Methodological Approaches to Music and Dance: Exploring the Field of Heavy Metal and Its Genre Boundaries

September 08 – September 09, 2022, University of Siegen

Music and dance are connected intimately and especially in popular music cultures dance plays a vital role. Even though academic attention so far has rather attended to forms such as tap dance, salsa, hip hop or various forms of electronic dance music, heavy metal is no exception in this respect: It has developed characteristic, music-related bodily practices that at times serve to designate cultural membership as, for example, the term “headbangers” indicates. At concerts, the music is accompanied by common movements like headbanging and moshing and even more unconventional forms such as conga lines or ‘folkloristic’ circle dances can be found. As this suggests, the boundaries to other music genres are not rigid but porous: Historically, for instance, moshing and stage diving entered metal culture via hardcore and (music-)stylistic crossovers can entail extensions of a genre’s dance styles. The specific forms of movement are situated within a complex, relational structure and can vary by (sub)genre, the course of a concert, the interaction among dancers, the dancers’ evaluation of the music, or the music’s aesthetic character and materiality to name but a few aspects.

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Journal of Global Pop Cultures

Real Fake / Fake Realness: (Re)appropriation, the Ironic, and Fandoms in Pop Cultures

Questions pertaining to authenticity, realness and fakeness have been a trademark of approaches to postmodern pop cultures from early on. The bourgeoining Post-Second-World-War consumer and media cultures provided ever growing reservoirs of signs and symbols, narratives and imageries, codes and gestures, materials and products to be combined, deconstructed, reassembled, recontextualized, by professionals but even more so by amateurs. After an era of admiration for the detached genius, it became obvious that nothing comes from nothing, that every cultural act is, to some extent, an act of borrowing and appropriation – or, as Belgian indierock band Dead Man Ray put it in 1998 to further complicate the issue: „We are all copies / But the originals are fake.“

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Everyday is Spatial: Creative Immersive Audio Practice

‘Every day is Spatial’ is an immersive audio conference event at The University of Gloucestershire, June 16th, 2022, designed to encourage and explore creativity in making audio and audiovisual immersive experiences.

The conference will enable practitioners to reveal the potentials, challenges and uses for how spatial audio will define the everyday audio experience.

Call for works here:  uogimmersiveaudio.com

Contact email: [email protected]

The Journal of Audiovisual Ethnomusicology (JAVEM)

The Journal of Audiovisual Ethnomusicology (JAVEM) is a newly established, bi-annual, peer-reviewed streaming journal of ethnomusicological film and video sponsored by the Society for Ethnomusicology.

JAVEM aims to advance the use of video/film as a method for exploring music and its entanglements, and as a medium for presenting those explorations.

We invite the submission to JAVEM of original audiovisual contributions.

The editors will consider expository, experimental, and/or artistic works that articulate an argument within or adjacent to the field of ethnomusicology. Accepted audiovisual works will represent current research, new theoretical perspectives, and critical audio-visual strategies that fall outside the limitations of print scholarship. The work, which can be of any length, should produce new musicological knowledge about its subject through its audiovisual form. The web format will also allow for supporting text and relevant hyperlinks to the primary work.

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Differentiating Sound Studies: Politics of Sound and Listening 

Differentiating Sound Studies: Politics of Sound and Listening

Conference dates: 15–16 April 2022
Conference website: https://mrc.hanyang.ac.kr/differentiating-sound-studies
Venue: Hanyang University, Seoul, Korea (hybrid)

Keynote Speakers:

Eric Drott (The University of Texas at Austin)
Mack Hagood (Miami University)

Following the success of “Rethinking Sound 2018,” Music Research Center at Hanyang University is pleased to announce its second international conference “Differentiating Sound Studies: Politics of Sound and Listening,” to be held on 15– 16 April 2022 in Seoul, Korea. In light of the current COVID-19 situation, the conference will be hosted in a hybrid format.

We invite proposals on any topics in the area of sound studies. We are particularly interested in themes relating to various ways in which sound makes differences in society and culture. How do class/stratum, gender/sexuality, and generational/regional differences manifest themselves via sound? What do they sound like? In relation to these questions, we also interrogate how techniques of listening are mediated by technology today, and what that relationship brings to the world.

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Twelfth Biennial International Conference on Music Since 1900

Call for Papers, Posters and Compositions
Royal Birmingham Conservatoire, 17th-20th June 2022

Deadline for proposals:
Midnight, end of Monday 20th December 2021 (UK time)

Keynote Speaker 1: Joseph N. Straus
Keynote Speaker 2: tbc

The Twelfth Biennial International Conference on Music Since 1900 will take place at Royal Birmingham Conservatoire, 17th to 20th June 2022. At this stage, the intention is that the conference will be in-person, but with provision made for those who may be unable to travel.

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The Broken Mirror: Christine and the Queens and Global Frenchness

International Conference, Winthrop-King Institute, Florida State University
20-21 October 2022

Co-organizers: Martin Munro (Florida State), Denis Provencher (University of Arizona), Barbara Lebrun (University of Manchester), Chris Tinker (Heriot-Watt University)

Contemporary French Civilization published by Liverpool University Press is pleased to co-sponsor this event. The Department of French and Italian and the College of Humanities at the University of Arizona are also proud co-sponsors of this event.

The co-organizers plan to edit a future special issue of Contemporary French Civilization on the conference theme and hence are looking for a variety of topics for this project.

Born in Nantes in 1988, Héloïse Adélaïde Letissier, known as Christine and the Queens or simply Chris is a star for our times: singer, songwriter, producer, dancer, and choreographer, she flits between roles, just as she does between identities, names, genders, genres, places, and languages. Describing her identity as a “broken mirror,” she exists in fragments, splinters, shards, broken parts that yet constitute a distinctive whole.

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The 7th Rhythm Changes Conference: Jazz Then & Now

The 7th Rhythm Changes Conference, Jazz Then & Now, will take place at the Conservatorium van Amsterdam, the Netherlands, from 25 to 28 August 2022. This conference marks the 12th anniversary of the Rhythm Changes project.

Keynotes
Lucas Dols, double bassist and founder Sounds of Change Foundation: Opening lecture
Rhythm Changes Then & Now: Plenary panel on twelve years of the project
Prof. Charles Hersch, Cleveland State University: Closing address

We invite submissions for Jazz Then & Now, a four-day multidisciplinary conference bringing together leading researchers across the arts and humanities and others interested in jazz studies. The event will feature academic papers, panels, and roundtables.

Jazz is an urgent music that responds to or addresses contemporary crises. Its history is inseparable from struggles over civil rights, racial and gender identities, cultural politics, social hierarchies, artistic significance, and new technologies. The music has defined itself through debates around inclusion and exclusion, exemplified by iconic phrases such as ‘This Is Our Music’ (Ornette Coleman) or ‘What Jazz Is – and Isn’t’ (Wynton Marsalis). The sounds of jazz have often been heard as strident, edgy, unexpected, demandingly presentist – as urgent. Or is jazz perhaps more about its ‘then’ than its ‘now’ once we move outside circles of scholars, musicians, and fans? Jazz Then & Now seeks to critically explore how this sense (or absence?) of urgency plays out in jazz and how it contributes to our most compelling contemporary debates.

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Internet Musicking: Popular Music and Online Cultures

A free academic conference sharing new research into cultural practices of music taking place online
21–22 May 2022

Department of Music, University College Cork (Ireland) & Online
https://internetmusicking.com

Over the last few years, music researchers have paid increased attention to the internet and its effects on cultural life. For example, edited collections on digital culture, virtuality, and social media have emerged alongside landmark research projects that seek to understand how the internet shapes the cultural production of music. Meanwhile, interdisciplinary inquiry has addressed internet-based cultural practices of popular music, critically examining the tension between creative platform uses and the political economy of an increasingly privatised internet.

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Challenge and Change in Popular Music

The 2022 IASPM-UK/Ireland Branch Conference
Liverpool, August 31st – September 2nd

https://www.liverpool.ac.uk/music/events/iaspm

Conference Themes

As the world continues to grapple with the COVID-19 pandemic and resulting social and economic crises, proposals are invited for papers that respond to contemporary global challenges and changes. Whether informed by the experiences of individuals, cities, nations or global communities, papers might respond to:

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