Aktuelles | Call for papers

Deadline: 5. September 2019

Groove the City 2020 – Constructing and Deconstructing Urban Spaces through Music

Date: 13–15 February 2020

Place: Leuphana University of Lüneburg, Germany

Introduction: city, space and music


“Here time becomes space.” In Parsifal Richard Wagner implies that music is a manifestation of the space-time totality. And music and space are indeed related in many ways. Music is embedded in the social and physical spaces where it is produced, distributed or consumed. It can be performed in locations such as music halls, clubs, or concert houses—and has the power to produce images and symbolic associations. Music can mark the acoustic boundaries of a neighborhood or a community or turn “non-musical” spaces into “musical” ones, as street music does. Music, thanks to new technologies and digitalization, has opened doors to virtual spaces. Think of music mapping, sound cartographies, soundscape archives and sounding postcards—all new forms of sonic sociability.

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Deadline: 15. September 2019

Call for Papers and Poster Presentations
Paris Lodron University Salzburg, 3 to 4 April 2020
Deadline for submission of abstracts: 15 September 2019

Life-World and Musical Form – Concepts, Models, and Analogies

“It is by no means certain what form in music is, and any attempt to formulate rules would provoke nothing but derision”. Despite Dahlhaus’ habitually pessimistic insight, music scholars and musicians have developed manifold concepts of form that were usually applied to more than one musical work. In doing so, they were influenced by life-world [lebensweltlich] concepts, models and analogies: in the musical rhetorical tradition, Mattheson understood musical form as the sequence of sentences (principal and subordinate clauses). Marx established an architectural model encoding the individual modules with letters. Around the turn of the 20th century Schenker and Kurth implicitly drew on evolutionary theory and theories from the field of thermodynamics for their models of musical form. In the late 20th century, after the scholarly community had come to terms with the hyper-individuality of contemporary and especially avant-garde music, Caplin initiated a new trend in musical-form analysis, which shifted the priority from the composition’s wholeness to its elements. While his approach was functional and taxonomic, Hepokoski and Darcy proposed the established dichotomy between ‘general/normative’ vs. ‘particular/deviant/innovative’ to musical form. Most recently, Greenberg, Diergarten and Neuwirth described form of the classical era as an effect of the type case or toy block principle according to which the composers combined modules more or less freely. In sum, the history of music theory points to the constitutive role that life-world experiences, visualizations and metaphors have played in the development of diverse concepts of musical form.

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Deadline: 15. September 2019

Beethoven and the Piano: Philology, Context and Performance Practice

Conference in Lugano, Conservatorio della Svizzera Italiana

Wednesday 4 to Friday 6 November 2020

Organised by the Bern University of the Arts (HKB) and the Conservatorio della Svizzera Italiana, Lugano

With the scientific support of the Beethoven-Haus, Bonn, and of the Italian Musicological Society Conference website: www.hkb-interpretation.ch/beethoven2020

Keynote speakers

Christine Siegert (Beethoven-Archiv, Bonn)
Barry Cooper (University of Manchester)
Tom Beghin (Orpheus Instituut, Gent)
Clive Brown (professor emeritus, University of Leeds)
Michael Ladenburger (former head of the museum and custodian of the collections, Beethoven-Haus, Bonn)

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Deadline: 15. September 2019

Call for papers

Beethoven and the Piano: Philology, Context and Performance Practice
Conference in Lugano, Conservatorio della Svizzera Italiana Wednesday 4 to Friday 6 November 2020
Organised by the Bern University of the Arts (HKB) and the Conservatorio della Svizzera Italiana, Lugano
With the scientific support of the Beethoven-Haus, Bonn, and of the Italian Musicological Society Conference website: www.hkb-interpretation.ch/beethoven2020

Keynote speakers

Christine Siegert (Beethoven-Archiv, Bonn)
Barry Cooper (University of Manchester)
Tom Beghin (Orpheus Instituut, Gent)
Clive Brown (professor emeritus, University of Leeds)
Michael Ladenburger (former head of the museum and custodian of the collections, Beethoven-Haus, Bonn)

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Deadline: 30. September 2019

Best Paper Award 2019

Musicologica Austriaca – Journal for Austrian Music Studies

The Austrian Musicological Society (Österreichische Gesellschaft für Musikwissenschaft) is awarding a prize for the best academic paper on the broad topic of music and musical culture in or from Austria. Researchers from all musicological fields and related disciplines are encouraged to participate. We welcome all methodological perspectives on music, musicians, and musical culture associated with Austria in a broad sense.

The unpublished article should not exceed a length of 10,000 words and must be submitted in English. The evaluation of submissions will be conducted by a jury composedoftheboardof directors of the Austrian Musicological Society and the awardwinningpaperwillbepublished as an openaccess article in Musicologica Austriaca, free of charge. Papers that make use of the possibilities of multimedia (image, audio, and video files, for example) are particularly encouraged. Any copyright issues should be clarified by the author, but this can also be done subsequent to receiving the award.

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Deadline: 30. September 2019

Call for Papers: Jahrestagung der AG Auditive Kultur und Sound Studies der Gesellschaft für Medienwissenschaft
(GfM) vom 30.1. bis 1.2.2020 in Düsseldorf.

((((A.I.2020))))
ACOUSTIC INTELLIGENCE – HÖREN UND GEHORCHEN

„Acoustic intelligence“, auch ACINT oder ACOUSTINT genannt, ist ein Begriff der militärischen Überwachung
und beschreibt den Informationsgewinn durch das Speichern und Prozessieren akustischer
Phänomene. Während der Begriff im militärischen Gebrauch vor allem die hydroakustische Erfassung
submariner Bewegungsaktivität bezeichnet, soll „acoustic intelligence“ bei der Jahrestagung der AG
Auditive Kultur und Sound Studies 2020 in einem weiteren, technoakustischen Sinne des (Ab‐)Hörens
und Gehorchens verstanden werden.

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Deadline: 15. Oktober 2019

Call for Papers (Conference)

Imperfection as an Aesthetic Idea in Music: Perspectives from Musicology and Artistic Research

Venue: University for Music and the Performing Arts, Graz, Austria (Kunstuniversität Graz)

Dates: May 6 and 7th, 2020

Languages: English and German

Keynote Speaker: Prof. Seth Brodsky (University of Chicago)

When we look to music, are we looking for perfection? Or does imperfection ultimately have more aesthetic value for us as practitioners and researchers? Historically, perfection has been treated with suspicion as an aesthetic idea in general. Already in the 1757 On the Sublime and the Beautiful, Edmund Burke mused that “beauty in distress is the most affecting beauty”; Heinrich Kleist, in his 1810 On the Marionette Theater, further suggested that perfection in art only resided beyond the domain of the properly human. In recent discussions of aesthetics in the more specific realm of music, however, the issue of imperfection has most often been discussed with primary reference to musical improvisation, although additional topics have sometimes been part of the discourse in musicology and artistic research.

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Deadline: 31. Oktober 2019

[English version below]

Call for Papers: Jahrestagung der AG Auditive Kultur und Sound Studies der Gesellschaft für Medienwissenschaft (GfM) vom 30.1. bis 1.2.2020 in Düsseldorf.

((((A.I.2020))))
ACOUSTIC INTELLIGENCE – HÖREN UND GEHORCHEN

„Acoustic intelligence“, auch ACINT oder ACOUSTINT genannt, ist ein Begriff der militärischen Überwachung und beschreibt den Informationsgewinn durch das Speichern und Prozessieren akus-tischer Phänomene. Während der Begriff im militärischen Gebrauch vor allem die hydroakustische Erfassung submariner Bewegungsaktivität bezeichnet, soll „acoustic intelligence“ bei der Jahrestagung der AG Auditive Kultur und Sound Studies 2020 in einem weiteren, technoakustischen Sinne des (Ab-)Hörens und Gehorchens verstanden werden.

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Deadline: 1. November 2019

Call for Book Chapters

Scoring Laughs:

Styles and Functions of Music in Comedy Cinema

Edited by Emile Wennekes and Emilio Audissino

Historically, the examination and theorisation of the use of music in films has addressed its presencein dramas – ‘serious’ films – while fewer accounts are available on what types of music is utilised incomedies and what functions it performs. As Hollywood cinema has been the benchmark andprincipal terrain of inquiry, this factual unbalance can be partly due to the scarce presence of musicin the classical Hollywood comedies – for example, the iconic 1930s screwballs – compared to thefantasy/adventure/drama films of the same era, in which the fathers of Hollywood music – Steiner,Korngold, Newman… – thrived and set the foundations of the practice, and from which the first filmmusicscholars launched the discipline. The lack of scholarly attention, can also be due to the fact thatcomedies, having to deal with laughter and lighter situations instead of the graver and moreexistentially compelling narratives of dramas, have been seen as less reputable objects of study, lessworthy of being taken seriously by academics – a point raised by Brett Mills in his monograph on thesitcom (Mills 2008). Recent analyses of the music’s agency in cinema in general have, as per tradition,preferred dramas – for example, Audissino 2017 and Lehman 2018 – while comedy is taken intoconsideration mostly in focussed publications – for example, Lochner 2018, or Evans and Hayward2016. This collection of essays aims at investigating the presence, nature, and function of music inthe comedy film from fresh perspectives, in order to contribute to a re-evaluation of film-musicstudies by casting more light on the more neglected comedic department.

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Deadline: 3. November 2019

[English / French version below]

Call for Papers

Internationale Nachwuchstagung
des DFG-Graduiertenkollegs „Europäische Traumkulturen“ (GRK 2021)

10. bis 12. Februar 2020 an der Universität des Saarlandes

Träumen mit allen Sinnen.
Sinnliche Wahrnehmung in ästhetischen Traumdarstellungen

In ihren Memoiren schreibt die taubblinde Schriftstellerin Helen Keller 1903: »In my dreams I have sensations, odours, tastes, and ideas which I do not remember to have had in reality.« Der Traum lässt sich in der Tat nicht auf seine visuelle und sprachliche Dimension reduzieren, sondern schließt weitere Formen der Wahrnehmung und Erfahrung mit ein: Geträumt wird mit allen Sinnen, wie auch die neurowissenschaftliche Forschung belegt (Bulkeley 2009, Schredl 2008). Noch vor jeglichem psychoanalytischen, hermeneutischen oder naturwissenschaftlichen Versuch der Bedeutungs- und/oder Funktionszuschreibung stellt der Traum damit eine elementare Körpererfahrung dar: Von der Schwerlosigkeit des Fliegens bis hin zum Erleben einer paralysierenden Starrheit, von der erotischen Erregung bis hin zu den körperlichen Impulsen von Wut oder Angst, wird in Träumen die leiblich-sinnliche Dimension unmittelbar erlebt.

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Deadline: 30. November 2019

CfP

Gesund und krank durch Musik?
Kulturelle Konzepte der Wirkung von Musik seit 1950

Tagung in Freiburg, 19. und 20. Juni 2020

Seit der Antike wird über die Wirkung von Musik auf das Wohlbefinden der Menschen nachgedacht. Vielstimmig sind die Äußerungen, die auf positive gesundheitliche Effekte abheben, seien sie körperlicher, seelischer oder geistiger Natur. Andere Autorinnen und Autoren problematisieren die Musikwirkungen und sehen eher negative Folgen, etwa eine akustische Umweltverschmutzung, die Beeinträchtigung des Gehörs durch Lärm oder eine Schädigung der Psyche, insbesondere bei jungen Menschen. Eine eigene „Pathologie“ der Musik wird hierbei diskutiert, zuweilen spielt in der Debatte auch die gezielte Schädigung von Menschen durch Musik (Terror, Folter) eine Rolle.

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Deadline: 16. Februar 2020

MUSIC, CINEMA, AND MODERNISM:
 
The Works and Heritage of Kurt Weill between Europe and America
 
TORINO, , Università degli studi di Torino, Palazzo Nuovo
 
22-24 May 2020
 
Keynote Speakers:
 
• Nils Grosch (Universität Salzburg)
 
• Stephen Hinton (Stanford University)
 

The conference aims to address aspects of Kurt Weill’s works in relation to his contemporaries and his heritage to succeeding generations, both in the United States and in Europe. The creative activities of the German-American composer have been characterized by his keen interest in new media: principally, in radio in Germany and in the cinema in the United States, and in new forms of experimentation in musical theater on both sides of the Atlantic.

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