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Call for Proposals: IASPM-Canada 2017 Annual Conference // Appel à contributions: colloque annuel 2017 IASPM-Canada

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“Une place dans le monde”: Musique et appartenance / Canada 150

Colloque annuel de l’IASPM-Canada

University of Toronto, Toronto, Canada

25-27 mai 2017

Date limite pour soumettre une proposition: 30 novembre 2016

Dans un club queer, une manifestation de Black Lives Matter ou de Idle No More, au concert d'”adieu” des Tragically Hip au mois d’aout dernier, dans le contexte de la Confédération canadienne ou ailleurs, la musique est un puissant moyen par lequel les participants et participantes peuvent manifester un sentiment d’appartenance.  Bien entendu, comme le démontrent le Brexit, la crise des réfugiés et réfugiées syriens, les célébrations entourant le 150e anniversaire du Canada (identifié par la marque “Canada 150”) et l’activisme au nom des femmes autochtones assassinées ou disparues, toute manifestation d’appartenance entraine avec elle un ensemble de luttes concernant qui est inclus et exclus, quelles voix et quelles expériences importent. La musique fait partie intégrante de ces processus d’inclusion et d’exclusion.

2017 marque le 150e anniversaire de la confédération au Canada, le thème “Musique et appartenance” résonne donc de manière particulière.  Bien que nous ne souhaitions pas limiter la portée du colloque aux questions liées à cet anniversaire, il nous parait particulièrement opportun pour troubler et pour interroger les thèmes de l’identité nationale et de l’appartenance. La constitution même du Canada est fondée sur d’importants débats à propos de l’appartenance au sein desquels la musique a souvent été la forme esthétique centrale (par exemple, la cantate 1868 de Jean-Baptiste Labelle, La Confédération, qui célébrait l’union et les airs traditionnels (folksongs) tel que The Anti-Confederation Song qui articulaient certaines des angoisses que soulevait la formation d’une nation).  Plus récemment, la musique au Canada s’est révélée un puissant moyen par lequel des participants et participantes ont pu manifester un sentiment d’appartenance, que ce soit à un groupe d’affinités, à un mouvement politique ou à une nation.

Notre thème encourage les participants et participantes à explorer les questions d’appartenance musicale dans une grande variété de contextes.  Comment la musique donne-t-elle forme à l’appartenance nationale, particulièrement au Canada, une nation de peuplement colonial avec des politiques raciales et linguistiques complexes, ainsi qu’une industrie musicale façonnée par des forces multinationales?  Comment la musique donne-t-elle forme à des communautés et des contrepublics sur les planchers de danse, dans les salles de concerts et sur le parcours des défilés?  Comment les archives et les méthodes informent-elles le sens que nous avons des musiques qui importent? Comment les performances et les politiques musicales tracent-elles des frontières autour de l’humain et entre les gens?

Notre questionnement de la musique et de l’appartenance résonne avec ce que cela signifie d’effectuer des études sur la musique au Canada dans le contexte du colloque conjoint de la section canadienne de l’Association internationale pour les études en musique populaire (IASPM-Canada), de la Canadian University Music Society (MusCan) et de la Canadian Association of Music Librairians, Arhives and Documentation Centers (CAML), qui se tiendra du 25 au 27 mai à la University of Toronto.  Chaque organisation développera son propre programme mais elles seront réunies pour certains panels et plénières afin de poser des questions sur le thème central de l’appartenance. Nous collaborons aussi avec la section nord-américaine de PoP Moves (“Performances of the Popular“), un groupe de recherche international qui s’intéresse à la danse populaire, et encourageons donc les communications qui explorent les rapports entre la musique, la danse et l’appartenance dans la culture populaire.

Nous encourageons les questionnements concernant les méthodologies et les méthodes musicales dans leurs liens avec le thème de l’appartenance, ainsi que les approches mettant à profit des pratiques de recherche ethnographiques, archivistiques, textuelles et d’autres type d’analyse et d’investigation critiques.   De plus, considérant le Black Lives Matter Toronto et le Toronto Pride comme évènements récents encourageant les débats sur l’appartenance et l’activisme, nous invitons les propositions de communication qui relient le travail académique aux espaces publics et à l’engagement avec différentes communautés.

Puisqu’il s’agit de la conférence annuelle de IASPM-Canada, nous encourageons aussi les propositions de communication sur tout sujet lié à la musique populaire et espérons être en mesure d’inclure la plus vaste gamme possible d’études présentes dans le champ.

Parmi les sujets pouvant faire l’objet de communications et de panels:

  • Les sons de l’appartenance
  • Les contextes législatifs: droits d’auteur, Contenu Canadien (CanCon), propriété collective et les tribunaux
  • Enregistrement musical, production et histoire culturelle
  • Musique populaire et danse: corps sur le plancher de danse
  • Fandom et communautés musicales
  • Politiques de genre, ethnicité et nationalité (incluant “Le Grand Nord”)
  • Musique “live”! Musique et danse dans les salles de spectacles, les festivals et les scènes locales et transnationales
  • Musique et “silence”: l’absence de musique ou de types de musique ou les différentes exclusions de voix marginalisées
  • Matérialité, valeur et appartenance: musées, archives et collections

La longueur des résumés de communications, d’ateliers, de performances et d’autres types de présentations ne doit pas dépasser 300 mots. Les propositions de panels  doivent inclure un titre et un résumé du panel (300 mots max.) ainsi que les titres et résumés des communications qu’il regroupera. Les résumés de toutes les présentations d’un même panel doivent être soumis ensemble. Les résumés seront jugés individuellement, il est possible qu’un panel soit accepté mais qu’une des communications individuelles soit refusée.

Chaque résumé doit aussi comporter une courte biographie de l’auteur ou de l’auteure (100 mots max.), incluant son affiliation institutionnelle et son adresse courriel.  Chaque résumé doit aussi inclure 5 mots clés.

Les résumés peuvent être soumis en français ou en anglais. Toutes les propositions doivent être soumises  sous la forme d’un unique document Word et porter le nom de famille de l’auteur ou de l’auteure comme nom de fichier.  Ne pas soumettre de proposition sous la forme d’un fichier PDF.

Les propositions feront l’objet d’une évaluation à l’aveugle.  Le comité de programmation du colloque est composé de :

  • Mary Fogarty (présidente)
  • Christina Baade
  • Kate Galloway
  • Eric Hung
  • Maria Murphy
  • Mei-Ra St-Laurent

Les communications individuelles seront d’une durée maximale de 20 minutes et seront suivies d’une période de questions de 10 minutes. Les autres présentations seront d’une durée maximale de 60 minutes. Tous les participants et participantes doivent être membres de IASPM-Canada.  Les informations sur l’adhésion sont disponibles sur le site web suivant: http://iasom-ca/membership

Pour toute question concernant le colloque, n’hésitez pas à contacter la présidente du comité de programmation, Mary Fogarty (maryf(at)yorku.ca) ou la responsable du comité local d’organisation, Robin Elliott (robin(dot))elliott(at)utoronto.ca)

La date limite pour soumettre une proposition : 30 novembre 2016

Faire parvenir vos propositions à: iaspmcanada2017(at)gmail.com

 

“A Place in This World”: Music and Belonging / Canada 150

IASPM-Canada Annual Conference

University of Toronto, Toronto, Canada

May 25-27, 2017

Deadline for abstracts: November 30, 2016

In a queer dance club, a Black Lives Matter or Idle No More protest, at the Tragically Hip’s “farewell” concert this past August, in the context of Canadian confederation or elsewhere, music is a powerful means through which participants can enact a sense of belonging. Of course, as demonstrated by Brexit, the Syrian refugee crisis, celebrations of Canada’s 150th birthday (branded as “Canada 150”), and activism on behalf of murdered and missing indigenous women, any enactment of belonging also carries with it a series of struggles over who is included and excluded, over whose voice and experiences matter. Music is integral to these processes of inclusion and exclusion.

2017 marks the 150th year of confederation in Canada and thus the theme “Music and Belonging” is particularly resonant.  While we do not wish to limit the scope of the conference to issues related to this anniversary, it does seem timely to trouble and interrogate themes of national identity and belonging. The very constitution of Canada is predicated on important debates of belonging where music was often the central aesthetic form (for example Jean-Baptiste Labelle’s 1868 Cantate: La Confédération celebrated the union, while folksongs like “The Anti-Confederation Song,” from 1869, articulated some of the anxieties around forming a nation). More recently, music in Canada has provided a powerful means through which participants can enact a sense of belonging, whether to an affinity group, a political movement, or a nation.

Our theme encourages participants to explore questions of musical belonging in a wide range of contexts. How does music shape national belonging, particularly in Canada, a settler colonial nation with complex racial and language politics, as well as a music industry shaped by multinational forces? How does music shape communities and counterpublics on dance floors, concert venues, and parade routes? How do archives and methods shape our sense of what music matters? How does musical performance and policy draw boundaries around the human and between people?

Our questioning of music and belonging resonates with what it means to carry out music scholarship in Canada in the context of a joint meeting between the International Association for the Study of Popular Music – Canada Chapter (IASPM), the Canadian Society for Traditional Music (CSTM), the Canadian University Music Society (MusCan) and the Canadian Association of Music Librarians, Archives and Documentation Centers (CAML), May 25-27 at the University of Toronto. Each organization will develop its own program, but we will come together for some panels and plenaries to ask questions around the central theme of belonging. We are also collaborating with the North American chapter of PoP Moves (“Performances of the Popular”), an international research group that focuses on popular dance, and so we encourage papers exploring the relationship between music, dance and belonging in popular culture.

We encourage questions of musical methods and methodologies as they relate to the themes of belonging, and research approaches working across diverse practices of ethnography, archival studies, textual analysis, and other types of analysis and critical investigation. Also, with Black Lives Matter Toronto and Toronto Pride as recent events encouraging debates over belonging and activism, we encourage papers that relate academic work to public spaces and engagement with diverse communities.

As this is our annual conference for IASPM-Canada, we also encourage proposals of any popular music topic, and we hope to include the widest array of scholarship in the field as possible.

Possible paper and panel topics might include:

  • Sounds of belonging
  • Legal contexts: copyright, CanCon, communal ownership, and the courts
  • Music recording, production and cultural history
  • Popular music and dance: bodies on the dance floor
  • Fandom and musical communities
  • Politics of gender, ethnicity, and nationality (including “The Great White North”)
  • Live music! Dance and music in venues, festivals, local and transnational scenes
  • Music and ‘silence’: the absence of music or types of music, or various exclusions of marginalized voices
  • Materiality, value and belonging: museums, archives, collections

Abstracts of individual papers, workshops, performances and other presentations should be no longer than 300 words. Panel submissions should include a title and abstract for the panel (300 word max.) as well as titles and abstracts for the individual papers on the panel. All abstracts for a panel should be submitted together. Abstracts will be adjudicated individually so it is possible for a panel to be accepted but not an individual paper.

Each abstract should also include a short biography of the author (100 words max.) including the institutional affiliation and email address of each author. Each abstract should also include five keywords.

Submissions in French and English are acceptable. All submissions must be submitted as a single Word document with the author’s last name as the document file name. Do not submit your proposal as a PDF File.

Proposals will be blind reviewed. The program committee consists of:

  • Mary Fogarty (Chair)
  • Christina Baade
  • Kate Galloway
  • Eric Hung
  • Maria Murphy
  • Mei-Ra St-Laurent

Papers will be limited to 20 minutes followed by 10 minutes of questions. Other presentations will be limited to 60 minutes. All participants must be members of IASPM-Canada. Membership information is available on the following website: http://iaspm-ca/membership.

For questions about the conference, contact program chair, Mary Fogarty (maryf (at) yorku.ca), or local organizing chair, Robin Elliott (robin (dot) elliott (at) utoronto.ca).

Submission deadline:  November 30th 2016

Send submissions to: iaspmcanada2017 (at) gmail.com

Islands of Resistance – Andrea Langlois, Ron Sakolsky, and Marian van der Zon

Langlois, Andrea, Ron Sakolsky, Marian van der Zon. Islands of Resistance: Pirate Radio in Canada. Vancouver: New Star Books, 2010.

While only recently have we heard the major networks broadcast warnings of rising sea levels, since radio’s invention certain Canadians have been concerned by the increasingly centralized medium and its commercial flooding of the airwaves. Occasionally alone, frequently in teams and always illegally, these activists are islands of resistance within the ocean of homogenous frequencies, pirating radio signals for personal, political and artistic expression.

More information here.

CFP – Historiography: Writing about Music in Canada – June 2, 2010

Regina, SK June 2, 2010

One day prior to the “Spaces of Violence, Sites of Resistance: Music, Media and Performance” conference on Wednesday, June 2nd there will be a symposium on “Historiography: Writing About Music in Canada” held at the University of Regina.

The co-organizers of this symposium, Dr. Mary Ingraham and Dr. Dylan Robinson, would like to invite you to join us here at the University of Regina. The CFP and description of the symposium are below.

Please feel free to contact Mary (mary.ingraham (at) ualberta (dot) ca) or Dylan (dylan.robinson (at) utoronto (dot) ca) if you have any questions about the CFP, a proposal for presentation, or suggestions for readings on the topic.

If you plan to attend the symposium on June 2nd please contact the IMP Labs (IMPLabs (at) uregina (dot) ca) and let us know.

Il y aura un symposium à l’université de Regina la journée précédant la conférence « Espace de Violence, Sites de Résistance : Musique, Média et Performance », le mercredi 2 juin 2010.

Les co-organisateurs, Dr. Mary Ingraham et Dr. Dylan Robinson, voudraient vous invitez a participer au symposium. Toutes les informations sont en dessous.

N’hésitez pas à contacter Mary ou Dylan si vous avez des questions, commentaires ou suggestions.

Si vous planifiez de participer a ce symposium, s’il vous plait nous contacter pour nous faire savoir (IMP.Labs (at) uregina (dot) ca)

Submission Deadline: April 30, 2010

After a successful and invigorating first meeting of the Interdisciplinary Perspectives on Music in Canada working group in August 2009 at the University of Toronto, we are pleased to announce a second meeting on June 2 in Regina in conjunction with CUMS, IASPM Canada, and the CSTM. We welcome new members to this working group from all of the associations that will meet in Regina, as well as from scholars whose work addresses music in Canada from interdisciplinary perspectives.

Our meeting in Regina will focus on the Historiography of Music in Canada. As part of this meeting we will again welcome participants working in all genres of music and sound practices in Canada. This meeting will provide an opportunity for us to re-examine how ‘Canadian Music’ and Music in Canada have been alternately mythologized and narrated, as well as the ways in which we might further develop our writing on such musical practices. For this meeting we will adopt a format that allows for a 2-hour discussion of reading(s) on Historiography (TBA) that we will apply to the study of music in Canada. We welcome participants’ suggestions for reading(s). The morning session will be followed by two plenaries, each including two 30-minute presentations. Each presentation will be followed by a 10-minute respondent, and a 30-minute discussion of the presentation.

Please send your proposals for plenary papers, expressions of interest for acting as a respondent, and general expressions of interest in participating in this working group to both Mary Ingraham (mary.ingraham@ualberta.ca) and Dylan Robinson (dylan.robinson (at) utoronto (dot) ca) by April 30, 2010.

The following provides a list of questions of potential interest to participants of this upcoming working group meeting in Regina. Many of these questions have been drawn from our initial discussions on Historiography and Epistemology during the 2009 meeting in Toronto. We are interested both to build upon these ideas, and to explore a wider range of perspectives not included in the list below.

  • Canadian music history has traditionally been written in relation to the unifying thematic narratives of the Canadian landscape, as well as through concepts of diversity and multiculturalism. To what degree are these unifying narratives still of use? Does their unity ultimately misrepresent musical practices across Canada? Do such narratives act as nation-building structures in themselves, and if so, how might we interrogate the nation-building processes such historicization represents?
  • How do we bring other voices into the types of stories we tell about Canadian music? What modes of writing offer space for such voices to participate without subjugating them?
  • To what extent does our writing intervene in the way knowledge is constructed in the multiple fields and publics in which it participates? How might we further explore models of ‘applied musicology’ or entertain more activist modes of engagement between the writing we do and those audience members and musicians who are present in the music practices we write about and the readers to whom we are directing our writing?
  • What more synchronous modes of discourse between writing voice and subject matter might be of use in writing the histories of Canadian music?
  • Who are the agents of history and should we care about how they relate to music. What images might we define that allow us to rethink the relationships of past, present, and future? What new shapes of history might better reflect the musical communities and practices in Canada that we study?
  • How in general might we take greater risks in our writing? How might we better engage our audience through a more creative association with the particular musics we write about?
  • There has been a striking reluctance to be critical of musical practices in Canada, as scholars on Canadian music have felt the need first to advocate for the value of the music under examination. It has been noted that “musicologists, more often perhaps than social scientists or even literary critics, have sometimes played the role of publicity officer for specific composers, musical traditions, or regions.” (Diamond) How might we expand our writing toward productive critique of Canadian musical practices?
  • How might we explore the further reaches of the ways in which the musics of Canada affect us in both affirmative and critical aspects? Should we, as suggested by Ellie Hisama, cultivate a “musicology of the repulsive,” that is, a musicology that expresses our concerns regarding “music that we don’t care for [and] of music that we find dull, inept, or downright repulsive, [or] of music that we understand to negate, devalue, and disrespect who we are … ”. How might we develop alternative modes for discussing our attraction to particular works and practices as advocated by Suzanne Cusick and Marion Guck? (to name only two). How might we approach these while avoiding the pitfalls of becoming arbitrators of musical taste?
  • How, in our writing, do we situate ourselves when telling of the embodied listening practices we engage in as members (or observers) of musical communities in Canada?