2nd Global Conference
Heavy Fundametalisms: Music, metal and Politics

Tuesday 10th November - Thursday 12th November 2009
Salzburg, Austria

Call for Papers
What makes metal powerful? Is it the power of amplification, the
brutality of the music, the violence of its discourse? Is power
essential to the core of metal? Is metal a mechanism for the
dissemination of power?

The terms ‘heavy metal’ and power may be so strongly related as to
suggest they are cultural synonyms. Power in heavy metal music extends
well beyond the boundaries of performance, seeping into to other music
genres and the cultures and subcultures that compose the scene. Metal
power modification may be on plain display, but behind this, deep in the
fabric of metal culture a plethora of debates can be surmised on what
exactly power is and what can be understood by it, from the stage
through to the politics, ideologies, culture and lifestyle in metal.
This conference investigates the varied relationships between heavy
metal music and sexual potency, social agency, coercion, bodily
strength, ideological domination, and myriad other forms of social,
psychological, and physical power in modern human existence.

The second conference meeting of this project on heavy metal, music and
politics aims to bring together papers on the theme of Metal and power.
We hope to promote contributions from a range of disciplines, including
the sciences.

Abstracts are invited for submission under, but not restricted to the
following headings:

* Heavy Metal power (hegemony, commodification,
globalization,sexualities)
* Intersectionalities of power and structural relationships
(gender, race, nation, class)
* Intersectionalities of theories of identity issues of whiteness
* Masculinity and politics
* Lack of power/absence of power
* Power and psychology
* Nietzsche, Foucault and power
* Knowledge production and power discourse
* Nationalism racism and identity construction in pagan metal
* The power, ballad
* Cock rock, poodle hair and power metal
* Battle metal and mythologies of war
* Power, sexuality and the subject
* Post-structural analysis of the construction of the subject
* Gender and Power in Metal
* Homosociality
* Homoeroticism
* Identity Construction
* Sado-masochism
* Scarring, piercing and fashion
* Psychology of the Self
* Self-loathing, self-destruction and violence
* Sublimation of aggression and the erotic in the music and scene
* Power and discharge
* Power in the metal music industry
* Musicology: the powerchord

Papers will be considered on any related theme. 300 word abstracts
should be submitted by Friday 12th June 2009. If your paper is accepted
for presentation at the conference, an 8 page draft paper should be
submitted by Friday 9th October 2009.

300 word abstracts should be submitted simultaneously to both Organising
Chairs; abstracts may be in Word, WordPerfect, or RTF formats with the
following information and in this order:

a) author(s), b) affiliation, c) email address, d) title of abstract, e)
body of abstract.

Please use plain text (Times Roman 12) and abstain from using footnotes
and any special formatting, characters or emphasis (such as bold,
italics or underline). We acknowledge receipt and answer to all paper
proposals submitted. If you do not receive a reply from us in a week you
should assume we did not receive your proposal; it might be lost in
cyberspace! We suggest, then, to look for an alternative electronic
route or resend.

Organising Chairs
Niall Scott
Centre for Professional ethics
University of Central Lancashire
Preston, Lancashire, U.K
Email: nwrscott@uclan.ac.uk

Rob Fisher
Inter-Disciplinary.Net
Priory House, Wroslyn Road
Freeland, Oxfordshire OX29 8HR
Email: mmp2@inter-disciplinary.net

The conference is part of the Ethos Hub series of ongoing research and
publications projects conferences, run within the Critical Issues domain
which aims to bring together people from different areas and interests
to share ideas and explore innovative and challenging routes of
intellectual and academic exploration.

All papers accepted for and presented at the conference will be eligible
for publication in an ISBN eBook. Selected papers may be developed for
publication in a themed hard copy volume, or for the launch edition of a
new interdisciplinary journal examining intersections of music and
politics and published by the Inter-Disciplinary Press.

For further details about the project please visit:
http://www.inter-disciplinary.net/critical-issues/ethos/music-metal-politics/

For further details about the conference please visit:
http://www.inter-disciplinary.net/critical-issues/ethos/music-metal-politics/call-for-papers/
--

Burnt Sugar, The Arkestra Chamber: A Workshop in Conducted Improvisation

Columbia University Center for Jazz Studies

presents

Burnt Sugar, The Arkestra Chamber:

A Workshop in Conducted Improvisation

Wednesday, April 22, 2009, 7 pm

Columbia University Main Campus

116^th Street and Broadway

301 Philosophy Hall

Free and open to the public

Campus map: http://www.columbia.edu/about_columbia/map/philosophy.html

In this unprecedented performance workshop,

open to students and performers from any and all traditions

l musicians, poets, actors, dancers, writers l

Greg Tate,

Louis Armstrong Visiting Professor at the Center for Jazz Studies for Fall 2009,

will demonstrate how new musical material maybe generated and

existing may be restructured and renewed in real-time performance

using Conduction,

the versatile lexicon of hand and baton gestures

developed over the past twenty years by improviser and conductor Lawrence “Butch” Morris.

This event is sponsored by

the Louis Armstrong Educational Foundation

and presented by the Center for Jazz Studies

in collaboration with

the Louis Armstrong Jazz Performance Program

and the Music Performance Program,

Columbia University.

For more information about Center for Jazz Studies activities,

please visit www.jazz.columbia.edu

or call 212-851-1633

CFP: Society for American Music

Call for Submissions
Society for American Music

March 17-21, 2010

Vale la pena mencionar que esta sociedad esta abierta a ponencias sobre todas las musicas de America -- norte/sur/central/Caribe/etc -- y sus manifestaciones en otras partes del mundo. En el pasado se ha aceptado unas ponencias en espanol -- aunque mejor presentar en ingles para que la otra gente entienda. Los mexicanos, y de pronto otros latinoamericanos no requieren visa para entrar en Canada

2010 Program Committee: Michael Pisani, chair; Drew Edward Davies, Robin Elliott, Larry D. Hamberlin, Mary Ingraham, Felicia M. Miyakawa, and Gillian M. Rodger

The Society for American Music invites proposals for papers, papers on one of two seminar topics (see “New Seminar Format” below), additional panels of 2-3 papers, concerts, lecture-performances, and scholarly posters for its 36th Annual Conference. The conference will be held in Ottawa, Ontario (Canada) March 17-21, 2010. The submission deadline for all proposals is Monday, 15 June 2009.

In addition to proposals on the topics of the seminar panels, we welcome proposals involving all facets of musical life in the Americas and manifestations of these cultures anywhere in the world. For this conference we especially welcome proposals addressing:

• Cultural politics and the nation: the role of federal policies, government institutions, and public organizations in the creation, performance, and reception of music
• The role of French culture in shaping North American musical life, with a focus on Quebec, but also including Acadian and Creole cultures.
• “The Idea of North” (to cite Glenn Gould). [Are there measurable aspects of an identifiable “Northern culture” in music, comparable to the U.S.’s “Western” or “Southern” traditions?]
• Cross-border musical relations in the Americas (affecting musicians, institutions, organizations, cultural policies, etc.)
• The impact of immigration on musical life in the United States and Canada
• Music in Canada, including classical, popular, aboriginal, and traditional music (considered either in isolation or in contact with each other)

Guidelines
Presenters are required to register for the entire conference. The committee encourages proposals from those who did not present at the 2009 Denver meeting, but all proposals will be judged primarily on merit. With the exception of concerts or lecture-performances with accompanying audio-visual materials, all proposals must be submitted electronically using the online submission form (see below).

Proposers for all except lecture-recitals must specify whether the proposal is for 1) paper, 2) poster, or 3) either presentation format, the latter to be determined by the Program Committee as it builds sessions. Individual or joint papers should be no longer than twenty minutes. Lecture-performances should be no longer than thirty minutes. For complete session proposals, the organizer should include an additional statement explaining the rationale for the session, in addition to abstracts for each paper.

New Seminar Format
Of the proposals submitted in January, 2009, the two selected by the program committee for the 2010 conference in Ottawa will be: 1) “ ‘The Art of Association’: Exploring Institutions as Agents of American Music in Theory and Practice” and 2) “Nineteenth-Century American Music Studies: The State of the Field in 2010”. Unlike regular SAM sessions, in which papers are read, papers for the conference seminars will be posted at a password-protected location in advance of the conference, where they may be read by all interested SAM members. The bulk of the conference session will be devoted to discussion of the papers as they relate to the general theme. Since papers will be posted electronically on the web, we would like to encourage materials that are recently published or "in press" as one kind of submission that would be appropriate for the seminar structure. These papers may be full articles, up to 20 pages, and should include notes, examples (where relevant), and bibliography. All proposals should be submitted in the usual way by the regular SAM deadline, except that the specific seminar topic should be clearly specified. Unless the author specifies otherwise, abstracts not accepted for either of the two seminars will be considered by the program committee for one of the regular sessions.

Although papers for the seminars will not be “read” in the traditional sense, the act of participating in the seminar as a presenter and defending the ideas of one's paper constitutes the same level of participation in an academic conference as would a normal paper. For this reason, those submitting abstracts toward a seminar cannot also submit toward a regular session.

Research Poster Sessions
The poster format provides an opportunity for SAM members to meet informally with authors and discuss research. Each author attends his/her respective 90-minute session, distributes abstracts, and answers questions. Supporting sound and/or video examples (on personal computers and utilizing battery, rather than AC power) will be coordinated with other presenters once sessions have been formed by the Program Committee. Further poster guidelines may be found at www.american-music.org.

Interest Groups — Interest Groups with a guaranteed slot for 2010 are requested to convey a brief description of their plans to the Program Committee using the online submission system by June 15, if possible. To ensure proper scheduling and room assignments, Groups should indicate by this date whether they would prefer a lunchtime slot (12:45-1:45) or a longer evening session. Please note that all the information that will appear in the conference program book (participant names, titles, 100-word abstract) must be submitted not later than August 5. Interest Groups without a guaranteed slot for 2010 may submit panel proposals via the online submission system if they wish, but acceptance or rejection of these proposals will be at the discretion of the Program Committee. All Interest Group submissions (guaranteed or not) should use the "Panel" option below.

Include the following for all submissions:

1. 250-word proposal
2. 100-word abstract suitable for publication in the conference program (.txt or .rtf format)
3. Audio and visual needs selected from the following list only: CD and audiocassette player, overhead projector, VHS/DVD player, LCD projector. Due to logistics and the high cost of renting this equipment, we cannot accommodate AV changes once a proposal is accepted.
4. Proposer’s name, address, phone number(s), e-mail address, and institutional affiliation or city of residence
5. Specify whether you are a student (and therefore eligible for certain student grants or awards)

For Lecture-Performances please include the above-mentioned materials, plus:

1. Seven copies of a recording (CD and DVD preferred, but cassette or VHS tapes also accepted)
2. An addressed, stamped mailer if you would like the recordings returned
3. A list of special needs (e.g., piano, music stand, space for dance demonstration, choral risers)

All materials must be electronically date-stamped (online submission) or postmarked (mail submission) by 15 June 2009. Questions about the submission process may be sent to Michael Pisani at mipisani@vassar.edu. Postal submissions should be addressed to: Michael Pisani, SAM 2010 Program Committee Chair, Vassar College, Box 595, Poughkeepsie, New York, 12604-0595

Lanzamiento del libro: Discografía de la música puertorriqueña

San Juan-New York:

Discografía de la música

puertorriqueña

(1900-1942)

de

Cristóbal Díaz Ayala

Introducción por

Agustiné Vélez

Presentación por el autor

Miércoles 22 de abril de 2009

7:00 PM

Ateneo Puertorriqueño

San Juan

Para más información:

787-708-4025

fundmusicalia@caribe.net

Bambuco Patiano

Muchos no saben del bambuco patiano, ni del Valle del Patía en el Cauca. Historicamente tiene mucha importancia por ser el lugar de un palenque de cimarrones. También tiene mucha importancia en lo msuical, como un punto intermedio entre los bambucos de marimba del Pacífico y sus versiones andinas e interandinas, así como queda registardo por el viajero André en el Siglo XIX.
Es una música que tiene una raiz en el bambuco de marimba (en la ilustración, nota el bombo y el cununo...), una en bailes españoles como este cumbé de Santiago de Murcía (la introducción es pura papa-con-yuca como un bombo) de más o menos el año 1732, y uno en el bambuco andino.
No es fácil conseguir el bambuco patiano, pero abajo hay dos temas y una entrevista. Existe un CD "Cantaoras" y un libro "El bambuco patiano: Evidencia de lo negro en el bambuco" por Paloma Muñoz también.

The bambuco music of the Patía Valley in Colombia, home of some of southwest Colombia's oldest maroon towns in the slavery days, is historically important, with one foot in the marimba music of the Pacific coast (we can see from the illustration, from a nineteenth century traveller's account, that it shares instruments), one in 17th century Spanish guitar dance music like this cumbé by Santiago de Múrcia from the 1732 Saldívar Codex (the intro is the same 6/8 pattern found both here and in the Pacific bombo drum), and is very similar to the Colombia national folkloric genre called bambuco as well.
It's pretty hard to hear bambuco patiano (there's a CD out there somewhere and a book, hard to find in Colombia even) but below are two bambucos from Patía and an interview with a group leader.

"El solterón" - Las "cantaoras" del Patía

Bambuco
Los Congos es un tema musical compuesto por Elvar Mosquera

Las "Cantaoras" del Patía

Convocatoria / CFP: "El bolero en la cultura caribeña y su proyección universal" ("The Bolero in Caribbean Culture and Its Worldwide Circulation")

Convocatoria del Congreso Internacional
"El bolero en la cultura caribeña y su proyección universal"

La Secretaría de Estado de Cultura de República Dominicana, el Centro Cultural Eduardo León Jimenes (Centro León) y el Instituto de Estudios Caribeños (INEC), convocan al Congreso Internacional "El bolero en la cultura caribeña y su proyección universal", a celebrarse los días 17, 18 y 19 de abril de 2009, en las instalaciones del Centro León, en Santiago de los Caballeros, República Dominicana.
Esta es la tercera edición del Congreso Música, Identidad y Cultura en el Caribe (MIC), el cual ha sido declarado “Evento de Alto Interés Cultural” por la Secretaría de Estado de Cultura de República Dominicana.
La convocatoria del III Congreso fue anunciada oficialmente en la noche de ayer, 22 de septiembre de 2008, en un acto público organizado por las tres instituciones, en el cual también se presentaron el libro memoria y dos DVD del segundo congreso, celebrado en 2007 y que fue dedicado al tema: “El son y la salsa en la identidad del Caribe”.

Finalidad del Congreso MIC

El Congreso Internacional Música, Identidad y Cultura en el Caribe (MIC) tiene la finalidad de reunir, cada dos años, a los estudiosos, protagonistas e interesados en la música y el baile en el Caribe, para intercambiar conocimientos en torno a estos pilares de la cultura en la región, y propiciar políticas de fortalecimiento de la identidad cultural en los ámbitos nacional y regional con un enfoque integral. El evento está concebido como un espacio crítico y multidisciplinario de reflexión, a partir del cual se socialicen las investigaciones, experiencias y hallazgos referentes a las músicas, identidades y culturas en el Caribe. La realización del Congreso se inscribe en una dimensión pedagógica, por lo que se espera una significativa participación de educadores como forma de involucrar el sistema educativo y mejorar la enseñanza artística en República Dominicana y en el Caribe.

Disertaciones
En el Congreso se presentarán solamente cincuenta (50) disertaciones aprobadas por el Comité de Lectura. No obstante, el Comité Organizador podrá invitar a músicos y otras personas que considere pertinente, a ofrecer testimonios en el marco del evento.

Comité de Lectura
El Comité Organizador designará un Comité de Lectura internacional, integrado por reconocidos investigadores de la región, el cual, vencido el plazo para recibir propuestas de disertaciones, aprobará las que finalmente podrán ser presentadas durante el Congreso.

Participantes
El Congreso MIC-III está dirigido a un amplio público nacional y extranjero. Están llamados a participar los protagonistas del bolero, investigadores, comunicadores sociales, productores musicales y empresarios de la música, personas de instituciones culturales, privadas y estatales, involucradas con el diseño, ejecución y gestión de políticas y acciones culturales.

Programa
A través de conferencias, sesiones de ponencias y debates, publicaciones, conciertos, exposiciones y un programa de actividades preparatorias (que comprende investigaciones, acciones de animación sociocultural y encuentros con músicos, estudiosos, educadores y amantes de la música, ciclo de cine y documental), se producirá un ambiente que propicie el desarrollo de nuevas formas de pensar y actuar sobre la música y la identidad cultural del Caribe, dentro y fuera de la región.

Actividades
El Congreso MIC-III está concebido como un proceso, por lo cual se desarrollará un programa de actividades preparatorias para convertir el tema del Congreso en tópico de amplia discusión, con incidencia nacional e internacional.

El Congreso en sí incluirá las siguientes actividades:
o Conferencias magistrales.
o Sesiones de ponencias y debates. La fecha tope para presentar propuestas de disertaciones es el 5 de diciembre de 2008, y el 5 de marzo de 2009 para enviar los textos.
o Un Encuentro de Coleccionistas de Música del Caribe.
o Presentación de novedades: bibliográficas (libros, revistas, otros), discográficas y audiovisuales. Estas deberán proponerse previamente al Comité Organizador.
o Conciertos: En estos se mostrará la riqueza y transformaciones del bolero a lo largo de su historia.
o Un recorrido turístico-cultural por la ciudad sede para interesados.
o Libro memoria: Se publicará un libro con las actas y memorias del Congreso.
o Sitio y foro en Internet: Con el fin de propiciar el intercambio actualizado y la continuidad del diálogo, se habilitarán una página web y un foro virtual, y se enviarán boletines informativos periódicamente por correo electrónico.

Programa artístico -Gran Concierto Homenaje al Bolero Universal
Durante el Congreso se llevará a cabo un programa artístico dedicado a exponer el valor histórico-cultural, el significado social, la variedad y transformaciones estilísticas del bolero a lo largo del tiempo. La actividad artística central es el Gran Concierto Homenaje al Bolero Universal, en el cual compartirán escenario distintas voces emblemáticas del género, tanto del Caribe como de Latinoamérica y otras partes del mundo, presentando un recorrido por las grandes épocas, autores, compositores e intérpretes del bolero universal, con el acompañamiento de una banda musical de primera categoría.
Aparte de esta, se realizarán otras actividades artísticas que serán oportunamente avisadas. Todas las participaciones artísticas serán aprobadas anticipadamente por el Comité Organizador.

Comité de Honor
Para el MIC-III el Comité Organizador designará un Comité de Honor integrado por compositores e intérpretes boleristas de distintos países del Caribe y Latinoamérica de mérito indiscutible y proyección nacional e internacional, reconocidos investigadores, personalidades relevantes de la cultura del país y la región, así como representantes de los principales patrocinadores.

Reglas generales para presenter ponencias
1. Originalidad. Se aceptarán únicamente trabajos originales, inéditos y no presentados en otros eventos. Al enviar su propuesta, los proponentes deben indicar que esta se rige por la Regla de Originalidad.
2. Presencia. En el Congreso las ponencias serán leídas por sus autores, excepto en caso de fallecimiento después de ser aprobada. Únicamente los nombres de los ponentes que confirmen su asistencia en el plazo establecido figurarán en el programa.

Propuestas de ponencias
Formato. Las propuestas de ponencias consistirán en un escrito de un máximo de 200 palabras, que debe indicar: el tema a tratar, resumen de su contenido o enfoque, y las hipótesis que la sustentan. En su encabezado debe indicarse: el título de la ponencia, nombre y apellido del proponente, sus direcciones electrónica y física y sus teléfonos. Al final, se incluirá una semblanza o resumen biográfico con un máximo de 100 palabras listo para publicar, indicando: país de origen, título y profesión u ocupación, universidad de titulación, institución a que pertenece o donde labora, títulos de los principales trabajos publicados o editados, y otros datos relevantes. Se anexará una fotografía en tamaño y calidad adecuados para fines de publicación. Se admitirán propuestas de varios autores y/o de instituciones.

Entrega. Las propuestas serán entregadas a la Secretaría Ejecutiva del Congreso a través de la dirección electrónica: inec97@yahoo.es, o en su dirección física: Instituto de Estudios Caribeños (INEC), C/ Cayetano Rodríguez No. 254, Gazcue, Santo Domingo, República Dominicana. Se dará acuse de recibo.

Plazo. La fecha límite para recibir propuestas de ponencias es el 5 de diciembre de 2008. No se admitirán propuestas después de esta fecha.

Aprobación. Las propuestas de ponencias serán evaluadas por un Comité de Lectura que decidirá su aceptación o no, y presentará su informe al Comité Organizador, el cual comunicará la decisión a los proponentes a través de la Secretaría Ejecutiva del Congreso; posteriormente, al momento de preparar el Programa de este, el C. O. asignará la mesa de trabajo, la sesión, fecha y hora donde deberá ser presentada la ponencia.

Inscripción. La aprobación de una propuesta implica automáticamente la inscripción del proponente en el Congreso como participante de pleno derecho durante los tres días del evento, por lo que deberá llenar el formulario de inscripción y entregarlo a la Secretaría Ejecutiva para fines de acreditación.

Reglas y fechas para las ponencias finales

Formato de las ponencias. Las ponencias deberán tener una extensión máxima de 10 cuartillas a doble espacio y alrededor de 3.000 (tres mil) palabras, redactarse en computadora en el programa Microsoft Word, con letra tamaño 12 (para 20 minutos de presentación oral). Esta extensión no incluye las notas, la bibliografía, las ilustraciones y apéndices. Las ilustraciones (gráficos, dibujos, fotografías, mapas) deberán tener sus textos de pie o descriptivos tal como deben ser publicados, pero deben ser breves (máximo 50 palabras) y señalar claramente las fuentes; los autores son totalmente responsables por la publicación de las mismas, por lo que deberán gestionar por sí mismos las autorizaciones de uso que sean necesarias.

Entrega. Las ponencias serán entregadas a la Secretaría Ejecutiva del Congreso por correo electrónico o en su dirección física (antes señaladas), de lunes a viernes de 8:00 a.m. a 4:00 p.m.; en el último caso, se entregarán preferiblemente en formatos digitales (CD, disquetes, etc.) y con una copia impresa. Se dará acuse de recibo.

Plazo. La fecha límite para recibir las ponencias definitivas, listas para publicación, es el 5 de marzo de 2009. Las ponencias que lleguen después de esta fecha serán descalificadas.

Disertación en el Congreso. En el Congreso las ponencias serán presentadas por sus autores, quienes tendrán 20 minutos para hacerlo; habrá un tiempo similar para los debates; las presentaciones pueden acompañarse de ilustraciones, vídeo y audio, debiendo los autores especificar con anticipación los medios técnicos que necesiten (para las presentaciones habrá disponibles los siguientes equipos: rotafolios; proyectores DVD, VHS; facilidades para CD Roms; reproductores de grabaciones y de CD; data show; retroproyectores; equipos multimedia; entre otros).

La fecha límite para los ponentes confirmar su asistencia es el 5 de marzo de 2009. Quienes no confirmen a esta fecha, no podrán aparecer en el programa.
Información y contactos
Secretaría Ejecutiva del Congreso:

Instituto de Estudios Caribeños (INEC)
Cayetano Rodríguez No. 254, Gazcue,
Santo Domingo, República Dominicana
TEL. y FAX 809 685 1355
inec97@yahoo.es

Más Información sobre la ciudad y la sede del Congreso en: http://www.centroleon.org.do/


Call for Papers for the International Conference
“The Bolero in Caribbean Culture and Its Worldwide Circulation”
The Ministry of Culture of the Dominican Republic, the Eduardo León Jimenes Cultural Center (Centro León) and the Institute of Caribbean Studies (INEC) announce the International Conference “The Bolero in Caribbean Culture and Its Worldwide Circulation,” to be celebrated April 17, 18, and 19, 2009, in the facilities of the Centro León, in Santiago de los Caballeros, Dominican Republic.
This is the third edition of the conference Music, Identity, and Culture in the Caribbean (MIC), which has been declared an “Event of High Cultural Interest” by the Ministry of Culture of the Dominican Republic.
The initiation of the third conference was officially announced on September 22, 2008, in a public event organized by the three institutions, during which the proceedings and two DVDs of the second conference, celebrated in 2007 and dedicated to the theme “Son and Salsa in Caribbean Identity,” were also presented.
Purposes of MIC Conference
The international conference Music, Identity, and Culture in the Caribbean (MIC) is intended to gather together scholars, protagonists, and others interested in regional culture every two years, to exchange knowledge related to these pillars of regional culture, and to bring about policies for strengthening cultural identity in national and regional contexts with a comprehensive focus. The event is conceived as a critical and multidisciplinary space of reflection, through which research, experience, and findings related to music, identities, and cultures in the Caribbean will be socialized. The execution of the conference is inscribed within a pedagogical dimension, so educators are expected to participate significantly as a way of involving the educational system and improving artistic education in the Dominican Republic and the Caribbean.
Papers
In the conference, only fifty (50) papers approved by the Reading Committee will be presented. However, the Organizing Committee may invite musicians and other persons considered pertinent in order to offer testimonies within the framework of the event.
Reading Committee
The Organizing Committee will designate an international Reading Committee, made up of recognized researchers in the region, which, after the deadline for receipt of papers, will approve those that can finally be presented during the conference.
Participants
The MIC-III conference is directed towards a wide national and international audience. Bolero performers, researchers, communicators, musical producers and musical businesspersons, cultural workers in both private and state institutions, and those involved with the design, execution, and management of cultural policies and activities are called upon to participate.
Program
Through talks, paper sessions and discussions, publications, concerts, exhibits and a program of preparatory activities (including research; sociocultural activities; meetings with musicians, academics, educators and music lovers; and a film and documentary series), an atmosphere that supports the development of new forms of thinking and acting with respect to music and Caribbean cultural identity, both within and outside of the region, will be produced.
Activities
The MIC-III conference is conceived as a process, and thus a program of preparatory activities will be developed to turn the conference theme into a topic of wide discussion, with national and international impact.
The conference itself will include the following activities:
∑ Keynote addresses
∑ Paper and discussion sessions. The deadline to submit paper proposals is December 5, 2008, and the deadline for receipt of the texts is March 5, 2009.
∑ A meeting of Caribbean music collectors
∑ Presentation of new publications: bibliographic (books, journals, etc.), discographic and audiovisual. These must be proposed to the Organizing Committee ahead of time.
∑ Concerts: The richness the bolero and its transformations throughout its history will be demonstrated.
∑ A cultural tour of the host city for interested parties
∑ Book of proceedings: A book of the papers, records and reports of the conference will be published
∑ Web site and internet discussion forum: With the aim of bringing about up-to-date interchanges and allowing for the continuation of the dialogue, a web page and a virtual forum will be enabled, and informational bulletins will be sent periodically by e-mail.
Honorary Committee
For MIC-III, the Organizing Committee will designate an Honorary Committee composed of bolero composers and performers from different countries of the Caribbean and Latin America, each of unquestionable merit and national and international renown; well-known researchers; and relevant persons in national and regional culture; as well as representatives of the principal sponsors.
General rules for the presentation of papers
1. Originality. Only original, unpublished work not presented in any other event will be accepted. When sending a proposal, authors should indicate that it complies with the Rule of Originality.
2. Presence. In the conference, the papers must be read by their authors, except in the case of death after approval. Only the names of the presenters who confirm their attendance at the established timeslot will be included in the program.
Paper Proposals
Format. The paper proposals should consist of a maximum of 200 words, which must indicate: the topic to be discussed, summary of its content or focus, and the hypothesis to be sustained. Its heading should indicate: the title of the paper, name and surname of the author, his or her email and physical addresses and his or her phone numbers. Finally, a bio of a maximum of 100 words should be included ready for publication, indicating: country of origin, title and profession or occupation, university where degree was obtained, institution of employment or to which the author belongs, titles of principal publications, and other relevant data. A photograph suitable in size and quality for publication should also be attached. Proposals by several authors or by institutions will be considered.
Delivery. The proposals should be sent to the Executive Secretary of the conference by e-mail to: inec97@yahoo.es, or by standard mail to: Instituto de Estudios Caribeños (INEC), C/ Cayetano Rodríguez No. 254, Gazcue, Santo Domingo, República Dominicana. Receipt will be acknowledged.
Deadline. The final date for receipt of proposals is December 5, 2008. Proposals received after this date will not be accepted.
Approval. The proposals will be evaluated by a Reading Committee that will decide if they will or will not be accepted, and the committee will present its report to the Organizing Committee, which will communicate its decision to the proponents via the Executive Secretary; afterwards, when the conference program is prepared, the Organizing Committee will assign the panel, session, date and time at which the paper will be presented.
Registration. The approval of a proposal automatically implies the registration of the author as a participant in the conference, with all attendant benefits, during the three days of the event. Thus, the registration form must be filled out and sent to the Executive Secretary for official purposes.
Rules and deadlines for final papers
Paper format. The papers should be a maximum of 10 double-spaced pages in length, or approximately 3,000 (three thousand) words, typed in Microsoft Word in 12-point font, for a 20-minute oral presentation. This length does not include notes, bibliography, illustrations, or appendices. Illustrations (graphics, drawings, photographs, maps) should have descriptive captions suitable for publication, but these should be brief (maximum 50 words) and should indicate the sources clearly; authors are completely responsible for the publication of the illustrations and should therefore obtain all necessary authorizations.
Delivery. The papers should be sent to the Executive Secretary by e-mail or physical mail to the address given above, Monday through Friday, 8 AM to 4 PM; in the latter case, they should be delivered in digital format (CD, diskette, etc.) accompanied by a printed copy. Receipt will be acknowledged.
Deadline. The deadline for receipt of final papers, ready for publication, is March 5, 2009. Papers that arrive after this date will be disqualified.
Presentation at the conference. During the conference the papers must be presented by their authors, who will have 20 minutes for the purpose; an equivalent period of time will be allotted to discussion; the presentations may be accompanied by illustrations, video, and audio, when the authors specify their technological needs ahead of time (for presentations the following equipment will be available: flip chart, DVD and VHS projectors, CD-Rom facilities, CD and cassette players, computer projection, overhead projectors, multimedia equipment, etc.).
The final date for presenters to confirm their attendance is March 5, 2009. Whoever does not confirm by this date will not appear in the program.
Contact information
Executive Secretary of the Conference
Instituto de Estudios Caribeños (INEC)
Cayetano Rodríguez No. 254, Gazcue,
Santo Domingo, República Dominicana
TEL. and FAX 809 685 1355
inec97@yahoo.es
Further information about the city and the conference host at: http://www.centroleon.org.do/