CFP-SSCM Conference

2007 SSCM Conference in South Bend, Indiana: Call for Papers

The Society for Seventeenth-Century Music will hold its Fifteenth Annual Conference Thursday through Sunday, 19-22 April 2007, at the University of Notre Dame in South Bend, Indiana. Proposals on all aspects of seventeenth-century music—instrumental music, vocal music, music theory, etc.--and its cultural contexts are welcome, including those drawing on other fields as they relate to music. As 2007 marks the 300th anniversary of the death of Dietrich Buxtehude, proposals relating to his music and cultural milieu are particularly encouraged. Presentations may take a variety of formats, including individual papers 20 minutes in length, lecture-recitals (45 minutes), workshops involving group participation, roundtable discussions, and panel sessions. The Irene Alm memorial Prize will be awarded for the best scholarly presentation given by a student.

It is the policy of the Society that a presenter cannot give an individual paper at two consecutive meetings. For individual papers, abstracts not exceeding 350 words should clearly represent the title, subject, and argument, and should indicate the significance of the findings.
Proposals for presentations in other formats should be of similar length; they should clearly state and justify the intended format, and should indicate the originality and significance of the material to be delivered.

The Program Committee consists of Stewart Carter (chair; Wake Forest University), Kimberlyn Montford (Trinity University), Donald Fader (University of North Carolina-Chapel Hill), and Amanda Eubanks Winkler (Syracuse University).

Proposals may be sent by e-mail to carter@wfu.edu, with the text of the abstract both pasted into the body of the e-mail and as an attachment in either MSWord or RTF format. Alternatively, five copies of the proposal (four anonymous and one identified with name, address, telephone, fax, and e-mail address) may be sent to:

Stewart Carter
Chair, SSCM Program Committee
Department of Music
Wake Forest University
PO Box 7345 Reynolda Station
Winston-Salem, NC 27109

Abstracts must be submitted by e-mail or postmarked by midnight, 1 October 2006. Students should identify themselves as such on the non-anonymous copy of the abstract or in the covering text of the e-mail message, and participants in lecture-recitals should attach short biographies. Audio or video recordings supporting proposals for lecture-recitals are welcome but cannot be returned.

CFP-Ernani Conference

HERNANI / ERNANI

FOUR CENTURIES OF ITALIAN OPERA
Inspired by French Literature
International Conference
14-18 FEBRUARY 2007

CONFERENCE COMMITTEE
SCOTT L. BALTHAZAR - WEST CHESTER UNIVERSITY OF PENNSYLVANIA DAMIEN COLAS - CNRS, IRPMF, PARIS FABRIZIO DELLA SETA - UNIVERSITÀ DEGLI STUDI DI PAVIA ALESSANDRO DI PROFIO - UNIVERSITÉ FRANÇOIS-RABELAIS, TOURS ANSELM GERHARD - UNIVERSITÄT BERN REINHARD STROHM - OXFORD UNIVERSITY

A CALL FOR PAPERS
From its early beginnings to the present time, Italian opera has continued to be enriched by its contact with literature from the different countries of Europe. Among these sources, French literature, in particular the literature of the theatre, has always held a privileged position. Italian composers, librettists and theoreticians have consistently looked to the other side of the Alps in search of models and subjects for inspiration. The genre of Italian opera had its own poetics, however, linked with the conditions of production, the mobility of the musicians, and the way in which the theatres of Italy functioned. To adapt a French source to the Italian stage, therefore, it was necessary to extract its subject matter and re- transcribe it in accordance with the typical conventions of representation on the Italian stage.

As a result, exchanges between the French theatre and the Italian opera are characterised by two-way interaction between the closeness and at the same time the distance that exists between the two genres.
In the light of recent developments in research in musical dramaturgy, and in intercultural and intermedial studies, the conference proposes to examine the many questions encountered by translators, adaptors, librettists and composers in their rewriting of French plays, novels and poems for the Italian lyric stage.

Half-days will be organised according to thematic sessions devoted to the principal questions in musical dramaturgy.
- theoretical aspects and studies of individual cases of intermediality and interculturality
- the geography of channels of distribution of the French sources
- the influence of French theoretical ideas, outside of the context of the Querelles
- the element of scenography – for or against Aristotle
- the temporal element, the closed form and the open form, tableaux and quadri
- the characters: modalities of the portraits and the characterisations - Mozart, his contemporaries, and the French theatre
- around Strauss’s Capriccio, manifestos in music on the opera and the theatre

This list is not exclusive: the Conference Committee also wishes to favour new approaches, as well as the participation of young researchers.

Proposals for contributions should be sent to the following address:
Alessandro Di Profio

before 18 August 2006.

They should include an abstract (maximum 350 words) and provide the coordinates of the researcher (postal and electronic address, telephone number,institution.

Papers may be presented in English, French or Italian.

CFP-Re-reading Rembrandt

Amsterdam School for Cultural Analysis (ASCA), University of Amsterdam

Conference date: December 2nd, 2006.

Deadline for proposals: 15.7.2006.

Keynote speakers:
Mieke Bal (Academy Professor, Royal Netherlands Academy of Arts and Sciences/ University of Amsterdam)
Harry berger Jr. (Professor Emeritus, University of California, Santa Cruz)

2006, the year of Rembrandt’s 400th birthday, was declared Rembrandtjaar (Rembrandt year) in the Netherlands and is being celebrated elsewhere in the world of art history and museology. It seems, however, that a real contemporary approach, one that crosses disciplinary boundaries and that sees this year as an opportunity to analyse Rembrandt’s art as a cultural object, has been so far singularly neglected. Indeed, the celebrations seem concentrated on questions of attribution – i.e. the exact delimitation of the "real" Rembrandt corpus – and of anecdotal biography – that is, the "life and works" all-too-familiar schema recounting who the dear son of Holland’s golden Age actually was.

ASCA, as an institute devoted to the study of culture in a contemporary context, and to the constant questioning of accepted ideas, is organising a one-day conference to coincide with the end of the Rembrandtjaar. In it, we propose to consider Rembrandt as both a historical figure and as a general name for a group of artefacts with which our own time is yet to come to terms. We welcome proposals that will challenge, among others, ideas of authenticity, of homogeneous cultural context, of the Dutch 17th century as an undisputed "golden Age", and of Rembrandt’s paintings as vehicles of coherent, transparent narrativity. Contributions may come from specialists of art history and theory, but also from any discipline for which reconsidering Rembrandt can be of relevance.

The conference coincides with the 15th anniversary, and the long-awaited reprinting, of Mieke Bal’s groundbreaking Reading Rembrandt. We wish therefore, to include in some of the presentations a reconsideration of this work, and a continuation of the interaction it initiated between art history, narratology, psychoanalysis, gender studies, semiotics and other fields of study. Rembrandt’s corpus of works being as rich and vast as it is, "Reading Rembrandt" is a never-ending process, and we would like to engage in another re-reading from the vantage point of 2006.

Please email abstracts (max. 300 words) for a 20-minute talk, as well as a short CV, to Itay Sapir, i.sapir@uva.nl.

Deadline: July 15th, 2006.

CFP-Inside Knowledge

Inside Knowledge: (Un)doing Methodologies, Imagining Alternatives

The Amsterdam School for Cultural Analysis (ASCA) invites proposals for an international workshop, INSIDE KNOWLEDGE, to be held at the University of Amsterdam on March 28-30, 2007.

Confirmed keynote speakers:
Derek Attridge (University of York)
Leo Bersani (University of California, Berkeley) Steven Connor (Birkbeck College, London) Saurabh Dube (El Colegio de Mexico) Bruce Holsinger (University of Virginia)

Scholars think of themselves as having "inside knowledge" or being "inside" knowledge. The state of being inside can be interpreted as a comfort zone or privileged position, or on the other hand, a trap excluding other ways of knowing. Is being inside knowledge a kind of all-compassing frame forming our subjectivity or are scholars active agents in this process? Do we discover or invent knowledge? While the myth of knowledge as objective and neutral appears to have been debunked, a question remains unresolved: If not objectivity, then what?

(For the complete description, see
www.insideknowledge.nl.)

Deadline: October 1, 2006

CFP - Scholars for Social Responsibility

Call for participation, papers and presentations

Scholars for Social Responsibility (SFSR) will hold its third annual meeting at the AMS/SMT meeting in Los Angeles. Anyone from either society who is interested in issues of social responsibility is welcome to attend. We plan to offer several short papers or presentations followed by discussion. We write now to issue a call for participation on the topic of socially conscious compositions.

Composers who have invested their work with an explicit sense of social consciousness have drawn on an impressive range of techniques, from setting politically-charged texts to working with preexisting material of a distinctly partisan character to writing in a style, simple and/or provocative, meant to directly convey social commentary. Topics that composers have addressed musically include war, racism, women’s suffrage, the Holocaust, capital punishment, abortion, HIV/AIDS, cancer, drug abuse and addiction, lesbian / gay issues, nuclear disaster, and poverty. A theorist or musicologist who approaches these works interpretively (historically or analytically) faces a serious challenge, that of elucidating the experience of social consciousness.

We seek a small number of focused analytical and/or historical papers or presentations, ten to fifteen minutes in length, that take up this challenge across a wide repertory involving different points of view about social consciousness in music. Our discussion may also include possible actions or activities relating social concerns and the academy.
The organizers of this session are Timothy Brown, Deborah Burton, Amy Engelsdorfer, Marianne Kielian-Gilbert, Betsy Marvin, and Anton Vishio.

Email submissions are preferred. Please send proposals of 500-750 words by September 1 to:
Dr. Timothy Brown
690 South Dahlia Circle, T-105
Glendale, CO 80246
acecomposer@netzero.net

SFSR is an open forum for ideas on social responsibility of diverse kinds; we are not allied with any one group or perspective, and all opinions are welcome.
As an Interest Group of the Society of Music Theory, the SFSR complies with the requirements of 501(c)(3) organizations; we do not endorse partisan political statements.

For further information about the group and past conference sessions see the SFSR website: http://www.freewebs.com/sfsr /.

Deborah Burton
deborahburton@compuserve.com

Call for Paper - Bisexuality in Music

Bisexuality in Music: A Call for Papers

For much of its history, bisexuality has barely been recognized as a legitimate topic for historical or theoretical discourse of any sort. Indeed, for many, bisexuality has often seemed little more than a question, at best.
"Does bisexuality really even exist?" Only within the last decade or so has scholarship in the humanities begun to acknowledge, theorize and historicize this seemingly liminal aspect of human identity. Music scholarship in particular, much of which continues to perpetuate heterosexual-homosexual dichotomies, has yet to adequately acknowledge bisexuality, its place, histories and theories in music. In an effort to address this obvious lacuna, the editors and board members of the LGBTQ Study Group of the American Musicological Society propose the next issue of The Newsletter be devoted to the topic of Bisexuality in Music. General questions we wish to pose for this special issue include: Does bisexuality exist in music? If so, how so? In what ways and in what permutations do we encounter bisexuality in music? Do these permutations follow queer pathways, or rather their own? We invite submissions on all aspects of bisexuality and music and offer the following rubrics as suggestions for essay topics:
bisexuality and its significance to the lives of musicians; the musical
performance of bisexuality; bisexuality and voice; popular music and
bisexuality; operatic bisexuality/bisexual opera; historiographies of
music and bisexuality; exploring analytical theories and methodologies
of bisexuality and music.

Suggestions, questions and submissions may be sent by September 1, 2006 to:
Robert Torre
Rose Theresa
ratorre@wisc.edu
rose.theresa@title9music.org