第二次通知及论文征集公告    

    (英文版附后)    

        

    上海是中国的四大直辖市之一,是中国经济与文化发展的中心城市之一。上海1843年上海开埠,是中国最早向世界开放的城市,也是东亚地区在近现代历史上最早面对不同东、西方文化碰撞、交融的城市之一。近年来,随着中国经济建设的发展,上海愈益成为现代化、国际化的大都市。并领衔长江三角洲诸地城市,而有望成为世界第六大都市群。在文化方面,上海既存有以江南水乡文化、文人文化的传统底蕴,又发展了市民文化和国际多元文化渗透交融的都市“海”派的开放性特征。在音乐上,并存着江南丝竹、沪剧、道教音乐等中国传统音乐品种,又是西方古典音乐在东亚传播最早的着陆点和窗口之一,此外现代摇滚、爵士、移民音乐等多元的声音交织成了这座城市兼容并蓄、色彩斑斓的音乐文化现状。    

    为了促进中国学者更广泛地参与ICTM框架下的学术活动,上海音乐学院特向ICTM理事会申请承办2013年国际传统音乐学会(ICTM)第42届年会,并获得成功。此次大会将在 2013711日 -17日于上海音乐学院举行。  

    本届大会的筹备和实施由ICTM学术委员会和地方组织委员会负责。学术委员会主席为Lawrence Witzleben (美国),成员分别为Samuel Araújo (巴西)Dan Bendrups (澳大利亚)Salwa El-Shawan Castelo-Branco (葡萄牙)Frederick Lau (美国)Alvin Petersen (南非)Svanibor Pettan (斯洛文尼亚)Xiao Mei (中国)  

    地方组织委员会由两位执行主席杨燕迪Yang Yan-Di)和萧梅Xiao Mei)以及9位成员:韩锺恩Han Zhong-En)、 洛秦Luo Qin)、赵维平Zhao Wei-Ping)、陈晓翌(Chen Xiao-Yi)、汤隽杰(Tang Jun-Jie)、 李小诺(Li Xiao-Nuo)、伍维曦(Wu Wei-Xi)、黄婉(Huang Wan秘书)、陈婷婷(Chen Ting-Ting秘书) 组成。  

       

    学术委员会的联系方式:  

    J. Lawrence Witzleben  

      School  of  Music  , 2110 Clarice Smith  

    Performing   Arts   Center    

      University  of  Maryland    

      College Park   MA   20742-1620 ,  USA    

    Email: jlwitz@umd.edu  

    Telephone: +1 (301) 405-5502  

    Fax: +1 (301) 314-9504.  

       

    地方组织委员会的联系方式:  

    中国·上海市汾阳路20  

    上海音乐学院排演中心3  

    邮箱: ictm2013@shcmusic.edu.cn  

    电话: +86 (21) 6431-4353, 6431-4028  

    传真: +86 (21) 64745068  

       

    经过2013ICTM世界大会学术委员会的讨论,该届年会议题设定为以下六个方面,望中国学者能够积极投稿参加这次在上海举办的学术大会。    

        

    1. 少数民族音乐与舞蹈的呈现和再现    

    在一个有着55个受官方认可的少数民族国家中举行会议是围绕某主题展开进一步讨论的绝好机会,近年来,这已在ICTM会议中产生了一些令人兴奋的成果。我们将“少数民族”理解为“由于文化、种族、社会、宗教或经济等方面原因所形成的某些区别于主导族群的人类族群”。该主题的部分议题可以包括:1)不同时空中人们对少数民族定义和对待方式;2)少数民族在私人领域和公共领域的表演环境;3)在不同媒介背景下的少数民族及其音乐舞蹈的再现;4)少数民族间关系(以及少数民族与主流民族的关系)在音乐和舞蹈上的反映;5)在应用民族音乐学框架下的教育视角及其改善的可能性。    

         

    2. 音乐历史的再思考、重建和革新    

    该主题强调再现民族音乐学与民族舞蹈学中文化实践的历史维度,以及研究者参与民族志历史书写的不同方式。该主题意在探讨历史在传递和影响文化实践中所起的作用的并开启一条研究者为现实目的而运用历史资源的路径。会议论文也可以研究这种再现是如何受到文化政治的调配的,特别是在民族主义以及地方主义运动、抑或是草根运动当中。当复兴主义运动常常成为民族音乐学的民族志书写主题时,音乐历史也可以以其它方式给我们的研究传递信息,并以新的意义建立起当代的实践。这一主题的另一维度是历史、史学及表演的交叉。在某些国家或地区,新的知识可能挑战有关起源、连续性和创新等方面的官方话语,并且,历史事实与当代美学观念以及商业活力之间的张力亦并不鲜见。本主题也欢迎那些讨论历史在研究中的地位、以及为当代目的而重构的音乐历史个案研究的论文。    

         

    3. 民族音乐学、民族舞蹈学和教育    

    视教育为一种代际相传的知识,以及通过文化构建达到代际间的进程,可使得教育在跨学科方法的音乐和舞蹈研究中获益,这些方法对于某些领域来说至关重要,例如民族音乐学和民族舞蹈学。本论题包括了社会文化和政治决定因素及其对于教育进程、音乐舞蹈教育的制度化、国家政策与地区政策的对比、课程和适当的教育代码、传递过程和技巧、或是对于知识合法性的隔代或地区性的争论;音乐和舞蹈传统的传播方式之间的互动、综合或是冲突。在音乐舞蹈学院和表演艺术学校中所形成的现代标准化实践也应纳入批判性和比较性讨论的范围。    

         

    4. 仪式、宗教及表演艺术    

    在多数社会中,音乐、舞蹈或是戏剧总是与多国宗教传统发生着联系。例如基督教、佛教、伊斯兰教或是某些地方信仰体系和带有超自然现象的沟通实践。宗教中的表演艺术和仪式不仅与宗教仪式和庆典相结合,也与不同的戏剧和舞剧传统中相结合,如那些专为神灵或是与宗教节日共同表演的戏剧和舞剧。我们也希望能有涉及到表演的仪式化内容的论文,即便这些内容是在世俗的背景环境下,即J. H. Kwabena Nketia所谓的 “熟悉的形式和内容被再生产、再创造、再展演,它们也因此成为了审美行为的焦点。”    

         

    5. 影视音乐和舞蹈    

    电影和电视在文化交流和沟通中起了非常重要的作用,尤其在21世纪。音乐和舞蹈的研究者以广泛的方式参与到电影和电视中去,他们利用这些媒体平台获取信息资源和传播研究结果。研究者、文化机构和文化实践的参与群体也利用视觉媒体保存和传递非物质文化遗产。这些成果在我们的跨学科实践中占据了重要位置,比如每年举行的ICTM世界会议中发放的学术期刊评论和影片。该主题欢迎那些在音乐和舞蹈研究中涉及到电影、电视和其他视像媒体的评论性或描述性的文章。这为那些视觉媒体的制造者提供了从研究的角度讨论其产品及其相关问题的机会,例如批判性地认识视觉媒体的作用。这一主题可包含视像媒体产品和消费的任何方面,包括在应用民族音乐学中的电影配乐、音乐录影带、电视节目、纪录片制作、视觉媒体、网络,等等。我们也欢迎那些涉及电影和电视在文化再现中作用的批判性文章。    

         

    6. 我们也欢迎新的研究及其它相关主题的提案。  

       

    提交摘要和提案的相关要求如下:  

       

    摘要(abstracts  

    摘要必须用英文撰写,长度控制在300字以内,论文用英语或中文发表皆可。需要注意的是,超过300字的摘要大会将不予接纳,且所有的摘要将上传至大会网站。

    遵照项目委员会的评定程序,作者将于201212月份收到对提交论文的决议,其中包括:采用与否、等候批准的申请人名单(候补名单)。

       

    提案书(proposals)  

    大会学术委员会欢迎专题组提案和圆桌会议的提案,相关要求如下:

    1、个人论文

    每一篇文章陈述时间为20分钟,讨论时间为10分钟,建议需总结成不超过300字的摘要。

    2、专题小组(panel

    小组讨论可以为1小时30分(90分钟),也可以为2个小时(120分钟)。1小时30分(90分钟)包括三篇论文,每篇20分钟,讨论10分钟。2个小时(120分钟)包括四篇或三篇论文,以及讨论。小组讨论组织者(主持人)需提交300字的建议,同时,论文提交者也需提交300字的方案。此外,所提交的摘要需与该小组专题相符,而学术委员会也可在小组讨论上推介一小部分提交的论文。

    3、影片/视频会议

    由作者介绍最近完成的影片,并建议由与会者进行讨论。需提交300字的摘要,包括篇名、主题和格式/幅度,并且需表明所推荐影片/视频以及介绍/讨论的持续时间(时间长度)。

    4、论坛/圆桌会议

    论坛/圆桌会议在为与会者提供专题讨论和互动机会的同时,也为他们提供了与听会者进行讨论的机会。会议时间不得超过2小时,且需包括4~5位发言人。我们提倡焦点讨论以及听会者参与的形式。会议主持者将要求每位发言者的演讲内容不超过15分钟,并在其余时间中促进提问和讨论。会议主持者需提交300字的论坛/圆桌会议提案。

       

    提交摘要指南  

    摘要应包含明确的问题焦点,清晰一致的论点,以及对前人研究状况和民族音乐学、民族舞蹈学以及/或相关学科含义的叙述。由于摘要评审是以匿名方式进行的,因此在摘要内容中请勿包含您本人、专题讨论小组其他成员或协同研究人员的姓名。

       

    时间表  

    201110月:第一次征集提案书

    20124月:第二次征集提案书

     201297 :提交提案书的截止日期

    201212月:审核结果通知

    20134月:ICTM简报刊登预案(初步程序安排)

    所有提交表格和指南须知均可在ICTM会议网站上查阅和下载。  

    大会官网:http://ictm2013.shcmusic.edu.cn  

       

    大会主题英文版:

    Conference Themes for 2013 ICTM    

         

         

    1.      Presentation and Representation in Minority Musics and Dance  

    A meeting in a nation with fifty-five officially recognized minority ethnicities is a perfect opportunity to engage in further discussions of a theme that has produced some of the most exciting work in ICTM circles in recent years. We understand "minorities" (in the broad sense as defined by the ICTM Music and Minorities Study Group) to be "groups of people distinguishable from the dominant group for cultural, ethnic, social, religious, or economic reasons." Some suggested topics within this theme include: definitions and treatment of minorities at various times and in various places, and their consequences for music and dance; 2) presentational contexts for minorities within private and public domains; 3) representation of minorities and their music and dance in various media contexts; 4) reflections of minority-minority relations (as well as minority-majority relations) in music and dance; and 5) educational perspectives and possibilities for betterment within the frame of applied ethnomusicology.    

         

    2.      Rethinking, Reconstruction, and Reinventing Musical Pasts    

    This theme addresses the representation of historical aspects of cultural practice in ethnomusicology and ethnochoreology, and the ways in which researchers engage with history in ethnography. It seeks to open up a discourse on the role that history plays in informing and influencing cultural practices, and the ways in which researchers can use historical resources for contemporary purposes. Papers may also look into how such representations are configured by cultural politics, especially within the framework of nationalist or regionalist movements, or, alternatively, how they emanate from grass roots movements. While revivalist movements have often appeared as ethnographic subjects in ethnomusicology, musical pasts can inform our research in other ways as well, investing contemporary practices with new meaning. Another dimension of this theme is the intersection of history, historiography, and performance. In some countries or regions, new scholarship may challenge national (and nationalist) discourses of origin, continuity, or innovation, and tensions between historical accuracy and contemporary notions of aesthetics or commercial viability are also not unusual. This theme is open to papers that discuss the place of history in research, as well as particular case studies of musical pasts reconfigured for a contemporary purpose.    

         

    3.      Ethnomusicology, Ethnochoreology, and Education    

           Seen as both the transmission of knowledge from one generation to another and an intergenerational process reaching across cultural formations,education can benefit from the multidisciplinary approaches to the study of music and dance that are crucial to fields such as ethnomusicology and ethnochoreology. Socio-cultural and political determinants and their implications for educational processes, institutionalization of music and dance education, national vs. regional policies, establishment of curricula or proper instructional codes, transmission processes and techniques, and generational or regional disputes over the legitimacy of knowledge are just a few issues--among a plethora of others--that can be considered within this theme. Interactions, syntheses, or conflicts between traditional ways of transmitting music and dance, and the modern standardized practices developed in conservatories, dance academies, or schools of performing arts are also processes deserving of critical and comparative discussion.       

    4.      Ritual, Religion and the Performing Arts    

    In many societies, it is hard to find music, dance, or theatre that is not associated in some ways with either multinational religious traditions such as Christianity, Buddhism, and Islam, or localized belief systems and practices of communication with the supernatural. The performing arts and ritual combine not only in religious rites and ceremonies, but also in traditions such as theatre and dance drama performed specifically for deities or in conjunction with religious festivals. We also look for papers dealing with ritualized aspects of performance, even in secular contexts, in what J. H. Kwabena Nketia has called "the manner in which familiar forms and content are reproduced, recreated or reenacted so that they become the focus of aesthetic behavior."    

         

    5. Screening Music and Dance    

        

         

    6. New Research    

    Proposals on new research on other relevant topics are also welcome.  

       

    Conference Themes for 2013 ICTM    

            

    1.     Presentation and Representation in Minority Musics and Dance    

       A meeting in a nation with fifty-five officially recognized minority ethnicities is a perfect opportunity to engage in further discussions of a theme that has produced some of the most exciting work in ICTM circles in recent years. We understand "minorities" (in the broad sense as defined by the ICTM Music and Minorities Study Group) to be "groups of people distinguishable from the dominant group for cultural, ethnic, social, religious, or economic reasons." Some suggested topics within this theme include: definitions and treatment of minorities at various times and in various places, and their consequences for music and dance; 2) presentational contexts for minorities within private and public domains; 3) representation of minorities and their music and dance in various media contexts; 4) reflections of minority-minority relations (as well as minority-majority relations) in music and dance; and 5) educational perspectives and possibilities for betterment within the frame of applied ethnomusicology.    

         

    2.     Rethinking, Reconstruction, and Reinventing Musical Pasts    

            This theme addresses the representation of historical aspects of cultural practice in ethnomusicology and ethnochoreology, and the ways in which researchers engage with history in ethnography. It seeks to open up a discourse on the role that history plays in informing and influencing cultural practices, and the ways in which researchers can use historical resources for contemporary purposes. Papers may also look into how such representations are configured by cultural politics, especially within the framework of nationalist or regionalist movements, or, alternatively, how they emanate from grass roots movements. While revivalist movements have often appeared as ethnographic subjects in ethnomusicology, musical pasts can inform our research in other ways as well, investing contemporary practices with new meaning. Another dimension of this theme is the intersection of history, historiography, and performance. In some countries or regions, new scholarship may challenge national (and nationalist) discourses of origin, continuity, or innovation, and tensions between historical accuracy and contemporary notions of aesthetics or commercial viability are also not unusual. This theme is open to papers that discuss the place of history in research, as well as particular case studies of musical pasts reconfigured for a contemporary purpose.    

         

    3.     Ethnomusicology, Ethnochoreology, and Education    

       Seen as both the transmission of knowledge from one generation to    

    another and an intergenerational process reaching across cultural formations,    

    education can benefit from the multidisciplinary approaches to the study of    

    music and dance that are crucial to fields such as ethnomusicology and    

    ethnochoreology. Socio-cultural and political determinants and their    

    implications for educational processes, institutionalization of music    

    and dance education, national vs. regional policies, establishment of    

    curricula or proper instructional codes, transmission processes and    

    techniques, and generational or regional disputes over the legitimacy of    

    knowledge are just a few issues--among a plethora of others--that can be considered within this theme. Interactions, syntheses, or conflicts between traditional ways of transmitting music and dance, and the modern standardized practices developed in conservatories, dance academies, or schools of performing arts are also processes deserving of critical and comparative discussion.    

            

    4.     Ritual, Religion and the Performing Arts    

            In many societies, it is hard to find music, dance, or theatre that is not associated in some ways with either multinational religious traditions such as Christianity, Buddhism, and Islam, or localized belief systems and practices of communication with the supernatural. The performing arts and ritual combine not only in religious rites and ceremonies, but also in traditions such as theatre and dance drama performed specifically for deities or in conjunction with religious festivals. We also look for papers dealing with ritualized aspects of performance, even in secular contexts, in what J. H. Kwabena Nketia has called "the manner in which familiar forms and content are reproduced, recreated or reenacted so that they become the focus of aesthetic behavior."    

         

    5. Screening Music and Dance    

    6. New Research    

    Proposals on new research on other relevant topics are also welcome.  

       

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