.::. Midwest Chapter of the Society for Ethnomusicology .::.

The American Folklife Center, in cooperation with the Association for Cultural Equity, will present a symposium, "The Lomax Legacy: Folklore in a Globalizing Century," from January 18 to 20, 2006, at the Library of Congress.

For two days, a diverse group of scholars, cultural workers, and media producers will gather to reflect on the life work of the preeminent song collector, musical nthropologist, and cultural activist Alan Lomax (1915-2002). The symposium will consist of panel presentations, film screenings, and an evening concert. Participants will discuss their own research, publications, productions and advocacy work in light of Lomax's pioneering initiatives in these same areas. The gathering highlights the AFC's 2004 acquisition of the Alan Lomax Collection, his legacy of recordings, research and writing--a multimedia archive of musical performances from around the world.

The two-day event will be open to the public, free of charge, but seating is limited and reservations are required. Reservations for no more than two seats per registrant will be accepted on a first-come, first-served basis. For general information, registration, program details and locations of events, please visit

http://www.loc.gov/folklife/lomax/lomaxlegacy.html

Visit http://www.loc.gov/folklife/lomax for additional details on the collection.

Alan Lomax began his career at the Library of Congress' Archive of American Folk Song (the predecessor to the American Folklife Center) in 1933. Between 1933 and 1942, Alan Lomax and his father, folklorist John A. Lomax, helped establish the Library of Congress' Archive of American Folksong as a major repository of traditional music. Many of the early recordings held by the Center are the products of their celebrated field trips to document folk music and oral history across much of the United States and Alan Lomax's work in the Caribbean and Europe.

After he left the Library of Congress in 1942, Alan Lomax continued his work to document, analyze and present the traditional music, dance and narratives of cultural communities around the world. He expanded the scope of his work to include ethnomusicological and anthropological research and teaching, book publishing for scholarly and popular audiences, and commercial record, radio and film production. He was the recipient of numerous honors and awards, including the 1980 National Book Critics Circle award for "The Land Where the Blues Began," the National Medal of the Arts in 1986, a "Living Legend" award from the Library of Congress in 2000 and a Grammy in 2002 for his lifelong contributions to music.

Media contacts: Trish Taylor Shuman (202) 707-1940; Joanne Rasi (202)
707-1744
Public contact: (202) 707-5510
Web site: http://www.loc.gov/folklife/
Jennifer A. Cutting, Folklife Specialist (Reference)
Archive of Folk Culture, American Folklife Center
Library of Congress
101 Independence Ave., SE
Washington, D.C. 20540-4610
vox: (202) 707-1731 (personal desk)
(202) 707-5510 (reference desk)
fax: (202) 707-2076
email: jcut@loc.gov

Call for Papers - Music and the Asian Diaspora

Westminster Choir College of Rider University, Princeton, NJ
April 8-9, 2006

Westminster Choir College of Rider University (Princeton, NJ) is pleased to announce a symposium on "Music and the Asian Diaspora" to be held April 8-9, 2006. The symposium will feature:

a keynote address by Ajay Kapur (University of Victoria). Mr. Kapur has performed on percussion instruments for 14 years while studying world rhythms, composition, Indian classical theory, and computer-based music theory. He is currently working on developing intelligent music and media technology. His recent article, "Digitizing North Indian Performance," won the Journal of New Music Research Distinguished Best Paper Award in 2004

A screening of short films by Korean-American filmmaker Jay Koh

A Saturday evening concert that features traditional Asian music as well as contemporary Asian-American music

Proposals for papers (30-minute presentation plus 15-minute question period) on topics related to "Music and the Asian Diaspora" (broadly defined) are currently accepted. This symposium seeks to be inclusive, and welcomes proposals from the fields of musicology, ethnomusicology, music education, and performance. Papers on the following topics are particularly encouraged: (1) music in "overseas Asian communities," (2) the teaching of Asian musics in North American and European schools and universities, and (3) Asian-influenced music by non-Asian composers. Proposals should be in the form of an abstract of no more than 500 words (including a list of AV equipment needs), and must be submitted via email to ehung@rider.edu by February 1, 2006.

Presenters at this symposium will have the opportunity to publish their papers in a special interdisciplinary issue of Visions of Research in Music Education.

Additional information about the conference, including registration forms and transportation/lodging options, will be posted on the conference website, http://musicandtheasiandiaspora.com on January 1, 2006.

Westminster Choir College is a residential college of music located on a 23-acre campus in Princeton, New Jersey. Our student body includes 330 enrolled in the four-year undergraduate programs leading to the Bachelor of Music and Bachelor of Arts in Music degrees, 110 graduate students working toward the Master of Music degree. We also offer two summer-study degree programs: Master of Music Education and Master of Voice Pedagogy.

Eric Hung
Westminster Choir College of Rider University
ehung@rider.edu

How is this folklore?: Negotiating the Boundaries of Folklore Theory and Practice
An Ohio State University Folklore Student Association Conference

May 19-20, 2006. The Ohio State University
Mershon Center 1501 Neil Ave. Columbus, OH 43201

Call for Proposals

One of the "big questions" now circulating within the field of folklore is whether the field hasor needs a "grand theory." This question relates to on-going discussions about appropriate roles for folklorists as well as the daunting task, often faced by graduate students, of defining folklore in classrooms and other professional, personal and academic arenas. The interdisciplinary nature of the program at Ohio State University provides an ideal place to interrogate questions raised by these issues, such as: What is the relationship between grand theory and age-old debates about public, applied, and academic folklore? Is folklore an object or a lens; can it be both? How do public, applied and academic folklore inform and support each other? What is the role of folklore in social activism? How does increasingly interdisciplinary work impact the field?

The Ohio State University Folklore Student Association invites submissions that directly or indirectly address these kinds of questions from students, faculty, alumni and other individuals currently or previously affiliated with our Center for Folklore Studies.

SUBMISSION INFORMATION

We welcome submissions that reflect methods, theories and topics of folklore from undergraduate and graduate students, faculty, and public sector and independent folklorists with prior or current affiliation with The Ohio State University. We are accepting 250 word abstracts for paper presentations. Abstracts must be submitted by March 15, 2006 to FSA Programming Committee, c/o Center for Folklore Studies, 308 Dulles Hall, 230 W. 17th Ave. Columbus OH 43207. Abstracts for pre-arranged panels will not be accepted, due to a limited schedule. Inquiries should be addressed to Tracy Carpenter or Ann Ferrell.

The Tenth Annual Conference on Holidays, Ritual, Festival, Celebration, and Public Display

Call for Papers

Announcing the tenth multidisciplinary Conference on Holidays, Ritual, Festival, Celebration, and Public Display, at Willamette University, Salem, Oregon., June 2-4, 2006.

In celebration of the tenth anniversary of the Conference, we are holding a joint meeting with the Asian Studies Program and the Department of Japanese and Chinese, at Willamette University in Salem Oregon!

In a recent issue of the Justice League of America, the comic book superhero Green Arrow says, ? My old anthropology professor used to say ritual is essential to the human condition. Guess he was right.? The suggested theme for our tenth anniversary conference is ?Ritual and Popular Culture.? It is a broad theme, to be read in a variety of ways.

Also, papers on Chinese and Chinese-American ritual and ritualesque culture are encouraged as well, as the conference will be held in conjunction with a conference on Chinese Daily Ritual Practice, held by the Asian Studies Program and the Department of Japanese and Chinese. Proposals for this area should be sent to Dr. Juwen Zhang, Willamette University, 900 State St, Salem OR 97301. Phone (503) 370-6256; fax, (503) 375-5398, email juwen@willamette.edu

Conference lodging will be available on campus. More complete information will be forthcoming.

Double Occupancy (per night) room with linen: $25.00
Single Occupancy (per night) room with linen: $33.50.
Three meals a day on campus: $23.00

There is a shuttle van from Portland International Airport (PDX) to Salem, which runs for about 80 minutes with 1.5 hours interval. But we are also able to provide a van for those who have special flight schedule (about 50-60 minutes driving).

Presentations should involve original research and be analytical or theoretical in nature. All topics within the general scope of the conference will be considered.. DEADLINE FOR PROPOSALS IS February 28, 2006

INDIVIDUAL PAPERS AND MEDIA PRESENTATIONS: Send three copies of a one-page vita and a proposal that includes your name, department/program, institution, mailing and e-mail addresses, telephone and FAX numbers, title of paper, and a 300-word abstract.

FOR PANELS: Send three copies of a one-page vita for each participant; a 150-word abstract of the session's theme including the title of the session; a 300-word abstract for each participant including his or her name, department/program, institution, mailing and e-mail addresses, telephone and FAX numbers, and title of paper; contact data for the session coordinator (please include home and office telephone numbers and preferred mailing address and e-mail addresses, especially if different from institutional addresses).

AUDIO-VISUAL REQUIREMENTS: Please specify your audio-visual equipment needs within the proposal.

SEND THREE COPIES OF YOUR PROPOSAL TO: Jack Santino,
Department of Popular Culture
Bowling Green State University
Bowling Green, OH 43403-0226.
FAX: (419) 372-2577
E-mail: jacksantino@hotmail.com

Registration Fees: presenting $75, student presenting $65, attendee $25

CALL FOR PAPERS: Music as Performance

To be presented at Association for Theatre in Higher Education (ATHE)
August 3-6, 2006 (Chicago)
"Theatrical Milestones: Past Legacies, Present Possibilities, Future Strategies"
Co-chairs:
Philip Auslander, Georgia Institute of Technology
Elizabeth Patterson, University of Colorado Boulder

Music as Performance (MAP), a working group of both Performance Studies International (PSi) and ATHE's Performance Studies Focus Group, seeks paper submissions for inclusion in its panel proposals for the upcoming ATHE conference, August 3-6 2006, in Chicago, Illinois.

For the last two years, Music as Performance has convened at the Performance Studies Focus Group pre-conference; this year, we are pleased to submit panel proposals for inclusion in ATHE's general conference as well. We invite paper abstracts in three areas:

AREA A. Submissions showcasing current work in Music as Performance within Theatre/Performance Studies or other disciplines. Submissions should examine aspects of musical performance or specific performances from a perspective inflected toward Performance Studies.

AREA B. Submissions by graduate students or young scholars that address not only a specific topic within Music as Performance but also the developing reception of musical performance as an area of study within theatre and performance studies programs and of the performance studies approach to musical performance in other departments and programs.

AREA C. Submissions addressing the issue of musical personae and theatricality/theatrical convention in music performance.

When submitting a proposal, please identify the area in which you wish for it to be considered. (You may choose only one area.)

Send 300-word abstracts by October 10, 2005, to both co-chairs:

Philip Auslander
Georgia Institute of Technology
philip.auslander@lcc.gatech.edu

Elizabeth Patterson
University of Colorado Boulder
elizabeth.patterson@colorado.edu

For more information on the Music as Performance working group, visit
http://www.psi-web.org/texts/wg_map.html.

9th Darmstadt Jazzforum --Treason !!! ... or Chance?

Jazz and its ambivalent relationship(s) with popular music from September 29th to October 2nd 2005

Jazz always resisted being pidgeonholed: Some thought it to be the popular music of the 1930s and basis for many later styles in popular music, for others it was art music and as thus an alternative to the commercial aspects of popular music. Jazz musicians always had to live with this split identity of their music, they had to reflect it, but they also could make use of it for their own purposes.

At the 9th Darmstadt Jazzforum we want to look at different aspects of this relationship between jazz and popular music. We will discuss some basic questions (What makes music popular?), we will look at historical facts (Where and when did jazz and popular music split and how did the relationship between the two develop thereafter?), we will ask about the economic situation jazz is being played and produced in (for instance about the influence of record labels), we will discuss current tendencies (young jazz musicians who consciously make use of popular music idioms) and aesthetic questions (Jazz as art music, the suspicious sides of commercial success).

As always at our Darmstadt Jazzforum we have invited historians, musicologists, sociologists, as well as musicians to approach the topic from different sides. Among the speakers are: Diedrich Diederichsen, Andreas Felber, Fabian Holt, Andrew Hurley, Peter Kemper, Wolfram Knauer, Paul W. Miller (a.k.a. DJ Spooky), Martin Pfleiderer, Jrgen Schwab, Frithjof Strau, Colin Towns and others. All papers will be given either in German or English, no simultaneous translation is being provided. If you want to attend, thus, you should have a general knowledge of the German language. The conference from September 29th to October 1st, 2005 is public and free and can be attended without prior registration. The conference is held at the conference hall of the Darmstadt Literaturhaus, the former John-F.-Kennedy-Haus (Kasinostrasse 3).

Part of the conference will be a panel discussion with colleagues from jazz business - agents, media people, producers. They will discuss their own experiences in producing and marketing jazz and the problems with the term "jazz" as a sales factor, with the tendencies of (especially German) listeners to pidgenhole musical tastes.

The Darmstadt Jazzforum will also feature an ensemble workshop with bassist Henry Grimes at the jazz lounge "Stella". And it will present an exhibition with drawings and paintings by Tony Munzlinger at three locations: Centralstation (during the evening concerts), Literaturhaus (during the conference) and the newly established "Galerie im Jazzinstitut" (from September 23rd).

No jazz conference would be complete without live music. And thus we will deal with the topic of the Jazzforum in musical terms during three evening concerts at Centralstation and Bessunger Knabenschule, featuring, among others the NDR Bigband under the direction of Colin Towns, the Henry Grimes Trio with David Murray and Hamid Drake, DJ Spooky (That Subliminal Kid), as well as the bands Palinckx and AUTOFAB.

-----------------

If you have any questions, feel free to contact us.

Best, Wolfram Knauer

Jazzinstitut Darmstadt
Bessunger Strasse 88d
D-64285 Darmstadt
Germany
Tel. ++49 - 6151 - 963700
Fax ++49 - 6151 - 963744
e-mail: jazz@jazzinstitut.de
Internet: http://www.jazzinstitut.de

Call for Papers: Special Journal Issue on The Social Liminality of Musicians

Call for Papers--twentieth-century music
Special Journal Issue on The Social Liminality of Musicians

This special issue of twentieth-century music seeks to theorise theconcept of social liminality as it applies to musicians, and to exploreit with reference to specific case studies drawn from a number of theworld's cultures and subcultures in the twentieth and twenty-firstcenturies. We welcome submissions relating to any of the world's musical cultures, although papers on Western art and popular musics would be particularly welcome.

What is social liminality?

In his book The study of ethnomusicology, Bruno Nettl noted that in societies where musicianhood is considered a professional specialty, musicians are often considered to be of low social status, but of high social importance. To put it another way, musicians in many societies seem to possess social liminality - unusual cultural sanction to cross ordinarily strict boundaries of significance to a particular society. Examples include the reverence for the female singer Umm Kalthoum amongst Arab male audiences in a strongly gender-segregated society, the cultural valence of blind musicians in a number of traditional European societies before World War Two, or the importance of Jewish and gypsy musicians and styles to the history of Western art music. Under ordinary circumstances, musicians' low or marginal status - whether that status be imposed for reasons of class, gender, sexuality, disability, ethnicity or race - would restrict musicians to social spaces reserved for people of their own community. But their talents as entertainers, social commentators, ritual facilitators, cultural reinforcers, and so on, are desirable and often essential to the higher status communities that patronise them. Bourdieu's concepts of social and cultural capital are salient here: while such performers have severely restricted social capital, they possess cultural capital in spades. Because of their talents, musicians are therefore permitted to cross status boundaries and penetrate high status social spaces and events that would ordinarily be closed to them, as men and women of low social status. Within those spaces and events they may furthermore be granted cultural sanction to perform roles and voice ideas ordinarily considered forbidden, thus creating a temporary liminal space for the (musical) performance of subversive ideas that may act as a societal safety valve. The social liminality enjoyed by musicians however often carries with it considerable social cost. Through their liminality, musicians may try to use their abundant cultural capital to enhance their economic status and where possible their social position. In some societies, the performer's legitimate liminality may therefore simultaneously be seen as a threat to the social status quo. The holders of social and political power may seek to preempt musicians' attempts to take advantage of their liminality by attaching debilitating social costs to being a musician in
the form of social marginalisation.

We are seeking papers exploring the issue of social liminality in relation to particular communities of musicians, the spaces in and events at which they perform, and issues of class, race, gender, sexuality, disability, and so on. We would particularly welcome papers investigating the link between musicians' social liminality and traditional anthropological and religious-studies understandings of liminality as applying to rites of passage and the threshold between the natural and supernatural worlds.

Initial enquiries should be addressed to:
Dr Katherine Butler Brown, Corpus Christi College, Cambridge University,
krbb2@cam.ac.uk
or
Dr Laudan Nooshin, Music Department, City University, London,
l.nooshin@city.ac.uk

Interested contributors should make initial enquries before Monday
November 1st 2005. The final deadline for submissions is Monday January
2nd 2006. Papers should not exceed 8,000 words in length.

For further information on twentieth-century music, visit
http://uk.cambridge.org/journals/journal_catalogue.asp?mnemonic=TCM

Grounding Moves: Landscapes for Dance June 15-18 2006 The Banff Centre for the Arts, Alberta Canada

The Society of Dance History Scholars invites submissions for its twenty-ninth annual conference, hosted by the Banff Centre for the Arts in Alberta, Canada, a unique centre known for its dedication to the arts and to creative process, and for its breathtaking location in the heart of the Rocky Mountains. In recognition of this stunning site and the vibrant role the Banff Centre has played in Canada for decades, the 2006 conference will engage with dance projects fostered in this location. These include the unique and internationally-renowned "Aboriginal Dance Project," inaugurated in 1996; the many cutting edge media and visual arts programs of the Banff New Media Institute, which include numerous projects that integrate dance and technology; and the Centre's renowned ballet program, which has trained dancers in Canada since the 1940s. The program committee hopes to stimulate proposals that will look at Aboriginal dance, dance and new media, ballet training, and issues of state and institutional support that may be raised by the success of the Banff Centre itself.Although the conference proposes and promotes this focus on the Banff Centre, we welcome proposals outside that realm. The conference is open to any new research in dance studies, and we imagine that the issues raised will be applicable to dance practices, institutional structures and histories in locations the world over. Questions include:*What is dance's relation to institutional structures? *How do issues of self-determination, ownership, state control, intellectual and artistic property, sovereignty, and of European-imposed definitions about these, intersect with the histories of institutional support?*How have -- and haven't -- Aboriginal dance practices flourished in relation to these structures and in the face of institutional constraints?*What is ballet's relationship to institutional structures, such as those provided by governments or schools (universities, conservatories, arts centers, neighborhood studios); by cities (New York, Winnipeg, Seoul, Beijing...); and by ideologies of, for example, gender, nationalism and globalization?*What possibilities do the realms of new media hold in addressing these histories and issues? In contributing to the extension and evolution of dance practice and performance?*How does dance ground practitioners across geographic, institutional, and ideological divides? Submissions encouraged for individual papers and panels, as well as for roundtable discussions, movement workshops, lecture-demonstrations, collaborative presentations, and other formats that will enable the active engagement of conference participants. More info on the Banff Centre can be found at: http://www.banffcentre.ca/about/ Submission guidelines and forms can be found at <http://www.sdhs.org/confpropinst.html>.Submissions should be emailed or postmarked by November 15, 2005. If submitting by email, please download form and send to sdhs@primemanagement.netIf submitting by mail, please send six copies of the proposal along with the submission form to: Jacqueline Shea MurphyDepartment of DanceUniversity of California, RiversideRiverside, CA 92521Queries may be addressed by email to: jshea@ucr.edu <jshea@ucr.edu>. No submissions accepted by fax. Other members of the committee include: Susan C. Cook (School of Music, University of Wisconsin, Madison); Susan Kozel (School of Interactive Arts and Technology, Simon Fraser University); Allana Lindgren (SSHRC Post-Doctoral Fellow, University of Victoria); Jens Richard Giersdorf (Department of Dance Studies, University of Surrey); and Nadine George-Graves (Department of Theatre and Dance, University of California, San Diego). -- Jim RanieriAccount ManagerSociety of Dance History Scholars3416 Primm LaneBirmingham, AL 35216Telephone: 205.978.1404Fax: 205.823.2760Web: www.sdhs.org Email: sdhs@primemanagement.net

International Musicological Colloquium Brno 2005

MUSIC & WAR Brno, Czech Republic 26.9.2005 -- 28.9.2005

The programme for the colloquium is now complete, including some papers with an ethnomusicological dimension, and it can be viewed at
http://www.sun.rhul.ac.uk/Music/Conferences/05-9-brn.html

Conference office:
Ustav hudebni vedy FF MU, Arna Novaka 1
602 00 Brno
Tel.: +420 549494623
Fax.: +420 549497478
e-mail: colloq@phil.muni.cz

Geoffrey Chew
Music Department, Royal Holloway, University of London
Egham Hill, Egham, Surrey TW20 0EX, UK
Internet: chew@sun.rhul.ac.uk

Ethnomusicology Forum - Call for Papers
Special Issue 2007

Diaspora, Postcolonialism and Performance

Diaspora has been highlighted in attempts to analyse contemporary global processes. Diaspora discourses articulate with postcolonial theorisation in numerous ways, offering fresh perspectives on empires and their legacies, political efficacy through performance, and modes of cultural representation. This issue of the journal aims to explore current understandings of the place of performance in diasporic and postcolonial politics, experiences and discourses. How does performance contribute to the analysis of diaspora? How might performance contribute to postcolonial theorisation? Analysis of performance in diasporic and postcolonial contexts often emphasises cultural interactions and this conference seeks to broaden and challenge current analytic models. Specific issues that might be addressed include 'hybridity' and the extent to which ethnomusicological discourse has favoured notions of 'happy hybridity', the ethics of cross-cultural representation, collaborations and exchanges, and performance through trauma, reconciliation and identity construction.

Although the terms 'diaspora' and 'postcolonialism' have themselves been subjected to considerable critical scrutiny, we will pursue a broad interpretation of both in order to encourage as wide a range of submissions as possible.

Possible areas for consideration:

1. How are diasporic and postcolonial identities expressed and shaped through performance?
2. What role does musical memory play in the diaspora? What are the legacies of empire that impact on postcolonial performances?
3. What are the politics of the 'new' forms of music and music making that result from performance interactions in the diaspora?
4. How does performance create new spatialities and what do these tell us about the relationship between diaspora and postcolonialism?
5. How might contemporary discourses between gender studies and postcolonialism be applied usefully in musical contexts? What insights can musical performance provide on gendered positions within diasporic and postcolonial politics?

Potential contributors are invited to submit abstracts of up to 300 words to Dr Tina K. Ramnarine, Department of Music, Royal Holloway University of London, Egham, Surrey TW20 OEX, UK. Abstracts can also be sent via email (attached as a word document) to tina.ramnarine@rhul.ac.uk. This call is linked with the BFE one-day conference, 26 November 2005, to be held at Middlesex University.

Further details about Ethnomusicology Forum can be found on the journal's homepage: http://www.tandf.co.uk/journals/titles/17411912.asp

Taylor & Francis Group
London New York Oslo Philadelphia Singapore Stockholm
UK Head Office: T&F Informa Academic (Journals), Building 4, Milton Park, Abingdon, Oxfordshire OX14 4RN

National Graduate Conference For Ethnomusicology:
New Directions in Music Studies, University of Cambridge, 7-9 July 2006

Co-organisers: Katherine Brown (Cambridge) and Iain Foreman (SOAS)
Contact: Katherine Brown krbb2@cam.ac.uk

You are warmly invited to participate in the first ever national graduate student conference for ethnomusicology in the UK. This three-day residential conference will be held at the University of Cambridge Music Faculty, co-sponsored by CRASSH and supported by the British Forum for Ethnomusicology. It will provide an unprecedented forum in the UK for graduate students in ethnomusicology to meet, discuss, and network with graduates from other disciplines interested in the relationship between music and culture. We aim to establish a productive and friendly environment for graduate students in all areas of music research and performance with an interest in ethnomusicology.

We are interested in individual papers and organised panels that explore new and interdisciplinary ways of doing music research, and how methodologies or theories from disciplines beyond music/ethnomusicology can be applied to the study of the world's musical cultures. We are also keen to explore new methods and formats of presenting research, such as film, lecture-demonstrations, multimedia, the integration of performance and spoken discourse, and so on. Organised panels that involve conversation between researchers from different disciplines, or researchers and performers, will be particularly welcome. Sample ideas for individual presentations and sessions include, but are not restricted to:

* music and literature, music and religious studies, music and
biosciences, music and etc
* rethinking the traditional research paradigms of your specialist area
* the future of ethnomusicology, music and cultural studies
* new theories of the relationship between music and culture
* new methodologies for fieldwork and research
* the institutionalisation of ethnomusicology
* what's the point of studying music and culture in today's world?
* applied ethnomusicology, activism and the academy
* ethnomusicology and the media
* what is coming after globalisation, postmodernism, etc?

If you have a particularly exciting piece of research, or a difficult research problem you want to discuss in an open forum, these are also eligible for presentation.

Proposals for papers, presentations, panels and sessions are open to all graduate students working on music and culture, broadly defined, regardless of discipline. We particularly welcome graduate students who are working on ethnomusicology-related topics, whether or not they consider themselves "ethnomusicologists. We want to inspire interdisciplinary approaches and collaboration, and research on any of the world's music is welcome. Our definition of "graduate includes Masters students, PhD students, and students on postgraduate diploma courses. Researchers who are no longer students are most welcome to attend the conference and to chair organised panels. However, the paper proposals, including those that are part of organised panels, will be restricted to graduate students only.

The deadline for abstracts is 10 January 2006. Please send your abstracts (max. 300 words) by email to Dr Katherine Brown, Corpus Christi College, Cambridge krbb2@cam.ac.uk.

--------

Dr Katherine Brown
Research Fellow and Tutor
Corpus Christi College
Trumpington Street
Cambridge CB2 1RH
Tel: +44 1223 764007/767003

Call for Papers--International Association for the Study of Popular Music, US Branch 2006 Conference

Reconfiguring, Relocating, Rediscovering

February 15-18, 2006, Murfreesboro/Nashville, Tennessee
Deadline for Submissions: October 15, 2005

The conference organizers welcome proposals for papers, panels, or roundtables on any aspect of popular music. We are, however, especially interested in submissions that engage with popular music as it relates to the multiple and intersecting technologies, identities, and geographies of the early 21st century. Papers that re-examine methodological, analytical, theoretical, and pedagogical terrain and/or that re/visit little explored genres, artists, geographical regions, social differences, and/or identities are encouraged. We are aiming for as broad a representation of disciplinary and interdisciplinary perspectives as possible and hope for a conference that will bring emerging perspectives on the study of popular music into dialogue. We would be especially interested in proposals that deal with:

*Local/Global musics, present and past: how do we understand globalization (including notions of "the local") in the aesthetics and practices of contemporary popular musics? How can we re-interpret the history of popular musics in terms of the notion of globalization? *Popular Music and Social Difference: how are scholars thinking about popular music and issues of race and ethnicity (including whiteness), sexuality (including Lesbian, gay, bisexual, transgender and/or queer studies of popular music), gender (including masculinities), ability/disability? How do the intersection of these issues shape popular music?

*New Media and Other Technologies: trends in online music distribution, digital recording, intertextuality and music "mash-ups," and other expressions of music produced, distributed, and consumed using networks, computers, and other new media.

*Popular Music in the Classroom: connections between theories of popular music and student learning, including accepted and innovative ways to teach popular music history, the pedagogical uses of popular music in classes across the disciplines, ideas and evaluations of popular music curricula, strategies for making popular music an established element of music education at both K-12 and college levels, or how popular music is or might be integrated into or taught alongside Western art music and/or non-Western musics.

We would especially encourage proposals for papers, panels, and roundtables that deal with aspects of the Nashville music scene(s) and, given that 2006 is the 25th anniversary of MTV, we would welcome proposals on any aspect of the network, especially its globalizing strategies and local music television
resistance.

Proposals can be submitted online at http://www.iaspm-us.net/conferences/. Proposals will be read blind by the program committee. Proposals for individual papers and roundtables should be no longer than 300 words. Proposals for panels should include an abstract of no more than 300 words for the panel as a whole, as well as abstracts of no more than 300 words for each paper proposed for the panel. The program committee reserves the right to accept a panel but reject an individual paper on that panel.

For questions about the conference, contact Susan Fast, Program
Committee Chair at 2006conference@iaspm-us.net. Submission deadline:
October 15, 2005

Call for Papers--Forum on Music and Christian Scholarship

Annual Meeting Feburary 24-25, 2006 Calvin College, Grand Rapids, Michigan

The Forum on Music and Christian Scholarship seeks proposals for their upcoming annual meeting, which will take place at Calvin College in Grand Rapids, Michigan, from February 24th to 25th, 2006.

Papers on any topic pertaining to music and Christian scholarship are welcome. Likewise, we invite submissions representing a variety of approaches and perspectives: history, theory and analysis, philosophy and theology, ethnomusicology, critical theory, and the like. Papers will be 25 minutes long. We would also like to encourage proposals for a panel entitled "Music, Theology, and Ineffability."

Please send an abstract of approximately 300 words which includes your name, affiliation, and contact information to the Chair of the Program Committee:

Richard Wattenbarger, Department of Fine Arts, La Salle University, Philadelphia, PA 19141 email: wattenbarger@lasalle.edu fax: 240-218-6453

Deadline: October 15, 2005

The Society's32nd Annual Conference Chicago, Illinois

15-19 March 2006
http://www.american-music.org/

A Joint Conference with the Center for Black Music Research. The conference will be held at the Westin Chicago River North
.Current Conference Information

"Music Reception: Actions, Reactions, Interactions"

sponsored by the Harvard University Graduate Music Forum and Dudley House Saturday, October 15, 2005
Harvard University

We have a wide cross-section of fascinating papers lined up, reaching across the sub-disciplines, across the world, and even into outer
space! Our keynote address will come from an expert in musical reception, the New Yorker critic, Alex Ross.

More information can be found at http://www.hcs.harvard.edu/gradmus.

Below is the list of speakers and the papers they will be presenting.
Other events are listed on the conference website.

Morning Session
The Preconceptual Structuring of Musical Meaning
Jason Solomon, University of Georgia

Transmitting the Sublime: the Place of the Performer in the Conceptual
Chain between Masterwork and Performer
Victoria Tzotzkova, Columbia University

Receiving Colinde: Romanian Winter Solstice Songs and the Economics of
Musical Reception
Sabina Pauta Pieslak, University of Michigan

Afternoon Session
"To the Makers of Music, All Worlds, All Times: The Voyager Record
and the Search for Musical Meaning
Samuel Dorf, Northwestern University

"Maestro for the Masses: Arthur Fiedler, the Boston Pops, and
American Musical Culture
Ayden Adler, Eastman School of Music, University of Rochester

Virtuous Virtuosity Undone: The New York Premiere of Les Huguenots
Amber Youell-Fingleton, Columbia University

Keynote address
Reception from the Inside: Notes on the (Limited) Usefulness of Music
Criticism as Evidence of Audience Reaction
Alex Ross, the New Yorker

For previous years, please go to our Archive of Past and Recent Conferences

2005

The Lomax Legacy: Folklore in a Globalizing Century