The 8th Art of Record Production Conference, July 12th – 14th 2013, Université Laval, Québec

Call for Papers

The 8th Art of Record Production Conference
July 12th – 14th 2013
Université Laval, Québec

Rewriting The Rules Of Production

The conference panel invites proposals for papers on the following themes:

Creative Practice In The Recording Studio

This stream is concerned with all aspects of creative practice in the studio: performance (e.g. the differences between the concert hall and the studio, new forms of performance activity), engineering and production (e.g. the creative abuse of technology, editing as creative practice), composing (e.g. issues of multiple authorship, the studio as a composing tool), improvising (e.g. the constraints and opportunities associated with improvisation in a controlled environment, improvising and overdubbing),  and also more hybrid forms of creative practice such as what we might call comprovisation, the way that improvisation becomes part of the compositional practice.

The Development of Recording Technology

How much have the 'rules' of production in the recording studio been written by the product manufacturers and software developers? The classic model of technological 'progress' as a logical and chronological progression has been enhanced with more nuanced discourses (such as Paul Théberge's Any Sound You can Imagine) in the past twenty years, but do recent changes require further revisions to be made? How has the notion of audio quality, both in the manufacturing sector and with the broader listening publics, changed over the years? And what of the ways that terms such as 'vintage', 'analogue' and the 'future of audio' have become embedded in the language of technology? With the waters of supply and demand models muddied by issues of gatekeeping, experts and rookies, the role of education and power of large suppliers to distort the economic system, this stream welcomes contributions that help us to navigate these complicated waterways.

Alternative Cultures of Production

The mainstream of the academic narratives of study in our field focus on the United States and the United Kingdom in the late twentieth century and the activities of a predominantly white, male, rock music community working in large scale recording studios for the larger record companies. This stream seeks to highlight academic work that focuses on the 'other' in its many and varied forms. These alternatives may be based on geography, nationality, chronology, race, gender, sexuality, musical style, production techniques, economic model or some other basis. They may be the mainstream itself in circles outside this anglo-centric narrative or they may be based on smaller niche communities. The aim of the stream is to incorporate and integrate the widest possible range of approaches and subject matter to create a more richly varied and nuanced academic field of study that doesn't fall into the mono-culture traps of traditional musicology.

* * * * *

The conference panel would like to invite delegates to submit ideas for presentations exploring aspects of music production, performances and practical demonstrations on any topic relating to the Art of Record Production.

We welcome work from any relevant academic perspective, including but not limited to popular music studies, ethnomusicology, the study of performance practice, communication and media studies, cultural studies, historical musicology, the history of technology, ergonomics, acoustics and psychoacoustics, music theory, music cognition, music and music technology education, and the philosophies of music, mediation and technology. Please include a note on methodology where appropriate, and an indication of the theme your work is intending to address.

Papers or demonstrations that require recording / studio / 5.1 playback facilities are also encouraged but selection will be subject to a feasibility study by the conference panel at Université Laval, Québec.

Proposals for individual papers and poster presentations should not exceed 500 words and should be in Word Document, Rich Text File or Text file formats (doc, docx, rtf or txt files).

Submissions by email to kji@artofrecordproduction.com

The deadline for proposals is September 24th 2012

Katia Isakoff
Director of the Art of Record Production Conference

Gérald Côté
Host of the 8th Art of Record Production Conference

Serge Lacasse
Host of the 8th Art of Record Production Conference

Sophie Stévance
Host of the 8th Art of Record Production Conference

Simon Zagorski-Thomas
Director of the Art of Record Production Conference

Job Vacancy: Professor & Associate Dean (Research) at the Sydney Conservatorium of Music, Australia

 Dear all,

 

The Sydney Conservatorium of Music at the University of Sydney is currently seeking to appoint a Professor & Associate Dean (Research).  Please see below for details.  For further information and to apply, visit sydney.edu.au/positions and search by the reference number 865/0512.

 

PROFESSOR AND ASSOCIATE DEAN (RESEARCH)

The University of Sydney is Australia's first university and has an outstanding global reputation for academic and research excellence. It employs over 7500 permanent staff supporting over 49,000 students.

 

As the first conservatorium in Australia, the Sydney Conservatorium of Music has strong research activity in the fields of creative performance work, education, composition, musicology and sound. It seeks to appoint a distinguished academic as Associate Dean (Research) to build on its established strengths.

 

Under the broad direction of the Dean, Professor Karl Kramer, you will have responsibility for the overall academic leadership of the conservatorium in respect of all aspects of research and performance. With vision and enthusiasm you will foster activities designed to promote the conservatorium's research achievements within the scholarly and musical communities, both nationally and internationally.

 

A scholar of international distinction, you will provide leadership in fostering excellence in scholarship and in policy development. You will have oversight of the Research Higher Degree programs and will place particular emphasis on strategic planning and policy formulation with the aim of building the faculty's research capacity and performance.

 

While the focus of the position is academic management it is expected that you will continue to contribute to research and scholarship in your area of expertise. You will also chair meetings of the conservatorium's research committees, and liaise with other disciplines in relation to the management of policy and resources available for research initiatives.

 

To succeed, you will have proven academic management and leadership capabilities with experience in the maintenance of academic standards.  Additionally, you will have a record of original and innovative contributions to research, learning and teaching.

 

Term

The appointment to the position of Associate Dean will be for a period of 4 to 5 years (negotiable, and with the possibility of renewal), following which the successful candidate will revert to a continuing role at professor level.

 

Remuneration

The successful candidate will be offered an attractive remuneration package commensurate with the responsibilities of the position and the candidate's relevant experience and qualifications.

 

CLOSING DATE: 12 September 2012 

 

The University is an Equal Opportunity employer committed to equity, diversity and social inclusion.  Applications from equity target groups and women are encouraged. The University reserves the right to appoint by invitation and not to proceed with any appointment for financial or other reasons.

ISPS 2013 | Vienna | 28-31 August 2013

CALL FOR PAPERS
_________________________

ISPS 2013
Performing Together

28 | 31 August 2013
Vienna | Austria

www.performancescience.org
_________________________


The next International Symposium on Performance Science will be hosted
by the University of Music and Performing Arts, Vienna (MDW), on 28-31
August 2013.

The ISPS 2013 theme, Performing Together, is intended to encourage
discussion and debate on collaborative performing activities of all
types and between various constituents. Specific research topics,
fields of study, and methodological approaches have been left open
intentionally to encourage interdisciplinary exchange.

Submissions detailing original research are invited from across the
performing arts and other performance disciplines, as well as the
natural, social, and applied sciences.

KEYNOTE SPEAKERS

Tecumseh Fitch
University of Vienna (Austria)

Peter Keller
University of Western Sydney (Australia)

Emma Redding
Trinity Laban Conservatoire of Music and Dance (UK)

Alan Wing
University of Birmingham (UK)

IMPORTANT DATES

30 November 2012: Paper/poster abstract submission deadline
15 January 2013: Registration for ISPS 2013 opens
1 February 2013: Notification of submission decision
1 March 2013: End of early registration
15 April 2013: Deadline for papers for the ISPS proceedings
28 August 2013: Start of ISPS 2013

SUBMISSIONS

Submissions are invited for

- Spoken papers
- Poster presentations
- Symposia and workshops

Detailed instructions for submissions are available via the conference
website: www.performancescience.org. Submissions should be made
electronically to cps@rcm.ac.uk by 30 November 2012.

GRADUATE AWARD

The Scientific Committee is keen to encourage the attendance of
students, as well as established researchers and practitioners.
Therefore, the ISPS 2013 Graduate Award will be offered to one
graduate student to present a keynote paper at the conference.

REVIEW PROCESS

Each submission will be reviewed anonymously by the Scientific
Committee according to its originality, importance, clarity, and
interdisciplinarity. Corresponding authors will be notified by email
of the Committee's decision by 1 February 2013.

CONFERENCE PUBLICATION

Accepted paper, poster, and symposium/workshop submissions will be
published as 6-page papers in the Proceedings of ISPS 2013 (complete
with ISBN), available in hardcopy at the conference and subsequently
downloadable via the conference website. Details of the procedure and
format for submitting published papers will be provided when authors
receive notification of acceptance. Final papers for publication will
be due on 15 April 2013.

REGISTRATION

Full and one-day registration options are available. Online
registration will open on 15 January 2013.

For further information about the venue, submissions, graduate award,
and registration, visit the conference website:
www.performancescience.org.

The official language of the conference is English.

__________________________________________

Aaron Williamon
Royal College of Music, London

Werner Goebl
University of Music and Performing Arts, Vienna

The Oxford Handbook for Music Education

THE OXFORD HANDBOOK OF
MUSIC EDUCATION
Edited by Gary McPherson and Graham Welch
Order online at www.oup.com/us and enter promotion code 28862 to save 20%

Music education takes place in many contexts, both
formal and informal. Be it in a school or music studio,
while making music with friends or family, or even
while travelling in a car, walking through a shopping mall or
watching television, our myriad sonic experiences accumulate
from the earliest months of life to foster our facility for making
sense of the sound worlds in which we live. The Oxford
Handbook of Music Education offers a comprehensive overview
of the many facets of musical experience, behavior and
development in relation to this diverse variety of contexts.
While the first volume primarily focuses on children during
school-age years, this second collects an international list of
contributors to explore how music learning takes place
outside of the traditional classroom environment. Discussing a
range of issues such as music education for the special needs
population, music learning in adulthood, and music learning
through media and technology these chapters help to
broaden conceptions of music and musical involvement.
Whether they are used individually or in tandem, the two
volumes of The Oxford Handbook of Music Education update
and redefine the discipline, and show how individuals across
the world learn, enjoy and share the power and uniqueness of
music.

Features
- Features contributors at the forefront of music education
from around the world
- Recognizes that music education occurs in many contexts,
both formal and informal
- Updates and redefines music education as a discipline
through innovative principles and approaches to music
learning and teaching