Time Tells: Temporal Excavations in Film, Theatre and Television

JAM (Journeys Across Media) 2012 is celebrating its 10^th anniversary with the theme of time. The conference seeks to address issues of time in film, theatre, television, and more widely in performance, media and art, and initiate discussions about the temporal across disciplines, practices and fields of research.

Modernity has often been perceived through ever more urgent temporal demands; modern technologies and art forms (film, television, video) have also been examined as time-based media. Film has been discussed as an imprint of time itself. Debates around representations of time, organisation of time in film, the experience of film time, or film as an archival entity have been only a few of the approaches to the rich investigations of cinematic time.

The most prominent link between time and television is that of ‘liveness’, which highlights the contemporaneous nature of some broadcast television.  This is heightened when the broadcast is for a special occasion (i.e. a Royal Wedding or Charity Event) and the notion of sharing a ‘television moment’.  Although an under-researched area, television and memory rely on understanding the role that time plays within this relationship.  Explorations of the impact ‘represented time’ and ‘real time’ have on the structure and identity of fiction television programming, have also been central.

As with screen media, in theatre, the physical presence of time on stage, the endurance of performer and spectator,consideration of the aesthetics of duration in discussing time-based and durational modes of performance, and time as a framing device for a performance are only some of the areas of focus when discussing the temporal. In addition, time is vitally important in the construction of gestural narratives.  Concepts like instantaneity, rhythm, repetition or duration are very important and crossover into Deaf and disability performance practices.

This is a call for postgraduates engaging in contemporary discourses around time to submit papers for the JAM 2012conference; topics may include, but are not restricted to:

Perception of time

Time and memory

Spatialisation of time/Time-Space

Cinematic time

Time and technology

Time and New Media

The archive

Revivals, Anniversary Productions, Retrospectives and Re-enactments

Sequels, Series and Recurring Characters

The Evolution of the Spectator in Time

Endurance Art

Debates on Ephemerality within performance

Life-as-art

The experience and performance of Duration

Time-based performance

Timelessness

Journeys Across Media (JAM) 2012 is the 10th annual international conference for postgraduate students, organized by postgraduates working in the Department of Film, Theatre & Television at the University of Reading. It provides a discussion forum for current and developing research in film, theatre, television and new media. Previous delegates have welcomed this opportunity to gain experience of presenting their work at different stages of development in one of the most established postgraduate conferences in the country, and within the active, friendly and supportive research environment of the Film, Theatre & Television department at the University of Reading.

Non-presenting delegates are also very welcome to the conference.

CALL FOR PAPERS deadline: Friday 3^rd February 2012

Please send a 250-word abstract for a fifteen-minute paper and a 50-word biographical note to Tonia Kazakopoulou, Johnmichael Rossi, Simon Floodgate, Edina Husanovic, Deborah Marman-Ngome and Martin O’Brien at jam2012@reading.ac.uk.  Proposals for practice-as-research presentations/performances are warmly invited; these have to conform to the 15-minute format.

A limited number of travel bursaries may be available for the JAM Conference 2012, offered by the Film, Theatre and Television Department at the University of Reading; please fill in the relevant section on the registration form if you wish to apply. For further details and registration forms please visit the conference website:http://www.reading.ac.uk/ftt/pg-research/ftt-pgrjam.aspx

Journeys Across Media is supported by the Department of Film, Theatre & Television at Reading, the Standing Conference of University Drama Departments (SCUDD) and the Graduate School, University of Reading.

3rd Annual Meeting of the SongArt Performance Research Group, in association with the Institute of Musical Research, London:

2012 Theme: “Lyric Song in Idea and Performance”

Venue: Chancellor’s Hall, Senate House, University of London

Date:   Thursday, 21 June, 2012

Keynote Speaker: Professor Amanda Glauert (Royal College of Music)

The SongArt Performance Research Group warmly invites proposals for papers, lecture-recitals, and collaborative workshops for our 3rd Annual Meeting, which in 2012 will take the form of a single-day workshop exploring the theme “Lyric Song in Idea and Performance”.

The workshop offers an excellent opportunity for collaboration, and for the exchange of ideas between practitioners and theorists of song performance, literature, philosophy, theatre, composition, musicology and related disciplines. The workshop will feature traditional papers, combining these with alternate format sessions that will showcase performers and explore the articulation of the lyric in performance.

Research Question: What is the lyric and how do we make it?

Although the idea of the lyric presupposes poetry reaching out to music and music reaching out to poetry, the actual point of lyric intersection between the arts can remain remarkably elusive.   Herder defined the lyric as preparing for the moment when we hear the poet’s ‘I sing’; a lyric must be made and tested through actions of performance and response.  Unlike with the drama and the epic, it is hard to lay out the lyric’s generic traits in advance, except perhaps to indicate how it is neither of those two other modes of communication.  How then can we make a lyric, or know when it has been made?  What models can be found and how might these illuminate the essential art of lyric song performance?

This workshop aims to offer a platform for setting out and testing definitions of the lyric, through discussion of practical models from performers and composers (past and present), and through exploration of their implications for our idea of the lyric as a genre.

The SongArt Performance Research Group

The SongArt Performance Research Group (www.songart.co.uk) is a research arm of the Institute of Musical Research in the School of Advanced Study, University of London. Our group brings together practitioners and theorists of song performance, poetry, theatre, musicology and philosophy with a view to gaining new insights into the practice and ontology of song performance that will be relevant across disciplines.

Our associate musicians, poets, actors, composers, performance studies researchers and academics collaborate on a range of independent but related performance research projects, which are linked by our commitment to three core priorities:  1. to gain a fuller understanding of “lyric” potential of poetry in performance and its connection to effective song creation for performers; 2. to study the experience of live song performance in concert with a view to identifying key attributes of the interior of the performative act for research and pedagogical purposes; and 3. to investigate the “Art,” or the “making,” of songs in concert by poets, composers, performers and audiences as a potentially joint enterprise.

Guidelines for Proposals

Proposals (maximum 500 words) are invited for papers (20 minutes), lecture-recitals (30 minutes) and collaborative workshop sessions (45)

Please include a short biography (maximum 200 words) for each presenter.

Please submit proposals via email as a Word document attachment to: postbox@songart.co.uk

Please address any enquiries to Dr Kathryn Whitney at: mail@kathrynwhitney.net

The deadline for receipt of proposals is 1 March, 2012.

We regret that we cannot cover expenses of invited speakers and performers.

Further information:

The SongArt Performance Research Group: www.songart.co.uk

Institute of Musical Research: www.music.sas.ac.uk

Martin Harris Centre, University of Manchester

CALL for PAPERS:

Beethoven has been an iconic figure of Western culture since the 19^th century, and continues to be the focus of research across a wide range of academic disciplines. The aim of this three-day conference is to bring together postgraduates and scholars to explore recent Beethoven research in all fields of study. The conference is hosted with support from the Institute of Musical Research, and will involve collaboration with the Royal Northern College of Music.

Proposals are invited for papers or lecture recitals on any topic about Beethoven; papers relating to any of the following themes would be particularly welcomed:

• Musical culture in the year 1812
• Beethoven as a 19th-century cultural figure
• The creative process (sketches and revisions)
• Performing Beethoven
• Translation of Beethoven documents

Each paper will be limited to 20 minutes, followed by 10 minutes of discussion and questions. Proposals for 50-minute papers will also be considered. Proposed lecture recitals can be either 20 minutes or 50 minutes.

Proposals should be limited to 250 words, and should be emailed to manchesterbeethoven@gmail.com. Please also direct any enquiries to this address. Proposals will be accepted until 29 February 2012. Successful applicants will be informed by 16 March 2012.

Programme Committee: Barry Cooper, Erica Buurman, Siân Derry and Matthew Pilcher.

Thursday 12 January 2012
Physiological approach to instrumental technique and early pedagogy: is there any compatibility?
Laurent Boullet

While physiological approaches to professional instrumental playing are more and more common, the question still remains mostly unanswered: how much of those principles may we explain to young kids starting to learn an instrument? This lecture will give some concrete examples on how to combine intuitive instrumental pedagogy for kids and basic physiological principles that may serve for life.

Thursday 19 January 2012
Studying recent trends and individual differences in recorded performances of J.S. Bach’s solo violin works
Dorrotya Fabian

Analysis of 30 recordings is presented. The influence of Historically Informed Performance (HIP) style is acknowledged but the evidence underlines an increasing plurality and individuality, especially in ornamentation.

Thursday 2 February 2012
Current issues in one-to-one tuition: the learning environment and the relationship
Helena Gaunt

One-to-one tuition lies at the heart of conservatoire education. This presentation draws on recent research to consider critical questions for contemporary practice.

Thursday 1 March 2012
Musical beauty and imagination
David Hargreaves

Musical beauty, and how we experience it, will be considered from some cognitive, social psychological and neuroscientific points of view.

Thursday 15 March 2012
Does music make people feel better?
Gunter Kreutz

Research suggests that playing music may have positive health implications. Some findings and consequences to professional musicianship will be discussed.

In association with the RCM Centre for Performance Science www.rcm.ac.uk/cps

14-15 September 2012, Institute of Education, London

Keynote Speakers:

Professor Johan Sundberg (KTH, Stockholm), Professor Liora Bresler (University of Illinois, USA)

The SEMPRE 40th Anniversary Conference will be hosted by the Institute of Education, London (UK) from 14–15 September 2012. The event will present leading international research and will also be a celebration of SEMPRE’s activities and achievements over the past 40 years. In order to reflect the celebratory nature of the conference, it will include a range of special sessions bringing together distinguished members of the Society as well as other eminent researchers, enabling discussion of the challenges and opportunities for future work. It will feature keynote presentations as well as addresses and roundtable panels by distinguished members of the Society, including current and former Chairs and Journal Editors: Professor Graham Welch, Dr Desmond Sergeant, Professors Raymond MacDonald, Susan Hallam, Jane Davidson, David Hargreaves, John Sloboda, Margaret Barrett, Gary McPherson and other distinguished colleagues, including Professor Alf Gabrielsson (SEMPRE Lifetime Achiever), Professor John Baily (SEMPRE Ambassador for Afghanistan), Dr Charles Plummeridge and Dr Gordon Cox. The event will afford opportunities for small-group discussion, while postgraduate students will be given the opportunity to sign up for individual tutorial sessions with established scholars from the Society. The Conference Dinner (Friday evening) will take place at The Russell Hotel and it will include the launch of Special Issues of the Society’s journals Psychology of Music and Research Studies in Music Education as well as enable scholars to meet with publishing representatives at SAGE. The conference will also include comprehensive displays of material associated with the Society by SAGE (journals) and ASHGATE (SEMPRE book series).

Proposals are invited on any aspect of music psychology and education research in the following categories:

1)    Individual papers including presentations with a live performance element (up to 20 minutes in length);

2)    Research statements (up to 10 minutes in length);

3)    Research ‘rushes’ (2–5 minutes in length with no visual aids permitted);

4)    Poster presentations (size 1xA1, 2xA2 or 4xA3).

The deadline for submission of abstracts (maximum 200 words) is Friday 24 February 2012. All abstracts should clearly describe the topic of the presentation and, for individual papers and posters, should include the following information: background, research questions, aims, summary of content and significance. For papers incorporating live performance, proposers are expected to provide instrumentalists and repertoire. Research statements and ‘rushes’ are intended to enable individuals to present key elements and findings of recent projects or to address specific issues about research in the field. In all cases, a cover sheet should be supplied with the following information: name, postal and email address, institutional affiliation of proposer; type of submission (i.e. individual paper, research statement, research rush, poster presentation); AV requirements; and any other special requests for space/equipment. Please email abstracts and any other queries to the SEMPRE Conference Secretary, Dr Elaine King (E.C.King@hull.ac.uk). The conference programme will be released by the end of March 2012 and registration forms will be made available at the same time.

Conference Committee: Professor Graham Welch (Institute of Education, London), Dr Elaine King (University of Hull), Professor Raymond MacDonald (Glasgow Caledonian University), Professor Margaret Barrett (University of Queensland, Australia), Louise Skelding (SAGE publications)

Main Conference Venue: Roberts Building, Torrington Place, London WC1E 7JE

Conference Dinner: Hotel Russell, 1–8 Russell Square, Bloomsbury, London WC1B 5BE

Conference Access: those unable to attend the event in person will be able to read papers, engage in the debate and enjoy complimentary access to the SEMPRE journals (Psychology of Music and Research Studies in Music Education) via the conference webpage, to be hosted by SAGE.

FURTHER INFORMATION

Dr Elaine King (SEMPRE Conference Secretary) Senior Lecturer in Music, Department of Drama and Music, University of Hull HULL HU6 7RX

Tel: +44 1482 465627

Email: E.C.King@hull.ac.uk

http://www.sempre.org.uk/resources/sempre40th.pdf

The issue of musicians’ injuries has come to the fore in recent years, but the majority of studies have focused primarily on physical causes and effects. In this session, Helen Reid, professor of piano at the Guildhall School presents the findings of her recent research, considering the significant and wide-ranging psychological impact of injuries sustained by musicians. She draws on research from the world of sport, as well as the first-hand experience of professional musicians.

The presentation will be followed by a panel discussion:

Professor Aaron Williamon Professor of Performance Science, Royal College of Music (Chair)
Naomi Wayne Chief Executive, British Association for Performing Arts Medicine (BAPAM)
Dr Carol Chapman Chartered Psychologist
Dr Alison Long Study Skills & Disability Co-ordinator, Guildhall School
Nick Barwick Counsellor, Guildhall School

To book email: research@gsmd.ac.uk

For further information visit www.gsmd.ac.uk/research

The University of Sydney

New Sydney Law Building and Eastern Avenue Auditorium,

Eastern Avenue, off City Rd, Camperdown, 2006

Are you passionate about healthcare in the performing arts? Would you like to present your new research to a diverse and interested audience or give a workshop on a field or approach to performing arts healthcare?  Academics, healthcare professionals and performers alike are invited to present at this year’s conjoint conference for ASPAH and AVA.

This conference will be of interest to healthcare practitioners of all fields and performance psychologists as well as teachers, administrators, students and performers in all sectors of the performing arts.

Featuring a keynote speech from ASPAH patron, conductor Richard Gill covering his views on healthcare in the arts sector and what he sees to be ASPAH’s role.

Proposed Timetable: Friday 21st October: Registration from 5.00pm, with opening presentation, and guest lecture from Associate Professor Ralph Manchester MD.Saturday 22nd October: Academic paper presentations, guest lecture by Ron Morris and theAnnual General Meeting for ASPAH and AVA, followed by the Conference dinner.Sunday 23rd October: Morning and afternoon workshops.

SATURDAY CONFERENCE:

Papers (20 min duration) are invited on topics concerning clinical and educational research and practices that address issues of injury management and prevention or holistic healthcare education for those in the performing arts, including instrumentalists, vocalists, actors, dancers, circus and physical theatre practitioners.

Abstract submissions for academic paper presentations and workshops should be complete using the abstract template (found on the association’s website) and  emailed to the Conference Scientific Officer Samantha Warhurst: aspahconference2011@gmail.com by Friday 17th June 2011.

SUNDAY WORKSHOPS:

Workshop proposals (1 hour 30 min – 2 hours duration) are invited concerning clinical and educational practices that address issues of injury, prevention and holistic healthcare education for those in the performing arts, including instrumentalists, vocalists, actors, dancers, circus and physical theatre practitioners.

Please forward an abstract (250 words) of your proposal, as well as any space or equipment requirements. In addition, a brief biography must be attached outlining qualifications and past experience in relation to the workshop topic (50 – 100 words) to the ASPAH Conference Scientific Officer, Samantha Warhurst via aspahconference2011@gmail.com by Friday 17th June, 2011

Each submission will be reviewed anonymously by the 2011 ASPAH committee and conference committee according to its originality, importance, clarity, and research quality. Corresponding authors will be notified by email of the Committee’s decision within 4 weeks of submission.

CAREER DEVELOPMENT AWARDS:

A limited number of career development awards will be available to successful post-graduate applicants. This would be up to the value of $500 to contribute to travel and accommodation costs to attend the conference. All post-graduate applicants are asked to indicate their current student status when emailing their abstract submission.

For more details visit our website at www.aspah.org.au

Dear ANATS members

My name is Eleanor McPhee and I am a PhD candidate at the University of Western Sydney.

I am researching the ways in which young instrumental teachers can improve their teaching practice through informal and collaborative means. I am looking to recruit young (18-30 years old) instrumental/vocal teachers who are currently teaching a small number of students and would be interested in discussing their teaching issues with other instrumental/vocal teachers via a web forum. The web forum will run from March to November in 2011 and will be completely anonymous. Participation in this research is voluntary and the data gathered from this forum will form the basis of my PhD thesis.

The site address is: sharedconcernsstage2.com

My email is sharedconcerns@iinet.net.au

This study has the approval of the University of Western Sydney Human Research Ethics Committee. The approval number is: H8563

Thanks and Regards,

Eleanor McPhee

http://www.music.qub.ac.uk

The School of Music and Sonic Arts’ postgraduate community is one of the largest in the UK or Ireland (+ 50 students in 10/11) with students working on a range of musicological, creative practice and technical projects across the School.  The School boasts an excellent reputation for scholarship in musicology and composition and includes the renowned Sonic Arts Research Centre (SARC), one of the foremost establishments in the world for research and performance using new technology.

The School offers three MA programmes designed to develop students’ interests in the key areas of staff expertise. All programmes have a duration of 12 months and culminate in a large scale piece of work either as a portfolio (in composition, performance or sound art) or dissertation.

The weekly seminar and concert series in the School, the Centre for Eighteenth-Century Studies and the PhD forum at SARC offer a stimulating and supportive research environment. For further information on the programmes, including examples of student work and details on how to apply please visit http://www.music.qub.ac.uk/ProspectiveStudents/TaughtPostgraduateProgrammes/

The MA in Composition is a specialist programme designed to provide intensive training for professional composers.  There are five core modules, including Composition Skills, focused on developing core skills essential to the practising composer both with regard to professional work and to progression to doctoral composition, and the double Portfolio module, where students have the opportunity to produce a portfolio of works within a particular area of practice which must contain at least one element of substantial scale and ambition.

The programme also features compulsory modules in the critical analysis of the work of twentieth century and contemporary composers, providing a thorough experience and understanding of the contemporary compositional idiom.  Students can choose one optional module from the wide range available on other MA programmes.

Contact: Martin Dowling <m.dowling@qub.ac.uk>

The MA in Music offers the opportunity to explore a wide variety of research fields including Irish Music, Renaissance Studies, Eighteenth-Century Studies, Opera Studies, Performance and Manuscript Studies. All students take a compulsory Research Methods module, which provides a solid introduction to methodologies in a range of these specialist areas, and a Dissertation double module giving students the opportunity to conduct research at a professional level.

There is also a wide range of optional modules, including an Arts Administration module featuring work placement and strategy research with local arts organisations.  Students may take a module from  other MA programmes and can also design their own Independent Study in areas not covered by the specialisms listed above.

Contact: Martin Dowling <m.dowling@qub.ac.uk>

The MA in Sonic Arts has been designed to extend the core skills of the student and to give opportunities to acquire new interdisciplinary skills in a range of cognate areas. The programme enables students to gain experience in both technical and creative disciplines within the fields of Sonic Arts and Music Technology and  to develop an in-depth knowledge and understanding of music, audio and associated sound technologies as well as research methods.

All students take the compulsory Sonic Arts module and choose three further taught modules from a variety of options.  These include Project Studio, which gives students the opportunity to reflect on and advance their own creative practice in the context of a design studio environment; Interaction Design, which provides an introduction to the analysis and design of the human-computer interface focusing on applications of the interface in the creative arts; Composition; Performance; Computational Acoustics and Spatial Audio, which  integrates aspects of perception, digital signal processing and applied audio.

Contact: Stephanie Bertet <s.bertet@qub.ac.uk>

Funding Opportunities

There are a limited number of scholarships available for students wishing to undertake an MA within the School of Music and Sonic Arts for the 2011-12 academic year and there are also four bursaries valued at £3,400 each.  If you wish to be considered for these awards, please ensure that your application is received no later than 31 May 2011.

In addition, Queen’s has recently announced details of international scholarships for MA applicants with unconditional offers: for further information, visit http://www.qub.ac.uk/home/ProspectiveStudents/InternationalStudents/InternationalPostgraduate/InternationalPostgraduateTaughtScholarships2011/

Further information on funding, samples of student work and details of how to apply is available on the School website: http://www.mu.qub.ac.uk/ProspectiveStudents/TaughtPostgraduateProgrammes/

For further information and details of how to apply, please go to:

http://www.music.ox.ac.uk/people/vacancies/mellon-postdoctoral-fellowship-in-psyofmus.html

Closing date for applications is March 23rd

Applications and references to be sent to the Faculty Administrator and Board Secretary, Faculty of Music, St Aldate’s, Oxford OX1 1DB (administrator@music.ox.ac.uk) no later than 23 March 2011.