The North American British Music Studies Association

cfp: Musicology at Kalamazoo

The program committee for Musicology at Kalamazoo (Anna Kathryn Grau, Cathy Ann Elias, Daniel DiCenso) invites abstracts for the 51st International Congress on Medieval Studies, May 12-15, 2016. The topics include: Music  & Liturgy: In Memory of Clyde Brockett; Music Analysis; Music, Text, and Image; Musical Sources and Materiality; Music and the Medieval Soundscape.

We hope these topics can foster dialogue between musicologists and scholars in other areas, so we encourage specialists in fields other than Music to submit proposals. Please keep in mind that we intend these session titles mostly as “hooks,” rather than limitations, on which a multitude of proposals can be placed, so send us your best work.

Abstracts should be submitted by 15 September. Electronic submissions are strongly encouraged. Please send submissions to musicology.kzoo@gmail.com, and write in the subject part of the e-mail the following: KZOO 2016.

If you use US mail, send material to:

Anna Kathryn Grau

5430 S. Drexel Ave., Apt. 3N

Chicago, IL 60615

You’ll also need to complete and submit the “Participant Information Form” from the conference website, available at http://www.wmich.edu/medieval/congress/submissions/index.html#PIF. This is very important, not only because it is your only chance to make A-V requests, but because it is required by the Medieval Institute. It is available as either a Word or PDF document.

If you have any questions, please contact the committee at musicology.kzoo -at- gmail.com.

Society for Eighteenth-Century Music

Seventh Biennial Conference

Deadline: 9/15/15

25-28 February 2016

Austin, TX

For more information, see: http://www.secm.org/

The Society for Eighteenth-Century Music will hold its seventh biennial conference at the Butler School of Music at the University of Texas, Austin, 25–28 February 2016. We invite proposals for papers and other presentations on any aspect of eighteenth-century music. Presentations may be traditional papers of 25 minutes (35-minute slot), work-in-progress presentations of 10 minutes (20-minute slot), panels (45 minutes) or lecture-recitals (up to 45 minutes). Preference will be given to those who did not present at the 2014 meeting. All presenters must be members of SECM.

Submit your proposal (250 words) as an e-mail attachment to the chair of the program committee, Dianne Lehmann Goldman [secm2016 -at- gmail.com]. The deadline for proposals is September 15, 2015. Only one submission per author will be considered. Please provide a cover sheet and proposal in separate documents. The cover sheet should contain your name, e-mail address, phone number, and proposal title. The proposal should contain only the title, abstract, and audio-visual requirements. The committee’s decision will be announced in mid-October. Several period keyboard instruments will be available. For information, please contact local arrangements chair Guido Olivieri [olivieri -at- austin.utexas.edu]. Students are encouraged to apply for the Sterling E. Murray Award for Student Travel; the application form and information may be found below. The application deadline is November 1, 2015. The SECM Student Paper Award will be given to a student member for an outstanding paper presented at the conference.

A proposed North American British Music Studies Association (NABMSA) session at the annual conference of the American Society for Eighteenth-Century Studies (ASECS) will have as its focus Anglo-American musics during the long eighteenth century.  The conference will occur Mar. 31-April 3 in Pittsburgh. We invite scholars from a wide variety of disciplines (musicology, historical ethnomusicology, history, literature, cultural studies, anthropology, economics, and folklore studies) to submit proposals that examine interrelationships between British and American music over this period. Building on recent postcolonial inquiry in musicology and British history, we seek to fashion a panel that will examine how music functions in the circulation of cultures, commodities, and identities across the Atlantic. Appropriate topics might include: British music in American and Caribbean colonies; influences of and references to colonial music in British musical life; postcolonial perspectives on British and American identities (gender, race, nation, religion, and class); transatlantic musical correlations between Britain and the United States in postcolonial and early Federal period; and intersections between Anglophone musics and those of other cultures. Three presenters will be selected through blind review of abstracts by a program committee consisting of scholars who specialize in Anglo-American music. We will entertain individual proposals as well as submissions of unified three-person panels. 

Please include your name, institutional affiliation (if applicable), contact information, and the title of your paper in the body of an email. Abstracts of no more than 250 words should include the title of the paper and no other identifying information. Please send abstracts as Microsoft Word attachments to Bethany.Cencer@stonybrook.edu by Friday, September 12.  

The Music Profession in Britain 1780-1920: New Perspectives on Status and Identity

The Open University in London, Camden, 14 September 2015

The idea of the music profession plays an important part in research into music’s cultural and social history, perhaps nowhere more so than the flourishing area of research into music in nineteenth-century Britain. Yet the profession, its meaning and its history remain as difficult to define in the twenty-first century as in the nineteenth. Cyril Ehrlich’s seminal 1985 book The Music Profession in Britain Since the Eighteenth Century: A Social History continues to occupy a central role in tracing the history of the profession, contributing a wealth of case studies and data. As Ehrlich’s work reaches its thirtieth anniversary in 2015, this day conference is intended to draw together strands of research which cast new light on the history of the music profession. The scope and historical time-frame are set broadly, in order to capture a wide variety of perspectives and draw together scholars with different backgrounds and expertise.

We warmly encourage proposals for 20-minute papers on topics of music history related to the theme of the conference.

Potential themes may include (but are not limited to):

–       Professional institutions and organisations

–       Professionals and amateurs

–       Career paths and portfolios

–       Gender, class and professional status

Abstracts of no more than 200 words, together with a short biography of no more than 100 words and details of AV requirements, should be submitted as a single email attachment to rosemary.golding@open.ac.uk by 5.00pm on Wednesday 15 July.

The North American British Music Studies Association will hold its Seventh Biennial Conference from Thursday through Sunday, 4-7 August 2016, in Syracuse, New York, hosted by Syracuse University. Proposals on topics related to all aspects of British music and musical life throughout Britain, the Empire/Commonwealth, and beyond are welcome. Syracuse University is home to the Department of Art and Music Histories, one of the oldest in the country dedicated to the study of the arts in an interdisciplinary context, and to the S. I. Newhouse School of Public Communications, one of the nation’s top communications schools. Thus, the program committee particularly encourages submissions that draw upon interdisciplinary or broader cultural contexts or that engage with media aspects or studies.

Presentations may take a variety of formats, including individual papers of twenty minutes in length, workshops involving group participation, roundtable discussions, lecture-recitals, and themed panel sessions. The Nicholas Temperley Prize will be awarded for the best scholarly presentation given by a graduate student.

A new addition to the program this year will be a colloquium, featuring a group of senior scholars invited to participate by the NABMSA executive board, who will address a topic that cuts across chronological, methodological, and geographical divisions within the discipline.

Proposal format and content

• For individual papers, abstracts of around 350 words should clearly present the title, the subject, the methodology, the argument, and the significance of the findings.
• For presentations in other formats, proposals should be of similar length, and should clearly state and justify the intended format, including amount of time requested, and should indicate the originality and significance of the material to be delivered.
• For those proposing a session of papers, individual papers should follow the guidelines above, and should be accompanied by a rationale of around 350 words that addresses the topic of the session and the relationships between the papers to be presented.
• Anyone proposing a lecture-recital should attach a short biography and must also include recordings of the proposed performer(s) playing examples of the proposed repertory if not of the exact proposed work(s).
• All proposals should also indicate audio-visual needs (in a separate line at the end of the abstract).
• Students should identify themselves as such, so that their papers can be considered for the Temperley Prize.

Proposal transmission procedures

• Proposals should be sent via e-mail attachment to the Program Committee Chair Christopher Scheer (christopher.scheer@usu.edu) with the subject-line NABMSA 2016 Proposal.
• The proposal should be attached to the e-mail and in Microsoft Word (.doc, .docx, or .rtf), only. Other formats such as .pdf will not be accepted.
  • In addition to paper title and abstract, the Word document should contain:
    • Your name
    • Your address
    • Your telephone, fax, and preferred e-mail address
    • Your preferred affiliation or city
    • Your audio-visual requirements
  • Audio or video recordings supporting proposals for lecture-recitals are required (demo disc, .mp3 files, etc.) and should be received (electronically) by the same deadline as the abstract (see below). Please contact the Program Chair via email for instructions on how to transmit these materials electronically. Do not send them as email attachments.
  • The deadline for all submissions is midnight, Eastern Standard Time, on Friday 22 January 2016.

More information about NABMSA and its activities may be seen on the Association’s web site, http://nabmsa.org/conferences/2016-biennial-conference/

Submissions will be acknowledged within four days of receipt. Participants will be notified of the acceptance by mid-March 2016. Program Committee for 2016: Christopher M. Scheer (Utah State University), chair; Linda Austern (Northwestern University); Lisa Colton (University of Huddersfield); Ryan Ross (Mississippi State University); and the President of the Society (ex-officio).