Call for Papers 6th MaM meeting (Dijon, July 2014)

Call for Papers 6th MaM meeting (Dijon, July 2014)

Organization: IMS study group “Music and Media” (MaM) and Université de Bourgogne, Université de Rennes 2

Location: Université de Bourgogne, Dijon, France

Dates: 1 & 2 July, 2014

Call for papers:

After previous conferences in Amsterdam, Berlin, Lisbon, Turin and Ottawa, the IMS study group “Music and Media” (MaM) will organize a two day conference in Dijon, France. Academics, practitioners and postgraduate students are invited to submit papers and/or panel proposals on the following areas of interest, including (but not limited to):

-Rewriting music for film;

-Early French cinema (productions in Épinay-sur-Seine a.o.);

-Film noir;

-Jazz as soundtrack;

-Methodologies for the study of film soundtracks.

Proposals in both English and French are welcomed.

Each submission should include the following information:

author(s) name(s), academic affiliation(s), e-mail address(es), title of presentation, abstract (300 words max.), a short CV,

and a list of technological requirements (overhead, powerpoint, etc).

All proposals must be submitted by 1 April, 2014 to e.wennekes [AT] uu.nl

Program committee: James Deaville (Carleton University, Ottawa, Canada), Laurence Le Diagon-Jacquin (Université de Rennes 2, Université de Bourgogne), Michael Saffle (Virginia Tech, Blacksburg), Emile Wennekes (Utrecht University).

 

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Background Information: International Conferences IMS Study Group MaM

MaM (Music & Media) was initiated by Emile Wennekes at the request of the Board of the International Musicological Society and launched in 2009 as an interdisciplinary and multidisciplinary forum. MaM welcomes a broad variety of subjects, methodologies and perspectives. MaM organizes an annual conference; each edition is developed in close cooperation with local initiatives.

The IMS Study Group MaM (Music and Media) seeks to examine and explore
diverse aspects relevant to the theme of ‘mediatizing music’.

Music plays an important role in media, both in old and certainly in new media: commercials, games, films, ring tones and the like.
The other way around, media play an increasing role in music. They have changed the compositional process and characteristics of style; media severely influences performances, composing techniques, the way of recording and visualizing music.

What are the theoretical and philosophical consequences of mediatized music?

What are the economics behind these processes of mediatization?

What role does the process of ‘remediation’(Bolter & Grusin, 2000), from LP to MP3 and 4, play?

How has mediatization influenced performance practice, what was the ‘phonograph effect?’ (Katz, 1999).

What do processes of mediatizing music mean in terms of ‘liveness’ (Auslander, 1999), ‘animated liveness’ (Wennekes, 2009) and/or ‘immersion’ (Grau, 2003)?

This site will publish the Calls for Papers, Preliminary and Final Programs of the MaM conferences. See also the group established via LinkedIN.

***
-Auslander, Philip, Liveness: Performance in a mediatized culture. (New York: Routledge, 1999).
-Bolter, Jay David & Grusin, Richard, Remediating: Understanding New Media (Cambridge: MIT Press 2000).
-Grau, Oliver, Virtual art: From Illusion to Immersion. (Cambridge: MIT Press, 2003)
-Katz, Mark, The Phonograph Effect: The Influence of Recording on Listener, Performer, Composer, 1900-1940. PhD Thesis University of Michigan, 1999.
-Wennekes, Emile, ‘Brief encounters of a third kind: First Life live concerts in Second Life concert venues’. In: Thea Brejzek, Wolfgang Greisenegger and Lawrence Wallen (eds.), Monitoring Scenography 2: Space and Truth / Raum und Wahrheit. Institute for Design and Technology (idt) Zurich: Zurich University of the Arts, October 2009.