<div dir="ltr"><p dir="ltr" style="line-height:1.38;margin-top:0pt;margin-bottom:0pt"><span style="font-size:11pt;font-family:Arial,sans-serif;color:rgb(0,0,0);background-color:transparent;font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;vertical-align:baseline">“Accessibility and the History of Theory”</span></p><br><p dir="ltr" style="line-height:1.38;margin-top:0pt;margin-bottom:0pt"><span style="font-size:11pt;font-family:Arial,sans-serif;color:rgb(0,0,0);background-color:transparent;font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;vertical-align:baseline">This meeting will focus on relationships between the history of music theory and urgent questions of accessibility. What have music theories made (in)accessible, and to whom? What do the field's concepts, objects, and practices reveal about ability and disability? And in what ways or contexts might histories of music theory serve as occasions for the historicization or even critique of current discourses around accessibility? Discussion will be prompted by short presentations and anchored in pre-circulated materials.</span></p><br><p dir="ltr" style="line-height:1.38;margin-top:0pt;margin-bottom:0pt"><span style="font-size:11pt;font-family:Arial,sans-serif;color:rgb(0,0,0);background-color:transparent;font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;vertical-align:baseline">___</span></p><br><p dir="ltr" style="line-height:1.38;margin-top:0pt;margin-bottom:0pt"><span style="font-size:11pt;font-family:Arial,sans-serif;color:rgb(0,0,0);background-color:transparent;font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;vertical-align:baseline">CFP</span></p><br><p dir="ltr" style="line-height:1.2;margin-top:0pt;margin-bottom:0pt"><span style="font-size:11pt;font-family:Arial,sans-serif;color:rgb(0,0,0);font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;vertical-align:baseline">AMS History of Theory Study Group Business Meeting Call for Presenters</span></p><br><p dir="ltr" style="line-height:1.2;margin-top:0pt;margin-bottom:0pt"><span style="font-size:11pt;font-family:Arial,sans-serif;color:rgb(0,0,0);font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;vertical-align:baseline">While scholarly efforts make musicology and music theory more inclusive discipline with respect to disability (e.g., Straus 2011, Howe et al 2016, Holmes 2017, 2023), wide-ranging and pertinent work in disability studies (e.g., Dolmage 2017), and performances engaging issues of accessibility and disability (e.g., the June 2024 performance of Bach’s St. John Passion by the Sing & Sign sign language choir, soloists, deaf performers, the collegium thomanum and the "Weimar Baroque" orchestra under the baton of Diogo Mendes), accessibility remains an issue in musical thought and practice, e.g., in-person only conferences, exclusionary publishing practices, outdated pedagogies. </span></p><br><p dir="ltr" style="line-height:1.2;margin-top:0pt;margin-bottom:0pt"><span style="font-size:11pt;font-family:Arial,sans-serif;color:rgb(0,0,0);font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;vertical-align:baseline">With such issues in mind, the AMS History of Music Theory Study Group invites proposals for 5–10 minute lightning talks that address relationships between histories of music theory and accessibility.</span></p><br><p dir="ltr" style="line-height:1.2;margin-top:0pt;margin-bottom:0pt"><span style="font-size:11pt;font-family:Arial,sans-serif;color:rgb(0,0,0);font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;vertical-align:baseline">Possible questions to consider include, but are not limited to the following:</span></p><br><ul style="margin-top:0px;margin-bottom:0px"><li dir="ltr" style="margin-left:15px;list-style-type:disc;font-size:11pt;font-family:Arial,sans-serif;color:rgb(0,0,0);background-color:transparent;font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;vertical-align:baseline"><p dir="ltr" role="presentation" style="line-height:1.2;margin-top:0pt;margin-bottom:0pt"><span style="font-size:11pt;font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;vertical-align:baseline">What have music theories made (in)accessible, and to whom? </span></p></li><li dir="ltr" style="margin-left:15px;list-style-type:disc;font-size:11pt;font-family:Arial,sans-serif;color:rgb(0,0,0);background-color:transparent;font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;vertical-align:baseline"><p dir="ltr" role="presentation" style="line-height:1.2;margin-top:0pt;margin-bottom:0pt"><span style="font-size:11pt;font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;vertical-align:baseline">What do the field's concepts, objects, and practices reveal about ability and disability? </span></p></li><li dir="ltr" style="margin-left:15px;list-style-type:disc;font-size:11pt;font-family:Arial,sans-serif;color:rgb(0,0,0);background-color:transparent;font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;vertical-align:baseline"><p dir="ltr" role="presentation" style="line-height:1.2;margin-top:0pt;margin-bottom:0pt"><span style="font-size:11pt;font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;vertical-align:baseline">In what ways or contexts might histories of music theory serve as occasions for the historicization or even critique of current discourses around accessibility? </span></p></li><li dir="ltr" style="margin-left:15px;list-style-type:disc;font-size:11pt;font-family:Arial,sans-serif;background-color:transparent;font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;vertical-align:baseline"><p dir="ltr" role="presentation" style="line-height:1.2;margin-top:0pt;margin-bottom:0pt"><span style="font-size:11pt;color:rgb(0,0,0);font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;vertical-align:baseline">How might the turn toward “global” histories of theory intersect with imperatives for accessibility?</span></p></li></ul><ul style="margin-top:0px;margin-bottom:0px"><li dir="ltr" style="margin-left:15px;list-style-type:disc;font-size:11pt;font-family:Arial,sans-serif;color:rgb(0,0,0);background-color:transparent;font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;vertical-align:baseline"><p dir="ltr" role="presentation" style="line-height:1.2;margin-top:0pt;margin-bottom:0pt"><span style="font-size:11pt;font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;vertical-align:baseline">How have technologies, broadly construed, made music accessible (or inaccessible)?</span></p></li><li dir="ltr" style="margin-left:15px;list-style-type:disc;font-size:11pt;font-family:Arial,sans-serif;color:rgb(0,0,0);background-color:transparent;font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;vertical-align:baseline"><p dir="ltr" role="presentation" style="line-height:1.2;margin-top:0pt;margin-bottom:0pt"><span style="font-size:11pt;font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;vertical-align:baseline">How have bodies and/or their parts (e. g. Guidonian Hand, Eurythmics, sign language) made music and musical thought more accessible (or inaccessible)?</span></p></li></ul><br><p dir="ltr" style="line-height:1.2;margin-top:0pt;margin-bottom:0pt"><span style="font-size:11pt;font-family:Arial,sans-serif;font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;vertical-align:baseline">We envision the panel of 3–5 talks, followed by general discussion.</span></p><br><p dir="ltr" style="line-height:1.2;margin-top:0pt;margin-bottom:0pt"><span style="font-size:11pt;font-family:Arial,sans-serif;font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;vertical-align:baseline">Please email abstracts of no more than 150 words, together with a brief bio (ca 100 words)  to </span><span style="font-size:11pt;font-family:Arial,sans-serif;color:rgb(17,85,204);font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;vertical-align:baseline"><a href="mailto:historyofmusictheory@gmail.com" target="_blank">historyofmusictheory@gmail.com</a></span><span style="font-size:11pt;font-family:Arial,sans-serif;font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;vertical-align:baseline">. The deadline for submission is <b>August 20, 2024</b>. We will inform potential speakers of the decision by <b>September 30</b>. </span></p><br><p dir="ltr" style="line-height:1.2;margin-top:0pt;margin-bottom:0pt"><span style="font-size:11pt;font-family:Arial,sans-serif;font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;vertical-align:baseline">Per the current rules set by AMS leadership, accepted speakers will be expected to participate <u>in person</u> at the 2024 AMS Annual Meeting in Chicago, Illinois (November 14–17, 2024).</span></p></div>