Hip Hop Samples Jazz

IMR Seminars: ‘Directions in Musical Research’. Thursday 2 June 2011, 5-6.30pm.
Senate House, Malet Street, London
South Block, Ground Floor, room G35
(Nearest tubes: Euston Square, Russell Square, Goodge Street)
http://music.sas.ac.uk/imr-events/imr-seminars.html#c1213

Tom Perchard (Goldsmiths): ‘Hip Hop Samples Jazz: Dynamics of Cultural Memory and Musical Tradition in the African American 1990s’

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Sites of Popular Music Heritage – Symposium

Institute of Popular Music, University of Liverpool
8–9 September 2011

We invite proposals from a broad range of academic disciplines for a 2 day symposium examining sites of popular music heritage: from institutions such as museums, to geographic locations, websites and online archives. Papers are welcomed that explore popular music within narratives of heritage and identity, real and imagined geographies, cultural memory and contested histories. The event will focus on three thematic areas:

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Inaugural IASPM postgraduate conference

The inaugural IASPM postgraduate conference at the University of Liverpool invites papers on the stories we tell about popular music. We are interested particularly in illuminating how the intersection of story with study produces a contested space filled with a multitude of views. It is precisely this multitude we find fruitful for investigation.

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Tango : Creation, Identification, Circulation

Colloque international – Paris, 27-28 October 2011
Ecole des Hautes Etudes en Sciences Sociales (EHESS)

This international conference held in Paris will gather together researchers from diverse disciplinary orientations (historical, sociological, anthropological, musicological) working on the tango and its various aspects (music, dance, poetry). This interdisciplinary conference, organized by the Center for Research in Arts and Language (CRAL, EHESS-CNRS) and affiliated with the ANR GLOBALMUS research program, takes place after UNESCO’s official recognition of the tango as international Intangible Cultural Heritage.

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Renew, Reuse, Recycle: From Quotation to Remediation in Art and Popular Music

Saturday 19 March 2011
Location: CRASSH, 17 Mill Lane, Cambridge

A number of prominent scholars have recently shown a renewed interest in the extraordinary degree and variety of intertextuality and recombination characteristic of contemporary popular musics, particularly in relation to the “remediative” potential of digitally-enabled techniques such as sampling and mash-up. The interest has been both in analysing these techniques as practices, and in assessing their aesthetic potential and effects. But musical borrowings have long been a concern for scholars of hip hop, rap and jazz – in the form of versioning – and of Western art music – in the form of quotation and allusion. Although this conference focusses on late twentieth-century and contemporary popular musics as the key site of the re-emergence of a concern with these processes, consideration of this broader historical context enables us to raise new questions: What are the historical continuities in these practices of recycling musical materials? To what extent have evolving technologies – from notated score, to electronic recording, to digital music media – reshaped or extended these aesthetic practices? How do our developing theoretical frameworks and evolving understandings of different musical epochs and genres affect our conception of and reactions to musical borrowings?

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Oxford Brookes University, Music Department: MA Open Day

4 March 2011, 1.00-4.30pm
Willow Building (room 06), Headington Hill Campus, Oxford Brookes University, OX3 0BT

The MA in Music at Oxford Brookes offers four distinctive and exciting pathways:

• Music and Popular Culture
• Music on Stage and on Screen
• Contemporary Practice in Composition
• Music in 19th-Century Culture

Come to our open day to find out more about our course and about how studying for an MA in Music can enhance your career prospects. It is also an opportunity to talk to teaching staff and former students and to explore our campus and facilities.

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Shifting Ground: A Symposium on Music and Publishing

11th April 2011
Oxford Brookes University

The Oxford Brookes Popular Music Research Unit, in association with The Royal Musical Association and The Oxford International Centre for Publishing Studies, is holding a one-day symposium exploring links between music and publishing in its broadest sense on April 11th, 2011. This event is intended to bring together academics, journalists and publishers to explore this previously neglected area which offers exciting opportunities to tap into current concerns about the effects of the internet on the dissemination of music, to explore how our experience of music is shaped by publications relating to it, and to explore more broadly the important issue of the relationship between music and commerce, both in a historical context and in the present. The day will feature themed paper sessions, a keynote presentation from the Music Publishing Association, a discussion panel of journalists including Fiona Maddocks and Alyn Shipton focusing on writing about classical, jazz and popular music and will end with a round table discussion featuring Dr Dai Griffiths (Brookes), Dr Lee Marshall (Bristol) and Dr Simon Warner (Leeds) to consider future directions of research in this area.

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Norient academic online journal

With the International Association for the Study of Popular Music (IASPM) approaching its 30th birthday, norient wants to contribute to this anniversary by dedicating its first issue of the norient academic online journal to popular music ethnographies – with a twist. While IASPM has been a major force in contributing to the study of popular music using a methodologically broad approach these studies have to a large extent been focused on a North American and British/European popular music legacy.

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Audio-visuality

A conference on the experience of audio-visual art, artefacts, and media texts
May 26-28, 2011

Sound is one of the most overwhelming and omnipresent ‘interferences’ in modern life – and at the same time one of the most volatile and transient [human] experiences. Each individual can – with mobile media like the iPod – be accompanied by her own individual soundtrack, and thus ‘score’ the experience of everyday living. Sound as such normally cannot be seen but both heard and felt, which makes it fundamentally multi- or synaesthetical. Our multi-sensuous reality, appealing to all the senses, is being reduced to exactly an audio-visual culture in (and?) what could generally be considered its electronically mediated version. In relation to the massive amount of audio-visuality we can state that research and the broad field of sound discourse are still inadequate when it comes to the qualitative exploration of aesthetic reception, theoretical and epistemological questions, dimensions, and themes. We are still hesitant and insecure in our knowledge on how an audio-visual phenomenon or a work of art may influence us, how we experience it and (inter)act with it, and what kind of experience, knowledge and understanding a predominantly audio-visual and multi-sensory culture facilitates and how it ?engages us in as late modern human beings. We imagine that the relations between sound and “a good experience” can be explored through genealogies of sound and listening and through reflections on the interactions of sound, listening/hearing and other sensory experiences.

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Making Things Whole Again: The Take That Reunion

3-4 June 2011
An interdisciplinary conference examining the theme of break-up and reunion in popular music acts, focusing on Take That. Organised by the University of Salford in conjunction with the exhibition “Fan Networks in the Pre-Digital Age: Take That Fans 1990-1996”.

The long-anticipated reunion of Take That and Robbie Williams and the unprecedented sales figures for their summer tour 2011 offer an excellent opportunity for scholars from a range of academic disciplines to discuss key issues arising from this contemporary popular music phenomenon. From at least the time of the Beatles, the break-up of a favoured band has had profound implications for fans, followers, and the music industry.

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