William Caplin, a specialist in the theory of musical form and James McGill professor of music theory at McGill University’s Schulich School of Music, is one of eight outstanding Canadian researchers to be awarded a Canada Council for the Arts Killam Research Fellowship. The Council announced the recipients of the grants today.

Recipients of the Killam Fellowships, among Canada’s most distinguished research awards, receive $70,000 a year for two years. The grants allow them to be released from teaching and administrative duties and devote themselves full time to research. Professor Caplin is the first Killam Research Fellowship recipient from the Schulich School of Music.

Professor Caplin will pursue further study on cadence – a harmonic and melodic pattern signaling the end of a section or piece of music – by grounding the concept in the music of Haydn, Mozart, and Beethoven and then exploring how cadence functions in a wider range of musical styles. He will also consider the roles of performer and listener in the projection and experience of cadence. The study of cadence has emerged as a major component of modern musical scholarship since it provides a key to understanding how compositions are formally structured.

“I’m extremely honoured to have been selected for this generous award,” Prof. Caplin said. “It will allow me to complete a large-scale study that has been central to my research efforts for many years.”

The Killam Selection Committee, which included 14 eminent scientists and scholars representing a broad range of disciplines, selected this year’s winners from among 74 applications.

The Killam Research Fellowships, made possible by a bequest of Mrs. Dorothy J. Killam, support scholars engaged in research projects of outstanding merit in the humanities, social sciences, natural sciences, health sciences, engineering and interdisciplinary studies within these fields.

For more information:

http://www.conseildesarts.ca/news/releases/2011/pz129434696008377992.htm

The Sir Ernest MacMillan Memorial Foundation is pleased to announce that Geneviève Leclair has been awarded $12,000 as the recipient of the Foundation’s 2010 advanced music study award. The 2010 award was offered in the area of orchestral conducting and was open to candidates under thirty years of age from across Canada.

The final selection round for the award took place on March 29th in the MacMillan Theatre at the University of Toronto.  Three finalists rehearsed the University of Toronto Symphony Orchestra in selections from Berlioz' Symphonie fantastique before an independent jury of Canadian orchestral conductors.

The Sir Ernest MacMillan Memorial Foundation Award is intended to provide significant career development opportunities to a young Canadian musician or music scholar, typically at the graduate level.  The recipient is chosen through a competitive process that is national in scope.  The award, $12,000 in recent years, is offered annually or biennially.

Reflecting Sir Ernest’s wide-ranging endeavours, the award is offered in different areas of music, areas that are not funded appreciably from other sources.  Awards have been offered in composition, conducting, instrumental and vocal performance, pedagogy, early music, chamber music, collaborative piano and music education. Twenty-five awards have been given since 1985,

More information on the MacMillan Foundation Award is provided at Sir Ernest MacMillan Memorial Foundation Award

Information:
This email address is being protected from spambots. You need JavaScript enabled to view it.
Ian MacMillan, 613 238-6847, This email address is being protected from spambots. You need JavaScript enabled to view it.
www.macmillanfoundation.com

 

IPMC 2010
Historiography: Writing about Music in Canada
June 2, Regina
Submission Deadline: April 30, 2010
After a successful and invigorating first meeting of the Interdisciplinary Perspectives on Music in Canada working group in August 2009 at the University of Toronto, we are pleased to announce a second meeting on June 2 in Regina in conjunction with CUMS, IASPM Canada, and the CSTM. We welcome new members to this working group from all of the associations that will meet in Regina, as well as from scholars whose work addresses music in Canada from interdisciplinary perspectives.
Our meeting in Regina will focus on the Historiography of Music in Canada. As part of this meeting we will again welcome participants working in all genres of music and sound practices in Canada. This meeting will provide an opportunity for us to re-examine how ‘Canadian Music’ and Music in Canada have been alternately mythologized and narrated, as well as the ways in which we might further develop our writing on such musical practices. For this meeting we will adopt a format that allows for a 2-hour discussion of reading(s) on Historiography (TBA) that we will apply to the study of music in Canada. We welcome participants’ suggestions for reading(s). The morning session will be followed by two plenaries, each including two 30-minute presentations. Each presentation will be followed by a 10-minute respondent, and a 30-minute discussion of the presentation.
Please send your proposals for plenary papers, expressions of interest for acting as a respondent, and general expressions of interest in participating in this working group to both Mary Ingraham (This email address is being protected from spambots. You need JavaScript enabled to view it.) and Dylan Robinson (This email address is being protected from spambots. You need JavaScript enabled to view it.) by April 30, 2010.
The following provides a list of questions of potential interest to participants of this upcoming working group meeting in Regina. Many of these questions have been drawn from our initial discussions on Historiography and Epistemology during the 2009 meeting in Toronto. We are interested both to build upon these ideas, and to explore a wider range of perspectives not included in the list below.
Canadian music history has traditionally been written in relation to the unifying thematic narratives of the Canadian landscape, as well as through concepts of diversity and
multiculturalism. To what degree are these unifying narratives still of use? Does their unity ultimately misrepresent musical practices across Canada? Do such narratives act as nation-building structures in themselves, and if so, how might we interrogate the nation-building processes such historicization represents?
How do we bring other voices into the types of stories we tell about Canadian music? What modes of writing offer space for such voices to participate without subjugating them?
To what extent does our writing intervene in the way knowledge is constructed in the multiple fields and publics in which it participates? How might we further explore models of ‘applied musicology’ or entertain more activist modes of engagement between the writing we do and those audience members and musicians who are present in the music practices we write about and the readers to whom we are directing our writing?
What more synchronous modes of discourse between writing voice and subject matter might be of use in writing the histories of Canadian music?
Who are the agents of history and should we care about how they relate to music. What images might we define that allow us to rethink the relationships of past, present, and future? What new shapes of history might better reflect the musical communities and practices in Canada that we study?
How in general might we take greater risks in our writing? How might we better engage our audience through a more creative association with the particular musics we write about?
There has been a striking reluctance to be critical of musical practices in Canada, as scholars on Canadian music have felt the need first to advocate for the value of the music under examination. It has been noted that “musicologists, more often perhaps than social scientists or even literary critics, have sometimes played the role of publicity officer for specific composers, musical traditions, or regions.” (Diamond) How might we expand our writing toward productive critique of Canadian musical practices?
How might we explore the further reaches of the ways in which the musics of Canada affect us in both affirmative and critical aspects? Should we, as suggested by Ellie Hisama, cultivate a “musicology of the repulsive,” that is, a musicology that expresses our concerns regarding “music that we don’t care for [and] of music that we find dull, inept, or downright repulsive, [or] of music that we understand to negate, devalue, and disrespect who we are … ”. How might we develop alternative modes for discussing our attraction to particular works and practices as advocated by Suzanne Cusick and Marion Guck? (to name only two). How might we approach these while avoiding the pitfalls of becoming arbitrators of musical taste?
How, in our writing, do we situate ourselves when telling of the embodied listening practices we engage in as members (or observers) of musical communities in Canada?

Submission Deadline: April 30, 2010 

After a successful and invigorating first meeting of the Interdisciplinary Perspectives on Music in Canada working group in August 2009 at the University of Toronto, we are pleased to announce a second meeting on June 2 in Regina in conjunction with CUMS, IASPM Canada, and the CSTM. We welcome new members to this working group from all of the associations that will meet in Regina, as well as from scholars whose work addresses music in Canada from interdisciplinary perspectives. 

Tenure-Track Positions in the Schulich School of Music of McGill University

The Schulich School of Music is Canada’s largest and leading University based program for the training of professional composers and performers, and for humanities-based and scientific-technological research in music and sound. McGill’s Schulich School is also home to CIRMMT, the Centre for Interdisciplinary Research in Music Media and Technology, a global leader for innovation in music cognition, creative media, broadband transmission, and scientific-engineering applications for music. We seek individuals with an international profile in musical creation, performance or research, who will maintain a high-level of professional activity in the field and are able to teach and supervise students in all university degree and diploma programs through to the doctoral level.

Department of Music Research—Theory Area

  • Review of applications begins immediately. Those received by Mar. 30, 2010 will be given full consideration
  • Interviews to be scheduled early Spring 2010.
  • Appointment starts August 2010 (initial 3-year tenure-track appointment)

Applications are invited for a tenure-track appointment in Music Theory at the rank of Assistant or Associate Professor. We are open to all areas of research specialization. The successful applicant will have superior musicianship and be comfortable teaching the full range of core undergraduate classes, as well as undergraduate and graduate offerings in his or her own area of specialization.

Applicants should submit a curriculum vitae, a statement of research interests, and arrange to have three letters of reference sent by hard copy to the School’s mailing address (see below), to the attention of:

Professor Lloyd Whitesell – Chair, Department of Music Research
Tel: 514.398.4540/Fax: 514.398.1540 / Email: This email address is being protected from spambots. You need JavaScript enabled to view it.
Department of Performance—Organ & Church Music Area
  • Review/Consideration of applications begins June 1, 2010
  • Interviews to be scheduled early in Autumn 2010.
  • Appointment starts August 2011 (initial 3-year tenure-track appointment)

Applications are invited for a tenure-track appointment in Organ and Church Music as the University Organist at the rank of Assistant or Associate Professor. We are seeking a candidate with significant international performance profile, extensive teaching experience at the university level and exceptional organizational skills. The candidate should be knowledgeable about historical performance practice and have a keen interest in contemporary music. Duties will include teaching undergraduate and graduate organ majors, coordination of the Organ and Church Music Area as well as supervision of the maintenance of the organs on campus.

Applicants should submit a curriculum vitae along with a statement of professional and teaching interests, and arrange to have three letters of reference sent by hard copy to the School’s mailing address (see below), to the attention of:

Professor André J. Roy – Chair, Department of Performance
Tel : 514.398.4542/Fax : 514.398.1540 / Email: This email address is being protected from spambots. You need JavaScript enabled to view it.

Salaries for both positions are negotiable, according to qualifications and experience. Positions are subject to final budgetary approval.

All qualified applicants are encouraged to apply; however, in accordance with Canadian immigration requirements, priority will be given to Canadian citizens and permanent residents of Canada.

McGill University is committed to equity in employment and diversity. It welcomes applications from indigenous peoples, visible minorities, ethnic minorities, persons with disabilities, women, persons of minority sexual orientations and gender identities and other who may contribute to further diversification

MusCan Office

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