Music and Sonic Art: Sounding Identities


Music and Sonic Art:
Sounding Identities

MuSA 2020 – St John’s College, University of Cambridge, UK
8 July – 10 July 2020


FIRST CALL FOR PAPERS:
We are delighted to announce the eleventh international conference on Music and Sonic Art: Sounding Identities (MuSA 2020), an interdisciplinary event to be held in St John’s College, University of Cambridge.
Keynote speaker: Prof Georgina Born, University of Oxford
Conference dates: Wednesday, 8 July – Friday, 10 July 2020.
Deadline for abstract submission: Friday, 10 April 2020.
The principal aim of MuSA 2020 is to advance interdisciplinary investigations in and between Music and Sonic Art, by exploring and building on the historical, theoretical and practical connections and continuities between these two areas. Proposals for individual papers are invited from academics, independent researchers, practitioners and post-graduate students. All proposals will be ‘blind’ peer-reviewed. The conference language will be English.

THEME AND TOPICS:
The theme of MuSA 2020 is Sounding Identities. The last couple of decades witnessed a remarkable burgeoning of research on how musical experiences and practices construct social, cultural, national, political, and artistic identities. During the same period, the boundaries between the traditionally distinct ways of engaging with music – i.e. as composer, performer, listener, producer, improvisor, music scholar and researcher – have begun to be questioned and challenged as new roles, practices and modes of interaction with music continue to emerge. The broad aim of this conference is to expand the remit of research on identity to all hearing, listening and art-making practices that use sound. We, therefore, invite submissions on the following, and other related topics:
• the artistic, cultural, social, institutional, national, disciplinary, political embodied and sensory (aural, visual, tactile) identities and agencies that are constructed through engagement with music and sonic art practices;
• how technologies mediate the construction of such identities;
• the material cultures that facilitate sounding identity formation;
• the emergence of new sounding identities through the cross-fertilization between musical and sonic art practices;
• fluidity and dynamics of identities across sounding cultural practices;
• sounding identities that challenge the mind/body and theory/practice dichotomies;
• sounding identities as sources of value;
• narratives and discourses of sounding identities;

ABSTRACT SUBMISSION:
Please submit an abstract of approximately 250 words in Word format to j.dack@mdx.ac.uk as an e-mail attachment.

As contributions will be ‘blind’ peer-reviewed, please do not include information that might facilitate identification from the abstract. In addition, please submit separately the name(s) of the author(s), institutional affiliation (if any) and short biography (approximately 100 words).
Deadline for the receipt of abstracts is Friday, 10 April 2020. Notification of acceptance will be sent by Monday, 27 April 2020.

If additional information is required please contact Dr. Mine Doğantan-Dack or any member of the Conference Committee:
Dr Mine Doğantan-Dack (University of Cambridge, UK)
md787@cam.ac.uk
Dr John Dack (Middlesex University, UK)
j.dack@mdx.ac.uk
Dr Sean Williams (Open University, UK)
sean.williams@open.ac.uk
Dr Andrew King (University of Hull, UK)
a.king@hull.ac.uk
Prof Miroslav Spasov (Keele University, UK)
m.spasov@keele.ac.uk
Dr Christoph Seibert (University of Music Karlsruhe, Germany)
seibert@hfm-karlsruhe.de

Fourth International Symposium on Music / Sonic Art: Practices and Theories

Fourth International Symposium on
Music /Sonic Art: Practices and Theories
MuSA 2013 – Karlsruhe (IMWI)
24-26 May, 2013

Hochschule für Musik, Karlsruhe –
Institut für Musikwissenschaft und Musikinformatik (IMWI)
Am Schloss Gottesaue 7, 76131 Karlsruhe

CALL FOR PAPERS:
We are pleased to announce the Fourth International Symposium on Music and Sonic Art: Practices and Theories (MuSA 2013), an interdisciplinary event to be held in Karlsruhe, Germany at the Institut für Musikwissenschaft und Musikinformatik (IMWI) (http://www.hit-karlsruhe.de/hfm-ka/imm/). The dates of the Symposium are 24-26 May, 2013.

Proposals for sessions and individual papers for the Fourth International Symposium on Music and Sonic Art: Practices and Theories are invited from academics, independent researchers, practitioners and post-graduate students. Presentation formats include academic research papers (20 minutes + 10 minutes for discussion); reports on practice-based/artistic research or educational programmes (20 minutes + 10 minutes for discussion); and workshops and panel sessions (45 minutes + 15 minutes for discussion). The Symposium committee encourages presentations in which practice forms an integral part. All proposals will be ‘blind’ peer-reviewed. The Symposium language will be English.

THEME AND TOPICS:
The principal aim of MuSA 2013 is to advance interdisciplinary investigations in – as well as between – music and sonic art. Even if widely divergent on the surface, there are various overlaps between the concepts and techniques that underlie ‘traditional’ subject areas such as historical/critical musicology, performance studies, analysis, aesthetics, ethnomusicology and sonic art theories and practices. Interdisciplinary explorations within and across these domains benefit all those who engage creatively and/or as scholars with the phenomena of sound and music.

Proposals dealing with any subject area that is within the broad remit of the Symposium will be welcomed. Hence, the Symposium topics include – but are not limited to – the following, in relation to musical and sonic art practices and theories:

• Technology in relation to performance and/or composition
• Performance aesthetics
• Practice as research: methodology and technique
• Critical discourses on creativity, embodiment, expression
• Cultural and social processes
• Inter-artistic explorations: collaborations and tensions
• Phenomenological, psychological, cultural and historical analyses of creation/production and reception

ABSTRACT FORMAT:
Please submit an abstract of approximately 250-300 words as an e-mail attachment to musa2013@btinternet.com

As contributions will be ‘blind’ peer-reviewed, please do not include information that might facilitate identification from this abstract. In addition, please include separately the name(s) of the author(s), institutional affiliation (if any) and short biography (approximately 100 words). Deadline for the receipt of abstracts is Monday, 1 April. Notification of acceptance will be sent by 15 April.

REGISTRATION:
The Symposium fees are: €100 for delegates, €80 for presenters and €50 for students and others who qualify for concessions.

If additional information is required please do not hesitate to contact Prof. Dr. Mine Doğantan-Dack or any member of the symposium committee:

Prof. Dr. Mine Doğantan-Dack (Middlesex University, London) – m.dack@mdx.ac.uk

Prof. Dr. Thomas A. Troge (Institut für Musikwissenschaft und Musikinformatik, Karlsruhe) – troge@hfm.eu

Dr. John Dack (Middlesex University, London) – j.dack@mdx.ac.uk

Christoph Seibert (Institut für Musikwissenschaft und Musikinformatik, Karlsruhe) – seibert@hfm.eu