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4-5 avril 2012, Leeds
Authorship and ‘Authenticity’ in Composition, Editing and Performance
School of Music, University of Leeds
This conference coincides with the final phase of the AHRC-funded project of which the long title is
‘19th- and early 20th-century annotated editions of string music: bibliographical problems, editorial content and
implications for performance practice’.
The project website is now known, for short, as CHASE (Collection of Historical Annotated String
Editions). Our current website
(http://stringeditions.leeds.ac.uk/index.html)
is in the process of major improvement – conference information will be held on old and new sites until the new site is
formally launched.
Our conference will focus on a number of aspects arising from this research. These may include:
- The differing aims, practices and procedures of individual editors
- Composers’ technical annotations of their own string music
- Editorial annotations of a composer’s music by colleagues or associates (with or without the composer’s
collaboration)
- The relationship between annotations in published editions and manuscript annotations
- The evaluation of editorial annotations as an aid to historically-informed performance
- With regard to annotated editions how does notation encode ‘intention’ or ‘expectation’?
- To what degree are annotated editions provisional texts?
- Practice-led investigation of particular works
The Eroica Quartet will, subject to confirmation, present a practice-led session/performance
followed by discussion.
Papers related to these areas, or any other paper that addresses issues germane to the research,
will be considered by the conference committee.
Proposals for individual papers or for panel presentations should be sent to George Kennaway
(g.w.kennaway at leeds.ac.uk) by December 15, 2011.
Papers should normally be of 20 minutes duration, but those involving substantial practical
demonstration may be allocated more time.
It is hoped that bursaries can be offered to postgraduate students who wish to attend.
Full details of registration fees and the conference programme will be announced in due course.
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5-6 avril 2012, Paris
Société Française d’Analyse Musicale
IRCAM
Analyser la musique mixte
Colloque international
Appel à communications
ATIONS
La musique « mixte » (mêlant des éléments instrumentaux et électroniques)
est riche de plus d’un demi-siècle d’histoire, dont beaucoup d’aspects restent méconnus.
L’analyse musicale a trouvé en elle un objet glissant : coexistence de
deux mondes sonores et de deux types de notations, difficultés d’interprétation, multiplicité des paradigmes
technologiques, obsolescence rapide des moyens techniques impliqués...
Comment rendre compte de ces oeuvres sans les réduire tantôt à des
partitions, tantôt à des traces sonores ? Quelles méthodes d’analyse et quels outils de représentation privilégier pour
les comprendre ?
Les propositions de communication, d’un maximum de 700 mots (ou 4000
caractères, espaces non compris), accompagnées d’un bref CV, devront être envoyées par courrier électronique à
musiquemixte@sfam.org
Date limite de réception des propositions : 31 octobre 2011.
Le comité rendra sa décision dans le courant du mois de décembre quant à
l’acceptation des propositions.
Comité d’organisation : Sylvie Benoit, Alain Bonardi, Bruno Bossis, Pierre
Couprie, Nicolas Donin, Vincent Tiffon, Hugues Vinet.
Comité scientifique : Marc Battier, Alain Bonardi, Bruno Bossis, Michael
Clarke, Pierre Couprie, Jean-Marc Chouvel, Antonio de Sousa Dias, Nicolas Donin, Christian Eloy, Leigh Landy, Jean
Piché, Laurent Pottier, Jean-Claude Risset, Anne Sedès, Daniel Teruggi, Vincent Tiffon, Laura Zattra.
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12-15 avril 2012, Leeds
The Theory, Practice,
and Business of Opera Today
Call for papers and other contributions.
Dates of the Conference: 12–15 April 2012.
Host: LUCOS, University of Leeds, UK.
The School of Music and School of Performance and Cultural Industries at
the University of Leeds have, over the past few years, enjoyed a close relationship with Opera North, the largest
English opera company outside of London. Following several successful partnership projects, the Leeds University Centre
for Opera Studies (LUCOS) believes the time is now ripe to propose a novel kind of international opera conference. We
are looking for a stimulating mixture of practitioners and academics to debate key themes in the theory, practice, and
business of opera today. Although we intend to include some traditional sessions, we also want to include sessions that
move away from non-stop delivery of individual conference papers. These sessions might take one of the following
forms:
1. Workshops based on an operatic scene, and involving an opera
critic/reviewer, an opera academic, and an opera director who would be asked to provide their own interpretations.
Opera North has the following operas in the winter season of 2012: Giulio Cesare, Norma, and Madama Butterfly.
2. “Duet” Two 15-minute papers, in the first of which one person outlines
a strongly held opinion, and, in the second, someone who has already read the paper gives a prepared response.
3. Round tables that examine a topic from the point of view of different
practitioners (e.g. conductor, director, librettist, composer, designer, choreographer).
If you have ideas for contributions to this conference, we invite you to
contact us and suggest them. Here are the themes:
1. What do we understand by opera studies today?
2. Media perceptions of opera
3. The business of opera, its marketing and financing.
4. The audiences of opera, social networking, and widening
participation.
5. The practice of opera on stage, in concert performance, and in
film.
6. The opera libretto.
7. New work and the problems it raises.
This is a preliminary announcement, and further details of the conference
will be provided later.
Please send your ideas or proposals (by 30 November) to the following:
Proposals focusing on music: Derek B Scott, derekbscott at gmail.com or
Anastasia Belina, A.Belina at leeds.ac.uk
Proposals focusing on dramaturgy, libretti, design: Kara McKechnie,
K.McKechnie at leeds.ac.uk
Proposal focusing on the professional or business aspects of opera:
Angharad Cooper Projects Department (Opera North), angharad.cooper at operanorth.co.uk
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13-15 avril 2012, Charleston
Call for Papers
Joint Conference of the Society for Eighteenth-Century Music (SECM) and
the Haydn Society of North America (HSNA)
The Society for Eighteenth-Century Music and the Haydn Society of North
America will hold a joint conference 13-15 April 2012 at the College of Charleston, Charleston, South Carolina. We seek
to incorporate a wide variety of presentation types, including papers, lecture recitals, panels with several short
papers and a respondent, and reports on ongoing projects. Proposals for papers or other activities on any topic
relating to music of the eighteenth century are welcome, and we hope to have at least two sessions devoted to Joseph
Haydn. The SECM Student Paper Award will be given to a student member for the outstanding student paper at the
conference. Student members of the society who have not received their doctorate before the date of the conference are
eligible for the award.
The conference will include a special “dissertations in progress” session
for students working on dissertations on eighteenth-century topics who would like to receive feedback from members of
their society. Students wishing to participate in this portion of the conference should submit the following items:
+ a 250 word dissertation abstract that clarifies the thesis, nature of
source material, format, methodology and scope of the project. The abstract must also include a specific statement of
one particular aspect/problem/challenge the author is currently confronting as a focus for feedback.
+ a table of contents
Abstracts of 250 words for all proposals must be submitted by 1 November
2011 to James MacKay, Program Committee Chair, by email: jsmackay at loyno.edu. Only one submission per author will be
considered. Please provide a cover sheet and proposal in separate documents, in MS Word format. The cover sheet should
include your name, address, email address, phone number, and proposal title. The proposal should include only the
title, abstract, and audio-visual needs. While membership is SECM or HSNA is not necessary for an initial proposal
submission, membership in at least one of the societies is expected of those who present at the conference.
Additional information on the conference will be available soon at:
http://www.secm.org and www.hsna.org
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14-15 avril 2012, Santa Barbara
Music and Crisis
5th CISM Biennial Interdisciplinary Graduate Conference
The UCSB Center for the Interdisciplinary Study of Music (CISM) seeks submissions for the 2012 Music and Crisis
Graduate Conference to be held at the University of California, Santa Barbara on April 14-15. As the concept of crisis
lends itself to many definitions, this conference invites papers and presentations that explore crisis from
perspectives that expand the boundaries of traditional music research. Accordingly, CISM welcomes participants from all
disciplines to engage in a discussion that is not restricted to music specialists. In doing so, the Music and Crisis
Conference seeks to aid the academic study of music by legitimizing its position as an important cultural practice in
which all people participate.
Crisis can be broadly understood as a rupture that calls for a decisive change. As music anticipates, instigates,
reflects and responds to these ruptures, we request research that explores music’s intersection with times of
difficulty, insecurity or suspense. Possible approaches to conference papers and presentations may include the
following:
- Music’s relationship to order, disorder and conflict, and its role in war and political upheaval.
- Roles of music in trauma, recovery from trauma, and response to fear, anxiety and risk.
- Music’s participation in social, cultural, spiritual or political conflicts and its response to class, the struggle
for identity or the desire for social acceptance.
- Conflicts of gender and sexuality explored through musical mediums.
- Mediation, management and distribution of music to empower sub-cultural organizations.
- Music’s capacity to explore and convey what is otherwise unspeakable or ineffable.
- Complications with changing mediums, technological progress and musical digitization.
- Canonization and/or marginalization of musical styles, institutions and genres.
- Crisis of legitimacy of music in the academy.
- Productive possibilities or consequences of musical interdisciplinarity.
Run by and intended for graduate students, this conference encourages submissions covering the full spectrum of
methodologies, disciplinary approaches and genres of music. The conference will feature the following panel
formats:
- Traditional 20 minute papers followed by 10 minutes for questions
- Roundtables (Assembled by the organizing committee)
- Seminar format (Papers distributed to participants prior to conference to allow for in-depth discussions)
- Alternative demonstrations or performances
Please send a 300-word abstract, preferred presentation format and a brief description of the interdisciplinary
nature of your project to: musicandcrisis at gmail.com.
Deadline for submissions is Friday, December 2, 2011.
For more information, visit the conference website:
http://www.music.ucsb.edu/projects/CISM/musicandcrisis/
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19-20 avril 2012, New York
Society for Seventeenth-Century Music Annual Conference
The Society for Seventeenth-Century Music will hold its Twentieth Annual Conference from Thursday through Sunday,
April 19-22, 2012, in New York, NY, hosted by the Department of Musical Instruments at the Metropolitan Museum of Art.
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.
Presentations may take a variety of formats, including individual papers of twenty minutes in length,
lecture-recitals (forty-five minutes), workshops involving group participation, roundtable discussions, and panel
sessions. The Irene Alm Memorial Prize will be awarded for the best scholarly presentation given by a graduate
student.
It is the policy of the Society that all presenters be members in good standing. A presenter may not give individual
papers at two consecutive meetings, nor make more than one presentation at a single meeting. For individual papers,
abstracts not exceeding 350 words should clearly represent the title, subject, and argument, and should indicate the
significance of the findings. Proposals for presentations in other formats should be of a similar length; they should
clearly state and justify the intended format and should indicate the originality and significance of the material to
be delivered. Those for lecture-recitals must include recordings of the proposed performer(s) playing examples of the
same repertory if not the exact proposed work(s).
Proposals should be sent by e-mail (deadline: midnight, Eastern Daylight Time, October 1, 2010) to the Program
Committee: Shirley.Thompson at bcu.ac.uk -- with the header “SSCM Proposal.” The e-mail should carry two attachments in
Microsoft Word. The first (file name: “anonymous submission”) should include only title and abstract; the second (file
name: name and short title) should contain name, address, telephone, fax, e-mail address, and institutional affiliation
or city, along with the title and abstract. The content of the second attachment should also be pasted into the body of
the e-mail in case of transmission problems. Submissions will be acknowledged within three days of receipt.
Students should identify themselves as such on the non-anonymous copy of the abstract. Anyone proposing a
lecture-recital should attach a short biography. Please include audio-visual needs. Audio or video recordings
supporting proposals for lecture-recitals are required; we regret that they cannot be returned.
SSCM Web site : http://www.arts.uci.edu/sscm/
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25-27 avril 2012, New York
Music: Parts and Labor
The Department of Music at New York University is seeking submissions for
the inaugural graduate student conference, Music: Parts and Labor.
The constitution of a musical work is a topic of much historical debate in
musicological, philosophical, and legal discourses. Music: Parts and Labor is an interdisciplinary conference that aims
to interrogate what is at stake in challenging or maintaining certain conceptualizations of the musical work by
dismantling it, examining the parts (e.g. intellectual, material) and labor (e.g. intellectual, material) constitutive
of its being. We ask how thinking through the labor of the musical work itself, as a part of larger corporeal,
cultural, and economic systems provides unique insight into these often intertwined networks and, in turn, music’s
efficacy and functionality. Scholars working within the Western Marxist tradition have broadened the associations of
labor as well as the labor theory of value from their initial associations with the working class, thereby allowing
them to span across age, race, gender, and class lines. We encourage dialogue on both the applicability of these
concepts in global scope and local scale, and also explorations of alternative models that address similar generative
and organizational mechanisms and spaces. We warmly invite scholars from across all disciplines to submit abstracts
that consider how investigating the parts and labor of the musical work, and the musical work as parts and labor,
allows us to understand these contested objects as dynamic and vital to the contested spaces of personal lives and
global economies that define and are defined by them.
Possible topics to consider:
- Practices of musical inscription: notational, phonographic, pedagogical, discursive
- Forms of embodiment: practice, rehearsal, performance
- Structures of and structured listening
- Economies of affect, emotion, and desire
- Economies of production: producers, promoters, publicists
- Analyses of musical places
- Music and labor movements
- Immaterial labor and the emerging creative industries
- Codification of “music” in the field
The conference will be held on April 27-28, 2012. We are pleased to
announce Professor Elisabeth Le Guin (UCLA) as the keynote speaker.
Additionally, there will be seminars and a roundtable discussion led by
distinguished faculty from NYU and New York area universities. For further information, please visit the conference
website:
https://sites.google.com/site/musicpartsandlabor/home
Submissions should be e-mailed to Jessica Schwartz (jessica.a.schwartz at
gmail.com) no later than January 15, 2012. Please attach the following two documents (.doc or .pdf form):
1) A 250-word abstract with the title
of the paper. The abstract itself should be anonymous.
2) A cover letter that should include
your name, the title of your paper, your affiliation, contact information (e-mail and phone), and brief bio of no more
than 200 words.
We look forward to receiving your submissions!
The MPL Organizing Committee
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28 avril 2012, Glasgows
Musica Scotica's
seventh annual conference
Musica Scotica's seventh annual conference will be held on Saturday 28th
April 2012 in the Concert Hall, University of Glasgow. Papers, 20 minutes in length, are invited on any aspect of
Scottish music. Topics presented in previous years have included chant, Gaelic song, music publishing, the Scottish
diaspora, opera performance, cultural organisations, fiddle and bagpipe music, George Thomson and Haydn, manuscript
sources, Marjorie Kennedy-Fraser, Learmont Drysdale, Hamish MacCunn, and James MacMillan.
Please submit an abstract (250 words) as a Word document or rtf file by
Wednesday 30th November 2011 to:
Dr Jane Mallinson musicascotica2008 at yahoo.co.uk
A poster session may also be included, and delegates are invited to
indicate whether they would be interested in availing themselves of this opportunity.
You will be notified by the end of January if your abstract has been
accepted.
Proposed conference fees are:
Full day to include lunch, morning and afternoon tea/coffee: £35 (£25 for students)
Morning and/or afternoon session to include tea/coffee, but not lunch:
£10
The registration form will be available in due course on the Musica Scotica website:
www.musicascotica.org.uk
Musica Scotica will publish papers from this conference along with a
selection of papers from previous conferences.
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