21st Century Global Punk

Following the groundbreaking publication of The Punk Reader: Transmissions from the Local to the Global (now in its second edition through Intellect Books and the Punk Scholars Network) the series editors would like to invite proposals for a second volume in the book series Global Punk, to be published in early 2020. The publication will be part of an exciting collaboration between Intellect Press and the Punk Scholars Network, a partnership that has seen the development of a Punk Scholars Network imprint.

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Sonic Futures: Performing Identity in the ‘Global’ City

(25 April at London College of Communication, Elephant and Castle, London)

The idea for this one-day conference stems from a series of workshops, Sonic Futures: Identity and Sustainability through Music and Performance, supported by London College of Communication (Teaching and Learning Fund) in collaboration with May Project Gardens (Hip Hop Garden). Adopting a mixed-method approach, this pilot project sought to engage students from LCC in a series of workshops that explored the connections between social issues (e.g. social cohesion, participatory and sustainable practices and active citizenry, to name a few), politics and identity formations at the intersections of class, ethnicity, race, gender and the environment. Primarily, this project aimed to instigate critical thinking and reflections on cultural practices and genre through performance in general and Hip Hop music and culture in particular. Gardening is connected to questions of psycho-physical wellbeing, community building and sustainability in the global city. Overall, Hip Hop Critical Pedagogies provided a productive template that helped combine all these different aspects.Considering the nature and the objectives of these activities, the students who participated in the programme decided to actively work towards an event that could reflect on the critical questions raised during the workshops.

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The Road to Independence: the Independent Record Industry in Transition

Call for Chapters
Editor : Victor Sarafian.
Publisher : Presse de l’Université Toulouse 1 Capitole

Proposal submission: 1 July 2019
Full chapters due: 1 December 2019

We are inviting proposals for a book-length essay collection on all aspects of the independent record industry… it’s past, present and future prospects. Technology has changed how music is produced, distributed and consumed. From the advent of the gramophone to the advent of napster, technology has shaped the economic and cultural aspects of the music industry.

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Rhythm in Music since 1900

17-18 November, 2019
University of Colorado Boulder

Submission deadline: 1 June 2019

   Keynote (lecture-recital): Pierre Laurent-Aimard, pianist

   Invited speakers (and projected topics):

• Kyle Adams on rhythm in hip-hop
• Brian Alegant on pedagogy of rhythm in recent repertories
• Jeanne Bamberger on action and symbolic description
• John Roeder on post-tonal canons

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Street Music conference

UEA Norwich, 14-15 May 2019

This FREE conference, organised by the AHRC Connected Communities programme, seeks to explore an important but neglected aspect of public culture and community construction: street music. It aims to draw together the new knowledge and practice generated by funded research projects across Connected Communities with work across a number of academic disciplines as well as the creative sector. Following Connected Communities established practice, the conference seeks to function as a place for dialogue between academics, independent researchers, musicians, performers, and the arts and cultural policy sectors.

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Sonic Waves: Music and Sound Beyond Borders

Date: 8 May, 2019 | Time: 10am – 5:30pm | Venue: Geoffrey Manton, Manchester Met

Evening Event: Expect Music And Sonic Sounds in one of Manchester’s underground music venues

Keynote Speaker – Dr Linda O Keeffe (Edinburgh School of Art)

We are a group of multidisciplinary researchers exploring the musical beats and sonic streets of Manchester and beyond. For this symposium we want to bring together academics, researchers, practitioners, students and community organisations interested in exploring how music, sound and the sonic can be used to transcend boundaries and move beyond borders. At a time of global uncertainties from climate change and conflict zones, to national and international political upheaval, we question if music and the sonic can narrate and negate these changes and shift our understanding of core and peripheral preoccupations. We encourage submissions along the following themes, covering popular music and sonic engagements:

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Sounds and Poetry of the Streets: Empowering Philippine Expressive Popular Cultures

EPAPC September 2019 National Conference 

Organisers: Alona Guevarra, Lara Mendoza, Jose Buenconsejo, all scholars of EPAPC

The research group, Ethnographies of Philippine Auditory Popular Cultures (EPAPC), a grantee of the Commission of Higher Education (CHED)-SALIKHA Creative Grants, announces a call for papers for a special conference on Philippine Expressive Popular Cultures entitled Sounds and Poetry of the Streets: Philippine Expressive Popular Cultures. Selected abstract proposals will be presented in September 2019 at Ateneo de Manila University. Selected papers from the conference will be published in Kritika Kultura, the international refereed journal of language, literary, and cultural studies of the Department of English, Ateneo de Manila University.

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Just P(l)ay! Music as Labour

Interdisciplinary Conference of mdw – University of Music and Performing Arts Vienna

Conference date: 7-11 August 2019
Conference venue: Hotel Marienhof, Reichenau an der Rax, Austria
Keynote speakers: to be announced

Organisers: Dagmar Abfalter, Marko Kölbl, Rosa Reitsamer, Fritz Trümpi

https://www.mdw.ac.at/isa/isascience

The history of music as labour and music labour markets in particular is characterised by manifold processes of institutionalisation, globalisation, digitalisation and collaborations. From the mid-nineteenth century onwards, these processes have steadily increased, involving a range of different actors and institutions such as the music and media industries, music conservatories or community music initiatives that are guided by distinct conventions and shared beliefs (“art worlds”) as well as by frequently conflicting (economic) interests that have also resulted in resistance and power struggles as well as divergent practices. The“production of culture” perspective has been helpful to study these processes with respect to the changing roles of professions and educational institutions, to gatekeepers and to mechanisms of inclusion and exclusion.

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Riffs Vol 3 Issue 2: Music Festivals

The fiesta was really started. It kept up day and night for seven days. The dancing kept up, the drinking kept up, the noise went on. The things that happened could only have happened during a fiesta. Everything became quite unreal finally and it seemed as though nothing could have any consequences. It seemed out of place to think of consequences during the fiesta. All during the fiesta you had the feeling, even when it was quiet, that you had to shout any remark to make it heard. It was the same feeling about any action. It was a fiesta and it went on for seven days.

 The Sun Also Rises, Ernest Hemingway.

We invite you to consider music festivals through this quote from The Sun Also Rises and in relation to notions of liminality, of repetition, the real and the unreal, festival and noise, time and perception.

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Hip-Hop Archives: The Politics and Poetics of Knowledge Production

Edited by Mark V. Campbell (Ryerson University)
Murray Forman (Northeastern University)

As editors of this book, we seek contributions that critically address hip-hop archives (both digital and physical) and the processes of archivization, encompassing theoretical and analytical perspectives and exploring globally dispersed cases. We particularly welcome contributions from individuals who are in some way actively engaged in the development or operation of hip-hop archives in any medium and at any stage or scale, whether independent collections or institutionally supported enterprises. We also value the various ways in which hip-hop culture is engaged from historical and material perspectives, allowing for examination of the archive as a historical apparatus as well as a contemporary physical assemblage of artifacts.

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