Dear all,
I don't want to break the (month-old) tradition of sending only personal, nay
intimate, messages out to everyone on the list, but here's a call for papers
that might interest you.
Best wishes,
Gerald

>From:  Gloria Withalm <[log in to unmask]>
>Subject:  "Signs, Music, Society" (Vienna, 1999/03/12-14)
>
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>	C a l l   f o r   P a p e r s
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>	"Signs, Music, Society - A Transdisciplinary Colloquium"
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>	March 12-14, 1999
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>	organized by the
>	Institute for Socio-Semiotic Studies ISSS, Vienna
>	in co-operation with
>	MEDIACULT, Vienna
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>->	Keywords / fields involved
>
>Semiotics of music, musical signification, music/communication, music
>in/and society;
>semiotics, musicology, literary studies, media studies, theatre studies,
>cultural studies ...
>
>-> 	Invitation - Abstracts:
>
>Please send your suggestions until
>	December 15, 1998,
>in the form of an abstract of 10 to max. 15 lines, indicating
>author's name, title of the lecture, all relevant addresses
>(office, home) and technical coordinates (fax, phone, e-mail, etc.).
>The lectures should not exceed 30 minutes + 15 minutes discussion.
>Please direct your letter, fax or e-mail message to the ISSS.
>We will reply within 14 days.
>	Congress languages: English, German.
>
>-> 	Institut fur Sozio-Semiotische Studien ISSS
>	Jeff Bernard
>	Waltergasse 5/1/12, 1040 Wien
>	phone+fax: +43-1-5045344
>	e-mail: <[log in to unmask]>
>
>-> 	Introductory Remarks:
>
>The *Colloquium* - announcing by this term that intensive discussion
>should be a major feature of the meeting -  intends to convene scholars
>from semiotics, in general, and musical semiotics, in particular, and from
>many disciplines (such as musicology, sociology, psychology, ethnology,
>philosophy, communication studies, media studies, cultural studies
>literary studies, comparative studies, and other related fields). Our goal
>is to investigate theoretical and especially practical problems of musical
>signification in all types of music.
>
>The platform to enable inter- and transdisciplinary exchange and discussion
>shall be provided by semiotics, i.e. the theory of signs, while the aim to
>describe and to examine the social relevance of musical production,
>distribution, and consumption, as indicated by the formula "Signs, Music,
>Society", asks for focussing on fields like pragmatics, socio-semiotics,
>musical communication, context dependence, and the like. By this, it shall
>also be tried to transcend the somewhat isolated position of musicology,
>musical aesthetics, and musical theory within the humanities, i.e., by
>showing that even the problems of the study of musical structures, musical
>forms and technical systems, musical signification and musical aesthetics
>are indispensably linked with socio-practical features and conditions:
>The meaning of music cannot be fully examined and understood without taking
>account of its syntacto-semantic as well as pragmatic dimensions.
>
>In such view, one cannot neglect either, that musical meaning is very often
>unfolded in composite signs systems (word and music, dance, film, musical
>theatre, and other forms of art, as well as feasts, liturgies, rituals,
>etc.), and in different media (discs, tapes, broadcasts, AV-media, and now
>even "new" electronic media). The latter point stresses the problem of
>musical reproduction detached from its original performance in space and
>time, and how this influences, or changes, musical meaning. It stresses,
>moreover, the problems of disposal and (cultural as well as economical)
>hegemony.
>
>When the "sociality" of music and musical signification becomes of central
>interest, there also appears the question of their "historicity", not so
>much in terms of traditional history of music, but as an indicator of
>(particularly present-time) cultural, social, sociological, medial,
>technological, etc. change, or, in other words: the diachronic viewpoint -
>hitherto not a main focus of musical semiotics - is as important, and in
>many respects even more important, for the study of musical meaning as the
>synchronic one. The examination of "codes" needs to be complemented by a
>thorough investigation of code changes including all presuppositions and
>consequences.
>
>In this framework, we want to invite scholars from all over the world
>to join us for discussing questions of musical semiosis, texts,
>representation, functions, impact, communication, experience and related
>topics from the viewpoint of their "sociality" as well as "historicity".
>Has there ever been a "day the music died", as a famous lyric once claimed?
>
>-> 	Special information:
>One section with the particular topic "What is 'Austrian' Music?" will be
>organized by our partner, MEDIACULT - International Research Institute for
>Media, Communication, and Cultural Development.
>
>-> 	Publication:
>The results of the Colloquium will be published either as a special issue
>of one of our journals (_S - European Journal for Semiotic Studies_ or
>_Semiotische Berichte_) or (depending on the final size) as a book in our
>series "S - Addenda. Semiotic Studies".
>
>
>Expecting to welcome you heartily in Vienna
>
>Jeff Bernard
> (Director ISSS; Secr.Gen. IASS)
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> Jeff Bernard
> (IASS-AIS Secretary General)
>
> Institute for Socio-Semiotic Studies ISSS
> Waltergasse 5/1/12, A-1040 Vienna, Austria
> phone+fax +43-1-5045344
> e-Mail: [log in to unmask]
>
> 7th IASS-AIS Congress 1999/10/6-11 Technical University Dresden
>   "http://www.tu-dresden.de/sulifg/semiotics" = Call for Papers
> IASS-AIS homepage
>   http://vhf.msh-paris.fr/escom/Ais/AISindex.html
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