Voices Of Women: Materialities, Cultural Transfer, And Musical Authorship

VOW Erasmus+ Educational Symposium for researchers, music educators, and graduate music students
Dec. 1-2, 2022
University of Groningen

The Voices of Women project, an Erasmus+ funded joint project with the University of Groningen, The University of Stavanger, The Arctic University of Norway (Tromsø), and The University of Music Franz Liszt Weimar invites paper presentations from teachers, graduate students, and scholars interested in the theme of musical authorship in connection to women’s voices. We understand voices metaphorically, artistically, and literally to include women or women-identifying genders in a variety of roles whose creative musical ‘voices’ contribute to the authorship of a particular body of work. The two-day symposium explores this theme of authorship in relation to the sub-themes of music materialities and cultural transfer.

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MusicID Digital Research Fellowship

Call for Proposals
Deadline: August 1, 2022

MusicID is pleased to announce that we are now accepting applications for our fifth annual Digital Research Fellowship.

MusicID is an academic platform that compiles current and historical music industry data into a single, easy-to-use source. Incorporating 5,452 different charts spanning 74 countries, MusicID provides access to chart information from Billboard and the Official Charts Company dating back to the 1950s, as well as contemporary statistics on iTunes downloads, Spotify and Apple Music streams, and Shazam searches. It also includes built-in visualization tools which allow users to create and export customizable tables and graphs.

https://musicidhub.com/musicid-digital-research-fellowships

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RMA Vision, Mission, Identity

Mon, 18 July 2022, 13:00 – 17:00 BST (UTC+1) 

A half-day virtual symposium on the identity of the RMA in the context of contemporary musical culture and music studies.

Registration via Eventbrite. All welcome!

Since its founding as the “Musical Association” in 1874, both music and the ways we understand it have changed significantly. In recent years, there has been a move towards greater diversity within the organisation, both in its membership and in the areas of music study and practice that it encompasses. These changes have highlighted a need to reflect on the identity of the Royal Musical Association. Why might some people object to the remit and name of the Royal Musical Association? And why might others find it unproblematic?

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Mainstream Silence: Thinking about the Music Everyone Listens to but Nobody Really Discusses

University of Strasbourg
December 1-2 2022

Organizers: Elsa Grassy, University of Strasbourg, Isabelle Marc (USIAS-UCM)
Scientific committee: John Mullen (Rouen), Christophe Pirenne (Liège)

Whether we choose it or whether it is chosen for us, music is with us all the time, both during exceptional events in our lives and in the humdrum everyday. Researchers have delved into the use of music in daily life, in particular in connection with sound reproduction technology and with socializing habits (DeNora 2011, Kassabian, Boschi et Garcia Quiñones 2013). However, rare have been researchers, particularly in France, who have looked at majority or mainstream music genres, artists, or songs with the aim of analyzing them from an aesthetic or social point of view (Pirenne 2021). In this way, popular music studies seems to have reproduced inside the popular field the aesthetic and value-ridden hierarchy which held sway between classical and popular music.

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There’s a song to be sung:  Critical reflections on the music and influence of Johnny Clegg

Proposal submission: 30 September 2022
Full chapters due: 30 June 2023

Introduction

As a South African musician, anthropologist, ethnomusicologist and cultural activist, Johnny Clegg has had a significant impact on the South African musical landscape. His career, which began with long-time friend SiphoMchunu in the 1970s, spanned 5 decades and involved success with Juluka, Savuka and as a solo artist, both in South African and internationally. During the apartheid era he experienced police harassment and broadcast censorship and became overtly involved in South African cultural politics, being instrumental in the formation of South African Musicians Alliance. He became embroiled in debates around the cultural boycott. Academically, Clegg had an honours degree in Anthropology and lectured in Anthropology for four years before turning to music full time. He presented and published academic papers with a particular focus on Zulu music, dance and culture. In 2015 he was honoured with an OBE. His death in July 2019 cut short an active and engaging musical career. In 2021 an autobiography, Scatterling of Africa, which covered his early years, was published.

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SEM Student News, 18.1 (“Music and Pleasure”)

This is the second call for submissions for the Spring/Summer 2022 issue of SEM Student News. The theme for this new issue, Vol. 18, No.1, is “Music and Pleasure.” The frequent stratification between professional musicianship and making music “for pleasure” often frames the latter category as something less serious or valuable. But for many of us, participating in and experiencing music in informal or communal spaces fills us with powerful sensations of joy. Music is often a part of other activities associated with pleasure such as sex, the alteration of one’s consciousness through drugs or meditation, and physical expressions like dancing. Music is also frequently integral to the pleasure gained from forming connection with a group (e.g., singing songs at sporting events) or passing through different stages of our lives (e.g., music in play settings among children). In this issue, we want to take seriously the interrogation of pleasure as it relates to these and other activities in and around music.

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CUMIN Workshop on Hip-Hop, Healing and Wellness

Blended online and in-person, Friday 24 June, 2022, 11:00-16:00

Organisation: CUMIN https://contemporaryurbanmusicforinclusionnetwork.wordpress.com

CUMIN (Contemporary Urban Musics for Inclusion Network) is an AHRC-funded Network organising a series of Workshops in 2022 and a major conference in 2023. Workshop 2 from this series takes place in conjunction with University of York on Friday 24th June at York’s StreetLife hub (29-31 Coney St., York).

Hip-hop and other forms of contemporary urban music have been claimed to offer a ‘healing power’. The purpose of this workshop is to ask exactly what benefits to health and well-being can be identified, how these benefits can best be maximised, who is being impacted upon and why there is a need for those people to receive support for their health and well-being.

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RMA: Mission, Name, Identity

Online, Monday 18 July, 2022, 13:00-17:00 (UTC+1)
Organization: Royal Musical Association
Organising Committee: Nicola Dibben, Freya Jarman, Laudan Nooshin

Since its founding as the “Musical Association” in 1874, both music and the ways we understand it have changed significantly. In recent years, there has been a move towards greater diversity within the organisation, both in its membership and in the areas of music study and practice that it encompasses. These changes have highlighted a need to reflect on the identity of the Royal Musical Association. Why might some people object to the remit and name of the Royal Musical Association? And why might others find it unproblematic? We propose to hold a half-day virtual symposium on this topic raising these and related questions.

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Special Issue of Rock Music Studies

After All This Time: Legacy Acts, Fandom, and Collective Identity

Guest-edited by Andy Bennett and Devpriya Chakravarty (Griffith University, Australia)

Submissions are invited for a special issue of Rock Music Studies on the topic of Legacy Acts, Fandom, and Collective Identity. Popular music is now increasingly acknowledged as a key aspect of contemporary history and heritage. The marketing of popular music as a form of youth-based leisure and consumption from the mid-1950s onward has had significant implications for its cultural meaning as a collective soundtrack and a means through which successive generations of youth have sought to distinguish themselves from the parent culture. This aspect of the relationship between popular music and youth became more pointed during the 1960s and into the 1970s with a new political sensibility among youth, and was also reflected in much of the popular music of the time, which gave rise to a global counter-cultural movement. This sensibility continued to reverberate in subsequent musical genres such as punk, post-punk and new wave.

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Gender and Jazz: Histories and Scenes

Special Issue of Popular Music History (2023)

From the latter half of the twentieth century there has been increasing interest and work in gender and jazz, with several collections examining the roles of women and gay and lesbian musicians in the jazz world, both historically and contemporarily. Nichole Rustin-Paschel and Sherrie Tucker’s 2008 collection Big Ears: Listening for Gender in Jazz Studies has now become an eminent text in the area, and more recently, the Jazzinstitut, Darmstadt held its 14th Jazzforum on the topic of gender and identity in jazz (resulting in a published collection by the same name in 2016). These, and other collections and articles, have delved into gender and its roles in the jazz world, however there are still many more aspects to explore.  Gender, and gender binaries, have shaped the jazz world since the 1920s. Now in the 2020s, the centennial of the Jazz Age gives us an opportunity to explore the many ways that perceptions of gender have been defined and evolved over the last 100 years. There is a need to examine where we are at in the 2020s, and to give thought to the work ahead as creative practitioners, researchers and historians. This themed issue seeks to explore both the known and unknown about gender in the jazz world. Asides from issues around femininity and masculinity (and men and women) in jazz, we seek articles that explore musicians, bands, and scenes who have been ignored or shunned because their performance of gender and/or sexual orientation did not comfortably fit into the perceptions held by critics and audiences. We also seek explorations around power dynamics and gender on and off the bandstand, #MeToo, and collectives such as We Have Voice and Keychange.

Please submit a short abstract (no more than 200 words) to guest editor, Aleisha Ward: [email protected] Abstracts deadline: 1 June 2022