-- Explore Philosophical Topics --
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
| Major & Popular Topics | Academic Resources | Writing

-- Explore the Philosophers --
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
| Major Philosophers | Women in Philosophy |

-- Search for Books in Philosophy --

-- Calls for papers in Philosophy --
| Jan | Feb | Mar | Apr | May | Jun | Jul | Aug | Sep | Oct | Nov | Dec |
| Ongoing | Archives | Search | Submit a CFP |

Conference & Publication Calls for Papers

Call For Papers
 

Music: Parts and Labor

Deadline: January 15, 2012

call for papers

c o n f e r e n c e considerations


In 360 B.C., Plato writes on the proper usage of certain melodies for specific types of music to maintain an orderly public.  In 1717, the first singing school is established in Boston, Massachusetts. In 1962, a composer puts his pencil to paper and sketches the first verse of a corrido that will mobilize farm workers in California. A stagehand lugs a speaker into place in preparation for an evening concert. On a Sunday in the West Sepik Province of Papau New Guinea, a pastor rings a bell, calling the Urapim community to church. An American anthropologist notes that prayers and Christian hymns follow. In 1913, Stravinsky’s The Rite of Spring premieres in Paris and prompts a riot. In 2011, an agent files a copyright for a new song, and just days later, a teenager illegally uploads an MP3 of the song from her apartment in New York City. Headphones on, she filters the sounds outside of feet stomping, hands clapping, and voices soaring in rhythmic protest. Through historical processes and transregional mobilities, people invest energy in particular practices and spaces in what becomes coded and exchanged globally as the “musical work” or a “musical object.”


The constitution of a musical work is a topic of much historical debate in musicological, philosophical, and legal discourses. Music: Parts and Labor is an interdisciplinary conference that aims to interrogate what is at stake in challenging or maintaining certain conceptualizations of the musical work by dismantling it, examining the parts (e.g. intellectual, material) and labor (e.g. intellectual, material) constitutive of its being. We ask how thinking through the labor of the musical work itself, as a part of larger corporeal, cultural, and economic systems provides unique insight into these often intertwined networks and, in turn, music’s efficacy and functionality. Scholars working within the Western Marxist tradition have broadened the associations of labor as well as the labor theory of value from their initial associations with the working class thereby allowing them to span across age, race, gender, and class lines. We encourage dialogue on both the applicability of these concepts in global scope and local scale and also explorations of alternative models that address similar generative and organizational mechanisms and spaces. We warmly invite scholars from across all disciplines to submit abstracts that consider how investigating the parts and labor of the musical work, and the musical work as parts and labor, allows us to understand these contested objects as dynamic and vital to the contested spaces of personal lives and global economies that define and are defined by them.



t o p i c s to consider


* Practices of musical inscription: notational, phonographic, pedagogical, discursive

* Forms of embodiment: practice, rehearsal, performance

* Structures of and structured listening

* Economies of affect, emotion, and desire

* Economies of production: producers, promoters, publicists

* Analyses of musical places

* Music and labor movements

* Immaterial labor and the emerging creative industries

* Codification of “music” in the field



submissions


Submissions should be e-mailed to Jessica Schwartz (jessica.a.schwartz at gmail.com) no later than January 15, 2012. Please attach the following two documents (.doc or .pdf form):

  1. A 250-word abstract with the title of the paper. The abstract itself should be anonymous.

  2. A cover letter that should include your name, the title of your paper, your affiliation, contact information (e-mail and phone), and brief bio of no more than 200 words.

Erratic Impact is not responsibile for the content or accuracy of any CFP information.

Home Search for Philosophy Resources Find Philosophy Books Find Music Resources Contact Erratic Impact | Site Map | Search | About | Add Content | Privacy | Terms of Use | Contact |
© 1999 - 2011 Danne Polk / Erratic Impact -- Photography © Robert J. Callaghan