-----Original Message----- From: Dominic McIver Lopes <[email protected]> To: news <[email protected]> Sent: Tue, Oct 21, 2014 2:50 pm Subject: [AE] Fwd: CFP Reminder: Tracking the Creative Process in Music
Begin forwarded message: From: Nicolas Donin <[email protected]> Subject: CFP Reminder: Tracking the Creative Process in Music Date: October 17, 2014 at 07:13:15 PDT Reply-To: Nicolas Donin <[email protected]> [Apologies for cross posting] TRACKING THE CREATIVE PROCESS IN MUSIC 3rd edition: Paris, France, 8th-10th October 2015 Organised jointly by IRCAM, IReMus (Paris-Sorbonne University and CNRS), and CTEL (Nice-Sophia Antipolis University). This conference brings together researchers interested in artistic creativity and the study of processes of musical and sound creation of the past and present. Researchers working on this cluster of problems from a wide variety of disciplines (history, music analysis, psychology, philosophy, cognitive science, sociology, ethnomusicology, anthropology, etc.) are invited to assess the different methodologies developed in the last thirty years in their respective areas from an interdisciplinary perspective. Each approach contributes in its own way to the advancement of our understanding of the procedures, techniques, knowledge and know-how employed by musicians involved in creative projects. Following the epistemological paradigm shifts that musicology underwent at the end of the last century, the notion of bcreative processb has been enriched. Sketch studies have extended their scope beyond notated works of art music. B Today this field includes all contemporary musical repertories as well as the oral, technological and collaborative dimensions of the creative process in music. There is growing interest, for example, in the function of improvisation and of gesture in the creative process, in the collective and collaborative dimensions of artistic work, in the redefinition of the roles of the composer and the performer, in the art of studio production and in the strategies of documentation, transmission and future performance of works involving technology, etc. The complexity and the multidimensionality of this field of study require new analytical tools and new research methods at the crossroads of analytical musicology, the social science and humanities and other academic disciplines. This broadening of the field also provides a new context for the study of works and composers from the Western musical canon. Whether based on historical archives or on the collection of empirical data, studies of the creative process in music share many of the same methodological requirements, descriptive vocabulary and models of creative action. This conference therefore aims to be a forum in which the most recent results produced by the well-established tradition of sketch studies can meet the complementary or alternative paradigms emerging from other repertories or approaches. Our guest speakers in 2015 will be Georgina Born (University of Oxford), Nicholas Cook (University of Cambridge, author of *Musical Performance as Creative Practice*, Oxford U.P., 2016), Pierre-Michel Menger (CollC(ge de France, author of *The Economics of Creativity*, Harvard U.P., 2014), and Friedemann Sallis (University of Calgary, author of *Musical Sketches*, Cambridge U.P., 2015). B TCPM will also include workshops/concerts on composition and performance led by Hyacinthe Ravet (UniversitC) Paris-Sorbonne) and Jean-FranC'ois Trubert (UniversitC) de Nice-Sophia Antipolis). B The languages of the conference are English and French. Simultaneous translation of French papers will be provided. Curious about TCPM? - Go to http://tcpm2013.oicrm.org/?lang=en for an overview of the previous editionbs papers and sessions. B Many disciplines and approaches were present, but there are still many more to include in the conversation. B All disciplinary and aesthetic domains are welcome. - Go to http://creative.arte.tv/fr/community/analysing-process-musical-creation (chapters 1 & 4) to catch glimpses of the first edition (Lille, 2011) and listen to colleaguesb statements about the creative process. CALL FOR PROPOSALS Each conference talk proposal must include the following elements: B7 First and last name of presenter B7 Institutional Affiliation B7 Mailing Address, telephone number and email address B7 Title of proposed conference talk B7 Abstract, 800 to 1200 words in length, clearly presenting the subject, the theories and models of creative processes described in the talk, the goals, the methodology used and the results of the study. B Papers introducing research projects still in progress at the time of the conference may also be submitted; authors are informed that the committee is likely to bring together some of these papers into short sessions or a posters area. B7 Selected Bibliography (3 to 8 references to the exclusion of the presenterbs own work) and main sources used (archives, experimental or ethnographic data, etc.). B7 Personal web site (optional) Proposals must be received no later than 1 December 2014 via the conferencebs website. B Submission will be available from 4 November 2014. Proposals will be double-blind reviewed by 2 or 3 members of the Scientific Committee, depending on the areas covered in the proposal. B Notification of acceptance will be sent to applicants within 12 weeks. A conference website will be online before 4 November 2014: http://tcpm2015.ircam.fr/ Correspondence address: tcpm2015 (at) ircam (point) fr SCIENTIFIC COMMITTEE Bernhard Appel (Beethoven-Archiv, Bonn) Gianmario Borio (Univ. Pavia / Fondazione Giorgio Cini, Venise) Georgina Born (Univ. Oxford) Pamela Burnard (Univ. Cambridge) Eric Clarke (Univ. Oxford) Nicholas Cook (Univ. Cambridge) Angela Ida De Benedictis (Paul Sacher Stiftung, Basel) IrC(ne DeliC(ge (Bruxelles) Nicolas Donin (Ircam / LabEx CAP) Paolo dbIorio (CNRS) ValC)rie Dufour (FNRS, Univ. Libre de Bruxelles) Catherine Guastavino (Univ. McGill, MontrC)al) Philippe Le Guern (Univ. Nantes) Jerrold Levinson (Univ. Maryland) Louise Meintjes (Univ. Duke) B B B B B B B B B B B B B B B B B B B Gerhard Nierhaus (Univ. Graz) B B B B B B B B B B B B B B B B B B B B B B B B B B B B B B B B B B B B B B B B B B Jessie Ann Owens (Univ. California, Davis) Hyacinthe Ravet (Univ. Paris-Sorbonne, IReMus) Friedemann Sallis (Univ. Calgary) Keith Sawyer (Univ. North Carolina at Chapel Hill) Caroline Traube (Univ. MontrC)al) Jean-FranC'ois Trubert (Univ. Nice-Sophia Antipolis, CTEL) Michael Werner (CNRS-EHESS / LabEx CAP) ORGANIZING COMMITTEE Sylvie Benoit (Ircam) Nicolas Donin (Ircam) Samuel Goldszmidt (Ircam) Hyacinthe Ravet (Univ. Paris-Sorbonne, IReMus) Jean-FranC'ois Trubert (Univ. Nice-Sophia Antipolis, CTEL) Hugues Vinet (Ircam) ORGANISING INSTITUTIONS IRCAM : Institut de Recherche et de Coordination Acoustique/Musique (Paris), STMS labs (Ircam/CNRS/UPMC), Analysis of Musical Practices research group. IReMus : Institut de Recherche en Musicologie (CNRS/Paris-Sorbonne). CTEL : Centre Transdisciplinaire dbC pistC)mologie de la LittC)rature et des Arts vivants (UniversitC) de Nice-Sophia Antipolis) With the support of CNSMDP (Conservatoire National SupC)rieur de Musique et de Danse de Paris) and B+ LabEx CrC)ation, Arts, Patrimoine B; (Paris). _______________________________________________ news mailing list [email protected] http://lists.aesthetics-online.org/listinfo.cgi/news-aesthetics-online.org
