Três Chamadas para quem pesquisa Música & Comunicação

A pesquisa em música e comunicação (ou áreas afins) está crescendo amplamente. Prova disso é a amplitude das temáticas e o interesse cada vez maior em eventos ou publicações sobre o assunto. Abaixo, três chamadas que devem interessar aos pesquisadores interessados na temática.

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III MUSICOM – Encontro de Pesquisadores em Comunicação e Música Popular
De acordo com o email enviado por rogério Costa, será a primeira vez que o Musicom será realizado fora de São Luís – MA. O evento acontecerá na Faculdade Boa Viagem, em Recife, Pernambuco nos dias 30 de agosto e 01 de setembro de 2011Os interessados em apresentar trabalhos num dos GTs do III MUSICOM devem submetê-los rigorosamente dentro das normas, conforme orientações abaixo:

Os trabalhos devem ser enviados de modo completo, somente no período de submissões: 15 de maio a 15 de junho. Todos os trabalhos devem ser redigidos no modelo-padrão disponível no site do evento. Trabalhos que não respeitem esta norma serão automaticamente recusados.

Normas para os textos: Os textos para os GTs do evento devem ser escritos em português ou espanhol, em documento do Word, ter entre 10 e 15 páginas, incluindo as referências, fonte Times New Roman, tamanho 12, espaço entre linhas 1,5 cm e com conteúdo adequado ao GT a que se destina. Nas citações longas usar fonte tamanho 10, espaço simples, com recuo de 4 cm da margem. As referências devem ser feitas no formato AUTOR, data, página, junto à citação. O texto deve apresentar um resumo de até 15 linhas, fonte 12, espaço simples, seguido de três a cinco palavras-chave. No caso de textos em espanhol, o resumo e as palavras-chave devem ter uma versão traduzida para o português.

Grupos de trabalhos para o III Musicom:
Mantendo a dinâmica do evento anterior, a coordenação definiu estabelecer os seguintes grupos de trabalho:
GT 1: Memória e história midiática da música
GT 2: Mídia, música e dinâmicas identitárias
GT 3: Mídia, música e possibilidades mercadológicas
GT 4: Música e convergência tecnológica
GT 5: Metodologias de análise em mídia e música

Obs: O template para redação padronizada dos papers estará disponível na página do evento, a ser publicada em 12 de maio. No entanto, recomenda-se iniciativa preliminar para a boa elaboração do trabalho.

Mais informações: www.redemusicom.blogspot.com

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MiRUM 11 – 1st International Workshop on Music Information Retrieval with User-Centered and  Multimodal Strategies


A querida Suely Fragoso informa sobre esse evento super interessante com intesecções com a computação musical e o design.

The First International ACM Workshop on Music Information Retrieval with User-Centered and Multimodal Strategies (MIRUM) will be held as a full-day event during ACM Multimedia, which will take place from November 28 – December 1, 2011 in Scottsdale, AZ, USA. The workshop aims to gather experts from the Music Information Retrieval community and neighboring fields at a premier multimedia venue, to initiate a cross-disciplinary dialogue on open challenges in the field of Music Information Retrieval with user-centered and/or multimodal strategies.

In Latin, ‘mirum’ (roughly pronounced as mee-room) means ‘wondrous’. In many musical settings of the Requiem Mass, the Dies Irae hymn describing the end of times plays an important role. At one point in this hymn, there is talk about a ‘tuba, mirum spargens sonum’: a trumpet scattering a wondrous sound across the lands to gather all souls before the Last Judgment Throne.

The MIRUM workshop, held in conjunction with ACM Multimedia 2011, November 28 –  December 1 2011 in Scottsdale, AZ, provides a platform at a premier multimedia  venue for discussing open challenges and presenting state-of-the art work on music information retrieval applying user-centered and/or multimodal strategies.  The workshop explicitly aims to initiate a cross-disciplinary idea exchange  between experts in music and multimedia information retrieval (and related  fields) on the topics including, but not limited to:

– Music multimedia content analysis

– Visual and sensory information for music processing

– Multimodal music search, retrieval and recommendation

– Social networks and indexing for music applications

– Music similarity measures at different specificity levels

– Fusion of multimodal music information sources

– Music knowledge representation and reasoning

– Interactive music systems and retrieval

– (Adaptive) user interaction and interfaces

– User (context) models and personalization

– Real-world issues (unstructured and noisy data, scalability, formats, …)

– Evaluation methods and data understanding

– Cross-domain methodology transfer

MIRUM welcomes technical papers and a limited number of position papers (both  max. 6 pages) with novel, thought-provoking work and ideas relating to the  workshop topics. To stimulate the cross-disciplinary dialogue, authors from  neighboring fields working on similar challenges, who can demonstrate relevance and transferability of their work to the music domain are encouraged to contribute to the workshop too. All submissions must be formatted according to  the ACM Proceedings style and contain original work that is not being published  or under review elsewhere following the guidelines at http://www.acmmm11.org/content-workshop-papers-formatting-guidelines.html. Each  submission will undergo a double-blind reviewing process by at least 3 PC  members. All accepted papers will be published together with the ACM MM 2011  main conference proceedings and made available through the ACM digital library.

Important dates:

Paper submission:June 19, 2011

Notification of acceptance: July 30, 2011

Camera-ready paper submission: September 5, 2011

ACM Multimedia 2011: November 28 – December 1 2011

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Por fim, uma chamada enviada pela querida Ana Lucia Araujo, direto de Washington DC.

Call for Papers: Music and the Other

Dr Anton Shekhovtsov will guest edit a special double issue of the journal Patterns of Prejudice on the role of music in the demonization of the Other, to be published at the beginning of 2013.

Since the end of the nineteenthth century, music has played an increasingly prominent role in constructing national identities and promoting various types of nationalist projects. Some of these projects turned to (largely re-invented) musical folk traditions as evidence of the rootedness and longevity of their nations. Later, music was often employed to show the grandeur of nation-states and empires. With the rise of illiberal nationalisms, many composers and performers contributed to the formation
of ‘closed’, exclusivist concepts of national identity.
However, no matter how deeply involved particular composers or musicians might be in promoting illiberal social, cultural or political projects, music cannot, as such, be regarded as nationalist, racist or xenophobic. The racist or nationalist associations of a piece of music might arise from the lyrics that accompany it, but often are constructed from without, from the larger social, historical, political or cultural context. For example, the reasons why ‘Giovinezza’ is banned in Italy or Richard Wagner’s Der Ring des Nibelungen is rarely heard in Israel do not have much to do with the music itself, but rather with the memories these works evoke, the historical or cultural baggage they bring with them. The majority of punk fans don’t listen to the songs of Skrewdriver or Macht und Ehre, not because they are ‘bad’ punk rock but because the band members are racist.This special issue will feature original research articles focusing on historical and contemporary instances of intersection of music and nationalism. We are particularly interested in contributions that address the following issues:

* musical works as lieux de memoires

* appropriation of folk music in nationalist narratives
*  music and racial or ethnic conflict
*  the role of music in the demonization or stigmatization or ethnic, racial or national communities
* xenophobic tendencies in contemporary musical genres such as Punk, Industrial, Hip-Hop, Neo-Folk, Dark Ambient, Black Metal and others
* the use of music by historical and contemporary far right movements, organizations and parties
Proposals for articles (500 words) addressing these and related issues should be submitted by e-mail before 15 June 2011. All final contributions must be the original work of the author/s; they will be subject to peer review and the editors’ decisions will be final. Please send proposals to Anton Shekhovtsov (anton.shekhovtsov@gmail.com) and/or Barbara Rosenbaum (b.rosenbaum@dsl.pipex.com).

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