2012年9月18日 星期二

LAÓN-LAÓN 2012: 第三屆亞洲音樂研究中心論壇會議(9/26-28),敬邀大家參加!

LAÓN-LAÓN 是菲律賓語有著永久珍藏陳年好酒的含意。這項會議是菲律賓大學民族音樂研究中心緬懷該中心創始人,知名的民族音樂學家 Jose Maceda 於2008年發起,其主旨有二:保存亞洲各區域極富特色之民族音樂史料,提供學者進行典藏研究;其次,希望各國成員能透過此平台互相交流、合作並發表學術 成果,開啟跨文化對談之門,為民族音樂研究注入新生命。每一屆LAÓN-LAÓN論壇都由會員機構輪流主辦。2012年由師大民族音樂研究所承辦,以下是 幾個重要的會議議程與專題講座,供大家參考:
LAÓN-LAÓN 2012: 第三屆亞洲音樂研究中心論壇會議系列活動
1.    專題講座一
    講題:”UNESCO intangible cultural heritage programs and their
potential impacts on indigenous peoples”
    講者: Dr. Anthony Seeger (Distinguished Professor of Ethnomusicology,
Emeritus, UCLA / Director Emeritus, Smithsonian Folkways Recordings)
    時間:2012/9/24 (星期一) 下午14:30~16:30
地點:中研院民族所新館三樓2319會議室
* 本次講座與中研院民族所合辦
2.    專題講座二
    講題:”Music Composition Using the Austronesian Materials”
    講者: Dr. Ramon Santos (Executive Director, University of the
Philippines Center for Ethnomusicology)
    時間:2012/9/25 (星期二) 下午14:10~16:00
    地點:師大音樂學院樂研一教室
3.    Laon Laon 2012: 第三屆亞洲音樂研究中心論壇會議開幕式
    時間:2012/9/26 (星期三) 上午 9:30~10:00
4.    專題講座三,第三屆亞洲音樂研究中心論壇會議開幕演說
    講題:”Who Should Control Which Rights to Music ?”
    講者:Dr. Anthony Seeger (Distinguished Professor of Ethnomusicology,
Emeritus, UCLA / Director Emeritus, Smithsonian Folkways Recordings)
    時間:2012/9/26 (星期三) 上午 10:00~11:00
    地點:師大圖書館國際會議廳
5.    Laon Laon 2012會議開幕音樂會與歡迎晚宴
    時間:2012/9/26 (星期三) 下午 16:30~20:00
    地點:師大校本部文薈廳
6.    專題講座四
    講題:” Ethical Issues of Ethnomusicological Endeavours”
    講者:Dr. Osamu Yamaguti (Osaka University of Arts)
    時間:2012/9/27 (星期四) 上午 10:00~11:00
    地點:宜蘭國立傳統藝術中心圖書館視聽室
7.    專題講座五
    講題:”Saving the Memory of Musical Patrimony”
    講者: Dr. Ramon Santos (Executive Director, University of the
Philippines Center for Ethnomusicology)
    時間:2012/9/28 (星期五) 上午10:00~11:00
    地點:福華國際文教會館205會議室 

2012年9月11日 星期二

Current Musicology Call for Papers



Special Issue: Experimental Writing on Music

For the spring 2013 issue we are looking for writing on music that departs from the implicit and explicit norms of academic music scholarship in favor of a more experimental or creative approach to language and form. “Experimental writing on music” is a broad criterion and we would like to keep it that way. Thus, the following should simply be taken as examples of some possible avenues to pursue:


-Writings that address relationships between music (or sound) and language not solely as a topic but in the immanent technique of the writing itself
-Innovative uses of language, graphics, or the materiality of text and page that facilitate novel ways of conceptualizing music
-Non-traditional music-theoretical analyses
-Pieces that deal with more broadly cultural and political aspects of music/sound in formally compelling ways
-Writings that might be out of place in other publications (this might include fragmentary or essayistic pieces)

If you have other ideas on how to write about (or with, in, through) music, please don’t think twice. “Experimental writing” does not mean that the music under consideration need be considered experimental. Digital/internet media may be used. Submissions may be of any length. Scholars of music, but also poets, philosophers, composers, dancers, visual artists and other writers are encouraged to submit.


Submission deadline is December 15, 2012.

Please send submissions or inquiries to:
djg2139 at columbia.edu
(David Gutkin­Editor-in-Chief, 2012-13)

2012年9月1日 星期六

Perspectives on Musical Improvisation Conference

                               10th-13th September 2012

                                 Faculty of Music, University of Oxford

 
'...a musical conjuring trick, a doubtful expedient, or even a vulgar habit.’
Twenty years on from Derek Bailey's mordant observation about the status of improvisation, researchers, theorists and practitioners in increasing numbers recognize the significance and range of improvisational practices in music-making. The conference aims to respond to Bailey’s original concerns about the understanding of improvisation and to offer a broad platform for our increased attention towards the subject. These four days in September will provide a critical and illuminating engagement with our topic across different musical genres and from distinct research perspectives. 

 Invited Speakers:
  • Professor Thierry Escaich, Professor of Composition and Performance, Paris Conservatoire
  • Professor Ingrid Monson, Quincy Jones Professor of African-American Music, Harvard University

Panel discussion:
  • Professor Lydia Goehr, Professor of Philosophy, Columbia University
  • Professor Garry Hagberg, James H. Ottaway Jr. Professor of Aesthetics and Philosophy, Bard College
  • Professor George Lewis (discussion respondent), Edwin H. Case Professor of American Music, Columbia University
 http://www.music.ox.ac.uk/pomi/programme.html