第五屆國際傳統音樂學會東亞音樂研究群(ICTM
MEA)學術研討會將於2016年8月25-
徵稿辦法如附件，截稿日期在2016年1月20日。
徵稿辦法如附件，截稿日期在2016年1月20日。
Call for papers: 5th Symposium of the Study Group on Musics of East
Asia, 25 – 27 August 2016, TAIPEI
Call for papers:
5th symposium of MEA, 2016 August, Taipei
Deadline for
submission: JAN 20 2016
New!
5th
SYMPOSIUM: 25 – 27 August 2016, TAIPEI
Organized by the
Academia Sinica and the Taipei National University of the Arts
EAST ASIAN
ETHNOMUSICOLOGIES?
2016 marks the 10th
anniversary of the founding of the ICTM Musics of East Asia Study Group, which
took place in August 2006 in Ilan, Taiwan. Coming full circle to Taiwan again,
this meeting provides a forum to look back on 10 years of the MEA Study Group’s
development from a fledgling research group to an important and diverse
community that is itself disciplining music research in different ways, and through
different voices. As such, the overlying theme of East Asian Ethnomusicologies
– understood in the plural – seeks to be as inclusive as possible, while
encouraging reflexivity of approach and understanding. A revisit of Witzleben
1997’s article Whose Ethnomusicology? Western Ethnomusicology and the Study of
Asian Music provides a useful starting point for re-interrogating issues that continue
to concern East Asian musical academia, interpreted today not simply against
the proverbial and amorphous ‘Western’ musical academia in a stereotypical
binary reading. But fault lines continue to be drawn intra-discipline, even as
new bridges span the boundaries of different kinds of academic
intersectionality.
The following questions are pertinent to
the conference topic:
- Are there East Asian
Ethnomusicologies, and how do they relate to distinct East Asian musicologies?
What are the disciplinary canons and scholarly lineages, and who are the
activists of East Asian ethnomusicologies? Is there a ‘we’ in East Asian
Ethnomusicology/ Ethnomusicologies? If so, are we as unique as we think we are?
To what extent are differences related to cultural or political fault lines?
How is ethnomusicology applied in East Asia, vis-à-vis education policies and
emerging foci on sustainability and impact?
- Do East Asian Ethnomusicologies still
privilege content, typologies and analysis over discourse and criticism? Is the
ICTM MEA group an interventionist (or protectionist) space in an international
ethnomusicology scene that sees a rumoured 40% conference abstract rejection
rate (a process which potentially privileges native speakers of English)?
- How has recent economic expansion in
East Asia reshaped infrastructural, funding and research/ teaching flows within
the region, and also beyond? How have global academic and political communities
come to understand the rising trend in foreign academics coming to work in East
Asia (esp China), in tandem with an increase in the number of East Asian
students conducting research and studying overseas? How have such transnational
movements in themselves changed the nature of emerging sub-disciplines in
ethnomusicology, music and sound studies, as well as the geographical spread of
different communities of overseas students?
- How do younger scholars, or female
scholars, or LGBT scholars in East Asia negotiate changing academic and
institutional power structures that nevertheless continue to be dominated by
the hegemonies of patriarchy and institutional hierarchy within (and also
without) East Asia?
Preliminary questions below seek to
highlight reflexively the pluralities of music and sound studies, refocused
through the themes below. Many of these topics have been discussed – in
changing articulations – over the course of the history the MEA study group
itself. Indeed, the group’s 10th anniversary meeting provides a platform for a
review of milestones in the development of music scholarship in East Asia over
the past few decades, and a vantage point for looking into the future.
THEMES
1. Music and
Embodiment
Recent studies of the role of the body
in processes of listening, musical production, musical learning and musical
emoting have turned in new understandings of corporeal and experiential
musicianship/ dance practice (Clayton 2013, Gillan 2013). Yet, stereotypes in
popular culture continue to abound of East Asian bodily ‘conservatism’,
‘stiffness’; and ‘inscrutability’. This theme calls for new examinations of
whether, and if so, how, different East Asian musical bodies exist and locate
themselves culturally, psychologically and materially.
2.
Cosmopolitanism, transnational flows, creative labour markets
While the words ‘global’ and
‘globalisation’ in music have recently taken a back seat against newer terms
such as ‘cosmopolitan’, ‘intercultural’ and ‘transnational’, what do they mean
in different East Asian musical contexts, and how are they separate or related
to each other? The questions may be partly addressed through understanding the
above processes through the lenses of shifting global capital and changing
creative labour markets, particularly in (but not limited to) the situating of
East Asian musical articulations in the world/ fusion music markets,
transnational pop (particularly K-pop), and in urban soundscapes. But while
such new and exciting conceptualisations of culture continue percolate, where
do they leave space for imagining and practising the ‘traditional’ – in
postcolonial modernity or otherwise?
3. Eco-criticism
and Music
As Paris hosts the UN
Climate Change Conference in Nov 2015, East Asia agitates and watches with slow
but increasing interest. How can music researchers and ethnomusicologists weigh
in on a topical subject that has in many ways pushed for wider
interdisciplinarity against rising concerns about negotiations with (and impact
on) the environment? Following on from Nancy Guy’s (2009) article on
Ecomusicology and Taipei’s Tamsui River, this theme encourages researchers to
consider music in interaction with the environment in dynamic ecosystems, where
sustainability has to be considered through intersecting realms of the
physical, material, cultural and politico-economic.
4. Music
history, historical musics, historical reconstructions
Do researchers of
music history in East Asia approach their subject as historians, musicologists,
analysts, archaeologists, or ethnomusicologists? This theme addresses the
debate of content vs discourse, allowing scholars to reconsider particular East
Asian (or not) hermeneutics and approaches to looking at ancient/ historical
texts and the reinterpretation of them through contemporary lenses.
5. New
Research
LANGUAGE English is the official language of this
symposium.
PRESENTATION
FORMATS Proposals are
invited in the following formats:
1. Individual
paper:
20 minutes long and
followed by 10 minutes for discussion; a 20-minute paper is about 8 or 9
typewritten pages, double-spaced using 12 point font.
2. Organized panel: these may be presented in ONE the
following formats:
- 120 minutes long, 4
presenters
- 120 minutes long, 3
presenters and a discussant
(each
presentation is 20 minutes with 10 minutes for initial discussion; there
will be 30 minutes for summary).
- Forum/Roundtable,
120 minutes long with up to 6 presenters on a given topic, entirely organized
and run by a given Chair of the Roundtable,
with
discussion among the presenters and the audience
3. Workshop: informal, interactive hands-on session
on one topic for a maximum of two hours, completely run by the workshop
organiser.
4. Film/DVD: recently completed or in-progress films,
video programs or excerpts thereof, each presentation about 20 minutes in
length including some discussion on the film/dvd
5. ‘TEDx’ style Lightning Papers of 10-minutes in length, featuring no
more than 20 slides, with 5 minutes for Questions/ Answers.
6. Poster
Presentation is the presentation of research information by an individual or
representatives of research teams from ICTM-MEA. The poster presentation should
be presented for 3 x 4 feet paper mounting.
ABSTRACT
SUBMISSION
Please submit an abstract for a paper
presentation in one of the above listed formats (300 words max), along with a
very short biographical note (50 words or less) about the presenter. Organizers
of panels and roundtables must submit a statement on the focus and central
concern of the panel/ roundtable along with an abstract from each presenter on
his/her presentation (each abstract is limited to 300 words and biographical
notes are strictly limited to 50 words). Please note that you can only make ONE
type of format submission for the conference.
Please send your proposal via the
googleform below.
All proposals
must be submitted in English
All proposals will undergo an anonymised
peer review, and the decision on proposals will be announced in the first week
of March 2016. If you have a deadline for funding applications towards etc,
please notify the Program Chair in the ‘Other comments’ section of the
googleform.
You should receive an email within 7
days of your submission. If you have failed to receive a response, please
contact the Chair of the Programme Committee Shzr Ee TAN [shzree.tan@rhul.ac.uk]
MEMBERSHIP IN
ICTM
All presenters must register as a member
of the International Council of Traditional Music directly with the ICTM
Secretariat before attending the Study Group Symposium. The email contact is: secretariat@ictmusic.org. Students will have a special registration
fee for both ICTM as well as the conference. All registration fees and other
information will be forthcoming from the Local Arrangements Committee.
The Local
Committee is led by:
LEE Ching-huei
Hsin-Chun Tasaw LU
The Program
Committee for this
Symposium is:
Joys CHEUNG
Matthew GILLAN
LEE Ching-huei
Hsin-Chun Tasaw LU
Hilary Finchum-SUNG
Shzr Ee TAN, [Chair]
ZHAO Weiping
Hae-Kyung UM