¡@
The Second Conference of the ICTM Study Group for
Musics of East Asia (MEA)
24-26 August 2010
The Academy of Korean Studies, Korea (ROK)
The Study Group for Musics of East Asia (MEA), which was formed
within the framework of ICTM in 2006, is pleased to announce its
second meeting, to be held 24, 25 and 26 August 2010 in Korea, at
the Academy of Korean Studies. Those interested in East Asian
musical cultures are welcome to become members and attend the
conference to exchange knowledge and ideas and further develop the
field.
¡@
CONFERENCE THEMES
The conference themes for the 2010 meeting are as follows:
1. Intangible Cultural Heritage in East Asia: History and Practical
Results
Japan and the Republic of Korea were early pioneers in recognizing
the importance of intangible cultural heritage. Following the
implementation of their seminal laws for cultural property
protection in 1950 and 1962 respectively, they have experimented
with ways to preserve and transmit intangible cultural heritage and
have provided inspiration and practical assistance to UNESCO and
other countries in this sphere. More recently, in the last decade
mainland China has seen a flurry of high-profile initiatives
dedicated to the same purpose, while Taiwan, Hong Kong, and Mongolia
too have implemented policies aimed at honouring and ensuring
transmission of their local heritages. What are the similarities and
differences among all these regional initiatives? What are the
practical effects on the ground, and do these differ markedly from
place to place? Is intangible cultural heritage more likely to
survive because of top-down or bottom-up initiatives?
2. ¡¥Recordings and Films¡¦ or ¡¥The Potential and Pitfalls of
Audio-Visual Technology and Materials¡¦
The invention of recording and reproducing technologies was
definitely an epoch- making event in the history of performing arts.
Recently, many old recordings of the early 20th century have been
restored. What kind of technical attention do we need to pay when
utilizing them, and what can we learn from the materials? These
recordings were often produced by colonizers exploiting the culture
of the colonized. How, then, should they share and utilize the
resulting materials as common heritage in the post-colonial
context? Technology has also been used not only for documentation
but also for more creative art works. What has become possible and
what is still impossible or has been omitted in the development of
technology? Why is it that the more virtual sound and computer
graphics look ¡¥real¡¦, the more they lose ¡¥reality¡¦?
3. Reconsidering Sacred and Profane in East Asian Ritual Music
The dichotomy between ¡¥sacred¡¦ and ¡¥profane¡¦ has become one of the
most important theoretical frameworks in the study of ritual in
general. Exploring elements of the ¡¥sacred¡¦ and the ¡¥profane¡¦ in
particular rituals is an acknowledged approach in anthropological
writings. The issue has also become very influential in the study of
ritual music. Recent studies of East Asia, however, have
demonstrated the complex relationship between music and ritual, and
showed how the concepts of ¡¥sacred¡¦ and ¡¥profane¡¦ in relation to
music are in fact intertwined rather than in opposition. Is the idea
of ¡¥incomparable categories¡¦ still valid today, and to what extent?
Can the case of East Asia offer an alternative perspective on the
relationship between ¡¥sacred¡¦ and ¡¥profane¡¦ rather than their simply
being viewed as existing in a dichotomous relationship?
4. Asian Music in Music Textbooks for Primary and Secondary Schools
in East Asia
Textbooks should help students to form a desired cognitive faculty
for mapping out their future through diverse and objective
knowledge. Music textbooks should help students do this through
musical knowledge.
This session attempts to address such
questions as given below:
What kind of musical knowledge is conveyed in the music textbooks in
East Asia? How does each country in East Asia handle its traditional
music in music textbooks? Do the music textbooks of East Asia
sufficiently introduce both traditional music of the children¡¦s own
country and the full diversity of Asian music, especially East Asian
music, qualitatively as well as quantitatively? If so, how is this
achieved? Is there room for improvement in these matters in the
music textbooks of East Asia?
The aim of this session is to study and discuss these matters in
order to find ways to improve future education in primary and
secondary schools of East Asia on the diverse music cultures of
Asia.
5. Asian Soundscapes and Cyberspace
Since Murray Shafer¡¦s influential book The Soundscape
appeared three decades ago, we have seen a renewed interest in the
sonic environment and acoustic ecology that is readily apparent in
the 21st century. In this context the concept of the ¡¥soundscape¡¦ is
to be understood as both a physical manifestation and a social
construct in the age of technological advancement. More
specifically, digital and telecommunication technologies are closing
the gap between physical soundscapes and cyberspace. For example,
the production and consumption of music is increasingly shaped by
internet distribution methods and means, such as MySpace, Facebook,
YouTube, Skype, etc.
In this context of global technological interface and mediation, how
is it possible to consider the production and consumption of a
soundscape and cyberspace that are specifically (East) Asian? Do the
ideas of locality and different regional and cultural specificities
give shape to Asian soundscapes and cyberspace, and if so, how? Who
are the producers and consumers? How are the sonic environments and
cyberspace negotiated, managed and governed? What types of policies
are implemented and what are their social, political and economic
motivations and implications? Paper presentations that relate to
these questions and related issues and their relevance to the musics
of East Asia are welcome.
6. New Research
Current and ongoing research on ¡¥East Asian Musics¡¦ that the author
wishes to bring to international attention but does not fall into
one of the main themes of the conference will be welcomed.
PRESENTATION FORMATS
We invite two formats of presentation: 1) individual paper
presentations, and 2) panel/roundtable discussion (each
panel/roundtable discussion should have at least 3 but not more than
4 participants for the duration of 90 minutes). Individual paper
presentations are 20 minutes long and will be followed by 10 minutes
of discussion.
¡@
LANGUAGE
English is the official language for the meeting, and only
presentations to be delivered in English can be accepted. Proposals
must all be submitted in English as well.
¡@
PROPOSAL FORMATS
1)
Proposals for Individual Paper Presentations Must Include:
a) The Paper Proposal Form
here
b) A 350-word maximum abstract written in English
・Because
abstract review is anonymous, please do not include your name in the
body of the abstract.
2)
Panel/ Roundtable Discussion Should Include:
a) The Panel/Roundtable Proposal Form
here
b) A panel/roundtable abstract written in English
c) Individual 350-word maximum abstracts written in English
・Because
abstract review is anonymous, please do not include your name in the
body of the abstract.
SUBMISSIONS AND DEADLINE
1) Proposal Deadline: 31 December 2009
2) Submissions of Proposals for Individual/Panel/Roundtable Paper
Presentations
Proposals should be submitted by email. Please fill out the Paper
Proposal Form from the
¡¥Upcoming
Conference¡¦
section of the MEA website
(http://www.gim.ntu.edu.tw/mea/conference.htm)
and paste it into an email message for submission. There are two
separate forms, one for individual papers and the other for panel or
roundtables. If
you are unable to submit your proposals by email, you may send a
hard copy plus computer diskette.
The submissions must be postmarked by the
deadline of
31 December 2009.
¡@
Address for Paper Proposal Submissions:
Email: ictm.mea@gmail.com
Postal mail: ICTM Study Group for Musics of East Asia
Attn: Miss Madan HO
Graduate Institute of Musicology
National Taiwan University
#1, Roosevelt Road, Sec. 4
Taipei 106, Taiwan
¡@
MEMBERSHIP
Following ICTM policy, all participants who present papers must be
ICTM members. Non-members whose proposals are accepted must join the
ICTM in order to present their papers at the conference. Proposals
from students are encouraged. Membership applications are available
at the ICTM website (http://www.ictmusic.org).
For membership questions, contact the ICTM Secretariat at
secretariat@ictmusic.org or
write to: ICTM Secretariat, School of Music, Australian National
University, ANU College of Arts and Social Sciences Building 100,
Canberra, A.C.T. 0200, Australia.
PROGRAM COMMITTEE
The Program Committee consists of the following MEA members: SHEEN
Dae-Cheol (Korea), Hae-Kyung UM (UK), Helen REES (USA), XIAO Mei
(China), TERAUCHI Naoko (Japan), WASEDA Minako (Japan), and TSAI
Tsan Huang (Hong Kong) as chair. For further questions about the
paper session program for MEA 2010, please contact TSAI Tsan Huang
by email: mea2010seoul@gmail.com.
CONFERENCE WEBSITE
For further information and updates, please visit the MEA homepage:
http://homepage.ntu.edu.tw/~gim/mea/,
then, click ¡¥Upcoming Conference¡¦.
CONFERENCE VENUE
The
Academy of Korean Studies (AKS, http://www.aks.ac.kr) is a
Korean research and educational institute with the purpose of
establishing profound research and education on Korean culture. The
AKS was established on June 30, 1978 by the Korean Government and it
has been dedicated to seeking basic principles for the future
development of Korea through raising and restoring the spirit of the
Korean people, creating and developing Korean culture, cultivating
scholars at home and abroad by encouraging global perspectives and
values, and supporting and cooperating with domestic and
international education and research institutions. About 200
students are enrolled in the Graduate School of the AKS, and nearly
half of them are international students. Surrounded by very
beautiful scenery, the AKS is located to the south of Seoul and it
is about 20 minutes by car from the southern part of Seoul.
