国际传统音乐学会(ICTM)第43届世界大会  

    第二次通告  

    会议时间2015716-22

    会议地点:阿斯塔纳哈萨克斯坦国立艺术大学

    通告主要内容:公布会议主题,通知提交摘要(字数请控制在300字以内),告知会议举办地(方)的相关信息

    会议主题及摘要要求请详见英文附录,原稿可至ICTM官网http://www.ictmusic.org/下载最新版ICTM期刊(VOL.125),P.9-12

    摘要提交截止日期2014930

    附录

    Second Notice and Call forProposals  

    You are cordially invited to attend the 43rd ICTM World Conference which will be held between 16 and 22 July 2015 at the Kazakh National University of Arts in Astana, Kazakhstan.  

    The ICTM World Conference is theleading international venue for the presentation of new research on music and dance. Many new initiatives emerge at World Conferences and, perhaps even more crucially, discussion atthese meetings helps us shape our ongoing work. A successful World Conference—like that in Shanghai, China, in July of 2013—is a truly stimulating place to be.  

    Kazakhstan has become a wellintegratedand successful affiliate of theEuropean community, as reflected by the fact that Kazakhstan is the only Central-Asian state within the European Higher Education Area, and the first country to chair the Summit of theOSCE in 2010. The capital city, Astana, is a rapidly evolving administrative centre, annually hosting several politically and economically motivated global events. This is a perfect opportunity for the addition of a cultural influence such as that of ICTM.  

       

    Programme Committee  

    Co-Chairs  

    Razia Sultanova (UK)  

    Timothy Rice (USA)  

       

    Members  

    Jean Kidula (USA)  

    Maria Elizabeth Lucas (Brazil)  

    Inna Naroditskaya (USA)  

    Svanibor Pettan (Slovenia)  

    Mark Slobin (USA)  

    Terada Yoshitaka (Japan)  

    Saida Yelemanova (Kazakhstan)  

       

    Contact information  

    Razia Sultanova  

    Centre of Development Studies  

    Alison Richard Building  

    7 West Road, Cambridge CB3 9DT  

    United Kingdom  

    Email: rs588@cam.ac.uk  

    Tel: +44 (0) 7946870030  

       

    Timothy Rice  

    Department of Ethnomusicology  

    UCLA Los Angeles, CA 90095-1657  

    USA  

    Email: trice@arts.ucla.edu  

       

    Local Arrangements Committee  

    Co-Chairs  

    Aiman Mussakhajayeva  

    Saida Yelemanova  

       

    Members  

    Düsen Kaseinov  

    Gulnara Abdirakhman  

    Galia Akparova  

    Alibek Batyrov  

    Farida Bashirova  

    Umitzhan Dzhumakova  

    Karim Ensep  

    Serik Erkimbekov  

    Vladimir Manyakin  

    Bazaraly Muptekeev  

    Meruert Myltykbaeva  

    Saule Utegalieva  

       

    Contact Information  

    Tauelsizdik dangyly, 50, Kazakh National  

    University of Arts  

    Astana, Kazakhstan, 010000  

    Email: folklab@inbox.ru,  

    syelemanova@gmail.com  

    Tel: +7172 506 947, +7013 287 287,  

    +7172 705 498  

    Fax: +7172 705 494  

       

    Conference Themes  

    1. Music and New Political Geographies in the Turkic-speaking World and Beyond  

    A conference held in Kazakhstan, a nation-state formed in 1991, provides a perfect opportunity to consider the role of music and dance in the formation, in our time, of new political and cultural geographies. Such new geographies may include new nation-states in the wake of the collapse of the Soviet Union; new alliances along transnational ethnic lines, as in the cases of the Turkic-speaking area of the world’s twenty eight countries, republics and districts, or the formation of the European Union; the challenge to national identity posed by globalization; and the rise of new subnational, regional sensibilities as a response to nationalism, transna-tionalism, and globalization. This topic is particularly relevant to the location of the meeting, but also inspires new submissions for other regions of the world affected by “new political geographies.” How have these new and emerging political and cultural alliances at the junction of a decision to merge or to choose independence used music to further their geopolitical goals and how have musicians and their audiences resisted new forms of economic and political domination and hegemony through music-making and dancing?  

    2. The Creators of Music and Dance  

    In a field of study that tends to focus on the music and dance of groups of people, what is the status of studies of individual creators of music, dance, artistic institutions, and scholarship? These creators may be musicians, singers, dancers, composers, choreographers, instrument-makers, social activists, government officials, or scholars. How do we understand the role of these individual creators in particular societies? How do we define creativity in terms of contributions to aesthetic forms? What cultural and social power do we attribute to individual creators? What cultural and social restraints do individual creators work under in particular communities?  

    3. Music, Dance, the Body, and Society  

    Music and dance performance in many societies are events that bring some people together while excluding other people. How do these processes of inclusion and exclusion work at the intersection of the body and society? How is the body politic formed by musicking and dancing bodies? How does society use music and dance performances to heal ailing bodies and reintegrate them into society? How do people use their able or (dis)abled bodies to counter social exclusion through music and dance performance? How is the gendered body interpreted and made in music and dance performance? How do minorities, immigrants, and displaced people use their musical and dancing bodies to deal with the power of the mainstream to define their social status?  

    4. Sound Environments: From Natural and Urban Spaces to Personal Listening  

    In the last decade there have been a number of calls for ethnomusicologists to broaden their studies from music to the more general area of sound. Questions are being asked about the relationship between the sounds of war and industrialization and the sound of music. Other questions concern the change of natural and musical sounds in environments altered by climate change. How is ethnomusicology responding to developments in the field of sound studies? How might ethnomusicological methods and perspectives contribute to sound studies? How do individuals and communities respond to their sound environments through personal listening choices, the building of new performance venues, the creation of new songs, performance styles, and genres, and the use of new electronic media and listening devices?  

    5. Visual Representation of Music Cultures  

    From Persian miniatures to YouTube and Vine, music and dance have nearly always and nearly everywhere been the subject of visual representation. Such representations have presented music historians with many problems under the rubric of musical iconography. What methodological and theoretical issues are still prominent in this long established area of study? On the other hand, how do new electronic visual media affect the transmission of musical and dance knowledge? How do they affect the social life of music and dance in particular societies? How are these new media altering our research methods? How can the visual images in these new media be adequately archived and preserved? How do these new media, and the opportunities they provide for self-expression, alter the balance of representation between researchers and research subjects? What is the relationship between representations of, and the flow of knowledge about, “traditional” and popular musics in these new media?  

    6. New Research  

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

       

    Abstracts  

    Abstracts should be no more than 300 words in length, and written in English (papers may be presented in either English or Russian, but all abstracts must be in English).  

    Abstracts should include a clear focus of the problem, a coherent argument, evidence of the author’s knowledge of previous research, and a statement of the implications for ethnomusicology,  

    ethnochoreology, or other disciplines.  

    Because abstract review is anonymous, do not include your name, the names of other panellists, or the names of fellow researchers in the body of the abstract.  

    Following evaluation by the Programme Committee, authors will be notified by December 2014.  

    1. Individual paper  

    Individual paper should be 20 minutes long and followed by 10 minutes of discussion. The proposal must include a 300-word maximum abstract.  

    2. Panel  

    Organized panels are 90 minutes (three papers, each 20 minutes, followed by 10 minutes of discussion) or 120 minutes long (four papers, or three papers and a discussant). A proposal by the panel organizer (300 words) as well as one by each individual presenter (300 words each) are required. Where an independently submitted abstract appears to fit a panel, the programme committee may suggest the addition of a panellist. The programme committee may also recommend acceptance of only some of the papers on a panel.  

    3. Film/video session  

    Recently completed films introduced by their author and discussed by conference participants may be proposed.  

    Submit a 300-word abstract including titles, subjects, and formats, and indicate the duration of the proposed films/videos and introduction/discussion.  

    4. Forum/Roundtable  

    Forum/Roundtable sessions provide opportunities for participants to discuss a subject with each other and with members of the audience. Sessions of up to two hours long should include at least four but no more than five presenters. We encourage formats that stimulate discussion and audience participation. The organizer will solicit position papers of up to 15 minutes from each presenter and will facilitate questions and discussion for the remaining time. Proposals for forums/  

    roundtables should be submitted by the session organizer (300 words).  

    5. Workshop  

    Presentational aspects of music and dance are better suited to the workshop format. The submitted proposal should include a 300-word abstract stating the intended duration of the workshop (max. 90 minutes).  

       

    Submissions  

    Proposals can be submitted directly from the Conference website. http://www.ictmusic.org/next-world-conference  

       

    Timeline  

    First call for proposals: October 2013  

    Second call for proposals: April 2014  

    Deadline for submission of proposals: 30 September 2014  

    Notification of acceptances: December 2014.  

    The Preliminary Programme will be published in the April 2015 issue of the Bulletin of the ICTM.  

       

    Local Arrangements Information  

    Astana is a large political, administrative, business, and cultural centre of the Republic of Kazakhstan. All central authorities of the country, diplomatic missions, headquarters of domestic and foreign companies, leading universities, state-of-the-art medical clinics, and significant cultural institutions are located here.  

       

    Basic information  

    Kazakhstan is transcontinental country located in Central Asia and Europe. Astana lies to the North of Central Kazakhstan.   

    The territory of Kazakhstan is 2,727.300 square kilometres, making it ninth largest country in the world and the world's largest landlocked country, bordering with Russia, China, Kyrgyzstan, Uzbekistan, and Turkmenistan.  

    The population of the country is 16.6 million (2011), and of Astana is 708,794 (2010).  

    Kazakh is the official language of Kazakhstan, but in state institutions and local administration bodies Russian is used equally with Kazakh. Kazakhstan’s voltage system is 220 volts. European two-pin sockets are used.  

    The international calling country code of Kazakhstan is +7.  

       

    Currency  

    The currency of Kazakhstan is the Tenge (KZT). Major international credit cards are accepted in most hotels, malls, and restaurants. There is a good network of ATMs throughout the city. Banks are open on weekdays from 9 AM to 6 PM. Money can be exchanged in any bank at the rates stated on the information table. No commission is applied. ID is obligatory. It is advisable to retain all exchange receipts. If you bring money in cash, it should rather be in USD or Euro. As of April 2014, the following currency exchange rates were current:  

    1 USD: 182.02 KZT  

    1 EUR: 252.72 KZT  

    1 GBP: 304.28 KZT  

       

    Arriving in Astana  

    Many airlines operate flights to Astana. You will land on an elegant but striking masterpiece by Japanese architect Kisho Kurokawa, the Astana International airport, located 15 kilometres away from the city. You will be greeted with the sign of ICTM upon arrival to the airport.  

       

    Stay connected  

    Telephone calls  

    You can place local, regional, and international calls from within Kazakhstan. You can purchase a local SIM card for your mobile phone at the 2nd floor of the airport and in big shopping malls. All telephone companies operate on a prepaid system. Once your credit runs out, it can be easily recharged at terminals throughout the city (every small shop has one!).  

       

    Internet  

    Most hotels and shopping malls in Astana provide free wireless Internet. List of diplomatic missions of the Republic of Kazakhstan The Republic of Kazakhstan operates embassies, permanent missions, diplomatic missions, and consulates is present in the following countries: Afghanistan, Armenia, Austria, Azerbaijan, Belarus, Belgium, Brazil, Bulgaria, Canada, China, Croatia, Cuba, Czech Republic, Egypt, Finland, France, Georgia, Germany, Greece, Hungary, India, Indonesia, Iran, Israel, Italy, Japan, Jordan, Korea (ROK), Kyrgyzstan, Lebanon, Libya, Lithuania, Malaysia, Mongolia, The Netherlands, Norway, Pakistan, Poland, Romania, Russia, Saudi Arabia, Singapore, Slovakia, Spain, Switzerland, Tajikistan, Thailand, Turkey, Turkmenistan, Ukraine, United Arab Emirates, United Kingdom, USA, and Uzbekistan.  

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