Savoirs en Prisme, no 15, 2022, “The Figure of the Musician in the Cinema”

Call for Articles 

Savoirs en Prisme, no 15, 2022, “The Figure of the Musician in the Cinema” 

Edited by: Bénédicte Brémard, Stéphan Etcharry and Julie Michot 

Although pianists (and even organists) left the movie theaters during the silent era, musicians have become a recurrent topic of cinema. One famous example is the first “sound” feature film, The Jazz Singer (Alan Crosland, 1927), whose hero is also an instrumentalist. Background and source music have already been the subject of numerous in-depth studies. This is why Issue 15 of Savoirs en Prisme will focus more specifically on the musician, a figure that can be found in all national cinemas.

Continue reading

cfp: Sonic Engagement: The ethics and aesthetics of community engaged audio practice

Please see below for editorial contacts and instructions for initial submissions.

Edited by Sarah Woodland (Faculty of Fine Arts and Music, University of Melbourne, Australia) and Wolfgang Vachon (School of Social and Community Services, Humber Institute of Technology and Advanced Learning, Canada) 

Due for publication in early 2022 

About the book 

This edited collection aims to investigate the use of sound and audio production in community engaged participatory arts practice and research. The popularity of podcast and audio drama, combined with the accessibility and portability of affordable field recording and home studio equipment, makes audio a compelling mode of participatory creative practice. Working in audio enables a flexible approach to participation, where collaborators in sites such as prisons, schools, and community settings, can engage in performance and production in flexible ways, while learning valuable skills and producing satisfying creative outcomes. Audio works also allow projects to reach wider audience (and for longer) than an ephemeral performance event, extending the potential for diverse perspectives to be heard beyond prison walls, across borders, and between different communities and cultures.

Continue reading

cfp: “New Approaches to Music and Sound,” Journal of the Gilded Age and the Progressive Era (special issue)

New Approaches to Music and Sound
Guest Editors: David Suisman and Rebecca Tinio McKenna

If new book series and journal special issues are any indication, over the last decade, there has been a surge of interest in the musical and sonic worlds of the past. Scholars of music, sound studies, disability studies, transnational and postcolonial studies, cultural history, history of the senses, and others have been expanding our historical understanding of soundscapes, music cultures, aurality, acoustics, and other aspects of the work sound does in the world. New scholarship is connecting music and sound with politics and social movements, capitalism and commerce, the formation of racial, gender, and class identity and difference, the history of technology and of natural environments, and more.

Continue reading

cfp: Musical Mobilities –Stage and Film Musical in motion (15th Song, Stage & Screen conference)

Call for Papers – Song, Stage and Screen XV

We are delighted to be able to announce the Call for Papers for Song, Stage and Screen XV: “Mobilities – Stage and Film Musical in Motion”, to be held at Salzburg University (Austria) from June 30 – July 3, 2021.

We invite papers that scrutinize the stage and film musical through the notion of mobility. We are interested in contributions that approach the topic from diverse angles but with a constant focus on the mobility paradigm in the humanities. We aim to find new ways to analyze production, performance, composition, dance, artistic conception, and the political territorialization of the genre.

Continue reading

cfp: Music and the Moving Image Conference XVII

The annual Music and the Moving Image Conference encourages submissions from scholars and practitioners that explore the relationship between the entire universe of moving images (film, television, streaming, video games, and live performances) and that of music and sound through paper presentations. We encourage submissions from multidisciplinary teams that have been pooling their knowledge to solve problems or discover a new perspective regarding music and moving images. 

The Keynote Address: Studio Legends NY — will feature a panel comprised by venerable New York studio musicians who recorded some of the most iconic film scores by leading composers. Film/TV composer and NYU professor Mark Suozzo will lead the discussion.

Continue reading

cfp: Musical Biopics and Musical Documentaries from the Scandinavian countries

Call for contributions to a Journal of Scandinavian Cinema In Focus section highlighting Musical Biopics and Musical Documentaries from the Scandinavian countries 

This is a call for short subject contributions (2000-3000 words) focusing on how Scandinavian film and television have presented musicians, singers, bands and orchestras in biopics and documentaries. We welcome submissions that – after a quick theoretical introduction and concise contextual background – offer discussions of topics such as: 

  • the film’s role within cultural memory – usually restricted to a single national market and often catering to a certain age group’s intragenerational memories 
  • the handling of generic conventions; from narration and characterization to the selection of music, casting choices and staging of performances  
  • the function of music in specific films and film genres 
  • marketing and authentification discourses, including media coverage of stars and their work with particular roles and performances, as well as screenwriters’ and directors’ use of biographies, interviews, original footage and recordings 
  • national and international reception of such films  
Continue reading

Narrating Popular Music History of the GDR: A Critical Reflection of Approaches, Sources and Methods

Editors: Beate Peter (Manchester Metropolitan University, UK) and Michael Rauhut (University of Agder, Norway)

Submissions are invited for a special edition of Popular Music History that aims to assess the sources, approaches and methods with which East German popular music is written.

Background

Histories of German popular music generally focus on examples of West German music which were commercially successful and/or are considered to be aesthetically and musically ground-breaking. Bands such as Kraftwerk, Can, Neu! or the Scorpions are the subject of many academic as well as non-academic publications, and they are considered as canonical as genres such as Krautrock or Neue Deutsche Welle. East German musicians or movements, on the other hand, tend to be overlooked, as do specific artistic forms of expression which were developed in response to authoritarian leadership in the socialist German Democratic Republic (GDR). The examination of a relationship between the GDR and the arts is almost altogether absent from a pan-German popular music history.

Continue reading

Mellon Postdoctoral Fellowship in Music

https://academicjobsonline.org/ajo/jobs/16887

Mellon Postdoctoral Fellowship in Music
Academic Years 2021-2023
Cornell University, Ithaca, NY

With the sponsorship of the Society for the Humanities, the Department of Music invites applications for a two-year Mellon Postdoctoral Fellowship position beginning August 1, 2021. The Fellowship offers a stipend of $55,000/year.

The Department of Music invites applications from scholars working on music and Blackness across Africa and the African Diaspora. While the specific area of specialization is open, we are interested in work that challenges geographic and disciplinary boundaries and that explicitly engages critical race theory and Black studies in innovative ways, through any combination of historical, ethnographic, and analytical methods. The successful candidate will teach two courses per year during their appointment. We expect the Fellow will be able to offer undergraduate music courses and interdisciplinary graduate seminars on Blackness and anti-Blackness in the African diaspora and/or in the specific context of African American experience. The Fellow will participate equally in the Department of Music and the Society for the Humanities’ cohort and will be expected to participate in Department and Society events. Postdoctoral Fellows teach one course per semester. Candidates should propose an introductory, 2000-level course and an advanced, 4000-level course. These courses should be conceived as seminars and can reflect the fellow’s particular research interests. 

Continue reading