From LLandy at dmu.ac.uk Mon Oct 19 16:05:57 2015 From: LLandy at dmu.ac.uk (Leigh Landy) Date: Mon, 19 Oct 2015 14:05:57 +0000 Subject: [Muwisys] OS Issue 21.2 Call - Extended deadline Message-ID: Organised Sound: An International Journal of Music and Technology Call for submissions Volume 21, Number 2 Issue thematic title ? Situating the Avant-Garde: conformity and oppositional culture. Date of publication: August 2016 Extended submission deadline: 22 January 2016 Issue co-ordinators: Monty Adkins (m.adkins at hud.ac.uk) and Ambrose Field (ambrose.field at york.ac.uk) Independent artistic practitioners, empowered by technology, have radically changed the digital arts climate in western societies over the last twenty years. In this issue we tackle some of the more awkward questions that have resulted from a changing dynamic where the aesthetic remits of independent commercial work and scholarship have intermingled. Creating music which inhabits a space between intellectually informed artwork and public media product is a contemporary challenge. We are calling for articles and case-studies on how composers have chosen to meet the challenge of changing markets for electroacoustic music and sound art, with reference to their own practice and the work of others in contemporary digital culture. What are the distinctions between creating art music for the concert hall and the imperatives of running a small business? For self-employed musicians, or those running small businesses, can financial stability be found within carefully made aesthetic choices? What are the impacts for institutional music research and for the contemporary music public of changes in accessible technologies? In this issue, we ask vital broad questions. We seek to assess what happens when oppositional cultures, often initially positioned directly against academic scholarship, become commonplace and adopted within institutions? We seek to review the role of the institution. How can institutions drive radically new cultural development, rather than offering reactionary responses to independent commercial experimental artwork, or falling back on past models and aesthetics? This issue actively seeks discussion of these questions and themes, with a focus on contemporary practice within the digital arts both within, and outside, the institution. Subjects might included, but are not restricted to: ? the bedroom avant-garde ? post-laptop music and the resurgence of modular synth ? the role of the institution in the contemporary avant-garde ? redefining the institution in digital music education - facilitator, educator or reactionary ? new composition in digital music practice ? aesthetics of post-acousmatic music ? listening, performing and the user - our changing role with technology and the sonic arts ? experimental digital music aesthetics in the 21st century ? oppositional culture in contemporary electronic music ? the rise and fall of the digital super-group As always, submissions related to the theme are encouraged; however, those that fall outside the scope of this theme are always welcome. SUBMISSION DEADLINE: 22 January 2016 SUBMISSION FORMAT: Notes for Contributors and further details can be obtained from the inside back cover of published issues of Organised Sound or at the following url: http://journals.cambridge.org/action/displayMoreInfo?jid=OSO&type=ifc (and download the pdf) Properly formatted email submissions and general queries should be sent to: os at dmu.ac.uk, not to the guest editors. Hard copy of articles and images (only when requested) and other material (e.g., sound and audio-visual files, etc. ? normally max. 15? sound files or 8? movie files) should be submitted to: Prof. Leigh Landy Organised Sound Clephan Building De Montfort University Leicester LE1 9BH, UK. Editor: Leigh Landy Associate Editors: Ross Kirk and Richard Orton? Regional Editors: Ricardo Dal Farra, Jřran Rudi, Margaret Schedel, Barry Truax, Ian Whalley, David Worrall, Lonce Wyse International Editorial Board: Marc Battier, Manuella Blackburn, Joel Chadabe, Alessandro Cipriani, Simon Emmerson, Kenneth Fields, Rajmil Fischman, Eduardo Miranda, Rosemary Mountain, Tony Myatt, Jean-Claude Risset, Mary Simoni, Martin Supper, Daniel Teruggi From stacho.laszlo at gmail.com Wed Oct 28 16:07:03 2015 From: stacho.laszlo at gmail.com (=?UTF-8?B?TMOhc3psw7MgU3RhY2jDsw==?=) Date: Wed, 28 Oct 2015 16:07:03 +0100 Subject: [Muwisys] =?utf-8?q?DEADLINE_REMINDER=3A_Virtuosity_=E2=80=93_An_?= =?utf-8?q?interdisciplinary_symposium=2C_Budapest=2C_3=E2=80=936_M?= =?utf-8?q?arch_2016?= Message-ID: *Virtuosity ? An interdisciplinary symposiumThe Liszt Academy of Music, Budapest3?6 March 2016* *CALL FOR PAPERS* We are pleased to announce the joint symposium of the Kodály Institute of the Liszt Academy and ESCOM (European Society for the Cognitive Sciences of Music), an interdisciplinary event to be held in Budapest, in the beautifully restored Art Nouveau palace of the Liszt Academy between 3 and 6 March 2016. We invite proposals for individual papers (20 minutes, followed by 10 minutes of discussion) and posters. The language of the symposium is English. *Theme and topics* We invite submissions for a symposium on virtuosity in music performance that address questions such as the following: ˇ What is virtuosity? ˇ How virtuosity is perceived in different ways by musicians and their audiences in different cultures? ˇ How might virtuosity be studied empirically? ˇ What are the cognitive, neuropsychological and motor mechanisms underpinning virtuosity? ˇ What is the relationship between virtuosity and creativity? ˇ What is the relationship between virtuosity and enchantment (or ?magic?)? To what extent can virtuosity be considered the making of magic? Or can be magic be made in the absence of virtuosity? ˇ How might virtuosity be taught? *Proposals* All submissions must address the symposium theme. Please send us an abstract of approximately 250 words as an e-mail attachment in Word format to virtuosity at lisztacademy.hu, specifying whether the proposal is for a theoretical paper, an empirical paper, or a poster. All proposals will be peer-reviewed by the members of an international review committee. In order to ensure anonymity, please do not include personal details in the abstract. The name(s) of the author(s), institutional affiliation and a short biography of approx. 100 words should be sent in a separate Word document. Please indicate in your cover letter your AV requirements and whether the presentation will involve live performance, and if so what instruments are envisaged. *Deadlines* *Submission of abstracts: 31 October 2015* Notification for acceptances: 30 November 2015 *Programme and registration* The programme of the symposium will be announced in January 2016. Online registration will open in January 2016. For additional information please contact Dr László Stachó (stacho.laszlo at lisztacademy.hu) or Ms Éva Gyöngy Máté (mate.eva.gyongy at lisztacademy.hu). *Organising Committee* László Stachó (Liszt Academy of Music, Budapest), chair of the Organising Committee László Norbert Nemes (Liszt Academy of Music, Budapest), co-chair of the Organising Committee Jane Ginsborg (Royal Northern College of Music) Peter Keller (The MARCS Institute, University of Western Sydney) Jukka Louhivuori (University of Jyväskylä) Richard Parncutt (University of Graz)