Montage AV begeht den 20. Jahrgang ihres Erscheinens. Der Titel der Zeitschrift ist immer noch Programm und soll anlässlich dieses Jubiläums nun auch Thema eines Heftes werden. Montage AV 20,1, 2011 widmet sich: Montage.

Perfect Beat will publish two special issues in 2011 on ‘trends in contemporary music in Asia’. The first issue (January 2011) concerns traditional, and contemporary fusion, hybrid and crosscultural musics of Asia, whereas the second issue (July 2011) will focus on the popular musics of Asia.

To inaugurate its new format, the review Filigrane. Musique, esthétique, sciences, société is launching a call for papers about Deleuze, the philosopher who has influenced so many musicians and musicologists over the last thirty years. The review is open to all kind of proposals, but will give priority to the most original ones.

Date of publication: 2011

With its first themed issue devoted to the topic "Computer Games and Music", the new peer-reviewed online journal "Act -- Zeitschrift für Musik & Performance" would like to stimulate considerations of the field from the perspectives of musicology, theatre studies, media studies and related disciplines in order to develop new ideas, approaches, and questions.

Screen Sound is a peer-reviewed journal published annually in open access online form.

Screen Sound analyses sound as it occurs in relation to screen images. The journal is multidisciplinary in its remit, accommodating musical, media, cultural, marketing and economic analysis.

The first issue is now available online.

For Volume 21 of Leonardo Music Journal (LMJ) the editors solicited papers that address the impact of technological change on how we distribute instructions and materials for musical performance.

Publication aimed for Spring 2011

We are pleased to announce the launch of the online Journal of Sonic Studies, a new international peer-reviewed journal on auditory culture. With the biannual, peer reviewed online Journal of Sonic Studies we intend to provide a platform for those theorists and artists who would like to discuss these, as well as other relevant, issues regarding auditory culture. For the first issue of the Journal of Sonic Studies we invite theorists and artists to submit a proposal for an article, or complete articles, on a particular aspect of auditory culture. Possible topics may include, but are not limited to, the history of auditory culture, the ontology of sound, the epistemology of sonic studies, the possible (interdisciplinary) approaches to productively study auditory culture, and the specificity of sonic studies.

The Musicology graduate students of the University of Victoria invite scholars to submit articles for the Spring 2011 Volume of Musicological Explorations.

Musicological Explorations’ mandate is to provide a forum for scholarly work in musicology and related arts. The Editorial Board encourages graduate students and other scholars to submit previously unpublished articles on topics of musicology, performance practice, ethnomusicology, music education, and interdisciplinary studies. Announcements of conferences, symposiums, and other musicological activities in North America are also welcome.

Interference: A Journal of Audio Culture, are pleased to announce a call for papers for the inaugural issue "An Ear Alone is Not a Being": Embodied Mediations in Audio Culture.

Publication aimed for Spring 2011

Nota Bene is a musicology journal developed by the Don Wright Faculty of Music at the University of Western Ontario. It seeks to publish essays of a high critical and rhetorical standard, written by undergraduate students from universities around the world. Essays in historical musicology, ethnomusicology, popular music studies and theory are all encouraged. Submissions are reviewed by a panel of editors from across Canada.

Grainger Studies: An Interdisciplinary Journal. is a fully peer-reviewed, academic journal of the University of Melbourne Library (as the custodian of the Grainger Museum). Edited by Dr David Pear and Dr Belinda Nemec, it will be published annually, the first issue to coincide in February 2011 with the 50th anniversary of the death of percy Grainger. Grainger Studies will be published and distributed electronically, under a fee structure yet to be finalised. Print copies will be available on demand through facilities being developed for such purposes by the University of Melbourne Library, at a price that will cover the production costs.

Mosaic presents a forum where innovative research in historical musicology, music theory, and composition converges with time-honored traditions. The journal bridges these disciplines with articles that complement one another, each individual perspective contributing a new tile to the mosaic of music research.

Aiming to create a scholarly environment that embraces interdisciplinary perspectives on music research, Mosaic collects and publishes graduate articles and reviews that primarily focus on topics of music theory, musicology, and composition. Within this framework, the content of Mosaic covers a broad field, one that includes various aspects of cross-relationships between music text and context. On the surface level, studies as diverse as theory, musicology, and composition satisfy the needs of different music disciplines. Mosaic aims to bridge these disciplines with articles that complement one another on various levels.

Mosaic is an Internet-based multi-media journal that provides updated and contemporary musical resources. Based on its format, it has the ability to accommodate articles, which employ new technology, projecting the images of unconventional and experimental techniques of presentations.

Facial expression, physical presence, fashion prowess, vocal intonation, the ways of seduction are numerous and variable. Respecting the codes adopted by the societies and cultures from which it originates, seduction is nevertheless an ’ordinary social act’ which can be considered as universal. Cecile Dauphin and Arlette Farge present it as ’one of the nodal points of social architecture’, a reality from which no society or era has escaped. [cf. Dauphin, C. et Farge, A. (éd.), Séduction et sociétés. Approches historiques. Paris : Seuil. 2001]. Recently brought on the agenda by social sciences studies, the privileged relationships that seduction maintains with music will be at the core of the present issue.

1. The role of music in the process of seduction
2. Musical representation of seduction
3. Music to seduce
4. Musical seduction as an image of evil
5. The musician as a seducer
6. Musical place, meeting place

Papers, which conform to the requirements of the publication, should be addressed to the editing committee before the 15th May 2011 at this address: transposition.submission@gmail.com

Allein mit dem Eintritt in die kommunistische Partei Italiens 1952 war es für den italienischen Komponisten Luigi Nono längst nicht getan. Denn wie kaum einen anderen Musiker treibt ihn in den folgenden Jahrzehnten nach dem 2. Weltkrieg sein politisches Engagement an, stärkt seine Stellung und Haltung als Komponist in der Gesellschaft, durchdringt sein Werkschaffen und veranlasst ihn zu zahlreichen Aktivitäten (vom Protest bis zum Skandal), darüber hinaus zu einem intensiven Kontakt mit der Politiker- und Intellektuellenszene sozialistischer Länder und zu einer regen Reisetätigkeit etwa nach Polen, in die DDR und Sowjetunion, aber auch nach Peru oder Kuba.

Der politische Aspekt ist bislang in einzelne Werkuntersuchungen eingeflossen und bekannt. Die Publikation zielt deshalb darauf ab, das Themengebiet zu bündeln und umfassend aus verschiedenen Perspektiven zu beleuchten.

Zu diesem Themenspektrum wird ein Call for Contributions ausgeschrieben. Wir bitten um Abstracts von ca. 250 Wörtern, die sich den folgenden Schwerpunkten zuordnen lassen:

1. Biographik

   Politik als Motor des Lebens: Impulse und Vorbilder; Vorträge und Reisetätigkeit; Skandale und Eintritt von Überzeugungen (etwa im Kontext Marxismus/Leninismus-Sozialismus-Kommunismus- Eurokommunismus)

2. Kulturtransfer

   Anregung aus und Rezeption in sozialistischen/kommunistischen Ländern: Luigi Nonos Austausch mit Politikern, Künstlern, Intellektuellen

3. Werk

   Luigi Nonos Werkschaffen als Stellungnahme zum politischen Zeitgeschehen: von Julius Fučik bis „Hay Que Caminar" Soñando

4. Ästhetik & Stilistik

   Die Einflussnahme der politischen Überzeugung auf die Kompositionstechnik: Aspekte zu Kompositionsmaterial und Stilistik sowie des Hörens

Die Publikation versteht sich als Beitrag zur bisherigen Nono-Forschung und richtet sich schwerpunktmäßig an die Musikwissenschaft. Dennoch sind auch gezielte Beiträge aus den Bereichen Geschichte, Politik, Soziologie oder Literatur/Kulturwissenschaft, die mit Luigi Nono in Berührung stehen, wünschenswert. Insbesondere junge WissenschaftlerInnen möchten wir dazu auffordern, sich mit einem Abstract um eine Publikation bei uns zu bewerben. Beiträge von DoktorandInnen und/oder Post-DoktorandInnen sind deshalb herzlich willkommen.

In recognition of AMS¹s Thomas Hampson Fund and the Hampsong Foundation, the Journal of Musicological Research is seeking submissions for a special issue on "Song of America," intended to explore poetry, music, history, and culture through the work of American composers and poets.

The issue contains some of the same wide-ranging scholarship that informed previous issues: from monstrosities and caricature, to mountain bike racing and site-specific performance, with the Renaissance Fool and the Maori 'haka' in between.

Expressions of interest are invited from scholars and scholar/practitioners to contribute to the next issue of the journal. We would be particularly interested in articles which address aspects of theatre and performance history, genres like pantomime, burlesque and musical comedy, biographies of performers, techniques of performance, crossovers between "high art" and popular forms within the historical and contemporary contexts. However, other topics of specialist interest are always welcome.

The next issue will be published in September 2011

Volume! a French peer-reviewed journal dedicated to the interdisciplinary study of popular music seeks contributions for a special issue on listening. This issue will explore the premise that a focus on listening can be a fruitful basis for the analysis of popular music, one that can enrich our understanding of aesthetic relationships and signifying practices. Any scholarly essay on popular music and its listeners or how it is listened to is welcome. Here are some examples of approaches that have generated interest in our editorial discussions:

• Listening practices: how do we listen to popular music?
• The seeing ear and the listening eye.
• Ears under surveillance: perceptions and identifications of auditive communities.

Other, more general, possible categories:

• listening practices, uses of
• listening and technology, multimedia
• the musical experience
• musical education via listening
• listening on stage, interactive forms of listening
• listening and the other senses
• the activity and productivity of listening
• listening and meaning
• listening and subcultures
• fans, fandom and listening communities
• identifying listeners
• cultural history of listening
• the science of listening

Again, these are meant to be suggestive, not to define boundaries.

Ethnomusicology Forum is the foremost scholarly journal for ethnomusicology in the UK and the flagship journal of the British Forum for Ethnomusicology. The journal reflects both the strength of ethnomusicology in the UK and is strongly international in its contributors and editorial board members. Since its inception in the early 1990s as the British Journal of Ethnomusicology (1992-2003), the journal has gone from strength to strength, rapidly acquiring an enviable international reputation as a source of high quality research papers. In 2004, the journal was taken on board by Routledge (Taylor & Francis division) with a name change to Ethnomusicology Forum. The journal has steadily expanded from one (1992-1999) to two annual issues (2000-2010), and continues to do so in 2011 as we celebrate the 20th volume of the journal with a move to three issues per year.

Ethnomusicology Forum seeks to provide a dynamic forum for the presentation of new thinking in the field of ethnomusicology, defined broadly as the study of ‘people making music’, encompassing the study of all music including Western art music and popular music. Articles often emphasise first-hand, sustained engagement with people as music makers, exploring the ways in which music is imagined, discussed and made. The journal is characterised by its breadth in theory and method, its interdisciplinary nature and its global perspective, with articles engaging a variety of analytical, historical and other methodologies, and often entering into dialogue with disciplinary areas such as music psychology, music education, historical musicology, performance studies, critical theory, dance studies, folklore and linguistics. As well as including illustrative examples, such as photographs and musical examples, in the print copy of the journal, we are now able to post sound and video files and additional photographic illustrations on the Taylor and Francis website. Each issue of the journal also includes a Reviews Section with reviews of recent books, CDs and DVDs.

The Festival of Faith & Music is a biennial conference hosted by Calvin College which seeks to celebrate and understand the relationship between popular music and themes of faith, broadly conceived. We bring together musicians, journalists, academics, students and lovers of music and popular culture to listen to art that engages our world thoughtfully, and to respond to that art as people of faith.

Music Research Forum is currently accepting submissions from outstanding graduate students and young professionals.

Now in its twenty-sixth year, Music Research Forum is an internationally distributed and indexed peer-reviewed journal published annually by the Graduate Student Association of the University of Cincinnati College-Conservatory of Music. We consider articles in any area of music scholarship, including musicology, theory, performance practice, ethnomusicology, music and culture, and criticism. Faculty are encouraged to pass this information along to their students.

Articles should be word-processed on 8.5x11-inch paper. All materials, including example captions, should be double-spaced and conform to the footnote guidelines found in The Chicago Manual of Style. Contributions should be between twelve and thirty pages. A cover sheet listing the author's name, address, telephone number, email address, and academic affiliation (if applicable) must precede articles. Articles will not be returned.

Adam Shoaff, Editor
Music Research Forum
College-Conservatory of Music
University of Cincinnati
P.O. Box 210003
Cincinnati OH 45221-0003
United States of America
Music.Research.Forum at uc.edu

Musing upon Euterpe: Electric and Acoustic Music of Our Times

To celebrate the opening of the Grateful Dead archives at the University of Santa Cruz, with a special emphasis on rock, this issue will examine the classical and popular music of our times as it is used in ritual and performance. From the stadium rock show to the trance-inducing meditative chants of spiritual traditions and kirtan, how does music influence our art? Was/is there a "golden age" of rock? What is the place of the "rock opera" in the overall picture of classical styles? How has music enhanced public forms of ritual, especially in ritual theatre?

The Gregorian Institute of Canada has focused from its inception on performance, providing a unique opportunity for scholars and performers from Canada and around the world to share and discuss their ideas, research and experience. This year's theme-Chant: Old and New-is inspired by a particular chant book, which makes Halifax's Saint Mary's University its home: the Salzinnes Antiphonal, a 16th-century Cistercian manuscript from what is now the region of Namur in modern-day Belgium. Some of the manuscript's musical riches will be presented in concert during the conference by five-time Grammy winning composer, conductor and performer, PAUL HALLEY and members of his University of King's College (Halifax) Chapel Choir. MARGOT FASSLER, recently appointed the Keough-Hesburgh Professor of Music History and Liturgy at the University of Notre Dame, will be giving a plenary address and SUSAN HELLAUER, of Anonymous 4 fame, will be leading workshops in chant performance.

On 10th and 11th August 2011 the Stockhausen Foundation for Music, in cooperation with the Department of Musicology of the Georg-August-Universität Göttingen and in the context of the annual Stockhausen Music Courses, will hold an international workshop on the music of Karlheinz Stockhausen. Around four years after Stockhausen's death, the workshop will bring world experts on Stockhausen's music together with younger researchers to consider the totality of the composer's work. Lectures and discussions will aim to provide new impulses for understanding Stockhausen's complete oeuvre retrospectively, and will also highlight approaches and perspectives for future research.

The workshop will focus not only on Stockhausen's compositions as musical legacy, but will also look at issues of historical context, reception and criticism, and the longer term impact of Stock­hausen's work. A further area for reflection is impulses and influences on and through the work of Stockhausen, especially with regard to the contemporary arts in general and compositional practice spe­cifically. In addition, the workshop will ask what perspectives for the future are offered by Stockhausen's music, and what influence his music could have on the further development of composition in the 21st century.

The two-day event will take place in Kürten during the annual Stockhausen Music Courses, which will take place from 6-14 August 2011. The courses, which were initiated by Stockhausen himself and will be held in 2011 for the 14th time, were set up to give younger performers, sound technicians, researchers and interested listeners the chance to learn more about Stockhausen's music, its performance practice and its musical and aesthetic context, directly from leading musicians and musicologists including many who worked with Stockhausen himself for many years. For this reason as well, the Workshop is especially directed at younger scholars, in whose current research (e.g. doctoral and post-doctoral projects) the conference topics play a role.

Papers on the following items and also other substantial papers will be welcome: • "The Spirit of Denmark" / Danish influence on Grieg • Edvard Grieg’s contemporaries in Denmark and the “Euterpe” Music Society • Nordic composers in Grieg’s foot-steps, the inspiration of Grieg on succeeding generations of composers and musicians • Performing Grieg in Denmark and the Nordic countries - Peer Gynt in Copenhagen - The Piano Concerto in A Minor Opus 16 • Artist marriage – love or “musical partnership

One of the nation's premiere music schools, Eastman is located in Rochester's thriving, historic East End neighborhood. The conference will utilize the new East Wing of the school, completed in December 2010 (see photograph above). Conference hotels are a 10-minute walk from the school (bus service will also be provided). Numerous restaurants in the neighborhood offer a variety of cuisines and price levels.

In August, the climate in Rochester is among the most pleasant in the country; the average daily high temperature is 79 degrees. Rochester is within 400 miles of New York, Boston, Philadelphia, Washington DC, Toronto, Montreal, Detroit, and Columbus; direct flights are available from most of these cities. A small number of student travel awards are available to help with travel expenses.

The keynote speaker for SMPC 2011 will be Professor Nina Kraus of Northwestern University.

The ISPS 2011 theme, Models of Performance, is intended to encourage discussion and debate on issues ranging from models of good practice and performance (e.g. research into inspirational performers, teachers, or learners) to scientific models of performance processes and products.

Submissions are invited for unpublished papers, posters, symposia and workshops on research from across the arts which explores the theme Models of Performance.

Specific research topics, fields of study, and methodological approaches have been left open intentionally to encourage interdisciplinary exchange. Those whose primary interests lie outside of the arts, but whose work nonetheless offers implications for the performing arts and/or for performing artists, are also encouraged to submit proposals.

As the contrasting approaches and methods of sciences, humanities and arts continue to interpenetrate and cross-fertilize, musicologists have been posing new questions about the culture, history, physics, biology, psychology and sociology of music performance. CIM11 will provide a unique opportunity for music performance researchers to achieve new trans-disciplinary synergies by working together with colleagues with contrasting epistemological backgrounds.

The CIM series involves all musicological sub-disciplines and paradigms (analytical, applied, comparative, cultural, empirical, ethnological, historical, popular, scientific, systematic, theoretical) and all musically relevant disciplines (acoustics, aesthetics, anthropology, archeology, art history and theory, biology, composition, computing, cultural studies, economics, education, ethnology, gender studies, history, linguistics, literary studies, mathematics, medicine, music theory and analysis, neurosciences, perception, performance, philosophy, physiology, prehistory, psychoacoustics, psychology, religious studies).

Everest Nepal cultural Group has been organizing “International Folk Festival” regularly every couple spring's months of March. ENCG invites around ten International folklore groups from all continents around the globe with five national folklore groups.

The largest international dimension of the folkloric groups / artistic troops welcomed, the formalities undertaken by the authorities of the countries of origin, the cost of transportation, of medical aid, of insurance/ assistance drove the Nepal festivals to regroup in an organisation in order to facilitate the administrative and diplomatic formalities and to share the programming costs of the amateur artists concerned.

Papers are invited for Digital opera: new means and new meanings, a special issue of the International Journal of Performance Arts & Digital Media (Spring 2012). This special issue is based on the exploratory symposium Digital opera: new means and new meanings, which will take place on 9 May 2011 at the Music Research Centre, University of York. Together, the symposium and the special issue of IJPADM pose two key questions: how can 21st-century digital technology become a fundamental, constitutive element in the creation of digital opera? What could digital opera be? Motivated by innovations in digital performance and 21st-century music practice, this special issue will explore the open, creative space between composition, technology and theatre. The boundaries of digital opera will not be prescribed in advance; the aim is to open up pathways along which new concepts could develop. We are interested in finding the 'new meanings' within the 'new means'.

Contributions may deal with the following topics, but are not limited to them:

• The concept of digital opera
• Digital voice
• Space, place and intermediality
• Narrative in the digital age

Full articles of 5000-8000 words or developmental position-takings of 2000-3000 words should be submitted for peer review to aine.sheil@york.ac.uk by 1 September 2011. All submissions should adhere to the Intellect Journal Style and reflect the interests of the International Journal of Performance Arts & Digital Media. Images should be submitted as separate, high-resolution files (300 dpi minimum).

Style Guide:
http://www.intellectbooks.co.uk/MediaManager/File/style%20guide%28journals%29-1.pdf

Christian congregational singing is a vital and vibrant dimension of church communities worldwide. It reflects, informs, and articulates local convictions and concerns as well as global flows of ideas and products. Congregational song can unify communities of faith across geographical and cultural boundaries, while simultaneously serving as a contested practice that communities use to inscribe, challenge, and negotiate identities. Many twenty-first century congregational song repertories, including British and American revival hymns, gospel music, and praise & worship music, are transnational genres that cross boundaries of region, nation, and denomination. The various meanings, uses, and influence of these congregational musics cannot be understood without an exploration of both the musics’ local roots and global routes.

This conference seeks to explore this multifaceted interaction between local and global dimensions of Christian congregational singing by drawing from perspectives across academic disciplines, including history, anthropology, sociology, ethnomusicology, and theology. In particular, the conference welcomes papers addressing or engaging with one or more of the following six themes:

• Performing Theology
• Practices of Hearing, Listening, and Audition
• Histories of Christian music
• Worship Wars Reconsidered
• Interplay of Identities
• Religious Experience

A one-day interdisciplinary conference

This interdisciplinary conference will explore the ways in which music relates to transcendence. Papers will consider the ways in which music relates to infinite and 'ultimate' meaning as well as the ways in which music enables the creation of meaning and fulfilment within an 'immanent' frame.

Within certain strands of contemporary discourse, philosophy and theology are set in opposition. Modern philosophy tends to deny the existence of a transcendent realm whilst theology affirms it, yet both attempt to find a stable ground for the construction of meaning. Historically, they can be said to have shared a common end: both have been concerned with ontology in its deepest and broadest sense, since both question the nature of existence, asking what it is to be, and so making suggestions as to how one might live.

The aim of the conference is to return to the common ground shared by philosophy and theology through an exploration of the ways in which they engage with music. Music has not only featured prominently in many philosophical and theological accounts of the nature of existence and the self, but also provides a valuable resource for the creation of meaning on a day-to-day basis. The practice of music is inherently relational and it is thus that it is able to facilitate different forms of transcendence: within both the performance and reception of music the self is placed in relation to others and otherness.

The Heavy Metal movement is littered with accounts of its birth, not only concerning the origins of the sound, but also the geographical and political locations from which the music evolved. The now global phenomenon of Heavy Metal culture has seen much change in the sounds, styles and fashions over its 40 years of history, but is simultaneously acutely aware of its origins in Birmingham and The Black Country (UK).

This conference on Metal and place aims to explore and evaluate the important role that location, heritage and place have in the origins of Heavy Metal and music in general. It will serve to engage in debate concerning values, histories and myths in the foundation of this movement and looking at the wider role of archiving music histories and current practice surrounding this. Home of Metal aims to celebrate the musical heritage of Birmingham and The Black Country.

This conference forms part of the “Home of Metal” exhibitions and festival taking place across Birmingham and The Black Country in the UK throughout 2011. Home of Metal is a celebration of the music that was created in the West Midlands, its legacy and influence across the world. Bringing people together to share their passion by creating a digital archive, exhibitions, heritage tours and ultimately a permanent collection dedicated to telling the story of Metal and its unique birthplace.

The Home of Metal programme 2011 will consist of 3 core exhibitions, 4 heritage exhibitions, a film tour, conference and concerts. The organising committee is inviting submissions initially in the form of abstracts of no more than 300 words. Suggestions for panels will also be considered. We are interested in contributions from areas of expertise in both academia and music and related professions, so that the event can speak to a range of participants.

The Department of Musicology, Estonian Academy of Music and Theatre, and the Estonian Musicological Society will organize a conference "New Music in History Writing and New Approaches to Writing Music History" in Tallinn, 2-4 February 2012.

The conference will address two related issues:

1. how to integrate the survey of recent decades (approximately 1960 and after) with the discussion of earlier periods in writing music history and
2. recent changes in the thematic scope and methodological approaches used in studying and writing music histories.

The conference is planned to support an ongoing work of a project group at the department compiling a general history of Estonian music (or Music in Estonia) from early centuries up to the end of the 20th century. The organizers are: professor Urve Lippus (chair of the Dept. of Musicology), professor Toomas Siitan (president of the Estonian Musicological Society), associate professors Kristel Pappel and Anu Kõlar, secretary Anu Paulus (anu.paulus@gmail.com). Information about the conference will be currently published on the website of the Estonian Musicological Society (www.muusikateadus.ee/en/conference2012).

The deadline for proposals (title and abstract, maximum 500 words) is the 1st of September 2011. Please, add your affiliation, address and e-mail. The authors will be noted about the acceptance of the proposals and the preliminary program will be distributed by the 1st of October 2011.

The Institute for Comic Studies and Dragon*Con present their fourth annual academic conference for the studies of comics and the popular arts. The conference will take place at Dragon*Con, the largest multi-media, popular culture convention focusing on science fiction and fantasy, gaming, comics, literature, art, music, and film in the US. For more info on Dragon*Con, visit www.dragoncon.org.

Please submit a proposal that engages in substantial scholarly examinations of comic books, manga, graphic novels, anime, science/speculative fiction, fantasy, or other parts of popular culture. A broad range of disciplinary and theoretical perspectives is being sought, including literary and art criticism, philosophy, linguistics, history, and communication. Proposals may range from discussions of the nature of the comics medium, analyses of particular works and authors, discussions of the visual language of comics and manga, comics and pop culture in the classroom, cross-cultural and cross-medium comparisons, and more. We're open to any topics relevant to the study of comics and the popular arts.

The first Rhythm Changes Conference will take place in September 2011 and will be hosted in partnership with the Conservatory of Amsterdam. The three-day Conference will explore the theme of ‘Jazz and National Identities’ and will include presentations from an international line up of jazz researchers.

Keynote Speakers
Professor Bruce Johnson (Universities of Macquarie, Turku and Glasgow)
Professor Ronald Radano (University of Wisconsin-Madison)

Conference outline
Throughout its history, jazz has played an important part in discourses about national identity, politics and cultural value; indeed, the music continues to play a complex role in the cultural life of nations worldwide. Within this context, jazz is an ideal cultural form from which to explore a number of critical questions bound up with national identity, from the development of national sounds and ensembles to the politics of migration and race, from the impact of globalisation and the hybridisation of musical styles to the creation of social institutions and distinct communities, from jazz’s shifting aesthetic status from popular to canonical ‘art’ music. Jazz has developed in a range of national settings through different influences and interactions, so is ideally placed to explore wider issues surrounding identity and inheritance, enabling unique perspectives on how culture is exchanged, adopted and transformed.

Benjamin Britten is one of the most eminent and influential figures in twentieth century British music. He was also one of the most literary composers in the English language, taking a vast array of poets and authors, and creating music that alters, enhances, and engages with text on a level arguably rarely attained by any other composer. His music has received much critical attention from musicologists, but his relationship to literature has rarely been the focus of discussion. Many literary critics are passionate about Britten, but have not had an academic forum in which to discuss his work.

This conference aims for the first time to approach Britten through his texts. It intends to provide an opportunity for musicologists and literary critics to share their work, with the intention of deepening understanding in both disciplines of the uniquely complex relationship between Britten's words and music.

We welcome papers looking at any aspect of Britten’s engagement with texts. Authors that might be considered (although there are many others – for further reference see the anthology Benjamin Britten’s Poets: the poetry he set to music, ed. Boris Ford, Manchester University Press, 1994) are:
Melville, Hardy, Forster, Donne, Crabbe, Shakespeare, Wilfred Owen, Auden, Wordsworth, Coleridge, Rimbaud, Keats, Tennyson, Christopher Smart and Myfanwy Piper.

Following its highly successful inauguration in 2009, the Biennial Euro-Mediterranean Music Conference is positioned to establish itself among the most important academic meetings concerning music in the Eastern Mediterranean region. Its purpose is to provide a venue for intellectual exchange between academicians across the region, as well as scholars from any area whose research relates to Mediterranean musical traditions. Its underlying goals are to engender a sense of shared academic music community, to facilitate the creation of personal and institutional networks, and generally to promote peaceful intercultural dialogue. Due to this broad perspective, presenters are not constrained by any particular theme. However, all proposals should fall under at least one of the following categories:

1. Mediterranean Music, understood to encompass any category of research relating to any Mediterranean music culture, past or present;
2. Musicology, including historical musicology, ethnomusicology, music theory and analysis, sociology of music, and music aesthetics; and
3. Music Education, including research in applied classroom teaching, instrumental and vocal pedagogy, and the philosophy and sociology of music education.

We invite proposals from a broad range of academic disciplines for a 2 day symposium examining sites of popular music heritage: from institutions such as museums, to geographic locations, websites and online archives. Papers are welcomed that explore popular music within narratives of heritage and identity, real and imagined geographies, cultural memory and contested histories. The event will focus on three thematic areas:

• Popular Music Heritage in the Museum
  • Popular music and locality in the museum
  • Disseminating popular music heritage in museums beyond text
  • History and memory in popular music exhibitions and collections
• Heritage, Place and Local Identity
  • Contested geographies of popular music heritage
  • Routes of popular music heritage: mobility, migration, wayfinding
  • Cartographies of popular music history
• Digital Archives and Online Practice
  • Contested geographies of popular music heritage
  • Authorising popular music heritage and archiving practice online
  • Building music cultures and communities of memory online
  • Online music heritage, music industries and ownership

Please submit proposals for papers (300 words max) to Dr Rob Knifton (robert.knifton@liverpool.ac.uk) and Dr Les Roberts (les.roberts@liverpool.ac.uk).

Welche Bestände beherbergen Audio- und Liedarchive in Europa? Wie lassen sich historische Tonaufnahmen, schriftlich fixierte Lieder und handschriftliche Liederbücher langfristig archivieren und gleichzeitig für Wissenschaft und Öffentlichkeit zugänglich machen? Welche aktuellen Forschungsansätze und Studien befassen sich mit den Beständen aus (regionalen) Volkslied- und Tonarchiven und welche Erfahrungen haben Wissenschaftler und Archivmitarbeiter mit den vorhandenen Archivalien gemacht? Auf welcher Basis können sich internationale Archive mit vergleichbaren Beständen vernetzen? Diese Fragen stehen im Zentrum der internationalen Tagung „Audioarchive: Bewahren – Erschließen – Erforschen – Nutzen“, die am 15. und 16. September 2011 im Alexander von Humboldt-Haus, Münster i. W., stattfindet (Anreise: 14. September, Abreise: 17. September).

Questioning popular music orthodoxies

Essays may engage with any established popular music orthodoxy (whether the assumptions of critics and scholars or the habits of music makers and their audiences). Essays should provoke debate about the established practice and study of popular music, and may propose new approaches and practices.

The winning essay will be published in Popular Music and the winner will receive £500.

The essay should be no longer than 3000 words and must be in the Popular Music house style (see the Popular Music website for details).

It should be submitted by September 15th 2011 to the Popular Music Editorial Group at: PMEssayCompetition@gmail.com.

The essays will be judged by the Editorial Group and the International Advisory Board of Popular Music.

What is queer dance? Given the multiple, contested, and historically contingent meanings of the word “queer,” the term seems useful for opening an inquiry about dance, just as dance’s emphasis on embodiment has much to contribute to queer studies. If dance is a way to think through social relationships, what images, bodily techniques, and spectatorial and embodied pleasures might dance offer to queer communities, scholars, and artists? How have lesbian, gay, and transgender histories intersected with dance in the theatre, on the club floor, and in the streets? When­and how­do “queer” and “dance” signal (or obscure) other vectors of identity, such as race, class, gender, ability, and others? The meanings of “queer” have shifted and proliferated over time; competing and overlapping ideas about queer pleasure, desire, and politics may all manifest themselves within dance. Queer dance might be defined by an artist’s identity or preoccupations; by a work’s critique of normative values; or by a spectator’s or performer’s queer pleasures and desires. Queer spaces, or those haunted by a queer past, might also prompt a consideration of how dance engages history, representation, and community. Dance and sexuality can also be thought through together as social, physical, and historically situated practices that are (often at once) liberatory, risky, entertaining, and always in process, often inviting inquiries about affect and public feelings.

This conference seeks to bring together queer studies and dance studies to consider the questions, methods, practices, and politics that preoccupy both fields. We encourage submissions from both artists and scholars, who study, make, and/or participate in dance in and for a variety of venues­from the concert stage to the social club dance floor to the video screen. Submissions exploring the limits or problems of the term “queer” are also welcome. While dance will be at the center of the conference, we hope submissions will take up dance from a range of disciplines and practices, including visual culture; cultural studies; theatre and musical theatre studies; film, radio, and television studies, etc. We also encourage proposals that blur boundaries between dance and music, and that take up global performance traditions. Given the provocative challenges dance studies and queer studies make to hierarchies of power and ways of knowing, this conference invites submissions in a range of formats: traditional paper panels, embodied workshops, performances, and screendance.

All submissions must be received by September 15 and should be uploaded to the Congress on Research in Dance website, www.cordance.org. Participants will be notified of acceptance by October 30. For questions about programming, please contact Clare Croft: email chcroft@umich.edu. For questions about the online submission process, please contact Ashanti Pretlow: email Ashanti at cordance.org.

Style-based subcultures, scenes and tribes – along with their music genres – have pulsated through the history of social, economic and political change. From 1940s zoot-suiters and hepcats; through 1950s rock ‘n’ rollers, beatniks and Teddy boys; 1960s surfers, rudeboys, mods, hippies and bikers; 1970s skinheads, soul boys, rastas, glam rockers, funksters and punks; on to the heavy metal, hip-hop, casual, goth, rave and clubber styles of the 1980s, 90s, noughties and beyond; distinctive blends of fashion and music have become a defining feature of the cultural landscape. Research into these phenomena has traversed the social sciences and humanities, and this symposium aims to bring together recent studies, insights and methodological approaches in this rich, interdisciplinary field.

Featuring contributions both from major scholars and eminent commentators, the symposium seeks to explore the historical and cultural significance of subcultural styles and their related music genres. Bringing together theoretical analyses, empirical studies and methodological discussions, it will explore the relation between subcultures and their historical context, the place of subcultures within patterns of cultural and political change, and their meaning for participants, confederates and opponents. As well as Anglo-American developments, the symposium aims to consider experiences across a variety of global sites and locales, giving reference to issues such as class, ethnicity, gender, sexuality, creativity, commerce, identity, resistance and deviance.

The symposium marks the launch of the Subcultures Network: The Interdisciplinary Network for the Study of Subcultures, Popular Music and Social Change – a cross-disciplinary research network for scholars and students interested in the relation between subcultures (in all their forms) wider process of social, cultural and political change. Additional information about the Subcultures Network can be found at: http://www.reading.ac.uk/history/research/hist-subcultures.aspx.

Confirmed Speakers Include:
Prof. Dick Hebdige (UC Santa Barbara)
Prof. David Hesmondhalgh (University of Leeds)

This year’s conference will be putting the spotlight on families, groups and systems, exploring how they interact with clients, therapists and interventions to impact on the way we conduct and reflect on our work. We will seek to understand and gain new perspectives related to treatment, theory and research by viewing these, our clients and ourselves through an ecological lense.

Both clients and therapists come from or live within a family of some form and are also part of a particular group, or groups – whether they be treatment groups, professional groups, community or cultural groups. Other systems that surround our work include the communities in which we work, the institutions which employ us, and the current policy and governing environments.

This conference will be asking us to consider the following questions: how is the modern family changing, how do societal trends and values impact on the family unit and what does this mean for music therapy and the people who practice and participate in it? How do we best understand family and group dynamics in ways that contribute to our work? What does music therapy mean to families and groups who engage in it and what does it mean for the families of music therapists? How do we see ourselves as a professional group – who are we, where are we headed and what is our function and role in the healthcare system?

We warmly invite papers that examine music therapy practice, research, policy and the professional identity and lives of music therapists from an ecological perspective.

This year, the GC Acoustic music festival will be held at the fabulous Broadwater Parklands and sponsored by the GCCC as part of the spring celebrations. With the festival becoming known up and down the east coast and applications coming in from all over Australia, this is a wonderful opportunity to get involved in the establishment of a significant music event for the Gold Coast. The program will be bigger this year with up to 20 performances and 10 workshops each day plus jamming and a Saturday night concert.

This historic twentieth anniversary of the Feminist Theory & Music Conference celebrates past and current contributions of women to music and seeks to advance the philosophical, theoretical, and practical basis of feminist theory in music. We welcome proposals of scholarly papers pertaining to feminist theory and music. We also encourage proposals of musical performances and lecture recitals featuring works by women composers. The conference will provide a forum for this growing body of scholarship and creative activities and for discussions among those engaging in feminist research. Themes of particular interest include pioneers, women exploring interdisciplinary and digital arts, eco-musics, music education, as well as music and healing. We also accept proposals on any other topic relating to all categories of music and gender.

This conference brings together scholars of diverse backgrounds who wish to explore new possibilities of engagement with Brahms, his music, and his cultural milieu. The program committee is especially interested in proposals that provide fresh perspectives on: Brahms and his historical context; the analysis of Brahms’s music and its inspiration for new modes of theoretical thought; source studies and issues with the new critical edition and the correspondence; performance practice, performance theory, and esthetics; the relationship of Brahms’s music to that of his precursors and subsequent generations of composers; Brahms’s relationship to other branches of artistic creation such as the visual arts, poetry, and literature.

Program Committee: Walter M. Frisch (Columbia University), Ryan Minor (Stony Brook University), Heather Platt (Ball State University), Peter H. Smith (University of Notre Dame)
All questions should be directed to Peter.H.Smith.80@nd.edu.

What procedures, techniques, knowledge and/or know-how do musicians utilize when they ‘create’ music? Beethoven’s famous walks in the park and the no less famous sketchbooks have, since the 19th century, popularized the idea that the creative activity of composers is the product not only of inspiration, but also of labor. Despite this representation of the creative process as work or discipline, relatively few studies of it were produced over the course of the twentieth century compared to the extensive scholarship during this time concerning the products of this process, that is, musical ‘works’ in the broad sense. As a branch of musicology, sketch studies has developed in the United States and Europe since the 1970s, but largely limited itself to the archival study of western art music. More recently, performance studies and popular music studies have led to a re-evaluation of the collective and collaborative dimensions of creative work, while musics that do not rely on notation (including electroacoustic music) present new problems of sources and analytical methods.

This conference will offer opportunities to assemble for the first time a considerable number of researchers directly or indirectly interested in the study of the creative processes involved in the (past and present) production of music/sound, and to take the first steps towards a comparative assessment of the different methodologies developed over the last thirty years in research areas which interact with each other all too rarely. The conference talks will present findings from the field of music as well as related artistic domains, to explore new methodologies and theoretical models. The conference will serve to open up broader issues of artistic creativity as it is approached in fields outside of musicology: history, psychology, cognitive science, sociology, anthropology, genetic criticism, etc.

The Symposium aims to investigate different facets of the musical tour in Europe as a phenomenon of the nineteenth century. Taking as its point of departure Franz Liszt’s career as a touring piano virtuoso, composer, conductor and teacher, the conference will explore various composers’ and performers’s European tours; these tours’ relationships with the most important musical centres during the period; the influence of various instrumental approaches and their impact on the development of taste, and Liszt’s own performing style, together with his role as a teacher and as a conductor.

Although other topics are welcome, the programme committee encourages submissions within the following areas:

• The Musical Tour in Europe during the Nineteenth Century
• European Instruments and Sound: the Development of the Musical Taste
• The Piano Industry in the Nineteenth Century: Organological Matters, Piano Markets, Musical Business
• The European Piano Schools and the Virtuosity
• Liszt and the Concert Life in Europe
• Franz Liszt’s Performing Style
• The Legacy of Franz Liszt

The official languages of the conference are English, French, and Italian. Papers selected at the conference will be published in a miscellaneous volume.

In 2012, CIM will tackle the subject of History. Hosted by the University of Göttingen, whose one time music director Johann Nikolaus Forkel is widely regarded as one of the founders of modern music historiography, CIM12 aims to promote collaborations that provoke and explore new methods and methodologies for establishing, evaluating, preserving and communicating knowledge of music and musical practices of past societies and the factors implicated in both the preservation and transformation of such practices over time. The focus will be the particular potential offered by interdisciplinary contributions to extending our understanding of music of the past, of its role in other social, cultural and political processes, and of processes of transformation of musical cultures and practices. Issues to be raised at the conference may include, but are not limited to:

• Possibilities and challenges for researching past musical practices, cultures and repertoires outside the traditional remit of music histories, including such practices, cultures and repertoires where knowledge transfer and knowledge preservation takes other forms than "standard" media such as writing/print
• Uses and possibilities of newer technologies for uncovering, evaluating and preserving documents on music and musical practice from past societies
• Perspectives offered by the empirical sciences and the natural sciences for understanding the music of past societies and the establishment, transformation and decline of musical practices
• Perspectives offered by research into music history for general and political history, for the history of ideas, of the sciences, and for all other scientific disciplines concerned with past societies and cultures.

The whole file should not exceed 1000 words, including all headings, names of authors, their affiliations, email addresses and biographies. The text must be in English. Submissions will be reviewed anonymously by a panel of international experts. Authors may wish to use the template available to download to help structure their submissions.

Abstracts should be submitted electronically as a PDF file to cim12@uni-goettingen.de by 30 September 2011. Please also use this address for any general enquiries.

Further information on CIM12 and GfM2012 can be found at: http://gfm2012.uni-goettingen.de/cim12/CIM12/Home.html

CIM12 is a satellite conference to the International Congress of the German Musicological Society, which will take place from 4-8 September under the general heading Music | Musics: Structures, Processes.

From Romanticism's spiritual resurgence to the interrogations of Darwinism and science, the nineteenth century was immersed in conversation about the place of spirituality and religion in society, politics, and the arts. Paper and panel proposals are welcome on all aspects of belief, religion, and spirituality in the long nineteenth century, from 1789 to 1914.

Papers might address: retreats, communes, and utopias; visionaries and prophets; spiritual awakenings; esprit de corps and group spirit; revivals and reforms; religious doctrines and dogmas; proselytes, converts, and newcomers; spiritualism and the Feminist Movement; cults, cabals, and conspiracies; free spirits, lunatics, and addicts; revered commodities and capital; spiritual growth and enlightenment; perspectives on religious belief; acts of faith and interfaith; Theosophy and mysticism; shamans, mediums, and psychics; non-European spiritual traditions; representations of emotions and the unconscious; altered states; secular spirituality; spirituality of agnostics and atheists; aesthetic spirituality; theology and spirituality; ethnicity and spirituality; fears and phobias of spirituality and religion; spiritual conflicts and combats; sacred texts, pictures, music and shrines; spiritual tours and monuments; sacrilegious and blasphemous acts; matters of atonement and redemption; reactions against spirituality or religion. Other interpretations of the conference theme are welcome.

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Irony makes the world new by putting the world that exists in question. Its strength lies in its destabilizing power—it is the politics of art, the art of politics, and the language of dissent. By enabling critical representations of the world as it is known, but from within and against the familiarity of our own expectations, irony gives art and discourse special kinds of access to the public sphere, especially by mining beneath the given, the actual, and the known.

In politics, philosophy, art and literature, across post-modernism, post-colonialism, and globalization, the question of irony is of expanding relevance to a range of fields of cultural formation and inquiry. Yet it remains insufficiently noticed, understood, or theorized; ironically powerful and silent at once. What is the meaning of irony? What does it accomplish and exactly how and with what effects? Is irony impoverished or indispensable, disenchanted or enchanting, world-breaking or world-making?

Conference organizers invite proposals for papers addressing the public and public-making function of irony across time and through a range of contexts and media. Disciplines may include but are not limited to:

• Architecture and Design
• Art History
• Classics
• Film
• Fine Arts
• Gender and Sexuality
• History
• Law
• Literature
• Media and Communications
• Musicology and Music Performance
• Philosophy
• Politics
• Theatre and Performance

Proposals for complete panels as well as for individual papers in English or French are welcome. Researchers are invited to submit paper abstracts of 250 words and brief (2 page) cvs to: irony@mcgill.ca.

Articles

• Visions of freedom: Duke Ellington in the Soviet Union
• Harvey G. Cohen
• ‘Brains, means, lyrical ammunition’: hip-hop and socio-racial agency among African Students in Kharkiv, Ukraine
• Adriana Helbig
• Pained expression: metaphors of sickness and signs of ‘authenticity’ in Kurt Cobain's Journals
• Jessica L. Wood
• Re-tuning the past, selling the future: Tata-AIG and the Tree of Love
• Jayson Beaster-Jones
• Some theoretical perspectives on African popular music
• Austin Emielu
• ‘Phases and stages, circles and cycles’: Willie Nelson and the concept album
• Travis D. Stimeling
• On the interaction of alliteration with rhythm and metre in popular music
• Keith Salley
• Gender, genius and rock and roll in ‘Roy Orbison and Friends: A Black and White Night’
• Mark Laver
• The constraints of colour: popular music listening and the interrogation of ‘race’ in post-apartheid South Africa
• Mary Robertson
• Birthday thoughts on Popular Music
• David Horn
• Popular Music is Growing Old(er)
• Richard Middleton
• Drawn to Sound: Animation Film Music and Sonicity. Edited by Rebecca Coyle. London and Oakville, CT: Equinox 2010. 258 pp. ISBN 978 1 84553 352 6 (paperback)
• Helen Alexander
• Music Education in the 21st Century in the United Kingdom. Edited by Susan Hallam and Andrea Creech. Institute of Education. 2010. pp ix – 354.
• ISBN 978 0 85473 899 1.
• Paul Carr
• Reading Song Lyrics. By Lars Eckstein. Amsterdam/NY: Rodopi, 2010. 290 pp. ISBN 978-90-420-3035-0.
• Yngvar B. Steinholt
• Buddy Holly. By Dave Laing, London. VT: Equinox, 2010 194 pp. ISBN 978-1-845530627-5.
• Kenny Forbes
• Fado and the Place of Longing: Loss, Memory and the City. By Richard Elliott. Aldershot: Ashgate, 2010. 256 pp. ISBN 9780754667957
• Christian O'Connell
• Jazz Icons: Heroes, Myths and the Jazz Tradition. By Tony Whyton. Cambridge, Cambridge University Press, 2010. ix + 219 pages. ISBN 978-0-521-89645-0
• Bjorn Heile
• The Ashgate Research Companion to Popular Musicology. Edited by Derek B. Scott. Ashgate Publishing Limited, 2009. 557 pp. ISBN 978-0754664765 (cloth)
• J. Mark Percival
• Terror Tracks: Music. Sound and Horror Cinema. Edited by Philip Hayward. 2009. London, Oakville: Equinox. 300pp. ISBN 1845532023 (paper back)
• Bruce Johnson

As part of a weekend to celebrate the music of Pierre Boulez, the Southbank Centre, in association with The Royal Academy of Music, is hosting a conference on the music of Pierre Boulez on 1st October 2011. The keynote speaker at this conference will be Emeritus Prof. Arnold Whittall (KCL).

The Society for Seventeenth-Century Music will hold its Twentieth Annual Conference from Thursday through Sunday, 19-22 April 2012, in New York, NY, hosted by the Department of Musical Instruments at the Metropolitan Museum of Art, New York. Proposals on all aspects of seventeenth-century music and its cultural contexts are welcome. In view of the setting, we particularly encourage proposals concerning instruments, iconography, or connections between music and art.

Proposals should be sent by e-mail (deadline: midnight, Eastern Daylight Time, 1 October 2011) to the Program Committee at Shirley.Thompson@bcu.ac.uk with the header “SSCM Proposal.

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Articles :

• Notes from the Editor:
• Sanctioned Daydreams: Music, Pictures, and Architecture
• Leon Botstein
• American Musics and The Twentieth Century and Beyond Percy Grainger and Henry Cowell: Concurrences Between Two “Hyper-Moderns”
• Suzanne Robinson
• Music and Culture
• “It left me no peace”: From Carlo Gozzi’s La donna serpente to Wagner’s Parsifal
• Katherine R. Syer
• Musical Assimilation and “the German Element” at the Cincinnati Sängerfest, 1879
• Karen Ahlquist
• Texts and Contexts:
• Musical Voyages and Their Baggage: Orientalism in Music and Critical Musicology
• Jonathan D. Bellman

Vom 4. bis zum 7. Oktober 2011 findet an der Kunstakademie Düsseldorf der VIII. Kongress der Deutschen Gesellschaft für Ästhetik mit dem Titel " Experimentelle Ästhetik" statt. Der Kongress verfolgt das Ziel, das Verhältnis von Experiment und Ästhetik historisch und systematisch zu durchleuchten.

Das „Wiener Wiesenthal Institut für Holocaust-Studien (VWI)“ veranstaltet gemeinsam mit dem „Institut für Analyse, Theorie und Geschichte der Musik“ eine internationale Tagung zum Thema „Der Holocaust in der Musik“. Die Tagung wird am 4. und 5. Oktober 2011 an der Universität für Musik und Darstellende Kunst in Wien stattfinden und durch ein künstlerisches Rahmenprogramm Ergänzung finden.

Schon während des Holocaust selbst, hauptsächlich aber vor allem ab den 1950er- und 1960er- Jahren setzte im musikalisch-kompositorischen Bereich die Thematisierung des nationalsozialistischen Massenmords ein: Dabei wurden einzelne Orte wie Konzentrations- und Vernichtungslager, Ghettos, Tatorte oder Personen, Ereignisse oder konkrete Aspekte, aber auch allgemeinere Themen wie Erinnerung, Trauer und Leid angesprochen. Im Rahmen der Konferenz soll am Beispiel dieser Kompositionen und ihrer Interpretation Musik als ein Medium der Erinnerung, Auseinandersetzung und Aufarbeitung herausgestellt, diese Werke als Teil der kulturwissenschaftlichen Gedächtnisforschung analysiert werden.

Im Zentrum steht die Frage, in welchen Formen der Holocaust selbst, die Aufarbeitung, der Umgang und die Erinnerung an die Shoah in Kompositionen zeitgenössischer Musik Eingang gefunden haben bzw. wie das Faktum Holocaust die musikästhetische Diskussion beeinflusst hat.

SysMus11 invites PhD and advanced Master students of systematic musicology and related fields of music research to present their ongoing work and to participate in the positioning of systematic and cognitive musicology in a dynamically changing scientific context.

The conference will be organized in Italy by the Italian Society “Gruppo Analisi e Teoria Musicale” (GATM), under the patronage of the Università di Roma Tor Vergata - Dipartimento di Beni Culturali, Musica e Spettacolo (BEMUS), in collaboration with the SFAM (Société Française d’Analyse Musicale) SBAM (Société Belge d’Analyse Musicale), VvM (Vereniging voor Muziektheorie), SMA (Society for Music Analysis), and GMTH (Gesellschaft für Musiktheorie).

EuroMAC VII will be the first event of, and launching point for, the new Federation of European Societies of Music Analysis and Theory.

You are kindly invited to submit proposals for the Third International Conference on Music and Minimalism, which will be held from 12-15 October 2011, at the Katholieke Universiteit Leuven.

Keynote speakers will be Louis Andriessen and Kyle Gann.

All scholars in this area are invited to submit papers. The conference welcomes all papers concerning minimalist music, American, European, and worldwide, as well as the many subsequent styles it inspired. Relevant topics include, but are not limited to, the following:

• The minimalist ‘core repertoire’ as frequently identified
• European minimalisms: the various and often lesser-known minimalist and post-minimalist contributions from across Europe: Louis Andriessen, Gavin Bryars, Hans Otte, Eliane Radigue, Karel Goeyvaerts, Zoltan Jeney, Steve Martland, …
• Especially encouraged are papers on crucial but less public figures such as Tony Conrad, Phill Niblock, Jon Gibson, Rhys Chatham, Julius Eastman, Terry Jennings, and so on…
• Minimalist music in opera and music theatre
• Minimalism today: how is minimalism, almost half a century after its historical ‘birth’, reflected in the recent musical output? Both continued minimalist concerns from longtime minimalist pioneers, and – particularly – the reception of minimalist aesthetics and composition techniques among younger generations of composers are welcomed here. (See also the remark about lecture-recitals, below)
• The significance of minimalist and post-minimalist music as cultural practice
• Aesthetics/listening/analysis: discussions of the particular ways in which minimalism invites listening attitudes and their impact on music analysis

The Midwest Popular Culture Association / American Culture Association will hold its annual conference at the Hilton Milwaukee City Center in Milwaukee, Wisconsin.

The conference will run Friday-Sunday, October 14-16, 2011.

TRANS-Transcultural Music Review 16 (2012) will publish a special dossier on the new forms of music in audiovisual media. The dossier will be prepared in collaboration with the research group “Música y medios audiovisuales” from the Society for Ethnomusicology-SIBE/IASPM-Spain and will be edited by Teresa Fraile, Eduardo Viñuela, and María Edurne Zuazu.

For this dossier, we are particularly interested in the role of music in the emergence of new genres (such as mash-ups, lip-dubs, etc.) and in the transformation of the discursive strategies of the traditional media (film, TV programs, music videos, video games, etc.). The contemporary audiovisual panorama is constantly changing. On the one hand, there is a fruitful interchange between different genres and formats, such as the dialogue between music video, advertising and film; an interchange in which the music is deeply involved. This enables music to take different functions in the discourses of these media, thus transforming them, and at the same time, opens a new palette of expressive resources. On the other hand, the spread and democratization of new technologies has brought about these new musical genres that also imply new forms of consumption and point toward a different aesthetic framework.

Music is now at the core of a boiling, creative audiovisual production where its relationships with image and the other sound elements are not what they used to be, obliging us to rethink our approaches and understanding of the role of music in media.

We welcome contributions that approach these new phenomena and processes, especially those with an interdisciplinary perspective. Some topics include but are not limited to the following:

Topics:

• Music and the blurring of media genres and formats
• Sound art and image (sound installations, etc.)
• Music in film trailers
• Audiovisual formats in live performance
• New forms of consumption and technology
• Rockumentaries or “making of” the album, band, etc.
• Production of music for and with mobile technology (cell phones, MP3 players, etc.)
• New theoretical models for media analysis

We open the call for submission of articles on this topic. Articles may be written in English, Spanish, French, Italian or Portuguese. Deadline for submitting originals: October 15, 2011.

Issue thematic title: Composing Motion: a Visual Music Retrospective [Volume 17, Number 2]

Visual music holds an important place at the cutting edge of today’s art, but as a term it has been with us for almost a century. In 1912, art critic Roger Fry coined the term “visual music” in an attempt to describe Kandinsky’s paintings, generally recognised to be the first purely abstract canvases. Connecting Kandinsky’s non-representational art to the abstract nature of music was a way to explain and interpret this new art form. Today, the concept of visual music refers to visuals “composed and presented with aesthetic strategies and procedures similar to those employed in the composing or performance of music”1. Examples include abstract silent films music, works using manual, mechanical, or algorithmic means of transcoding sound to image, and even pieces which translate image into sound. Visual music has also come to refer to a cross-disciplinary practice, which originated in cinema in the 1930s through the work of filmmakers including Oskar Fischinger, Mary Ellen Bute, and Len Lye. By the 1950s a new generation of animators, including Norman McLaren, began the now commonplace practice of merging the roles of composer and filmmaker by creating sophisticated soundtracks to accompany their images. In the twenty-first century artists can finally perform visuals, whether frame-by-frame or in real time, with the same nuanced control that musicians have had for thousands of years.

The language of electroacoustic music is particularly suited for the abstract imagery of visual music. If music is organised sound then visual music is organised image. Just as sound art “can no longer be confined to the organisation of notes”3 visual music needs to move beyond a vocabulary developed for static images and instead shift to a gestural language of time-based design. We hope this issue will encourage scholars from both the visual and sonic spheres who will draw upon the scholarship of experimental electroacoustic composition to create compelling investigations of any of the following topics:

• Tension between sound and vision
• Surveys and case studies regarding modern or historical visual music
• Rhetorics for describing, analysing, and critiquing visual music
• Ontologies of visual music, questions of medium-specificity and modernism
• Synaesthesia and other cognitive approaches to the perception of visual music
• Visual music as metaphor for intermedia/multimedia production
• Visual music, experimental film, and classical film theory
• Cantastoria, “lightning artists,” and the performance roots of animation
• Artist and programmer collaboration then and now
• Code as the “new new media”
• Innovations in procedural graphics and sound
• Generative algorithms as “conceptual” visual music
• The rise of digital video, 1995–2005
• New ideas in intermedia telematic collaboration
• Kandinsky’s Point and Line to Plane and other algorithmic approaches to visual music
• Projection mapping in performance

Deadline for submissions is 15 October 2011. Submissions may consist of papers, with optional supporting short compositions or excerpts, audio-visual documentation of performances and/or other aspects related to your submission that can be placed onto a DVD and the CUP website for “Organised Sound”. Supporting audio and audio-visual material will be presented as part of the journal's annual DVD-ROM which will appear with issue 17/3 as well on the journal’s website.

Properly formatted email submissions and general queries should be sent to: os@dmu.ac.uk, not to the guest editors.

Issue thematic title: Composing Motion: a Visual Music Retrospective [Volume 17, Number 2]

Visual music holds an important place at the cutting edge of today’s art, but as a term it has been with us for almost a century. In 1912, art critic Roger Fry coined the term “visual music” in an attempt to describe Kandinsky’s paintings, generally recognised to be the first purely abstract canvases. Connecting Kandinsky’s non-representational art to the abstract nature of music was a way to explain and interpret this new art form. Today, the concept of visual music refers to visuals “composed and presented with aesthetic strategies and procedures similar to those employed in the composing or performance of music”1. Examples include abstract silent films music, works using manual, mechanical, or algorithmic means of transcoding sound to image, and even pieces which translate image into sound. Visual music has also come to refer to a cross-disciplinary practice, which originated in cinema in the 1930s through the work of filmmakers including Oskar Fischinger, Mary Ellen Bute, and Len Lye. By the 1950s a new generation of animators, including Norman McLaren, began the now commonplace practice of merging the roles of composer and filmmaker by creating sophisticated soundtracks to accompany their images. In the twenty-first century artists can finally perform visuals, whether frame-by-frame or in real time, with the same nuanced control that musicians have had for thousands of years.

Artists and musicians thought to be synaesthetes, such as Kandinsky and Scriabin, have played an important role in the development of visual music. Perhaps this is why the ability to create art that mimics the involuntary and instant synaesthetic experience in real-time has long been a paramount goal for many practitioners. While standout individual accomplishments of visual music performance occurred in the analog era, formidable economic barriers limited its development. The recent availability of inexpensive computer technology has allowed audio-visual performance practices, including improvisation, to become widespread, creating a vibrant community of musicians and filmmakers who constantly develop the field.

We hope this issue will encourage scholars from both the visual and sonic spheres who will draw upon the scholarship of experimental electroacoustic composition to create compelling investigations of any of the following topics:

• Tension between sound and vision
• Surveys and case studies regarding modern or historical visual music
• Rhetorics for describing, analysing, and critiquing visual music
• Ontologies of visual music, questions of medium-specificity and modernism
• Synaesthesia and other cognitive approaches to the perception of visual music
• Visual music as metaphor for intermedia/multimedia production
• Visual music, experimental film, and classical film theory
• Cantastoria, “lightning artists,” and the performance roots of animation
• Artist and programmer collaboration then and now
• Code as the “new new media”
• Innovations in procedural graphics and sound
• Generative algorithms as “conceptual” visual music
• The rise of digital video, 1995–2005
• New ideas in intermedia telematic collaboration
• Kandinsky’s Point and Line to Plane and other algorithmic approaches to visual music
• Projection mapping in performance

TRANS-Transcultural Music Review 16 (2012) will publish a special dossier on the new forms of music in audiovisual media. The dossier will be prepared in collaboration with the research group “Música y medios audiovisuales” from the Society for Ethnomusicology-SIBE/IASPM-Spain and will be edited by Teresa Fraile, Eduardo Viñuela, and María Edurne Zuazu.

For this dossier, we are particularly interested in the role of music in the emergence of new genres (such as mash-ups, lip-dubs, etc.) and in the transformation of the discursive strategies of the traditional media (film, TV programs, music videos, video games, etc.). The contemporary audiovisual panorama is constantly changing. On the one hand, there is a fruitful interchange between different genres and formats, such as the dialogue between music video, advertising and film; an interchange in which the music is deeply involved. This enables music to take different functions in the discourses of these media, thus transforming them, and at the same time, opens a new palette of expressive resources. On the other hand, the spread and democratization of new technologies has brought about these new musical genres that also imply new forms of consumption and point toward a different aesthetic framework.

Music is now at the core of a boiling, creative audiovisual production where its relationships with image and the other sound elements are not what they used to be, obliging us to rethink our approaches and understanding of the role of music in media.

We welcome contributions that approach these new phenomena and processes, especially those with an interdisciplinary perspective. Some topics include but are not limited to the following Topics:

• Music and the blurring of media genres and formats.
• Sound art and image (sound installations, etc.).
• Music in film trailers.
• Audiovisual formats in live performance.
• New forms of consumption and technology.
• Rockumentaries or “making of” the album, band, etc.
• Production of music for and with mobile technology (cell phones, MP3 players, etc.).
• New theoretical models for media analysis.

We open the call for submission of articles on this topic. Articles may be written in English, Spanish, French, Italian or Portuguese.

The purpose of the conference is to contribute towards the development of musicological thought, which could serve to compositional practice and teaching process. The ten preceding conferences took place in Vilnius (Principles of Music Composing: Theory and Practice 1999; Principles of Music Composing: Between Ethno and Techno 2001; Principles of Music Composing: Continuity and Innovation in Contemporary Music 2002; Principles of Music Composing: Aspects of Historical Spread 2004; Principles of Music Composing: Creative process 2005; Principles of Music Composing: Phenomenon of a Cycle 2006; Principles of Music Composing: Musical Text 2007, Principles of Music Composing: Musical Archetypes 2008; Principles of Music Composing: Orchestra as a Phenomenon 2009, Principles of Music Composing: Sacred Music 2010).

The conference is dedicated to mark the centenary of Lithuanian composer and painter M. K. Čiurlionis‘ death.

Sub-themes:

1. The paradigm of national Romantic music composing in the context of contemporary cultural globalization.
2. The authentic national Romantic music composing in geographical and time dimensions.
3. The continuity of a national tradition and challanges in a modern composition practice.
4. The conception of national modernism and its manifestations in works of Baltic composers.
5. The collisions between Romanticism and Modernism in M. K. iurlionis‘ oeuvre.
6. The continuity of M. K. iurlionis‘ composing principles in Lithuanian music.

The cultural and historical connections between Africa and North America date back to hundreds of years, covering the period of slavery and continuing until now. African musical traditions have since then provided the basis for the emergence of new music and dance practices in North America, and indeed globally. The interaction between Africa and North America continues in the ways in which North American musical genres and idioms have provided creative models for the emergence of new practices on the African continent, thus completing a cycle that continues to replicate itself fueled by cross- cultural traffics of people and cultural practices between the two places.

Thanatos as Muse? Schubert and Concepts of Late Style

Despite the books written on him, despite our familiarity with his musical voice, Schubert’s artistic career still presents a strange paradox. Some scholars have regarded him almost as an empyrean figure who has written the best Lieder in the vocal literature. But even that has been held against him: the composer’s attempted convergence of song-like melody and classical form has been written off as structural incompetence, while reception of his late instrumental works has been tempered by criticism of their episodic character.

Dr Lorraine Byrne Bodley Department of Music National University of Ireland Maynooth Co. Kildare Lorraine.ByrneBodley@nuim.ie

Prof. Julian Horton School of Music University College Dublin Belfield Dublin 4
julian.horton@ucd.ie

The Eighteenth Annual Conference of the Italian Musicological Society will take place in Genova in collaboration with the Conservatorio dI musica “Niccolò Paganini”from 21 to 23 October 2011. On October, 22 all members will gather for their annual meeting.

Scholars from all over the world are invited to submit their paper proposals. Every topic in the field of musicological studies is accepted. In the abstract (which has not to exceed 30 lines) please indicate the title of the proposed paper, the state of the art in your research field, with an outline of the project and the specific contribution to the current knowledge.

Along with the text please send also a short C/V (max 15 lines) and indicate the A/V equipment required.

The paper shall not exceed 25 minutes in duration (corresponding to an 8-page text containing to a maximum of 16000 characters). Scholars are not allowed to send more than one abstract. The abtsracts have to be sent to the e-mail address segreteria at sidm.it or – by mail – to the Società Italiana di Musicologia, c.p. 7256, Ag. Roma Nomentano, 00162 Rome, Italy (please add on the envelope the indication “XVI Convegno Annuale”) no later than June 15, 2011.

19th-Century Music is sponsoring this one-day interdisciplinary conference at Fordham University’s Lincoln Center campus on Saturday, October 22, 2011. Graduate students, part-time and junior faculty are invited to submit abstracts (maximum: 500 words) to the editor, Lawrence Kramer, lek791@gmail.com, by June 30, 2011 (extended from April 30). Papers selected for presentation will be considered for publication in a special issue of the journal.

The topics may range as widely as the contributors’ imagination can compass. Possibilities include, but are by no means limited to, portrayals of music or musicians in nineteenth-century literary works, musical representations in nineteenth-century music of literary genres, characters, or texts, literary opera, incidental music, aesthetic theories, models of performance, treatments of nineteenth-century music in twentieth- and twenty-first-century literature and film, treatments of nineteenth-century literature in twentieth-and twenty-first-century music, including opera and film music, and the list goes on. As always, we define the chronological borders of the nineteenth century very loosely.

We are also considering a piano recital combining old and new compositions inspired by literary works and would like to feature a group of younger pianists from the same pool of applicants as the CFP. If you would like to be considered for a spot on the program, please include a resume and performance sample. If the file size of the latter exceeds 10mb, please use a file delivery service such as Dropbox or YouSendIt.

The two-day international conference “In Diaghilev’s circle: An Impresario in dialogue with composers” will take place in St Petersburg at the N. Rimsky-Korsakov Memorial Museum-Apartment 24-25 October 2011.

The conference is the part of the Second International Festival “Diaghilev. P. S.,” the mission of which is to bring back the name of Diaghilev, his cultural influence in Russia toward enrolling St Petersburg in a wider cultural environment using the internationally recognised phenomenon of Diaghilev’s ‘Ballets Russes.’ Within the bounds of the festival there will be events that shed a light on the phenomenon of Diaghilev from various perspectives, including exhibitions, concerts, performances, editions and conferences.

Conclusions regarding Diaghilev’s impact on the development of world art are still subject to revision. Only within the last two decades have there been several monographs published; the intention of these was an attempt to summarize, realize and elucidate a scale of Diaghilev’s merit as an impresario, critic, curator of exhibitions, art historian, musician, and editor. However, in Diaghilev studies, many factors remain relatively unknown.

Among the less explored aspects of Diaghilev are his role as a producer of genius and his role as an impresario for composers. This conference will be concentrated in various aspects of composers’ interaction with Diaghilev, namely his function as:

• arbiter of musical tastes
• musical critic
• discoverer of composers
• editor of musical works
• co-author

One of the main events of the festival will be a world premiere of the oratorio “Orphic Trilogy” by Vernon Duke (Vladimir Dukelsky), performed by the St Petersburg Academic Symphony Orchestra, Choir of the State Capella. Also, one session of the conference will be focused on the collaboration of Dukelsky with Diaghilev.

The working languages of the conference are Russian and English.

The University of Maryland Baltimore County Department of Music announces its second annual LIVEWIRE Festival and Symposium (Oct. 27-29, 2011). Livewire 2: On Fire focuses on controversies, developments and trends in contemporary music in the first decade of the 21st century. We are soliciting proposals for paper presentations, lecture recitals, and demonstrations related to music-making in the first decade of the millenium, including but not limited to uses of technology, performance practice, specific works or composers, trends in any and all musical genres, issues of documentation and dissemination, or issues related to under-represented groups. In collaboration with Vox Novus, the Livewire Festival is also soliciting 60” electroacoustic works with or without video for a festival installation.

This international conference held in Paris will gather together researchers from diverse disciplinary orientations (historical, sociological, anthropological, musicological) working on the tango and its various aspects (music, dance, poetry). This interdisciplinary conference, organized by the Center for Research in Arts and Language (CRAL, EHESS-CNRS) and affiliated with the ANR GLOBALMUS research program, takes place after UNESCO s official recognition of the tango as international Intangible Cultural Heritage.

The conference will focus on three contemporary scientific themes concerning tango:

• Creation: aesthetic trends of current tango; a history of creative initiatives; links with means of expression and techniques of the body; tensions between creation and tradition, invention and homogenization;
• Identification: national identities; nomadism and diaspora; “black” origins of the tango and the question of metissage; political uses and claims of autonomy; questions of gender and sexuality;
• Circulation: technological resources in the context of globalization; new means of broadcasting and their effects on the pedagogy and interpretation of tango; commercial strategies and alternative networks; the impact of naming tango as cultural heritage.

The languages of the conference will be French, English and Spanish.

The power of music in Greek and Roman myth to move gods, men and even inanimate objects, and the descriptions of music in the imaginative and theoretical literature of antiquity, have inspired musicians since the Middle Ages to interpret and transform the ancient experience. Composers, librettists, and song writers have responded to the passions of the ancients in every available genre and style of musical expression. This conference will explore ways that vocal and instrumental music throughout the world has received and recreated the art and culture of the Greeks and Romans. A concomitant goal of this conference is to bring together artists and scholars in many fields – classics, music, theater, film – to engage in meaningful dialogue about the ways in which classical antiquity informs and shapes their own work. Presenters whose specialty is classics are asked to emphasize musical examples in support of their arguments; specialists in music and other performing arts are requested to focus their presentations on the ancient paradigms that have influenced the music of their particular field.

Scholars and artists interested in participating are asked to submit abstracts on relevant subjects that include, but need not be limited to:

• Stage music (e.g., opera, musical theater, incidental music)
• Choral and vocal music
• Instrumental music (e.g., chamber, orchestral, wind ensemble)
• Music for film, including silent film
• Electronic and digital music
• Interactive media including music
• Popular and folk music
• World (i.e., non-Western) musical responses to classical antiquity
• Social or political uses of antiquity in musical settings
• Ancient music theory and modern musical practice

There are evident analogies between the role of a paper and a screen in music. Being almost symbols of two worlds, two mega cultures, paper and screen reveal its numerous media,ontological, phenomenological, hermeneutical, social, communicational potentials and positions and, in general, similarly functioning components, even though there is a clear difference in their substance, genesis and development.

Please submit your paper topic not later than 31 October 2011 to Marijana Koci : mpms@fmu.bg.ac.rs

Please include your short biography and an abstract of 250 words.

The official language of the conference is English. It is possible to deliver papers also in German, French, Russian, and Serbian, but the authors are kindly requested to provide translation in English.

Selected papers presented at the conference will be published in the proceedings.

We welcome papers of 15 to 30 pages, notes and works cited included, that represent a critical study of these topics in Latin American & Spanish film, literature, and music. Hispanet is an online journal sponsored by The Foreign Language Program of Florida Memorial University. The deadline for submission is June 1st, 2011.

Papers may be written in Spanish or English using the MLA format 7th edition. The electronic submission of your paper is in Word 2003 or 2007. It must not have your name, or your affiliation in the text. Use a separate document for your data: title page with the author's name, affiliation, address, and phone.

Look here for previous issues.

The programme committee welcomes proposals on any aspect of music during the long 19th century. In addition, the committee invites proposals that engage with any of the following themes:

• Research on composers with major anniversaries in the period surrounding the conference, including Coleridge-Taylor, Liszt, Mahler, Verdi, and Wagner;
• Black concert composers in the 19^th century;
• Staging 19^th-century opera in the 20^th and 21^st centuries;
• 19^th-century forms and current Formenlehre;
• The idea of Scotland in 19^th-century music.

Proposals should be sent by email as an MS Word or PDF attachment to Elaine Kelly at elaine.kelly@ed.ac.uk

Musikwissenschaft beschreibt, deutet, bewertet und erinnert Musik und generiert auf diese Weise Wissen über sie. In Prozessen der Untersuchung und Beschreibung formt Musikwissenschaft ihre jeweils eigenen Kontexte und Konzepte. Die von NachwuchswissenschaftlerInnen konzipierte internationale Tagung Konstruktivität von Musikgeschichtsschreibung: Zur Formation musikbezogenen Wissens fragt aus verschiedenen theoretischen Perspektiven nach Momenten der Konstruktion von Musikgeschichtsschreibung, nach Prozessen ihres Entstehens und nach Wandel und Bestand musikbezogenen Wissens.

Ausgangspunkt ist die Feststellung, dass Musikgeschichte – wie Geschichte überhaupt – nicht selbstverständlich vorhanden ist bzw. sich nicht eindeutig oder von selbst aus beobachtbarem Geschehen ergibt, sondern dass ihre Entstehung sich maßgeblich im Wechselspiel individueller, sozialer und kommunikativer Wahrnehmung und disparater Bedeutungszuschreibung vollzieht sowie in der Einordnung in bekannte Kategorien bei deren gleichzeitiger Aktualisierung. Musikhistorisches Wissen erscheint somit stets als Produkt einer bestimmten Gegenwart; es basiert auf der konstruktiv hervorgebrachten Erinnerung an Vergangenheit und der Kontingenz ihres Wandels. Dabei wird Musikgeschichte nicht nur von MusikwissenschaftlerInnen generiert. An dem Prozess der Herstellung, Vergegenwärtigung und Verbreitung musikbezogenen Wissens ist eine Vielzahl weiterer Akteure beteiligt, ebenso variieren die Medien der Vermittlung.

Die Tagung lädt zum einen zur Evaluation des musikwissenschaftlichen Nutzens theoretischer und methodologischer Entwürfe aus Nachbardisziplinen ein. Zum anderen fragt sie nach der Gemachtheit von Musikgeschichte und den Prozessen und Mechanismen ihrer Hervorbringung, wobei auch anhand konkreter Beispiele aus der Musikgeschichtsschreibung Konstruktionen, Fiktionen, Mythenbildungen, Legitimationsbestrebungen und Konsistenzbehauptungen hinterfragt und durchleuchtet werden sollen. Mit der Verbindung dieser beiden Ansätze sieht die Tagung ihr übergeordnetes Ziel in der erkenntnistheoretischen Diskussion der kulturellen Konstitution von Wissen über Musik sowie in der Frage nach der spezifischen Epistemologie musikhistorischer Erkenntnis.

More Info (english)

The 8^th ACM Conference on Creativity and Cognition will be held from November 3rd through November 6th at Georgia Institute of Technology in Atlanta, Georgia, USA. Starting in 1993, the Creativity & Cognition (C&C) conference series have evolved into lively interdisciplinary meetings, bringing together artists and scientists, designers and educators, researchers and practitioners.

The broad theme of C&C 2011 is Creativity and Technology. Topics of interest include:

• Creativity in arts, music, story telling, poetry, design, science, etc.
• Everyday creativity
• Individual, collaborative and collective creativity
• Participatory creativity, organizational creativity and creative communities
• Democratizing creativity, do-it-yourself and folk creativity
• Education and training in creativity
• Creativity in education and training
• Embodiment, sensations, perceptions, emotions and behaviors in creativity
• Visual and perceptual representations in creativity
• New materials and processes for creativity
• Emerging technologies and media in creativity
• Digital media and technologies for creativity including graphics, visualization, virtual reality, augmented reality and tangible computing
• Social computing and media in creativity
• Interactive arts, theatre, music, games, story telling, design, science, etc.
• Empirical evaluations by quantitative and qualitative methods
• Case studies and ethnographic analyses
• Reflective accounts of individual and collaborative practice
• Cognitive and cognitive neuroscience models of creativity
• Information-processing and computational models of creativity
• Creative systems, tools and applications
• Social and cultural studies of creativity
• Transdisciplinary metaphors, methods, models

On 4–6 November 2011, the Music Department at Princeton University will host a conference devoted to the history of polyphony in Western Europe in the 12th and 13th centuries.

The aim is to provide as broad a sampling as possible of scholarship currently ongoing in this area, to invite discussion of future research goals and priorities, and to promote the setting up of collaborative projects and networks.

This conference explores a neglected aspect of Brahms’s compositional output, namely the area of domestic music-making, which was of great significance during his career. This topic is of growing interest in wider nineteenth-century studies, but has yet to be examined in detail because it presents overlaps between venues (public and private), performance forces (solo, chamber and reductions of larger forces) and source material (arrangements and transcriptions) – areas which have traditionally been segregated. Brahms in the Home will provide a forum for discussion of this field.

Papers, lecture-recitals and poster presentations are welcome in any of the following areas: defining domestic performance, Brahms’s solo Lieder, duets and quartets, the chamber music of Brahms and his contemporaries, piano music for one/two players, arrangements and transcriptions by Brahms and other composers and Brahms’s musical circle.

For further information and enquiries, please contact:
Dr. Natasha Loges
Royal College of Music
Prince Consort Road
London
SW7 2BS

The Jewish Studies and Music group will devote its 2011 meeting in San Francisco to the subject of music in Terezin/Thereisenstadt. Although the topic has received a good deal of attention, and works by such figures as Haas, Ullmann, Klein, and Krasa are now performed widely, the role and nature of music in Terezin is in need of further exploration. The following list is hardly exhaustive of the many questions that remain unexplored:

1. What did the prisoners know about what awaited them, and when and how did they know it? How can we separate myth from fact at this point?
2. What are the ethical implications of composing music that will be used as propaganda?
3. What is the impact of censorship and secrecy on musical form?
4. Was there a "Terezin idiolect," a kind of approach to composition distinguished by collage and the cultivation of secrets?
5. How did the compositions actually survive?
6. Are there other aspects of musical life in Terezin that require further research and discussion?
7. What is the relationship between ethnicity, religion, gender, politics and musical expression in Terezin?
8. How does the subject of music in Terezin relate to the broader issues of Holocaust studies?
9. How should the subject of music in Terezin be related even more broadly to the uses (and abuses) of music during the Second World War?
10. How did the music in Terezin impact second-generation composers and musicians, and other composers over the last two decades?

We warmly welcome paper submissions on any of these subjects and related ones. Please send a 350-word abstract to: Michael Beckerman at mike.beckerman@gmail.com by 25 April 2011. Please see our website for information on our inaugural session in 2010. Finally, we are also looking for a webmaster; please contact us if you have the skills and interest.

The 2011 Annual Meeting of the AMS will be held in San Francisco, California, from Thursday, 10 November, to Sunday, 13 November. The Program Committee welcomes proposals for individual papers, formal sessions, evening panel discussions, and sessions using alternative formats in all areas of scholarship on music.

The AMS Popular Music Study Group selection committee is currently accepting abstracts for our inaugural paper panel, to be held at the 2011 annual meeting of the American Musicological Society. In honor of San Francisco, the 2011 meeting’s host city, we are seeking abstracts for paper presentations on subjects dealing with the histories and cultures of popular music in San Francisco and on the West Coast. From the West Coast jazz scene to the psychedelic sounds of the Haight-Ashbury, San Francisco has an iconic status in histories of American popular music, and we welcome submissions exploring any aspect of those sonic and geographic histories. Other topics that focus on popular music on the West Coast in general will also be considered.Abstracts should be no more than 300 words, and presentations will be 30 minutes, followed by 15 minutes of questions. Please submit the following information, in separate files [ 1) An anonymous abstract with title | 2) A cover letter including the title of the proposed presentation and the author's name, email address, and institutional affiliation, if any, as well as any audio or visual needs.]

Please submit the above in .pdf, .doc, or .odf format no later than Friday, April 22, 2011 to whitney.henderson@gmail.com.

For further information please visit also the IASPM-US-Website.

Symposion der Arbeitsgemeinschaft für rheinische Musikgeschichte in Zusammenarbeit mit dem Forschungsinstitut für Musiktheater der Universität Bayreuth vom 11. bis 13. 11. 2011 in Köln

Die Konferenz untersucht das Phänomen Karneval aus musikwissenschaftlicher Sicht. Der Karneval in seiner kulturgeschichtlichen und aktuellen Bedeutung soll hierbei vor allem aus der Perspektive seiner performativen Dimensionen heraus untersucht werden.

Die beiden zentralen Fragen, die das Symposion aufwirft, sind bisher kaum gestellt, geschweige denn beantwortet worden: Welche Rolle spielt die Musik im Karneval im Allgemeinen? Und: Wie sehr bestimmt das große Maß der Partizipation der Teilnehmer mit der Musikausübung das Phänomen des Karnevals im Besonderen?

International Interdisciplinary Conference "LISZT AND THE ARTS" 18-21 November 2011 organized in Budapest, Hungary in honour of the Liszt Bicentennary by the Hungarian Academy of Sciences, Institute of Musicology and the Liszt Ferenc Academy of Music, Liszt Ferenc Memorial Museum and Research Centre

Aims of the conference: the conference aims to bring together musicologists and researchers of various art disciplines, and to encourage research and co-operation on issues related to the following main topics:
* Liszt’s ideas about the interconnection of the different branches of the arts
* Liszt’s participation in the general artistic life of his time, his relations to artistic
* movements and individual artists
* Inspirations for Liszt’s music in literature and fine arts (concrete works, ideas and structures)
* Liszt’s person and music as a source of inspiration in works of art

Conference languages: English, German, French. The preliminary summary (translated into these languages and Hungarian) will be available for the audience.

Philosophy of music is a second-level reflection on the nature of music and our experience of it. Music is a practice fraught with meaning and value in the lives of many people and occupies an important place in our artistic culture. However, it raises philosophical questions perhaps more difficult than other artistic practices.

The focus of discussion falls into the following areas: (a) issues relating to the definition of music (the difference between noises, sounds and tones, the debate between objectivism and subjectivism about musical phenomena, the opposition between 'pure' and 'impure' music, etc.); (b) problems relating to the ontology of music (the clash between nominalism and idealism about the relationship between a musical 'work' and its tokens or 'performances', the controversy between fictionalism and realism, etc.); (c) questions concerning the psychology of music (how music manages to express emotions, what are the listener's emotional responses to it, what are the criteria for assessing such responses, etc.); (d) problems regarding the semantics of music (the semiotics of musical meaning, the link between music and text, the distinction between structure and content, the controversy between representationalism and expressivism, etc.); (e) problems regarding the understanding of music (what constitutes the experience of understanding music, what skills and behavioural responses are involved in such understanding, etc.); (f) issues concerning the value of music: (what makes musical experience valuable, what connections can be established between music and mysticism, between music and ineffability, between music and silence, etc.).

teorema invites submissions of papers on these and related topics for a special issue to be published in 2012. Articles must be written in Spanish or English and should not exceed 6,000 words. For the presentation of their articles, authors are requested to take into account the instructions available here. Submissions must be suitable for blind review. Both a DOC and a PDF document must be sent to the Editor by November 15th 2011...

The Australasian World Music Expo (AWME) will take place in Melbourne from 17-20 November, 2011. Now in its fourth year, AWME is the Australia-Pacific region's premier music industry conference and showcase of Indigenous, roots and world music, and a major event which cements Melbourne's reputation as Australia's live music capital.

Interested artists are invited to apply.

Eine scheinbare Paradoxie beschäftigt sowohl die Musikindustrie als auch deren wissenschaftliche Beobachtungen schon seit geraumer Zeit: Trotz — oder wegen? — zunehmender Verlagerung der Präsentationen von Popmusik in virtuelle Welten (also auf Plattformen wie MySpace oder Second Life, in kommerzielle Dienste wie iTunes, in Formate wie MP3) ist gleichzeitig ein wachsendes Bedürfnis nach ›echter‹, ›authentischer‹ Musik und ›echten‹, ›authentischen‹ Musikerinnen und Musikern zum Anfassen bei Live-Konzerten, -Events und - Performances festzustellen. Mittlerweile scheinen bei vielen Künstlern die Tourneen wieder profitabler für Umsatz wie auch Image als die eigentlichen Tonträger. Populäre Musik bewegt sich zwischen den Polen des Konzerts mit seiner Publikumsnähe und Spontaneität und der Schallaufzeichnungen mit ihrer Virtualität und Perfektion.

Populäre Musik ist ›performte‹ Musik, sie ist eine Musik des Machens im Gegensatz zu einer Musik des Erdenkens und Notierens, des schriftlich fixierten Werkes. Ihre Medien sind Medien, die Performance ermöglichen, vervielfältigen und transportieren: die Schallplatte, das Video, die MP3-File und zuerst das Konzert, das als Urform in alle Verbreitungsmedien eingeschrieben ist. Die Art und Weise, wie Musik gemacht wird (mit stimmlichen, instrumentalen oder körperlichen Gesten . . .), wo (im Studio, im Club, auf Festivals . . .) und von wem (welcher Persönlichkeit, welchen Geschlechts, welcher Ethnie . . .) ist entscheidend für die Wahrnehmung des Stückes, die Abgrenzungen der Musiker untereinander, für die Festlegung von Genregrenzen, aber auch für Prozesse der Aneignung und Individuation durch das Publikum.

Der Schwerpunkt der ASPM-Arbeitstagung 2012 spürt diesen Inszenierungen des Musikmachens nach, analysiert Inszenierungen von Musik auf der Bühne und Spuren der Performance in Songs, Videos und virtuellen Räumen, untersucht Verbindungen zwischen Musik und Aufführungskontext, diskutiert Stilfragen am Beispiel der Performance einzelner Genres oder individueller Musikerinnen und Musiker.

Dabei sollen vor allem die Ebenen und Orte der Präsentation und Rezeption von Popmusik (also bspw. Studio, Bühnen, Clubs, Festivals, Internet-Plattformen) und ihre Wechselwirksamkeiten (also bspw. zwischen Künstler, Technik und Publikum) berücksichtigt werden. Ausdrücklich sind dabei unterschiedliche Herangehensweisen (theoretisch, historisch, systematisch, empirisch) erwünscht und verschiedene Disziplinen (Musikwissenschaft, Musikpädagogik, Medien-, Kultur-, Wirtschaftswissenschaft, Ethnologie, Soziologie etc.) zu Beiträgen aufgefordert.

The theme for this joint conference of the Musicological Society of Australia (MSA) and the International Conference on Music and Emotion (ICME) is the Power of Music - a broad theme which encompasses the many ways in which music is and has been powerful in human societies.

How musicologists respond to the notion that music has power will be explored in the broadest terms through performance-based, analytical, historical, cultural, social, behavioural and scientific perspectives.

The emotional power of music will be examined by analysing the ways in which emotion is encoded and mediated through musical sounds and structures, and through exploration of how musical emotion is conceptualised, modelled and measured.

The conference “Perfect Harmony“ and “melting strains“ focuses on conceptualisations of music in Early Modern scientific, philosophical, theological, and literary discourse. It investigates the explanatory potential of these conceptualisations in the debate over natural philosophical questions in a time when ideas of universal harmony were being challenged by concepts of atomic chance and chaos.

We will also explore the debates in the new sciences, the arts, and theology concerning the intellectual and affective potential of music and the ways in which ideas about music and its affective power were utilized in theological, medical, and poetological contexts for moral and didactic purposes. In addition, the conference will focus on the philosophical, literary, and musical textualisations and dramatisations of the ideas about music and its nature as an emotionally effective sensual and aesthetic experience. These issues acquire a specific poignancy in the Early Modern context, as it is an era during which ancient musicological texts were being rediscovered and new musical genres such as the opera were being invented with reference to Classical dramatic forms.

The Centro Studi Opera Omnia Luigi Boccherini of Lucca (http://www.luigiboccherini.org), in collaboration with Palazzetto Bru Zane-Centre de musique romantique française of Venice (http://www.bru-zane.com), under the auspices of the Italian National Edition of the Boccherini’s Complete Works, Ut Orpheus Edizioni (Bologna), Ad Parnassum Journal, the Municipality of Lucca and the Province of Lucca, is pleased to invite submissions from scholars of proposals for the symposium on «Luigi Boccherini (1743-1805)» to be held in the Palazzo Ducale, Lucca, from Thursday 1 until Saturday 3 December 2011.

The Symposium aims to investigate different facets of the life and works of the composer, in the context of the European musical scene during the eighteenth century. Although other topics are welcome, the programme committee encourages submissions within the following areas:

• Life and Works of Luigi Boccherini: New Evidence
• Boccherini and the Wiener Klassik: A Comparison
• Boccherini's Instruments: Organological Matters
• Boccherini and the Virtuosity
• Boccherini and his Relationship with France
• Boccherini and the European Publishers in the Eighteenth-Century
• The Contemporary Reception of Boccherini's music

Vom 2. bis 4. Dezember 2011 findet an der Österreichischen Akademie der Wissenschaften in Wien die Jahrestagung und Generalversammlung der Österreichischen Gesellschaft für Musikwissenschaft statt. Im Zuge dieser Veranstaltungen kommt es auch zur Tagung der Sektion „Junge Musikwissenschaft“, die sich als Kommunikationsplattform für einen fachlichen Austausch über aktuelle musikwissenschaftliche Forschungsthemen versteht.

The conference welcomes papers on all aspects of popular culture and education.

Please send a 150-200 word abstract for a 30-minute paper. Proposals for workshops, symposia and alternative forms of presentation are also welcome.

Send abstracts by email to: hkpop@ied.edu.hk.

Cornelius Cardew was a tutor at Morley College in the late 1960s and early 1970s, and left a lasting impact on the College as well as the wider British contemporary music scene, perhaps most notably through the Scratch Orchestra, which grew out of his composition classes.

As part of its celebration of Cardew on the 20th anniversary of his death, Morley College is holding a conference focussing on the composer and the themes of his life and work. The conference will comprise key-note addresses, academic papers, presentations, workshops and performances, as well as a round table discussion by some of Cardew's former colleagues and students.

Papers/presentations are invited from interested scholars, including research students and performer-scholars, on any of the following themes:

• Cornelius Cardew: his philosophy, musical output and impact on British music
• Cardew's relationship to contemporaries such as Stockhausen, Cage, Wolff, Boulez, Feldman etc.
• British experimental and avant-garde music
• Amateur music making
• Sound Art / Sound Poetry
• Music and politics in Britain since WWII

The National Centre for Early Music and BBC Radio 3's Early Music Show presents our third annual young composers award. This year we are partnered by one of the foremost viol groups in the world, Fretwork, and we are asking young composers who are resident in the UK to write a new work of up to four minutes' duration, which utilises the remarkable playing skills of this six-strong early music ensemble.

There are two awards, one for composers 18 years and under, and one for composers aged 19 to 25. A shortlist of entries will be presented by Fretwork in a workshop setting at the National Centre for Early Music in York, on Tuesday 25 October 2011 in the presence of the young composers. At 7.00pm on the same day, Fretwork will present each of the pieces in front of a panel of judges at the Church of All Saints, North Street, York, and the two winners will be announced, one for each of the two age categories. The winning works will then be premièred by Fretwork on Wednesday 21 December 2011, at Kings Place, London. This concert will be recorded for broadcast on Radio 3's Early Music Show in the new year of 2012. Applicants should register their interest in the competition by Friday 24 June 2011 and completed scores must be delivered by Friday 16 September.

Im Verlauf der zweiten Hälfte des 20. Jahrhunderts hat sich die Verwendung des Plurals »Musiken« eingebürgert, um der Pluralität unterschiedlicher Musikbegriffe Rechnung zu tragen. Die hinter dieser Entwicklung stehende aufgekommene Sensibilität für die Vielfalt von Musizier- und Musikformen spiegelt sich beispielsweise auch in dem zentralen Artikel »Musiké–musica–Musik« in der neuen Ausgabe der Musik in Geschichte und Gegenwart, dem eingangs die defensive Bemerkung vorangestellt wird, dass sich eine Enzyklopädie, die über 40 Stichworte biete, in denen die Begriffe »Musik« oder »musica« enthalten seien, sich einer (verbindlichen) Definition des Phänomens nur enthalten könne. Dem Prioritäts- oder sogar Universalitätsanspruch einzelner Musiken wird mit indirektem Verweis auf den Relativismus also schließlich auch eine terminologisch deutliche Absage erteilt.

Wenn ein einheitlicher Musikbegriff aber angesichts der Vielgestaltigkeit der Phänomene nicht (mehr) möglich scheint, ist nach Konstituenten einzelner Phänomene zu fragen. Die Frage danach, was diese Phänomene verbindet und verzahnt, aber eben auch, was sie voneinander abgrenzt, ist wichtiger denn je. Eine Möglichkeit, diese Konstituenten in ihrem Verhältnis zueinander analytisch zu fassen, besteht darin, sich zunächst auf Strukturen und Prozesse zu konzentrieren. Diesem Vorhaben widmen wir uns im Rahmen des Kongresses. Es werden also Kategorien in den Blick genommen, die das Augenmerk richten auf die Erforschung musikalischer Strukturen ebenso wie jener Strukturen, aus denen heraus Musiken entstehen, sowie auf deren Wechselwirkung; auf musikalische Prozesse ebenso wie auf die übergeordneten historischen, kulturellen und sozialen Prozesse, in die Musik verwoben ist, und ihr Verhältnis zueinander; und schließlich auf jene Prozesse, in denen sich Strukturen verändern und an die Anforderungen ihrer sich in stetiger Transformation befindlichen Umwelt anpassen.

Beide Teile des Begriffspaars Strukturen | Prozesse sollen im Rahmen der Konferenz in ihren allgemeinsten Bedeutungen als Extrema des Spektrums zwischen statischen Strukturen und dynamischen Prozessen verstanden werden. Hiermit sollen musikalische, institutionelle, kulturelle und kognitive Strukturen sowie die kontinuierlichen Veränderungen gefasst werden, die sowohl das unmittelbare Machen, Wahrnehmen und Reflektieren von Musik als auch die historischen, kulturellen und sozialen Prozesse charakterisieren, in denen diese Entwicklungen stattfinden.

Vor diesem Hintergrund kann »die Musikwissenschaft« als akademische Disziplin nicht ausgeblendet werden, hat sie sich doch als Fach angesichts der Existenz differenzierter Musiken seit geraumer Zeit ihrerseits aufgefächert. Überdies müssen sich ihre Fachgrenzen in Anbetracht der Notwendigkeit transdisziplinärer Zusammenarbeit ständig verschieben. Musikwissenschaftliche Forschung generiert eine diskursive Kategorie, in der Bedeutungen durch diverse Strukturen und Prozesse zugewiesen werden. Besonders willkommen sind deswegen Reflexionen über die Dynamiken unseres Fachs, gegenwärtige Entwicklungen und musikwissenschaftliche Zukunftsentwürfe sowie fachentwicklungsbezogene Desiderate.

Für die Tagung werden hier WissenschaftlerInnen eingeladen, sich mit eigenen Beiträgen in Freien Symposien, round tables, Postersessions sowie mit Freien Referaten an dieser Diskussion zu beteiligen.

Bewerbungsfrist
Freie Symposia, round tables und Postersessions: 31.06.2011
Freie Referate: 31.12.2011.

Kongresssprachen
Deutsch und Englisch

Bewerbung per e-mail (bitte nur pdf-Dateien, deren Dateinamen den Nachnamen des Bewerbers sowie die Arbeitsform enthalten) an gfm2012@uni-goettingen.de oder per Post an das Musikwissenschaftliche Seminar, Programmkomitee GfM 2012, Universität Göttingen, Kurze Geismarstraße 1, D-37073 Göttingen.

Weitere Informationen unter: http://gfm2012.uni-goettingen.de/GfM2012

Die Konferenz findet vom 4. bis 8. September 2012 an der Georg-August-Universität Göttingen statt, die in diesem Jahr den 275. Jahrestag ihrer Gründung im Jahr 1737 feiern kann. Teil des Kongresses ist die Conference on Interdisciplinary Musicology »CIM12« mit dem Generalthema »History«.

Gertrude Stein and Music
This session will examine the works of composers who set texts by Gertrude Stein to music, either as songs, choral works, musicals, operas, or any other type of composition. These may have been written during Stein’s lifetime with her collaboration, such as her operas with Virgil Thomson, or may have been set posthumously. Among the topics to be explored are how music affects the texts' meaning, why composers would choose to set Stein, and Stein’s own thoughts on the combination of words and music.

The Opera Libretto
Seeking proposals that examine how scripts are prepared to be set to music. Among the areas to be explored: How do sung texts differ from spoken ones? What are the differences between libretti and their sources? Prose vs. verse; Original work vs. adaptation; Historical considerations. The topic is wide open.

100 Years of W. S. Gilbert
In recognition of the 100th anniversary of the death of W. S. Gilbert, the Lyrica Society for Word-Music Relations proposes a session that examines his work as a librettist/lyricist, not only of those works set to music by Arthur Sullivan, but also those collaborations with other composers.

Proposals for papers are invited for the meeting of the American Bach Society to be held September 27-30, 2010, at the Eastman School of Music, Rochester, NY. All proposals will be considered, but papers dealing with the organ's role in chorales, concerted works, continuo practice, and freely improvised works, will be favored. Conference performances will include improvisations as well as concerted works with obbligato organ parts by Bach and his contemporaries.

A one-page, double-spaced abstract (maximum 250 words) should be submitted, preferably as an e-mail attachment in Microsoft Word, by January 15, 2012, to:

Kerala Snyder
Chair, ABS 2012 Program Committee
Email: kerala.snyder@rochester.edu
Mail: 204 Canner St., New Haven, CT 06511-2233, USA

More Info

Any philosophical treatment of songs or singing will be considered, but papers addressing these topics are especially welcome:

• Songs and singing across the genres and cross-culturally
• Meaning and Representation
• Exploring the contrasts between vocal and instrumental music
• The unity of music and text
• Ontology
• Performance
• Singing and expression
• Singing and cinema. The problems raised by both diegetic and non-diegetic songs in film.
• Ethical criticism. Is moral criticism of popular songs as appropriate as moral criticism of movies and literature?
• What trends in the history of art theory or core assumptions about the field of aesthetics have inclined philosophers of art and music to ignore songs as an important art form?
• Philosophical analyses of specific vocal music in any genre.

Submissions should not exceed 7,000 words and must comply with the general guidelines for submissions (see “Submissions” on the JAAC website: www.temple.edu/jaac). Send submissions as e-mail attachments to both guest editors, indicating clearly that your submission is for the special issue.

Jeanette Bicknell OCAD University, Canada: bicknellj@hotmail.com

John Andrew Fisher, University of Colorado: john.fisher@colorado.edu

NABMSA's fifth conference will once again bring together scholars and lovers of British music from various academic fields and locales for three days of papers, discussions, and musical performances. The 2012 conference will take place from July 25-28 at the University of Illinois at Urbana-Champaign.

The theme of the conference is Anglo-American music and musical relationships, and we are especially interested in papers that explore these connections, such as those on British brass bands in America, British-American folk traditions, and other transatlantic collaborations and influences. We also welcome papers on any topic related to British music and musical life, in all geographical regions of Britain, the Empire, and beyond Britain. Papers that draw upon interdisciplinary or broader cultural contexts are particularly welcome, as are papers on figures or works celebrating important anniversary years in 2012 (e.g., Samuel Coleridge-Taylor, Frederick Delius, Tippett’s King Priam). We also encourage graduate students to submit papers; the best student paper presented at the NABMSA conference will be awarded the Temperley Prize.

Abstracts of up to 500 words for 20 minute individual papers, for paper sessions of up to four papers, or for lecture recitals lasting 40-50 minutes should be sent by February 1, 2012, to Kendra Leonard, preferably by e-mail to kendraprestonleonard@gmail.com or by postal mail to: 5216 Oleander Road, Drexel Hill PA 19026, USA.

For additional information about the conference, see www.nabmsa.org.

After the End of Music History is a three-day international conference assessing the state of musical research, with three central concerns of Richard Taruskin’s scholarship as points of departure: musical censorship and canon formation; nationalism, neoclassicism, and serialism in the twentieth century; and modernism in the early music movement. Additional issues such as the purported demise of the notated tradition, the rise of vernacular and world musics as subjects of academic study, and the transformative effects of digital technologies will be addressed by keynote speakers and invited participants.

The conference will feature three related performances. First will be a stage adaptation of Alexander Pushkin’s novel-in-verse Eugene Onegin by Sigizmund Krzhizhanovsky with incidental music by Sergey Prokofiev, banned by the Soviets in 1936 and never subsequently performed. A chamber music concert will reconsider the phenomenon of “PhD music” and the broader legacy of serial composition in America, including a world premiere piece by Steve Mackey. There will also be an informal cabaret night of remixed music from classical repertoire to global pop.

To celebrate the 150th anniversary of the birth of Claude Debussy (1862-1918), »l’Observatoire international de création et des cultures musicales (OICCM)« is organizing an international conference, under the auspices of activities generated by the »Equipe musique française« associated with its »Laboratoire musique, histoire et société«.

The conference will take stock of recent developments in Debussy studies and explore the new perspectives they open up on our understanding of the composer’s legacy, including such subjects as:
• The characteristics and originality of Debussy’s musical language (harmony, rhythm, orchestration, form, development)
• The relationship between Debussy’s aesthetics and the literature and arts of his time (academic, symbolist, impressionist, naturalist, café concert) • The links between Debussy and the intellectual, political, and social life of his period (the Boulanger crisis, the Dreyfus affair, the First World War etc.)
• The stylistic influence of Debussy on the music of his period and on the Debussyste movement, his relationships with others in the musical world (Gabriel Fauré, Vincent d’Indy, Alfred Bruneau, Maurice Rravel, Manuel de Falla, Igor Stravinksy et al.)
• Performances of Debussy’s music
• Debussy and his interactions with institutions of his period (the Conservatoire, Schola Cantorum, concert societies, opera houses, music publishers, salons)
• The reception of Debussy’s work in France and abroad
• Debussy’s writings as critic, letter-writer, poet, and creative writer...

Im Rahmen des Kurt Weill Festes 2012, das unter dem Motto »Paris« steht, veranstaltet der Wissenschaftliche Beirat der Kurt-Weill-Gesellschaft Dessau ein Internationales Symposion zum Thema »Weill und Frankreich«. Das Symposion findet in Dessau vom 2. bis 4. März 2012 statt. Die Konferenzsprachen sind Deutsch und Englisch (französischsprachige Beiträge sind willkommen, müssen jedoch acht Wochen vor Tagungsbeginn eingereicht werden, damit eine deutschsprachige Kurzfassung erstellt werden kann). Die Dauer der Referate ist auf 30 Minuten begrenzt.

Das thematische Einzugsfeld des Symposions ist weitgefasst, greift über die beiden Exiljahre, die Weill in Paris verbrachte, hinaus und ist für historische, kulturwissenschaftliche, werk-analytische, musikästhetische und rezeptionsgeschichtliche Annäherungen offen. Nicht nur die vielfältigen französischen Einflüsse auf das Schaffen Weills sowie einzelne Werke dieses Komponisten sollen beleuchtet werden, sondern auch die Weill-Rezeption, die Bedeutung von Paris als Stadt der deutschen Musiker- und Intellektuellenemigration nach 1933, die Rezeption französischer Musik in Deutschland nach 1918 in den unterschiedlichen Bereichen (Aufführungen, Musikpublizistik, -forschung und -ausbildung) und die musikkulturellen Phänomene und Strukturen, denen Paris sein unverwechselbares Profil als europäische Musikmetropole in der ersten Häfte des 20. Jahrhunderts verdankte.

An folgende Themen bzw. Themenfelder ist im einzelnen gedacht (Vorschläge, die über die nachstehenden Themen hinausgehen, sind ebenfalls willkommen):

1. Werke
   • Analytische, ästhetische, quellenkundliche Studien zu Werken Weills, die während der beiden Pariser Exiljahre entstanden sind
   • Französisches im Werk Weills
   • Weill und die Kultur des französischen Chanson bzw. der frz. Popularmusik
   • Weill und Offenbach
2. Institutionen und Strukturen
   • Die französische Sektion der Internationalen Gesellschaft für Neue Musik
   • Räume für die zeitgenössischen Musik im Paris der 1920er und 30er Jahre (Konzertreihen wie z. B. die Straram-Konzerte, Ensembles, Gesellschaften)
   • Die Bedeutung des Mäzenatentums für die Musikkultur in Frankreich
   • Weill und Offenbach
   • Neue Musik im Französischen Rundfunk der 1920er und 30er Jahre
3. Exilkultur
   • Paris als Stadt der deutschen Musiker-Emigration
   • Musik im »Pariser Tageblatt«
   • Deutsche Musikpublizistik im Exil
4. Rezeption
   • Die Rezeption französischer Musik in Deutschland (Berlin, Frankfurt und ggfs. andere städtebezogene Fallstudien) nach Ende des Ersten Weltkrieges
   • Französische Musik im deutschen Rundfunk
   • Die Rezeption deutscher Musik in Paris nach dem Ersten Weltkrieg
   • Henry Prunières und die Zeitschrift »La revue musicale« (gegr. 1920)
   • Aufführungen Weillscher Werke in Paris
   • Frankreichbilder in der deutschen Publizistik
   • Französische Musik in »Der Querschnitt«
   • Ferruccio Busoni und die französische Musik
   • Die Rezeption französischer Musik auf den Festen der IGNM
   • Zur Bedeutung von Romain Rollands »Jean Christophe« für die deutschen Intellek-tuellen (auch mit Berücksichtigung von Weills Lektüre dieses Buches 1918)
   • Die französische Weill-Rezeption nach 1945

The Society for American Music invites proposals for papers, organized panels of 3-4 papers, concerts, lecture-performances, papers for the two seminar format topics, and scholarly posters for its 38^th Annual Conference, 15-18 March 2012, in Charlotte, North Carolina.

We welcome proposals involving all facets of musical life throughout the Americas, and American music and aspects of its cultures anywhere in the world. We especially welcome proposals addressing the following themes:

• Musical life in the American South, from the colonial period to the globalized New South
• Musical representations of the American South
• Fieldwork in American music, past and present
• Southern Rock
• Milton Babbitt and postwar American composition

Please visit www.american-music.org for more information and general submission guidelines for Research Poster Sessions, Interest Groups, Concerts and Lecture-Performances, and Seminars.

In 1990, two books dealing with the notion of fiction as make-believe were published within Aesthetics and Analytical Philosophy: Kendall Walton’s Mimesis and Make-Believe and Gregory Currie’s The Nature of Fiction. Both books explain fictionality in analogy to children’s games of make-believe. According to Walton, once a game of make-believe is going on, participants will generate fictional truths according to the unwritten, but mutually accepted rules of the game. Walton further argues that this game of make-believe works approximately the same way for all types of representational arts, e.g. novels, films, poems, pictures, plays, statues, dance and even music. Works of art have in common that they are used as props in games of make-believe with the result that the “mechanics of generation” of fictional truths are at work. Both Walton and Currie have given thorough accounts of how these mechanics of generation can be described, with rich examples from all fields, above all from literature and film. They have also emphasized that all the different categories of art generate fictional truths in their own special way. However, Walton’s and Currie’s extensive and integrative theoretical approaches mainly focus on the general perspective. Their analyses and theoretical framework both give reason and leave room for further exploration of various similarities and differences between possible and specific instances of fiction as make-believe in the representational arts.

Therefore, we are looking for proposals that investigate these specific ways of generation of fictional truths within all representational arts. We are inviting proposals from scholars within the whole range of the Humanities. Possible topics of investigation include case-studies of the generation of fictional truths in:

• literature
• film
• narrative in general
• theater
• opera
• dance
• painting
• photography
• visual arts in general
• computer games
• music

Following the success of the second Reflective Conservatoire Conference: Building Connections held in February 2009, the Guildhall School of Music & Drama will host a third International Conference in partnership with the European Association of Conservatoires (AEC), London Centre for Arts and Cultural Enterprise (LCACE), Society for Education, Music & Psychology Research (SEMPRE) and Centre for Music Performance as Creative Practice (CMPCP). The Conference will bring together leading researchers, professional performers and teachers from all over the world, to address key issues within music in Higher Education in papers, discussions and practical workshops.

The four key themes for the conference are as follows, with possible areas of interest within each:

• Repertoire for the 21st century
  • Cross-arts performance
  • New opera
• Researching performance: practice, discourse and methodologies
  • Digital technology
  • Contemporary performance practice
• Creative collaborative learning (from one-to-one partnerships to ensembles/companies)
  • Improvisation
  • New pedagogies
• Artists in society: understanding audiences and life in the real world
  • Professional integration and innovation
  • Health and well-being

The School welcomes proposals for spoken or performance papers and round table discussions related to these topics, and for workshops demonstrating practice and research processes.

To find out more about the conference, including possible sessions, and to submit an abstract proposal form, please visit: www.gsmd.ac.uk/conference.

The visual arts have served as a main propaganda tool from the days of antiquity until modern times, and the links between various forms of artistic activity and politics have long been the subject of research. Without allowing for such ideological content, a proper understanding of numerous works of art (particularly of those commissioned by the ruling authorities, institutions or social groups) seems to be impossible. In many instances the choice of themes to be represented and the symbols employed therein aimed at specific audiences in order to shape particular views or even behaviours; some of these depictions make explicit or implicit use of musical devices. The conference will be devoted to the links between musical iconography, politics and ideology and the various manifestations of political, religious and commercial propaganda from antiquity to the twentieth century. We particularly encourage papers dealing with the following issues, but any other proposal fitting into the general scheme is welcome:

1. musico-pictorial propaganda within feudalism, absolute monarchy or totalitarianism;
2. musical symbolism, the ideology of the Catholic church and sixteenth-century Reformation;
3. national and social movements and its musical icons;
4. the place of music within posters, mass-media, and advertising.

Der Name ‘Faust’ und das Adjektiv ‘faustisch’ stehen nicht nur für ein dämonisches Streben nach Wissen, sondern auch für das ,Tragische’. Diese Begriffe spielten eine zentrale Rolle im deutschen kulturellen Leben und haben – besonders seit der zweiten Hälfte des 19. Jahrhunderts – zahlreiche Diskussionen und Auseinandersetzungen in Philosophie, Literatur, bildender Kunst und Musik ausgelöst. In der Musik spannt sich ein weiter Bogen von Zelters buntem Bericht über die erste Vertonung von Goethes Faust – die von einem Fürsten vertont und mit einer hochadligen Besetzung 1816 in Berlin einstudiert wurde – bis zu Alfred Schnittkes Faust-Oper von 1993. Diese Kompositionen umrahmen eine Vielzahl von Faust-Vertonungen, musikalische Bearbeitungen, die sich sowohl mit dem Liebesthema als auch mit dem Thema der Rettung von Gretchen und Faust befassen.

Heute scheint es uns merkwürdig, dass ein grundlegendes Theaterstück wie Goethes Faust durch einer musikalischen Ergänzung bedürfen solle. Doch war es Goethe selbst, der nach geeigneten Musikern als möglichen Komponisten für eine Theatermusik zum Faust Ausschau hielt – Heinrich Schmieder, Carl Friedrich Zelter, Carl Eberwein, Fürst Anton Heinrich Radziwill. Obwohl sich Goethe eine Vertonung seines Faust wünschte und dabei anfangs an Mozart und vielleicht Meyerbeer dachte, hatte er am Ende seines Lebens die Hoffnung aufgegeben, eine passende Musik zum Faust finden zu können. Für Goethe ist, ‘[d]as Abstoßende, Widerwärtige, Furchtbare, was sie stellenweise enthalten müßte, der Zeit zuwider. Die Musik müßte im Charakter des Don Juan sein.’ Er sah die Verbindung von Faust und Don Juan in der Sündhaftigkeit ihrer menschlichen Natur und ihrem tragischen Untergang; es ist interessant, dass Hermann Reutter beide Figuren in seiner Oper Don Juan und Faust (1950) zusammenbrachte. Auch Kierkegaard ging auf ihre geistige Verwandschaft ein: ‘Don Juan ist [...] der Ausdruck für das Dämonische, das als das Sinnliche bestimmt ist, Faust ist der Ausdruck für das Dämonische, das als [...] (das) Geistige bestimmt ist’. Goethe sah das Dämonische per definitionem im höchsten Grade in der Musik angesiedelt, nämlich in der das Verstandesmäßige überschreitenden Wirkung auf den Hörer.

Trotz der zahlreichen Faust-Vertonungen ist bisher die enorme Bedeutung von Faust I und II für das deutsche Musiktheater kaum erforscht worden. In Bezug auf Goethes Musik indessen hat Hans Joachim Kreutzer (2003) festgestellt, dass die musikalische Rhetorik von Faust I und Faust II von grundlegender Bedeutung für das Werk ist. Tina Hartmanns Analyse des musikalischen Materials im Faust (2004) enthüllt ein wunderbares Geflecht von musiktheatralischen Verbindungen in Goethes Text. So kann etwa Goethes Begriff eines Welttheaters im Prolog auf die barocke Operntradition zurückgeführt werden, während die Chormusik der Nachtszene mit den Barock-Passionen von Graun und J.S Bach in Beziehung zu stehen scheint. Unsere Konferenz soll die musikalischen Quellen von Goethes Faust (neu) untersuchen und die musikalischen Dimensionen seinen Erbes sondieren. Ein weiteres Ziel ist es, die von Goethes Faust ausgegangenen musikalischen Anregungen, also die musikalische Faust-Rezeption nachzuverfolgen und die Gründe zu erörtern, weshalb Goethes Text soviel Widerhall bei Komponisten der verschiedensten Generationen fand.

Diese Konferenz sucht neue Perspektiven zu all diesen Aspekten.

Between 25-28 April, 2012 ALMSD will be hosting a second International conference, "Symbolism, Its Origins and Its Consequences" with the theme Light and Shade or Light and Obscurity in Symbolism, its origins and its consequences.

Competition, Workshops, Concerts, Conferences, Exhibition .......

More information coming soon....

Artistic Director: Steven Mead
Project Management: Director Mag. Hubert Gurtner

Organisation: Landesmusikdirektion Oberösterreich, Promenade 37, 4020 Linz

The 19th Congress of the International Musicological Society will be held in Rome from Sunday, 1 July, to Saturday, 7 July, 2012. All musicologists are invited (including non-members of IMS) to participate and contribute to the conference.

The overall theme of the 19th Congress will be Musics, Cultures, Identities

In an age that calls itself “multicultural,” and with the rise or renewal of ethnic and religious conflicts, the problems of identity construction have gained the centre of world attention. Moreover, “identity” operates at multiple levels of the human experience, not only ethnic and religious, but political, sexual, generational, and so on. Furthermore, and throughout most of its history, musicology has relied on the assumption – itself a more or less consciously “identity-related” one – that its object of study was the Western art music tradition, to which other traditions were to be compared. It is only in relatively recent years that musicology has systematically addressed questions of identity, recognizing that music is one of the means through which different identities are shaped and enter into relational networks. This trend has undoubtedly opened up new perspectives in musicological research, while posing new problems. First, there is the redefinition of the identity of so-called “art music”: although it can no longer be taken as the central or main tradition, “art music” nevertheless still needs to be studied and evaluated as one of many identity associated traditions. Another open question is whether the recognition of cultural multiplicity must necessarily lead to accepting the existence of many identities, separate and poorly communicating with each other, or might rather lead to a broader perspective that, without privileging one culture over others, would make it possible to recognize similarities and intersections.

The Programme Committee aims to bring these issues to musicologists from varied specialities and of different persuasions in order to confront and discuss together the following questions:

1. How did music act, or still acts, as a tool for the construction of different forms of cultural identity?
2. Can music help build broader and more inclusive identities, promoting understanding and dialogue between cultures?

For inquiries concerning submissions, please contact submissions@ims2012.net.

We strongly encourage the active participation of young scholars and those from outside of Western Europe and North America. The official working languages of the Congress will be English, French, German, Italian, and Spanish. The overall theme of the 19th Congress will be “Musics, Cultures, Identities.” In an age that calls itself “multicultural,” and with the rise or renewal of ethnic and religious conflicts, the problems of identity construction have gained the center of world attention. Moreover, “identity” operates at multiple levels of the human experience, not only ethnic and religious, but political, sexual, generational, and so on. Furthermore, and throughout most of its history, musicology has relied on the assumption – itself a more or less consciously “identity-related” one – that its object of study was the Western art music tradition, to which other traditions were to be compared.

It is only in relatively recent years that musicology has systematically addressed questions of identity, recognizing that music is one of the means through which different identities are shaped and enter into relational networks. This trend has undoubtedly opened up new perspectives in musicological research, while posing new problems. First, there is the redefinition of the identity of so-called “art music”: although it can no longer be taken as the central or main tradition, “art music” nevertheless still needs to be studied and evaluated as one of many identity associated traditions. Another open question is whether the recognition of cultural multiplicity must necessarily lead to accepting the existence of many identities, separate and poorly communicating with each other, or might rather lead to a broader perspective that, without privileging one culture over others, would make it possible to recognize similarities and intersections.

The Programme Committee aims to bring these issues to musicologists from varied specialities and of different persuasions in order to confront and discuss together the following questions:

1. How did music act, or still acts, as a tool for the construction of different forms of cultural identity?
2. Can music help build broader and more inclusive identities, promoting understanding and dialogue between cultures?

Proposals are to be written in any of the official languages of the Society and in English, and submitted electronically by e-mail only as an attachment in Microsoft Word [*.doc] or Rich Text Format [*.rtf] to: submission@ims2012.net.