Von: John Dack
Datum: Fri, 21 Apr 2017
Betreff: Re: MuSA2017 Karlsruhe. Second Call for Papers.
Eighth International Conference on
Music /Sonic Art: Practices and Theories
MuSA 2017 – Karlsruhe (IMWI)
6 July – 9 July, 2017
Hochschule für Musik, Karlsruhe –
Institut für Musikwissenschaft und Musikinformatik (IMWI)
Am Schloss Gottesaue 7, 76131 Karlsruhe
SECOND CALL FOR PAPERS:
We are pleased to announce the Eighth International Conference on Music and Sonic Art: Practices and Theories (MuSA 2017), an interdisciplinary event to be held in Karlsruhe, Germany at the Institut für Musikwissenschaft und Musikinformatik (IMWI) (http://www.hfm-karlsruhe.de/imwi/). MuSA 2017 is jointly organized by IMWI and Middlesex University, London.
The conference website is: http://imwi.hfm.eu/musa/
Conference dates: July 6 – 9, 2017.
Deadline for abstract submission: April 28, 2017.
Keynote presentation: Marcelo Wanderley (McGill University, Canada)
The principal aim of MuSA 2017 is to advance interdisciplinary investigations in – as well as between – Music and Sonic Art. Proposals for sessions and individual papers for the Eighth International Conference on Music and Sonic Art: Practices and Theories are invited from academics, independent researchers, practitioners and post-graduate students. Presentation formats include academic research papers (20 minutes + 10 minutes for discussion); reports on practice-based/artistic research or educational programmes (20 minutes + 10 minutes for discussion); and workshops, panel sessions, lecture-demonstrations (30 minutes + 15 minutes for discussion). The Conference committee encourages presentations in which practice forms an integral part of the research. All proposals will be double-blind peer-reviewed. The Conference language will be English. Previous themes and topics can be seen at: musa2012.zilmusic.com; musa2013.zilmusic.com; musa2014.zilmusic.com; musa2015.zilmusic.com; zilmusic.com/musa2016.
THEME AND TOPICS:
The theme of MuSA 2017 is Sounds without Borders. Amidst recent political events around the world that threaten to build walls among nations, disconnect communities, block the free movement of peoples across cultures, musical practices display a stark contrast to such divisive attempts in defying and travelling freely across many different kinds of – literal and metaphorical –‘borders’. MuSA2017 will explore the nature, conditions, and consequences of the capacity of musical practices to cross these ‘borders’. We, therefore, invite submissions on the following, and other related topics:
· Music and politics across borders
· Migration of musical styles across borders
· Fluidity of musical experiences
· Dynamics of musical identities
· Dissolution of formal boundaries in the creation of music and sound art
· Multimodal perception of music and sound crossing over sensory boundaries
· Crossing the borders of performance styles
· Crossing disciplinary boundaries in musical research
· Crossing artistic boundaries in musical and sound art practices
· Crossing the theory-practice divide
· Bridging scholarly-disciplinary and artistic discourses
· Travelling across ‘reason’ and ‘emotion’
Other topics that are in line with the Conference’s broad aim of promoting interdisciplinary research within and across Music and Sonic Art will also be considered.
MuSA 2017 will continue to include the popular, one-day event devoted to ‘Re-thinking the Musical Instrument’, focusing in particular on the role of literal and metaphorical borders in the origination, making and playing of musical instruments.
Some of the topics that will be explored during this one-day event include:
· The acoustical, musical, cultural, symbolic, and ritualistic qualities of musical instruments and the relationships between these (theoretically) distinct kinds of qualities;
· The discourses that exist in relation to musical instruments in different genres, styles and traditions;
· The gestural affordances and ergonomic principles of musical instruments and the musical meanings that emerge as a result of these affordances and principles;
· Performers, improvisers and their instruments: phenomenologies of music making in the context of particular kinds of musical instruments;
· Composer and instruments: the material, acoustical and expressive qualities of instruments and their relationship to musical languages composers create;
· Relationships between creativity in performance, nature of musical interpretation and musical instruments;
· The role of the musical instrument in the creation of musical identities;
We invite proposals on any research area related to the nature and use of western acoustical instruments, traditional ethnic instruments and digital/virtual instruments.
Please submit an abstract of approximately 250-300 words as an e-mail attachment to email@example.com
Please specify whether you wish your abstract to be considered for the one-day ‘Re-thinking the musical instrument’ event.
As contributions will be ‘blind’ peer-reviewed, please do not include information that might facilitate identification from the abstract. In addition, please include separately the name(s) of the author(s), institutional affiliation (if any) and short biography (approximately 100 words). Deadline for the receipt of abstracts is Friday, 28 April 2017. Notification of acceptance will be sent by 12 May 2016.
The Conference fees are: €120 for delegates (day rate: €40), €100 for presenters (day rate: €35), and €60 for students and others who qualify for concessions (day rate: €20).
If additional information is required please do not hesitate to contact Prof. Dr. Mine Doğantan-Dack or any member of the Conference Committee:
Prof. Dr. Mine Doğantan-Dack – firstname.lastname@example.org
Prof. Dr. Thomas A. Troge (IMWI, Karlsruhe) – email@example.com
Prof. Dr. Denis Lorrain (IMWI, Karlsruhe) – firstname.lastname@example.org
Vis. Prof. Dr. Marlon Schumacher (IMWI, Karlsruhe) – email@example.com
Prof. Dr. Paulo Ferreira-Lopes (Universita Cattolica Porto/HfM-Karlsruhe) – firstname.lastname@example.org
Prof. Miroslav Spasov (Keele University, UK) – email@example.com
Dr. John Dack (Middlesex University, UK) – firstname.lastname@example.org
Adrian Palka (Coventry University, UK) – email@example.com
Timothy P. Schmele (IMWI, Karlsruhe) – firstname.lastname@example.org
Administrative support: Gundi Rössler (IMWI, Karlsruhe) – email@example.com
Dr John Dack – Senior Lecturer (Music and Technology)
PhD, MA, MMus, MSc, PGDipMIT, BA (Hons)
The Grove Building, room 226
London NW4 4BT