I CONGRESO UNIVERSITARIO DE ETNOMUSICOLOGÍA: Música, Educación y Desarrollo Cultural de los Pueblos

UNIVERSIDAD VERACRUZANA

COORDINACIÓN DE PROGRAMAS PARA LOS UNIVERSITARIOS

DIRECCIÓN GENERAL DEL ÁREA ACADÉMICA DE ARTES

FACULTAD DE MÚSICA (LEM)

FCAS (LPRP)

CONVOCAN:

A los estudiantes de etnomusicología, etnomusicólogos, educadores, pedagogos, investigadores, músicos, sociólogos, antropólogos, arqueólogos, grupos culturales e interesados en el tema, a participar en él:

“I CONGRESO UNIVERSITARIO DE ETNOMUSICOLOGÍA”

Música, Educación y Desarrollo Cultural de los Pueblos.

A realizarse del 10 al 12 de junio del año en curso en la ciudad de Xalapa, Veracruz, bajo la siguiente temática:

- Música y tradición: metodologías de enseñanza.

- La investigación etnomusicológica en el ámbito educativo.

- Función actual de la música en las sociedades modernas.

Los trabajos a exponer serán distribuidos en mesas de lectura y exposición, con las siguientes modalidades:

· Ponencia escrita.

· Ponencia interactiva (intervención en vivo de músicos, bailarines, etc.).

· Ponencia multimedia (con proyecciones, videos, música y otras grabaciones o medios electrónicos, etc.).

· Documental (video).

· Concierto didáctico.

· Taller.

· Demostración didáctica o pedagógica.

Bajo las siguientes bases:

- Ser estudiante universitario o equivalente, investigador o profesional en el área que se propone.

- Participación individual o colectiva (máx. 5 integrantes, sin contar músicos, bailarines, etc.).

- Duración máxima por trabajo participante: 20 min. (aprox. 10 cuartillas).

- Enviar un abstract, ficha técnica o resumen sinóptico del trabajo a exponer, especificando tema, duración de la ponencia, objetivo, nombre y número de participantes, nombre del responsable, domicilio, teléfono y/o correo electrónico (máximo una cuartilla), considerando los siguientes puntos:

· Tipo de presentación.

· Punto principal de la presentación.

· Cómo voy a probar la hipótesis.

· Qué impacto espero demostrar con la comprobación de la hipótesis.

- Anexar ficha de requerimientos técnicos (media cuartilla)*.

- Anexar ficha o síntesis curricular de cada miembro del equipo (máximo media cuartilla)*.

- Enviar ponencia redactada en fuente Arial 12 a 1.5 espacios*.

Fecha límite paras recepción de abstract o fichas: el 15 de abril 2011.

Fecha limite en la recepción de ponencias: 22 de mayo de 2011. (Incluir formatos DVD, CD u otro), anexado a sus fichas técnicas y curriculares de cada presentación).

CUPO LIMITADO

Estos datos y documentos serán enviados por correo electrónico aetnomusicologia11@yahoo.com.mx, para su revisión y selección, o a la siguiente dirección:

Facultad de Música de la Universidad Veracruzana.

Barragán No. 32, Centro, Xalapa, Veracruz, C. p. 91000

Tel/fax.: (228) 818 7662

At´n. Comité Organizador del I CONGRESO UNIVERSITARIO DE ETNOMUSICOLOGÍA,

Música, Educación y Desarrollo Cultural de los Pueblos.

Publicación de resultados: 31 de mayo de 2011, vía correo electrónico. (Cada participante es responsable de sus gastos).

*El envío de documentación no compromete o condiciona la participación del aspirante, por lo que se recomienda esperar la notificación de visto bueno para enviar la ponencia y las fichas antes mencionadas, así como la notificación de aceptación de la ponencia para confirmar su asistencia y participación.

No se admitirán ponencias de aspirantes que no hayan cumplido con el envío del abtract u otro pre-requisito, o que no hayan sido notificadas como aceptadas.

Cualquier caso no previsto será resuelto y notificado en su momento por el comité organizador.

COORDINADOR DEL COMITÉ ORGANIZADOR:

Ortega Medina, Luis Alberto laom7001@yahoo.com.mx

AUXILIARES:

Reyes Castañeda, Daniel indominor@hotmail.com

Martínez Gutiérrez, Héctor Julio hj_pmb@hotmail.com

COORDINACIÓN GENERAL:

Dr. Randall Kohl rckohl@yahoo.com

No tiene que ser miembro de SEM para participar en la conferencia en México/No membership requirement for SEM 2009 (Mexico)

The SEM Board has voted to waive the SEM membership requirement for all first-time presenters at the 2009 meeting who are resident in and belong to a music organization in Latin America or the Caribbean. Please circulate the word about this waiver, so that we can encourage as many scholars as possible to submit abstracts in time for the March 31 deadline.

SEM ha decidido no requerer mebresía en la organización para todos los presentadores que estén presentando en SEM por primera vez y que pertenezcan a alguna oprganización de investigaciones musicales en América Latina o el Caribe. Favor de difundir la noticia para que la más grande cantidad de participantes propongan artículos para la nueva fecha de entrega 31 marzo.

Job: Sustainable Futures in Music / Trabajo: Futuros Sostenibles en Música

This great project is run by Huib Schippers in Australia...

Research Fellow, Sustainable Futures in Music

Grade 1 or 2, Fixed Term (ending 15/12/2013), Part Time (60-80% negotiable), South Bank campus.
Reference: QCM0020/09

Overview:

"Sustainable futures for music cultures: Towards an ecology for musical diversity" is a AU$ 4 million, five-year initiative supported by the Australian Research Council (ARC); involving ten partner organisations in Australia and overseas, including the International Music Council founded by UNESCO. Through a systematic study of key factors that influence sustainability across both vibrant and endangered music cultures, its objective is to develop frameworks and practical instruments which will empower communities across the world to forge musical futures on their own terms.

The role:

The Research Fellow is at the centre of development, coordination, communication, management and research of this major innovative project. The position will be based in Brisbane, and will work closely with the Chief Investigator, other Australia-based researchers, research assistants and international colleagues to help ensure the project is well organised, rigorous, transparent, ethical, efficient, and effective for all those involved. This involves keeping an overview at all times to ensure all strands of the project work are in synergy with its goals.

The person:

The complexity of this project requires an outstanding candidate. The appointee will hold a PhD in (applied) ethnomusicology or a closely related discipline; demonstrate highly developed skills in conducting, organising and managing complex research projects; possess superb communication skills with sensitivity to cultural diversity; have proven capabilities to produce research reports and academic publications; be able to work independently as well as cooperatively in research teams; and keep an overview in complex processes and projects. Skills in communication beyond the academic realm, experience in securing grants and/or fundraising, and working knowledge of major languages beyond English are desirable.

The level of appointment will be dependent on qualifications and experience.

Salary range:

RF1 $62,451 - $64,746 (pro rata) per annum; RF2 $70,566 - $83,799 (pro rata) per annum.

Salary package including 17% employer superannuation contribution: RF1 $73,068 - $75,754 (pro rata) per annum; RF2 $82,563 - $98,046 (pro rata) per annum.

Further information:

Obtain the position description and application information online.

Applications close: 5 February 2009

Musiblogogy / Musiblogogía

Phil at the musicology blog Dial 'M' for Musicology writes that "I've gone all meta and blogged about blogging." And then Ryan Banagale and Drew Massey at another musicology blog, Amusicology: Musicology in 1,000 Words or Less takes it meta-meta and writes about that post. So me writing about it is meta-meta-meta I guess, but I guess that's the nature of this weird economy of hyperlinked quotations that the blogging is built on.

Anyhow, the meat of it is the following, from Phil:

I started this blog thinking that the strange absence of music-scholarly blogs was a temporary condition, and that musicologists, once they had learned about academic blogging by example and could see what could be done in the medium, would start writing their own blogs and a hundred musicoloblogospheric flowers would bloom. Well, that didn't happen. Look at the academic blog wiki list of music-scholarly blogs. Now look at the one for history. Or linguistics and philosophy. Or even Classics and Ancient Languages, for Chrissake. We're getting our asses kicked by Latin.

And more provocatively:

I can't help but think that this is a cultural thing. Just as different parts of the orchestra each have their own micro-cultures, different disciplines within the humanities do too, and the culture of musicology is marked by its almost insane degree of caution and self-limitation. Sorry to be so blunt, but there it is: the other humanities, when they think of us at all (which isn't very often) tend to think of musicologists as something like stamp collectors, fanatically collecting and sorting and classifying stamps without caring about what they're attached to . . .

I usually dismiss this characterization, because it doesn't describe the musicologists whose work I admire. But I don't know. The point and challenge of blogging is to make connections with other parts of the intellectual world, and inasmuch as that challenge has hardly been taken up in the two-and-a-half years since I started this blog, I have to ask if we as a discipline are not actually just happier staying in our corner, playing with our stamps.

The Amusicology folks, for their part, write:

It is true that there are relatively few blogs on that list [the one Phil mentions] (there are a few more here), but I’m not entirely sure the problem is a lack of blogs as much as much as a problem of collating / unifying those blogs that are out there.

They then, very helpfully provide a list, which I'll synthesize here:

• academic blog wiki list of music-scholarly blogs
• AMS bloglist
• Ryan Raul Bañagale and Drew Massey: Amusicology: Musicology in 1,000 Words or Less
• Roger Bourland
• Avior Byron
• Jonathan Bellman, Phil Ford: Dial 'M' for Musicology
• Mark Connor: Contrasting Periods
• Kyle Gann: PostClassic
• Victor Grauer: Music 000001
• Philip Gentry: 2'23
• Nicol Hammond: Singing South African-ness
• Linda Kernohan (Miss Music Nerd)
• Heebie McJeebie: Classical Pontifications
• Michael Monroe: MMmusing
• musicology / matters
• Brent Reidy: musikwissenbloggenschaft
• Alex Ross: The Rest is Noise
• Tim Rutherford-Johnson: The Ramble
• Greg Sandow
• Scott Spiegelberg: Musical Perceptions
• Evan Tobias: Catalysts & Connections (expanding dialogue in music education)
• "People Listen to It" Gabriel Solis and company
• Coyotebanjo: Music, education, history, culture studies
• ionarts Charles T. Downey
• Interesting Music Stuff Colin Homiski
• Popular Songs and Breakfast Foods John Paul Meyers
• Postclassic Kyle Gann
• Renewable Music Daniel Wolf
• SmarterMusic Yuri Broze, Jeff Fowler, Andrew DiMartino, Catherine Cheng Jones
• Zeitschichten is a blog about music in Berlin and elsewhere Matthias Röder
• Wayne Marshall: http://wayneandwax.com/
• Laura E. Cayer: http://songcatchergirl.blogspot.com/
• Kraig Grady: http://anaphoriasouth.blogspot.com/
• Alexandre Enkerli: http://enkerli.wordpress.com/
• Liam McGranahan: http://mashupresearch.blogspot.com
• Victor Grauer: http://music000001.blogspot.com/
• Michael Bakan: http://mailer.fsu.edu/~mbakan/index.html
• Max Peter Baumann: http://maxpeterbaumann-ethnomusicology.blogspot.com/
• Jonathan H. Harwell: http://mesoj.edublogs.org
• Lee Bidgood: Http://blidgood.wordpress.com
• Eliot Bates: http://www.eliotbates.com/blog/
• Maria Ljungdahl (Sweedish): http://maljmusic.blogspot.com/

Plus I figured I'd add some more from (or about) Latin America (esp. Colombia), of, by, or for ethno/musicologists:

• Grupo Independiente de Etnomusicología México (Mexico, Spanish)
• Los Sonidos Invisibles - Ana María Arango (Colombia, Spanish)
• Puro Revolú (Colombia, Spanish)
• Asociación para las Investigaciones Culturales del Chocó (Colombia, Spanish)
• Egberto Bermúdez (Colombia, Spanish)
• Raquel Z. Rivera - Reggaetónica (US/Puerto Rico, English)
• Sydney Hutchinson - Accordion Girl (US/Germany/Dominican Republic, English)
• Ieda's Blog (Brazil, Portuguese)
• Eliécer Arenas Monsalve - El Oído que Seremos
• John Murphy - Music in Brazil (US, English/Portuguese) and John Murphy's Blog (US, English
  

After all that, I want to post one last thought from Amusicology, which seems like a great idea:

Musicology blogs take all shapes and forms, some focus on longer posts, others a tidbit here or there, others still as a place to air research ideas. Perhaps what we need is a meta-blogger willing to spend their days combing other blogs and pulling together all the interesting posts/subjects. The Perez Hilton of musicology, though less profitable and fashionable (in many senses of the word).

Don't look at me, I'm going to be in the boondocks of Colombia for the next few months working, and probably without much internet. But maybe starting to make these lists is the first step...

Musical Practice and the Musical Object / Prácticas Musicales y Objetos Musicales

Algunas personas me han pedido la charla sobre objetos y prácticas musicales que di en la reciente reunión de la Society for Ethnomusicology, aquí está el link para leerlo (en inglés). Sus comentarios son muy bienvenidos.

Link

Some people have asked me for a copy of the paper on musical practices and musical objects I gave at the recent Society for Ethnomusicology, here's the link. You comments are welcomed.

Update: Ahora sí el enlace debe estar funcionando - The link should work now.