Networked_Music_Review

Music, Cities, Networks: Conference

sibe1.jpgMUSICS, CITIES, NETWORKS: MUSICAL CREATION AND SOCIAL INTERACTION :: 10TH Conference of the SIBE-Ethnomusicology Society :: 5th Conference IASPM-Spain :: 2nd Conference of Popular Musics in the Hispanic and Lusophone Worlds Salamanca :: (Spain) 6-9 March 2008.

One of the social phenomena most characteristic of the last decades is mobility. Cities across the globe continue to be inhabited by immigrants from all over the world. This invites reflection on the place of music in these migratory processes. In what ways does music, both in its sonic form and as a cultural practice, contribute to social and cultural integration or segregation? How might music intervene in the experiences and perceptions of displaced or virtual communities? How do musics change, mix up, fight for the survival of, or influence, new cultural formations, and how do they make space for new sounds, new practices or new sites for cultural production? We want this conference to be an occasion to explore together the theoretical and methodological perspectives we share. Moreover, it will be an opportunity to both advance the study of music in these contexts by sharing case studies and to help us better understand the work of our various academic communities.

SIBE (Spanish Society for Ethnomusicology) celebrates with this conference its 15th anniversary and joins IASPM-Spain in order to continue the valuable experience of the first conference on Popular Musics of the Hispanic and Lusophone Worlds held in Newcastle in 2006. The conference is co-organised by the Conservatorio Superior de Música de Salamanca and the Universidade Nova de Lisboa.

The official languages of the conference will be English, Portuguese and Spanish.

There are four different ways to participate in this conference:

Presenting a paper on one of the key themes (papers about other topics may be considered exceptionally). Papers should last a maximum of 15 minutes, allowing time for discussion.

Contribution to a specific panel

Panels will be organised as working groups with a coordinator that will lead the discussion of the contributions and organise the participants prior to the conference. SIBE will make its webpage and online resources (fora, links, bibliography, etc) available to all panels. At the conference, panels will be presented as roundtable discussions.

Posters (these are recommended for work-in-progress and doctoral researchers): Poster presentations will be regarded as equivalent to conference papers for the purposes of CVs, publication in conference proceedings and so on. Poster presentations will be in a graphic format (outline of ideas and key hypothesis, tables, photographs, etc). This will be accompanied by a text (3000 words) summarising the relevant research context. The conference venue will include a space reserved for permanent exhibition of posters throughout the duration of the conference. There will be several sessions dedicated to public presentations and discussions of the research summarised in the posters.

Audiovisual format; Projects based on audiovisual materials (in its final format or as rough materials) can be presented in screening sessions. These will be introduced with a short presentation of the project and followed by a debate open to all delegates. Audiovisual presentations will be regarded as equivalent to any other type of presentation.

KEY THEMES

Cities, musics and diasporas

Multicultural cities are ideal spaces for the study of the interaction of musics as places that encourage the creation of networks in which the musical experiences of the new citizens and those of the local communities are mutually imbricated. These contexts allow the reinvention of traditions and the development of hybridised and hybridising sounds. We seek papers that emphasize innovative methodologies for the study of urban spaces, musics and their cultural interaction. We also welcome specific case studies about situations or music genres of interest for the global study of this phenomenon.

Local scenarios and global history

Contemporary discourses refer to ‘the local’ as the counterweight of ‘the global’, as a ‘sanctuary’ in which strong identities rooted in tradition are might be preserved. However, there is evidence which suggests that population drift and current political attitudes are modifying these situations. We are keen to encourage work that deals with the link between traditional musics and new identities as well as the implication of nationalisms, regionalisms and localisms in those identities. We also welcome contributions about the globalising nature of some local musics and their contribution to a new history that includes musics traditionally excluded from the global historical discourse.

Technologies and musical industries

The internet, mobile phones, MP3 players or video games are well established channels for the distribution and consumption of music in contemporary Western societies. We encourage contributions that explore the social and cultural consequences of the new ways in which music is distributed, their impact on local communities and their interaction with socially located experiences. We are also interested in contributions about policies of protection and/or questioning/challenging of copyright and intellectual property.

New theoretical and methodological aspects of Ethnomusicology

The complexity of our cultural context is a challenge for researches who have had to find new tools to enrich the theoretical perspectives from which we face the study of contemporary music. Hence, the conference encourages contributions about developing theoretical, conceptual and methodological approaches.

PANELS*

Body, Discourse and Performance
Coordinator: Rubén López Cano

Models and Contexts of Listening
Coordinator: Marta García Quiñones

Music, Politics, and Power and Resistance
Coordinator: Salwa el Shawan Castelo-Branco

Musical Improvisation: Practice, Theory and History
Coordinator: Eduardo Contreras

The Anthropology of Sound
Coordinator: Iñigo Sánchez

Musical Heritage in the 20th Century
Coordination: Rafael Martín

*These are the panels proposed so far. Any member that wishes to propose new panels should write to salamanca2008[at]sibetrans.com

POSTERS

We encourage participants to send poster proposals for individual or group presentations. Posters can illustrate work-in-progress (fieldwork experiences, work carried out for undergraduate and graduate dissertations and so on). The poster format is ideal for presenting doctoral and pre-doctoral research still in progress, given that poster presentations are necessarily somewhat more succinct than other formats.

GUIDELINES FOR PROPOSALS

All conference proposals should include a 600-word abstract and include the following information: (1) title, (2) three keywords about the object/material of study and theories or concepts to be used, (3) key arguments to be defended, (4) theoretical and methodological perspectives used and (5) key bibliography. For audiovisual contributions, the abstract should include (6) length and (7) technical requirements for the screening/projection.

Acceptance of panel proposals will be subject not only on the selection by the committee, but also to the prior participation of the contributor in the discussion and group work before the conference.

All proposals should be submitted by email to salamanca2008@sibetrans.com by 15 July 2007. The subject heading should state ‘Proposal for participation – SURNAME’. Important! Emails should include two attachments in Word or RTF format: 1) a document that includes only the title and summary of the proposal; 2) a document with the title followed by the name and institutional affiliation of the author. Any exceptional technical requirements (we will provide a PC, connectors to laptop computers, projector, DVD and CD players) should also be specified in the abstract.

The committee will evaluate all proposals anonymously and will notify all participants of the outcome by 15 September 2007.


May 24, 2007
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Networked_Music_Review (NMR) is a research blog that focuses on emerging networked musical explorations.

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