Offres et appels

Cette rubrique contient des appels pour des colloques, des publications collectives, des concours, des postes à pourvoir.

the Institute of Ethnomusicology at the University of Music and Performing Arts Graz is offering a temporary position limited to five years beginning at the earliest possible date for a Senior Scientist with a Doctorate in Ethnomusicology in the form of a part-time contractual position with the extent of employment being 75 %.

The minimum monthly salary for this position is at present 2.783,33 € brutto (14 payments annually).

Special Employment Requirements
- Experience in field research
- Publications in scholarly journals and/or edited volumes
- Experience in teaching at universities

Desirable are
- Acquaintance with computer-aided research methods
- A regional research focus (including local language skills) adding to
or broadening the ones already pursued at the institute.

Interested candidates with the appropriate qualifications are invited
to submit their written application with the usual documentation before
December 19, 2018 by e-mail in a PDF-file using the identification
number 94/18 to:

bewerbung@kug.ac.at

More details and the official announcement can be found here:

https://www.kug.ac.at/fileadmin/media/direktion_v_75/Dokumente/Mitteilungblaetter/studienjahr_2018_19/mb_8/mb_8_s_3_10_94_18_Inst13_SenScie_PostDoc_Ethnomusikologie.pdf

Rencontre de 2019 de l'ACEF/FSAC – Appel à communications

L'Association canadienne d'ethnologie et de folklore/Folklore Studies Association of Canada est heureuse d'annoncer que son congrès de 2019 se tiendra du 31 mai au 2 juin au Département de folklore de l'Université Memorial à St. John's, à Terre-Neuve-et-Labrador.

Cette année, alors que le Département du folklore célèbre son 50e anniversaire en même temps les Archives de folklore et de langue de l'Université Memorial, nous invitons les participants à présenter leurs recherches sur le thème « chez soi ». Nous sollicitons des propositions de communications sur tous les aspects de construction symbolique du chez soi, et sa manifestation dans le folklore et la vie populaire. Parmi les sujets pouvant être abordés, il y a les tâches ménagères, les coutumes familiales (ou rites de passage), la nourriture, la musique, la culture matérielle, les récits, le mal du pays, la perte de domicile, la vie sans logement, les expériences de sans-abrisme, le retour à la maison, etc.

Les propositions de panels spéciaux, de séances de discussion et autres sujets liés à l'ethnologie et au folklore sont aussi les bienvenues. Les présentations dureront 20 minutes et 10 minutes supplémentaires seront accordées aux discussions.

Veuillez envoyer vos propositions (en français ou en anglais) de 150 mots à Dr. Holly Everett (hjeverett@mun.ca), directrice du comité d'organisation du colloque, d'ici le 1er février 2018.

Inscription à la conférence et adhésion à l'ACEF/FSAC : tous les participants doivent s'inscrire au colloque ET doivent être membres de l'ACEF/FSAC avant que leurs propositions puissent être acceptées dans le programme. Les cotisations annuelles sont de 60 $ CAN pour les membres réguliers et de 30 $ CAN pour les professeurs et chercheurs à temps partiel, étudiants, chercheurs indépendants, et retraités. Les frais d'adhésion peuvent être réglés en ligne à: < https://www.acef-fsac.ulaval.ca/fr/devenir-membre> ou par courrier postal à: Association des études de folklore du Canada, a / s du Dr Ian Hayes, 213 av. Du Grand-Calumet, Gatineau, Québec, J9J 1L4.

Job offer
30 Months Post-doc position in Ethnomusicology at the Instituto de Etnomusicologia, Música e Dança (INET-MD), NOVA University of Lisbon, Portugal

A Post-doc position will be soon available at the Instituto de Etnomusicologia, Musica e Dança (INET-MD), New University of Lisbon, Portugal (http://www.inetmd.pt/). The successful candidate will work on a project entitled HELP-MD “The Healing and Emotional Power of Music and Dance," funded by the Portuguese Science Foundation (FCT, Total funding: €239.881,43) and led by Dr. Filippo Bonini Baraldi (Principal Investigator, PI) and Dr. Salwa Castelo Branco (Co- PI). The position is available for 30 months, starting April 1st, 2019.

The successful candidate will hold a temporary position as associate researcher following Portuguese regulations (work contract including social security benefits, rather than scholarship). Salary will be 2.334,30 euros/month (after taxes). Candidates are invited to send a cover letter describing qualifications and interest in the research topic, a CV, and contact details for two referees. Please send application documents as a single pdf to Dr. Filippo Bonini Baraldi (filibb@gmail.com) before December 31st, 2018.

Project description :

Can we explain the power of music and dance to prevent and even treat illness? In Western societies, this question is of great concern to cognitive scientists, who investigate the impact of music on basic human faculties such as memory, emotions and corporeal abilities in persons affected by different types of diseases (Alzheimer's, autism, etc.). Ethnomusicologists, who focus on the cultural diversity of musical expressions, may offer an important contribution to this emerging field by describing how the relation among music, dance, and health regulation is conceived of in other cultural contexts and performance settings (rituals, religious ceremonies, profane feasts, etc.) Although the scientific literature reports a large variety of these descriptions, no attempts have been made so far to compare data across cultures and musical genres, and to link qualitative field observations with quantitative laboratory experiments. By establishing an interdisciplinary team of scholars working in the fields of ethnomusicology, cognitive sciences, and music computing, this project aims to fill this gap.

The first aim is to develop an anthropological theory of the emotional and healing power of music. Given the large dissemination of non-scientific beliefs on the use of music as a therapeutic tool, our purpose is to show rigorously what type of relations music maintains with illness prevention and treatment in a wide range of world cultures. By sharing ethnographic accounts coming from our respective fields, we will address the following question: Can we find, in different musical and cultural contexts, similarities in the ways music is used for healing purposes?

The second objective is to develop an innovative methodological framework for exploring the relation among music, emotions and health regulation in a specific study-case, that of Maracatu de baque solto, a Carnival performance occurring in Pernambuco (Brazil). In order to prevent spiritual and physical attacks that may result in illness and eventually death, Maracatu musicians and dancers act to achieve a high level of group cohesion locally known as consonância (consonance), a valorized human and aesthetic value which is opposed to desmantelo (fracture, breaking up). While field-research in Brazil will explore the symbolic, religious and emotional meanings of Maracatu, laboratory experiments in Lisbon will be held in order to understand, at a more formal level, how consonance is achieved through the interplay of music and dance.

The successful candidate will hold a temporary position as associate researcher following Portuguese regulations (work contract including social security benefits, rather than scholarship). Salary will be 2.334,30 euros/month (after taxes).

Candidates are invited to send a cover letter describing qualifications and interest in the research topic, a CV, and contact details for two referees. Please send application documents as a single pdf to Dr. Filippo Bonini Baraldi (filibb@gmail.com) before December 31st, 2018.

6th Symposium of the ICTM Study Group for Multipart Music

23‑27 September 2019
Sarajevo, Bosnia and Herzegovina

Call for papers

DEADLINE FOR SUBMISSIONS: February 28, 2019.

PLACE: Academy of Music, University of Sarajevo, Bosnia and Herzegovina.

LANGUAGE: English.

THEMES

 

  1. Emotion and aesthetic experience during the performance act

During the performance act, as the core moment of the music and dance making process, the protagonists try to 'materialize' and transmit ideas and ideals in the 'here and now'. Such a situation is experienced in a particularly intense way. This is the case all the more in multipart music and dance practices, in which individual ways of music and dance making, embedded in specific multi-sensorial and polysemic processes (Lortat-Jacob 2011), have to be well coordinated. Furthermore, the very act of making music and dance personifies social values. This means that the protagonists also perform social relationships, which are constructed in the very act of representing them (Cook 2016). In this framework, issues of emotions and aesthetics as conscious experiences and cognitive processing gain a special importance, especially because of the mutual dependence between cognition and elicitation. Emotions have been characterised as complex processes in which a non-cognitive 'affective appraisal', which is fast and automatic, causes subsequent physiological responses, motor changes, action tendencies, and changes in facial and vocal expression (Robinson 2005). Experienced emotion is felt to a stronger degree if several factors are present. In turn, aesthetic experience is considered as a psychological process in which the attention is focused on the object while all other objects, events, and everyday concerns are suppressed (Cuochik and Winston 1996). In this sense the connection between emotions and aesthetic experience and issues of expression and communication is very strong and remarkably relevant for multipart music and dance practices.

In this symposium we want to focus on the role of emotions and aesthetic experience in the act of performance and on the question of how the protagonists conceive of these issues.

  1. A capella singing

A capella singing is a very widespread music typology in contemporary music making. Basically, a capella means without any instrumental accompaniments. The definition is used for different music outcomes, from monodic to large choral performances. In this context, some special traditions have been developed, including forms of highly specialized music, like the typical American so-called Barbershop quartets. Based on three voices harmonizing to the melody of a fourth voice, these quartets achieve a high level of harmonic complexity, often using written music as a source. In other a capella traditions the performers contemplate the vocal imitation of instruments, in the style of the famous Mills Brothers, who were among the first to popularise this music style in the 1930s. On the other hand, many a cappella groups have great success within popular music, performing both original compositions and covering famous songs, like the recent case of the Pentatonix or the well-known group of The Swingle Singers.

We would encourage papers on this topic in interdisciplinary approaches, also from the perspective of popular music studies.

  1. 3.      New research

Dear colleagues,

We are pleased to announce that the 6th Symposium of the ICTM Study Group on Multipart Music will take place from 23 to 27 September 2019 Academy of Music, University of Sarajevo, Bosnia and Herzegovina. The head of the local organising committee will be Jasmina Talam.

We invite proposals for individual presentations, panels and round tables. They are to be sent by email before 28 February 2019.

The text should be pasted into the body of the email and also sent as a Word.doc or Rich Text Format (RTF) attachment to assure access. Please label all communications clearly with your full contact details.

Please note that participants are limited to a single presentation.

Please indicate clearly your preferred format. If members have any questions about the program, or the suitability of a proposal, please contact the Program Chair and ask for assistance. Colleagues are advised to bring alternative modes of presentation delivery if using PowerPoint, DVD, and so on in case of unexpected technical difficulties on the day of presentation.

Research papers should be based on original research that address the conference theme and should not have already been presented. Papers should be designed and presented to take no more than 20 minutes, including audio-visuals.

Students, who feel that they are not yet in the position to present a full-length paper, are welcome to give short presentations (10 minutes) of their project, in order to get feedback.

Individual Presentations

Accepted presentations of individual members will be grouped by the Program Committee into sessions of one and a half hours. Each presentation will be allotted 20 minutes inclusive of all illustrations, audio-visual media or movement examples, plus 10 minutes for questions and discussion.

Please, submit an abstract of 250-300 words outlining the content, argument and conclusion, and its relation to one of the symposium themes. Please include the type of illustrations to be used in the presentation, such as slides, DVD, video (including format), and so on.

Panels

We encourage presentations in the form of panels.

Proposals may be submitted for panels consisting of at least three presenters. The structure is at the discretion of the coordinator. The proposal must explain the overall purpose, the role of the individual participants, and signal the commitment of all participants attending the conference. Each panel proposal will be accepted or rejected as a whole.

Please, submit a short summary (not exceeding 300 words) of the panel overview, and an individual paper proposal, as described under "Individual Presentations" above, for each presenter. All of the proposals for a panel should be sent together. Proposals should address one or more aspects of the established themes of this symposium.

Roundtables

We also encourage presentations in the form of roundtables: sessions that are entirely planned, coordinated, and prepared by a group of people, one of whom is the responsible coordinator. The aim is to generate discussion between members of the roundtable who present questions, issues, and/or material for about 5 minutes on the pre-selected unifying theme of the roundtable. The following discussion, at the convener's discretion, may open into more general discussion with the audience.

The total length of a roundtable will be one and a half hours inclusive of all discussions.

Proposals may be submitted for a roundtable consisting of 3-5 presenters, and the structure is at the discretion of the convener who will chair the event. The proposal must explain the overall purpose, the role of the individual participants, and signal the commitment of all participants to attend the symposium. Each roundtable proposal will be accepted or rejected as a whole.

MEMBERSHIP

Please note that the Program Committee will only consider proposals by current members of the ICTM in good standing. Please contact Ardian Ahmedaja (ahmedaja@mdw.ac.at) for membership in the Study Group. Members may join and submit a proposal at the same time. Membership applications are available at the ICTM website https://ictmusic.org/membership/new. For membership questions, contact the ICTM Secretariat (https://ictmusic.org/governance/secretariat).

Where to send the proposals?

Ardian Ahmedaja

email: ahmedaja@mdw.ac.at

Program committee:

Ardian Ahmedaja (Chair)

Ignazio Macchiarella

Žanna Pärtlas

Jasmina Talam

Notification for acceptance/rejection will be announced by 28 April 2019.

If you have a deadline for funding applications for travel, accommodation, and so on, please notify the Program Committee of your deadline date.

Local Arrangement Committee:

Jasmina Talam, Tamara Karača Beljak, Fatima Hadžić, Lana Paćuka, Mirza Kovač

Costs: It will be no registration fee.

Participants are responsible for travel and accommodation expenses.

CDI (ou Détachement) à pourvoir à partir de janvier 2019
 
Ce poste est ouvert aux fonctionnaires appartenant à des corps ou cadres d'emplois ayant vocation statutaire à
exercer des missions de conservation ou d'autres missions scientifiques liées aux collections dans les Musées
nationaux ; et aux chercheurs confirmés (niveau doctorat) spécialistes du patrimoine musical et culturel non-
occidental.
 
Le Musée national de la musique est un des départements de l’établissement public national de la Cité de la musique
- Philharmonie de Paris. A la fois lieu d’exposition, de recherche, d’animation pédagogique, de manifestations culturelles et de documentation, le Musée s’appuie sur une importante collection d’œuvres et d’instruments de musique. Il possède un rayonnement international et exerce auprès du Service des Musées de France un rôle de conseil et d’animation du réseau des collections publiques dans le domaine de la musique.
 
Le Musée dispose d’une Equipe Conservation-Recherche comprenant un laboratoire, d’un centre de documentation partagé avec le Pôle ressources, d’un service des activités culturelles et d’un service des expositions, ainsi que d’une équipe administrative et de surveillance.
 
L’Equipe Conservation-Recherche fait partie du CRC (Centre de Recherche sur la Conservation), unité de recherche du CNRS, du ministère de la culture et de la communication et du Muséum national d’histoire naturelle. Elle est également membre fondateur du Collegium Musicæ au sein de Sorbonne-Universités, et est membre de la Fondation des Sciences du Patrimoine.
 
MISSIONS
Sous la responsabilité de la directrice du Musée, le/la conservateu/trice participe à la mise en œuvre du projet scientifique et culturel du musée. Il/elle coordonne les missions de conservation et de restauration relatives à son corpus, ainsi que l’inventaire et la documentation des œuvres. Il/elle cherche à enrichir les collections et à en assurer le rayonnement, en participant au travail de médiation, en collaborant – en tant que commissaire ou conseiller– aux expositions temporaires, en contribuant à la programmation culturelle, ainsi qu’au travers de projets de recherche, de publications et d’interventions publiques au sein de la Philharmonie ou à l’extérieur. Il/elle joue aussi un rôle de conseil auprès des collections publiques liées à la musique et à l’organologie, et contribue à l’animation d’un réseau de partenaires et de professionnels liés à l’instrument de musique (musiciens, luthiers,
facteurs, acousticiens...).
 
Périmètre scientifique :
– Le/la conservateur/trice est en charge de la conservation, de l’étude, de l’enrichissement et de la diffusion d’une importante collection d’instruments et d’objets liée aux cultures musicales non-occidentales.
– Il/elle encourage l’intégration de ce corpus dans une histoire culturelle élargie, en dialogue avec l’art contemporain et/ou les musiques actuelles.
 
Activités :
Contribuer à la gestion de la collection :
– en assurant une veille sur l’état de la collection, en identifiant et en suivant les opérations de restauration et de conservation préventive, en collaboration avec le laboratoire, les restaurateurs, les facteurs et les luthiers ;
– en assurant les travaux de récolement et leur suivi ;
– en supervisant, en collaboration avec la Régie, les mouvements d’œuvres (accrochages, prêts, convoiements).
Mettre en œuvre le projet scientifique et culturel de l’institution :
– en enrichissant la collection suivant la politique d’acquisition définie par l’établissement ; en rédigeant la documentation préalable à l’acquisition ou aux interventions en commission ;
– en animant la politique de diffusion des collections de l’établissement (prêts et dépôts) ;
– en formulant des préconisations pour le jeu des instruments et en assurant le suivi de celui-ci (concerts, enregistrements...) ;
– en effectuant des recherches à caractère scientifique pour enrichir la connaissance sur la collection, en collaboration avec le laboratoire, la médiathèque et la direction éditoriale de la Philharmonie ;
– en collaborant aux projets culturels (programmation musicale ou événementielle, expositions, colloque...) en relation avec les services concernés.
 
Valoriser son expertise et faire de son périmètre d’activités un pôle d’excellence et d’innovation :
– en assurant une mission de conseil auprès de la DMF ou d’autres instances publiques (instruction des avis de sorties de territoire, expertises sur des collections musicales d’autres musées
– acquisitions, conservation préventive, restauration, muséographie...)
– en participant à des actions de formation ou d’enseignement ;
– en publiant sur la collection ;
– en participant à des instances scientifiques et culturelles nationales et internationales, et notamment en contribuant à l’animation des réseaux de chercheurs officiellement associés au Musée de la musique (CRC et Collegium Musicae);
– en développant des réseaux professionnels ou des partenariats ;
– en proposant de nouvelles orientations de développement.
 
PROFIL RECHERCHE
– Connaissance de l’organologie et de l’histoire des musiques non-occidentales ;
– Intérêt pour l’ethnomusicologie ;
– Expérience professionnelle souhaitée dans le domaine des musées et de l’histoire de l’art;
– Intérêt pour les pratiques artistiques et/ou musicales actuelles ;
– Maîtrise de l’anglais exigée et d’une autre langue étrangère souhaitée.
 
QUALITES REQUISES
- Sens du service public ;
- Capacité d’initiatives et force de propositions ;
- Goût du travail en équipe ;
- Capacité à dialoguer et à coopérer avec les partenaires professionnels internes et externes.
 
Les candidatures (CV + lettre de motivation) sont à adresser à la Direction Ressources Humaines de la
Cité de la musique -
Philharmonie de Paris par mail «recrutement@cite-musique.fr»
ou par courrier
au 221 avenue Jean-Jaurès 75019 PARIS.
La Cité de la musique –
 
Philharmonie de Paris a obtenu le double label «égalité professionnelle entre les hommes et les femmes » et « diversité». A ce titre, elle met en place une politique de prévention des discriminations dès la phase de recrutement.
Elle vise également à promouvoir la diversité en élargissant le réseau de diffusion de ses offres d’emploi et de stage.
 
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