AUSSCHREIBUNG - CFP Symposion on Music/Sonic Art, Baden Baden, August 2010

From: Sandeep Bhagwati Diese E-Mail-Adresse ist gegen Spambots geschützt! JavaScript muss aktiviert werden, damit sie angezeigt werden kann.

International Symposium on Music/Sonic Art In conjunction with  
InterSymp 2010: 22nd International Conference on Systems Research,  
Informatics and Cybernetics
August 2-6, 2010

Markgraf-Ludwig Gymnasium, Hardstrasse 2, Baden-Baden, Germany

CALL FOR PAPERS:
We are pleased to announce the International Symposium on Music/Sonic  
Art: Practices and Theories, an interdisciplinary two-day event to be  
held in Baden-Baden, Germany. The provisional dates of the Symposium  
are August 2-3 in order that participants can also attend other  
symposia such as: the 8th Special Focus Symposium on Art and Science,  
the 3rd Symposium on Systems Research in Arts and Humanities and  
Comprovisations: Improvisation Systems in Performing Arts and  
Technologies. For further details on all these symposia please see: www.iias.edu

Proposals for sessions and individual papers for the International  
Symposium on Music/Sonic Art: Practices and Theories are invited from  
academics, practitioners and post-graduate students of diverse fields  
of investigation, according to one of the following formats: academic  
research paper (including research in progress), report on practice-
based work or educational programmes. (Delegates wishing to present  
performances are advised to consult the call for papers of symposia  
listed above.) All proposals will be judged based on their scholarly  
quality, originality and potential for further discourse.

THEME and TOPICS:
The aim will be advancing interdisciplinary investigations between the  
domains of music, architecture, urban and industrial design, dance,  
performance, theatre, digital media and visual arts.

The premise of this symposium is that musicology (defined in its  
broadest sense) is intrinsically interdisciplinary. Music includes  
many theoretical positions as well as cultural, social practices:  
contemporary musicology reflects this diversity. There are three  
distinct (though related) themes to the International Symposium on  
Music/Sonic Art: Practices and Theories. Firstly, the organizers  
welcome presentations in ‘traditional’ subject areas such as  
historical/critical musicology, performance studies, aesthetics,  
analysis and ethnomusicology. What are the qualitative differences for  
performers in a rehearsal and the final concert? What metaphors (if  
any) do performers use to explain their processes? What strategies are  
appropriate to an analysis of ‘open’ forms? And can changes in style  
from Classical to Romantic and post-Romantic be considered seamless  
transitions or ruptures in musical language? Secondly, as the  
symposium’s title suggests, we hope to encourage the submission of  
papers investigating relationships (and possible tensions) between  
music and sonic/sound art. For example, to what extent can the  
practices and theories of music inform sonic art? Is it more  
beneficial for sonic art to draw on the aesthetics of gallery-based  
fine art practice? How does the role of technology manifest itself in  
both music and sonic art? Can music be regarded merely as a subset of  
sonic art? The role of the performer, expression, embodiment, the  
nature of the instrument, the status of the score… these are vitally  
important shared concerns. Consequently, we anticipate many papers  
will examine how music and sonic art corroborate or contradict each  
other’s practices and theories. The results will provide many mutually  
beneficial insights. Thirdly, presentations are also invited from  
scholars who are researching the connections between music and  
disciplines such as architecture, design, painting, theatre and  
literature. Are the blank canvases of Rauschenberg comparable to  
Cage’s ‘4:33’? Are the constraints employed by literary groups such as  
OuLiPo similar to the apparent restrictions in serial techniques?  
Finally, are proportions evident in Baroque architecture consciously  
applied in music of the same period? These are, therefore, the three  
themes of the symposium. However, a paper dealing with any subject  
area that is within the broad remit of the International Symposium on  
Music/Sonic Art: Practices and Theories will be welcomed.

Proposals submitted for review should include:

• title of paper;
• abstract, in English, of approximately 300 words;
• 3 to 5 keywords, representative of theme and concepts addressed;
• short paragraph with author(s)’s biography, briefly stating the  
field of specialisation or areas of interest and academic/professional  
affiliation (if any).

Paper Proposals/Abstracts should be submitted as soon as possible but  
no later than March 30, 2010. Notification of Acceptance and a Paper  
Template will be sent to authors by April 9, 2010. As in previous  
years, those selected will be scheduled for a 30-minute presentation  
plus 15-minute discussion, and will be invited to submit the camera-
ready full paper of approximately 2,500 words including references  
(not to exceed 5 single-spaced typed pages), by no later than May 9,  
2010. Papers submitted later than this date cannot be included in the  
conference proceedings.

The proceedings will be published as the Music/Sonic Art Symposium  
Proceedings - Volume I of the International Institute for Advanced  
Studies in Systems Research and Cybernetics, and will be available to  
all registered participants at the time of the Conference. Further  
details on Submission Guidelines, the Copyright Transfer Form, and the  
Conference Registration Form are available at the IIAS home page: www.iias.edu

Please note that the early registration fee is 345.00 Euros (per one  
Conference participant) if paid on or before May 1, 2010 and 395.00  
Euros thereafter: this includes participation in all Symposia of the  
IIAS InterSymp 2010 Conference, the festive reception, the symposium  
booklets and the Music/Sonic Art Symposium Proceedings - Volume I.  
Details for payment can be found on the IIAS home page: www.iias.edu.  
See: ‘Registration Forms’, no.5 ‘Registration Payment Instructions’.

Paper committee: Prof. Dr. Mine Dogantan-Dack (Middlesex University,  
UK); Prof. Clarence Barlow (University of California, Santa Barbara,  
USA); Holger Zschenderlein (University of Brighton, UK); Fiorenzo  
Palermo (University of Middlesex, UK); Dr. John Dack (Lansdown Centre  
for Electronic Art, Middlesex University, UK)

SUMMARY OF IMPORTANT DATES:
Please note this summary of the Symposium schedule:

MARCH 30, 2010 Abstract due
APRIL 9, 20010 Notice of Acceptance
MAY 1, 2010 Conference Registration and fees due
MAY 9, 2010 Final paper due
AUGUST 2-6, 2010 InterSymp 2010 Conference in Baden-Baden

As contributions will be peer-reviewed, please submit proposals and  
full papers electronically, as e-mail attachments in MS Word format,  
to the symposium’s chairs’ email address Diese E-Mail-Adresse ist gegen Spambots geschützt! JavaScript muss aktiviert werden, damit sie angezeigt werden kann. and Diese E-Mail-Adresse ist gegen Spambots geschützt! JavaScript muss aktiviert werden, damit sie angezeigt werden kann.
according to the following guidelines:

For abstracts:

• one email with the subject title “MuSA symposium – abstract”,  
containing a word file as an attachment with the title of paper,  
keywords and abstract only. For the process of blind peer reviewing,  
please do not include your name or affiliation in this attachment.
AND

• a second email entitled “MuSA symposium – author”, containing a  
word file as an attachment with the author(s)’s name, title of paper,  
institution affiliation (if any) and short biography.

Please note that all emails should also be Cc: to the InterSymp 2010  
Conference Chairman
Prof. George E. Lasker ( Diese E-Mail-Adresse ist gegen Spambots geschützt! JavaScript muss aktiviert werden, damit sie angezeigt werden kann. ).

Information regarding the International Symposium on Music/Sonic Art:  
Practices and Theories is available on the IIAS webpage  
(www.iias.edu). Furthermore, please do not hesitate to send any  
enquires to the Symposium Chairs:

Prof. Dr. Mine Dogantan Dack (Music Department, Middlesex University)
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Dr. John Dack (Lansdown Centre for Electronic Art, Middlesex  
University)
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