Special Edition: Metal and Hardcore in Aotearoa and the Pacific Islands

Perfect Beat: The Asia-Pacific Journal of Research into Contemporary Music and Popular Culture 

This call for proposals is for a special edition of Perfect Beat, focused on heavy metal and hardcore music, scenes, practices, and cultures in Aotearoa/New Zealand and the Pacific Islands. Metal and hardcore have a long and nuanced history in Aotearoa, where scenes have interfaced with localised aesthetics and histories, and responded to urbanisation, deindustrialisation, and globalisation in complex and multi-faceted ways. Moreover, metal and hardcore’s relationship to Māoritanga is similarly significant, despite only recently coming into greater international focus with the success of Alien Weaponry’s use of Te Reo Māori. Heavy metal and hardcore’s history in the Pacific Islands is deserving of further attention, particularly given the growth of bands such as Kūka’ilimoku in Hawai’i, the recent staging of Metal United World Wide in Papua New Guinea, and the established history of metal in the Solomon Islands.

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Music and Antifascism: Reflections on the Past and Possibilities in the Present

July 7, 2022 | McGill University, Montreal

Symposium website: https://musicandantifascism.wordpress.com

Keynote Speaker: Dr. Federico Spinetti, University of Cologne

How have artists resisted the global surge of far-right movements and authoritarian regimes through music and music-making? How has music been mobilized against fascism and fascist tendencies in societies in the 20th and 21st centuries?

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Any Sound You Can (Re) Imagine, A 25th Anniversary Special Issue 

Journal of Popular Music Education 

Any Sound You Can (Re) Imagine, A 25th Anniversary Special Issue 

Guest Editor 

Daniel Walzer: Assistant Professor of Music and Arts Technology: Indiana University-Purdue University Indianapolis (IUPUI)

Guest Contributor 

Paul Théberge: Canada Research Professor in Music and Interdisciplinary Studies, Carleton University, Canada

2022 marks the 25th anniversary of Any Sound You Can Imagine: Making Music / Consuming Technology, a ‘book about the role of recent digital technologies in the production of popular music…the industries that supply these technologies, the media that promote them, and the meanings they have for the musicians who use them’ (Théberge 1997: 5). A ground-breaking and interdisciplinary study drawing on music technology, cultural studies and popular music, Théberge’s research examined the complicated tensions among production and consumption, capitalism and consumerism, and what Henry Jenkins (2006) would later refer to as convergence culture, an interconnectedness among ‘media convergence, participatory culture, and collective intelligence’ (n.p.). Music production and consumption remain complex, as does the influence that corporations exert on virtually all aspects of the creative process. Prescient today as much as it was then, Any Sound You Can Imagine remains essential reading for scholars in popular music and technology.

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The Journal of Beatles Studies 

The Journal of Beatles Studies 
Issue One CALL FOR SUBMISSIONS

Navigating and Narrating the Beatles: A Research Agenda for the 21st Century

The prodigious interest in the Beatles and continued industry devoted to the group is exemplified by the forthcoming release of Peter Jackson’s Get Back, a revision of 1970’s Let It Be. To be screened by Disney in late 2021, the size and scope of the project is signalled by an emphasis on Jackson’s three years of labour and access to 60 hours of archive footage not seen for half a century. The perceived public appetite is measured in the results of this work which reworks Michael Lindsay-Hogg’s lean 80 minutes into six hours of documentary to be revealed over three days in a global televisual event.

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Starting Over? Popular Music and Working in Music in a Post-Pandemic World

University of Western Ontario, London, Ontario, Canada

May 22-25, 2022

IASPM-Canada and the Working in Music research network (WIM) invite abstracts for their joint 2022 conference, to be held at the University of Western Ontario, in London, Ontario, Canada.

The IASPM/WIM 2022 joint conference welcomes scholarly research from all disciplines that engages with the changing contexts of musical practice experience—music making, the circulation of music, musical pedagogy and fandom, music and social movements, and various other dimensions of musical engagement—playing, dancing, streaming, listening.

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IASPM-US 2022 Conference: Grooves and Movements

IASPM-US 2022 Conference: Grooves and Movements
May 26-May 28, 2022
Ann Arbor/Detroit Michigan

The International Association for the Study of Popular Music-United States chapter (IASPM-US) invites proposals for its annual conference, which will take place in Ann Arbor at the University of Michigan on May 26-28, 2022. We welcome abstracts for individual papers, organized panels, roundtable discussions, and alternative (non-paper) presentations on all aspects of popular music, broadly defined, from any discipline or profession. We especially encourage submissions on the many rich popular music histories of Michigan, Ann Arbor, and Detroit.

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Music Production: International Perspectives 

Innovation in Music Conference 2022
Royal College of Music, Stockholm
24 – 26 March 2022 

​Innovation in Music 2022 will be held at the Royal College of Music, Stockholm, Sweden on 24 – 26 March 2022. A Routledge conference proceedings book will be published after the event.

Please note that the physical conference will be held in Stockholm as planned. However, there may be participants who are prevented from traveling to Stockholm due to the ongoing pandemic. We will therefore offer the opportunity to present papers digitally. Participants who already know that they prefer to participate digitally are kindly asked to indicate this when submitting their abstracts (to the same deadline).

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The Artistry and Business of Queen

The Artistry and Business of Queen  

Following a successful online conference about Queen, which took place in May 2021, bringing together academic papers, interviews with industry insiders, familiar with Queen’s career and the band’s most dedicated fans, we aim at publishing an edited collection, devoted to Queen’s career, artistry, representation in different media and fandom. In particular, we seek proposals for book chapters, covering but not exclusively such themes as:

• Music and lyrics of Queen’s songs
• Technology, studio craft, instruments, and instrumentation
• Live performance
• Album covers/ Artwork
• Queen’s relationship with video, cinema and theatre
• Queen’s solo activities
• Queen post Mercury
• Queen’s reception in the UK and abroad

Abstracts (in word, not pdf) of no more than 300 words with a short bio should be e-mailed by 31 October 2021 to Tony Rigg [email protected] and Ewa Mazierska [email protected].

Full chapters by 31 March 2022.

Please feel free to view the conference with can be found here:

Part 1 https://youtu.be/CC-bMBz20kE
Part 2 https://youtu.be/BvdG-tNEYy4

Light My Way: Achtung Baby! 30 Years Later

Light My Way: Achtung Baby! 30 Years Later
A Virtual Exploration of U2 Dreaming It All Up Again
November 18-20, 2021
U2conference.com

The U2 Conference invites conversations and critical inquiry into how Achtung Baby continues to light our way, despite—or because of—its shadowy dark corners, contradictory complexities, and experimental nature, thematically and sonically, for U2. When released thirty years ago, reactions from critics and fans ranged from beloved to bewildered to betrayed, which was certainly all part of the plan when U2 felled its Joshua Tree era with its shock-and-awe reinvention, born from dreams and responsibilities to itself, its art, and its sense of rock ‘n’ roll.

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Access and participation in traditional music in the Anglo-Irish world

Date: Thursday 18th November 2021 (Online Symposium)
Submission Date: 31st August 2021

We call for papers, presentations and panels for an online symposium on access and participation in traditional music of the Anglo-Irish world. The symposium will focus on routes into traditional and folk musics, and empirical understandings of how socio-economic and other contextual factors affect the access to, and participation in traditional musics. We also seek contributions that conceptualise ideologies of ‘folk’/’traditional’ in contemporary society that consider aspects of cultural hegemony, difference and social mobility. This symposium grows out of a growing awareness that public subsidy for traditional/folk music provision in primary, secondary and most recently at the tertiary level has been disappearing for the past two decades, and particularly under austerity. Similarly, there has been a widespread and welcome discussion of gender and race, as well as a growing awareness of various inequities in traditional music and unevenness in provision and participation across different groups in Anglo-Irish societies. Diversity is critical to a flourishing tradition, and this symposium seeks to encourage conversations about the relations between social and economic diversity and how these relate to participation in traditional musics.

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