CFP - 9th Art of Record Production Conference: Oslo Dec 4-6 2014

The 9th Art of Record Production Conference:

Record Production in the Internet Age 

December 4-6, 2014

University of Oslo

Our conference panel is pleased to invite proposals for papers dealing with the following broad thematic areas:

A. Recording aesthetics

The short yet intensive history of record production has revealed an indisputable relationship between recording technology and the finished sound recording. Magnetic tape became a harbinger of a technological revolution in the 1950s, while digital technology made its mark on the sound of the 1980s and, in more recent years, digital audio workstation (DAW), which has had a profound effect on the musical output.

• How do we theorise and analyse the musical output of the historical as well as the contemporary use of music technology in recording studios, as well as in concert settings?
• What kind of recording aesthetics has grown out of the new virtual musical arenas (such as the Internet), as a consequence of new multi-medial contexts?

Of particular interest are papers that address aspects of acoustic versus electronic sound (similarities and differences, affordances, perception, use of virtual sound sources etc), studio versus laptop production, and live versus recorded formats.

B. Musical Ownership and Authorship

Contemporary culture is characterized by changing means and modes of music production, distribution and consumption. This is partly due to the new musical arenas of the Internet. A crucial issue however is the potential mismatch between these new practices and existing intellectual property law.

• How might we better describe and understand the relationship between law and practice? Should the jurisdiction within this field be altered?
• How do “alternative” notions of ownership and authorship, based on borrowing and sharing, relate to the music-economical means for survival within the music industry?
• How is the fair use doctrine enacted in practice, what are the implications of this practice for music makers and scholars, and what should be considered to be “fair” in given contexts?

We are particularly interested in the ways in which the attribution of authorship is legitimized in cases where a music recording is a collaborative product, either in the form of a performer/producer/songwriter/engineer-collaboration or a virtual “collaboration” through music recycling. To what extent, then, is the traditional “author figure” a relevant concept in collaborative contexts?

C. Virtual archives and new platforms for distribution

The advent of digital technologies has created new environments for the distribution and reception of music. As a consequence, user patterns, music delivery platforms, distribution and business models have dramatically changed over the last decade, and continue to evolve. Among the questions addressed in this section are: 

• What are the roles of archives and how do we conceptualize this in a situation where listeners may have access to most of music history's record productions 24/7/365?
• How do digital platforms for online communication and distribution, such as streaming services and social media, influence the use and dissemination of music in contemporary music culture?
• In which ways do the various digital platforms for music distribution impact on the production of music (formats, recording aesthetics, sound quality etc.)?

The relationship between professional and user-generated content in this development is of paramount importance. To this end, we ask: How do professional and user-generated services interact?

D. Music Production in a Transcultural Space

Music production, both in professional studios and home recording facilities, are increasingly implicated in transcultural contexts. Of particular relevance is the use of interactive media by musicians and groups in both regional and international contexts. In recent years, new forms of networking have afforded forming and sustaining new communities across geographical and stylistic boundaries.

• What are the characteristics of the musical trends, performances, production practices and approaches to recording typical of such diverse, globally distributed communities?
• Moreover, if transculturalism emphasizes the significance of continual interactivity among certain communities, how do recordings express this? To what extent do such recordings reflect cultural diversity?
• Is there a meaningful relationship between particular places and particular sounds? What are the musical or sonic components forming such a regional identity?

The study of record production reveals divisions based on cultural, racial, gendered, or socio-economic classifications in countless ways. This section seeks to address the fascinating phenomena of recording practices, traditions, and productions within a transcultural context.

***

In addition to the above themes and topics, we also welcome proposals for presentations and posters exploring aspects of music production, performances and practical demonstrations on other topics related to the Art of Record Production.

We invite contributions from any relevant academic perspective, within and outside fields, such as popular music studies, ethnomusicology, performance studies, 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 (A, B, C or D) your work is intending to address. In addition to this we would also like a short indication of your institutional affiliation.

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 the University of Oslo.

Proposals for individual papers and poster presentations should not exceed 300 words and should be in Word Document, Rich Text File or Text file formats (doc, docx, rtf or txt files).

Submissions by email to cfp@artofrecordproduction.com

Presenters at the conference must be members of the Association for the Study of the Art of Record Production. It costs £15 (about US$25, CAN$28, AU$28 or NOK155) for the annual subscription and you can join at: http://www.artofrecordproduction.com/index.php/join-asarp

The deadline for proposals is April 15, 2014.

 

Anne Danielsen                       Host of the 9th Art of Record Production Conference

Stan Hawkins                           Host of the 9th Art of Record Production Conference

Hans T. Zeiner-Henriksen     Host of the 9th Art of Record Production Conference

Katia Isakoff                              Director of the Art of Record Production Conference

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

OICRM (Université de Montréal-Université Laval-Canada) Postdoctoral fellowship scholarship competition 2014-2015 - English announcement

Chercheure postdoctorale
Coordonnatrice générale et scientifique de l'Observatoire
interdisciplinaire de création et de recherche en musique (OICRM)
Université de Montréal
Faculté de musique

C.P. 6128, Succ. Centre-ville
Montréal, QC H3C 3J7
514-343-6111 poste 2801
www.oicrm.org<http://www.oicrm.org>

As part of its general scholarships program, the OICRM launchs the
2014-15 Postdoctoral fellowship scholarship competition in musicology,
ethnomusicology, composition, instrumental didactics, or musical
pedagogy for students who will be completing their fellowship under
the supervision of a regular member of the OICRM.
At Université de Montréal and at Université Laval, instruction is
given in French; it is therefore important that students demonstrate a
good knowledge of French (spoken and read).
The fellowship must start between September 1st, 2014 and February
1st, 2015. It will take place in a relevant research environment,
which must obligatory include a laboratory or/and team research of the
OICRM. Candidates must have
received their doctorate after September 1st, 2010 and before the
beginning of the fellowship).

The scholarship has a value of $22,000 per year, for a maximum
duration of 24 months (2 years).

For candidates with Canadian citizenship (or permanent resident
status), the Postdoctoral scholarship is granted insofar as the
candidate agrees to apply for a scholarship from the FQRSC and the
SSHRC for the second year of his or her fellowship. The OICRM
Postdoctoral scholarship may be combined with other scholarships or
research contracts with the exception of FQRSC and SSHRC
excellence-based grants, up to a maximum amount of $45,000.

For foreign candidates, the Postdoctoral scholarship may be combined
with other scholarships or research contracts up to a maximum amount
of $45,000.

Students who have obtained a doctoral degree from Université de
Montréal cannot apply for the fellowship at Université de Montréal in
the same discipline, just as students who have obtained a doctoral
degree from Université Laval cannot apply for the fellowship at
Université Laval in the same discipline.

The OICRM Postdoctoral scholarship is intended to support the career
development of a researcher who has recently obtained a doctoral
degree. Candidates must show, through their project, that they are
undertaking new research, are publishing or will publish the results
of their research, are creating or extending their network of
research-based resource people, will enrich their teaching experience,
and will contribute to furthering and broadening the field of research
of the researcher, research team, or host lab. Selected projects will
be those that meet a maximum of the set goals.

Proposed projects must be defined in terms of the OICRM's lines of
research: Doing, Learning, Understanding ((cf.
http://oicrm.org/axes-de-recherche/), and must integrate with a
research or research-creation project carried out by a regular member
of the OICRM.
Candidates do not need to be members of the OICRM at the time of
application. Applications of candidates must include:
* A duly completed application form (available at www.oicrm.org
<http://www.oicrm.org/> and at the OICRM office, A-769)
* A letter of motivation justifying the choice of fellowship
place (s) and explaining how the candidate will participate in the
scientific activities of the OICRM.
* Three letters of reference: one from the director of research
providing details of the supervision conditions of the fellowship, as
well as the financial support offered to the candidate (form available
at www.oicrm.org<http://www.oicrm.org/>); one from the director of
thesis: one from a researcher who is not a member of the OICRM.
* A recent transcript from the last program of study
* A digital copy of the doctoral thesis or, for those who are
still ending their doctoral studies: some chapters of their thesis and
a recently published article.

Candidates must at the same time also submit an application for
admission to the Faculty of Graduate and
Postdoctoral Studies at the host university.

Application deadline: Friday 9 May 2014

Completed applications must be sent in numerical format (pdf) to the
following email address:
liouba.bouscant@umontreal.ca<mailto:liouba.bouscant@umontreal.ca>


Best regards,


Liouba Bouscant

Chercheure postdoctorale
Coordonnatrice générale et scientifique de l'Observatoire
interdisciplinaire de création et de recherche en musique (OICRM)
Université de Montréal
Faculté de musique

C.P. 6128, Succ. Centre-ville
Montréal, QC H3C 3J7
514-343-6111 poste 2801
www.oicrm.org<http://www.oicrm.org>

ICMC/SMC 2014 Summer School on Computational Music Analysis

SMC / ICMC Summer School 2014

Topic: Computational Music Analysis

Athens, Greece, 11 - 14th September, 2014

http://www.icmc14-smc14.net/program/summer-school.html



The Sound and Music Computing summer school promotes interdisciplinary
education and research in the field of Sound and Music Computing. It
is aimed at graduate students working on their Master or PhD thesis,
but it is also open to any person carrying out research in this field.
The 2014 SMC Summer School will take place in Athens, Greece, right
before the SMC/ICMC Conference, between the 11th and 14th of September
2014.

The topic of the summer school is Computational Music Analysis.

Maximum 20 participants will be selected to attend. If you are a PhD
student in music information retrieval, musicology, music, music
psychology, computer science, engineering, and related disciplines,
you might find this summer school particularly exciting and helpful
towards the completion of your degree. If you work in MIR, you might
find that this year's musicological orientation of the summer school
gives a new perspective to your current work. If you are a computer
scientist or engineer, you will gain an understanding of music
analysis methodologies and how to apply your skills in the analysis of
music.

To apply: Please send a CV together with a covering letter explaining
your motivation and experience to Christina Anagnostopoulou
(chrisa@music.uoa.gr).

Deadline for applications: 30th of April, 2014. Applicants will be
notified by the 15th of May 2014 whether their application has been
successful, and will be required to register to the Summer School by
June 1st, in order to secure their place.

The cost of attending the summer school, including lectures, training
sessions, laboratory material and coffee breaks is 240€.

Tutors include the following in alphabetical order:

Christina Anagnostopoulou, University of Athens, Greece (contact person, chair)

Emilios Cambouropoulos, Aristotle University of Thessaloniki, Greece

Darrell Conklin, University of the Basque Country, UPV/EHU, Spain

Olivier Lartillot, Finland

Alan Marsden, University of Lancaster, UK

Aggelos Pikrakis, University of Peiraeus, Greece

Costas Tsougras, Aristotle University of Thessaloniki, Greece

George Tzanetakis, University of Victoria, Canada

Anja Volk, Utrecht University, Netherlands

Summer School organising committee:

Christina Anagnostopoulou (chair), Emilia Gomez, Aggelos Pikrakis, Anja Volk.

Further information: Please email Christina Anagnostopoulou on
chrisa@music.uoa.gr

Deadline Approaching - CfP Music and/as Process 2nd Annual Conference

With apologies for cross-posting. The deadline for this Call for
Papers is approaching in three weeks.

The 2nd Annual Conference of the Music and/as Process Study Group

31 May - 1 June 2014 • Canterbury Christ Church University

We are delighted to announce the date of the Music and/as Process
Study Group Annual Conference for 2014.

The 2nd Annual conference of the Music and/as Process study group will
build on the success of the first annual conference which took place
in June 2013 in Huddersfield. This event drew delegates engaged in
traditional and practice-led research from four continents.

The annual conference of the study group aims to bring together the
current study group members, along with other scholars in the field of
Music and/as Process to examine current research in the topic and set
the agenda for the coming year. The 2nd Annual conference also aims to
strengthen links between scholars in the UK and the US through the
concurrent events taking place at the nief-norf Summer Festival in
Furman University (http://www.niefnorf.org/overview). A further aim of
the conference is to widen the breadth of discussion and participation
in the Music and/as Process study group, as such papers addressing
aspects of process that extend the understanding of the topic beyond
contemporary music to historical and non-western musics are
particularly welcomed.

The conference proposes to bring together practitioners and
researchers to discuss music that 'performs' process. The conference
will highlight the different types of process that are undertaken in
and by music and creative work and situate process in music as
different from compositional technique; a facet of the performance,
experience, and the temporal dimension of music. It will also discuss
and document some of the different ways that composers and performers
approach and discuss process in practice.

Call for Proposals:

Proposals for participation are welcome from researchers in all areas
of musicology.

Themes might include, but are not limited to:

• Process as musical or compositional material
• Process in practice: performance of and performance strategies
for process
• Listening processes: aesthetic, cognitive and psychological perspectives
• Music and process in education and/or health
• Musicological and analytical processes

Proposals of up to 300 words are invited for 20 minute presentations
with 10 minutes questions. In addition, practice-led research
proposals are always welcome and encouraged. These may take the form
of a 30 minute presentation split between practice, speaking and
questions as desired by the proposer, or pieces which could be
performed as concert items. In the case of these presentations, please
supply a full list of equipment needed for the presentation/piece.
Where necessary (in the case that the proposal is not made by a
performer, or when the composer is not the performer) please specify
all performers or the necessary personnel in the proposal
(unfortunately the conference is not able to cover any related fees or
travel costs).

Please send proposals to Dr Lauren Redhead at Canterbury Christ Church
University: <lauren.redhead@canterbury.ac.uk>

Deadline for proposals: Saturday, 15th February 2014

JOB VACANCY Newcastle University Music, closes 4th February.

JOB VACANCY: Teaching Fellow in Music, Newcastle University.

Salary: £28,132 - £29,837 (with potential progression to £36,661)
Closing Date: 4 February 2014

The International Centre for Music Studies (ICMuS) wishes to appoint a
Teaching Fellow in Music in this dynamic and research-intensive
subject area based in the School of Arts and Cultures.

You should have a background in ethnomusicology, music sociology,
popular music studies or a cognate discipline, and applications from
candidates with a research specialism or performance experience in the
traditional music of the British Isles or Ireland will be particularly
welcome.

You should ideally have an established track record of research and
teaching in the critical understanding of traditional or popular
musics. You will be expected to show evidence of an existing research
trajectory that would support the scholarship element of the role and
experience of learning and teaching in a tertiary educational context.
A part-time appointment may be negotiable for an outstanding candidate
wishing to retain another minor, yet essential, commitment.

You will deliver existing modules on the undergraduate and
postgraduate programmes, contribute to examination panels, supervise
dissertations and/or projects and make an administrative contribution
to the running of the centre.

This post is fixed-term for 12 months.

https://www15.i-grasp.com/fe/tpl_newcastle02.asp?newms=jj&id=52295&newlang=1

Fwd: FW: Hellenic Journal of Music, Education and Culture 2014_Call for papers

Hellenic Journal of Music, Education, and Culture (HeJMEC)

Call for Papers: January 1, 2014

Submission deadline: June 30, 2014

Current issue of 2013 in:
 http://hejmec.eu/journal/index.php/HeJMEC/issue/current

 

 HeJMEC (http://hejmec.eu/) is an international, on-line and peer reviewed journal devoted to critical study and critical analysis of issues related to the fields of Music, Education, and Culture.HeJMEC provides open access to its content on the principle that making research freely available to the public supports a greater global exchange of knowledge.  HeJMEC welcomes single, multi- and inter-disciplinary contributions of research and literature in the areas of music, education, and culture and publishes both qualitative and quantitative research with substantive and theoretical merit, along with critical reviews, theoretical articles, and invited book reviews related to these fields:

Music and Education: The wide range of topics includes various aspects of music education (paedagogy, history, philosophy, sociology, psychology, technology, and aesthetics) addressing vocal, instrumental, general music at all levels, from early childhood through adult and comparative studies. Education is interpreted in a broad sense including all aspects of teaching and learning within formal, non-formal and informal contexts (such as, musical development; socio-cultural issues; creativity; gifted and talented students; special needs; community settings; teachers' professional development; curriculum design; assessment) in order, additionally, to challenge established accounts of music education policy-analytic methods and to explore alternative approaches to policy-making.

Music and Culture: Our aim is to provide essential reading on different aspects of the study of music from a cultural point of view (ideology, music and words, music and society, music and postmodernism, music and genre, and so forth); also, to relate them with educational issues (music cultural policy, the learning process, the relationship to educational institutions, and so on). The journal thus offers a unique forum for researchers to develop views on music as a social and cultural product, as part of human behaviour and in relation to broadly perceived educational issues at the leading edge of musical and multidisciplinary scholarship.

HEJMEC is programmed to appear once a year.  The journal has already been indexed in these databases: ProQuest, DOAJ, Google scholar, PKP Open Archives Harvester, Heal Link.

As the Editors, we would like to invite all to participate in the next issue toward excellence in journal publication by contributing your papers to HeJMEC.

   The Editors

Prof. Graham Welch, Institute of Education, University of London, UK

Prof. Anastasia Siopsi, Ionian University, Corfu, Greece

 

 

The Different Hearing project and classroom composing in the Czech Republic

Music Education Special Interest Group
Research Seminar Announcement


The Different Hearing project and classroom composing in the Czech Republic

Gabriela Vsetickova, Department of Music Education, Palacky
University, Olomouc, Czech Republic

Tuesday 28 January 2014

11.45-12.45pm
Room 541

Further details from Lucy Green, l.green2@ioe.ac.uk

All are welcome

A presentation of the key concepts, principles and objectives, the
creative means and forms of the Different Hearing project for
creativity in music education and an outline of its position in the
framework of the Czech system of music education.

The Different Hearing project is the first and still the only project
in the Czech Republic focused on making music accessible in the form
of children's elementary composing. It ensued from the endeavour to
transform music education into a subject within which creativity plays
as significant a role as reproduction, and creating music is as
crucial as performing it; and where everyone is afforded the
opportunity to develop his or her abilities and skills irrespective of
their previous musical and socio-cultural experience.

Established in 2001, the Different Hearing programme linked up to the
conceptions of the British-German Response and Austrian Klangnetze
projects. It was inspired by their methodology, emphasis on creativity
and utilisation of non-musical elements, as well as team work during
lessons. Each sound and each expression is deemed to be musical, each
item is considered a musical instrument, spontaneous interaction
between sounds is understood as improvisation, and temporal fixation
of sounds and their subsequent reproduction as musical composition.


Gabriela Vsetickova is an Assistant Professor at the Department of
Music Education, Palacky University in Olomouc, Czech Republic. After
MA studies in music education and history she completed her PhD in
music education in 2011. Besides music history (Czech music and music
of the 20th century) her professional interest encompasses creative
activities for children, especially classroom composing. She has
participated in the organisation and development of the Different
Hearing project for creativity in music education since 2007.

Student-Led Research Group: Music

Student-Led Research Group: Music



Any students interested in participating in a fortnightly student-led
research group for those undertaking research in music and related
areas at either MPhil, MA or PhD level should contact Hermione Ruck
Keene on hermione.ruckkeene@gmail.com. The group provides an
opportunity to meet informally and discuss suggested readings (reading
of these is not essential to participate in the discussion!). It also
gives students an opportunity to practice presenting to peers and
leading discussions. Last term our theme was 'Identity'; we still have
further areas to discuss in this theme, but I'm very happy to hear
suggestions for other areas for discussion. If you would like to take
part, please contact me and I will be in touch with you about a date
and time for the first meeting; we have been meeting on Wednesdays up
until now, but this can change if another day is better for the
majority of people.

PhD in Media and Arts Technology: places for Sept 2014 (deadline 31 Jan 2014)

Dr Evangelos Himonides
Institute of Education
University of London



---------- Forwarded message ----------
From: Mark Plumbley <mark.plumbley@qmul.ac.uk>
Date: 9 January 2014 09:09
Subject: PhD in Media and Arts Technology: places for Sept 2014
(deadline 31 Jan 2014)
To: MUSIC-AND-SCIENCE@jiscmail.ac.uk


** The Music and Science list is managed by the Institute of Musical
Research (www.music.sas.ac.uk) as a bulletin board and discussion
forum for researchers working at the shared boundaries of science and
music. **

MESSAGE FOLLOWS:



Dear All, Please forward to potential applicants for this Media and
Arts Technology PhD programme. Apologies for cross-posting. Best
wishes, Mark Plumbley

-----

PhD programme in Media and Arts Technology

Places for September 2014 intake now released

http://www.mat.qmul.ac.uk/news/

We have now released fully funded PhD places for September 2014 start
– the application deadline is 31st January 2014.

4 year fully funded places are available for all UK/EU and
international candidates to apply for – stipend is £15,726 per annum
tax free and all fees for the programme are also included, we do
consider self funding also.

Find out how to apply

You are required to hold a 1st at degree or distinction at masters
level in a related field OR, in exceptional circumstances, a very high
standard of work/practice experience may be a substitute.

You need to provide:
◦statement of interest – 2 side maximum on why you want to do our PhD
◦CV
◦Research Proposal – 10 sides maximum on your research interests, this
gives us an idea on what you would ideally research and what you know
about the research done in that area, but on our programme your actual
topic does not get fixed until a year into the PhD.
◦2 x academic references (just 1 and 1 x work related reference it was
a long time since your studies)

All of these documents must be uploaded to the online application system.

Ours is partly a taught program so it doesn't suit everyone, you spend
the whole of the first year in fact on internship and doing taught
modules - let us know if you have specific questions via:

mat-enquiries@eecs.qmul.ac.uk

The PhD has 6 taught modules in 1st 2 semesters yr 1, then 6 month
internship (with companies such as BBC, BT, Last.fm, United Visual
Artists, Inition for example).

The taught modules are research methods, comtemporary studio
production (audio piece on logic, Interactive digital multimedia
techniques (Max MSP and Arduino and raspberry Pi), Digital Arts
documentary (video piece made in a group edited on final cut) plus 2
chosen modules from a long list such as Java programming, C++, design
for Human interaction.

Some links from these modules:

https://vimeo.com/channels/matdocumentaries

https://vimeo.com/channels/matprojects

https://vimeo.com/71736332

YR 2 and 3 has 2 or 3 more taught option modules such as Art
Performance and the City with our Geography Department, Performance
Research with our drama department as well as those form our own
school such as digital audio effects, music Analysis and Synthesis,
multimedia systems, digital broadcasting, etc.

In year two your research proper starts, you wouldn't really be
expected to finalise your PhD topic, (therefore have an associated
supervisor) until around December 2015 if you join sept 2014.

Additional Information

The PhD in Media and Arts Technology is an innovative
inter-disciplinary training programme in the science and technologies
that are transforming the creative sector. Our mission is to produce
post- graduates who combine world-class technical and creative skills
and who have a unique vision of how digital technology transforms
creative possibilities and social economies.

This is a unique four year PhD programme built around core courses in
advanced research methods, interaction design and digital media
processing, production and recording techniques and optional
specialist modules ranging from Digital Audio Effects through Digital
Rights Management to Contemporary Performance.

You will work under the supervision of internationally recognised experts in:
◦Digital Music
◦Digital Video
◦Human Interaction
◦Performance and Live Art

You will also develop a working partnership with one of our strategic
collaborators including: BBC, The British Film Institute, last.fm,
SONY Computer Entertainment Europe, BT.

Our programme is part of a £250 million strategic initiative, funded
by Research Councils UK, and is exceptionally well resourced. You will
have access to our state-of-the art research and performance
facilities including the Augmented Human Interaction Laboratory and
the Pinter Studio Theatre as well as the extensive resources offered
by our industrial and public sector partners. New for 2011 are the
Media and Arts Studios including the be-spoke teaching lab, the
seminar and exhibition space, Listening Room, Control Room,
Performance Laboratory as well as the fully equipped iMac studio and a
range of computing resources offered by the School of Electronic
Engineering and Computer Science, including several clusters.

For more detailed information and funding opportunities please see:
www.mat.qmul.ac.uk

--
Prof Mark D Plumbley
Director, Centre for Digital Music
School of Electronic Engineering & Computer Science
Queen Mary University of London
Mile End Road, London E1 4NS, UK
Tel: +44 (0)20 7882 7518
Email: mark.plumbley@qmul.ac.uk
Twitter: @markplumbley @c4dm
http://www.eecs.qmul.ac.uk/~markp/

Fwd: Music and Sonic Arts - call for papers

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);



ABSTRACT FORMAT:
Please submit an abstract of approximately 250-300 words as an e-mail attachment to musa2014@btinternet.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.


REGISTRATION:
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) – m.dack@mdx.ac.uk

Prof. Dr. Thomas A. Troge (IMWI, Karlsruhe) – troge@hfm.eu

Prof. Dr. Denis Lorrain (IMWI, Karlsruhe) – lorrain@hfm-karlsruhe.de

Prof. Dr. Paulo Ferreira-Lopes (Universita Cattolica, Porto/IMWI, Karlsruhe) - pfl@hfm.eu

Dr. John Dack (Middlesex University, Art & Design/Science & Technology) – j.dack@mdx.ac.uk

Dr. Miroslav Spasov  (Keele University, Music Department) - m.spasov@keele.ac.uk

Timothy P. Schmele (IMWI, Karlsruhe) - t.schme@gmail.com

Administrative support: Gundi Rössler (IMWI, Karlsruhe) –
gundi.roessler@hfm-karlsruhe.de


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Dr John Dack - Senior Lecturer (Music and Technology)
PhD, MMus, MA, MSc, PGDip, BA (Hons)
The Grove Building, room 226
Middlesex University
The Burroughs
Hendon
London NW4 4BT
UK

t: +44 (0)20 8411 5109
f: +44 (0)20 8411 3452
e: j.dack@mdx.ac.uk

skype: john.dack

http://adri.mdx.ac.uk.contentcurator.net/dack-dr-john
http://dream.dei.unipd.it/
http://musa2012.zilmusic.com/
http://musa2013.zilmusic.com/
www.scambi.mdx.ac.uk

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EMR Triple Special Issue on 'Music and Shape'

Dear colleagues,

We are delighted to announce the publication of the Triple Special Issue on 'Music and Shape' in Empirical Musicology Review, consisting of 9 target articles and 17 commentaries, which have been developed in response to a conference held in London in July 2012 on 'Music and Shape'.
You are invited to explore the following three broad themes:

Pedagogy and Performance (http://libeas01.it.ohio-state.edu/ojs/index.php/EMR/issue/view/109): articles on the relationship between the shape of gestures and sonic events in vocal lessons of South Indian Karnatak music; the use of musical shaping gestures in rehearsal talk by performers with different levels of hearing impairment; and what it means for professional DJs to shape a set on their turntables.

Motion Shapes (http://libeas01.it.ohio-state.edu/ojs/index.php/EMR/issue/view/110): articles discussing how motiongrams can be used to sonify the shape of human body motion; how pianists' shapes of motion patterns embody musical structure; and how mathematical techniques can be used to quantify shapes of real-time visualizations of sound and music.

Perception and Theory (http://libeas01.it.ohio-state.edu/ojs/index.php/EMR/issue/view/111): articles on cross-cultural representations of musical shapes from the UK, Japan and Papua New Guinea; the evolutionary origins of tonality as a system for the dynamic shaping of affect; and how shaping and co-shaping of 'forms of vitality' in music gives rise to aesthetic experience.


With best wishes,

Mats Küssner and Daniel Leech-Wilkinson
EMR Guest Editors

Sing for Joy

Sing for Joy Bloomsbury performs "London Songs" on Wednesday 9th October, 5.45pm to 8.00pm. Refreshments will be provided. There is no charge for entry, but please give generously.

The events will take place at the Chapel at National Hospital, Queen Square, London WC1N 3BG. Nearest tube, Russell Square (Picadilly Line).

for more information, visit: http://carolgrimes.com/singforjoy/