Journal of Sonic Studies

Conference on Music Induced Hearing Disorders

Wed, 23 May 2012 09:21:00 +0200

Home • Program • Registration • Accommodations • Travel Details • Social Events • Food & Beverages

With the advent and omnipresence of portable listening devices and louder sound systems for live sound reproduction, the interest in music-induced hearing disorders and their measurement and prevention is global. This conference will provide attendees with a detailed understanding of state-of-the-art hearing loss prevention strategies and devices as they relate to music production and reproduction.

Dates: June 20-22, 2012
Location: Columbia College • Chicago, IL, USA
Chair: Michael Santucci

If you wish to be contacted with conference updates please click here.

Authors, the Call for Papers is now available.

JAMMMIT Joint Action, Models of Music and Movement Interactions in Time

Fri, 11 May 2012 14:46:10 +0200

International Workshop
IPEM - Institute for Psychoacoustics and Electronic Music
Ghent University
12 - 13 June 2012, Ghent

About

Joint action denotes coordinated, synchronised actions performed by a number of individuals together, and is characterised by shared goals. Joint action is a crucial aspect of social interaction, given that it has been shown to promote a sense of connectedness and increased rapport between individuals in a group. Until recently, research in joint action and social interaction has focused on interpersonal synchrony and it has often been concerned with modelling the temporal aspects of interacting systems. A recent development is looking at joint action from an embodied cognition point of view, in which the action-perception cycle in behaviour is investigated, especially when the focus lies on how the sensory information that an individual can gather from the environment, including the behaviour of other individuals, impacts his or her behaviour.

A framework of joint action is emerging that can explain tightly related concepts such as action understanding, intention and social cognition. The recent developments in this field promise a fertile path for investigating music listening- and performance from both a joint action- and an embodied cognition perspective.

Playing music together as a group is the pinnacle of human cognitive capacities, demanding the full deployment of attentional mechanisms, fine spatio-temporal motor control, correct anticipation, movement synchronisation and social aspects as action understanding and group interaction. The purpose of this symposium is to bring out and discuss new ways of studying, i.e. measuring and modelling, the spatio-temporal aspects of music and movement with a special focus on the intentions of the people involved.

Topics covered will include: experience and meaning formation, haptic coupling as a model for joint action in music, entrainment, movement synchronisation, joint action, emotion, motivational aspects of music, intention, action understanding, social components of entrainment, and in a concert; polyrhythmic composition.

In 2007, the Flemish government allocated a substantial project funding to Professor Marc Leman, director of IPEM, to continue and expand on his groundbreaking work in Embodied Music Cognition. This symposium will also partly serve to present the project’s midway results to internationally leading experts. It will stimulate the development of international collaborative efforts and discussion on the most fruitful direction for the future research path. All invited researchers will present new and original work, which would form a multi-disciplinary state of the art in joint action research.

The number of participants is limited to 65 so please register here well in advance to ensure your seat.

Proceedings

The topics adressed in this workshop will be published as a special issue in Frontiers in Auditory Cognitive Science.

Key-note speakers

Prof. Dr. Elisabeth Pacherie
Prof. Dr. Martin Clayton

JSS 2 Online + Music Listening Survey

Fri, 11 May 2012 09:26:00 +0200

JSS2 is online - a special issue on different aspects of listening. Within this framework, the next call fits perfectly.

Researchers at the School of Computing Science at Simon Fraser University (SFU) in Canada, and Department of Informatics at Ludwig Maximilians University Munich (LMU) in Germany are conducting a survey about music listening habits which consists of questions on listening hours, preferred devices, use of playlists, active or passive listening, and so on. Their ultimate goal is to create a new tool to make music listening more fun, simple, and intuitive.

Your participation will be anonymous, as they will not record a name, email address, IP address, or anything else that can identify you from your answers. Your connection to their website is secured and encrypted. For maximum confidentiality, they will also remove any potential identifiers from responses (like in the comments you make) and store the raw data in a locked cabinet. The anonymous data will be made available online for other researchers interested in the topic.

You can cancel your participation in the survey at any time by clicking “Exit and Clear Survey” at the bottom right of the page. This will also clear your responses and no record of your participation will be saved. If you wish to keep record of this page, please save or print it. Participation in this survey is entirely voluntary.

If you wish a copy of any reports or papers from this survey, they will be available at: http://gruvi.cs.sfu.ca/projects/dynamic-musical-experience.

If you consider participating, please go to

https://gruvi.cs.sfu.ca/sites/all/libraries/limesurvey/index.php?sid=15138&lang=en

Summer School on Auditory Cognition

Sun, 06 May 2012 12:31:43 +0200

Welcome to the second Summer School on Auditory Cognition, Plymouth 2012

This year, the Summer School on Auditory Cognition will be taking place between July 16th and July 23rd, 2012, in Plymouth, UK. The summer school is exclusively focused on the topic of “Auditory Cognition - Listening in the Real World” and will cover a wide range of subjects, from the basics of auditory perception to higher order cognitive processes, as well as practical applications and new approaches to understanding auditory cognition.

The event will be hosted by Plymouth University, UK and we will be welcoming students from the 15^th of July. We have prepared a 6 day educational program complemented by group work projects for the students and social activities.

Attention: first deadline for applying is the 27^th of May, 2012.

We welcome applications from late-Master and PhD students, with participant numbers limited to 30 places; all successful applicants will be informed by 10^th of June, 2012. If there are enough places left after this date, more participants will be accepted.

About auditory cognition

Auditory cognition covers a whole host of processes from the reception of sounds to the generation of an adaptive response. These responses can vary from the detection and discrimination of multiple sound sources (for example, hearing your name being called in a crowded room), to complex emotional responses such as annoyance or pleasure (e.g. at hearing your favorite song) and even to simple enjoyment of the sonic ambiance. Auditory cognition is therefore, by necessity, aimed at cognitive processes in real-world conditions.

Consequently, the Summer School will be a combination of both theory and practice, covering many levels of auditory processing. This will be a fairly challenging syllabus, introducing topics such as bottom-up processing of sounds to modern theories of awareness, music cognition, speech perception and new approaches in cochlear implants. The practical sessions in the afternoons will allow participants to gain hands-on experience of some of the techniques and applications discussed during the seminar sessions. Students will learn to make proper recordings both in the field and the lab, run some key experiments and be introduced to the body of methodological techniques associated with this field; student’s will also have the opportunity to produce and participate in a sonic-art performance in Plymouth University’s Immersive Vision Theatre.

This year, the teachers and topics to be addressed are:

Rhodri Cusack: Neural correlates of conscious auditory perception
Maria Chait: Discovering and representing patterns in sound sequences
Henkjan Honing: Music cognition
Annemarie Surlykke: Biosonar: Using sounds to probe the world
Dick Botteldooren: Environmental acoustics
Sophie Scott: Neurobiology of speech perception
Bernhard Laback: New approaches in cochlear implants
Matt Coombe and Neil Rose: Sound and Space

For more information about the program or fees and such, click here.

Sonic Memories - Call for Contributions

Fri, 04 May 2012 09:41:00 +0200

Dear people,

I would like to ask something of you. My installation Soundtracks will be shown at Den Frie in Copenhagen in June and I would like to ask you for a contribution. The idea behind Soundtracks is to build an archive of memories of sound. Memories of sounds which were important to someone, that struck them or stayed with them. Soundtracks wants to research which kind of sounds get remembered, and how they are remembered. Can we hear those sounds again in our heads, or can we only remember the circumstances of the situation; the outlines, the edges of the sound?

And that’s why I would like to ask you to take a moment and try to find your memory of a sound, a sound that was important to you. And I would want to ask you to write down your memory, on paper. And if you could send that memory by post/snail mail to this address:

SNYK, c/o Kristine Bakken (Soundtracks), Graabrødretorv 16, st. th. DK-1154 København K, Denmark

You can find some more info on Soundtracks on this URL: http://versonatura.org/stijn/soundtracks/

Thanks in advance,

Stijn Demeulenaere

PS: It is important that the memories are hand written or hand made, so please, no emails or typed letters. Apart from that, you can write in any language you prefer.

Sonic Radicalism - A Symposium

Fri, 04 May 2012 09:24:00 +0200

Centre for Cultural Studies Research School of Arts and Digital Industries University of East London Presents: Music, Politics and Agency Seminar 3: Sonic Radicalism

May 23rd 2012, 13:00-17:00

University of East London, Docklands Campus

Can sound subvert? Thinkers since Plato have assumed that it can, that social form and musical form are intrinsically linked, resonant, or pre-figurative of each other. In this seminar, leading and innovative thinkers will interrogate and explore these claims and their implications.

Speakers and Papers:

Adam Harper

Musical Radicalism Beyond the Sonic

Adam Harper is a music critic, music theorist and author of Infinite Music: Imagining the Next Millennium of Human Music-Making (Zero Books), which argues for a contemporary reappraisal of modernist aesthetics and offers a system for understanding musical creativity, as well as pamphlets on the future of music and underground pop music for the Glasgow Centre for Contemporary Arts and Precinct respectively. He is a PhD candidate, tutor and teacher at the University of Oxford, writes regularly for Wire and Dummy magazines and blogs at Rouge’s Foam.

Matthew Pritchard

‘Cornelius Castoriadis: Music and the Radical Imagination’

Matthew Pritchard is British Academy Postdoctoral Fellow at the Music Faculty, University of Cambridge. His work centres on the history of music theory and aesthetics in the nineteenth and early twentieth century, addressing such topics as the role of the musical motive as vehicle for metaphorical imagination and negotiation, the political origins of modern music analysis, and the social organization of music-aesthetic discourse. “Who killed the concert? Heinrich Besseler and the inter-war politics of Gebrauchsmusik” recently appeared, with an accompanying translation of Besseler’s 1925 essay “Fundamentals of Musical Listening”, in the journal /twentieth-century music/.

Dhanveer Singh Brar

“The whites have become black” - grime, blackness and pathology

Dhanveer is a PhD candidate in Media and Communications at Goldsmiths College. His research focuses on black radicalism and its obscured manifestation through phonic substance. He has taught at Goldsmiths College, University of East London and Central St Martins College of Art. Dhanveer is also a member of the University for Strategic Optimism.

Respondent - Jason Toynbee

Jason Toynbee teaches in the Sociology Department at The Open University. At the moment he’s researching and writing about music and cosmopolitanism, and also trying to work out how far music has taken on an ideological role under neo-liberalism. HIs books include Making Popular Music: Musicians, Aesthetics and the Manufacture of Popular Music (Bloomsbury Academic, 2000) and Bob Marley: Herald of a Postcolonial World? (Polity 2007)

Chair - Jeremy Gilbert, UEL

Cyprus DLR (Docklands Light Railway) station is literally situated at the campus.

For any further details contact j.gilbert <at> uel.ac.uk

NAISA Audio Streams

Tue, 01 May 2012 21:25:44 +0200

NAISA Audio Streams:

NAISA Webcast will broadcast radio art 24/7 for the month of May. The schedule is broken into 8 hour blocks that repeat three times of day in order for listeners located in any time zone the chance to hear their preferred programming at a convenient time. The hours listed are local time in Toronto, Canada (-5 GMT). All programs are subject to cancellation for live events at Deep Wireless. Explore www.naisa.ca/deepwireless for information on these events.

HAID '12: The Seventh International Workshop on Haptic and Audio Interaction Design

Sat, 28 Apr 2012 09:57:00 +0200

HAID '12: The Seventh International Workshop on Haptic and Audio Interaction Design:

The Seventh International Workshop on Haptic and Audio Interaction Design (HAID) - August 23-24 2012 in Lund, Sweden.
The combination of haptic and audio for interaction design is a challenging research area, and we invite researchers and practitioners interested in these non-visual modalities to come to HAID to exchange designs and research findings. This year’s HAID has a particular (but not exclusive) focus on the mobile setting - while on the move the haptic and audio combination has great (but sadly under-exploited) potential. More non-visual interaction designs will make applications and devices easier to user for everyone.
We invite contributions on the appropriate use of haptics and audio in interaction design: how do we design effectively for mobile interaction? How can we design effective haptic, audio and multimodal interfaces? In what new application areas can we apply these techniques? Are there design methods that are useful? Or evaluation techniques that are particularly appropriate? We also welcome artistic exhibits and commercial design cases for our exhibition.

Dutch Electronic Art Festival 2012: The Power of Things

Fri, 27 Apr 2012 16:40:11 +0200

Dutch Electronic Art Festival 2012: The Power of Things:

DEAF is one of the most important international festivals focusing on art and media technology, and can be regarded as a showcase for research and production of new media art. The festival started under the name Manifestation for the Unstable Media in 1987 and got its new name - DEAF in 1994. DEAF features an extensive program addressing art, technology, science and society.

DEAF presents a wide range of program segments, including a large exhibition of artworks and installations, concerts, performances, seminars, workshops and an academic symposium.

The next edition - DEAF2012 will take place from May 16-20 (international program) and from May 17 - June 3, 2012 for the exhibition.

Research position at IRCAM

Sat, 21 Apr 2012 12:52:43 +0200

A temporary research position in the PHYSIS project is available at IRCAM. Please find more details at http://www.ircam.fr/71.html?&L=1 or here below.

Researcher for modelling and synthesis of sound textures (ANR project: PHYSIS)
Availability: start date: June 2012
Duration: 12 months (an extension of up to 6 months is possible)

A full time researcher position is available in the analysis/synthesis team of IRCAM
(http://www.ircam.fr). IRCAM is a non-profit organization located in the centre of Paris. The analysis/synthesis team is part of IRCAM’s R&D department and working on new and advanced algorithms for sound signal analysis, synthesis and transformation.

PHYSIS is centered on the modelling, transformation and real-time synthesis of diegetic sounds for interactive virtual worlds (video games, simulations, serious games, etc.) and augmented reality. Diegetic sounds comprise all sounds generated by identifiable objects in the virtual scene (e.g. glass, weapons, liquids, fire, water, fabric, etc.) and their possible interactions: physical impacts, footsteps, sliding, rolling, and sweeping. It does not include musical sounds.
PHYSIS is an industrial research project focused on improving our knowledge about how to create real-life sounds and how to interact in real-time with them using semantic and physical controls or emergent tangible interfaces.

The hired researcher will be in charge of the development of technologies related to the segregation of sound textures into components, the representation of these components and the residual background texture, as well as their re-synthesis and transformation. He/she will collaborate with other researchers working on sequence
modelling for texture components, and the synthesis engine. She/he will be required to participate in all activities related to the project (evaluation, meetings, specifications).

Required Experiences and Skills
- Excellent knowledge of and experience in signal models and time/frequency representations of sound signals.
- Excellent knowledge of and experience in audio signal processing (spectral analysis, parameter estimation, extraction of audio descriptors).
- Experience with machine learning techniques and statistical models.
- Very proficient in Matlab or Python (NumPY/SciPY), skills in C/C++ programming.
- Good knowledge of Linux, and/or Mac OS X.
- High productivity, capacity for methodical and autonomous work, creativity, good communication skills, rigor, and excellent programming style.

BYSTANDER SUES CITY OF PITTSBURGH OVER PAIN AND HEARING LOSS CAUSED BY USE OF LONG RANGE ACOUSTIC DEVICE AT G-20 PROTEST

Mon, 16 Apr 2012 11:20:44 +0200

BYSTANDER SUES CITY OF PITTSBURGH OVER PAIN AND HEARING LOSS CAUSED BY USE OF LONG RANGE ACOUSTIC DEVICE AT G-20 PROTEST:

G-20 Marked First Use of LRAD Technology on US Civilians

September 21, 2011

PITTSBURGH - The American Civil Liberties Union of Pennsylvania filed a federal lawsuit today on behalf of Karen Piper, a bystander who suffered permanent hearing loss after Pittsburgh police deployed a Long Range Acoustic Device (LRAD) against protestors during the 2009 G-20 Summit. An LRAD emits harmful, pain-inducing sounds over long distances. Developed for use by the military, LRAD technology had never before been used against US civilians.

“On September 24, 2009, Piper, then a visiting professor at Carnegie Mellon University, decided to observe G-20 protests in Pittsburgh’s Lawrenceville neighborhood as research for her book on globalization issues and the responses of bodies like the G-20 to protest activity… When Piper became concerned about rapidly increasing police activity, she tried to leave the area. As she was walking away, police officers activated, suddenly and without warning, an LRAD a short distance away from her. It emitted a continuous piercing sound lasting several minutes.

Piper immediately suffered intense pain as mucus discharged from her ear. She became nauseous and dizzy and developed a severe headache. Since then, Piper has suffered from tinnitus (ringing of the ears), barotrauma, left ear pain and fluid drainage, dizziness, and nausea. She still suffers from permanent nerve damage.”

Designing the sound of a car

Thu, 12 Apr 2012 11:59:15 +0200

Designing the sound of a car:

Sound Art. Sound as a Medium of Art - Exhibition

Sun, 08 Apr 2012 21:41:27 +0200

Sound Art. Sound as a Medium of Art - Exhibition:

The exhibition “Sound Art. Sound as a Medium of Art” presents for the first time the development of sound art in the 21th century at the ZKM | Media Museum and in a public space. From Futurism to Fluxus, through to Twitter sonifications, the ZKM charts the history of Sound Art during the 20th century. However, focus is placed on contemporary practices: with works from 90 artists from which approximately 30 new productions from recent years will be represented, the visitor gains insights into the unique sound cosmos of contemporary art. The sound world visualizes its own exhibition architecture, and the exhibition visitor himself becomes the generator of sounds.

This looks like a promising game concept. I would really like to...

Mon, 26 Mar 2012 17:00:09 +0200

This looks like a promising game concept. I would really like to play this game. InvisiBall, by Håkan Lidbo is like a tennis game, except there is no ball, and it has to be played in the dark (or by blind players), as the only feedback that’s been given is in sound. Ten years ago I graduated with a racing game for the blind called Drive, this seems like an interesting addition to the same field.

Everyday Listening

Mon, 26 Mar 2012 16:34:00 +0200

Everyday Listening collects inspiring and remarkable sound art and creative sound design projects, installations, reviews of urban soundscapes, places, contemporary or experimental, mostly electronic music. You might also read about new ways of using and distributing music and sound.

The term Everyday Listening is used to describe the way we use sound to find our way in our everyday life. There’s an article by Buxton, Gaver & Bly giving a very clear description of this phenomenon:

“Everyday listening is a matter of listening to the attributes of events in the world - the speed of a passing automobile, the force of a slammed door, whether a person is walking up or downstairs.”

Hugo Verweij is a sound designer and composer of electronic music. Inspired by the sounds he finds in the world around him he tries to find ways to connect what’s visible with what’s audible, so they become one. Sound can be more than just an addition to what you see. It can hold important information.

Hugo designs sound and music in various contexts: Installations, interfaces, contemporary dance. Next to being a freelance sound designer and composer Hugo is a lecturer at the Music Technology department of the Utrecht School of the Arts.

Sound Archive of Experimental Music and Sound Art

Sun, 25 Mar 2012 20:47:33 +0200

SONM: SOUND ARCHIVE OF EXPERIMENTAL MUSIC AND SOUND ART

www.sonm.es // info@sonm.es

Directors / Curators: Francisco López, Marta López-Briones

Organization: Jesús de la Peña, Susana López

SONM is a sound archive of experimental music and sound art that I established in 2010 at the Cultural Center “Puertas de Castilla” in Murcia, Spain. The archive is made up of my personal collection, which is almost exclusively composed of recordings on different formats (CDs, vinyls, cassettes and others) that I received directly from artists and record labels with whom I have been exchanging music since 1980. These recordings are predominantly self-released or put out in very small editions by the artists themselves or by small-scale independent companies. The archive is in a process of constant updating and expansion through additions of new recordings.

All the physical releases are currently preserved and being catalogued/digitized at the Cultural Center “Puertas de Castilla”, through an ongoing vast undertaking in terms of work and expertise by a small team of very dedicated and enthusiastic people. The sound archive comprises today an estimated number of 7,000 items with sound work by around 10,000 international artists.

In addition to the physical archive, we have created an online platform for the listening of all this music/sound art, which is exclusively for streaming, not downloading, and only accesible to registered users: sonmarchive.es

This is a non-profit project whose main goal is to preserve, promote and disseminate the sound work of thousands of artists worldwide, as well as to connect artists, listeners, record labels, events and any other platform, organization or institution for the benefit of the artists and their work.

Although due to my personal relationship with most of the artists in the archive, I know for a fact that this form of promotion is indeed their goal, this letter is also a request for the re-confirmation of your agreement (preferably by email to the address above) for the streaming of your music/sound work through the SONM archive online platform. Alternatively, if you prefer not to have your work available in this way, please let us know and we will immediately remove it from the streaming listening option.

Finally, if you want your past or future works to be preserved, promoted and disseminated through the SONM archive, we are always happy -and honoured- to receive any new works in any physical format to the postal address above.

With my best regards,

Francisco López.

Sonic Somatic: Performances of the Unsound Body

Sun, 25 Mar 2012 20:43:37 +0200

Sonic Somatic: Performances of the Unsound Body
by Christof Migone
Errant Bodies Press: Audio Issues Vol. 5
ISBN: 978-0-9827439-4-2
Design: fliegende Teilchen, Berlin
$21 (296 page, black and white images)

This book delineates a territory of investigation for sound art and its various manifestations through historical, theoretical, polemical and critical analyses of artistic, musical and literary works. In doing so, Migone gives radical definition to an auditory study that includes the complexity of silence and mutism, identity and abjecthood, and language and its stutterances. The recurring site of these stagings is the somatic under all its forms: embodied and disembodied, fragmented and amplified, vocal and mute.

Concrete sites that are investigated include: Antonin Artaud’s writings, Alvin Lucier’s recording I am sitting in a room, Erik Satie’s composition Vexations, Marina Abramovic’s performance Rhythm 0, Adrian Piper’s Untitled Performance for Max’s Kansas City, Melville’s short story Bartleby, the Scrivener, Bob Connolly and Robin Anderson’s documentary film First Contact, and John Cage’s composition 4’33”.

Christof Migone is an artist, curator and writer. He obtained an MFA from the Nova Scotia College of Art & Design in 1996 and a PhD from the Department of Performance Studies at the Tisch School of the Arts of New York University in 2007. He currently is a Lecturer at the Department of Visual Studies and the Director/Curator of the Blackwood Gallery (University of Toronto).

Andalucia Soundscape

Sun, 25 Mar 2012 20:39:07 +0200

58 Processions. Listening through Holy Week.

In April 2007 and March 2008 Duncan Whitley and James Wyness travelled to Seville (Spain) to carry out field work, documenting the celebrations of ‘Semana Santa’ (Holy Week).

During the course of Semana Santa the artists captured a series of field recordings examining the sonic language of the processions. The recordings document the syntactical use of sound integral to the events, as well as a wealth of incidental detail and location ambience. Ultimately, this formal investigation reveals a complex matrix of acoustic communication and emotional intensity.

Find out 58 Processions. Listening through Holy Week at Andalucía_Soundscape website or download the pdf publication.

Authors: James Wyness and Duncan Whitley
Location: Seville.
Year: 2007-2008

www.andaluciasoundscape.net/58-procesiones

Rap music powers medical sensor

Tue, 14 Feb 2012 11:15:56 +0100

Rap music powers medical sensor:

January 30, 2012

A driving bass rhythm can be harnessed to power a new type of miniature medical sensor designed to be implanted in the body.

Low-frequency acoustic waves from music were found to effectively recharge the pressure sensor. Such a device might ultimately help to treat people stricken with aneurisms or incontinence due to paralysis.

Ref.: A. Kim, T. Maleki, and B. Ziaie, A Novel Electromechanical Interrogation Scheme for Implantable Passive Transponders, findings are detailed in a paper to be presented during the IEEE MEMS conference, Jan. 29 to Feb. 2 in Paris

[+]

Implanted transponder scavenging musical sound and radiating an RF pulse at the resonant frequency of the passive sensor (credit: Birck Nanotechnology Center, Purdue University)

Ecomusicologies 2012

Mon, 13 Feb 2012 12:31:22 +0100

Ecomusicologies 2012:

30-31 October 2012, New Orleans

Pre-Conference (Live & Virtual) to the AMS/SEM/SMT 2012 Joint Annual Meeting

The AMS Ecocriticism Study Group and the SEM Ecomusicology Special Interest Group invite submissions on research from any academic field related to any issues of and around ecomusicology (ecocritical / ecological / environmental studies of music and/or sound), which is broadly construed as the dynamic relationships between culture, music/sound, and nature/environment, in all the complexities of those terms. (For more on ecomusicology, consult the information and resources at www.ams-esg.org.)

Papers accepted for the conference will be considered for publication in a volume of essays currently being prepared under the working title “Ecomusicology: A Field Guide,” edited by Aaron S. Allen (University of North Carolina at Greensboro, USA) and Kevin Dawe (University of Leeds, UK). This volume will present the diversity of ecomusicological work in the field by including various disciplinary approaches from, e.g., history, literature, ethnography, anthropology, and ecology.

The CFP is available as a PDF.

The conference will be held in New Orleans, Louisiana, USA, on the uptown campus of Tulane University on 30-31 October, which is immediately prior to the Joint Annual Meeting of AMS, SEM, and SMT in downtown New Orleans.

For more information, please see http://www.ams-esg.org/events/upcoming-events/ecomusicologies-2012