Posted: February 24th, 2014 | Filed under: Calls for Papers, IASPM Conferences | Comments Off on Into the Mix: People, Places, Processes
5-7 December 2014
St David Theatre Complex, corner of St David and Cumberland Streets, University of Otago, Dunedin, New Zealand
Organizing Committee: Jen Cattermole, Henry Johnson and Oli Wilson
The theme of this year’s conference is “Into the Mix”. The “mix” is both literal (referring to various stages in the production of popular music, as well as important creative processes such as sampling, remixing and DJing) and an analogy for all types of musical hybridities and encounters, the fluid nature of musical meanings and musical experiences, and the fluidity or movement of ideas, sounds and peoples. The notion of the “mix” is defined broadly; it might involve popular music production processes, a creative setting, or another space where people, places and processes are foregrounded as part of an interpretive cultural analysis. Contributions might be case-study analyses underpinned by historical, ethnographic or critical enquiry, or focused entirely on theoretical orientations addressing music production, as well as hybridity and related topics.
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Posted: February 13th, 2014 | Filed under: Calls for Papers | Comments Off on Looking Popular: Representations of the Popular in Music Visual Culture
Intercongressional symposium to be held at The Royal Library and Rhythmic Music Conservatory, Copenhagen, 20-23 August 2014.
The Conference will present recent research on topics related to the manner in which “the popular” in its manifold expressions might be represented in visual culture related to music, theatre and dance. Topics may include, but are not restricted to:
- visual culture and media theory related to music, theatre and dance.
- organology of the instruments in use or of influence in popular music.
- popular music, theatre and dance culture as visually presented.
- topics relating to the popularisation of so-called art music as represented in visual culture.
- rock, jazz and pop music and related art forms in visual culture.
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Posted: February 11th, 2014 | Filed under: Calls for Papers | Comments Off on The Live Concert Experience
Special Issue of Rock Music Studies, Fall 2015
Rock Music Studies is a new popular music journal to be launched by Taylor & Francis in 2014, under the co-editorship of Gary Burns and Thomas Kitts. Contributions are invited to a special issue of the journal, to be published in Volume 2.3, 2015, on “The Live Concert Experience.” The special issue will be co-edited by Nick Baxter-Moore and Tom Kitts.
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Posted: February 10th, 2014 | Filed under: Calls for Papers | Comments Off on On Collecting: Music, Materiality and Ownership
11-12 July 2014, National Museum of Scotland, Edinburgh
A collaborative conference between the Reid School of Music at the University of Edinburgh and the National Museum of Scotland.
Featuring two roundtables with invited speakers: Collecting, Listening, and Thingness – Kyle Devine (City University), Marion Leonard (University of Liverpool), Frederick Moehn (King’s College London), Jenny Nex (University of Edinburgh), and Laura Tunbridge (University of Manchester); Collectors in Conversation – Gary and Gillian Atkinson (owners of Document Records), Alasdair Roberts (Drag City), and one more contributor (TBC).
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Posted: February 5th, 2014 | Filed under: Calls for Papers | Comments Off on A Riot of Our Own: A Symposium on The Clash
University of Ulster, Belfast Campus, Northern Ireland
June 20-21, 2014
The preliminary conference programme has been released and registration is now open. For full details please visit www.ariotofourown.wordpress.com.
Keynote speakers include:
- Caroline Coon (artist, writer, manager of The Clash from 1978 to 1980. http://www.carolinecoon.com);
- Professor David Hesmondhalgh (University of Leeds);
- Chris Salewicz (author of Redemption Song: The Definitive Biography of Joe Strummer);
- Dr Jason Toynbee (Open University).
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Posted: February 4th, 2014 | Filed under: Calls for Papers | Comments Off on Routledge book series for transnational jazz studies
We are delighted to announce the creation of a new monograph series with Routledge entitled ‘Transnational Studies in Jazz’. The series will present interdisciplinary and international perspectives on the relationship between jazz and its social, political, and cultural contexts, as well as providing authors with a platform for rethinking the methodologies and concepts used to analyse jazz’s musical meaning.
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Posted: February 3rd, 2014 | Filed under: Calls for Papers | Comments Off on Special Issue on Popular Music Education
Popular music education is a subject that is at present under-explored, despite increasing numbers of popular music courses and other educational provision. More research is needed to map out the area and engage critically with the many new challenges it is presenting. IASPM Journal, the journal of the International Association for the Study of Popular Music, wishes to encourage further research and debate in this area, with a special issue on popular music education, for publication in 2015.
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Posted: January 31st, 2014 | Filed under: Calls for Papers | Comments Off on Record Production in the Internet Age
December 4-6, 2014, University of Oslo
Our conference panel is pleased to invite proposals for papers dealing with the following broad thematic areas:
A. Recording aesthetics
The short yet intensive history of record production has revealed an indisputable relationship between recording technology and the finished sound recording. Magnetic tape became a harbinger of a technological revolution in the 1950s, while digital technology made its mark on the sound of the 1980s and, in more recent years, digital audio workstation (DAW), which has had a profound effect on the musical output.
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Posted: January 31st, 2014 | Filed under: Calls for Papers | Comments Off on Weekend Societies: Electronic Dance Music Festivals and Event-Cultures
A volume edited by Graham St John (forthcoming, 2015)
Electronic Dance Music (EDM) festivals have flourished worldwide over the last 25 years. From massive raves sprouting around the London orbital at the turn of the 1990s to events operated under the control of corporate empires, EDM festivals have developed into cross-genre, multi-city, transnational mega-events. From free party teknivals proliferating across Europe since the mid-1990s to colossal attractions like Belgium’s Tomorrowland, and from neotribal gatherings like Southern California’s Lightning in a Bottle and other “transformational” festivals, to such digital arts and new media showcases as Montreal’s MUTEK and Berlin’s Club Transmediale, EDM festivals are platforms for a variety of arts, lifestyles, industries and policies. Unlicensed paroxysms, sanctioned extravaganzas, aesthetic frontiers, activist mobilisations, colonies of cosmopolitanism, they occasion manifold cultural practices, performed by multitudes to a cornucopia of ends.
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Posted: January 29th, 2014 | Filed under: Calls for Papers | Comments Off on Musical Materialities in the Digital Age
27-28 June 2014, University of Sussex
Keynote Speakers
Will Straw (Professor, Department of Art History and Communications Studies, McGill University; Director, McGill Institute for the Study of Canada)
Noel Lobley (Ethnomusicologist and Research Associate, Pitt Rivers Museum, University of Oxford)
Conference outline
Music, while summoning notions of intangibility, transience and loss, is also associated with material objects that serve to ground the musical, make the transient permanent and defer loss. Unearthing music’s association with materiality reveals a fascinating array of artefacts, including instruments, scores, transcribing devices, sound recordings and much more. Such artefacts provide vital reference points for historical research as well as inviting new creative uses, rediscoveries and (re)mediations. They also add to the ever-growing archives of past objects, whether stored in ‘physical’ or digital forms. Music’s material traces serve as vital ways of mediating memory, whether in private collections or public exhibitions. Furthermore, the use of musical ‘ephemera’ such as record sleeves, programmes, flyers and posters as a primary means for putting the popular musical past on display in museums and galleries has highlighted the ways in which such objects are not so ephemeral after all.
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