CFP: Sound and Bodies in the World

The 8th Annual Graduate Music Society Conference
February 28, 2015
Boston University

We live in a world rich with soundscapes. Whether it is produced by bird calls, machines, the string section of an orchestra, or one’s own voice, sound around us reflect the environment we live in. How we choose to interact with sounds often reveals certain ways of being and knowing in the world. Our bodies are the first receivers of sounds, physically encountering sound waves through a multiplicity of sense. How our brains interpret sound is rooted in bodily and cognitive realities; this is especially true of musical sound, which is shaped by context, acoustics, language, and cultural preconditioning.

 

This conference seeks to encourage interdisciplinary conversation between musicological scholarship and areas ranging from sociology, the humanities, environmental and sound studies, and medicine. We encourage proposals exploring the relationship between sound environments and bodily realities, including (but not limited to) issues of gender, race, sexuality, bodily differences and identities, disability, illness, and wellness.

 

We welcome abstracts for tradition 20-minute papers, 5-minute ‘Ignite’ sessions, and poster presentations. Ignite sessions (native to technology and social media communities) essentialize research into a five-minute take accompanied by twenty PowerPoint slides, creating a dynamic, highly focused presentation. (For more information on the Ignite format, contact Jason McCool, jmccool at bu.edu.) Abstracts of no more than 250 words are due January 5th to John Forrestal, johndf at bu.edu.

 

Keynote Speaker: Jennifer Iverson from the University of Iowa

[CFP] Fifth International Symposium on Music/Sonic Art: Practices and Theories

26-29 June, 2014
Hochschule für Musik, Karlsruhe –
Institut für Musikwissenschaft und Musikinformatik (IMWI)
Am Schloss Gottesaue 7, 76131 Karlsruhe, Germany

Keynote speaker: Rolf Inge Godøy (University of Oslo)

We are pleased to announce the Fifth International Symposium on Music and Sonic Art: Practices and Theories (MuSA 2014), an interdisciplinary event to be held in Karlsruhe, Germany at the Institut für Musikwissenschaft und Musikinformatik (IMWI). MuSA 2014 is also supported by Middlesex University, London.

Proposals for sessions and individual papers for the Fifth International Symposium on Music and Sonic Art: Practices and Theories are invited from academics, independent researchers, practitioners and post-graduate students. Presentation formats include academic research papers (20 minutes + 10 minutes for discussion); reports on practice-based/artistic research or educational programmes (20 minutes + 10 minutes for discussion); and workshops and panel sessions (30 minutes + 15 minutes for discussion). The Symposium committee encourages presentations in which practice forms an integral part of the research. All proposals will be ‘blind’ peer-reviewed. The Symposium language will be English.

THEME AND TOPICS:

The principal aim of MuSA 2014 is to advance interdisciplinary investigations in – as well as between – music and sonic art. MuSA 2014 continues to promote this aim by probing the role of embodied approaches through this year’s theme:

exploring embodiment in music and sonic art.

We invite submissions on the following, and other related topics:

• Body movement and emergence of meaning;
• Embodied approaches to creativity;
• Kinematics and haptics as background for music and sonic art    research;
• Gesture and expression;
• Methods for embodied analysis;
• Phenomenology of the performing body;
• The body within socio-cultural contexts of music and sonic art;
• Pedagogical contexts for embodied approaches to music and sonic art;
• The body in interpersonal sound-based communication;
• Ecological, biological, neuroscientific and evolutionary approaches to embodiment;
• Historical roots of embodied approaches in theory and practice;
• Technology and embodiment;
• Critical discourses of embodiment in practice and research;
• Embodied aesthetics;
• Embodiment in collaborative research;

Within the thriving discipline of musical performance studies, there is a
general tendency to speak of ‘the performer’ as an abstract category
without taking into account the kind of musical instrument that mediates
the act of music making and music as a temporally emergent, sounding
phenomenon. In reality, different kinds of musical instruments involve
different expressive means (and at times different expressive/artistic
aims), engender different phenomenologies of performance making, and generate different kinds of performer identities. The nature of the
embodied interaction with different instruments in composition and
performance, and the expressive and communicative meanings that emerge as a result of such interaction constitute a largely unexplored research territory.

The purpose of this one-day event within MuSA 2014 is to re-think the
nature of the relationship between music making and the musical instrument.  Some of the topics that will be explored include:

• The acoustical, musical, cultural, symbolic, and ritualistic
qualities of musical instruments and the relationships between these
(theoretically) distinct kinds of qualities;
• The discourses that exist in relation to musical instruments in
different genres, styles and traditions;
• The gestural affordances and ergonomic principles of musical
instruments and the musical meanings that emerge as a result of these
affordances and principles;
• Performers, improvisers and their instruments: phenomenologies of
music making in the context of particular kinds of musical instruments;
• Composer and instruments: the material, acoustical and expressive
qualities of instruments and their relationship to musical languages
composers create;
• Relationships between creativity in performance, nature of musical
interpretation and musical instruments;
• The role of the musical instrument in the creation of musical
identities;

We invite proposals on any research area related to the nature and use of western acoustical instruments, traditional ethnic instruments and
digital/virtual instruments:

ABSTRACT FORMAT:

Please submit an abstract of approximately 250-300 words as an e-mail attachment to musa2014@btinternet.com

As contributions will be ‘blind’ peer-reviewed, please do not include
information that might facilitate identification from the abstract. In
addition, please include separately the name(s) of the author(s),
institutional affiliation (if any) and short biography (approximately 100
words). Deadline for the receipt of abstracts is Friday, 21 March 2014.
Notification of acceptance will be sent by 15 April.

Please specify whether you wish your abstract to be considered for the
one-day ‘Re-thinking the musical instrument’ event.

REGISTRATION:

The Symposium fees are: €120 for delegates, €100 for presenters and €60 for students and others who qualify for concessions.

 

[Event] Music and Movement Symposium

Tuesday 11th June 2013, 1:00pm – 5:30pm
Durham University
Concert Room, Department of Music, Palace Green, Durham, DH1 3RL, UK

Keynote speaker – Professor Rolf Inge Godøy, University of Oslo

The symposium aims to bring together researchers engaged in exploring motion and gesture in music. Papers to be presented offer cross-cultural perspectives on the relationship between movement and music, and are informed by embodied cognition and phenomenological paradigms. We are delighted to announce that Professor Rolf Inge Godøy, from the University of Oslo, and Professor Martyn Evans from Durham University will be speaking at the event.

SYMPOSIUM PROGRAMME
Session 1
1:00 – Josephine Miles (Durham University)
‘The embodiment of rhythm and metre in a performance of Bartok’s Contrasts’

1:30 – Yinyun Shi (Durham University)
‘Exploring interconnectedness: gestural interaction between storytellers and audience members in Suzhou ping-tan’

2:00 – Lara Pearson (Durham University)
‘Coarticulation and motor grammar in Karnatak music’

2:30pm – Tea/coffee break

Session 2
2:50 – Elena Catalano (Durham University)
‘The role of music in kinetic cognition: experiences in Indian classical dance’

3:20 – Professor Martyn Evans (Durham University)
‘Motion or emotion? – Music in the body’

4:00pm – Tea/coffee break

Keynote speech
4:15 – 5:30 – Professor Rolf Inge Godøy (University of Oslo)
‘Coarticulation in the production and perception of music’

All are welcome to attend the event. Booking is not required.
For more information contact Lara Pearson at l.a.pearson@durham.ac.uk

[CFP] Music and Philosopy: Embodiment and the Physical

Call for Papers

Music and Philosophy

3rd Annual Conference of the Royal Musical Association Music and Philosophy Study Group

Department of Music and Department of Philosophy, King’s College London
19-20 July 2013

Deadline for proposals: Friday 8 February 2013

Optional theme: ‘Embodiment and the Physical’

Conference website:

http://www.musicandphilosophy.ac.uk/conference-2013/

[CFP] Sounding Bodies – University of Toronto

 
A Graduate Conference in Music
March 15-6, 2013
Faculty of Music, University of Toronto

Though our musicking (or paper-writing) bodies may appear to be merely a conduit between an idea and its realization, they also delimit fields of possibilities in our various musicking and sounding endeavors. In recent years an increasing attention to the body is reflected in the growth of literature ranging from how social constructs are embodied through singing, to embodied modes of listening; from epistemologies of sound that challenges the mind/body split, to performance practices that prioritize healthy bodily mechanics over notions of technical correctness; from sound as torture, to sound as a way of healing. We seek to put these ideas, many of which transcend boundaries between sub-fields within music, in conversation with one another in this trans-disciplinary conference. How are bodies articulated through various sounding practices? How, on the other hand, do bodies shape our sounding, listening, andmusicking subjectivities? These are some of the questions that guide our thinking towards this conference.

We invite critical engagements, theorizations, ruminations, or performances* (not necessarily musical) on the intersections between sound, music, and bodies from current graduate students in all disciplines. Twenty-minute conference paper presentations (with 10-minute Q and A), or 30-minute performances are welcomed.

Topics include but are by no means limited to:

– Embodied sounding, listening, and musicking practices
– Bodies in performances
– Resonating/ resonant bodies
– Bodies defined, constituted, challenged, articulated, constructed,
or enacted in, by, or through sound
– Gestures and movement in sounding practices
– Embodied musical knowledge and the transmissions thereof
– Bodies healed or destroyed through sound and music
– Any other intersections of sound and body

Submissions for papers or performances, in the form of 300-word abstracts, should be emailed to utgradmusicon13@gmail.com, no later than 23:59 on January 15th, 2013. Please include in the email a  100-word biography of all presenter(s) and audio/video equipment  requests. Decisions will be announced by February 1st, 2013. Further  details can be found here.

[CFP] The Performing Body in the Hollywood Film Musical

The Performing Body in the Hollywood Film Musical:
An Interdisciplinary Symposium

April 4-6, 2013
Colgate University, Hamilton, NY

Call for Papers

Since its emergence in the 1920s, the film musical has woven together utopian visions and cultural realities, simultaneously creating, reflecting, and critiquing contemporary social, political, and economic conditions. Frequently, film musicals communicate these ideologies through the performing bodies of the film’s cast and crew. This symposium will consider the ways in which bodies perform in the film musical, and what such performances signify. Papers are invited that consider the following questions, among others: how do song and dance animate and define bodies onscreen? When and why are performing bodies marked in terms of gender, race, class, sexuality, and when do these bodies remain unmarked? How do onscreen musical and danced performances differ from those bodily performances that remain invisible to audiences, including those of crew members, sideline and film orchestra musicians, vocal and dance doubles, and so on? How do the film musical’s modes of performance both reflect and influence contemporary production practices?

Submissions from across disciplines are encouraged this symposium is intended as a space for scholars from musicology, film studies, dance, theater, and other fields to share their work and consider various disciplinary methodologies and approaches to the genre. We are delighted to welcome three distinguished keynote speakers: Steven Cohan (Syracuse University), Caryl Flinn (University of Michigan), and Adrienne McLean (University of Texas-Dallas).

Proposals for 20-minute papers should include a name, institutional affiliation (if appropriate), and an abstract of no more than 300 words. Please submit all proposals to filmmusicals (at) colgate (dot) edu by December 15, 2013.

For more information, see http://www.colgate.edu/filmmusicals, or by contacting Mary Simonson, Assistant Professor of Film & Media Studies and Women?s Studies at Colgate University, at msimonson (at) colgate (dot) edu.

The Sound of Emotions

Collaborators Vaughan Macefield (an Australian neuroscientist) and Canadian arist Erin Gee are working on a venture that turns electrical signals from the brain into music. While the use of biosignals and biosonification in the creation of musical performance is hardly new, this is the first work I’ve come across that uses direct recordings of nerve activity in this way. The ‘data capture’ process sounds a little more invasive and unpleasant than that used in other performances I’ve seen. Macefield’s research team:

“injects a very fine microelectrode needle into a peripheral nerve in the body that allows researchers to record electrical signals emitted from the brain. Blood flow, heart rate, sweat release and respiration levels are also recorded.”

The data is then processed and converted into a range of bell-like sounds. Gee writes of the project:

“It takes these tiny bodily physical performances that happen when one is emotional and transfers these tiny beating hearts and fluctuations in breathing and nerve activity — and amplifies it through technology.”

I first read about this in Macleans On Campus. I’d like to read something a bit more technical/detailed though, so I’m going to have a root around on the ‘net. I’ll report back later.

[CFP] Frontiers | Music and the Embodied Mind

Music and the Embodied Mind: a jam session for theorists on musical improvisation, instrumental self-extension, and the biological and social basis of music and well-being

Hosted by: Adam M. Croom, University of Pennsylvania, USA
Deadline for Abstract Submissions: 28th February 2013
Deadline for Article Submissions:  31st August 2013

“As animals our lives are marked by rhythms, and the rhythmical activities of ventilation and heart beat are tangible evidence of the life force in each of us”, Taylor and colleagues write in their (1999) Physiological Reviews article on the cardiovascular and respiratory system. With this “life force” as a pulse reverberating deep through the body, it’s as if our heart beat and breath breaks the silence of non-life as rhythms of nature that move us like music. One might ask: Are we not something akin to an instrument of music, our lives, something of an improvisation? What is the nature of the undeniably intimate relationship between music, the body and mind?

Concerns like these have been common to both scholars and performers alike. For instance, Einstein once reported that “I see my life in terms of music” and that “Life without playing music is inconceivable for me”. In Phenomenology of Perception Merleau-Ponty discussed the “kinetic melody” of the body, while the great jazz musician and saxophone improviser Ornette Coleman explained his technique as one of “activating the idea that’s going through my nervous system”. Sally Ness (1992) further discussed “the dynamic mentality of one’s neuromusculature” during her analysis of dance in Body, Movement, and Culture, and the saxophone inventor Adolphe Sax argued that the “true” musician and their music “exist through each other, and are but one”. Advancements in the cognitive sciences have additionally enabled new evidence regarding the bodily basis of music perception, cognition, and action to come to light, inspiring fresh insights and more empirically informed theorizing.

Yet despite a wide and growing interest in the relationship between music, the body and mind, along with promising technological advances, relatively little empirical and theoretical work has been explicitly devoted to investigating the topic of music and the embodied mind, and what work does exist remains largely dispersed across different publication sources spanning different academic fields. Accordingly, the aim of this Research Topic will be to unite an interdisciplinary group of scientists, theorists, and performers to address several of the liveliest questions regarding music and the embodied mind.

Scientists working on music from all disciplines are encouraged to submit original empirical research, philosophers and theorists of music are encouraged to submit fresh hypothesis and theory articles, and musicians as well as dancers are encouraged to submit perspective and opinion pieces reflecting their first-person knowledge of these performing arts. The aim is for an integration of theory, empirical data, and first-person reports in order to better understand, and drive new research on, the topic of music and the embodied mind.

Articles of interest include, but are not limited to, those discussing musical improvisation, self-extension through musical instruments, the evolution and development of music, the biological and social basis of music and well-being, and conceptual frameworks for understanding the nature of music and the embodied mind more generally. Critical commentary will also be warmly received.

Abstract submissions should not exceed 1,000 words and will be carefully selected by the Frontiers editor.

Further information is available from Frontiers.

A small warning: Frontiers journals are open access (good!) of the kind you have to pay to publish in (not so good unless you have a chunky research grant or a very supportive institution!).

[Publication] Interview with Vijay Iyer: “it’s about the music, brain and the body as one big thing”

Denver Westword Blogs have just published an interview with composer, performer and scholar Vijay Iyer. Iyer writes about the cognitive science of music perception. I first came across his work when I read his essay ‘On Improvisation, Temporality, and Embodied Experience’ in Sound Unbound. This isn’t an interview for an academic publication, but despite that – or perhaps because of it – it makes a handy three-minute introduction both to Iyer’s work and to some of the wider ideas and questions behind embodied cognition of music. Check it out!

[Event] ABA08: Body Waves

Tues 18 Sep 2012
Doors 5:30pm
Performances 6-8pm
Goldsmiths College (Ian Gullard Lecture Theatre, Whitehead Building
– nearest entrance at end of Laurie Grove)
Lewisham Way, New Cross, London SE14 6NW
Entrance fee: donations

Work by Stanier Black-Five and Malcolm Riddoch

Body Waves is a live infrasonic performance whose sounds go beyond the auditory system to be felt in the body. The primary sound source in this exploration of vibroacoustic perception are the unique recordings made by Stanier Black-Five at the epicentre of the recent earthquakes in New Zealand, which capture the vibrations of its massive aftershocks, collapsing buildings and subsequent demolitions. Riddoch will transform this live performance using MaxMSP and digital mixing for quadraphonic spatialization and waveform extrapolation to accentuate lower frequency harmonics. Sinusoidal analysis will be used to convert the waveform data to controllers in order to automate the spatialization with live mixing to balance the enhanced infrasonics. The performance will emphasize somatic feedback to guide the improvisational aspects as the infrasonic soundscape evolves over time. Body Waves is a spatial work indeterminate with respect to performance and spatialized through a quadraphonic set-up to immerse its audience/participants in this visceral music of the body.

If you want to know more, then please trundle on over to ABA’s website.