Special Issue of Rock Music Studies: The Beach Boys

Guest-edited by Erica K. Argyropoulos, Northeastern State University

“…The Beach Boys weren’t just a fun 1960s surf band…Once you’ve absorbed [Pet Sounds], you find yourself going back through songs like “Don’t Worry Baby,” “The Warmth of the Sun,” and “I Get Around,” finding a deeper brilliance where you once only heard pop craftsmanship.” – Mark Richardson, Executive Editor, Pitchfork

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“Groove the City” – Urban Music Policies between Informal Networks and Institutional Governance

International symposium of the Urban Music Studies Scholars Network in collaboration with the Institute of Sociology and Cultural Organization, Leuphana University of Lüneburg, Germany
Date:     November 23, 24 and 25, 2018
Place:    Leuphana University of Lüneburg
Contact: Leuphana Institute of Sociology and Cultural Organization ISCO
[email protected]
www.urbanmusicstudies.org
www.leuphana.de/en/institutes/isco.html

With their social, material and cultural resources, cities have been and still are a precondition for the emergence and flourishing of music scenes; they are central turning points of the production, distribution and consumption of acoustic capital. The close connection between music and the city has been illustrated by genre terms such as Viennese Waltz, New Orleans Jazz, Chicago Blues and Liverpool Sound or trademarks such as London Symphony, Salzburg Festival or Hamburg State Opera. They point out to municipalities where an orchestra, a school or a group is situated, the town where particular events take place, or specific urban conditions from which specific musical genres originate. The relationship between the two, city and music, is dynamic and reciprocal. Music is a central part of urban culture; it forms communities and acts as a symbolic resource, contributing to the self-awareness of its inhabitants as being “urban” and in some cases even to the cultural identity of the city itself. And the “urban” is a central part of music; music mines and scoops urban particularities, and musical compositions are shaped by the urban settings they have been created in.

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Jazz and Everyday Aesthetics

A Special Issue of the Jazz Research Journal

Guest Editors: Nicholas Gebhardt (Birmingham City University, UK) and Roger Fagge (University of Warwick, UK)

This issue addresses questions and issues in jazz studies and everyday aesthetics through a broad lens that embraces a variety of experiences and a wide range of approaches and methodologies. Submissions on any treatment of jazz and everyday aesthetics are welcome, but papers addressing the following themes are especially encouraged:

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AES UK Mastering Section Conference 2018 (AES:MSC’18)

22 – 23 September 2018
University of Westminster, Regent St, London, UK & locations nearby

Keynotes to be confirmed shortly

Full event details can be found at the conference website:
http://www.aesmasteringsection.co.uk

Sponsors to be confirmed

Call for Papers & Engineering Briefs

The AES UK Mastering Section Conference welcomes academics, mastering engineers, producers, artists, industry professionals, technology developers and equipment manufacturers to come together and submit abstracts, engineering briefs or workshop proposals for consideration on a wide range of topics including:

• Mastering past, present & future
• Mastering technology & practice
• Innovation in audio relating to mastering & post-production
• Business matters relating to mastering & post-production

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Ageing with EDM

Special edition of Dancecult: Journal of Electronic Dance Music Culture: http://dj.dancecult.net`
Guest Editor: David Madden, Concordia University

Ageing with EDM aims to contribute to the emerging field of ageing and music studies by advancing the work of EDM theorists and/or practitioners. This scholarship is related to a growing group of researchers undertaking historical cultural studies of popular music, musical heritage, gender, memory and ageing.

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Of Sacred Crossroads: Cultural Studies and the Sacred

A special issue of Open Cultural Studies

The seventh International Association for Cultural Studies Crossroads conference held at the University of the West Indies (Jamaica) was themed “Of Sacred Crossroads”. The conference call for papers asked for a consideration of issues surrounding the dialogue between humanity and spirituality. In the face of increasing materialism and consumerism, as well as the prevailing emphasis on science and technology in contemporary society, participants contemplated the politics of the intersection between Cultural Studies and the sacred, while celebrating the intangible heritage of humankind–that found in religion, art, dance, song, oratory, healing, re-creation, performance, ritual, belief systems, ethics, globalization and communication, among others.

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Popular Music and Society: Special Issue on Woodstock University

Guest-edited by Oliver Lovesey

Popular Music and Society invites article proposals for a special issue of Popular Music and Society that examines the idea of Woodstock and related festivals (such as Altamont and the Isle of Wight) and the question of what Woodstock has taught or how it has influenced us. It will address Woodstock on its fiftieth anniversary as a significant paradigm shift in cultural, intellectual, and musicological history.

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Perspectives on Music Production: Gender in Music Production

Call for Contributions

The music production industry has, for many years, been viewed as male dominated. Despite many examples of diversification and acknowledgement of the issues (such as the Audio Engineering Society’s ‘He For She’ campaign), gender representation within music production is considered limited. The editors welcome abstracts for chapters in a forthcoming Routledge edited volume entitled Gender in Music Production. The scope for contributions are listed below.

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“Playing Along”: Music, Participation, and Everyday Life

IASPM-ANZ 2018 Conference December 3-5, 2018
Waikato Institute of Technology (Wintec)
Hamilton, Aotearoa/New Zealand

Music exists in all aspects of our lives. It provides us with company; it is a part of rituals and celebrations; it creates dialogues with visual images through films and games; indeed, other media turn to music to stimulate sensations, affects, even tastes and smells. People participate in music, they play along, they accompany, they are accompanied, and thereby they may gain skills, knowledge, pleasure, companionship and so on. Music provides the means for performing and creating identities, which could relate to gender, culture or other identifiers. And through playing along, when we respond to rhythms and sounds with gestures, we might say we are also creating the music itself.

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Music and Musicology in the Age of Post-Truth

 7-8 September 2018
University College Dublin

In recent months alternative facts, fake news and similar terms have become more and more commonplace among politicians, media and other public influencers alike in what is now often called the age of post-truth. Expertise appears to be discredited, gut feeling at least as important as facts, and facts themselves no longer valid and reliable. Often postmodernism and poststructuralism are blamed for the rise of a relativism that lies at the heart of post-truth attitudes. But is this really the case? And how should an academic subject such as musicology react to this development? Given the impact that postmodernism and post-structuralism have had on our disciplinary development, do we as academics in general and musicologists in particular have a special responsibility to engage productively with this challenge – as researchers, educators and last but not least as citizens? Are there potential music-specific reactions to the post-truther’s mindset? How can / should we adjust our teaching in this environment? And what role does music / do musicians play in the new “culture war” that we now find ourselves in? How is music utilised by either side? Are there differences in the responses from within popular, traditional and art music (and their respective musicologies)? Is our task as academics to neutrally analyse and describe developments, or rather to try and actively influence them through research, teaching and as public intellectuals – and if so, how?

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