Sincerely,

Alan Burdette

Executive Director
Society for Ethnomusicology

Society for Christian Scholarship in Music
Annual Meeting
February 26–28, 2026
Trinity Christian College, Palos Heights, IL

The Society for Christian Scholarship in Music seeks proposals for its upcoming annual meeting, which will take place February 26–28, 2026, at Trinity Christian College in Palos Heights, IL.

Individual papers, research posters, panels, and lecture recitals on any topic related to music and Christianity are welcome. We invite submissions representing a variety of approaches and perspectives including ethnomusicology, historical musicology, theory and analysis, philosophy, theology, liturgy, congregational music, and other methodologies.

Guidelines for proposals:
Note: All submissions should have a clear title.

•   Individual Paper Proposals should clearly describe the argument, evidence, and research findings and should situate the work in relation to previous scholarship. The identity of the author should not be divulged in the body of the proposal. Maximum length: 350 words. Only one individual proposal may be submitted. Individual papers are 25 minutes.

•   Research Poster Proposals should follow the same format as Individual Paper Proposals above. The program will include a designated time for research poster presentations. Please clearly indicate if you would like your proposal to be considered: (1) as a paper, (2) as a research poster, or (3) either paper or research poster.

•   Panel Proposals should include a summary of the importance of the panel topic by the panel organizer (maximum length 350 words). The organizer should also include a proposal for each paper prepared by individual panelists following the guidelines for Individual Proposals, along with each panelist’s contact information. Panel Proposals will be considered only as a whole, the session’s coherence being an essential part of the evaluation process. A panel is one hour and 45 minutes, including time for questions.

•   Lecture-Recital Proposals should identify the music to be performed, including approximate timings and performing forces, and clearly describe the substance of the lecture component as outlined for Individual Proposals. Please note clearly at the top that this is a Lecture-Recital proposal. Maximum length: 350 words, plus list of repertoire. Lecture recitals are one hour.

The Society for Christian Scholarship in Music promotes the exploration of connections between Christian faith and the academic study of music. We are a cross-disciplinary society including ethnomusicologists, music theorists, musicologists, scholars of liturgy and of church music, theologians, and practicing church musicians. The Society understands itself as having an ecumenical Christian identity, reflecting the worldwide diversity of Christian traditions. The Society also sees it as vitally important to learn from scholars outside those traditions, and scholars who do not identify as Christian are welcome to join as full members.

SCSM encourages submissions from current graduate students. A $250 prize will be awarded for the best paper presented by a graduate student at the meeting. Application instructions for the graduate student prize will be provided upon acceptance of the paper for the program and will be posted on the society’s website. In addition, graduate students whose proposals are accepted are eligible to apply for travel assistance from the SCSM Graduate Student Travel Fund.

Please send submissions or questions to Joseph Sargent, program committee chair, at jmsargent@ua.edu. In the body of your submission e-mail indicate your affiliation, preferred e-mail for communication, and if you are a student. Please submit your proposal as a Word file.

Presenters are expected to deliver their presentations in person, though Zoom presentations will be considered in unusual circumstances. Such proposals should include a note in the body of the submission e-mail, explaining the rationale for virtual presentation.

Proposals must be received no later than 11:59 p.m. on October 1, 2025 in order to be considered. All proposals are evaluated the program committee in a blind peer review process. Applicants will be notified of the program committee’s decision in early November.

Presenters are required to become members of the society for the year of the conference. Conference registration is open to all interested persons: undergraduate and graduate students, as well as independent and affiliated scholars.

For more information about the SCSM and previous conferences, see www.scsmusic.org.

• Ethnomusicology and Popular Music Studies 
• Historical and Cultural Studies in Music 
• Dance Studies 
• Creation, Theory and Music Technologies 
• Performance Studies
• Artistic Research 
• Education and Music in the Community 
• Music and Media 
• Jazz Studies 
• Historical Approaches to Musical Performance 
• Audiovisuals in Music and Dance

Proposals can be submitted in Portuguese, English and Spanish. Submission deadline: 30th June 2022.Abstracts with a maximum of 350 words should be submitted to the EasyChair platform. In case of doubt, contact us through grupopostip@gmail.com.

The Society for Music Theory (SMT) will hold its 44th Annual Meeting, virtually, November 4-7, 2021. With 1,200 members, the SMT brings together academics, graduate students, and other professionals specializing in music theory in higher education. The annual meeting provides an opportunity for attendees to network, share knowledge, and explore new directions in music research and practice. More than 150 presentations are scheduled, along with meetings, receptions, and workshops.

To learn more about the conference, including advertising opportunities, and to register, please visit https://societymusictheory.org/meeting2021.

Since its foundation in 2011, IMSEA has held biennial conferences in Seoul, Taipei, Hong Kong, Tokyo, and Suzhou. The 2022 conference in Daegu, which was postponed last year due to the Covid-19 pandemic, will mark the association’s 10th anniversary. We hope this conference will be the occasion to celebrate the past, present, and future of the society and connect our community in East Asia with the global musicological network. We look forward to the dialogues and collaborations amongst scholars with diverse specialty areas, regions, and generations—at this conference and beyond.

We welcome proposals from across various areas of music scholarship and beyond, including those reflecting historical, ethnographic, theoretical/analytical, sociological, and scientific methods. We would especially like to encourage presentations of an inter-disciplinary and/or inter-regional character. Participants need not currently reside or work in East Asia. The IMS (International Musicological Society) membership is not required; however, we encourage participants to join the IMS and enjoy a wide range of benefits.

Keynote Speakers:

Nina Eidsheim (University of California, Los Angeles)

Juyong Park (Korea Advanced Institute of Science and Technology)

Categories of Presentation:

1. Panel Presentation: Each panel presentation will be either a 90-minute session with three papers or a 120-minute session with four or five papers; the 90/120-minute slot includes Q & A. Panels involving researchers from different regions and/or areas of specialization are particularly encouraged. The organizer of a panel should act as the corresponding author and submit the proposal as a package that includes the abstracts of each paper as well as an overall description of the entire panel.

2. Free Paper: Each paper is allotted 30 minutes, with 20 minutes for presentation and 10 minutes for Q & A.

3. Poster/Media Display: A0-size poster or desktop display.

An individual may submit no more than one proposal in each category.

The maximum length of abstracts is 250 words for each individual abstract and panel description.

Language:

Abstracts must be written in English. For the presentation, any language is welcome.  However, presentations in English are strongly encouraged in order to facilitate discussion and exchange of ideas. If the presentation is to be given in a language other than English, then we recommend that an English translation be displayed on-screen or distributed via a Word or PDF file. The choice of language for your presentation will not impact the likelihood of an abstract’s acceptance.

Submission:

Authors are kindly requested to submit their proposals at https://imsea2022.org/submission/.

The submission system will open from May 1, 2021 until August 31, 21:00 (UTC+8).

To avoid online problems, please submit at least 24 hours before the deadline.

Abstract deadline: August 31, 2021

Notification of accepted submissions: December 2021

Website: https://imsea2022.org/

For any enquiries, please contact us at admin@imsea2022.org.

CFP Deadline: February 1, 2021 at 11:59 pm MST

The Rocky Mountain Chapter of the SEMSW is pleased to announce a call for papers for the Virtual Annual Meeting of the chapter on April 9–10, 2021, hosted by the University of Northern Colorado, in Greeley, Colorado. The conference will take place as part of the Rocky Mountain Music Scholars Conference, held jointly with the Rocky Mountain Chapter of the American Musicological Society, Southwest Chapter of the Society for Ethnomusicology, and the Rocky Mountain Chapter of the Society for Music Theory. 

The Southwest Chapter includes Arizona, Colorado, New Mexico, Nevada, Oklahoma, Texas, and Utah. The Program Committee invites proposals from Ethnomusicologists, Anthropologists, music scholars from all disciplines, and music students for individual papers (20 minutes and 10-minute discussion), panels of 3–4 papers on a single topic, or roundtable discussions on ethnomusicological topics.

For individual papers, please submit a paper title and abstract of 250 words or less with 3-4 keywords attached to an email that provides the author’s name and institutional affiliation (if applicable). Panel and round table proposals should include an abstract for each presenter, as well as one for the session as a whole.

The name(s) or affiliation(s) of anyone involved in the presentation should not appear in the title or abstract. Conference papers will be chosen by the selection committee through a blind review process.  Undergraduate student submissions must be accompanied by a faculty letter of endorsement (not submitted to the review committee with the abstract). A committee will select a student for the best student paper prize, to be awarded at the end of the conference.  

Please email proposals to chapter president, Dr. Jittapim (Nan) Yamprai and chapter vice president, Dr. Andrea Shaheen Espinosa

Download a PDF of the Call for Papers

Visit the webiste here: https://arts.unco.edu/music-scholars-conference/

Annual BFE One Day Conference 2020
University of Lincoln

Saturday 7 November 2020

https://bfeoneday2020.weebly.com

Programme Committee
Dr Cassandre Balosso-Bardin (University of Lincoln), Dr Rob Dean (University of Lincoln), Dr Lonán Ó Briain (Nottingham University), Dr Stephen Wilford (Cambridge University).

Keynote Speaker: Dr Ioannis Tsioulakis (Queen’s University, Belfast).

The 2020 Covid-19 crisis has brutally affected the musical world as the diversified earnings that musicians and the related industry roles relied upon have dried up, including the live music industries and teaching. This has led to a surge of online performances and alternative digital solutions. At the same time, the complete dissolution of live in-person concerts - that most musicians relied on to make a living since the demise of the recording industry brought on by the democratisation of music production - has been a huge shock to musicians around the world. This is not the first time that musicians have faced such dire circumstances, provoking change in the musical world. During the Great Depression, for example, radio broadcasting became ubiquitous and changed the public’s listening habits, promoting new recording techniques that consolidated the popularity of specific genres such as ‘crooning’ (Young and Young 2005). Nearly a century later, in the aftermath of the 2008 financial crisis that led to the implementation of severe austerity measures in several countries, many musicians lost all their streams of income as culture was drastically cut from government budgets (Balosso-Bardin 2016) and both individuals and large companies were forced to rethink their economic models (Baym 2010). What ensued was a surge of inventiveness to keep music going despite dire circumstances. Then, as now, the emergence of DIY activities led musicians to reconsider their roles and develop new ways to offer their skills to the world (Tsioulakis 2020).

The current pandemic has highlighted on a global level the fragility of social and economic systems based solely on services without any state-organised safety nets for the performing arts industries such as those found in France and Belgium. However, this pandemic has also provided opportunities for the music industries to reassess their position in the world, just as it has amplified social justice movements spearheaded by Black Lives Matter, bringing to the fore the immediate need for change. Ethnomusicologists are now rethinking our research and teaching practices, looking towards our colleagues who have been doing digital fieldwork or creating new ethnomusicologies in a world where in-person social gatherings are severely limited. Building upon the concept of ‘economic ethnomusicology’, this conference is an opportunity to examine and discuss the mechanisms in place to support the arts, innovative ways that performing artists have been responding to the complete annihilation of their livelihoods, and alternative creative outlets which can be used to maintain artist profiles and/or attempt to generate some income. Last but not least, this pandemic provides us with an opportunity to reflect upon our practice as ethnomusicologists in difficult times.

This BFE One Day conference will examine how musicians and the various roles in the music industry shift and adapt in catastrophic times. It seeks to highlight the resourcefulness of the music industries through a range of ethnomusicological, historical, geographical and methodological lenses.

The programme committee welcomes submissions from any discipline that address the following or related areas:

·       Innovation and resilience of musical worlds during times of extreme austerity.

·       Grassroots digital and DIY solutions and innovations in the music industries

·       The role of music in times of crisis (e.g., coping strategies, alleviating crises, political responses).

·       Ethnomusicological research and teaching practices following lockdown and social distancing guidelines.

·       Digital platforms and music-making during contemporary crises (e.g., limitations, empowerment, development, transgression)

·       Rebranded and innovative musical practices in times of crises (e.g., health, financial, environmental, political).

·       Politics of opportunity in times of absence of activity.

We invite proposals for individual papers (15 minutes) and for panels of three related papers (45 minutes). Abstracts for individual papers should be no more than 300 words. For panels, send three abstracts of no more than 300 words each, as well as a panel description of no more than 100 words.

The One-Day conference will be held entirely online. The format will vary slightly from usual in-person conferences, with shorter papers. Ample time will be made for questions and interactive participation between all delegates.

We are delighted to announce our keynote speaker as Dr Ioannis Tsioulakis (Queen’s University Belfast) who will present a paper entitled: ‘From Austerity to Covid-19: the Struggle of Work in Music’. Dr Tsioulakis will also be launching his new book, Musicians in Crisis: Working and Playing in the Greek Popular Music Industry (Routledge, 2020).

Abstracts should be sent to bfeoneday2020@gmail.com by 5pm on Friday 14th August 2020. Notifications of acceptance will be sent out in early September.

Music and Dance Study Group

Friday, November 6, 2020, 8-11 p.m. CST

Minneapolis, MN

Call for Proposals

Stretches, Leaps, Turns:

Experiments in Music-Dance Relationships

What makes a given encounter between sound and movement an “experiment”? What assumptions are challenged, what is put at risk, and what is “discovered” about the nature of music, of dance, and of their relationship? This session seeks to bring scholarly perspectives on the relationships between music and dance into dialogue with contemporary artistic practice, as well as with historical experiments in combining music and movement.

How are music and movement related in artistic processes, including rehearsal processes? What models have been developed for collaboration between musicians and dancers? How do composers and choreographers articulate their shared aesthetic goals? How do these goals and processes extend beyond the boundaries of the stage and traditional music-dance genres? What are the consequences for listening to and watching movements, as well as for their description and analysis? To what extent do contemporary models remain in dialogue with those established by avant-garde artists of the twentieth century? Beyond aesthetic concerns, what else may be at stake in these experiments (politics, identities, etc.)? What experimental approaches might scholars bring to our study of music and dance?

We invite proposals for short (15-minute) papers exploring a range of methods for combining sound and movement, and/or for analyzing these combinations. We welcome discussion of music-dance relationships across a wide variety of areas, genres and styles, including productions that dissolve the boundaries of the stage, such as installations or video productions; in classical, vernacular, and popular idioms from around the globe. These brief presentations will provide the starting point for broader discussion among session attendees. In particular, we seek to promote dialogue between critical, historical, theoretical, and practical perspectives. While we hope to be able to gather in person, we are prepared for the possibility that some or all presentations may have to be delivered remotely.

This will be a satellite session of the international symposium Music as an Experimental Field for Movement, scheduled for September 2020 in Austria, organized by Stephanie Schroedter and supported by the Deutsche Forschungsgemeinschaft (German Society for Academic Research). Panelists of the MDSG may have their contributions considered for inclusion in the peer-reviewed volume that will emerge from this symposium.

Please submit proposals of not more than 250 words to Julia Randel (jrandel1@udayton.edu) by Sunday, June 28, 2020. For more information about the Music and Dance Study Group, please visit https://ams-mdsg.wixsite.com/ams-mdsg. Julia Randel and Stephanie Schroedter, MDSG co-chairs.

This conference will convene scholars in the fields of music, anthropology and history to provide diverse perspectives on the question, What constitutes 'creativity' and 'innovation' in Central Asian arts when the very notion of the 'traditional' has been reconfigured through migration, the history of Sovietization, and ongoing post-Soviet currents? The conference will consist of paper presentations, a keynote address by Professor Ali Igmen, and performances by Bukharian Jewish musicians and a Turkmen bagsy.

The conference and concerts are free and open to the public but we ask that you register online. The full program with a link for registration are below:

https://daviscenter.fas.harvard.edu/events/creativityandinnovationcentral-asian-arts

Re-centering the Periphery calls us to focus on the intersections of what is marginalized and centralized both in our field and in the larger public debates about national identities in 2020. The multiple perspectives, peoples, communities, and histories that make up the story of Oklahoma intersect with and challenge many of the tropes we often use to symbolize the nation. Historically, Tulsa is the location of some of the most important drivers of national economic prosperity—petroleum production, agribusiness, and aerospace manufacturing—and also some of the worst excesses of colonialism and westward expansion, racial violence, and environmental degradation. Oklahoma’s populations of relocated Native Americans, freed slaves, and immigrant communities have been the sources of centering and important symbols of national identity even as they themselves have been displaced, marginalized, and otherwise pushed to the periphery.

This geographical backdrop can also serve to reflect on and engage in deeper discussions of what is on the periphery and the margins of our own field. We invite participants to reflect on this moment in our national discourse and disciplinary development. How might folklorists contribute to larger conversations in productive ways? How does our work highlight the interplay between theory and practice, the representation of the marginal as centering symbols, the complications of advocacy and analysis, and the cultural and rhetorical mechanics of marginalization?

Wherever folklorists live and work, their concerns and engagements can almost certainly be re-centered or fruitfully rethought when we gather in Tulsa.

Of course, in addition to this topic, we encourage participants to explore the full dimensions of their scholarship regardless of subject.

The Annual Meeting of the American Folklore Society will bring hundreds of US and international specialists in folklore and folklife, folk narrative, popular culture, music, material culture, and related fields, to exchange work and ideas and to create and strengthen relationships and networks. Prospective participants may submit proposals for papers, panels, forums, films, and diamond presentations, or propose new presentation formats.

You can find more information about the meeting, including the full theme statement, instructions for submitting proposals and more about meeting events at http://www.afsnet.org/page/2020AM.

Proposals may be submitted February 15–March 31, 2020.

New York University Graduate School of Arts & Science

Spring 2020 Music Conference

February 28–29, 2020, New York City

Keynote Speaker: Steven Feld (Senior Scholar, School for Advanced Research)

 http://bit.ly/relationalcity

On behalf of the Department of Music at New York University’s Graduate School of Arts & Science, we invite you to our Spring 2020 conference, Un/Sounding the Relational City. Over the course of two days, participants explore how the sonic politics of urban space and the rhetoric of soundness provide a critical vantage into the role of sound and music, real or imagined, in organizing or disorganizing urban life. The conference features:

·         Six panels of academic paper presentations

·         Live performances and ongoing audiovisual installations

·         Keynote address by Steven Feld, “Relational Borders: Cartographies of Urban (Un)sounding.”

Co-Sponsored by NYU Department of Anthropology, the Avery Fisher Center for Music & Media, and the Office of the Dean for the Humanities

The conference is FREE and open to the public, but we ask you to please RSVP via our Facebook event page. All other information can be found on our conference website including the schedule, abstracts and bios, venue details, and travel directions.

For any further questions, please email relationalcity [at] gmail [dot] com

Thank you for your interest and we hope to see you at Un/Sounding the Relational City!

Meeting Title: 2^nd Dayton Funk Symposium

Location:        The University of Dayton, Dayton, Ohio

Dates:             September 24 through September 26, 2020

Description:

The University of Dayton Graul Chair in Arts and Languages, in collaboration with the Dayton Funk Music Hall of Fame and Museum Center, the Dayton Philharmonic Orchestra and the Department of Music, is excited to present the second Dayton Funk Symposium from Thursday, September 24^th through Saturday, September 26^th in Dayton, Ohio, the Funk Capital of the World! The purpose of this conference is to bring Funk music scholars and practitioners together in the city instrumental in the innovative African American Funk music movement of the 1970s and 1980s. Special events of this year’s conference include a keynote address by Rickey Vincent, author of Funk: The Music, The People, and The Rhythm of the One; the inaugural induction of George Clinton and Parliament Funkadelic, the Ohio Players, and the late James Brown into the Funk Hall of Fame; the Dayton Philharmonic Orchestra’s Rockin’ Orchestra Series concert featuring Funk Music and the Dayton Funk All-Stars Band; and a Funk line dance party with instruction hosted by Dayton DJ Stan “The Man” Brooks of Soul Dayton Radio.

Scholars and practitioners are invited to submit ideas and proposals for paper presentations, panels, and/or performances. Suggested topics include but are not limited to:

·         The history of Dayton Funk music

·         Funk music use in sample-based Hip Hop, Rap & other contemporary styles

·         Funk, gender, and sexuality

·         Funk and Fashion

·         Funk and Technology

·         The influence of social institutions on contemporary music movements

·         The power and vulnerability of popular culture developments in urban settings during strong and challenging economic times

·         New Funk and the resurgence of Funk music as a popular genre

·         Funk in visual art and design

Submission Information:

·         Abstracts of 300 words or less as Microsoft Word or PDF documents

·         Description of presentation format (ie…paper, panel, etc…)

·         Paper presentations limited to 20 minutes in length, followed by 10 minutes of discussion

·         Presenter(s) bio(s) of 50 words or less

·         Submit by March 30, 2020 to sgratto1@udayton.edu

·         Notification: May 1, 2020

We are seeking proposals for papers in History, Literature, Folklore, Ethnomusicology, Music, or other appropriate disciplines that address any aspect of music or verse of the sea or inland waters from the Age of Sail through the present day. The two-day symposium is part of a three-day event whose focus celebrates the lives and work of sailors through musical performance.

The symposium will take place in the Greenmanville Church on the grounds of Mystic Seaport, in Mystic, CT.

Topics of interest have included: shipboard work songs, songs of maritime or other occupational trades, songs of rivers and lakes, seafaring cultures and cultural change, ethnicity and ethnic influences, cultural exchanges, ballad and broadside traditions, technology, regional interests, the use of sea music in literature, and popular culture.

SUBMISSION DEADLINE is March 7th, 2020. Presentations with audiovisual components are welcome.

Graduate students are encouraged to submit a proposal.

Proposals should be 1-2 pages and should include a thesis, an explanation, and a list of sources.

PLEASE SUBMIT PROPOSALS and a brief curriculum vita or resume to Erik Ingmundson, Director of Interpretation, via e-mail (erik.ingmundson@mysticseaport.org) or via standard mail:

Erik Ingumundson—Attn: Symposium
Interpretation Dept.—Mystic Seaport
75 Greenmanville Ave.
Mystic, CT 06355-0990

Phone: (860) 572-0711, ex. 5287

E-Mail: erik.ingmundson@mysticseaport.org

The Rocky Mountain Chapter of the SEMSW is pleased to announce a call for papers for the Annual Meeting of the chapter on March 27–28, 2020, at the University of Northern Colorado, in Greeley, Colorado. The conference will take place as part of the Rocky Mountain Music Scholars Conference, held jointly with the Rocky Mountain Chapter of the American Musicological Society, Southwest Chapter of the Society for Ethnomusicology, and the Rocky Mountain Chapter of the Society for Music Theory.

The Southwest Chapter includes Arizona, Colorado, New Mexico, Nevada, Oklahoma, Texas, and Utah. The Program Committee invites proposals from Ethnomusicologists, Anthropologists, music scholars from all disciplines, and music students for individual papers (20 minutes and 10- minute discussion), panels of 3–4 papers on a single topic, a 60-minute workshop interactive hands-on session on one topic (music performance, dance, or recording technology), or roundtable discussions on ethnomusicological topics.

For individual papers, please submit a paper title and abstract of 250 words or less with 3-4 keywords attached to an email that provides the author’s name and institutional affiliation (if applicable). Panel and round table proposals should include an abstract for each presenter, as well as one for the session as a whole.

The name(s) or affiliation(s) of anyone involved in the presentation should not appear in the title or abstract. Conference papers will be chosen by the selection committee through a blind review process. Undergraduate student submissions must be accompanied by a faculty letter of endorsement (not submitted to the review committee with the abstract). A committee will select a student for the best student paper prize, to be awarded at the end of the conference.

Please email proposals to chapter president, Dr. Jittapim (Nan) Yamprai Email: jittapim.yamprai@unco.edu and chapter vice president, Dr. Andrea Shaheen Espinosa Email: alshaheen@utep.edu

The conference will take place at the University of Northern Colorado Campus Commons Building. All conference rooms will be equipped with presentation technologies. Please indicate any additional equipment needs for the presentation (e.g., piano) in the email in which you submit the proposal.

http://www.chimemusic.nl/

Maynooth University Arts & Humanities Institute

24-25 March 2020

Keynote Speakers:

Professor Rachel Harris (SOAS)

Dr Thomas Irvine (Southampton)

It is well understood that sound and music operate as media of governance in various historical and contemporary colonial matrices of power. As such, they have been central not only to processes of territorial colonization, but also to cognitive and behavioural colonization. Indeed, efforts to displace or ‘write over’ other soundscapes and to delegitimize and render mute other forms of knowledge production, other aural/musical epistemes, are integral to colonial and imperial processes of epistemicide.

How are colonial epistemes silently perpetuated in the academy and in everyday assumptions about what it means to research and teach, and what might the decolonization of thought mean in the context of sound/music studies and in musicological disciplines which have been fundamentally shaped by west/east, global north/global south, and universal/indigenous binaries? What kinds of dialogue might be pursued between ethnomusicology, historical and urban musicology, sound studies, popular music studies, sound mapping, and archival studies which meaningfully address increasing calls for the decolonization of the academic study of music?

Papers (20 mins) and round-table proposals are invited which reflect upon the decolonial turn in music studies. Topics might include:

-decolonial theory and ethno/musicology

-sound/music in processes of decolonization

-the interaction of colonial and decolonial aural / musical epistemes

-dialogical knowledge-exchange in the context of asymmetrical power relations Have colonial forms of aurality and musical knowledge also been transformed by their encounter with those of the colonized?

-How do we think about the co-existence of public and private soundscapes in historical and contemporary territories of coloniality: what kinds of dynamic exist between the everyday experience of colonial soundscapes and the interior, private, auditory experience of the individual.

-How do media technologies enable the creation of virtual soundscapes for the expression / enactment of delegitimized or ‘illegal’ identities?

Please note: as this is a single-session colloquium, space is limited. Please send an expression of interest by 20 December to the convener, Dr Shane McMahon, at shane.mcmahon -at- mu.ie

TWELFTH INTERNATIONAL DOCTORAL WORKSHOP IN ETHNOMUSICOLOGY

16th – 19th June 2020

The Center for World Music at the University of Hildesheim and Hanover University of Music, Drama and Media are pleased to announce the twelfth annual workshop for PhD candidates in ethnomusicology. Through paper presentations, discussion and working groups, the workshop offers a unique environment for 16 doctoral students at the writing stage for their PhD dissertations to engage in international dialogue and exchange, and expand critical debate on recent research within the discipline. The workshop will be directed by Prof. Dr. Philip V. Bohlman (Chicago/Hanover), Dr. Michael Fuhr (Hildesheim), Dr. Cornelia Gruber (Vienna/Hanover) and Prof. Dr. Raimund Vogels (Hildesheim/Hanover).

The organizers invite applications from PhD candidates researching in the field of ethnomusicology or a related discipline. There are no restrictions concerning the region of study or the thematic focus. We especially encourage applications from PhD students who have completed field or archival work and are in the process of turning their research into a dissertation. Room and board will be covered by the Center for World Music and Hanover University of Music, Drama and Media, but participants are expected to secure funding to cover travel costs themselves. The workshop will take place in Hildesheim, with arrival on Tuesday, 16th June and departure on Saturday, 20th June. The workshop language – presentations and discussion – will be English.

PhD candidates interested in participating should send an abstract of 250 words and a short CV (two pages maximum) by 15th December 2019. Notification of the success of your application will be sent in early January. Auditors are also welcome and must register by 15th May 2020, but room and board will be at their own expense.

Please send all applications and inquiries to:

Dr. Michael Fuhr (cwm_fuhr@uni-hildesheim.de) Please forward this call to anyone interested.

Conference Dates: Friday and Saturday, March 27 and 28

Location: University of Northern Colorado, Greeley, CO—Campus Commons 

Deadline: Midnight MST, January 15, 2020 

The Rocky Mountain Chapter of the SEMSW is pleased to announce a call for papers for the Annual Meeting of the chapter on March 27–28, 2020, at the University of Northern Colorado, in Greeley, Colorado. The conference will take place as part of the Rocky Mountain Music Scholars Conference, held jointly with the Rocky Mountain Chapter of the American Musicological Society, Southwest Chapter of the Society for Ethnomusicology, and the Rocky Mountain Chapter of the Society for Music Theory. 

The Southwest Chapter includes Arizona, Colorado, New Mexico, Nevada, Oklahoma, Texas, and Utah. The Program Committee invites proposals from Ethnomusicologists, Anthropologists, music scholars from all disciplines, and music students for individual papers (20 minutes and 10-minute discussion), panels of 3–4 papers on a single topic, a 60-minute workshop interactive hands-on session on one topic (music performance, dance, or recording technology), or roundtable discussions on ethnomusicological topics.

For individual papers, please submit a paper title and abstract of 250 words or less with 3-4 keywords attached to an email that provides the author’s name and institutional affiliation (if applicable). Panel and round table proposals should include an abstract for each presenter, as well as one for the session as a whole.

The name(s) or affiliation(s) of anyone involved in the presentation should not appear in the title or abstract. Conference papers will be chosen by the selection committee through a blind review process.  Undergraduate student submissions must be accompanied by a faculty letter of endorsement (not submitted to the review committee with the abstract). A committee will select a student for the best student paper prize, to be awarded at the end of the conference.  

Please email proposals to chapter president, Dr. Jittapim (Nan) Yamprai

Email:  jittapim.yamprai@unco.edu 

and chapter vice president, Dr. Andrea Shaheen Espinosa

Email: alshaheen@utep.edu

The conference will take place at the University of Northern Colorado Campus Commons Building. All conference rooms will be equipped with presentation technologies. Please indicate any additional equipment needs for the presentation (e.g., piano) in the email in which you submit the proposal.

About the University and the City of Greeley:

University of Northern Colorado (UNC) is located at the heart of Greeley, tucked between the Rocky Mountains and Colorado’s stunning high plains. It was founded in 1889 as Colorado’s teachers college. UNC is a comprehensive baccalaureate and public doctoral research university that fuses its history for innovative teaching with transformative, hands-on education through programs across five colleges: Performing and Visual Arts, Education and Behavior Sciences, Humanities and Social Sciences, Monfort College of Business, and Natural and Health Sciences.

UNC is committed to the success of its 13,000 students, with more than 200 undergraduate programs, 120 graduate programs, extended campus, and online programs.

UNC is recognized as a leader in community and civic engagement opportunities. You’ll find students, faculty, and staff volunteering and working within the community through internships, research projects, recreation and events.

See more on the University of Northern Colorado website: https://www.unco.edu/

See more on the City of Greeley website: https://www.visitgreeley.org/

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International Conference on Musical Form 

30 June - 1 July 2020, Copthorne Hotel, Newcastle

Organised by the Society for Music Analysis Formal Theory Study Group (FTSG), in association with the Department of Music, Durham University

Supported by North-Eastern Music Analysis Collective

Keynote Speakers: Prof Janet Schmalfeldt (Tufts University), Dr Steven Vande Moortele (University of Toronto)

The Society for Music Analysis Formal Theory Study Group invites proposals for the International Conference on Musical Form. For at least the last 25 years, music theory has witnessed remarkable developments in this area. This renewed interest, referred to as the ‘new Formenlehre’, has stemmed especially from the development of analytical theories for late eighteenth-century music advanced by William Caplin (1998) and James Hepokoski and Warren Darcy (2006). The International Conference on Musical Form seeks to reflect on the achievements of and the ongoing debates surrounding the new Formenlehre, whilst also considering its future. We welcome not only papers dealing with theoretical and analytical issues, but also contributions from related disciplines including historical musicology, history of music theory, corpus studies, music cognition, ethnomusicology, performance studies, philosophy of music, and sociology of music.

Suggested themes include but are not limited to:

- The new Formenlehre

- Classical form

- Romantic form

- Post-Romantic form

- Form in post-tonal music

- Form in early music

- Form in popular music

- Form in non-Western music

- Syntax and closure

- Syntax and schema

- Historical approaches to form

- History of Formenlehre

- Formenlehreand music theory pedagogy

- Form and hermeneutics

- Form and performance

- Form and music cognition

- Empirical approaches to form

Accepted formats for presentations include but are not limited to:

- Individual papers (20 minutes with 10 minutes for discussion)

- Themed sessions of 3 papers (20 minutes each, with 10 minutes per paper for discussion)

- Themed sessions of 6 papers (10 minutes each, with a 30-minute discussion afterwards)

Please send your proposals to smaftsg@gmail.com by 1 December 2019.

Each proposal should include:

* The author’s name and affiliation

* Email address

* An abstract of no more than 250-word (for sessions, an additional max. 250-word abstract per each paper/person

* A short biography (no more than 150 words) 

* Any technical requirements

Proposals should be sent as a single MS Word document. Successful applicants will be notified by late January 2020.

A number of SMA bursaries are available to help cover the costs of travel and accommodation. Further details can be found at http://www.sma.ac.uk/grants/travel/.

Programme Committee: 

Prof Julian Horton (Durham University), Chair

Dr Anne Hyland (University of Manchester)

Dr Markus Neuwirth (École polytechnique fédérale de Lausanne)

Dr Benedict Taylor (University of Edinburgh)

Organising Committee: 

Laura Erel (Durham University)

Sunbin Kim (Durham University)

Giselle Lee (Durham University)

Kelvin Lee (Durham University)

Hazel Rowland (Durham University)

Yvonne Teo (Durham University)

Representatives from North-Eastern Music Analysis Collective:

Prof Julian Horton (Durham University)

Dr Christopher Tarrant (Newcastle University)

Conference Website: https://formaltheorystudygroup.wordpress.com/

Conference Dates: Friday and Saturday, March 27 and 28

Location: University of Northern Colorado, Greeley, CO—Campus Commons 

Deadline: Midnight MST, January 15, 2020

The Rocky Mountain Chapter of the SEMSW is pleased to announce a call for papers for the Annual Meeting of the chapter on March 27–28, 2020, at the University of Northern Colorado, in Greeley, Colorado. The conference will take place as part of the Rocky Mountain Music Scholars Conference, held jointly with the Southwest Chapter of the Society for Ethnomusicology and the Rocky Mountain Chapter of the Society for Music Theory. 

The Southwest Chapter includes Arizona, Colorado, New Mexico, Nevada, Oklahoma, Texas, and Utah. The Program Committee invites proposals from Ethnomusicologists, Anthropologists, music scholars from all disciplines, and music students for individual papers (20 minutes and 10-minute discussion), panels of 3–4 papers on a single topic, a 30-minute workshop interactive hands-on session on one topic (music performance, dance, or recording technology), or roundtable discussions on ethnomusicological topics.

For individual papers, please submit a paper title and abstract of 250 words or less with 3-4 keywords attached to an email that provides the author’s name and institutional affiliation (if applicable). Panel and round table proposals should include an abstract for each presenter, as well as one for the session as a whole.

The name(s) or affiliation(s) of anyone involved in the presentation should not appear in the title or abstract. Conference papers will be chosen by the selection committee through a blind review process.  Undergraduate student submissions must be accompanied by a faculty letter of endorsement (not submitted to the review committee with the abstract). A committee will select a student for the best student paper prize, to be awarded at the end of the conference.  

Please email proposals to chapter president, Dr. Jittapim (Nan) Yamprai

Email:  jittapim.yamprai@unco.edu 

and chapter vice president, Dr. Andrea Shaheen Espinosa

Email: alshaheen@utep.edu

The conference will take place at the University of Northern Colorado Campus Commons Building. All conference rooms will be equipped with presentation technologies. Please indicate any additional equipment needs for the presentation (e.g., piano) in the email in which you submit the proposal.

Deadline for Proposals: November 15, 2020

We will welcome all papers relevant to the conference topic of Microtonality after 1980. The program committee is particularly interested in those that address the following topics (though not limited to):

• Composers
• Pedagogy
• Instrument Building (Digital and/or Acoustic)

Papers will be twenty minutes in length, followed by ten minutes for questions. Proposals should be no more than 300 words. Please send your proposals as an attachment to beyondmicrotonal.pitt2020@gmail.com with the subject line “Pitt proposal submission”.

Proposals should be sent as PDF or .docx files. Please provide your name, title, AV requirements, and a short biography of 100-150 words in the body of the email.

Saturday, September 28, 9am-6pm

UC Berkeley’s Center for New Music and Audio Technology (CNMAT)

Breakfast and lunch will be provided. Space is limited to 40 participants, so RSVP is required.

To sign up, fill out this google form. For more information, check out our website or contact BCMR@berkeley.edu.

Conference Speakers include:

Claire Arthur, Music Theory and Cognitive Musicology, Georgia Tech
Carmine Cella, Composition, UC Berkeley
Kevin Dahan, Music Technology, De Montfort University
Elena Georgieva, Music Technology, Stanford CCRMA
Jon Gillick, School of Information, UC Berkeley
Melanie Hamaguchi, Project IRENE, UC Berkeley
Justin Salamon, Audio Research Group, Adobe Research
Leslie Tilley, Ethnomusicology, MIT

About the Conference:

The deluge of computational techniques developed over the last decade has had a transformative impact in all areas of academic and industrial research. The goal of this conference is to explore potential applications for the integration of these techniques into interdisciplinary music research. This year’s theme, synthesis, emphasizes interdisciplinary collaboration, bringing together scholars with interests in music studies and computational methods. It encourages music researchers and computer scientists to initiate dialogue that will provide radical new insights into the most pressing questions across disciplines.

17–18 November, 2019

University of Colorado Boulder

Registration is open for the conference Rhythm in Music since 1900.

For the conference program, travel information, and registration form, please click on the link above, or go to

https://www.colorado.edu/conference/rhythm-since-1900/

Early registration ends on 1 October.

  Keynote (lecture-recital): Pierre Laurent-Aimard, pianist

  Invited speakers:

· Kyle Adams (Jacobs School of Music, Indiana University)

             “On the Rhythmic Dialogues of Hip-Hop”

· Brian Alegant (Oberlin College Conservatory)

             “How to Teach Complex Rhythms”

· Jeanne Bamberger (Massachusetts Institute of Technology)

            “From Action to Symbol: The Computer as Collaborator”

· John Roeder (University of British Columbia)

“Processes of Grouping and Pulse in Free Post-Tonal Canons”

Rhythm in music since 1900 remains a rich and fascinating field of inquiry. This conference brings multiple perspectives to bear on this field. It addresses repertoires ranging from jazz and popular music to world music and art musics, and topics from performance and pedagogy to cognition and theory. The keynote features renowned pianist Pierre-Laurent Aimard, acclaimed particularly for his interpretations of music of our time. In addition to his keynote lecture-recital, Aimard will also play a full recital on 19 November.

Questions about registration or local arrangements should be directed to Yonatan Malin, Local Arrangements Chair (yonatan.malin@colorado.edu), and others to Daphne Leong (daphne.leong@colorado.edu).

May 21-23, 2020

Ann Arbor, Michigan

The International Association for the Study of Popular Music-United States chapter (IASPM-US) invites proposals for its annual conference, which will take place in Ann Arbor at the University of Michigan on May 21-23, 2020. We welcome abstracts on all aspects of popular music, broadly defined, from any discipline or profession, and especially encourage submissions on the many rich popular music histories of Michigan, Ann Arbor, and Detroit. 

The theme for this year’s conference is “BPM: Bodies, Places, Movements,” which intersects with Detroit and its storied place in rhythm and blues, rock, punk, pop, hip-hop, and electronic dance music, and is intended to connect the histories, philosophies, and practices of urban spaces to other historical and global popular music communities. Each year Detroit celebrates this local-meets-global history with the Movement Electronic Music Festival, which in 2020 will commence the same weekend as the IASPM-US conference.

BPM as a marker for “Beats Per Minute” was first included on records to allow DJs to sync disco and funk selections together on the fly and has since become an important digital tool to create, alter and interweave tracks. In addition to its practical musical applications, the creation of BPM encodes an array of social and cultural histories: urban migration; industrialization and its reverberations in deindustrialization and urban renewal; the cultural, racial, and class politics of white flight, capital departure, and gentrification; social movements from the Second Great Awakening, Civil Rights, and Fair Housing through neo-conservatism, white nationalism, and millennial populism; and the myriad communities that articulate their ideals, utopias, frustrations and joys through popular music and its attendant practices, in garages, studios, music halls, warehouses, and digital spaces. Topics to consider include (but are not limited to):      

• Bodies: identities, abilities, practices, performances, communities, bodies of work, raced, classed, gendered, and sexualized bodies, modes of embodiment
• Places: Cities, suburbs, small towns, virtual and digital spaces, stages, studios, basements, exclusive and inclusive spaces
• Movements: social, cultural, and political movements, mobilities, dance, migration, displacement

IASPM-US is a multidisciplinary organization, and invites proposals from and across all fields of scholarly inquiry. Conference proposals from intellectuals from outside of academia, including teachers, museum and archive professionals, musicians and music professionals, and independent scholars, are encouraged. IASPM-US is also a friendly conference for students at all levels. We especially welcome proposals from members of underrepresented groups including, but not limited to, women, Black/African American, Indigenous, and People of Color, people with disabilities, and people from LGBTQ+ communities, as well as people of different ages, socio/economic classes, nationalities, and religions.

This year’s program committee consists of Justin Patch (chair), Anthony Kwame Harrison, K. E. Goldschmitt, Brian F. Wright, Rebekah Farrugia, and Kathryn Metz.  

Please submit proposals via Word document to iaspm2020@gmail.comwith “last name, first name” in the subject line no later than midnight October 1, 2019. Individual submissions should includea paper title, the presenter’s name, contact information and a 250-word abstract thatidentifies the methodology used, states the paper’s goals, summarizes the context and argument of the paper, and includes a brief conclusion. Organized panels, consisting of 3 - 4 papers, should include a 250-word description of the panel’s rationale and goals, and a 250-word abstract for each individual participating in the panel. Roundtables, consisting of a moderated conversation with 4 – 6 participants, require a single 250 word abstract and a list of roundtable members, and should designate one person as the panel chair. All individual presentations are limited to 20 minutes with a 10-minute question and answer period. Roundtables and organized panels can be allotted up to a two-hour time slot. Abstracts not adhering to the word count will not be considered. 

Please note: All conference presenters must be registered IASPM-US members (or must register after paper, panel, or roundtable acceptance). For membership and conference information visit: http://iaspm-us.net/