Petardo en Guapi

Algo que no había pasado antes. Según Semana:

Este martes fue activado un petardo contra la estación de policía del municipio de Guapi, dejando cuantiosos daños materiales en el cuartel y dos locales comerciales contiguos.

"Afortunadamente no se han recibido reportes de víctimas entre la población civil", dijo a la televisión local el secretario de Gobierno del Cauca, Álvaro Grijalba. El funcionario dijo que "es muy difícil atribuirle el ataque a determinado grupo al margen de la ley".

Feliz Día de la Afrocolombianidad / Happy Afrocolombian Day

El día de la Afrocolombianidad, 21 mayo fue ayer, pero bueno, mejor tarde que nunca. Aquí en Quibdó, se celebró con una misa en la catedral por la mañana y un desfile de los colegios por las calles, con sus bandas, la ocasional chirimía, y representaciones de varios países africanos con pancartas, representaciones (un poco fantásticas) de sus vestidos típicos, y hasta banderas (hechas en casa, me imagino, dónde se compra la bandera de Liberia en Quibdó?).

Es el primer 21 de mayo que estoy en el país desde 2006, y me ha impresionado la cobertura mediática, a diferencia del silencio de años pasados. Eso no quiere decir que esa cobertura siempre sea de la más ilustrada - Don Juan, revista para los hombres "play" colombianos, tiene un artículo / galería de fotos de (flacas) modelos negras, recomendándo a las mujeres negras (y a sus "nalgas como dos mundos enteros") como el último accesorio de moda, y hasta haciendo recomendaciones para uno - uno blanco se supone - conquistarlas. Sea como sea, los negros están de moda, y hasta personas que de pronto no se identificarían como tal, como Mabel Lara, presentadora de Noticias Caracol (quien asegura que "estaría mintiendo si digo que yo he sido discriminada") se están asumiendo identidad afro, por lo menos para aceptar condecoraciones como "ejemplo para la comunidad afrocolombiana." Y es importante que inclusive los noticieros diarios estén pasando, como pasaron ayer, la noticia del Día de la Afrocolombianidad (usando, en el caso de RCN, escenarios tomados de la serie "Raíces" de Alex Haley y "No le pega a la negra" de Joe Arroyo como fondo musical), ayudando a que el mensaje de la importancia histórica (si no siempre la situación actual) de los afros en Colombia llegue a su mayoría no negra. Si hace más hincapié en la conmemoración que en las luchas actuales, es un paso importante en un país que nunca ha confrontado su historia esclavista.

La pregunta que surge, por supuesto, es el porqué de esta visibilidad. Lo del multiculturalismo ha sido estudiado y reestudiado, y no repito lo que he dicho en otras partes, pero sería importante enfatizar el enfoque que la actual administración está haciendo sobre los afrocolombiano, sobre todo como para convencer a EE.UU., su presidente negro, y el Black Congressional Caucus de lo democrático que es el país (a pesar de los falsos positivos, las chuzadas del DAS, la posibilidad de una dictadura constitucional a lo Fujimori resultante de una tercera elección del presidente). Véase, por ejemplo, algunas ideas que está proponiendo el Vice-Presidente:

Santos expresó que el proyecto establecerá condicionamientos que permitan mejorar el acceso de los afros a la educación y al trabajo. Puso de ejemplo que se exigiría que el estado únicamente pueda contratar con universidades en las que exista un porcentaje de graduados de raza negra y que en el examen del Icfes al menos el 5 por ciento del cuestionario sea sobre la historia afro en Colombia. Igualmente se propondría que el Estado sólo contrate con empresas que certifiquen el número de gerentes negros que tienen en su organización, con el fin de incentivar la contratación de personas afro en buenos cargos.

Todo bien. Excelente inclusive. Pero incompleto. Contribuye más a conversión de los todavía relativamente escasos profesionales negros en negros profesionales, es decir, de crear una categoría burocrática racial que en úlitimas beneficie más a los burgueses negros que sepan aprovechar del color de su piel que a la situación de los descendientes afrocolombianos más allá de ese grupo pequeño, es decir de los campesinos y clases populares, para los cuales la premiación de una Mabel Lara es poco consuelo para su situación. Chévere la lucha contra la discriminación racial - pero ojo que denominar a la discriminación como solamente racial encubra las variadas formas de racismo cultural y clasista que van cogidas de la mano con los esterotipos fenotípicos, y que tienen la misma vigencia, si no más.

Hablando de San Andrés / Speaking of San Andrés

Mento from Old Providence / de Providencia

Music from San Andrés and Providencia / Música de San Andrés y Providencia

Music from Colombia's Protestant, English-patois-speaking islands - from mento to ragga.
Música de las islas protestantes, angloparlantes de Colombia, de manto a ragga.


http://www.myspace.com/colombiareefrecords

This guy hates the American Musicological Society

This from the Chronicle, by a guy who clearly loathes AMS - of which he is a member. I don´t really know enough about AMS, and have (thank God) thusfar avoided the position of the patronized ethno in a room full of musicologists to be this pissed off at musicologists or to have much of a position at all on AMS, but for the pleasure of those who are and do, you might enjoy the following.

http://chronicle.com/free/v55/i35/35b01001.htm
From the issue dated May 8, 2009
Composed in Hypocrisy. Music, torture, and the drama of American musicology
By ILIAS CHRISSOCHOIDIS

In a rare display of social awareness, the American Musicological Society has publicly denounced the use of music in physical and psychological torture. The core of the March 2008 statement reads, "We, as scholars and musicians who devote our lives to sustaining musical cultures throughout the world, protest the contamination of our cultures by the misappropriation of music as a weapon of psychological torture."

The resolution brings into shocking alignment two unrelated groups, prisoners detained abroad and students of music at home. The former may soon be protected from aural torture now that the American musicology lobby has taken up their cause (albeit with no instrumental accompaniment). More important, American students now have a precedent to decry 20th-century music surveys — with their compulsory exposure to headache-inducing cacophony and traumatic collisions of sonic debris — as academic torture. Assuming that the AMS is serious about banning all forms of music torture, we may soon hear about class-action lawsuits against music departments for aurally abusing our youth.
Before Slavoj Zizek discovers (and critically devours) this tasty nugget of baby-boomer touchiness, let me raise a few points. At first reading, I thought the AMS was defending the integrity of the Western musical canon from evil cultural forces in a continent far, far away. I began to imagine the endless repetition of the opening dissonance in Beethoven's "Ode to Joy" followed by the agonized screams of prisoners: "O Freunde, nicht diese Töne!" ("O friends, not these tones!"). But no. Music-torturers have little use for our beloved German masters, preferring instead vulgar rock 'n' roll and other low types of pop music. (Admit it: Drowning Pool's "Bodies" is superior to Handel's Water Music, Schubert's The Trout, and Ravel's Jeux
d'eau as accompaniment for waterboarding.) I fail to see, then, why the AMS, guardian of highbrow music, and not the American Society of Composers, Authors, and Publishers, a royalties collector, should protest this scandalous abuse of copyrighted material. And it is scandalous. Of all evildoers in the world, American defense agencies appear to favor this practice
the most. According to the Society for Ethnomusicology, "The U.S. government and its military and diplomatic agencies have used music as an instrument of abuse since 2001, particularly through the implementation of programs of torture in both covert and overt detention centers as part of the war on terror." The SEM statement not only preceded that of the AMS by more than a year, but also had the courage to actually point a finger at someone. Nay, it openly demands "that the United States government and its agencies cease using music as an instrument of physical and psychological torture." Such a clear position reduces the AMS announcement — which is written as though music, not human rights, were the chief subject of abuse here — to a humanistic spoof, a platitude masking critical impotence.
Furthermore, the AMS's jurisdiction on this matter is undermined by a sad reality: American musicology today is less entitled than ever to defend music. Envious of her elder sister, literary studies, she has done everything to appear sophisticated and "Freudly" in the past 20 years. The society's annual meetings feel more and more like territory occupied by foreign disciplines. Derrida, Bakhtin, and Adorno are topics more welcome than composers and their work. "Politics," "gender," "sexuality," and related tags are used as rhetorical steroids to boost one's "innovative" profile. You can more easily land a professorship by adopting the latest hermeneutic vogue than by making a discovery or editing a neglected masterpiece. It is a mystery how scholars who push music to the periphery of their discipline pose as agents "sustaining musical cultures throughout the world."
Don't get me wrong. I have nothing against the AMS's noble gesture. To the contrary, I marvel that its busy leaders found the time to pontificate on an issue that is, at best, tangentially related to the society's mission.
But since they have taken the path of moral uprightness, I would have expected them to start a bit lower, like with the little academic tortures their young and vulnerable colleagues experience daily. By torture I mean "trivial" forms of academic distress, like applying for a job or fellowship in full suspicion that it has already been promised to someone else. Or witnessing protégés gather around the new "star" professor in their department until faculty diversity and independent viewpoints become almost impossible.
Or competing in the publication market with the Doktorkinder of editorial-board members, whose submissions are destined for magnanimous treatment. I also think of the eerie silence that greets complaints or reports of abusive behavior — board members' overriding the will of selection committees to promote their own students, senior professors' attacking the work of young scholars who compete with their protégés — or even the AMS's practice of bombarding low-income members (read: unemployed) with gift requests for up to $500, if you please.
Little "tortures" such as those may hardly register in the stratosphere of six-figure tenured salaries, but they have a truly liberating effect on their victims, who begin to recognize the ugly face of a capitalist academy: not a forum of discussion but a supreme court; not a community of peers but a House of Lords; not a space for independent thinking but a training ground for submission to professorial gurus, all sustained by a tenure system that allows political operatives to elbow out original scholars and refashion history according to personal desires.
No doubt this describes academic life in general. But it is felt much more acutely among American musicologists. As a small discipline with minimal influence on the national discourse, musicology is conditioned by a double-edged inferiority complex about European intellectual traditions and larger, more respected disciplines. To prove its upscale intellectuality and academic prestige, the AMS imposes a fixed 25-percent acceptance rate for submissions to its annual meeting and limits each issue of its triannual publication, the Journal of the American Musicological Society, to only three articles — around 150 conference papers and nine articles a year for a 3,600-member society.
Such limited opportunities for professional exposure generate enormous competition and nasty partisanship. Only a few big departments and the occasional network of cultlike warriors can withstand the pressure. Musicologists outside such elite circles can hope to present at their society's national meeting once or twice a decade. Their chances of publishing in the JAMS over the course of their entire careers are next to zero.
Some membership. Some group.
You can see, then, why I find the AMS resolution so pompous. The society condemns outlandish abuses of music and people in remote prisons while it undermines the role of its membership at home. In doing so, the AMS parades in lockstep with other contemporary institutions, for which Enlightenment rhetoric masks the disfigurations of capitalism, and big, idealistic statements muffle the groans of social division and injustice. Still, it's worth asking how people who teach, perform, and study the most harmonious of arts can generate so much discord and hidden resentment among their younger colleagues, who are expected to lick their wounds in dark corners and forever remain silent, because torture, abuse, and violence, in whatever form
and dosage, exist only elsewhere.

Ilias Chrissochoidis is a member of the American Musicological Society.
http://chronicle.com
Section: The Chronicle Review
Volume 55, Issue 35, Page B10

Aussie Pop Music Job

Lecturer Popular Music

Level B, Continuing, Full Time, Gold Coast campus

Reference: QCM0206/09

Overview:

The Queensland Conservatorium Griffith University wishes to appoint a

highly motivated creative musician to the position of Lecturer in Popular

Music. This is a teaching focussed position, with the expectation that

the appointee will contribute to the research profile of the

Conservatorium.

The role:

The role will be primarily responsible for teaching within the Bachelor of

Popular Music programme, in areas such as sound / audio production,

creative music technology, and ensemble work.

The position also entails opportunities for development in the applicant's

area of expertise, and there is an expectation of ongoing contribution to

the artistic life of the Conservatorium, particularly within the Gold

Coast campus.

The person:

The successful applicant will have a strong record of achievement in the

music industry as a professional performer / recording artist, composer /

songwriter / arranger, producer / entrepreneur, as well as prior tertiary

teaching experience.

Salary Range:

$70,566 - $83,799 per annum. Salary package including 17% superannuation

contribution: $82,563 - $98,046 per annum.

Further Information:

Obtain the position description and application requirements online.

For application queries, contact Ms Sue Thorne, HR Officer on (07) 555

28151

For position queries, contact Dr Donna Weston on (07) 555 29007

To apply: check out the website

Applications close: 29 May 2009

http://www.seek.com.au/users/apply/index.ascx?Sequence=94&PageNumber=1&JobID=15367791

Un promedio de 4,4 personas son asesinadas cada día en Tumaco

De El Tiempo:

El recrudecimiento de la violencia en ese puerto se ha convertido en un cerrojo para sus habitantes . 'La cosa acá es grave, nadie quiere hablar', dice un habitante que pide la reserva de su nombre.

Ayer, precisamente dos hechos conmocionaron a la población. En la vereda Cajapi, a unos 45 minutos de la cabecera municipal, un grupo de jóvenes que departía en una vivienda para celebrar un cumpleaños fue baleado por desconocidos. 'Hubo cinco personas muertas y seis más heridas', dijo el secretario de Gobierno, Fabio Trujillo.

La masacre perpetrada por hombres que portaban armas de largo alcance se registró a la 1 de la mañana. Según testimonios, ingresaron por la parte trasera de la vivienda y dispararon indiscriminadamente.

Pero no es el único hecho violento de las últimas horas. Ayer también, a las 8 de la mañana, fue baleada cuando transitaba por la avenida la Playa de Tumaco, María Alexandra Satizábal Nazareno, de 38 años, quien se desempeñaba como visitadora del Sistema Nacional de Matrículas de la Secretaría de Educación.

Las autoridades tienen gran atención en este caso pues el pasado 25 de abril la titular de esa dependencia Irma Liliana Correa, fue víctima de un atentado que la mantiene en delicado estado de salud en una clínica de Cali.

'Ese día fue lamentable. El atentado se presentó a las 11 de la mañana, pero la funcionaria estuvo mucho tiempo tirada en el sitio donde cayó porque por miedo nadie se acercó a ayudarla', relató un ciudadano.

El fin de semana en la vereda Pindal desconocidos lanzaron una granada a un establecimiento donde departían una menor de 15 años y dos hombres. Tras la explosión cada uno recibió un tiro de gracia.

Tras un consejo de seguridad el general Gustavo Adolfo Ricaurte, comandante de la Regional 4 de Policía, atribuyó la oleada de muertes violentas y amenazas contra docentes al narcotráfico.

'Las bandas delincuenciales organizadas que operan en la jurisdicción de Tumaco están afectando el desarrollo normal de un municipio que se ha caracterizado por ser solidario, hospitalario y turístico', dijo el oficial.

Entre las medidas que se adoptaron para contrarrestar los altos niveles de inseguridad que se registran en esa jurisdicción del departamento, figura la puesta en funcionamiento de la línea de atención al público 123 antes de que termine el mes. 'Nos hemos comprometido en reforzar la Policía Judicial, con el fin de mejorar algunos procesos que tienen que ver con la inteligencia', agregó el general Ricaurte.

Igualmente el comando del Departamento de Policía Nariño se comprometió a conformar un escuadrón motorizado que permita una reacción más rápida ante los llamados de la comunidad.

Así como a ejercer un mayor control sobre el tráfico de motocicletas mediante campañas pedagógicas, con el fin de disminuir la incidencia del sicariato y los niveles de
accidentalidad.

La Diócesis de Tumaco mostró su preocupación por los actos de violencia que se han incrementado en el transcurso del año contra miembros de la comunidad indígena Awá.

El secretario de Gobierno Trujillo dijo que una comisión integrada por la Fiscalía, Policía Nacional, Procuraduría, Das y Personería Municipal se encargará de analizar los homicidios.

De acuerdo con el Comité Permanente por la Defensa de los Derechos Humanos, las muertes violentas en el departamento de Nariño se han incrementado en forma considerable. Javier Dorado, vocero del organismo, reveló que 'paradójicamente no ha evolucionado favorablemente el respeto a los derechos humanos en la región, por el contrario hay un alto porcentaje de violación a los mismos'.

El alcalde Neptalí Correa dijo que la seguridad del municipio depende de la acción de las autoridades.

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/
--

New MA in Performance Studies

The Department of Performance Studies at Texas A&M University announces
a new Master of Arts degree in Performance Studies. This
interdisciplinary program emphasizes the ethnographic study of
vernacular culture. The Department of Performance Studies has strengths
in Africana studies, dance and ritual studies, ethnomusicology,
folklore, performance ethnography, popular music studies, religious
studies, theatre and media studies, and women’s studies.

Application deadline for Fall, 2010 is January 15, 2010. Assistantships
are available.

Ethnocide in the Colombian Pacific

The New York Times on the situation of the Embera indigenous group in Chocó Colombia. Link. Audio slide show here.

Shady labor practices at NYU

Please read below for more information on the NYU administration's FAR-4 -- Financial Aid Restructuring 4 -- proposal to restructure graduate employee funding and work arrangements at NYU. The proposal would remove the teaching requirement from MacCracken fellowships. The NYU administration claims that all graduate employees engaged in teaching would then be classified as adjuncts. NYU did not consult GSOC/UAW nor the adjunct union, UAW Local 7902, in the development of this proposal and it remains legally questionable whether or not graduate employees would be protected by the adjunct contract. There are other serious concerns with FAR-4 that you can read about below. In response to FAR-4, GSOC/UAW plans to push the administration to provide more information and consult with affected members of the NYU community. GSOC/UAW is also working to create dialog on campus and offer support to graduate employees who are raising serious concerns with the problems of FAR-4. We also ask for your help in expanding and strengthening GSOC/UAW for a big push to secure our collective bargaining rights in the Fall. To get more involved and to participate in upcoming GSOC/UAW events, please emailgsocuaw@gmail.com. It is important to note that whatever the administration decides to do, no amount of shuffling titles and categories can change the fact that graduate employees have their own labor concerns that can only be secured through collective bargaining. GSOC/UAW remains fully committed to securing collective bargaining rights for graduate employees at NYU.

GSOC Statement on FAR-4 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ On Friday, April 10, the NYU administration unveiled a memorandum to GSAS deans and department chairs outlining "FAR-4," a plan to drastically restructure graduate employee funding and work arrangements. Beginning in September 2009, FAR- 4 proposes to eliminate the teaching assistant position in GSAS and possibly other schools as well. FAR-4 claims that teaching would be decoupled from the McCracken fellowship-that is, graduate students would not be formally required to teach under the terms of the MacCracken. Instead, graduate employees on fellowship would be encouraged to teach on a voluntary basis for one year. Graduate employees teaching while on fellowship would then be paid as adjuncts and receive adjunct wages in addition to their stipends. Teaching after the fifth year of fellowship would also be compensated at the adjunct rate of roughly $4000 a semester. The NYU administration presents FAR-4 as a strategy to save the university money while addressing graduate employee labor concerns by allowing graduate employees to join the adjunct union. While it remains legally questionable whether graduate employees would be protected by the adjunct contract, other details of the proposal are equally troubling, including the imposition of a five-year cutoff on graduate employee funding, significant decreases in the total number of McCrackens and the creation of a tier of completely unfunded PhD students. These concerns are compounded by the secrecy surrounding the development of FAR-4 and the rush to implement the plan by September 2009. Faculty, graduate employees, undergraduate students, and other affected members of the NYU community were not consulted or allowed to give input on the FAR-4 proposal in any meaningful way. GSOC/UAW -- the union for graduate employees at NYU -- has had no voice in FAR-4's creation. Further, the FAR-4 proposal document itself is vague and leaves much to the imagination or to promised departmental "customization" that has yet to be defined. And what is explicitly spelled out in the Far-4 plan poses enormous problems. Deans Foley and Stimpson have claimed in meetings with GSAS chairs and DGSs that FAR-4 will not only address the time to degree, but also "finesse" the union issue by recognizing teaching as work. FAR-4, however, will largely shift that work to graduate employees late in the PhD process, or to insecure and low-paid jobs for recently minted PhDs. It will reverse many of the gains GSOC achieved with our 2002-2005 contract with the university while turning back the clock to an informal culture of exploitation where no clear rules govern the kind and amounts of work graduate employees would be expected to perform. The informal, decentralized nature of teaching appointments will rely heavily on faculty favoritism and/or bullying in the allotment of departmental labor -- a situation the union was created to fight. Creating an unfunded PhD tier could have dire consequences for the accessibility and diversity of the graduate school, never mind the collegial atmosphere within and between departments. It is unclear where NYU plans to find the labor to replace the hundreds of teachers and graders who would not teach under this plan. Possibilities discussed in the 3-page summary of the plan include expanding instructorships like those currently used in several departments. These involve a 3/2 course load at pay only slightly above TA levels. That's much more work for roughly the same pay right when the pressure is mounting to finish dissertations. Additionally, by cutting off funding at five years, FAR-4 as written would make it difficult, if not impossible, for most international students to remain in the U.S. to complete their studies. FAR 4 is union busting. The tactics are textbook: division of work force (MacCracken teachers and adjunct-style teachers); informalization of labor (the "moral authority" of employers to persuade MacCracken students to teach); rearranging work (foisting more work on some students and less on others); the relabeling of work (as if eliminating the term "TA" changes at all the actual work done in the classroom); and the haste to implement FAR-4 in the face of graduate employees asserting collective bargaining rights. FAR-4 is an attempt to stymie the Obama administration's efforts to restore sanity to our labor laws. These include his support for amending the National Labor Relations Act to guarantee collective bargaining rights for TAs and RAs at private universities and colleges. GSOC/UAW is disappointed by this latest evidence that the NYU administration is willing to sacrifice the interests of their undergraduates and any sense of academic integrity by proposing a last-minute attempt to restructure graduate student funding without regard for pedagogical concerns or collective decision-making. The FAR-4 proposal never once mentions undergraduates as group with interests in how teaching is performed at NYU. The silence and confusion surrounding how many of the proposed changes would be implemented does little to quell anxieties of how FAR-4's underthought overhaul of graduate employee teaching will affect the quality of undergraduate education. Currently, graduate employees teach hundreds of sections and hold hundreds of office hours. We work to help students learn the fundamentals of calculus, hone writing skills and perform experiments in laboratories that lay the foundations for future learning. As the FAR-4 proposal stands with cuts in the total number of MacCrackens offered and no required teaching under fellowship, no one is slated to take on the necessary work currently performed by teaching assistants that ensures undergraduates get the most for their fifty thousand dollar a year education. Even with cuts in recitation times and increased enrollment in courses, if faculty do not willingly take on more unpaid labor themselves, then graduate employees will have to be persuaded or coerced to do so. GSOC/UAW finds this unacceptable. FAR-4 is no substitute for the guarantees and protections that come with collective bargaining and real labor protections. A GSOC/UAW union contract is the only real way to ensure that graduate employees have a voice in our wages, benefits, and working conditions. Through numerous petitions and card drives, the majority of graduate students at NYU have consistently expressed their desire to be represented by GSOC/UAW and work under the protections of a GSOC/UAW contract. We urge the NYU administration to negotiate the terms and conditions of NYU graduate employment with GSOC/UAW. What You Can Do: Ask and Circulate These Questions About FAR-4 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ The NYU administration recently released plans for FAR-4 -- Financial Aid Restructuring 4. NYU administrators hope to implement FAR-4 by September 2009. Neither faculty, graduate employees, students or other affected members of the NYU community were consulted in any meaningful or representative way in the creation of FAR-4. GSAS chairs and other faculty in administrative positions have reported that the NYU administrators have stated in meetings that this plan is intended to change university policy ASAP in order to thwart democratically elected President Obama's promises to correct the past eight years' abuses of federal labor policy. Deans Foley and Stimpson have explicitly framed the reforms to the faculty as an attempt to circumvent GSOC/UAW -- the union for graduate employees at NYU. The admininstration's April 10th letter about FAR-4 describes a radical departure from the current TA system. Without describing how money will be saved, the administration is proposing that it can solve its financial problems by offering more fellowship years for the MacCracken and a substantial new wave of adjunct hiring. Sound too good to be true? The plan doesn't seem to add up. There are a lot of unanswered questions about NYU's new plan. Please ask your DGS, Department Chair, and faculty the following questions: What happens to 5th and 6th year graduate employees who have already lined up TAships at McCracken rates for the fall? Will they be paid adjunct pay rates (roughly $4,000 per course)? Why weren't faculty, graduate employees, and other affected members of the NYU community members consulted in the MacCracken restructuring plan? How will "customization" by department work and when will chairs do it? Will this proposal actually lead to a reduction in workload? How many undergraduate students will be enrolled per section? FAR4 suggests that NYU will admit many more unfunded PhD students who -- if they taught as adjunct would be paid much less than MacCracken rates. Won't that create a world of "haves" and "have-nots"? Won't this plan re-create the same problems we organized a union to deal with in the first place? What does the establishment of an unfunded PhD tier and funding cutoffs after five years mean for the accessibility and diversity of the graduate school? Why is undergraduate education unmentioned in the FAR 4 proposal? Won't undergraduate education suffer in quality as graduate employment expectations shift and become unclear? Will section enrollments increase? Will section times decrease? Who will do grading? Will it be dumped on faculty? How will international students in their post-McCracken years get their visas renewed? The F-1 visa is predicated on proving you make at least 20k a year. That's not so easy to do on adjunct wages? The average time to degree is 7-8 years. Why cut support at 5 in this economy? According to the Council of Graduate Schools' PhD completion project, only 12% of PhD students in the humanities and 20% in the social sciences finish in 5 years. How will grads support themselves? With more teaching? How does this plan actually save money for the NYU administration? What will the informal nature of teaching assignments under the FAR 4 do to the faculty/graduate student mentoring relationship? How will faculty in administrative positions fill teaching slots if grads are not formally obligated to teach? By leaning on their grad students or by outright coercion? Does NYU intend to hire undergraduates as graders and recitation leaders? What does FAR 5 look like? Is there any guarantee that this plan will remain in effect as implemented or even as articulated in this document? How will the presence of funded and unfunded graduate students affect departmental collegiality? NYU claims free money for the humanities and social sciences, but is vague about the sciences. How will science department funding structures be affected?

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

Reggaeton, the edited volume is out.

The New York City book release is being hosted by the Center for Puerto Rican Studies on Thursday May 7th, 6:30 p.m., Hunter College, Faculty Dining Room, West Building, 8th Floor, New York, New York. For more information contact Centro events coordinator Ivelisse Rosario Natal: ivelisse.rosario-natal@hunter.cuny.edu.

Book Description:
A hybrid of reggae and rap, reggaeton is a music with Spanish-language lyrics and Caribbean aesthetics that has taken Latin America, the United States, and the world by storm. Superstars—including Daddy Yankee, Don Omar, and Ivy Queen—garner international attention, while aspiring performers use digital technologies to create and circulate their own tracks. Reggaetonbrings together critical assessments of this wildly popular genre. Journalists, scholars, and artists delve into reggaeton’s local roots and its transnational dissemination; they parse the genre’s aesthetics, particularly in relation to those of hip-hop; and they explore the debates about race, nation, gender, and sexuality generated by the music and its associated cultural practices, from dance to fashion.The collection opens with an in-depth exploration of the social and sonic currents that coalesced into reggaeton in Puerto Rico during the 1990s. Contributors consider reggaeton in relation to that island, Panama, Jamaica, and New York; Cuban society, Miami’s hip-hop scene, and Dominican identity; and other genres including reggae en español, underground, and dancehall reggae. The reggaeton artist Tego Calderón provides a powerful indictment of racism in Latin America, while the hip-hop artist Welmo Romero Joseph discusses the development of reggaeton in Puerto Rico and his refusal to embrace the upstart genre. The collection features interviews with the DJ/rapper El General and the reggae performer Renato, as well as a translation of “Chamaco’s Corner,” the poem that served as the introduction to Daddy Yankee’s debut album. Among the volume’s striking images are photographs from Miguel Luciano’s series Pure Plantainum, a meditation on identity politics in the bling-bling era, and photos taken by the reggaeton videographer Kacho López during the making of the documentary Bling’d: Blood, Diamonds, and Hip-Hop.Contributors:
Geoff Baker, Tego Calderón, Carolina Caycedo, Jose Davila, Jan Fairley, Juan Flores, Gallego (José Raúl González), Félix Jiménez, Kacho López, Miguel Luciano, Wayne Marshall, Frances Negrón-Muntaner, Alfredo Nieves Moreno, Ifeoma C. K. Nwankwo, Deborah Pacini Hernandez, Raquel Z. Rivera, Welmo Romero Joseph, Christoph Twickel, Alexandra T. Vazquez
Advance Praise:

“It’s about time academia dared to include reggaeton. This might mean that we’re finally understanding that all of us are los de atrás (the ones behind): our country, Puerto Rico, and the whole Caribbean. I hope people support this book so it can be translated into Spanish, and kids in Puerto Rico and Latin America can read it. Because we Caribbean people, even if we don’t want to, even if we don’t like it, even if it hurts, we come from behind, . . . and there’s a value to that. There’s a beauty to being los de atrás.”—Residente, frontman of the Grammy and Latin Grammy award-winning duo Calle 13

“This anthology opens a chapter in hip-hop history that brings it all back home, back to our transnational Afro-Spanish-speaking countries and diasporas and ’hoods where young people are going through their hip-hop ecstasies and traumas, but in their own language, and in their own unique and hitherto-unknown style.”—Juan Flores, author of From Bomba to Hip-Hop: Puerto Rican Culture and Latino Identity, from the foreword to Reggaeton

“The kinetic contributions inReggaeton melt false borders—ones wrapped like straitjackets around peoples, knowledges, and cultures—and move the crowd. More than an exciting, exhaustive treatment of this vital musical culture, this anthology is a fine blueprint for engaged cultural scholarship right now.”—Jeff Chang, author of Can’t Stop Won’t Stop: A History of the Hip-Hop Generation

“I cannot overstate how critically important this volume is. It captures the synergies of a musical and cultural movement that few have seriously grappled with, even as the sounds and styles of reggaeton have dominated the air space of so many urban locales.”—Mark Anthony Neal, author of Soul Babies: Black Popular Culture and the Post-Soul Aesthetic

Editors:
Raquel Z. Rivera is a Researcher at the Center for Puerto Rican Studies at Hunter College, City University of New York. She is the author of New York Ricans from the Hip Hop Zone and many articles for magazines and newspapers including Vibe, Urban Latino, El Diario/La Prensa, El Nuevo Día, and Claridad. She blogs at reggaetonica.blogspot.com.
Wayne Marshall is the Florence Levy Kay Fellow in Ethnomusicology at Brandeis University. He blogs at wayneandwax.com, from which a post on reggaeton was selected for the Da Capo Best Music Writing 2006 anthology.
Deborah Pacini Hernandez is Associate Professor of Anthropology at Tufts University. The author of Bachata: A Social History of a Dominican Popular Music and a co-editor of Rockin’ Las Americas: The Global Politics of Rock in Latin/o America, she has written many articles on Spanish Caribbean and U.S. Latino popular music.

The Great Issues Forum

presents

Cultural Power: Music

Vijay Iyer and DJ Rekha

moderated by Greg Tate

Acclaimed jazz pianist and composer Vijay Iyer is joined by music sensation DJ Rekha for a discussion about music, power, and art in this third cultural power conversation. Vijay Iyer's music draws from a range of Western and non-Western traditions, and his recordings include Reimagining (2005), and Tragicomic (2008), among many others. DJ Rekha's debut album DJ Rekha Presents Basement Bhangra features the same blend of South Asia's traditional Bhangra music and Hip-Hop that made her monthly dance party Basement Bhangra famous. Moderated by Greg Tate, art, music and culture critic and author of the forthcoming biography James Brown Body. Introduced by music critic Gary Giddins.

Monday, April 13th 2009, 7:00 pm

Elebash Recital Hall

The Graduate Center, CUNY

365 Fifth Ave (btwn 34^th & 35^th)

FREE AND OPEN TO THE PUBLIC

No registration. Please arrive early for a seat. 212-817-2005

www.greatissuesforum.org

City Lore www.citylore.org	April 1 , 2009
Painting by José Orbein City Lore in collaboration with Hostos Center for the Arts & Culture presents ¡EL TAMBOR LLAMA! TANBOU A RELE! (The Drum Calls) Sacred Drumming Traditions of Cuba, the Dominican Republic, Haiti and Puerto Rico Saturday, April 25, 2009 Hostos Community College/CUNY 450 Grand Concourse at 149 St. The Bronx This program will look at the connections between Afro-Cuban, Afro-Dominican, and Haitian sacred drumming traditions and some of the other cultural expressions connected to them. The day-long program would feature a keynote speaker, dance and music performances of the three traditions, panel discussions of scholars discussing the languages—poetic and ritual—of the three cultures, and the Congo heritage in the Caribbean, and an exhibit of the line drawings common to all traditions. PROGRAM 1:00pm, Keynote address "The Kongo Atlantic Visual Tradition" Dr. Robert Farris Thompson 2:00-3:45pm, Panel discussion "Voices of the Sacred: Abakuá, Lucumí and Vodoú" Dr. Oluseye Adesola, Dr. Ivor Miller, Dr. Lois Wilcken 4:00-5:45pm, Panel discussion "¿Qué palo es? What Congo tradition are you from?" Dr. Martha Ellen Davis, Alex LaSalle, Dr. Ivor Miller, Dr. Marta Moreno Vega Moderator: Dr. Roberta Singer 7:30-9:30pm, Concert Pa'lo Monte, La Troupe Makandal, Proyecto Enyenison Enkama Emcee: Ned Sublette All day long in the lobby there will be an exhibition of artwork related to these traditions by José Orbein, Kesler Pierre, and Osvaldo Sánchez, as well as books for sale. Admission for the concert: $15 (all other events are free) For tickets please call the Hostos Box Office at 718-518-4455 or go to Hostos events website. For more information please call City Lore at 212-529-1955 x306 or emartinez@citylore.org. Subway direction to Hostos Community College: #2, 4, 5 stop right there at 149th St. & Grand Concourse. Funding provided by National Endowment for the Arts, New York City Department of Cultural Affairs, The Sherman Foundation, New York State Council on the Arts and New York Council for the Humanities.
City Lore | www.citylore.org | 72 East 1st St. New York, NY 10003 t | 212.529.1955 f | 212.529.5062 e | info@citylore.org

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.

2º Congreso Latinoamericano en Formación Académica en Música Popular

Dice Silvia Aballay
*Coordinadora de la Lic. en Composición Musical *
*con orientación en Música Popular*
*Universidad Nacional de Villa María*
*saballay@unvm. edu.ar*

“2° Congreso Latinoamericano de Formación Académica en Música Popular”

*Tema:*
*Teoría y Práxis ¿una relación posible en la formación de un músico popular?
***
*Villa María, **21 al 24 de octubre de 2009**.*
*Campus Universitario. Universidad Nacional de Villa María. Córdoba
Argentina.*

Espacio creado para el encuentro de los músicos, alumnos, docentes,
investigadores vinculados a carreras relacionadas con la Música Popular y
especialistas en el tema, organizado por la Secretaría de Investigación y
Extensión del Instituto Académico Pedagógico de Ciencias Humanas de la UNVM.

El Congreso se realizará del 21 al 24 de octubre de 2009 y contará como
actividad principal con *Mesas Temáticas* de Discusión centradas en
problemáticas referidas a la formación en música popular, donde se
presentarán las ponencias aceptadas por el Comité de Lectura. Los
participantes podrán elaborar ponencias sobre productos de experiencias como
docentes o productos de la investigación. Las mismas contarán con un
moderador y secretario de actas encargados de llevar registro de lo actuado
para así arribar a las conclusiones como resultado del Congreso.

Las mesas temáticas de discusión contemplan la presentación de cuatro
expositores, destinando un importante tiempo para el intercambio entre los
ponentes y de éstos con el público con el objeto que el encuentro no sea una
mera exposición de resultados sin llegar, por medio de la discusión, a
nuevas construcciones producto del intercambio entre pares.

También se prevé la realización de *Mesas Redondas* con panelistas invitados
donde los asistentes al Congreso, hayan presentado o no ponencias, puedan
incorporarse libremente a participar de los debates, las que contarán
también con un moderador y un secretario de actas.

Además, se llevarán a cabo Conferencias con destacados especialistas de las
temáticas planteadas y Conciertos a cargo de docentes, alumnos de la carrera
y los elencos de la UNVM y Peña de integración con la libre participación de
los asistentes.

*Objetivos: *
§ Propiciar la discusión sobre la problemática de la enseñanza de la
Música Popular en los ámbitos académicos orientados a la construcción de un
espacio interdisciplinario que articule las tensiones entre teoría y praxis.
§ Promover la interacción entre pares tendiente a repensar las
prácticas y saberes previos explicitados y no explicitados.
§ Resignificar los marcos conceptuales (epistemológicos, estéticos,
científico-disciplin ares) que orientan explícita o implícitamente el
accionar de los docentes en las carreras de Música Popular.
§ Recopilar a lo largo de la actividad las ponencias, conferencias y
resultados teóricos que contribuyan a la elaboración de un documento en el
cual se expliciten las conclusiones del Congreso.
§ Integrar a los participantes del Congreso en una actividad de
interpretació n de la Música Popular compartida.

*Lugar de realización: *
Área de música de la Universidad Nacional de Villa María,
Campus Universitario, Arturo Jauretche 1555. Villa María.
Tef: (54) (353) 4539103/ 104/ 135
congresomusicapopul ar@yahoo. com.ar <congresomusicapopular@yahoo.com.ar>

Para mayor información consultar el link del Congreso en la página de la
Universidad: www.unvm.edu. ar <http://www.unvm.edu.ar/>

*Temas para las Mesas Temáticas y Redondas: *
1. Paradigmas, teorías, investigaciones, análisis y marcos
referenciales de la Música Popular
2. La necesidad de reconstrucció n de la história no escrita de la Música
Popular.
3. Música Popular y nuevas tecnologías.
4. La formación en interpretació n, improvisación, lenguajes y
perfomance en la Música Popular
. La estructura curricular de los planes de estudio en las carreras con
orientación en la Música Popular.
6. La enseñanza de la composición, versión y arreglos en la Música
Popular

*Fechas y requisitos de presentación:*
Las ponencias se receptarán desde el *1 de abril al 30 de mayo del 2009*.
Durante el mes de junio, el Comité de Lectura evaluará las ponencias
presentadas. Los resultados se darán a conocer, por correo electrónico, el
día 3 de julio de 2009.

En el caso de ponencias que sean el producto de experiencias como docente se
debe detallar el problema presentado y el esbozo o factibilidad de solución
o soluciones posibles. En el caso que sean el producto de investigaciones se
debe consignar el objeto de estudio, marco teórico y las conclusiones a que
se arribó.

Con respecto a las *Mesas Temáticas* en ellas los ponentes presentarán sus
trabajos para luego dar lugar al debate, contarán con un Moderador que será
el encargado de realizar la presentación del tema y de los disertantes, de
moderar en las discusiones planteadas durante las ponencias y de elaborar
las conclusiones de la mesa asignada para exponer al finalizar el Congreso.

Las *Mesas Redondas* contarán con un Moderador y un Secretario de Actas y en
ellas se debatirá libremente en torno a las problemáticas planteadas, luego
de la exposición de los panelistas invitados.

Los interesados deberán presentar el trabajo de la siguiente forma:
1. Título, área temática.
2. Resumen de 100 palabras que será destinado al libro de presentación
del Congreso.
3. Resumen ampliado de la ponencia de 600 palabras que será necesario
para la evaluación del trabajo.
4. Nombre del autor, institución, profesión, dirección postal y
electrónica y currículo de 200 palabras.

La exposición no podrá exceder los 20 minutos de duración incluidos los
ejemplos musicales.
Una vez aprobada su presentación al Congreso los ponentes deberán presentar,
hasta el día 30 de julio, el trabajo completo que podrá tener un máximo de
4000 palabras, incluida la bibliografía, en formato electrónico (por correo
electrónico) para su posterior publicación en formato CD.