Fifth International Symposium on
Music/Sonic Art: Practices and Theories
MuSA 2014 – Karlsruhe (IMWI)
26-29 June, 2014
Hochschule für Musik, Karlsruhe –
Institut für Musikwissenschaft und Musikinformatik (IMWI)
Am Schloss Gottesaue 7, 76131 Karlsruhe, Germany
FIRST CALL FOR PAPERS:
We are pleased to announce the Fifth International Symposium on Music and Sonic Art: Practices and Theories (MuSA 2014), 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/). MuSA 2014 is also supported by Middlesex University, London. The dates of the Symposium are 26-29 June, 2014.
Keynote speaker: Rolf Inge Godøy (University of Oslo)
Proposals for sessions and individual papers for the Fifth 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 (30 minutes + 15 minutes for discussion). The Symposium committee encourages presentations in which practice forms an integral part of the research. All proposals will be 'blind' peer-reviewed. The Symposium language will be English. Previous themes and topics can be seen at: musa2012.zilmusic.com and musa2013.zilmusic.com.
THEME AND TOPICS:
The principal aim of MuSA 2014 is to advance interdisciplinary investigations in – as well as between – music and sonic art. MuSA 2014 continues to promote this aim by probing the role of embodied approaches through this year's theme: Exploring embodiment in music and sonic art
We invite submissions on the following, and other related topics:
• Body movement and emergence of meaning;
• Embodied approaches to creativity;
• Kinematics and haptics as background for music and sonic art research;
• Gesture and expression;
• Methods for embodied analysis;
• Phenomenology of the performing body;
• The body within socio-cultural contexts of music and sonic art;
• Pedagogical contexts for embodied approaches to music and sonic art;
• The body in interpersonal sound-based communication;
• Ecological, biological, neuroscientific and evolutionary approaches to embodiment;
• Historical roots of embodied approaches in theory and practice;
• Technology and embodiment;
• Critical discourses of embodiment in practice and research;
• Embodied aesthetics;
• Embodiment in collaborative research;
In addition, MuSA 2014 will devote one day to the specific theme: Re-thinking the Musical Instrument
Within the thriving discipline of musical performance studies, there is a general tendency to speak of 'the performer' as an abstract category without taking into account the kind of musical instrument that mediates the act of music making and music as a temporally emergent, sounding phenomenon. In reality, different kinds of musical instruments involve different expressive means (and at times different expressive/artistic aims), engender different phenomenologies of performance making, and generate different kinds of performer identities. The nature of the embodied interaction with different instruments in composition and performance, and the expressive and communicative meanings that emerge as a result of such interaction constitute a largely unexplored research territory.
The purpose of this one-day event within MuSA 2014 is to re-think the nature of the relationship between music making and the musical instrument. Some of the topics that will be explored include:
• The acoustical, musical, cultural, symbolic, and ritualistic qualities of musical instruments and the relationships between these (theoretically) distinct kinds of qualities;
• The discourses that exist in relation to musical instruments in different genres, styles and traditions;
• The gestural affordances and ergonomic principles of musical instruments and the musical meanings that emerge as a result of these affordances and principles;
• Performers, improvisers and their instruments: phenomenologies of music making in the context of particular kinds of musical instruments;
• Composer and instruments: the material, acoustical and expressive qualities of instruments and their relationship to musical languages composers create;
• Relationships between creativity in performance, nature of musical interpretation and musical instruments;
• The role of the musical instrument in the creation of musical identities;
We invite proposals on any research area related to the nature and use of western acoustical instruments, traditional ethnic instruments and digital/virtual instruments:
• for paper presentations (20 +10 minutes);
• lecture-demonstrations (30+15 minutes);
Please submit an abstract of approximately 250-300 words as an e-mail attachment to email@example.com
As contributions will be 'blind' peer-reviewed, please do not include information that might facilitate identification from the 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 Friday, 21 March 2014. Notification of acceptance will be sent by 15 April.
Please specify whether you wish your abstract to be considered for the one-day 'Re-thinking the musical instrument' event.
The Symposium fees are: €120 for delegates, €100 for presenters and €60 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, Music Department) – firstname.lastname@example.org
Prof. Dr. Thomas A. Troge (IMWI, Karlsruhe) – email@example.com
Prof. Dr. Denis Lorrain (IMWI, Karlsruhe) – firstname.lastname@example.org
Prof. Dr. Paulo Ferreira-Lopes (Universita Cattolica, Porto/IMWI, Karlsruhe) - email@example.com
Dr. John Dack (Middlesex University, Art & Design/Science & Technology) – firstname.lastname@example.org
Dr. Miroslav Spasov (Keele University, Music Department) - email@example.com
Timothy P. Schmele (IMWI, Karlsruhe) - firstname.lastname@example.org
Administrative support: Gundi Rössler (IMWI, Karlsruhe) –
Dr John Dack - Senior Lecturer (Music and Technology)
PhD, MMus, MA, MSc, PGDip, BA (Hons)
The Grove Building, room 226
London NW4 4BT
t: +44 (0)20 8411 5109
f: +44 (0)20 8411 3452
Please note that Middlesex University's preferred way of receiving all correspondence is via email in line with our Environmental Policy. All incoming post to Middlesex University is opened and scanned by our digital document handler, CDS, and then emailed to the recipient.
If you do not want your correspondence to Middlesex University processed in this way please email the recipient directly. Parcels, couriered items and recorded delivery items will not be opened or scanned by CDS. There are items which are "exceptions" which will be opened by CDS but will not be scanned a full list of these can be obtained by contacting the University.