Second Call for Papers
Ninth International Conference
Music/Sonic Art: Practices and Theories
At the Interface of Practice and Theory: Revisiting the Artistic Research Debate
MuSA 2018 – Karlsruhe (IMWI)
28 June – 1 July 2018
Hochschule für Musik, Karlsruhe – Institut für Musikwissenschaft und Musikinformatik (IMWI)
Am Schloss Gottesaue 7, 76131 Karlsruhe, Germany
SECOND CALL FOR PAPERS :
We are pleased to announce the Ninth International Conference on Music and Sonic Art: Practices and Theories (MuSA 2018), 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/).
Conference dates: 28 June – 1 July 2018
Deadline for abstract submission: Friday, 27 April 2018.
Keynote Presentation: Markus Noisternig (Researcher at IRCAM, CNRS, Sorbonne Universities—UPMC in Paris, Senior Lecturer at the Institute of Electronic Music in Graz, Lecturer at the Karlsruhe College of Arts and Design)
Proposals for sessions and individual papers for the Ninth International Conference 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, panel sessions, lecture-demonstrations (30 minutes + 15 minutes for discussion). The Conference committee encourages presentations in which practice forms an integral part of the research. All proposals will be ‘blind’ peer-reviewed. The Conference language will be English.
THEME AND TOPICS :
The theme of MuSA 2018 is At the Interface Between Practice and Theory: Revisiting the Artistic Research Debate. The last decade has witnessed the establishment of artistic research in music and sonic arts as an original approach that brings together theory and practice. While much has been written about the integral role of artistic practice in this kind of research, much remains to be learned from exploring the multiple ways in which theory and practice can be brought to bear on each other. MuSA2018 thus aims explore the interface between theory and practice in the context of artistic research. We invite submissions on the following, and other relevant topics, in relation to the theory-practice interface in the context of artistic research :
– Conceptual and non-conceptual processes
– Know-that and know-how
– The role of the subjective dimension
– Role of technology
– Embodied processes
– Value judgments
– New knowledge and insights
Other topics that are in line with the Conference’s broad aim of promoting interdisciplinary research within and across Music and Sonic Art will also be considered.
As in previous MuSA conferences MuSA 2018 will continue to include the popular, one-day event devoted to ‘Re-thinking the Musical Instrument’, focusing on the origination, making and playing of musical instruments.
Some of the topics that will be explored during this one-day event 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 also invite proposals on any research area related to the nature and use of western acoustical instruments, traditional ethnic instruments and digital/virtual instruments.
ABSTRACT FORMAT :
Please submit an abstract of approximately 250-300 words as an e-mail attachment to email@example.com
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, 27 April 2018.Notification of acceptance will be sent by 11 May 2018.
The Conference fees are: €120 for delegates (day rate: €40), €100 for presenters (day rate: €35), and €60 for students and others who qualify for concessions (day rate: €20).
If additional information is required please do not hesitate to contact Prof. Dr. Mine Doğantan-Dack or any member of the Conference Committee:
Prof. Dr. Mine Doğantan-Dack – firstname.lastname@example.org (University of Cambridge)
Prof. Dr. Thomas A. Troge (IMWI, Karlsruhe) – email@example.com
Prof. Dr. Paulo Ferreira-Lopes (Universita Cattolica Porto/HfM-Karlsruhe) – firstname.lastname@example.org
Prof. Dr. Miroslav Spasov (Keele University, UK) – email@example.com
Prof. Dr. Marlon Schumacher (IMWI, Karlsruhe) – firstname.lastname@example.org
Prof. Dr. Marc Bangert (IMWI, Karlsruhe) – email@example.com
Prof. Dr. Damon T.Lee DMA (IMWI, Karlsruhe) – firstname.lastname@example.org
Patrick Borgeat (IMWI, Karlsruhe) – email@example.com
Timothy P. Schmele (IMWI, Karlsruhe) – firstname.lastname@example.org
Dr. John Dack (Middlesex University, UK) – email@example.com
Administrative support: Gundi Rössler (IMWI, Karlsruhe) – firstname.lastname@example.org