IX Chilean Musicology Congress: “Music in Times of Crisis”

Posted: December 6th, 2016 | Filed under: Calls for Papers | Comments Off on IX Chilean Musicology Congress: “Music in Times of Crisis”

The Chilean Musicology Society and the University of Santiago de Chile are calling for submissions to the IX Chilean Musicology Congress, to be held in July 12-15, 2017 at the main campus of said university.

We invite Chilean and international scholars to present unpublished work that addresses the complex relationship between music and the concept of crisis in its various connotations. This concept generally conveys negative meanings and is simply considered “a condition of instability or danger.” But a crisis can also be regarded as “a stage in a sequence of events at which the trend of all future events, especially for better or for worse, is determined; a turning point” (RHDEL).

We are therefore interested in reflecting on the role of music and its different exponents (performers, composers, students, listeners, agents, etc.) in contexts of both current and past crises. Accepted work will relate music to at least one of the following streams:

1. Institutions 

This stream addresses both strictly musical institutions (orchestras, conservatories, etc.), and other institutions that integrate music programs as only part of their agendas (universities, ministries, etc.). We are primarily interested in understanding how music, musicology, and its exponents interact with these institutions at times of profound transformation, promotional campaigns, or dismantlement, as well as the institutional role in standardizing or suppressing certain musical practices. We also hope to explore alternative educational spaces which, despite maintaining their unofficial character, prompt new forms of associativity, always susceptible to institutionalization.

2. Musicology (theory and concepts)

This stream deals with the crises of theoretical and conceptual frameworks and how different “turns” (receptive, performative, sonic, material, aural, ontological, etc.) bring about critical junctures in musicology. We not only aim to discuss the shifting subject matter based on transforming repertoires and practices, but also pose the question as to how such conceptual reconfigurations are related to a general crisis of disciplinary identities and, specifically, the role of musical research in transdisciplinary and other “undisciplined” (Restrepo) proposals.

3. History

This stream seeks to explore the relationship between (ethno)musicology and the notion of crisis from a perspective that emphasizes a temporal dimension. Consequently, this topic will accept work that studies the role of music and its exponents in different times of crisis throughout history. Among several possible angles, we are interested in examining the applicability of alleged crises as “temporal knots” (Habermas) in order to historicize music from the past. Likewise, we are keen to explore how musical tasks are reconfigured during times of profound ideological, social, and cultural transformations.

4. Political crises

Drawing on global political affairs from a local perspective, this stream seeks proposals that examine music’s participation in contemporary war conflicts and controversial peace procedures (for example, the so-called “Mapuche conflict” in the case of Chile). Likewise, disasters brought on by late capitalism, such as the environmental crisis and mass migrations (economic, political, ecological), are considered pertinent issues in order to question current manifestations of racism, classism, and other forms of social marginalization as related to music.

5. Music industry

This topic seeks to delve into the production, circulation, and reception of musical practices and goods within the framework of the industry. Can we speak of a crisis in this field? We aim to analyze the reconfiguration of areas such as professional music, music tourism, legality and illegality (in production, practice, and distribution), official and alternative circuits, new forms of associativity, articulation of autonomous networks, and independent organization, among other issues. We will prioritize work that explores how the notion of crisis in the industry affects or has affected the experience of music.

Submissions must be written in Spanish, Portuguese, or English. Presentations accepted in English must include Spanish-language supporting material (in print or audiovisual format).

Submissions must fall under one of the following categories:

1) Individual papers

Paper proposals may have from one to three authors and submissions must include a title, three to five key words, the corresponding stream (according to those listed above), a 400-word abstract and a short bio (maximum 300 words per author). Submissions should be sent by email to [email protected] as a Word Document, or another compatible format, labeled with the author’s last name and first name separated by an underscore (example: reynolds_anthony). A maximum of two proposals per person will be accepted, one as author and another as co-author. The deadline for submissions is January 15, 2017.

Titles and abstracts are expected to convey the proposal’s contribution to the field, its relationship with previous critical approaches, and the corresponding stream. The language should be accessible to specialists from various disciplines related to musicology or music studies.

2) Panels

Must be submitted by one coordinator and include from three to four individual paper proposals, adhering to the same structure indicated above. All proposals must be included in a single Word Document or compatible format.

Panel proposals should also include at the beginning of the document, a title, three to five key words, the corresponding theme, and an abstract of up to 400 words describing the general issues to be covered in the entire panel.

The Organizing Committee reserves the right to suggest including an additional presentation to the panel if pertinent.

Paper and panel proposals will be reviewed by an Academic Committee composed of leading researchers.

The Chilean Musicology Society will send out notifications of acceptance or refusal by March 17, 2017.

In order to facilitate panel moderation and discussions following each presentation, authors whose proposals are selected must send their full papers no later than July 1, 2017 to the following email: <[email protected]>.

Each presentation will be limited to a maximum of 20 minutes and given 10 minutes for questions and discussion.

Registration fees are as follows:

• $20.000 (30 USD) for presenters who are members of the Chilean Musicology Society.
• $30.000 (45 USD) for non-member panelists.
• $10.000 (15 USD) for student panelists with a valid student ID.
• $5.000 (7 USD) for attendees who request certification.

Organizing committee:

• Laura Jordán (Universidad de Chile)
• Nicolás Masquiarán (Universidad de Concepción)
• Álvaro Menanteau (Universidad de Santiago)
• Alejandro Vera (Pontificia Universidad Católica de Chile)

Academic Committee:

• David Andrés (Universidad de Castilla-La Mancha)
• Katia Chornik (Archivo Cantos Cautivos)
• Marita Fornaro (Universidad de la República, Uruguay)
• Daniela Fuguellie (Universidad Alberto Hurtado)
• Cristián Guerra (Universidad de Chile)
• José Manuel Izquierdo (University of Cambridge)
• Gonzalo Martínez (Universidad de Talca)
• Julio Mendívil (Goethe-Universität Frankfurt am Main)
• Carmen Peña (Pontificia Universidad Católica de Chile)
• Víctor Rondón (Universidad de Chile)
• Rodrigo Torres (Universidad de Chile)
• Cristhian Uribe (Universidad Metropolitana de Ciencias de la Educación)

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