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<br></div></div><div><div style="text-align:center;color:rgb(32,95,189)"><b>CALL FOR PAPERS</b></div>
<div style="text-align:center;color:rgb(66,66,66)"><b>Electroacoustic Music Studies Network Conference 2012</b></div>
<div style="text-align:center;color:rgb(66,66,66)"><b>11-15 June 2012</b></div><div style="text-align:center;color:rgb(121,140,196)">
<b></b><br></div><div style="text-align:center;color:rgb(32,95,189)"><b>EXTENDED SUBMISSION DEADLINE</b></div>
<div style="text-align:center;color:rgb(32,95,189)">
<b>30 January 2012</b></div><div style="text-align:center;color:rgb(66,66,66)"><br></div><div style="text-align:center;color:rgb(66,66,66)">
<b>The Royal College of Music & Elektronmusikstudion</b></div><div style="text-align:center;color:rgb(66,66,66)">
<b>Stockholm, Sweden</b></div><div style="text-align:center;color:rgb(66,66,66)"><br></div><div style="text-align:center;color:rgb(66,66,66)">
<b>EMS12 Conference Theme:</b></div><div style="text-align:center;color:rgb(66,66,66)"><b>Meaning and Meaningfulness in Electroacoustic Music</b></div>
<div style="text-align:center;color:rgb(6,1,238)"><span style="text-decoration:underline"><a href="http://www.ems-network.org/ems12/" target="_blank">http://www.ems-network.org/ems12/</a></span></div>
<div style="text-align:center;color:rgb(2,0,68)"><br></div><p style="text-align:justify;font:13.0px Arial">
Meaning is essential to all human activity and the arts are special bearers of meaning relevant to all cultural communication. Whereas the term meaning suggests something that can be investigated and defined, meaningfulness introduces a quality of significance that seems at once more approachable, malleable and personal.</p>
<p style="text-align:justify;font:13.0px Arial">Meaning in music encompasses a vast area of inquiry, approachable from a multitude of intersecting avenues and, in electroacoustic music, the subject is distinguished by several unique features. Is meaning in music immanent within its structural and formal design? Is it emotional? Is it aesthetically embedded? Is it constructed by listeners both individually and collectively? Is its significance embodied?</p>
<p style="text-align:justify;font:13.0px Arial">Semiotic approaches and studies of intention-reception highlight the interdependence of composers and listeners. Meaning may be considered as an exchange and becomes less a kind of objective quantity and more a process related to qualitative meaningfulness. Composers, on the creative side of the communication chain, often focus on the job at hand; subjective and aesthetic intentions intermingle with both compositional and technical concerns. For electroacoustic music, as a sound-based art, listening is a primary mode of action and often the sole means of reception. Listeners focus initially on experiencing, on making sense of and on understanding the sounds and their relationships. These may be musical or other types of extrinsic, referential sounds.</p>
<p style="text-align:justify;font:13.0px Arial">In all of its guises, electroacoustic music is, moreover, dependent upon a technical medium. Are the diverse technical media, which are employed for electroacoustic music, meaning-neutral, or do they condition – from the perspectives of the composers, performers or listeners – the meaning(s) of the music? What are the differences between delivery via large arrays of loudspeakers, iPod earplugs, internet, installations or live performance. Is the medium a message or a massage?</p>
<p style="text-align:justify;font:13.0px Arial">Electroacoustic music also integrates well with other art forms, in particular those that utilize digital media or are digitally mediated. How does the intermedial environment affect meaning in music and across media?</p>
<p style="text-align:justify;font:13.0px Arial">It is our hope that the conference theme - Meaning and Meaningfulness - will inspire broad interest among the electroacoustic music community, including composers, performers, musicologists as well as other related disciplines.</p>
<p style="font:13.0px Arial">The call for papers is not limited to any particular type of practice within the diverse field of electroacoustic music. Rather an inclusive approach is advocated in order to bring together a wide variety of theories and practices including acousmatics, live electronics, intermedia and more.</p>
<p style="text-align:justify;font:13.0px Arial">Papers should address specific topics in the call. While some references to works by the presenting author(s) may be cited, these should not be the main focus of the paper.</p>
<div style="text-align:justify"><b>Related topics</b></div><p style="text-align:justify;font:13.0px Arial">
The conference is also open to other topics relevant to the history and/or contemporary practice of electroacoustic music. We encourage the submission of papers relating to any aspect of the field, including but not limited to analysis, perception, listening, terminology, composition, performance, cultural issues and education. See website for additional details.</p>
<p style="text-align:justify;font:13.0px Arial"><b>Conference Co-Chairs</b><span style="font:13.0px 'Lucida Grande'"><br>
</span>Bill Brunson<span style="font:13.0px 'Lucida Grande'"><br>
</span>Mats Lindström<span style="font:13.0px 'Lucida Grande'"><br>
</span> <span style="font:13.0px 'Lucida Grande'"><br>
</span><b>Steering Committee</b><span style="font:13.0px 'Lucida Grande'"><br>
</span>Marc Battier<span style="font:13.0px 'Lucida Grande'"><br>
</span>Leigh Landy<span style="font:13.0px 'Lucida Grande'"><br>
</span>Daniel Teruggi</p><p style="font:13.0px Arial"><br></p><p style="font:16.0px Arial;color:#020044"><b>Guidelines for Submission</b></p><p style="font:13.0px Arial;color:#205fbd">
<span style="color:#000000"><b>Deadline for receipt of submissions: </b></span><span style="font:13.0px 'Lucida Grande';color:#000000"><br>
</span><b>Monday 30 January 2012, 12.00 CET (GMT+1). </b></p><p style="font:13.0px Arial"><b>Reply Date: </b><span style="font:13.0px 'Lucida Grande'"><br>
</span>Notification of acceptance will be emailed to applicants by mid-February.</p><p style="font:13.0px Arial"><b>Abstract submission guidelines: </b><span style="font:13.0px 'Lucida Grande'"><br>
</span>Submissions will be made directly by email to <b>ems12 [at] </b><a href="http://ems-network.org/" target="_blank"><span style="text-decoration:underline;color:#0601ee"><b>ems-network.org</b></span></a><b>.</b></p>
<p style="font:13.0px Arial">A submission should consist of a zipped folder containing:<span style="font:13.0px 'Lucida Grande'"><br>
</span>- The paper abstract in English or French (minimum 1,000 – maximum 1,500 words), headed with author name(s), organization affiliation (if any), contact address, telephone, and email address in PDF:<span style="font:13.0px 'Lucida Grande'"><br>
</span>- A curriculum vitae (2 pages maximum) in PDF;<span style="font:13.0px 'Lucida Grande'"><br>
</span>- A list of publications (2 pages maximum) in PDF;<span style="font:13.0px 'Lucida Grande'"><br>
</span>- A brief bio (150 words) in PDF.</p><p style="font:13.0px Arial">The abstract should be ready for publication if the paper is accepted. A program containing the paper abstracts will be made available on the EMS website (<a href="http://www.ems-network.org/" target="_blank"><span style="text-decoration:underline;color:#0601ee">www.ems-network.org</span></a>) and distributed at the conference.</p>
<p style="font:13.0px Arial">Submissions from students and early-career postdoctoral researchers are particularly encouraged.</p><p style="font:13.0px Arial"><b>Paper presentation guidelines: </b><span style="font:13.0px 'Lucida Grande'"><br>
</span>Each paper presentation will be 30 minutes (including a 5 minute question period). (Changes between speakers will be made at a parallel station.)</p><p style="font:13.0px Arial">Papers can be given in English or French.</p>
<p style="font:13.0px Arial">Standard presentation equipment will be provided including a video projector, CD/DVD player and stereo sound system.</p><div>
_________________________________</div><div><br></div><div>
<b>Bill Brunson</b></div><div>The Royal College of Music in Stockholm</div><div style="color:rgb(23,0,255)">
<span style="text-decoration:underline"><a href="mailto:bill.brunson@kmh.se" target="_blank">bill.brunson@kmh.se</a></span></div><div>
<br></div><div><b>Mats Lindström</b></div><div>
Elektronmusikstudion</div><div style="color:rgb(23,0,255)"><span style="text-decoration:underline"><a href="mailto:mats.lindstrom@elektronmusikstudion.se" target="_blank">mats.lindstrom@elektronmusikstudion.se</a></span></div>
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</div><br><br clear="all"><div><br></div>-- <br>““““““““““““““““““““““““““““““““““““““““““““““<br>Dr. Daniel Quaranta<br>Universidade Federal de Juiz de Fora - MG<div><a href="http://www.ufjf.br/anais_eimas/" target="_blank">http://www.ufjf.br/anais_eimas/ </a>
<br>ISSN: 2236-8353<div>
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