Extreme Music: Hearing and Nothingness

December 1-2, 2016, University of Southern Denmark

Call for papers

Please Note! Due to summer vacations around the world, we are giving a vacation-based extension for abstract submission until August 28, 2016.

Call for papers and practical information (hotel, dining, etc.) as a PDF  

The research group The Performances of Everyday Living at SDU Odense is pleased to invite paper submissions for presentation at EXTREME MUSIC – HEARING AND NOTHINGNESS. The research presented should suggest, explore and examine the respects in which music may be transgressive, provocative or alien; are there respects in which some music challenges us to the point that it may even prompt questioning as to the very nature of music? We would like to emphasize that we heartily welcome research presentations dealing with the notion of extreme music in relation to any musical genre to which it may be applicable.This conference is a cross-disciplinary endeavor. We welcome presentations from the perspectives of philosophy, musicology, marketing, media studies, medicine, acoustics, theology, literary studies, music pedagogy, semiotics, sociology, linguistics, religious studies, anthropology, psychology, biology, education studies, music therapy, performance studies and culture studies.

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IASPM Journal 7/2 (2017) Pop Life – The Popular Music Biopic

http://www.iaspmjournal.net/index.php/IASPM_Journal/article/view/797/864

Popular music biopics are becoming ubiquitous. Marshall and Kongsgaard (2012) list 28 for the years 1980-2010 and recent years have seen films on NWA, Jimi Hendrix, James Brown, Brian Wilson, Bessie Smith and Whitney Houston. Increasingly common also are films about managers, record company owners and fans, who are not even musical performers. Is the biopic trend-driven by an ageing audience for popular music? Does it represent another attempt by the music industry to cash in on its back catalogue, or is it part of a canonisation process by which yesterday’s popular culture becomes today’s “art”? Is the lack of critical attention paid to the biopic because it falls between film and music, history and fiction, product and art?

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The Art of Punk

University Of Northampton
Friday 25th November 2016

Third Annual PSN Conference and Postgraduate Symposium

With all of the records, books, films, gigs and other material punk stuff out there, we sometimes forget that our movement is a leap of faith. A belief that life matters, so don’t fuck it up, and if someone else is fucking it up, do something about it.

Mark Bayard, ‘Introduction’, in Craig O’Hara. The Philosophy of Punk: More than Noise! (2013)

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Media and Creative Industries Symposium

Technology and Transformations in the Creative Industries
Oct. 19th 2016

Do we need new maps?

The Department of Media and Creative Industries at Bucks New University, in association with Fisheye Film Festival and UK Music, invite proposals for papers, panels, performances and other interventions that might address some of the topics in the brief below.

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Perspectives on Music Production – Producing Music

Call for chapters

Deadline for proposals: 3rd October 2016

During the last two decades the field of music production has attracted considerable interest from the academic community, more recently becoming established as an important and flourishing research discipline in its own right. In addition, the academic study of music production within educational institutions has become the norm alongside training in the technical aspects of the practice. Our intention for the proposed second volume of the Routledge Perspectives on Music Production series is both to strengthen and broaden the range of the discipline as it currently stands. In particular we will welcome proposals for chapters in the following areas: Read the rest of this entry »

IASPM@Journal: Practice-Led and Practice-Based Popular Music Studies

Popular music studies is routinely presented in the form of visual media, as writing and notation, despite music being fundamentally aural and oral. Art music, by contrast, presents new musical creations as research, using sound to explore new research ideas. However, few opportunities arise for popular music scholars similarly to present recordings as research. This special issue invites researchers, composers, performers and producers to present research in the form of audio recordings. It may be that the research output in this case is the sound artifact submitted (practice-based research), or that the research is focused in the main on the recording (practice-led research). Submissions are therefore expected to be in the form of oral/aural culture as well as related to oral/aural cultures.

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Popular Music and Society: Special Issue on Beyoncé

Guest-edited by Marquita Smith, Kristin McGee, and Christina Baade 

Submissions are invited for a special issue of Popular Music and Society on the musical and cultural impact of Beyoncé.

The 2016 launch of Lemonade and the Formation World Tour–along with Beyoncé’s numerous other mass-mediated performances, musical releases, and actions–inspire not only informal evaluations of her music and public persona, but also scholarly, in-depth investigations of the values, aesthetics, and cultural significance of her work.  Moreover, Beyoncé has played a profound role in intervening in and catalyzing debates about feminism, social justice movements, Black culture, and sexuality within the public sphere.  Because of the extreme versatility and dynamic range of her artistic oeuvre and the ideologies reflected by her public engagements and social initiatives, we seek to compile an issue that correspondingly highlights this complexity.  Articles may therefore introduce a range of topics and perspectives.  These may include innovative creation of visual albums; the incorporation of images of Black culture and Black history into Beyoncé’s creative work; her adroit exploitation of social and commercial media to promote her public and artistic persona; and her nonmusical but socially engaged activities in connection with various causes, especially connected to Black/Southern communities of the United States.  We also seek to investigate the diverse meanings and pleasures that Beyoncé’s work holds for her fans, who represent a range of cultural backgrounds; racial, sexual, and gender identities; and generations.  We seek to better understand Beyoncé’s role as a multifaceted cultural symbol from her status as a local, teenaged breakout star from Houston, Texas; to a national Black cultural icon; to a consummate music industry performer, singer, producer, and dancer; and to a global celebrity and pop star.  Therefore, we invite articles that explore Beyoncé’s significance to these fan communities in relation to her diverse body of work and modes of identification.

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The Punk Scene in France (1976–2016): 40 Years of History

International and interdisciplinary conference
Philharmonie de Paris, 25 and 26 November 2016

Organized by CESR (U. François Rabelais/CNRS/ MCC) and THALIM (CNRS/ENS/U. Paris 3). In association with the Punk Scholars Network.

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New Zealand Musicological Society Annual Conference

19-20 November 2016
University of Waikato Conservatorium of Music
Hamilton, New Zealand

Contemporary and Future Paths in Music Performance, Composition and Analysis

In implicit dialogue with the ‘search for tradition’ of New Zealand Musicological Society’s annual conference in 2015, this year we invite participants to consider musical and cultural paths of the present and future, in both New Zealand and international contexts. While there remains interest in considering how the past may be used to shape the future, we particularly welcome submissions that address, directly and indirectly, the following themes:

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Music and the Middlebrow

Deadline for submission: 1 December 2016
Conference dates: 22 – 24 June 2017
Conference website: http://www.musicandthemiddlebrow.org
Conference venue: University of Notre Dame, London Global Gateway, 1 Suffolk Street, London, SW1Y 4HG
Keynotes: Joan S. Rubin and Richard Taruskin

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