The Fourth Annual Art of Record Production Conference 2008

Nov. 14-16, 2008
Hosted by William Moylan at The University of Massachusetts Lowell, Lowell, Massachusetts, USA

Call For Papers

Conference Summary:
The ARP Conference gathers together industry professionals, academic scholars, and musicians who utilize and study recording technology as a principle means of creative expression. It is the aim of this conference to facilitate the exchange of ideas between these groups, drawing upon broad areas of expertise, and providing a unique opportunity for individuals to inform, challenge, and stimulate the discourse surrounding the intersection of technology and music. ARP provides a platform for the exchange of ideas and multiple perspectives across disciplines.
The conference addresses a range of topics such as; how creative expression is achieved through technological practices; how changes in recording technology have impacted upon and informed musical practices; the so-called “democratization” of access to modes of creative expression and the resultant opportunities for the distribution of recorded work in the age of computer-based recording and the Internet.
The conference will comprise academic papers, industry speakers and panels, practical demonstrations and masterclasses as well as plentiful opportunities for networking and informal debate.

The 2008 Conference will deliver four streams of papers and panels around the following topics:

1. The Studio as Musical Instrument.
In 1983 Brian Eno described the recording studio as his musical instrument. After several decades of technological change, it is worth considering how the definition of what constitutes a “studio” has shifted, and the various technological, economical, and political impacts these shifts have had and continue to have on contemporary music. What does “The Studio as Musical Instrument” mean today? How has recording practice affected composition, arranging and song writing practice? How have “composer,” “performer,” “engineer,” “conductor,” or “musician” been redefined? How has the “recording studio” changed music and music making? Please send proposals for this stream to: arp08_smi@artofrecordproduction.com

2. Recording Practice and Performance.
How have changes in recording practice affected performance practice amongst recording musicians? How has technology influenced the sound art which results? How do record producers, musicians and sound engineers communicate in the studio? How do they view each other? How have the control surfaces of the studio been absorbed into and influenced musical performance? How do issues such as comfort and non-verbal communication between musicians balance against separation and audio quality in the recording process? How is the creative power distributed between musicians, producers, record companies and technicians? Please send proposals for this stream to: arp08_rpp@artofrecordproduction.com

3. The Empowered Artist
The means for composing, performing, recording, promoting and distributing sound recordings is available to all artists. Is the ‘capability’ to do it all being matched by the ‘ability’ to do it well? Are the potentially conflicting challenges of business and creation being juggled without undermining the economic or artistic value of what results? How has low-cost audio production technology impacted the recording industry, both economically as well as in re-casting the creative technologies contained in professional facilities? Please send proposals for this stream to: arp08_tea@artofrecordproduction.com

4. Production and the Listener
How aware are listeners of the possibilities and actualities of production? How aware are the industry professionals who are not involved in production? How do production practices impact on notions of authenticity? Are alternative mixes regarded by listeners as aesthetically equivalent? Do producers work with specific listening environments or audiences in mind? How has this impacted on the historical development of record production? Please send proposals for this stream to: arp08_pl@artofrecordproduction.com

Other subject areas will be considered and we encourage the submission of papers on any topic associated with the art of record production.

Proposals for individual papers and poster presentations should not exceed 300 words.

Proposals for panels should include the names and brief CVs of all panel members and their individual contributions and should not exceed 1000 words.

The deadline for proposals is the 15th April 2008.
General enquiries can be addressed to Simon Zagorski-Thomas

Lecturer/Senior Lecturer in Ethnomusicology

NZ School of Music, Faculty of Humanities and Social Sciences

An exciting opportunity to work in the NZ School of Music with its strong existing tradition of ethnomusicology, and to shape the future development of the programme.

Location: Kelburn Campus
Term of Contract: Permanent
Reference: A162-08Z
Link to the Post
Closing Date: 30 May 2008

The New Zealand School of Music, a joint venture of Massey University and Victoria University of Wellington, seeks applicants for an appointment as Lecturer/Senior Lecturer in Ethnomusicology. The position will be based at Victoria University in Wellington, the thriving cultural capital of New Zealand.

The successful candidate will have a PhD in ethnomusicology or a related discipline, teaching experience at university level, and evidence of the ability to maintain a research profile of international distinction in ethnomusicology. A strong grounding in ethnomusicological theory, as well as the ability to connect theory to creative practice (through, for example, incorporating various forms of music-making and performance into research and/or teaching), is essential.

The NZSM will give preference to candidates who are sensitive to local musics, including in particular the music of Maori and Pacific Islanders, and who will consider ways to foster the study of these musics in the NZSM. Willingness to maintain and develop stimulating relationships with other disciplines within the School (such as musicology, music therapy, composition or performance) and with relevant departments of Victoria and Massey Universities would be an advantage. Responsibilities will include leading the ethnomusicology programme in the NZSM, teaching and supervision at undergraduate and graduate level, and contributing to the general administration of the School.

Appointments will commence on 1 February 2009.

Two representative samples of scholarly writing should be included with the initial application. These can be e-mailed separately to Kushla Beacon.

In addition please arrange for three letters of reference to be sent/e-mailed under separate cover to Kushla Beacon, by 30 May 2008.

Further information please contact the search committee chair, Inge van Rij.

Additional Information: RD – L.SL in Ethnomusicology.doc

Heavy fundametalism: music, metal and politics

1st Global Conference
Monday 3rd November – Wednesday 5th November 2008
Salzburg, Austria

It is about time, that with a growing critical interest in the music and culture of heavy metal, a conference be held to explore, critique and bang heads on what this long standing movement is about, where it is going and what it has to offer, politically socially and philosophically. Characterised by extremes, it is a music movement that has a range of lifestyles attached to it, comprising of quite disparate and radically different views amongst both fans and its progenitors. Recent publications such as Bill Irwin’s edited Metallica and Philosophy: A Crash Course in Brain Surgery (2007), documentary films and past texts such as Deena Weinstein’s 1991 Sociological study Heavy Metal The Music and its Culture and Keith Kahn Harris’ Metal Studies site indicate a continuous, serious interest in Heavy Metal.

Submissions are welcome on any of the following themes: Heavy Metal and:

  • Origins, Definition and History
  • Genres and classification. Classical music/Opera
  • Culture – Subculture – Underground – Popular Culture – Fans
  • Religion – anti religion – Evil – Satanism
  • Politics – Nationalism – the Apolitical – Fascism
  • Imagery – Iconography – Aesthetics
  • Art – Design – Fashion – Performance – Theatre – Sleeve Art
  • Gender Issues – Misogyny – Homo sociality – Masculinities – Deviant Sexualities
  • Monsters – Madness
  • Philosophical themes: Existentialism – Nihilism – Hedonism – Ethics
  • Literature – Cinema – Documentaries – Soundtracks – Horror – Gothic – Anime – Cartoons
  • Fashion

Papers will be considered on any related theme. 300 word abstracts should be submitted by Friday 13th June 2008. If your paper is accepted for presentation at the conference, an 8 page draft paper should be submitted by Friday 10th October 2008.

300 word abstracts should be submitted simultaneously to both Organising Chairs; abstracts may be in Word, WordPerfect, or RTF formats with the following information and in this order:

a) author(s), b) affiliation, c) email address, d) title of abstract, e) body of abstract.

Please use plain text (Times Roman 12) and abstain from using footnotes and any special formatting, characters or emphasis (such as bold, italics or underline). We acknowledge receipt and answer to all paper proposals submitted. If you do not receive a reply from us in a week you should assume we did not receive your proposal; it might be lost in cyberspace! We suggest, then, to look for an alternative electronic route or resend.

Niall Scott
Centre for Professional ethics
University of Central Lancashire
Preston PR1 5HE
Lancashire, U.K
Email

Rob Fisher
Inter-Disciplinary.Net
Priory House, Wroslyn Road
Freeland, Oxfordshire OX29 8HR
Email

The conference is part of a larger series of ongoing conferences entitled Critical Issues, which aim to bring together people from different areas and interests to share ideas and explore various discussions which are innovative and exciting.

All papers accepted for and presented at the conference will be eligible for publication in an ISBN eBook. We aim to bring together people from different areas and interests to share ideas and explore innovative and challenging routes of intellectual and academic exploration. All papers accepted for and presented at this conference are eligible for publication in an ISBN eBook. Selected papers will be developed for publication in a themed hard copy volume.

For further details about the project please visit: www.inter-disciplinary.net/ci/mmp/mmp.html

For further details about the conference pleaser visit: www.inter-disciplinary.net/ci/mmp/mmp1/cfp.html

Post at the University of Bergen

Professor/Associate Professor in musicology
Ethnomusicology and/or popular music studies

The Grieg Academy-Department of Music at the University of Bergen, Norway, has a vacancy in a permanent position as professor in musicology (ethnomusicology and/or popular music studies).

If applicants do not meet the qualification criteria for a position as Professor, they may be evaluated for a position as Associate Professor.

Application deadline is 25 May 2008.

For the full position announcement, please see:
http://melding.uib.no/doc/Ledige_stillinger/1207124571.html

Stuck in the middle – Annual Conference of IASPM-ANZ

Annual Conference of IASPM-ANZ
International Association for the Study of Popular Music
Australia-New Zealand branch

Stuck in the middle
The Mainstream and its Discontents

28-30 November 2008
Presented by the Centre for Public Culture and Ideas (CPCI)
Griffith University
Brisbane, Australia

Whilst “cutting edge” and “alternative” music has played a central role in popular music studies, these terms depend upon being juxtaposed with a real or imagined “middle” or “mainstream.” The mainstream has often played the negative role in this relationship, against which the positive, resistant qualities of music subcultures have been measured. However, as music scenes and genres continue to fragment and blur, it is increasingly difficult to distinguish between a normative mainstream and a smaller number of resistant subcultures. Ultimately, today’s mainstream music reflects a complex set of negotiations between individuals, industry, production and consumption.

We invite contributions that address the topic of the mainstream from any perspective. The organising committee also gladly welcomes any general papers in the study of popular music.

Topics may include:

  • Redefining the mainstream
  • Mainstream music and everyday life
  • Global and local mainstreams
  • Mainstream music in educational contexts
  • Music, the mainstream and sporting cultures
  • Mainstreams, margins and minorities
  • Conflicts and controversies in the mainstream
  • Mainstream music across generations
  • Mainstream entertainment for children
  • Gender and sexuality in mainstream music
  • Mainstream music in the media

Abstract Submission
Abstracts should be submitted as an email attachment (Word document, 12pt Times New Roman font) to Gavin Carfoot.
The deadline for receipt of abstract is 30 June 2007.
Please use your surname as the document title (for example, “Carfoot.doc”). The abstracts will be reviewed by an IASPM-ANZ committee and successful applicants advised by email. Please include the following details (in this order):
1. Name of author(s) (as you would like it to appear in the programme)
2. Institution or affiliation (where applicable)
3. Contact phone numbers
4. Email address
5. Title of paper
6. Abstract (200-300 words)
7. Consideration for 2007 IASPM-ANZ postgraduate prize? (Yes/No)

Registration details will be available on the conference website .

Pease send registration forms to:

Jill Jones, Events Coordinator
Centre for Public Culture and Ideas
Nathan Campus
Griffith University
170 Kessels Road, Nathan
Brisbane, Queensland 4111
AUSTRALIA Ph: (07) 373 57338
Email: Jill Jones

Journal on the Art of Record Production

Call For Articles for the Journal on the Art of Record Production
Issue 3: Editor – Simon Zagorski-Thomas
Deadline: 30th May 2008

Themes:

Business Models and The Production Process
This would involve articles on issues such how changing production techniques on the question of authorship, copyright and even the ontology of music. It could also include articles on how artists and producers are developing new business models in the face of the rapidly changing industry.

Recording and Mix Techniques
This would involve articles on the various ways that producers and engineers shape the sound of a recording through the use of microphone selection and placement, the use of room ambience, equalisation, dynamic processing, effects, editing techniques, stereo or surround mixing techniques etc. They might describe techniques used / developed / made famous by particular individuals or more general treatises on common practice, the psychoacoustics of particular techniques etc.

Please submit completed pieces for peer review:
Full article: 5 – 7,000 words
Position paper: 3 – 5,000 words
Provocations: up to 1,000 words (pieces by industry professionals or academics designed to stimulate debate)

Please send submissions to Simon Zagorski-Thomas
Website: www.artofrecordproduction.com

Cultural Production and Experience: Strategies, Design, and Everyday Life

Call for papers

Time and place: November 13-14, 2008 in Roskilde, Denmark
Proposal deadline: May 1, 2008
Main contact person: Fabian Holt (please write Roskilde conference in the subject line)
Venue: Roskilde (more details will be announced soon)
Web site: http://web.mac.com/fabsound/Site/Conf.html

Keynote speakers:
Angela McRobbie (Goldsmiths College)
David Hesmondhalgh (University of Leeds)
Gerhard Schulze (University of Bamberg)
Kevin Hetherington (Open University)

The overall theme of this conference is the changing role of professional entertainment in contemporary, post-industrial society. Concepts such as the “culture society,” “creative industries,” and “experience economy” all signal an increase in the volume of production and consumption of cultural commodities. This development has implications for producers, consumers, and society at large.

The shifting relations between producers and consumers, between production and experience, generate two key questions: The first is how new strategies and forms of cultural production relate to changing forms of consumption and experience. This concerns the embodiment of cultural production in social life. The second question is how cultural commodities, live or mediated, are being consumed and how they affect consumers on both macro- and micro-levels of social life.

The conference organizers value new approaches and original perspectives grounded in empirical research. We welcome work in all areas of the creative and cultural industries, including tourism, media, publishing, music, theatre, film, event, national and amusement parks, and ICT (e.g. computer games and mobile phone entertainment). Presenters are also encouraged to explore connections across industries and genres in various aspects of production and consumption. This could include issues of convergence and cross-branding.

A major aspect of the theme is the organizational and institutional contexts of production. It is pertinent to recognize the changing roles of national and city governments and new alliances and networks between private and public sectors.

Research in these areas has responded to commercial and political agendas organized around the concepts of the creative and cultural industries and the experience economy. Interdisciplinary research and collaborations between the social and human sciences, business studies, and schools of art and design are still relatively few and far between. We welcome such initiatives and provide space for discussions of different and even conflicting notions of cultural production, consumption and experience. A particular concern is how the feedback loop between theory and practice, idea and product, can be sustained via methods of product design.

[A more detailed description can be found at the conference website]

Organization of the conference: The basic model is plenary keynotes alternating with parallel tracks of paper presentations and a few roundtable discussions. We accept proposals for research papers and for roundtable panels.

Paper proposals: Max. 500 words must be sent to Fabian Holt of the conference committee by May 1, 2008. Again, please write “Roskilde conference” in the subject line. The proposals will be reviewed by a committee. Notification of acceptance will be given by June 1.

Roundtables: The roundtable panels should facilitate dialogue between scholars and professional producers. Each roundtable is expected to begin with a two-minute statement by up to five presenters and then move on to discussion with a moderator. The presenters must submit a one-page written statement prior to the conference, which will be available at the conference Web site one week before the conference.

Deadline for paper submissions: Papers for the ordinary panels (max. 8000 words) and statements for roundtable panels (max. 1 page) must be submitted to fabianh@ruc.dk by October 15.

Conference committee:
The conference committee consists of Fabian Holt, Jørgen Ole Bærenholdt, and Jon Sundbo of the Center for Experience Research at Roskilde University, Denmark.

Publication
Some presenters will be asked to write their paper into an article for a special issue of a distinguished international journal. Our decisions will be based on the criteria of the quality and relevance of the papers.

Price
300 Euros including meals and accommodation.

Registration
All participants should by sending an e-mail to e-mail to Hanne Tofteng, Roskilde University, hannet@ruc.dk before October 15, 2008.

Arts, Culture and Public Sphere

The Research Networks Sociology of Arts and Sociology of Culture of the European Sociological Association (ESA) are organizing a joint mid-term conference this year in Venice, 4-8 November 2008 on

Arts, Culture and Public Sphere
Expressive and Instrumental Values in Economic and Sociological Perspectives

The local organizer is Prof. Pier Luigi Sacco from the Faculty of Design and Art (FDA), and in cooperation with the Department of Art and Industrial Design (DADI), from the IUAV University in Venice.

The conference represents the 5th ESA Sociology of the Arts Research Network mid-term conference and the 2nd ESA Sociology of Culture Research Network mid-term conference, and it will be the first opportunity to have three European networks – the two ESA-Research Networks and the network ‘Economics and Planning of Arts and Culture’ – meeting around a common theme.

Call for papers and information: artculturevenice2008

The Arab Avant-Garde

The Arab Avant-Garde: Musical Innovation in the Middle East
Edited by Thomas Burkhalter, Kay Dickinson and Benjamin J. Harbert

We are currently soliciting chapter proposals for an anthology on the largely under-researched area of avant-garde music affiliated to the Arab world. All definitions of experimentalism and any disciplinary (or anti-disciplinary) approaches will be considered as we are hoping to produce as varied a volume as possible. The Arab avant-garde is to be taken as boundary work from both perspectives of pulling from the outside of tradition and of pushing from the inside of tradition; in other words, both iconoclasm and radical traditional expansion are equal targets. That said, discussions of the avant- garde as repeated practices of established boundary work or investigations into conventional vanguards are also welcome.

The Arab Avant-Garde, as a title, mobilizes two already complicated concepts whose alignment asks a number of challenging questions. Firstly, there are the issues of invoking the avant-garde – a term with particularly Eurocentric resonances – within a supposedly “other” geopolitical imaginary. Here one might wish to: draw on or challenge the models of alternative modernities; posit crucial lineages of radical innovation within or via the Arab world; critique or reaffirm the presumed stabilities of “tradition”; or insist upon shared global projects of cultural rejuvenation that do not prioritize points of arrival or departure.

Then there are issues of place to consider. To what extent is the Arab avant-garde partially constructed from “outside” as, for example, a marketing category and what are the political repercussions of this? What might we mean by “Arab” anyhow, and where, amidst this term, could we place stateless minority groups such as the Kurds or settled diaspora groups? How do the fraught histories of nationalisms and other unities frame the Arab avant-garde? And where might all this be situated, in terms of origins, performance or suitable places for scholarly attention, to name but a few crucial locales?

In order to address these intricate problematics, we encourage work from diverse disciplinary traditions, including and traversing: music, history, cultural studies, ethnography, Middle East area studies, sociology and subcultural geography. We would happily welcome straight academic essays, as well as more experimental submissions, interviews and translations. Word lengths to be negotiated.

Deadline for short abstract: 5.May 2008

Please email the abstract to: arabavantgarde@norient.com

Dance, Timing and Musical Gesture

Call for abstracts

13 – 15 June 2008
University of Edinburgh, Scotland

The Institute for Music in Human and Social Development, in collaboration with Queen’s University, Canada, invites abstracts for an interdisciplinary, international conference on the topic of Dance, Timing and Musical Gesture. The aim of the conference is to consider the temporal dynamics, expressive possibilities and communicative power of dance and musical movement. The meeting will include talks, posters, dance workshops and performances and will take place in the beautiful and culturally vibrant city of Edinburgh. Three student scholarships are available, covering registration and accommodation.

Invited Speakers:
Prof. Stephanie Jordan (Roehampton University, UK) Dance Studies
Prof. Mercédès Pavlicevic (Nordoff-Robbins Music Therapy Centre, UK) Community Music Therapy
Prof. Dee Reynolds (University of Manchester, UK) Dance and Performance Studies
Prof. Daniel Stern (University of Geneva, Switzerland) Developmental Psychiatry
Dr. Vicky Karkou (Queen Margaret University, UK) Dance Therapy
Dr. Peter Keller (Max Planck Institute, Germany) Neuroscience of Movement
Dr. Sophia Lycouris (Edinburgh College of Art, UK) Dance Improvisation
Dr. Jessica Philips-Silver (University of Montreal, Canada) Neuroscience of Dance

Invited Performers and Workshop Leaders:
Tricia Anderson (St. Andrews, UK) Choreography and Creative Dance Education
Etch N Sketch (Scotland, UK) B-Boy/B-Girl “Breaking”
Dr. Shelley Katz & Diana Gilchrist-Katz (ISC at Herstmonceux Castle, UK) Gesture in Vocal Performance
Luis “Alien Ness” Martinez New York City, USA) B-Boying and Hip Hop Culture
Méta-Méta (London, UK) Cuban Jazz Performance

Deadline for abstracts: Monday 7 April 2008
Please send abstracts of 300-400 words to Dr. Nikki Moran, indicating your discipline and your preference for a 15 minute talk, a 30 minute workshop or a 1 hour poster presentation. For further information, please contact Dr. Katie Overy or Karen Ludke or see the conference website: www.music.ed.ac.uk/Research/imhsd/DanceConference2008