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</o:shapelayout></xml><![endif]--></head><body lang=EN-US link="#0563C1" vlink="#954F72"><div class=WordSection1><p class=MsoNormal><strong><span style='color:black;background:white;font-weight:normal'>Dear Historians of Music Theory,<o:p></o:p></span></strong></p><p class=MsoNormal><strong><span style='color:black;background:white;font-weight:normal'><o:p> </o:p></span></strong></p><p class=MsoNormal><strong><span style='color:black;background:white;font-weight:normal'>In case it doesn’t catch your eye on other e-mail lists (and with apologies for cross-posting), here is our Call for Papers for AMS 2021:<o:p></o:p></span></strong></p><p class=MsoNormal><strong><span style='color:black;background:white;font-weight:normal'><o:p> </o:p></span></strong></p><p class=MsoNormal><strong><span style='color:black;background:white;font-weight:normal'>AMS History of Music Theory Study Group Special Session at the AMS 2021 Meeting<o:p></o:p></span></strong></p><p class=MsoNormal><span style='color:black;background:white'>Deadline: May 15th</span><span style='color:black'><br><span style='background:white'>November 4-7, 2021, Chicago<o:p></o:p></span></span></p><p class=MsoNormal><span style='color:black;background:white'><o:p> </o:p></span></p><p class=MsoNormal><span style='color:black;background:white'>Spanning centuries-old histories in Western and non-Western traditions alike, mode continues to be an important locus for the interrogation of musical thought. This special session will contribute to the ongoing conversation on the conceptual and epistemological frameworks of mode in music theory by placing it in a broader historical context and by approaching it from a global perspective.<o:p></o:p></span></p><p class=MsoNormal><span style='color:black;background:white'><o:p> </o:p></span></p><p class=MsoNormal><span style='color:black;background:white'>We invite proposals for short papers (ca. 15 mins) that engage with the idea of mode from a wide range of perspectives, including but not limited to:<o:p></o:p></span></p><ol style='margin-top:0in' start=1 type=1><li class=MsoNormal style='color:black;mso-list:l0 level1 lfo1'><span style='background:white'>To what extent are the many definitions and conceptualizations of “mode” across musical cultures comparable with one another? Is a global understanding of mode possible that avoids the pitfalls of both fragmentation and reductionism?<o:p></o:p></span></li><li class=MsoNormal style='color:black;mso-list:l0 level1 lfo1'><span style='background:white'>How do emic and etic perspectives apply to mode, viewed globally, forty years after Harold Powers’s “Tonal Types and Modal Categories”?<o:p></o:p></span></li><li class=MsoNormal style='color:black;mso-list:l0 level1 lfo1'><span style='background:white'>To what degree are the “emic” aspects of mode, which made the concept unreliable as a music-analytic category to Powers, the same ones that might ground post-colonial (i.e., pluralistic and culturally inflected) approaches to music history and musical analysis?<o:p></o:p></span></li><li class=MsoNormal style='color:black;mso-list:l0 level1 lfo1'><span style='background:white'>As “tonality” appears increasingly compromised as a music-theoretical category, might mode be revisited as a viable historical and ideological framework for the study of Western music? If not mode, then what?<o:p></o:p></span></li><li class=MsoNormal style='color:black;mso-list:l0 level1 lfo1'><span style='background:white'>Mode in non-classical repertories (e.g., jazz, pop music): conceptual lingua franca or cultural imposition?<o:p></o:p></span></li><li class=MsoNormal style='color:black;mso-list:l0 level1 lfo1'><span style='background:white'>Mode as a marker of the exotic, the archaic, the uncorrupted, the racialized Other.<o:p></o:p></span></li></ol><p class=MsoNormal><span style='color:black;background:white'><o:p> </o:p></span></p><p class=MsoNormal><span style='color:black;background:white'>Proposals of no more than 200 words should be sent to historyofmusictheory -at- gmail.com by May 15th. <o:p></o:p></span></p><p class=MsoNormal><span style='color:black;background:white'><o:p> </o:p></span></p><p class=MsoNormal><span style='color:black;background:white'>Best regards, <o:p></o:p></span></p><p class=MsoNormal><span style='color:black;background:white'>Caleb Mutch, Stefano Mengozzi, Emily Zazulia <o:p></o:p></span></p><p class=MsoNormal><span style='color:black;background:white'>AMS History of Music Theory Study Group Co-chairs<o:p></o:p></span></p></div></body></html>