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This could be of interest to members of the list. <br>
<br>
David Nofre<br>
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<th nowrap="nowrap" valign="BASELINE" align="RIGHT">Subject:
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<td>CFP: Alternative Histories of Electronic Music (AHEM)</td>
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<th nowrap="nowrap" valign="BASELINE" align="RIGHT">Date: </th>
<td>Tue, 7 Jul 2015 12:02:17 +0000</td>
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<th nowrap="nowrap" valign="BASELINE" align="RIGHT">From: </th>
<td>Boon Tim <a class="moz-txt-link-rfc2396E" href="mailto:Tim.Boon@SCIENCEMUSEUM.AC.UK"><Tim.Boon@SCIENCEMUSEUM.AC.UK></a></td>
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<th nowrap="nowrap" valign="BASELINE" align="RIGHT">Reply-To:
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<td>Boon Tim <a class="moz-txt-link-rfc2396E" href="mailto:Tim.Boon@SCIENCEMUSEUM.AC.UK"><Tim.Boon@SCIENCEMUSEUM.AC.UK></a></td>
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<th nowrap="nowrap" valign="BASELINE" align="RIGHT">To: </th>
<td><a class="moz-txt-link-abbreviated" href="mailto:MERSENNE@JISCMAIL.AC.UK">MERSENNE@JISCMAIL.AC.UK</a></td>
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<div class="WordSection1">
<p class="MsoNormal">The call for papers is now open for an
international conference on 'Alternative Histories of
Electronic Music' (AHEM), to be held at The Science Museum
Research Centre (London) in April 2016.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">Invited speakers will include: Sarah
Angliss, Georgina Born, Simon Emmerson, Leigh Landy, Trevor
Pinch.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">Full details of the call, including
submission guidelines and some suggested thematic areas, are
given below, and can also be found online at
<a moz-do-not-send="true"
href="http://ahem2016.wordpress.com/call-for-papers">http://ahem2016.wordpress.com/call-for-papers</a>.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">The deadline for abstract submissions is 31
October 2015.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal"><b>--------------------------------------------------------------------------------------------<o:p></o:p></b></p>
<p class="MsoNormal"><b>CALL FOR PAPERS: ALTERNATIVE HISTORIES
OF ELECTRONIC MUSIC (AHEM)</b><o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">The story of the genesis and development of
electronic/electroacoustic music is often told in the same
familiar way. Experiments in musique concrète in Paris and
elektronische Musik in Cologne played a central role in
European developments, while activities in New York such as
those of the Columbia-Princeton Electronic Music Center, John
Cage and his Music for Tape-Recorders group, and Louis and
Bebe Barron are frequently proffered as the most prominent
American contributions. These activities were significant, of
course; but they were not the only progenitors of modern-day
electronic music. There are many, many other ways in which the
story of electronic music’s history and development could be
told.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">For example… What does electronic music
look like if we focus on the contributions of individuals
whose work is less widely known; less widely recognised? What
happens if we step away from the Western European and North
American institutions that are normally figured as central to
the genesis and development of electronic music? Or, what
happens if we question, or explore the mechanisms of, their
authority? What happens if we change our object(s) of study;
if we look at artefacts and objects rather than composers and
works, for instance? Are there tools, techniques, instruments
that played an important role in shaping electronic music that
remain under-recognised or misunderstood? What about when we
listen to the marginalised voices; what versions of electronic
music’s history do they tell? Or, what happens if we change
our methods of study, so as to highlight aspects that hitherto
went unnoticed, such as underlying social, political, or
economic dimensions? How does current music draw on the
origins of the form?<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">This conference is being staged as part of
an AHRC-funded project exploring the work of the English
musician and musicologist Hugh Davies (1943-2005). In the late
1960s, Davies produced a comprehensive inventory of electronic
music compositions, entitled International Electronic Music
Catalog (1968), in which he documented the output of 560
studios in 39 countries. This challenged the hegemony of the
Paris, Cologne, and New York schools, whose activities
dominated the literature of the 1950s and 60s. As such, Davies
provided what was perhaps the first alternative version of
electronic music’s history. While this conference is not
directly ‘about’ Hugh Davies, then, it does explore some of
the broader issues raised by his work.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">There are many ways in which an
‘alternative’ history could be framed. The purpose of this
conference is to explore all possibilities; to focus upon
different ways of telling the story of electronic music; to
explore its alternative histories.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal"><b>Call for Papers<o:p></o:p></b></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">We seek proposals for papers/presentations
that fall under the rubric of ‘alternative histories of
electronic music’, as sketched out above. We welcome
submissions that focus on any one or combination of the
following (note that these are suggestive rather than
prescriptive):<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoListParagraph"
style="text-indent:-18.0pt;mso-list:l0 level1 lfo2"><!--[if !supportLists]--><span
style="font-family:Symbol"><span style="mso-list:Ignore">·<span
style="font:7.0pt "Times New Roman"">
</span></span></span><!--[endif]-->Pathways from
electronic music’s past to electronic music’s present that are
‘a little bit different’ from what one might expect.<o:p></o:p></p>
<p class="MsoListParagraph"
style="text-indent:-18.0pt;mso-list:l0 level1 lfo2"><!--[if !supportLists]--><span
style="font-family:Symbol"><span style="mso-list:Ignore">·<span
style="font:7.0pt "Times New Roman"">
</span></span></span><!--[endif]-->Individuals,
institutions, inventions, or perspectives that have been
neglected or under-represented up to now.<o:p></o:p></p>
<p class="MsoListParagraph"
style="text-indent:-18.0pt;mso-list:l0 level1 lfo2"><!--[if !supportLists]--><span
style="font-family:Symbol"><span style="mso-list:Ignore">·<span
style="font:7.0pt "Times New Roman"">
</span></span></span><!--[endif]-->Alternative
methodological and/or theoretical perspectives; studies that
encourage us to look at the history of electronic music in a
different way.<o:p></o:p></p>
<p class="MsoListParagraph"
style="text-indent:-18.0pt;mso-list:l0 level1 lfo2"><!--[if !supportLists]--><span
style="font-family:Symbol"><span style="mso-list:Ignore">·<span
style="font:7.0pt "Times New Roman"">
</span></span></span><!--[endif]-->Ethnographic,
anthropological, and/or interdisciplinary approaches;
implementation of methods native to science and technology
studies (STS); other methodological approaches that are apt to
reveal ‘alternative histories’.<o:p></o:p></p>
<p class="MsoListParagraph"
style="text-indent:-18.0pt;mso-list:l0 level1 lfo2"><!--[if !supportLists]--><span
style="font-family:Symbol"><span style="mso-list:Ignore">·<span
style="font:7.0pt "Times New Roman"">
</span></span></span><!--[endif]-->Alternative narratives;
studies that compel us to attend to, or listen to, different
things as we navigate electronic music’s history.<o:p></o:p></p>
<p class="MsoListParagraph"
style="text-indent:-18.0pt;mso-list:l0 level1 lfo2"><!--[if !supportLists]--><span
style="font-family:Symbol"><span style="mso-list:Ignore">·<span
style="font:7.0pt "Times New Roman"">
</span></span></span><!--[endif]-->Marginalised voices;
stories of electronic music’s history and development that
have been sidelined, for whatever reasons.<o:p></o:p></p>
<p class="MsoListParagraph"
style="text-indent:-18.0pt;mso-list:l0 level1 lfo2"><!--[if !supportLists]--><span
style="font-family:Symbol"><span style="mso-list:Ignore">·<span
style="font:7.0pt "Times New Roman"">
</span></span></span><!--[endif]-->Non-Western European,
Non-North American developments, and/or activities that
happened outside those typically considered in electronic
music histories.<o:p></o:p></p>
<p class="MsoListParagraph"
style="text-indent:-18.0pt;mso-list:l0 level1 lfo2"><!--[if !supportLists]--><span
style="font-family:Symbol"><span style="mso-list:Ignore">·<span
style="font:7.0pt "Times New Roman"">
</span></span></span><!--[endif]-->Unconventional or DIY
approaches; work that has flouted the norms and expectations
of its epoch.<o:p></o:p></p>
<p class="MsoListParagraph"
style="text-indent:-18.0pt;mso-list:l0 level1 lfo2"><!--[if !supportLists]--><span
style="font-family:Symbol"><span style="mso-list:Ignore">·<span
style="font:7.0pt "Times New Roman"">
</span></span></span><!--[endif]-->Developments that have
shaped or changed the direction of electronic music, but which
remain as yet under- or un-recognised.<o:p></o:p></p>
<p class="MsoListParagraph"
style="text-indent:-18.0pt;mso-list:l0 level1 lfo2"><!--[if !supportLists]--><span
style="font-family:Symbol"><span style="mso-list:Ignore">·<span
style="font:7.0pt "Times New Roman"">
</span></span></span><!--[endif]-->Notions of
genre/style/idiom as a lens for alternative histories.<o:p></o:p></p>
<p class="MsoListParagraph"
style="text-indent:-18.0pt;mso-list:l0 level1 lfo2"><!--[if !supportLists]--><span
style="font-family:Symbol"><span style="mso-list:Ignore">·<span
style="font:7.0pt "Times New Roman"">
</span></span></span><!--[endif]-->Studies that might be
thought of as continuing the work that Hugh Davies started
with his International Electronic Music Catalog, for example
by focusing on the electronic music of under-represented
nations.<o:p></o:p></p>
<p class="MsoListParagraph"
style="text-indent:-18.0pt;mso-list:l0 level1 lfo2"><!--[if !supportLists]--><span
style="font-family:Symbol"><span style="mso-list:Ignore">·<span
style="font:7.0pt "Times New Roman"">
</span></span></span><!--[endif]-->Tools, techniques,
instruments (etc.) that played an important role in shaping
electronic music, but which remain under-recognised or
misunderstood.<o:p></o:p></p>
<p class="MsoListParagraph"
style="text-indent:-18.0pt;mso-list:l0 level1 lfo2"><!--[if !supportLists]--><span
style="font-family:Symbol"><span style="mso-list:Ignore">·<span
style="font:7.0pt "Times New Roman"">
</span></span></span><!--[endif]-->Interrogating the
(perhaps invisible) driving forces behind institutions of
cultural production, so as to reveal why certain models of
electronic music dominate, or appear to dominate.<o:p></o:p></p>
<p class="MsoListParagraph"
style="text-indent:-18.0pt;mso-list:l0 level1 lfo2"><!--[if !supportLists]--><span
style="font-family:Symbol"><span style="mso-list:Ignore">·<span
style="font:7.0pt "Times New Roman"">
</span></span></span><!--[endif]-->Historic perspectives
on relationships between electronic music and other
musical/cultural practices.<o:p></o:p></p>
<p class="MsoListParagraph"
style="text-indent:-18.0pt;mso-list:l0 level1 lfo2"><!--[if !supportLists]--><span
style="font-family:Symbol"><span style="mso-list:Ignore">·<span
style="font:7.0pt "Times New Roman"">
</span></span></span><!--[endif]-->We are interested in
how electronic music came to be the way it currently is; and
in the developments and perceptions that have shaped this.
Proposals are therefore likely to incorporate a strong
historical element, either focusing directly upon historic
developments, and/or framing the current state of affairs in
the light of historic perspectives. (Proposals from
individuals to discuss their own creative work are discouraged
unless they provide strong insights in the above areas.)<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">Submissions are welcomed from all
disciplines, but particularly from electroacoustic music
studies, science and technology studies, history/philosophy of
science/technology, and sound studies.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal"><b>Submission Guidelines<o:p></o:p></b></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">Please submit an abstract of approximately
500 words, plus brief biographies of approximately 100 words
for each author, using the template provided, by email to
<a moz-do-not-send="true" href="mailto:ahem@leeds.ac.uk">ahem@leeds.ac.uk</a>.
The template can be downloaded here in MS Word and RTF (Rich
Text Format).<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal"><b>Timeline<o:p></o:p></b></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">Call for papers: 7 July 2015<o:p></o:p></p>
<p class="MsoNormal">Deadline for abstracts: 31 October 2015<o:p></o:p></p>
<p class="MsoNormal">Notification of results: 1 December 2015<o:p></o:p></p>
<p class="MsoNormal">Conference: 15-16 April 2016<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal"><b>Publication Plans<o:p></o:p></b></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">There are plans for a thematic issue of <i>Organised
Sound</i> (<a moz-do-not-send="true"
href="http://journals.cambridge.org/action/displayJournal?jid=OSO">http://journals.cambridge.org/action/displayJournal?jid=OSO</a>).
A separate call for submission will be released in due course.
Conference delegates interested in publication are encouraged
to conceive of their conference papers/presentations such that
they could be developed into full-length journal articles (c.
6-7000 words); a deadline for submission of articles for peer
review is provisionally anticipated around 5 months after the
conference (September 2016).<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal"><b>Contacts and Other Information<o:p></o:p></b></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">For any enquiries please contact <a
moz-do-not-send="true" href="mailto:ahem@leeds.ac.uk">
ahem@leeds.ac.uk</a>.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">This conference is being staged as part of
an Arts and Humanities Research Council funded project led by
Dr James Mooney, School of Music, University of Leeds, in
partnership with Dr Tim Boon, Head of Research and Public
History, The Science Museum.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">--<o:p></o:p></p>
<p class="MsoNormal">Dr James Mooney<o:p></o:p></p>
<p class="MsoNormal">Lecturer in Music Technology<o:p></o:p></p>
<p class="MsoNormal">Principal Investigator, Hugh Davies Project<o:p></o:p></p>
<p class="MsoNormal">School of Music, University of Leeds<o:p></o:p></p>
<p class="MsoNormal"><a moz-do-not-send="true"
href="http://music.leeds.ac.uk/people/james-mooney/">http://music.leeds.ac.uk/people/james-mooney/</a><o:p></o:p></p>
<p class="MsoNormal"><a moz-do-not-send="true"
href="http://hughdaviesproject.wordpress.com/">http://hughdaviesproject.wordpress.com/</a>
<o:p></o:p></p>
<p class="MsoNormal">--<o:p></o:p></p>
<p class="MsoNormal"><b>CONFERENCE: ‘Alternative Histories of
Electronic Music’<o:p></o:p></b></p>
<p class="MsoNormal"><b>Deadline for abstracts: 31 October 2015<o:p></o:p></b></p>
<p class="MsoNormal">Conference: 15-16 April 2016, Science
Museum, London<o:p></o:p></p>
<p class="MsoNormal"><a moz-do-not-send="true"
href="http://ahem2016.wordpress.com/call-for-papers/">http://ahem2016.wordpress.com/call-for-papers/</a><o:p></o:p></p>
<p class="MsoNormal">--<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal" style="margin-bottom:12.0pt"><span
style="font-size:10.0pt;font-family:"Arial","sans-serif""><o:p> </o:p></span></p>
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