[SoundStudies] 4 Sound Studies Notes: 2 CFPs; 1 Request for Blog Entries; 1 Link to Sound Project

Lynda Paul lynda.paul at yale.edu
Tue Jan 7 12:33:34 EST 2014

Dear all,

See below for two Sound Studies-related CFPs (with deadlines coming up soon), a
request for entries for the Society for Ethnomusicology's sound blog, and a
general announcement about a museum sound project (with a link to some great
online resources) at Oxford University.

Happy New Year!




CFP: Music and Sound Studies Network of the German Studies Association

Deadline for abstract submission: 20 January 2014

Conference dates: 18-21 September 2014


Location: Kansas City, Missouri

We propose a three-part series of panels on the general theme of Sound and
Technology in German Contexts, to be followed by a summary roundtable
discussion of invited experts including Mark J. Butler (Northwestern
University, Music Theory and Cognition), Carolyn Birdsall (Media Studies,
University of Amsterdam), and Daniel Morat (Friedrich-Meinecke-Institut, Freie
Universität Berlin).  We seek proposals from innovative scholars across the
gamut of disciplines, methodologies, and historical periods who are interested
in cultivating transdisciplinary conversation and collaboration.  Applicants
are encouraged to construe the theme of sound and technology broadly.  For
example, we would welcome proposals from those working on fifteenth-century
organ building, turntablism, mediation of natural soundscapes, multimedia
installations, sound as part of policing or surveillance, acoustics, live or
recorded music in public spaces, the sound of one particular place, and so
forth.  Applic
should incorporate actual SOUND into their presentations whenever possible, as
the sessions will be held in rooms with good audio and visual equipment.

Abstracts of 200 words are due to both network coordinators by 20 January 2014

Joy H. Calico joy.calico at vanderbilt.edu and David Imhoof imhoof at susqu.edu


Call for Papers (Due Feb. 1, 2014)

Sounds Rerouted: A Graduate Student Conference Presented by the University of
Toronto Music Graduate Students? Association

March 29-30, 2014
Faculty of Music
University of Toronto

Keynote Speaker: Dr. Beverley Diamond, Memorial University

One need only consider an orchestral conductor?s blunder, a skipping vinyl LP,
or an mp3 uploaded in Iraq and downloaded in Iceland to realize that
communicating forces have the power to alter and interrupt musical practices,
which in turn can generate new possibilities for sounding, hearing, being, and
doing. In our increasingly digitized and wireless world, musics and sounds
often undergo multiple processes of mediation and circulate in unpredictable
ways. To make sense of?and engage with?the ever more complex trajectories
of aural cultures, scholarly discourses have intimated with ideas of
post-humanism, virtuality, and transnationality, among others.

Our conference aims to further a discussion of the ways in which sonic and
musical practices take on new lives through mediation. How and why do we
translate sounds/musics into other modes of representation? In what ways are
these processes of translation impactful? How do we manage or identify the
power arrangements at play in such transformations? Is the mass production of
sounds/musics dangerous or democratizing?

We welcome individual papers, performances, and performance-lectures that engage
with these ideas. Papers will be allotted twenty minutes (with a ten minute
discussion to follow), while performances may span up to thirty minutes. This
conference is open to current graduate students in all disciplines.*

Possible suggestions for submissions include (but are not limited to):
? technological determinism/voluntarism in performance and composition (e.g.
the sounds of auto-tune, glitch as genre, compositions for the player piano,
?black MIDI?)
? (de)gendering/queering audio technologies
? the body as a mediating substance
? the implications of re-contextualizing audio recordings (e.g. the ethics and
politics of sampling)
? examining fidelity (e.g. ?authenticity? and the interpretation of
musical scores, low-fidelity as an aesthetic ideal)
? traveling sounds and (trans)national imaginaries
? the use of interactive and open source platforms in pedagogical practices
? new digital possibilities for analysis and notation (e.g. communicating
temporality, texture, and spatiality)
? mediating ethnography

Submissions for papers or performances, in the form of 300-word abstracts,
should be emailed to uoftmusgradcon2014 at gmail.com no later than February 1,
2014. In the body of the email, please include a 100-word biography and
audio/video equipment requests. Decisions will be announced by February 15,
2014. For further information, please visit our website at
https://sites.google.com/site/soundsrerouted/ .

*A piano will be provided, but performers must supply all other instruments,
mixers, amplifiers, etc.

Dear colleagues,

As your semester winds down, please consider spending a moment over winter break
to put together a post for Sound Matters: The SEM blog.

At no more than 1000 words, these posts are not labor-intensive: just imagine a
corner of your work that lends itself well to the blog?s capabilities, which
include high-quality image reproduction and sound and video clips. It?s a
great way to communicate with your colleagues in a relatively informal yet
peer-reviewed publication!

Please click the link below to see the guidelines for posts, and think about
what you might offer for SEM?s new online forum?and feel free to contact me
directly with any questions.


Best wishes,
Jim Cowdery, Editorial Director
Répertoire International de Littérature Musicale (RILM)

Dear All,

The Pitt Rivers Museum (PRM) has been collecting music, sound and instruments
for over 100 years. ?Sound Galleries? is a series of ongoing events and
films designed to explore the role of sound, listening and performance in
cultures. The galleries of the Museum are plunged into darkness and then bathed
in music, sound and roving performances. Visitors move through the galleries
exploring the spaces by torchlight.

On Saturday July 20th 2013 Nathaniel Mann (Sound and Music Embedded Composer in
Residence at the PRM and OCM), Noel Lobley (sound curator, DJ, and
ethnomusicologist at the PRM), and Rupert Gill (DJ) curated an evening of
sound, light and performance designed to transform and reveal the Museum
galleries. The performance was an integral part of ?The Future of
Ethnographic Museums? international conference hosted by the PRM and Keble
College, University of Oxford (19th ? 21st July 2013).

A film of the event, which can be watched via the link below, begins with
Nathaniel Mann embedding a moving performance within the galleries using
re-purposed instruments. Nathaniel moves through a soundtrack that has been
mixed from the Museum?s sound archive by Noel Lobley, joining the
ethnographic and the avant garde.


Kind regards,

Dr Noel Lobley
Ethnomusicologist Research Associate, Pitt Rivers Museum, University of Oxford


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