[ 23. Januar 2012 ]

CALL – Third International Symposium on Music and Sonic Art: Practices and Theories (MuSA) Karlsruhe

Von: John Dack
Datum: 23. Januar 2012 13:05:15 MEZ
Betreff: Please post to list

MuSA 2012 – Karlsruhe (IMWI)
7-8 July, 2012

Hochschule für Musik, Karlsruhe – Institut für Musikwissenschaft und
Musikinformatik (IMWI)
Am Schloss Gottesaue 7,
76131 Karlsruhe

We are pleased to announce the Third International Symposium on Music
and Sonic Art: Practices and Theories (MuSA), an interdisciplinary two-
day event to be held in Karlsruhe, Germany. The dates of the Symposium
are 7-8 July 2012.

Proposals for sessions and individual papers for the Third
International Symposium on Music and Sonic Art: Practices and Theories
are invited from academics, independent researchers, practitioners and
post-graduate students. Presentation formats include both academic
research papers (including research in progress) and reports on
practice-based work or educational programmes. The symposium also
encourages workshops and presentations in which performance forms an
integral part. All papers will be ‘blind’ peer-reviewed. The
symposium language will be English.

The principal aim of MuSA 2012 is to advance interdisciplinary
investigations between music, sonic arts and other disciplines such as
dance, theatre, digital media, visual arts and architecture. As in
MuSA 2010 and MuSA 2011 we believe that an interdisciplinary approach
to musicology (defined broadly) is of benefit to the research
community. Music embraces many theoretical positions as well as
cultural, social practices and contemporary musicology reflects this
diversity. There will be three distinct (though related) themes to
MuSA 2012:

First, we welcome presentations in ‘traditional’ subject areas such
as historical/critical musicology, performance studies, aesthetics,
analysis and ethnomusicology. What, for example, are the qualitative
differences for performers in a rehearsal and the final concert? Can a
composition or a performance be regarded as ‘research’ properly
speaking, or is a form of textual commentary necessary? What metaphors
(if any) do performers use to explain their processes? What strategies
are appropriate to an analysis of ‘open’ forms? How can the concept
of the ‘formless’ be applied to music/sonic art?

Second, 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 (and
vice versa) or 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/or sonic art? Can a sound
installation located within a gallery space form part of a
musicological discourse? The role of the performer, expression,
embodiment, the nature of the instrument, the status of the score…
these are vitally important shared concerns and would benefit from
interdisciplinary discussions.

Third, presentations are also invited from scholars who are
researching the connections between music/sonic art and disciplines
such as architecture, painting, theatre and literature. Are the blank
canvases of Rauschenberg comparable to Cage’s ‘4:33’? Do the
constraints employed by literary groups such as OuLiPo relate to
algorithmic composition? Finally, are proportions evident in
architecture – Baroque, Classical, Modern – consciously applied in
contemporaneous music?

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 symposium will be welcomed.

Please submit an abstract of approximately 300 words as an e-mail
attachment to Prof. Dr. Mine Doğantan-Dack (m.dack@mdx.ac.uk). As
contributions will be ‘blind’ peer-reviewed, please do not include
information that might facilitate identification from this abstract.
In addition, please include separately the name(s) of the author(s),
institutional affiliation (if any) and short biography (approximately
150 words). Deadline for receipt of abstracts is 15 April.
Notification of acceptance will be sent by 30 April.

The symposium fees are: €100 for delegates, €80 for presenters and
€50 for students and others who qualify for concessions. Details for
payment can be found on the symposium web site: http://web.me.com/johngeorgedack/MuSA_2012

If additional information is required please do not hesitate to
contact Prof. Dr. Doğantan-Dack or any member of the symposium

Prof. Dr. Mine Doğantan-Dack (Music Department, Middlesex University)

Prof. Dr. Thomas A. Troge (Institut für Musikwissenschaft und
Musikinformatik, Karlsruhe) – troge@hfm.eu

Dr. John Dack (Lansdown Centre for Electronic Art, Middlesex
University) – j.dack@mdx.ac.uk

Christoph Seibert (Institut für Musikwissenschaft und Musikinformatik,
Karlsruhe) –