Music Encoding Conference 2014

Dear colleagues, You are cordially invited to attend the Music Encoding Conference 2014, which will be held 20-23 May at the University of Virginia in Charlottesville, Virginia, USA. The encoding of symbolic music data opens new research paths to traditional music studies (from editing to analysis) and computational musicology, and constitutes a foundational tool for music bibliography and librarianship. The quest for a coherent and universal system for the digital representation of music notation has been pursued for decades and the recent accomplishments of the Music Encoding Initiative have garnered a great deal of attention in a wide range of music scholarship and in the broader digital humanities. This conference aims to gather specialists in all the above areas, to discuss the current state of modeling, generation and use of music encoding, to exchange experiences, report on successful projects on major collections and composers, and to forge collaborations for future projects. The program opens on Tuesday, May 20th with a pre-conference day devoted to workshops/tutorials on MEI and its application to scholarly publication, followed by two days of papers and poster presentations covering various theoretical and practical issues in research and publishing, and a round-table on production and distribution of digital music editions. This year’s keynote speaker is Professor Tim Crawford, a performer and musicologist who has been active for years in promoting the use of technology in music research, now engaged in a major project funded by the British government "Transforming Musicology". The program is completed by a "Hack Day" on Friday, May 23: an opportunity for everyone interested in using and improving MEI — developers, librarians, musicologists, editors, publishers — to investigate the topics they're most interested in. More details regarding the program, venue, registration and accommodation are available on the conference website at http://music-encoding.org/conference. Registration will close on 30 April 2014. Queries to: conference2014@music-encoding.org.

CFP - Music Encoding Conference

You are cordially invited to participate in the Music Encoding Conference, which will be
held 21-23 May 2014 (with pre-conference workshops on 20 May) at the University of Virginia
in Charlottesville, Virginia, U.S.A.

The quest for a coherent and universal system for the digital representation of music
notation has been pursued for decades and the recent accomplishments of the Music Encoding
Initiative have garnered a great deal of attention in a wide range of music scholarship and
in the broader digital humanities. The encoding of symbolic music data opens new research
paths to traditional music studies (from editing to analysis) and computational musicology,
and constitutes a foundational tool for music bibliography and librarianship. This
conference aims to gather specialists in all these areas, to discuss the current state of
modeling, generation and use of music encoding, to exchange experiences, and to forge
collaborations.

Proposals for papers, posters, panel discussions, and pre-conference workshops are
encouraged. Suggested topics include, but are not limited to:

• music encoding as a theoretical approach for research
• methodologies for encoding, music editing, description and analysis
• rendering of symbolic music data in audio and graphical forms
• relationships between symbolic music data, encoded text, and facsimile images
• capture, interchange, and re-purposing of music data and metadata
• ontologies, authority files, and linked data in music encoding and description
• additional topics relevant to music encoding, editing, and description

The deadline for all submissions is 31 December 2013. PDF or Word-compatible files are
preferred. All submissions must include:

• name(s) of author(s)
• title
• abstract
• current or most recent institutional affiliation of author(s) and e-mail address
• proposal type: paper, poster, session, or workshop

For paper and poster proposals, abstracts of no more than 1000 words, including relevant
bibliographic references, are requested. Please also include a short statement regarding
your current interests related to music encoding.

Panel session proposals, describing the topic and nature of the session and including short
biographies of the participants, must be no longer than 2000 words.

Proposals for half- or full-day pre-conference workshops, to be held on May 20th, should
include the workshop’s proposed duration, as well as its logistical and technical
requirements.

All accepted papers, posters, and panel sessions will be included in the conference
proceedings, tentatively scheduled to be published by the end of 2014.

In accordance with feedback from participants in last year's conference, all activities
will take place within a single track. Additional details regarding registration,
accommodations, etc. will be announced on the conference webpage
(http://music-encoding.org/conference/2014).

Important dates:

• 31 December 2013: Deadline for abstract submissions
• 7 February 2014: Notification of acceptance of submissions
• 20 May 2014: Pre-conference workshops
• 21-24 May 2014: Conference
• 31 July 2014: Deadline for submission of full papers for conference proceedings
• December 2014: Publication of conference proceedings

If you have any questions, please e-mail conference2014@music-encoding.org.

Program Committee

• Giuliano Di Bacco, Indiana University, chair

(Local) Organizers

• Perry Roland, University of Virginia
• Sarah Wells, University of Virginia
• Johannes Kepper, Universität Paderborn
• Daniel Röwenstrunk, Universität Paderborn

Grant - Rock and Roll Hall of Fame and Museum

The Rock and Roll Hall of Fame and Museum is pleased to announce its new Gladys Krieble Delmas Visiting Scholar Program, created through a generous gift from the foundation of the same name, which seeks to encourage research in the collections of the Rock Hall's Library and Archives. Applications are now being accepted for grants to fund travel by visiting scholars to the Library and Archives before September 2014. Grants will be in the amount of $1,000 per week for up to two weeks. Visiting Scholars may use their funds for transportation, housing, and other costs related to their Library and Archives visit and research. Teachers, graduate students, and postdoctoral and independent scholars are encouraged to apply, with preference given to applicants residing outside Northeast Ohio. Review of applications will begin on Monday, October 7.

For application instructions and more information about the Gladys Krieble Delmas Visiting Scholar Program, please visit http://library.rockhall.com/delmas.

For more information regarding the Rock Hall's Library and Archives and its collections, please visit http://library.rockhall.com.

ARSC WORKSHOP

--- ARSC WORKSHOP 2013 ---

The Education and Training Committee of the Association for Recorded Sound
Collections presents "Discovery Access Methods for Sound Recording
Collections." The workshop will be held on Wednesday, May 15, 9:00 a.m. -
5:00 p.m., at the Kansas City Marriott Country Club Plaza, Kansas City,
Missouri.

This day-long workshop brings together professionals from a variety of
backgrounds to discuss how audio resources can be found -- and made findable
-- in libraries, archives, digital collections, and discographies.

Scheduled speakers are: Nara Newcomer, Music and Media Librarian, University
of Missouri-Kansas City; Thom Walker, Musical Digital Services Librarian,
Marshall University Libraries; Sam Brylawski, Editor/Project Manager,
American Discography Project; and Joanne Archer, University of Maryland.

For those unable to attend in person, ARSC is again offering its workshop in
a live-streaming, online version. An archived version will be made available
to all workshop registrants for a limited time. The workshop is approved for
five Archival Recertification Credits through the Academy of Certified
Archivists. Contact ACA for more information.

The workshop registration fee is not included in the conference registration
fee.

Discounted, early in-person workshop registration (closing April 23):
$75 for ARSC members, $85 for non-members, and $40 for student members.

Online (live-streaming) workshop registration (closing May 10):
$50 for ARSC members, $75 for non-members, and $35 for student members.

Detailed information about the workshop can be found at:
http://www.arsc-audio.org/conference/pdf/2013_workshopFlyer.pdf

Please direct all workshop-related questions to the Education and Training
Committee Co-Chairs:
Karen Fishman: kfishman@loc.gov , 202-707-5856
Aaron Bittel: ambittel@arts.ucla.edu , 310-825-1695

The 2013 ARSC Conference, May 15-18, offers a number of learning
opportunities. Please see the preliminary program details at:
http://www.arsc-audio.org/conference/


The Association for Recorded Sound Collections is a nonprofit organization
dedicated to the preservation and study of sound recordings -- in all genres
of music and speech, in all formats, and from all periods. ARSC is unique in
bringing together private individuals and institutional professionals --
everyone with a serious interest in recorded sound.

TRAVEL GRANT - ARSC CONFERENCE

The Outreach Committee of the Association for Recorded Sound Collections (ARSC) posts the following message. --- ARSC CONFERENCE TRAVEL GRANTS --- Application Deadline: December 7, 2012 The Association for Recorded Sound Collections is now accepting applications for ARSC Conference Travel Grants to be awarded in 2013. The grants are designed to: -- encourage ARSC members to attend their first ARSC conference -- reach out to college students and professionals in the early stages of their careers -- promote mentoring and professional development opportunities -- advance scholarly research and publication, and -- support ARSC members who desire to participate more actively in the association. Grant recipients are awarded: -- complimentary registration for the entire ARSC Annual Conference -- gratis registration for the Pre-Conference Workshop, and -- reimbursement up to US$750 to defray the expenses of transportation and lodging (upon approval of valid receipts, to be submitted after the conference). Rental car costs for transportation within the conference city are not reimbursable. At the time of application, the applicant must be a member of ARSC in good standing, planning to attend his or her first ARSC conference. The applicant must also be one of the following: -- a college or university student aspiring to work with sound recordings -- a recent graduate seeking a professional position involving sound recordings -- a professional within the first five years of his or her career, who has demonstrated a dedication to sound recordings -- a researcher or discographer showing compelling prospects for the publication or dissemination of his or her scholarly work. Applicants who demonstrate an interest in serving on an ARSC committee, publishing their work in the ARSC Journal, or presenting at an ARSC conference will be given particular consideration. Preference will be given to applicants who plan to attend the entire conference, beginning with the pre-conference workshop. Each applicant must submit: -- a letter of application describing the applicant's background and current activities, clearly indicating why the applicant merits consideration for an ARSC Conference Travel Grant -- a proposed budget for travel costs -- itemization of any non-ARSC funds that the applicant may receive toward ARSC conference attendance, such as institutional support, etc. -- a brief resume or curriculum vitae, and -- two letters of support, each submitted directly by the writer. Applications lacking any of the above items will be deemed incomplete, and may not be viewed favorably by the Travel Grants Committee. All applications and supporting materials must be received by December 7, 2012. Send them by e-mail or postal mail to: Louise Spear, ARSC Conference Travel Grants Committee American Musical and Dramatic Academy 6305 Yucca Street Los Angeles, CA 90028 LSpear@amda.edu For more information, visit: http://www.arsc-audio.org/committees/grant-programs.html or e-mail: LSpear@amda.edu Applicants will be notified about the award decisions by January 21, 2013.

TRAVEL GRANT - ARSC CONFERENCE

The Outreach Committee of the Association for Recorded Sound Collections (ARSC) posts the following message. --- ARSC CONFERENCE TRAVEL GRANTS --- Application Deadline: December 7, 2012 The Association for Recorded Sound Collections is now accepting applications for ARSC Conference Travel Grants to be awarded in 2013. The grants are designed to: -- encourage ARSC members to attend their first ARSC conference -- reach out to college students and professionals in the early stages of their careers -- promote mentoring and professional development opportunities -- advance scholarly research and publication, and -- support ARSC members who desire to participate more actively in the association. Grant recipients are awarded: -- complimentary registration for the entire ARSC Annual Conference -- gratis registration for the Pre-Conference Workshop, and -- reimbursement up to US$750 to defray the expenses of transportation and lodging (upon approval of valid receipts, to be submitted after the conference). Rental car costs for transportation within the conference city are not reimbursable. At the time of application, the applicant must be a member of ARSC in good standing, planning to attend his or her first ARSC conference. The applicant must also be one of the following: -- a college or university student aspiring to work with sound recordings -- a recent graduate seeking a professional position involving sound recordings -- a professional within the first five years of his or her career, who has demonstrated a dedication to sound recordings -- a researcher or discographer showing compelling prospects for the publication or dissemination of his or her scholarly work. Applicants who demonstrate an interest in serving on an ARSC committee, publishing their work in the ARSC Journal, or presenting at an ARSC conference will be given particular consideration. Preference will be given to applicants who plan to attend the entire conference, beginning with the pre-conference workshop. Each applicant must submit: -- a letter of application describing the applicant's background and current activities, clearly indicating why the applicant merits consideration for an ARSC Conference Travel Grant -- a proposed budget for travel costs -- itemization of any non-ARSC funds that the applicant may receive toward ARSC conference attendance, such as institutional support, etc. -- a brief resume or curriculum vitae, and -- two letters of support, each submitted directly by the writer. Applications lacking any of the above items will be deemed incomplete, and may not be viewed favorably by the Travel Grants Committee. All applications and supporting materials must be received by December 7, 2012. Send them by e-mail or postal mail to: Louise Spear, ARSC Conference Travel Grants Committee American Musical and Dramatic Academy 6305 Yucca Street Los Angeles, CA 90028 LSpear@amda.edu For more information, visit: http://www.arsc-audio.org/committees/grant-programs.html or e-mail: LSpear@amda.edu Applicants will be notified about the award decisions by January 21, 2013.

TRAVEL GRANT - ARSC CONFERENCE

The Outreach Committee of the Association for Recorded Sound Collections (ARSC) posts the following message. --- ARSC CONFERENCE TRAVEL GRANTS --- Application Deadline: December 7, 2012 The Association for Recorded Sound Collections is now accepting applications for ARSC Conference Travel Grants to be awarded in 2013. The grants are designed to: -- encourage ARSC members to attend their first ARSC conference -- reach out to college students and professionals in the early stages of their careers -- promote mentoring and professional development opportunities -- advance scholarly research and publication, and -- support ARSC members who desire to participate more actively in the association. Grant recipients are awarded: -- complimentary registration for the entire ARSC Annual Conference -- gratis registration for the Pre-Conference Workshop, and -- reimbursement up to US$750 to defray the expenses of transportation and lodging (upon approval of valid receipts, to be submitted after the conference). Rental car costs for transportation within the conference city are not reimbursable. At the time of application, the applicant must be a member of ARSC in good standing, planning to attend his or her first ARSC conference. The applicant must also be one of the following: -- a college or university student aspiring to work with sound recordings -- a recent graduate seeking a professional position involving sound recordings -- a professional within the first five years of his or her career, who has demonstrated a dedication to sound recordings -- a researcher or discographer showing compelling prospects for the publication or dissemination of his or her scholarly work. Applicants who demonstrate an interest in serving on an ARSC committee, publishing their work in the ARSC Journal, or presenting at an ARSC conference will be given particular consideration. Preference will be given to applicants who plan to attend the entire conference, beginning with the pre-conference workshop. Each applicant must submit: -- a letter of application describing the applicant's background and current activities, clearly indicating why the applicant merits consideration for an ARSC Conference Travel Grant -- a proposed budget for travel costs -- itemization of any non-ARSC funds that the applicant may receive toward ARSC conference attendance, such as institutional support, etc. -- a brief resume or curriculum vitae, and -- two letters of support, each submitted directly by the writer. Applications lacking any of the above items will be deemed incomplete, and may not be viewed favorably by the Travel Grants Committee. All applications and supporting materials must be received by December 7, 2012. Send them by e-mail or postal mail to: Louise Spear, ARSC Conference Travel Grants Committee American Musical and Dramatic Academy 6305 Yucca Street Los Angeles, CA 90028 LSpear@amda.edu For more information, visit: http://www.arsc-audio.org/committees/grant-programs.html or e-mail: LSpear@amda.edu Applicants will be notified about the award decisions by January 21, 2013.

TRAVEL GRANT - ARSC CONFERENCE

The Outreach Committee of the Association for Recorded Sound Collections (ARSC) posts the following message. --- ARSC CONFERENCE TRAVEL GRANTS --- Application Deadline: December 7, 2012 The Association for Recorded Sound Collections is now accepting applications for ARSC Conference Travel Grants to be awarded in 2013. The grants are designed to: -- encourage ARSC members to attend their first ARSC conference -- reach out to college students and professionals in the early stages of their careers -- promote mentoring and professional development opportunities -- advance scholarly research and publication, and -- support ARSC members who desire to participate more actively in the association. Grant recipients are awarded: -- complimentary registration for the entire ARSC Annual Conference -- gratis registration for the Pre-Conference Workshop, and -- reimbursement up to US$750 to defray the expenses of transportation and lodging (upon approval of valid receipts, to be submitted after the conference). Rental car costs for transportation within the conference city are not reimbursable. At the time of application, the applicant must be a member of ARSC in good standing, planning to attend his or her first ARSC conference. The applicant must also be one of the following: -- a college or university student aspiring to work with sound recordings -- a recent graduate seeking a professional position involving sound recordings -- a professional within the first five years of his or her career, who has demonstrated a dedication to sound recordings -- a researcher or discographer showing compelling prospects for the publication or dissemination of his or her scholarly work. Applicants who demonstrate an interest in serving on an ARSC committee, publishing their work in the ARSC Journal, or presenting at an ARSC conference will be given particular consideration. Preference will be given to applicants who plan to attend the entire conference, beginning with the pre-conference workshop. Each applicant must submit: -- a letter of application describing the applicant's background and current activities, clearly indicating why the applicant merits consideration for an ARSC Conference Travel Grant -- a proposed budget for travel costs -- itemization of any non-ARSC funds that the applicant may receive toward ARSC conference attendance, such as institutional support, etc. -- a brief resume or curriculum vitae, and -- two letters of support, each submitted directly by the writer. Applications lacking any of the above items will be deemed incomplete, and may not be viewed favorably by the Travel Grants Committee. All applications and supporting materials must be received by December 7, 2012. Send them by e-mail or postal mail to: Louise Spear, ARSC Conference Travel Grants Committee American Musical and Dramatic Academy 6305 Yucca Street Los Angeles, CA 90028 LSpear@amda.edu For more information, visit: http://www.arsc-audio.org/committees/grant-programs.html or e-mail: LSpear@amda.edu Applicants will be notified about the award decisions by January 21, 2013.

Grant - ARSC PRESERVATION GRANTS PROGRAM

--- ARSC PRESERVATION GRANTS PROGRAM --- Deadline for receipt of applications: December 15, 2012 The ARSC Program for the Preservation of Classical Music Historical Recordings was founded by Al Schlachtmeyer and the ARSC Board of Directors to encourage and support the preservation of historically significant sound recordings of Western Art Music by individuals and organizations. (This program is separate from the ARSC Research Grants Program, which supports scholarship and publication in the fields of sound recording research and audio preservation.) The ARSC Program for the Preservation of Classical Music Historical Recordings will consider funding: -- Projects involving preservation, in any valid and reasonable fashion, such as providing a collection with proper climate control; moving a collection to facilities with proper storage conditions; re-sleeving a collection of discs; setting up a volunteer project to organize and inventory a stored collection; rescuing recordings from danger; copying recordings from endangered or unstable media; etc. -- Projects promoting public access to recordings. -- Projects involving commercial as well as private, instantaneous recordings. -- Projects involving collections anywhere in the world. (Non-U.S. applicants are encouraged to apply.) The program is administered by an ARSC Grants Committee including the chairman, a member of the ARSC Technical Committee, a member of the ARSC Associated Audio Archives Committee, and an expert on classical music. Grant amounts generally range from $2,000 to $10,000. Grant projects should be completed within 24 months. Written notification of decisions on projects will be made approximately three months after the submission deadline. Send completed applications to: Richard Warren Jr., ARSC Grants Program, Historical Sound Recordings, Yale Music Library, P.O. Box 208240, New Haven, CT 06520-8240, USA. Grant applications must be received by December 15, 2012. For further details, guidelines, and application instructions, visit: http://www.arsc-audio.org/committees/preservationgrants.html Questions about the Preservation Grants Program should be directed to Mr. Warren at richard.warren@yale.edu

Symposium - Archiving the Arts

Archiving the Arts: addressing preservation in the creative process Saturday, October 13, 2012 9:00 AM–5:00 PM Michelson Theater NYU Tisch School of the Arts Department of Cinema Studies 721 Broadway, 6th Floor New York, NY 10003 Presented by: Association of Moving Image Archivists Student Chapter at NYU and Independent Media Arts Preservation (IMAP) Archiving the Arts unlocks dialogue concerning preventive preservation, the creative process, and where the two concepts intersect. Unlike corporate or policy-based content, independent media art evolves and is often born from fleeting processes, creative approaches, and undocumented methods. Its unique development deserves to be addressed by both its makers and those who fight for its welfare after creation. Our primary goal is to straddle an antiquated divide. Instead of finite responsibilities dictated by title, archivists and artists must learn to work collaboratively in the complex independent media environment. Join us on October 13 as we bridge the gap! Register at: http://www.imappreserve.org/join/membership.html Archiving the Arts is part of New York Archives Week, which is organized by the Archivists Round Table of Metropolitan New York. www.nycarchivists.org. 9:00 AM Registration Opens/Breakfast Reception 9:45 AM Welcome Jeff Martin - Executive Director, IMAP Kathryn Gronsbell - Moving Image Archiving & Preservation, NYU and President, AMIA @ NYU 10:00 AM Preventive Preservation Moderated by Seth Anderson - Digital Preservation Consultant, AudioVisual Preservation Solutions Collaborative Curation: Designing for Preservation Ben Fino-Radin - Digital Conservator, Rhizome at the New Museum In the collection and preservation of born digital works, often the most effective methods of preservation are enabled by decisions made by the artist during the creative process. This presentation will explore cases of born-digital works from the collection of the Rhizome ArtBase, that were designed in a manner that affords effective and unobtrusive collection and preservation, as well as new modes of institutional collaboration with the creators of web platforms employed by artists. Partnering to Promote Best Practices to Preserve Independent Media Art Michele L. Wozny - PEAR Writing Studios Media artists and artist-run centres across Canada are actively strategizing how best to develop partnerships between funders and stakeholders, including archives, distributors and collectors, in order to promote long-term access and thereby stimulate the preservation of independent media artworks. This presentation will explore recommendations for such a life-cycle model that involve AMAAS (Alberta Media Art Alliance Society), AFA (Alberta Foundation for the Arts) and the Provincial Archives of Alberta. ArtLog: an online participative archive facilitating artists to self document their artistic process Yvonne Desmond - Dublin Institute for Technology The presentation will discuss the elements of artistic process and the possibilities for documentation. The development of the archive is also a means of averting the threat to the loss of trace evidence of artistic process inherent in the mass adoption of technology in the 21st century. 11:00 AM Technically Speaking: The Archivist, the Artist, and the Digital Realm Architecting the World's First Fine Art Digital Conservation Repository at the Museum of Modern Art Kara Van Malssen, Senior Consultant, AudioVisual Preservation Solutions Digital artworks are uniquely complex, often having multiple dependencies, such as operating systems, software, libraries, programming languages, and various types of hardware. Artists write custom software, create custom hardware, and use ephemeral online data sources. Even seemingly simple works, such as single channel video, depend on specific video and audio codecs for playback. Recognizing the requirements associated with the long-term conservation of these works, the Museum of Modern Art is developing a flexible, dedicated environment for digital collections management, the first of its kind in the world. This presentation will discuss work to date on the repository, next steps, and future plans. Intangible Interactivity: Tracing the History of an Art/Tech Program 1979-Present Matt Epler and Kate Watson - Interactive Telecommunications Program (ITP), Tisch School of the Arts, NYU A summary of the genesis and ongoing efforts to archive thesis projects at the nation's pioneering program in technology and media art. Housing almost every imaginable format of media, the collection represents a unique look at how technology has developed alongside culture and economy in the past 3+ decades, with an emphasis on experimentation and alternative use. 11:45 AM Lunch 1:15 PM Discussion Forum - Selections from the Studio to the Archive This session will serve as the basis for an upcoming IMAP workshop on issues raised at Archiving the Arts. We invite you to an informal, open-format discussion addressing preservation in the creative process. Presenters and attendees will tackle issues encountered by professionals and amateurs on both sides of the content divide. Special guests to be announced. 2:30 PM Audiovisual Documentation of Transitory Works Moderated by Erica Titkemeyer - Moving Image Archiving & Preservation, NYU Archives and the afterlife of ephemeral works of art Megan McShea - Smithsonian Institution, Archives of American Art Traces of ephemeral arts sometimes surface in surprising ways in the archival repository. McShea will share a few examples of archival audiovisual media and other documentation of ephemeral art forms from the pre-digital era, and use those examples as a jumping-off point for a discussion of the variety and qualities of art documentation that may exist for artworks that no longer exist, at least in the form in which they were initially presented by the artist. How can the creators and keepers of these records, including artists and other documentarians, ensure that it will persist into the future? Creating Something Out of Nothing - documenting the short-lived on a shoestring Paul Bryan - photographer/videographer/artist, art studio owner Jason Flowers - photographer/videographer/sound artist Holly Stevens - art historian/archivist What are the best practices for documenting transitory or ephemeral works of art? This discussion will focus on practical solutions to identifying and preserving transitory, interactive, ephemeral or site-specific works of art. Capturing a New York Minute Aliee Chan/Bettina Katie Warshaw-Writers/Performers The cast and creative partners of the FringeNYC 2012 show Aliee & Bettina’s (sort of) Grown-Up Sleepover discuss the climate of off-off Broadway theatrical community members in relation to self-preservation and the idea of ‘the archive’ in the performance community. 4:00 PM Create / Restore / Migrate / Preserve - Media Arts Theories and Practices Before I Got My Eye Put Out: The Cynthia Maughan Archive Jonathan Furmanski, Associate Conservator for audiovisual materials at the Getty Research Institute Between 1973 and 1980 the artist Cynthia Maughan (b. 1949) created upwards of three hundred discrete video works, most no longer than a few minutes each. While she was included in several high profile exhibitions of the 1970s, only a few of these works exist outside of her personal archive now housed at the Getty Research Institute. An examination of this remarkable and quirky artist will introduce topics ranging from tape degradation, transfer techniques, cataloging and metadata protocols for digital access to file based video storage, the mourning rituals of small twigs, explaining incarceration to cats and the probability of miniature skeletons made from toothpicks. Practicing Preservation For and With Video Artists Desiree Leary , Media Art Collection Manager at Electronic Arts Intermix For the past four decades Electronic Arts Intermix has fostered the creation, exhibition, distribution and preservation of media art. Over the years EAI has has preserved several key works of media art including the works of Carolee Schneemann, Lawrence Weiner, Vito Acconci, Bruce Nauman, and Joan Jonas. This presentation will discuss EAI’s current preservation practices and projects, which include restoring the work of Tony Ramos, revising EAI’s Media Art Resource Guide and efforts to help artists become more aware of best practices in preserving their work. An Artist’s Perspective Peter d’Agostino - Professor of Film and Media Arts, Temple University, Philadelphia This presentation explores the process of creating new work and reviews exhibition, distribution, and archival preservation methodologies. D’Agostino will review projects from the 1970s to 2010s including: The Walk Series (1973-74) video ’documentation / performances’ of walks in San Francisco; CHUNG: Still Another Meaning (1977) a photo / text / video installation; coming & going: PARIS [Metro], a film / video / text installation (1978); and, video / web projects (1973- 2012) on www.peterdagostino.com. 5:00 PM Farewell and adjourn -- Kristin MacDonough

MLA Call for proposals

The Music Library Association’s Program Committee is pleased to announce its call for proposals for the 2013 MLA Annual Meeting in San Jose, California, February 27 – March 3, 2013! Proposals should be submitted through the online form: http://program.musiclibraryassoc.org/ProposalForm A separate call will go out for business meetings in May. Please use the program form for programmatic and poster sessions only. The deadline for submission is May 11, 2012.

Travel grant - ARSC CONFERENCE

--- ARSC CONFERENCE TRAVEL GRANTS ---



Application Deadline: December 9, 2011



The Association for Recorded Sound Collections is now accepting applications for ARSC Conference Travel Grants to be awarded in 2012.



The grants are designed to:

-- encourage ARSC members to attend their first ARSC conference

-- reach out to college students and professionals in the early stages of their careers

-- promote mentoring and professional development opportunities

-- advance scholarly research and publication, and

-- support ARSC members who desire to participate more actively in the association.



Grant recipients are awarded:

-- complimentary registration for the entire ARSC Annual Conference

-- gratis registration for the Pre-Conference Workshop, and

-- reimbursement up to US$750 to defray the expenses of transportation and lodging (upon approval of valid receipts, to be submitted after the conference). Rental car costs for transportation within the conference city are not reimbursable.



At the time of application, the applicant must be a member of ARSC in good standing, planning to attend his or her first ARSC conference. The applicant must also be one of the following:

-- a college or university student aspiring to work with sound recordings

-- a recent graduate seeking a professional position involving sound recordings

-- a professional within the first five years of his or her career, who has demonstrated a dedication to sound recordings

-- a researcher or discographer showing compelling prospects for the publication or dissemination of his or her scholarly work.



Applicants who demonstrate an interest in serving on an ARSC committee, publishing their work in the ARSC Journal, or presenting at an ARSC conference will be given particular consideration. Preference will be given to applicants who plan to attend the entire conference, beginning with the pre-conference workshop.



Each applicant must submit:

-- a letter of application describing the applicant's background and current activities, clearly indicating why the applicant merits consideration for an ARSC Conference Travel Grant

-- a proposed budget for travel costs

-- itemization of any non-ARSC funds that the applicant may receive toward ARSC conference attendance, such as institutional support, etc.

-- a brief resume or curriculum vitae, and

-- two letters of support, each submitted directly by the writer.



Applications lacking any of the above items will be deemed incomplete, and may not be viewed favorably by the Travel Grants Committee.



All applications and supporting materials must be received by December 9, 2011. Send them by e-mail or postal mail to:



Louise Spear, ARSC Conference Travel Grants Committee

American Musical and Dramatic Academy

6305 Yucca Street

Los Angeles, CA 90028

LSpear@amda.edu



For more information, visit:

http://www.arsc-audio.org/grants-committee.html

or e-mail:

LSpear@amda.edu



Applicants will be notified about the award decisions by January 17, 2012.



The Association for Recorded Sound Collections is a nonprofit organization dedicated to the preservation and study of sound recordings -- in all genres of music and speech, in all formats, and from all periods. ARSC is unique in bringing together private individuals and institutional professionals -- everyone with a serious interest in recorded sound.

CFP - Music Reference Services Quarterly

Call For Papers: Music Reference Services Quarterly

Editors are inviting articles for the Music Reference Services Quarterly, a peer-reviewed journal published by Taylor & Francis. Submission deadline for papers to be considered for volume 14 issue 4 is July 15, 2011. Articles should fall within the scope of music librarianship in
any of the following categories:

* administration and management
* bibliographic instruction
* collection development
* digital audio delivery
* electronic resources
* facilities
* music librarianship education
* preservation of music materials
* reference services
* cataloging
* bibliographies involving printed music and audio-visual materials

Conference presentations and poster sessions that would be appropriate to expand as a journal article within the scope of Music Reference Services Quarterly are welcome. No previously published, simultaneously submitted material will be considered. For additional information and a description of the review process, Music Reference Services Quarterly contributor guidelines may be found at: http://www.informaworld.com/smpp/title~db=all~content=t792306936~tab=submit~mode=paper_submission_instructions
All papers should be emailed to Ana Dubnjakovic (ana@mailbox.sc.edu) and Michelle Hahn (mhahn@mail.smu.edu).


Ana Dubnjakovic
Head, Music Library
University of South Carolina
813 Assembly Street, Room 208
Columbia, SC 29208
Ph: 803 777 5425

CFP: Music Reference Services Quarterly

CFP: Music Reference Services Quarterly (MRSQ)

Music Reference Services Quarterly (MRSQ), a peer reviewed journal published by Taylor and Francis is seeking a new book review editor. Responsibilities include:
· maintaining awareness of current books in music
· identifying reviewers
· requesting books for review and assigning them to reviewers
· providing reviewing guidance to book reviewers
· processing and filing copyright transfer forms
· editing the book reviews
· submitting the edited reviews and copyright transfer forms to Taylor & Francis
· final book review proofreading
The book review editor reports to the co-editors of Music Reference Services Quarterly. While the applicant pool is not limited to librarians currently working in music libraries, music background is required. Some editorial experience is desirable but not required. MRSQ maintains a database of current book reviewers and the book editor has full support of the editorial board members as well as the rest of the editorial team. Interested applicants should send a short letter of interest and a copy of their CV to editors: Ana Dubnjakovic (ana@mailbox.sc.edu) and Michelle Hahn (mhahn@smu.edu). Review of applications will begin immediately and continue until the position is filled.

Thanks!

Ana Dubnjakovic
Head, Music Library
University of South Carolina