Centennial Reflections on Women’s Suffrage and the Arts

CENTENNIAL REFLECTIONS ON WOMEN’S SUFFRAGE AND THE ARTS

Local : National : Transnational

An international, multi-disciplinary public conference

University of Surrey, UK, 29–30 June 2018

Keynote Speakers:

  • Irene Cockroft, author of Women in the Arts & Crafts and Suffrage Movements at the Dawn of the 20th Century
  • Elizabeth Crawford, author of The Women’s Suffrage Movement in Britain and Ireland

CFP: deadline for submissions 26 January 2018

Conference website: www.suffragecentennial.wordpress.com

The 2018 centenary of the Representation of the People Act (6 February 1918), which granted the vote to many women in the UK, yields an ideal opportunity for sustained critical reflection on women’s suffrage. This conference seeks to explore the artistic activities nurtured within the movement, their range and legacy, as well as the relationships between politics and art. In striving for an inclusive, transnational reach, it will at the same time seek to move beyond traditional emphases on white middle-class feminism and explore the intersections between the regional, national, and global contexts for women’s suffrage with specific respect to the arts.

While proposals addressing any aspects of women’s suffrage will be welcomed, this conference will focus upon three strands:

  1. Women’s suffrage in/and the arts
  2. Women’s suffrage in Surrey and the surrounds
  3. Transnational networks and flows of texts in relation to women’s suffrage

20-minute papers are invited on any aspect of these strands, including but not limited to:

  • Late nineteenth- and early twentieth-century women’s writing on suffrage;
  • Political reflections on the arts and the cultural sphere, e.g. in music;
  • Transnational networks and mobilities of political texts and ideas, incorporating suffrage movements in other countries;
  • Politically active individuals with strong links to Surrey (particularly in relation to the arts) e.g. Mary Watts, Dame Ethel Smyth, Gertrude Jekyll, Marion Wallace Dunlop;
  • Networks such as Ferguson’s Gang, Surrey Hills Group, Surrey Pilgrimage Group, and women who organised suffrage marches;
  • Sociological theories of women’s suffrage;
  • Contributions of women of colour to suffrage movements in Britain and globally;
  • Art (both historical and contemporary) inspired by women’s suffrage.

Proposals for panels of 3–4 papers (1.5–2 hours) are also warmly welcomed, as are proposals for one-hour roundtables of 3–5 participants. We encourage proposals from postgraduate students and independent scholars in addition to institutionally-affiliated established academics.

Planned activities include a panel discussion featuring artists who have been active in performing and creating works based on women’s suffrage and some of its key figures; and a recital of music and readings. We envisage that an edited publication will be developed from papers presented at the conference.

Abstracts of not more than 300 words should be e-mailed by 26 January 2018 to suffragecentennial@surrey.ac.uk. Decisions will be communicated to speakers by 23 February 2018. A limited number of student bursaries may be offered to offset costs of attendance.

Conference Committee: Christopher Wiley, Charlotte Mathieson, Lucy Ella Rose (co-chairs)

Enquiries: suffragecentennial@surrey.ac.uk

Autoethnography, Self-Reflexivity, and Personal Experience as Academic Research

‘BEYOND “MESEARCH”: AUTOETHNOGRAPHY, SELF-REFLEXIVITY, AND PERSONAL EXPERIENCE AS ACADEMIC RESEARCH IN MUSIC STUDIES’

Institute of Musical Research (IMR) Study Day

in association with the School of Advanced Study, University of London

16-17 April 2018, Senate House, London

*NB This event has now been expanded to a two-day conference*

Registration: https://store.surrey.ac.uk/conferences-and-events/fass-faculty-of-arts-social-sciences/conferences/autoethnography-selfreflexivity-and-personal-experience-in-music-studies-1617-april-2018

Provisional Programme: https://christopherwiley.files.wordpress.com/2017/03/imr-conference-programme-provisional-16-17-04-18.pdf

Website: https://www.surrey.ac.uk/department-music-media/research-department/autoethnography-and-self-reflexivity-music-studies

Keynote Speakers: Professor Neil Heyde (Royal Academy of Music, London); Professor Darla Crispin (Norwegian Academy of Music, Oslo); Ian Pace (City, University of London)

CFP: deadline for submissions 12 January 2018

The advent of autoethnography, a form of qualitative social science research that combines an author’s narrative self-reflection with analytical interpretation of the broader contexts in which that individual operates (e.g. Etherington, 2004; Chang, 2008), has come at a critical time for the discipline of music. In the UK, the expectation of the Research Excellence Framework (REF) that creative practice outputs will be contextualised through an accompanying commentary signals the urgency for establishing scholarly structures suited to the discussion of one’s own work by performers, composers, and music technologists alike.

The recent inauguration of the Teaching Excellence Framework (TEF), meanwhile, places a renewed emphasis on pedagogic research, for which autoethnography will increasingly prove to be critical in facilitating discourse on individual teachers’ experiences, in anticipation of the upcoming subject pilot for TEF and discipline-level evaluation being implemented more widely thereafter. As a methodology, autoethnography also yields enormous breadth of potential elsewhere in music studies, with the capacity to support academic enquiry encompassing individual experiences as listener or concert-goer, habits and modes of music consumption, and conduct as fans or aficionados.

While autoethnographic approaches have received significant application to the discipline of music internationally, for instance in Australia (Bartleet & Ellis, 2009) and the US (Manovski, 2014), this study day aims to raise its visibility at such a timely juncture in the UK. It will thereby consolidate the seminal contributions made by isolated studies in areas such as music education (Wiley & Franklin, 2017; Kinchin & Wiley, 2017), sonic arts (Findlay-Walsh, 2018), and composition and performance (Armstrong & Desbruslais, 2014). It also offers significant opportunity to initiate dialogue with academic fields as disparate as the social sciences, education, and health studies, in which autoethnography is more substantively practised.

At the same time, this study day will bring together composers, performers, musicologists, and music teachers, seeking to explore different modes of autoethnography with a view to establishing an analytical vein in continuation of previous work undertaken within music studies (e.g. Bartleet & Ellis, 2009). With an emphasis on transcending the production of so-called ‘mesearch’ – work that merely draws upon the author’s autobiographical description in an academic context – the event will cultivate modes of engagement in music research that enable scholar-practitioners at all levels to locate their experiences within a robust intellectual framework as well as to articulate their relationship to wider sociocultural contexts.

CALL FOR PARTICIPATION

20-minute papers (plus 10 minutes for questions) are invited on any aspect relevant to the study day’s themes.

Proposals for panels of 3–4 papers (1.5–2 hours) on a closely related topic are also warmly welcomed, as are proposals for roundtables (3–5 participants, 1 hour duration). The latter should be thematically integrated and dialogue-based rather than simply a series of unconnected mini-papers.

Note that papers will be expected to offer some critical self-reflection on method, and not merely to set out ground covered in an individual’s own practice. Those that adopt non-traditional formats, or incorporate a practice as research component, will be warmly welcomed.

Abstracts of no more than 300 words should be e-mailed by 12 January 2018 to Christopher Wiley, c.wiley@surrey.ac.uk (enquiries to the same address). Decisions will be communicated to speakers by 5 February 2018.

The registration fee will be £20 per person (reduced rates of £10 available for students/the unwaged), including lunch and refreshments. A limited number of bursaries will be offered to students/the unwaged to offset travel costs, up to a maximum of £60 each.

Organising Committee: Christopher Wiley (University of Surrey, Chair), Iain Findlay-Walsh (University of Glasgow), Tom Armstrong (University of Surrey)

Study Day Supporters: Institute of Musical Research, in association with the School of Advanced Study, University of London, Senate House (funding supplied by Nick Baker)

Further information: Dr Christopher Wiley (University of Surrey): c.wiley@surrey.ac.uk

Public Musicology Symposium

PUBLIC MUSICOLOGY INTERNATIONAL SYMPOSIUM
Organized by the Society for Musicology in Ireland

VENUE DETAILS:
The Kevin Barry Recital Room
National Concert Hall, Dublin
Wednesday 26 April 2017
Time: 08.30-18.30

This international one-day symposium on Public Musicology, organized by  the Society for Musicology in Ireland, is in accordance with the aims of that society: to nurture and highlight the role of music in education and broader society on a national and international platform. The aim of this symposium is to ask how musicology relates to the ‘public voice’, the voice of culture at large. At a time when the government is calling for a new level of connectedness between higher education and wider society, academics are under increasing pressure to address this issue of civic engagement. Additionally, as many of our doctoral graduates do not follow an academic career path, there is an urgent need to offer alternative pathways to graduate students forging a career beyond the academy.

Our eleven guest speakers will explore a diverse range of themes: careers in and beyond musicology, community-based projects, curating concerts and issues of programming, musicology in journalism, musicology and civic engagement, music theory, musicological entrepreneurship, public musicology in Ireland, public musicology projects, and musicology and the media. This symposium aims to bring together the published scholar but also the journalist, the writer of programme notes, the teacher, the radio broadcaster and any others in a position to affect the wider discourse on music. The primary objective of the symposium is to raise awareness of how music scholars, educators, music journalists and industry professionals engage with the public at large.

GUEST SPEAKERS

Keynote Speaker:
Prof. Christopher H. Gibbs

Bard College | New York

Dr Lorraine Byrne Bodley MRIA | Maynooth University | President of the Society for Musicology in Ireland
Prof. Harry White MRIA | University College Dublin
Prof. Julian Horton | Durham University
Dr Anne M. Hyland | University of Manchester
Dr Stephen Graham | Goldsmiths, University of London
Dr J. Griffith Rollefson | University College Cork
Dr Aidan Thomson | Queen’s University, Belfast
Dr Alexandra Buckle | Oxford University
Dr Melanie Marshall | University College Cork
Dr Deirdre Ní Chonghaile | NUI Galway

 

General Admission: €10
Student Tickets: FREE

Tickets are €10 which includes tea and coffee and admission to all sessions, including the keynote address by Professor Christopher Gibbs, Bard College, New York. Students attend for FREE but must register and purchase a student ticket. Please note that there will be a wine reception following the symposium: 18.30-19.15, The 1st Floor Foyer, outside The Kevin Barry Recital Room.

Please fill out the registration form, which also contains the link to purchase tickets, via the National Concert Hall Box Office. The link to the National Concert Hall Box Office is provided at the bottom of the registration form. Please click on the link to book your ticket: https://goo.gl/forms/WkCbqMRS48FaAc533

Website

Facebook

Twitter

If you have any queries in relation to the event, please contact the symposium coordinator, Barbara Strahan: Barbara.M.Strahan@nuim.ie

Funded by the Irish Research Council New Foundations scheme

Principles of Music Composing: ratio versus intuitio

17th International Music Theory Conference

November 8th – 10th 2017

Vilnius, Lithuania

The aim of the annual conference ‘Principles of Music Composing’ is to foster theoretical thought that is essential for compositional practice and education of composers. Sixteen conferences of this series have already been held in Vilnius. The 17th conference draws attention to the phenomena of rationality and intuition, which are considered to be contrasting yet complementary poles in the compositional process. Intuition often alters the realization of rational scheme, model or archetype chosen by the composer. Meanwhile rational revision may improve intuitive improvisation, sonorous vision, or the artistic idea.

The topic of the conference could be divided into suggested subtopics:

  1. Rational processes of composition and aural intuition (theoretical insights, definition, conceptions, typology)
  2. Musical work as the result of rational and intuitive creative activity (theoretical, historical and aesthetical aspects)
  3. Adaptation of interdisciplinary ideas in the compositional practice based on rational and intuitive origin
  4. Rational and intuitive qualities in new musical resources and techniques (sonorism, microchromatics, extended techniques, aleatory, electronics, etc.)
  5. ‘Rational’ and ‘Intuitive’ composers: features of their works and the creative process
  6. Phenomena of rationality and intuition in the contemporary compositional practice
  7. Lithuanian composers: between rationality and intuition

Paper proposals (abstract and a short biography) should be sent by email pmc@lmta.lt . The abstract must not exceed 500 words. The duration of full presentation is limited to 20–25 minutes.

 The main language of the conference is English.

The deadline for proposal submissions is August 20th 2017. Proposals will be reviewed by the members of the scholarly committee and all applicants will be notified of the outcome in the beginning of September 2017.

The participation fee is 20 Euros.

Selected papers of the conference will be published in the annual peer reviewed scientific journal ‘Principles of Music Composing’.

pmc.lmta.lt 

Creating music across cultures in the 21st century

CALL FOR PAPERS:

Creating music across cultures in the 21st century

Istanbul Technical University, 25-27 May 2017

In the context of one of the world’s most organic melting pots, Istanbul, The Centre for Advanced Studies in Music, Istanbul Technical University, will host an international conference, in partnership with the European Research Council funded project “Beyond East and West,” May 25-27, 2017.

No music is an island.  Since time immemorial, cultures have traded and mixed musics across their domains, yet only in the 21st century have people around the world gained instant and virtually free access to musics beyond those of their neighbors.  The history of these mixings has been marked by a plethora of descriptors, some benign and others acerbic.  Depending on one’s perspective, the “other” musics span the gamut of primitive (“first”), Oriental, classical, art, learned, popular, etc.  Their mixtures have been termed synthetic, syncretic, trans-traditional, trans-cultural, intercultural, cross-cultural, borrowed, or globalized.  The oral and the literate have been contrasted, while the exotic has been vilified.  Quests for musical beauty and knowledge have been shaped by political, economic and social, hegemonic forces.  We are now at a point where, for the first time in history, the playing field has reached a new level of equity, with widespread access to a majority of the world’s traditions, on a scale radically different from a mere generation ago.

We invite proposals for papers (20-minute presentation plus 10-minute discussion) on any topic related to the mixing of musics from different musical traditions.  In addition to mixtures of maqam, raga, and other art traditions, we encourage proposals concerning the incorporation of “folk,” “traditional,” and “low-technology” musics in our 21st-century milieu. Our conference will be Interdisciplinary, and we welcome proposals from composers, performers, improvisers, musicologists, critical theorists, music philosophers, ethnomusicologists, and—especially—etcetera.  While springing from a notated art music tradition, we welcome other perspectives, oral traditions, and boundary stretchers.

Deadline: Please send a 250-word abstract to Robert Reigle, rreigle@gmail.com, with subject heading “Creating Music across Cultures-Abstract,” by 6 March 2017.  We will announce acceptances by 20 March.

Keynote speaker: Dr. Münir Nurettin Beken, Associate Professor of Ethnomusicology, University of California, Los Angeles.

Programme committee: Prof. Amanda Bayley, Prof. Şehvar Beşiroğlu, Prof. Sandeep Bhagwati, Dr. Michael Ellison, Dr. E. Şirin Özgün, Dr. Robert F. Reigle.

Website: http://www.miam.itu.edu.tr/cmac2017/index.html

Conference Fee: Full conference, 3 days: €60 / 200-Turkish Lira; 2 days: €40 / 140-TL; 1 day: €20 / 70-TL.

(€ international/TL local rates).  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 MIAM Centre for Advanced Studies in Music.

‘I Am Not There’ International Conference on Bob Dylan

18-19 May 2017

Lisbon, Faculty of Social and Human Sciences, NOVA University of Lisbon.
Organization: CETAPS and CESEM

Call for Papers
(until 26 January 2017)

In 1999, Bob Dylan (b. 1941) was included in the ‘Time 100: The Most Important People of the Century’ as a “master poet, caustic social critic and intrepid, guiding spirit of the counterculture generation”. In 2008, the Pulitzer Prize jury awarded Dylan a special citation for “his profound impact on popular music and American culture, marked by lyrical compositions of extraordinary poetic power”. In May 2012, Dylan received the Presidential Medal of Freedom from President Barack Obama. In 2016, the artist was awarded the Nobel Prize in Literature “for having created new poetic expressions within the great American song tradition”. The New York Times (13-10-2016) reported: “Mr. Dylan, 75, is the first musician to win the award, and his selection on Thursday is perhaps the most radical choice in a history stretching back to 1901…In choosing a popular musician for the literary world’s highest honor, the Swedish Academy, which awards the prize, dramatically redefined the boundaries of literature, setting off a debate about whether song lyrics have the same artistic value as poetry or novels”. After the official Nobel announcement, opinions divided the public and critics. CETAPS (Centre for English, Translation and Anglo-Portuguese Studies) and CESEM (Sociology and Musical Aesthetics Research Center), NOVA University of Lisbon, decided to analyze and celebrate the aesthetic, historical, political, and cultural significance of Bob Dylan’s musical, literary and artistic (visual) work, as well as its influence(s).
The initial expression in the conference’s title is the title of the biographical musical drama film I Am Not There (2007, directed by Todd Haynes and co-written with Oren Moverman), which intercuts the storylines of seven different Dylan-inspired characters. According to Haynes, “the minute you try to grab hold of Dylan, he’s no longer where he was. He’s like a flame: If you try to hold him in your hand you’ll surely get burned. Dylan’s life of change and constant disappearances and constant transformations makes you yearn to hold him, and to nail him down. And that’s why his fan base is so obsessive, so desirous of finding the truth and the absolutes and the answers to him – things that Dylan will never provide and will only frustrate” (apud D. Dalton, Who Is the Man?: In Search of the Real Bob Dylan, 2012).

We will privilege comparative and transdisciplinary approaches. Potential contributors are invited to submit a bionote and a 300 word abstract on themes related to any of the following conference tracks:

• Influences in/of Dylan’s music;
• Bob Dylan and awards;
• The ‘power’ of the Nobel prize for literature;
• The alter-egos and personas of Robert Zimmerman/Bob Dylan (Blind boy Grunt, Bob Landy, Tedham Porterhouse, etc.);
• Dylan’s music videos;
• Dylan in/as performance;
• Dylan and religion;
• Art, activism, protest, and social unrest;
• Dylan on stage – presence, performance and liveliness;
• Dylanesque spaces and places;
• Influences in/of Dylan’s visual art;
• Intertextuality in Dylan’s lyrics, music and videos (text-music relationship);
• Intermediality in musical genres and practices;
• Lyrics as/and poetry/literary narratives;
• Dylan depicted (visual biographies, photography, press and record [album] covers, official website);
• Dylan in cyberspace (myspace, facebook, youtube, etc);
• Dylan’s songs;
• Dylan as trend-setter;
• Musical style(s) in Dylan;
• Bob Dylan in the classroom;
• Adaptation of Dylan’s texts as children’s literature;
• Dylan in/and translation;
• Dylan’s fandom;
• Academia and Dylan’s fandom;
• Music as a social and political agent in Dylan’s and other composers’ production;
• Dylan, music and the moving image (cinema, documentary, television, internet);
• The roles and ideologies of musical, literary and artistic criticism: after Dylan;
• Gender and music;
• Listening to Dylan: social behaviors, musical taste, consumption patterns.

Working languages: Portuguese, English, Spanish. No translation will be provided.

Papers and panels on the above themes are invited. However, papers/panels on other subjects related to the above topics will also be considered. Participants will be held to a twenty minute presentation limit. Please submit an abstract and a bio note, by 05 January 2017, to the conference email:

bobdylanconferenceportugal@gmail.com

To ensure prompt notification, please include your e-mail address on your submission. If you are interested in chairing a session, please note this at the top of your abstract.
Registration fee: 80 euros. BA and MA students: 30 euros.

Conference website: https://internationalconferenceonbobdylanportugal2017.wordpress.com/

Coordination: Rogério Puga (CETAPS) e Paula Gomes Ribeiro (CESEM).

ODC2017 Traditions-Transitions

Orpheus Doctoral Conference 2017

Traditions-Transitions

22-23 February 2017

Orpheus Institute, Ghent

 

CALL FOR PROPOSALS

The Orpheus Doctoral Conference 2017, Traditions-Transitions, will explore how different modes of relationships between past and present affect musical performance practice and composition. Further, practitioners and researchers from the fields of music and social sciences will draw on Eric Hobsbawm’s notion of “invented traditions”, examining how traditions are forged, broken or interrupted and how they might be used as sources of renewal.

The conference will feature lectures by Richard Taruskin, Joanna Dudley (tbc), Sigiswald Kuijken and Esteban Buch as well as a musical gallery in which performances and installations addressing the conference topics will be interspersed with moderated discussions between artists and our guest speakers.

We invite researchers, practitioners and artist researchers within related fields to submit proposals that address the broad range of issues involved in the conference topics. Submissions should include, but are not limited to, themes that place strong emphasis on the interplay between social practices and musical performance. We welcome contributions in the form of theoretical papers, performances or a combination of the two.

For more information please visit http://www.orpheusinstituut.be/en/news/2016/10/call-for-proposals-odc-2017.

With the friendly support of the Academy of Creative and Performing Arts of the University of Leiden.

 

GUIDELINES FOR SUBMISSION

Submissions should be sent by email to odc2017@docartes.be and must include:

  • Name, organization (if any), email and phone contact
  • Abstract (max 250 words) + 3 keywords
  • Technical rider for proposals requiring equipment other than A/V
  • List of references (optional)
  • Short bio (max 150 words) and list of main publications/performances/works as well as links to supporting image, audio and video files.

Presentations are limited to 20 minutes. The language of the conference is English.

Call for proposals deadline: 15 November 2016

Notification of acceptance: 15 December 2016

Language, Music, and Computing

Second International Workshop on Language, Music, and Computing

http://lmac.hf-guap.ru/ENG/index.html

Aims of the workshop: to encourage interdisciplinary communication and collaboration of linguists, musicians and IT-specialists in the sphere of some actual problems, among which are the following:
1. Language and music acquisition; influence of music skills on language acquisition and language processing; influence of linguistic skills on music acquisition; relationship between music and language training.
2. Linguistic and music knowledge, their structure and functioning; explicit and implicit knowledge of music and language; similarities and differences in understanding of music and language.
3. Automatic classification of linguistic and music knowledge; formal models of linguistic and music knowledge; musical information retrieval vs. linguistic information retrieval.

This year special topics of the workshop are:
– Formal representation of language and music: differences and similarities
– Sound corpora in music and linguistics

Keynote speakers:
Sabine Iatridou, USA
Sergi Jordà, Spain
Merryl Goldberg, USA
Elena Riekhakainen, Russia

Languages of the conference:
Russian & English (some sessions will be simultaneously translated)

Submission process:

Abstracts from different fields are warmly invited. Presentations will last 20 minutes, followed by a ten minute discussion. Abstracts should be submitted before November 27, 2016. Notification of acceptance follows on January 20, 2017. Abstracts should be 450-500 words long (without any subheadings) and clearly present a research question/aim, critical review of the literature, methodology, results and conclusions. Abstracts should be submitted as a pdf. If you wish to include any specific symbols (such as phonetic transcription), please submit your paper both in DOC and PDF format. We have the intention to select papers for a peer-reviewed special issue.
Please send each abstract both in anonymized and unanonymized forms (with author(s) and affiliation) to the following address: al@hf-guap.ru

Registration fee (includes program, coffee-breaks, post-conference publication, visa support (if needed)):
Early-bird fee (before March 15, 2017) – 2500 rubles, or 45 euros; students – 1000 rubles, or 20 euros;
regular fee (after March 15, 2017) – 3000 rubles, or 55 euros; students – 1500 rubles, or 35 euros.

Important dates:

Submission deadline: November 27, 2016
Notification of acceptance: January 20, 2017
Registration starts: February 1, 2017
Early-bird registration ends: March 15, 2017
Workshop: April 17-19, 2017
Final papers: June 1, 2017
Results of the revision process: July 25, 2017
Publication – Fall 2017

I CONGRESS OF THE BRAZILIAN MUSICOLOGICAL ASSOCIATION (ABMUS) IV INTERNATIONAL SYMPOSIUM OF IBERO-AMERICAN MUSIC (SIMIbA)

I CONGRESS OF THE BRAZILIAN MUSICOLOGICAL ASSOCIATION (ABMUS) IV INTERNATIONAL SYMPOSIUM OF IBERO-AMERICAN MUSIC (SIMIbA)
School of Music of the Federal University of Minas Gerais (UFMG)
October 18-21, 2016
Submission deadline: September 1st, 2016 (12 midnight-BRT)
Curt Lange Archives
Brazilian Musicological Association (ABMUS)

International Musicological Society (IMS)

CALL FOR PAPERS

The I ABMUS/IV SIMIbA Organizing Committee invites researchers from all musicological and music related fields to submit papers and presentations that discuss musicological perspectives, epistemological contributions, paradigms and theoretic-conceptual fields, as well as objects and research methodologies related but not restricted to Iberian sources as well as issues regarding new epistemological contributions to the so-called epistemologies from the South.

The event will take place at the Curt Lange Archives, and several visitations to historical archives in the Minas Gerais region will be organized sampling the primary sources offered to Lange in the development of his ‘creole’ colonial Baroque music theory.

We would thus like to address the challenges faced in the construction of musical discourses and narratives emerging from non-hegemonic views, contributing to the construction of renewed historical, sociological and anthropological perspectives from New World cultures, and its process of cultural and identity construction.

We are also very pleased to announce as our guest speakers:
Dinko Fabris
 (President, IMS; Università degli Studi della Basilicata)
Juan Pablo Gonzalez (Coordinator, ARLAC/IMS; Universidad Alberto Hurtado SJ, Chile)
Manuel Pedro Ferreira (Universidade Nova de Lisboa)

There will also be concerts by the Amazonas Baroque Orchestra and the Ensemble Iberoamericano with Daniela Fugielle.

Submission process: See the web site for complete details. 1 Sep 2016 deadline.

The Brazilian Musicological Association (ABMUS) will also consider papers for publication in volumes 1 and 2/2017 of the Brazilian Musicological Journal, the Association’s official trilingual publication (Portuguese, Spanish and English).

Templates for all submission formats are available at our website: www.abmus-simiba.site88.net — Visit this site for the complete Call for Proposals.

Music in the Ibero-Afro-American Universe: Interdisciplinary Challenges

 

7th UFRJ INTERNATIONAL SYMPOSIUM ON MUSICOLOGY

& II MEETING OF THE BRAZILIAN ASSOCIATION FOR MUSIC THEORY AND ANALYSIS

“Music in the Ibero-Afro-American Universe: Interdisciplinary Challenges”

 

Federal University of Rio de Janeiro (UFRJ)

Rio de Janeiro, October 24–27, 2016

 

The VII SIM_UFRJ “Music in the Ibero-Afro-American Universe” proposes to approach this theme in broad scope of diverse cultural traditions, contexts and historical times, and of special interest to the II TeMA_Meeting is to promote de debate on the “Interdisciplinary challenges between Musicologies and Analytical Theories: Dialogues, Frontiers, and Intersections.” Discussion issues: issues and trends in the Ibero-Afro-American musicologies; musicologies and analytical theories: dialogues, frontiers, and intersections; critical and analytical theories and methods in the disciplinary knowledge; the field of music and the challenges of intra-, inter-, multi-, and trans-disciplinarity; analytical theories and interculturalities; identity and otherness, representation and cultural translation; interdisciplinary studies: music, film, visual arts, theatre, literature, philosophy, history, sociology, and cultural anthropology, cultural dialogues, circulation, transfer, reception, and appropriation of ideas, repertories, aesthetics, styles, techniques, musical practices and ideologies; heritage and collections; musics of written, oral, performing traditions; culture, society and politics; institutional, scientific, artistic, and cultural policies.

 

IMPORTANT DATES

Abstract submission deadline: September 5, 2016

Notification to successful applicants: September 20, 2016

Submission of the full version of the paper for publication in the Proceedings: November 30, 2016

 

SUBMISSION GUIDELINES

Proposals (abstract 300-500 words, and short bio) may be written in Portuguese, Spanish or English, and submitted as attached file (*.doc or *.rtf), indicating the preferred attendance to each conference: SIM-UFRJ to the e-mail sim@musica.ufrj.br or TeMA_Meeting to the e-mail diretoria@tema.mus.br. In case the proposal fits the full scope of the joint conference, it must be sent simultaneously to both e-mails.

 

Program Committee Chairs

Maria Alice Volpe volpe@musica.ufrj.br

Ilza Nogueira nogueira.ilza@gmail.com

 

More info: http://www.musica.ufrj.br/ and http://tema.mus.br/.

Also https://www.facebook.com/events/675180942635190/