MUSIC AND MATERIAL CULTURE. FROM MEDIEVAL TIMES TO THE PRESENT One-Day Workshop University of Cambridge, 7 December 2016 CALL FOR PAPERS During the last decade, many disciplines have been increasingly oriented towards the study of material culture, exploring the relations between objects and people. From different perspectives within the humanities and social sciences, this 'material turn' has emphasized both the materiality of objects, and their social life as bearers of cultural meaning. Music and sound studies have also seen a growing interest in objects and materiality, with approaches ranging from the relations of music and space, the technologies of sound production and consumption, and the materiality of musical notation, to the raise of 'materialism' as opposed to the 'idealism' that governed traditional musicology. However, these developments have taken place in a generally uncoordinated manner, and the purpose of this conference is to bring them together in such a way as to deepen knowledge and promote discussion of objects and materiality in music and sound studies. This workshop proposes to create a bridge between material culture studies and musical studies, exploring the wide range of objects that interact with musical practice and consumption, sound production, and the sense of hearing. The workshop has a wide regional and historical scope, ranging from Medieval times to the present. Some of the topics that will be addressed in the workshop are: –The theoretical and methodological challenges of materialism in musicology –The social life of musical instruments: a new organology –Scientific knowledge and ideas of the material in music and sound –The body and the senses –Mobility and cultural exchange –Sonic materiality and immateriality of music Abstracts of no more than 350 words should be sent both to email@example.com and firstname.lastname@example.org by August 22, 2016. Please include title, name, institutional affiliation, email address, and a short biography (150 words). The Committee will notify applicants of the outcome by September 5, 2016. We welcome submissions for twenty minutes papers in English and in French. Due to time constraints, only a limited amount of papers will be selected. If you have any further queries, please contact the organising committee by emailing email@example.com or firstname.lastname@example.org. Organising Committee: Amparo Fontaine (University of Cambridge) Vera Wolkowicz (University of Cambridge) Violeta Nigro Giunta (CRAL/EHESS) Nicolò Palazzetti (CRAL/EHESS)
* DEADLINE 19 JUNE 2016*
International sound studies conference organised by NuSom – Research Centre on Sonology
22-25 November, 2016 São Paulo
For the past few years, we have seen the development and appearance of research departments, books, journals and other forms of scholarship and institutional endeavours dedicated to what we now know as sound studies. This encompasses the study of warfare and politics of sound; cultural and technological critiques; sound art and associated praxis; urban phonography and acoustic ecology; sonic epistemologies; new musicology and historically situated reflections.
In this sense, we feel that is high time to promote work done both nationally and in Latin America. In doing so, we hope to establish fruitful dialogues with researchers coming from other parts of the world, and create a platform for an interdisciplinary, deconstructive and archaeological approach that expands the discussion on the above thematics.
The terminology of sound studies itself – ‘SONOLOGIA’ – here reflects the local academic culture and our interest in having in this event (besides the already above mentioned), researchers from different areas of study: music technology; anthropology; philosophy; gender studies; cultural, performance and media studies; experimental, popular and contemporary music.
Themes and topics
The ‘out of phase’ theme, while referring to a technical and theoretical jargon in sound, encompasses a strong metaphorical stance towards the need to incorporate views that are of out-of-sync or in opposite polarity regarding a possible familiarity in contemporary sonic theory and practice. Thus, we are inviting submissions that can refer to, but are not limited to, the following topics:
- postcolonial historiographies that counter euro-american narratives and describe the importance of other geographically situated musical/sonic practices, not only in the development of a regional experimental/contemporary music scene, but also in the wider history of such practices;
- practice-based artistic research and/or musicological reports of music, sound art (improvisation, composition, performance, installation, radio, field recording, performance, site-specific endeavours) or other post-medium/hybrid artwork;
- case studies that describe and reflect on the processes involved in the transfer of knowledge, technology and creative practices between different geographical realities (relating to music/sound);
- critical insights into the politics of sound: demarcation and regulation of territories and communities, online and public activism, noise abatement, sonic warfare and torture;
- research projects or case studies that promote the accessibility of music technology software/hardware, through repurposing old/novel technologies or using open-source platforms;
- discussions related to technical, social and poetic aspects regarding the role of technology in music and sound art production;
- inter or trans-disciplinary methodological papers that describe the study of sound/music and its pertinence to other fields;
- ethnographic inquiries that describe the national and institutional frameworks that support contemporary/experimental music and sound art making;
- expanded epistemic and multimodal accounts of knowing the world through feminist, queer, trans, race or(and) other non-normative/binary listening perspective(s);
- inquiries that problematise discursive and practical tropes in contemporary sonic artworks that deal with place, nature and human/non-human entities;
- discussion(s) regarding the mediation of composers’/artists’ presence (authorial and physical) in making/presenting music or art;
Individual papers and presentations
As stated above, we wish to bring a diverse of range of researchers, coming from different disciplines and locations in order to present original scholarship from a multi-vocal and global framework. All proposals will be submitted to a review process by an appointed scientific committee.
Please submit your extended abstract (in English) of max. 1 page full and half (A4) and a short bio (50 words) no later than June 5th, 2016 by 11:59pm Pacific Standard Time (GMT -3) via email@example.com. Please allow 24-48 hours for confirmed reception.
Selected presentations will need to submit camera-ready papers (in English) by October 16th with a provided (by us) ODT/ MS Word templates (up to 8 pages long in A4 format).
Selected submissions will be published in the conference proceedings, under an ISSN reference and archived using the OJS platform.
After the conference, 12 papers will be considered for a special edition of Interference: A Journal of Audio Culture, guest-edited by Rui Chaves and Lílian Campesato.
We are open to different types of presentations, that reflect the critical and creative necessities of theoretical or practice-based research. The official language of the event is English, although simultaneous interpreting – regarding English to Portuguese – will be available to all. In certain cases, the presenters may request simultaneous interpreting for Portuguese to English.
Submission: June 19, 2016 by 11:59pm Pacific Standard Time (GMT -3)
Selected papers announcement: July 24, 2016
Camera-ready paper/program note deadline: October 16
For any questions regarding the submission process, please contact us at firstname.lastname@example.org