Date: 6 October, 2019
Venue: Jam Music Lab Private University Vienna, Guglgasse 8, Gasometer B, 1110 Vienna
Submission Deadline: 19 August 2019
In partnership with Institute for Jazz Research, University of Music and Performing Arts, Graz, and Jam Music Lab Private University for Jazz and Popular Music Vienna
Venue: University for Music and the Performing Arts, Graz, Austria (Kunstuniversität Graz)
Dates: May 6 and 7th, 2020
Submission Deadline: 15 October 2019
Languages: English and German
Keynote Speaker: Prof. Seth Brodsky (University of Chicago)
Web address: https://musikaesthetik.kug.ac.at/institut-14-musikaesthetik/symposien/imperfection-as-an-aesthetic-idea-in-music.html
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.
Following publisher feedback, the previously advertised title of ‘Studying Live Music and Festivals’ has been amended to the following title, and is now under contract with Taylor & Francis/Routledge:
Researching Live Music: Gigs, Tours, Concerts and Festivals
Edited by:
Chris Anderton (Solent University, Southampton, UK)
Sergio Pisfil (University of Edinburgh, Edinburgh, UK)
We would like to encourage scholars from all disciplines to present chapter proposals for research that relates to one of three broad areas of the live music ecology. First, research that reconsiders the role of technology in the production of music events. Second, research that examines the complex set of industries and issues that surround the promotion and business of live music. Finally, research that explores the social issues and factors involved in the consumption of live music performances. Our objective is to bring together solid methodological and theoretical positions to provide a critical resource that casts new light on the practices of live music – past or present, and from any part of the world.
In previous issues, the Journal of Festive Studies explored the emerging academic sub-field of festive studies (broadly defined) and the politics of carnival. For this issue, we follow Peter-Paul Verbeek’s advice and look at “the things themselves,” i.e. at the material culture in which carnivals and other festivities are rooted (Verbeek, 2005).
16-19 April 2020
Bath Spa University, Newton Park, Bath, UK
Keynote speaker: Dr Angela Impey (SOAS, University of London)
As with all BFE Annual Conferences we welcome papers and panels on any aspect of current ethnomusicological research.
The 2020 theme will be Music, Culture and Nature.
A two-day international conference hosted by The School of Arts and Media, University of Salford, United Kingdom and the Department of Recording Industry, Middle Tennessee State University, USA.
June 3 & 4, 2020, The Robert E. Jones Urban Research and Outreach-Engagement Center, University of Minnesota, 2001 Plymouth Ave. N., Minneapolis, Minnesota, USA.
Organising Committee:
Dr Mike Alleyne, Dept. of Recording Industry, College of Media & Entertainment, Middle Tennessee State University.
Dr Kirsty Fairclough, School of Arts and Media, University of Salford, UK.
Kristen Zschomler, Minneapolis-based historian and writer, Sound History, LLC.
AAC – SPHM INTERNATIONAL CONFERENCE 2020
June 4th to 6th, 2020 University of Lausanne (Switzerland)
This third edition of the SPHM International Conference is organised by the Society for Media History (la Société pour l’histoire des Médias, http://www.histoiredesmedias.com) and by the Centre for the Historical Sciences of Culture of the Faculty of Arts at the University of Lausanne (le Centre des Sciences historiques de la culture de la Faculté des Lettres, https://www.unil.ch/shc), with the support of several research laboratories based in Switzerland, France, Luxembourg, and Québec1, including the National Audiovisual Institute (Institut national de l’audiovisuel) and the Historical Committee of the Audiovisual and Digital Observatory (Comité d’histoire de l’Observatoire de l’audiovisuel et du numérique).
Musicians and sound artists in the 21st century often engage with politics in their music. However, this politics comes in new shapes and formats and is at times hidden from listeners and audiences. One way of bringing the political into music is the technique of sampling. So in «Sampling Politics Today» we are focusing on precisely this topic. We are looking for articles, podcasts, videos, photo series, or contributions in other formats that will lead to our first publication on the new Norient Space «The Now in Sound».
27–29 February 2020
University of Music and Performing Arts Vienna, Austria
Organisers: Rosa Reitsamer, Rainer Prokop
www.musiksoziologie.at
Keynote speaker: Christina Scharff, King´s College London, UK
Higher music education institutions aim at helping students to acquire skills and knowledge and to develop specific personal attributes to negotiate the initial stages of their careers as musicians and to attain employability and life-long learning. However, the learning cultures and practices of artistic valuation at music universities and conservatoires are hardly explored and employability is poorly defined and hard to measure, especially in the face of changing relations between study and work. These changes include, for example, individualisation processes, a growing number of music graduates competing for work and a decrease of publicly funded orchestras in many European countries. The process of becoming a musician is thus not simply about sequentially passing through particular stages of development. Rather, it entails the negotiation of significant and complex rites of passages increasingly associated with a heightened responsibility for constructing one’s own career and identity. Moreover, transitions from study to working life are shaped by gender, race, class and sexuality and include dilemmas in weaving together established normative and personal meanings. As a result, career trajectories remain, in many cases, “permanently transitional”.
British Forum for Ethnomusicology and Société française d’ethnomusicologie, Joint Autumn Conference 2019
31 October-2 November
Department of Music, City, University of London
The British Forum for Ethnomusicology and the Société française d’ethnomusicologie invite proposals on the general theme of ethnomusicology and sound studies for their joint 2019 autumn conference, which will be held at City, University of London.