydays.wordpress.com/cfp-study-days-2020/

Convened by Igor Contreras Zubillaga (British Academy Postdoctoral Fellow, University of Huddersfield) and Robert Adlington (University of Huddersfield)

Keynote speaker: Marina Frolova-Walker (University of Cambridge)

This event aims to innovatively question how musical practices formed ways of imagining democracy in the democratic transitions that took place after Portugal’s ‘Carnation Revolution’ in 1974 – what Huntington (1991) called the ‘third wave’ of democratisation, which involves more than 60 countries throughout Europe, Latin America, Asia, and Africa. Rather than studying music’s diverse deployments within these political contexts (music ‘in’ transitions to democracy), these study days place the emphasis upon ways in which music embodies democratisation processes and participates in the wider social struggle to define freedom and equality for the post-authoritarian era (hence the ‘and’ in the title of the event).
As political science has shown, democracy is a highly contested category, one that has been imagined in many different ways, and any particular realisation of which carries costs as well as benefits. According to the historian of democracy Pierre Rosanvallon, the rise of democracy has historically represented both a promise and a problem for a society: ‘a promise insofar as democracy reflected the needs of societies founded on the dual imperative of equality and autonomy; and a problem, insofar as these noble ideals were a long way from being realized’ (2008:2). These complex facets of democracy became especially apparent in the political context of transition to democracy after an authoritarian regime, leading to a struggle between different ‘ideas’ of democracy (Albertus and Menaldo, 2018).
Thus, these study days also seek to engage in a comparative discussion of how music framed different ideas of democracy in post-authoritarian transitions during the 1970s, 80s, and 90s. How did musical practices instantiate ideas of democracy in these political contexts? Inversely, how did such democratic values inform musical practice? How did musicians negotiate between creative autonomy and social responsibility? And more broadly, what is the role of culture in a transition to democracy?
We invite proposals from scholars working in any discipline for papers exploring these and related questions in relation to any musical practice. Papers will be 30-minutes in length followed by 15 minutes of discussion time, to enable the fullest exchange. Please submit proposals (250-300 words) to I.ContrerasZubillaga@hud.ac.uk by the deadline Friday 31 January 2020. The programme will be announced in early March.

REEM-BASEES 2019 Annual Conference – In memoriam Stuart Campbell

BASEES Study Group for Russian and Eastern European Music (REEM)

Saturday 12 October 2019

Durham University

CALL FOR PAPERS

The 2019 BASEES-REEM annual conference will be held in memoriam Stuart Campbell (1949–2018), a notable scholar of Russian music who held the posts of Lecturer in Music, University Organist, and Director of Chapel Music at the University of Glasgow from 1975 to 2000. His publications included two anthologies of Russian music criticism, Russians On Russian Music (Cambridge University Press), and he contributed entries on Russian topics to the New Grove Dictionary of Music and Musicians, Die Musik in Geschichte und Gegenwart, and other reference works. A member of the editorial board overseeing the production of a new Complete Works of Sergei Rachmaninoff, Dr Campbell was also a co-founder and conductor of the Glasgow-based choir Russkaya Cappella and a notable advocate of Orthodox liturgical music.

Proposals are invited for 20-minute presentations that explore themes germane to Stuart Campbell’s research interests, including:

  • Music criticism in Russia and Eastern Europe
  • Eastern Orthodox sacred music
  • The Russian and Eastern European musical diaspora
  • Music and film

The official language is English.

Abstracts of no more than 400 words and short biographical notes (c.200 words) should be sent to reemstudygroup@gmail.com by 31 May 2019. Abstracts will be reviewed and the results announced by mid-June.

REEM has a modest amount of money available to assist speakers, especially postgraduates and those without access to other funds, with the costs of attending. If you would like to be considered for such funding, which is likely to cover only a portion of your travel and/or accommodation expenses, please indicate this in your proposal.

Convenors: Anastasia Belina, Philip Bullock, Katerina Levidou, Ivana Medić, Danijela Š. Beard, and Patrick Zuk.
Enquiries should be sent to reemstudygroup@gmail.com