****Forwarded message from John Dack <[log in to unmask]>****
Fifth International Symposium on
Music/Sonic Art: Practices and Theories
MuSA 2014 – Karlsruhe (IMWI)
26-29 June, 2014

Hochschule für Musik, Karlsruhe –
Institut für Musikwissenschaft und Musikinformatik (IMWI)
Am Schloss Gottesaue 7, 76131 Karlsruhe, Germany


FIRST CALL FOR PAPERS:
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) (http://www.hit-karlsruhe.de/hfm-ka/imm/). MuSA 2014 
is also supported by Middlesex University, London. The dates of the 
Symposium are 26-29 June, 2014.

Keynote speaker: Rolf Inge Godøy (University of Oslo)

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. Previous themes and topics can be 
seen at: musa2012.zilmusic.com and musa2013.zilmusic.com.


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;


In addition, MuSA 2014 will devote one day to the specific theme: 
Re-thinking the Musical Instrument

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:
•       for paper presentations (20 +10 minutes);
•       lecture-demonstrations (30+15 minutes);



ABSTRACT FORMAT:
Please submit an abstract of approximately 250-300 words as an e-mail 
attachment to [log in to unmask]

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.

If additional information is required please do not hesitate to contact 
Prof. Dr. Mine Doğantan-Dack or any member of the symposium committee:

Prof. Dr. Mine Doğantan-Dack (Middlesex University, Music Department) – 
[log in to unmask]

Prof. Dr. Thomas A. Troge (IMWI, Karlsruhe) – [log in to unmask]

Prof. Dr. Denis Lorrain (IMWI, Karlsruhe) – [log in to unmask]

Prof. Dr. Paulo Ferreira-Lopes (Universita Cattolica, Porto/IMWI, 
Karlsruhe) - [log in to unmask]

Dr. John Dack (Middlesex University, Art & Design/Science & Technology) – 
[log in to unmask]

Dr. Miroslav Spasov  (Keele University, Music Department) - 
[log in to unmask]

Timothy P. Schmele (IMWI, Karlsruhe) - [log in to unmask]

Administrative support: Gundi Rössler (IMWI, Karlsruhe) –
[log in to unmask]





=================================

Dr John Dack - Senior Lecturer (Music and Technology)
PhD, MMus, MA, MSc, PGDip, BA (Hons)
The Grove Building, room 226
Middlesex University
The Burroughs
Hendon
London NW4 4BT
UK

t: +44 (0)20 8411 5109
f: +44 (0)20 8411 3452
e: [log in to unmask]

skype: john.dack

http://adri.mdx.ac.uk.contentcurator.net/dack-dr-john
http://dream.dei.unipd.it/
http://musa2012.zilmusic.com/
http://musa2013.zilmusic.com/
www.scambi.mdx.ac.uk

=================================

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