University of Antwerp, Belgium, 14 – 16 May 2020
RE-peat, please!
According to the online Cambridge Dictionary, the prefix ‘re-’ stands for “do again” or “returning something to its original state”.
These two letters can be used in various combinations, many of which relate to core issues of pop, rock, jazz, hip-hop, dance, and many other genres.
AAG Meetings │ Denver, USA │ April 6-10
Organizers: Patrick Adler (University of Toronto); Richard Florida (University of Toronto); Michael Seman (Colorado State); Jesse Elliott (The Music District) ; Bryce Merrill (The Bohemian Foundation)
Music production predates market exchange and is still at the modern economy’s leading edge. The music industry boasts low barriers to entry, short product cycles, high levels of amateur production and collaboration, and a culture of experimentation. It is sensitive to technological change and has been wholly remade by the printing press, the radio transmitter, amplification, television, digitization. In addition to changing how music is produced, technological change continues to alter how music is distributed and organized. Local music production systems are regularly remade as music continues to evolve.
Conference at NYU Steinhardt: Friday May 29th – Sunday May 31st, 2020.
The annual Music and the Moving Image Conference encourages submissions from scholars and practitioners that explore the relationship between the entire universe of moving images (film, television, video games, iPhone, computer, and live performances) and that of music and sound through paper presentations. We encourage submissions from multidisciplinary teams that have been pooling their knowledge to solve problems or come up with a new perspective regarding music and moving images.
23-25 July, 2020
Organised by Inter-Asia Popular Music Studies Group (IAPMS Group)
Hosted by Sunway University, Kuala Lumpur, Malaysia
Theme: Asia’s Sonic (under)Currents and Currencies
The recent international popularity of Korean pop groups BTS and Blackpink placed Asia from passive recipients to active participants of otherwise US and UK dominated global pop music. However, the extent in which they represent and personify the rich undercurrent of popular music circulation in Asia remains debatable in Asia’s culturally diverse landscapes. While the digital platform and social media as well as travel have intensified the flows of popular music participation, it is probably premature to idealistically suggest the levelling of more enduring historical and cultural boundaries and borders. The post•global or post•digital condition needs discussion.
Friday 24th January 2020
125 Conference Suite, City, University of London, London EC1V 0HB
Convened by the Royal Musical Association and MusicHE (formerly NAMHE) in partnership with the International Association for the Study of Popular Music (UK and Ireland), the Society for Music Analysis and the Society for Education, Music and Psychology Research (SEMPRE)
In her study of diversity and racism in institutional life, cultural theorist Sara Ahmed writes about the ‘politics of stranger making; how some … become understood as the rightful occupants of certain spaces … whilst others are treated as “space invaders”, as invading the space reserved for others’. How do we create Music Departments that don’t feel like spaces ‘reserved for others’? What should Music Departments of the 21st century look like, both in their personnel and their curricula? In terms of gender, we have come a long way in recent decades, but much remains to be done when it comes to other dimensions of difference and exclusion. What does the current state of Music HE reveals about the workings of power and privilege, about who and what becomes centred and peripherised, and why. What are the barriers to diversity?
Music and Political Democratisation in the Late Twentieth Century
18-19 June 2020
University of Huddersfield
https://musicdemocracystudydays.wordpress.com/cfp-study-days-2020
Convened by Igor Contreras Zubillaga (British Academy Postdoctoral Fellow, University of Huddersfield) and Robert Adlington (University of Huddersfield)
Keynote speaker: Marina Frolova-Walker (University of Cambridge)
This event aims to innovatively question how musical practices formed ways of imagining democracy in the democratic transitions that took place after Portugal’s ‘Carnation Revolution’ in 1974 – what Huntington (1991) called the ‘third wave’ of democratisation, which involves more than 60 countries throughout Europe, Latin America, Asia, and Africa. Rather than studying music’s diverse deployments within these political contexts (music ‘in’ transitions to democracy), these study days place the emphasis upon ways in which music embodies democratisation processes and participates in the wider social struggle to define freedom and equality for the post-authoritarian era (hence the ‘and’ in the title of the event).
Interdisciplinary symposium June 25th-27th 2020
Location: University of Music Franz Liszt Weimar, Institute of Musicology WeimarJena / Bauhaus University Weimar, Department of Media Management
Organizer: Prof. Dr. Steffen Höhne, Dr. Wolf-Georg Zaddach (Institute for Musicology Weimar-Jena – Cultural Management, HfM Weimar) Prof. Dr. Jutta Emes, Prof. Dr. Christopher Buschow, Prof. Dr. Matthias Maier (Department of Media Management, Bauhaus University Weimar)
Editors: Daniel Hernandez and Kirsten Zemke
IASPM Journal is the peer-reviewed open-access e-journal of the International Association for the Study of Popular Music, IASPM. As part of an international network, the journal aims to publish research and analysis in the field of popular music studies at both global and local levels.
IASPM Benelux International Conference at the University of Antwerp, Belgium
14 – 16 May 2020
According to the online Cambridge Dictionary, the prefix ‘re-’ stands for “do again” or “returning something to its original state”.
These two letters can be used in various combinations, many of which relate to core issues of pop, rock, jazz, hip-hop, dance, and many other genres.
Consider the centrality of the record, a technological tool that allows reproduction, recreation, and ultimately re-evaluation.
In the spirit of the Perspectives On Music Production series, ‘Distortion in Music Production: How Distortion, Colouration and Saturation Shape the Production Process’, follows on from Mixing Music (2017), Producing Music (2019), Mastering Music (2020) and several monographs in the field.