Posted: February 10th, 2020 | Filed under: Calls for Papers | Comments Off on Sustainability Through Art: The role of art in and towards sustainable changes
24-25 September 2020, University of Geneva (Switzerland)
International conference organized by the Research Committee of Sociology of Arts and Culture (CR-SAC, Swiss Sociological Association) & the Universities of Geneva, Lausanne and Lucerne
For more than a century, sociology has studied art and culture as being among the main pillars of society and human activity, intertwined with social norms, values, traditions, ways of being, and seeing. In 2015, the United Nations Member States adopted the 17 Sustainable Development Goals (SDGs) towards attaining “a better and more sustainable future for all”. Some of the SDGs have long been the direct research subjects of the social sciences: poverty and vulnerability (SDG 1), health and wellbeing (SDG 3), labour and working conditions (SDG 8) as well as gender and social inequalities (SDG 5, 10). Since the 1970s, studies have also delved into the sociological aspects of what was left for a long time to the natural sciences: issues at the crossroads of society and biodiversity, marine and wildlife preservation, energy resources, and climate change – what constitute a major part of the SDG agenda. For example, SGD 12 – responsible production and consumption – is now the focus of Marlyne Sahakian’s research group in the Sociology Department at the University of Geneva.
While the sociology of arts and culture has long dealt with classical sociological questions of artistic production, distribution and reception, the concern for ecological issues has only recently been taken up. One example is Kyle Devine’s Decomposed. The Political Ecology of Music (2019) studying the exploitation by the record industry of natural and human resources. On the one hand, the artistic field is an economy and an industry like any other, where the use of natural and human resources leads to questions of inequality, access and power relations. On the other hand, it represents a particular case, as intertwined with the issues of sustainability are those of artistic meaning, reception and cultural practices, and social factors different than in other fields.
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Posted: February 7th, 2020 | Filed under: Calls for Papers | Comments Off on Finnish Yearbook of Ethnomusicology 2020
The Finnish Yearbook of Ethnomusicology is a peer reviewed open access music research journal. The Finnish Yearbook of Ethnomusicology 32 (2020) will be published as PDF-files on the Open Journal Systems platform (OJS) of the Finnish Society for Ethnomusicology http://etnomusikologia.journal.fi in December 2020. Editors for the journal are PhD Janne Mäkelä, PhD Kaj Ahlsved and MA Viliina Silvonen. The journal has been granted level 1 status in the Publication Forum of the Federation of Finnish Learned Societies. The articles will all be supplied by an individual DOI (Digital Object Identifier) -number.
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Posted: February 3rd, 2020 | Filed under: Calls for Papers | Comments Off on KISMIF CONFERENCE 2020
Keep It Simple, Make It Fast!
DIY Cultures and Global Challenges
8-11 July 2020
Proposal Submissions deadline: 15 February 2020.
Venues:
Faculty of Arts and Humanities of the University of Porto
Casa da Música
Casa Comum Universidade do Porto
TM Rivoli
Palacete Viscondes Balsemão
Barracuda Clube de Roque
Plano B
RAMPA
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Posted: February 1st, 2020 | Filed under: Calls for Papers | Comments Off on Mediating Music
Indiana University, Bloomington
April 17-18, 2020
The Platform Global Popular Music Team at Indiana University (Kyle Adams, director) is pleased to announce our Symposium, “Mediating Music,” to be held on the campus of Indiana University, Bloomington, April 17-18. Opening and closing keynote addresses will be given by Brian Eno (participating live by video stream) and Maureen Mahon (New York University).
Other lectures and performances will be given by:
- Jace Clayton (DJ Rupture), musician, artist, and author of Uproot: Travels in 21st Century Music and Digital Culture
- Damon Krukowski, drummer (Galaxie 500, Damon & Naomi) and author of Ways of Hearing and The New Analog
- G YAMAZAWA, hip-hop artist, National Poetry Slam winner, cultural diplomat for the U.S. Department of State
- Fredara Hadley, Professor of Ethnomusicology, The Juilliard School
- Regina Bradley, Assistant Professor of English and African Diaspora Studies, Kennesaw State University
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Posted: January 29th, 2020 | Filed under: Calls for Papers | Comments Off on Educating Today: The Challenges of The Present. Research Paths
Call for papers – Education Sciences & Society – Vol. 11, n. 1/2020
This issue of Education Sciences & Society Journal aims at offering a contribution to the clarification of some critical issues of the contemporary age: from the culture today’s humanity is imbued with (widespread culture, mass media culture, popular culture, pop music), to the wider social dynamics (family, school and political problems; current and global levels of social integration and inclusion; specific issues like gender and bullying), with a particular attention to the General, Social and Special Pedagogies, also welcoming alter-disciplinary, co-disciplinary, inter-disciplinary and trans-disciplinary reflections. The overall aim is to trace a cartography of the New Modernity in order to improve research paths suitable to support educational and cultural models for the present and to redesign an increasingly “possible” future.
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Posted: January 26th, 2020 | Filed under: Calls for Papers | Comments Off on 2nd International Conference in Music Production Research
Complutense University of Madrid, 26-27 March, 2020.
Deadline for accepting proposals: February 15, 2020
Further information: https://unicomplutense.wixsite.com/jornadasproduccion
JIPM 2020: History, analysis and interpretation of music production processes
around the recording studio
Nowadays, the research of the processes of music production is still a novelty within musicology. Although in recent years a bibliographic corpus has been developed which allows us to establish an initial theoretical framework, we are still immersed in a methodological debate that seeks to agree on some parameters of analysis and the use of effective tools for the study of music production. The final result of a record production is achieved through different variables which range from the technology used to the personal and aesthetic preferences of the engineer and/or producer. The recording studio thus becomes an important stock of resources for the artistic expression and generates a space in which, from the collective experience, a technological mediation is produced which is determinant for the musical creation and interpretation.
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Posted: January 24th, 2020 | Filed under: Calls for Papers | Comments Off on VII International Congress: Music and Audio-Visual Culture – MUCA
From 28-30 May 2020, the University of Murcia (Spain) will host the Seventh International Congress: Music and Audio-Visual Culture MUCA, to provide a forum to scientific exchange with participation of composers, visual artists and researchers from several national and international universities.
We welcome proposals for individual papers (in English or Spanish) in order to promote new perspectives and dialogue about the main topics.
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Posted: January 22nd, 2020 | Filed under: Calls for Papers, IASPM Conferences | Comments Off on IASPM-ANZ 2020
The UTS School of Communication is pleased to host the 2020 International Association for the Study of Popular Music, Australia and New Zealand branch (IASPM-ANZ) conference.
The conference aims to provoke discussion and debate on hierarchies within popular music. These hierarchies might exist within and between popular music genres and be experienced by artists, audiences and scholars. We refer to these hierarchies as ‘scales’ which can be interpreted in a number of different ways. Scales can refer to the construction of music, or it can mean scales of class, genre, taste and so on.
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Posted: January 20th, 2020 | Filed under: Calls for Papers | Comments Off on Mainstream! Popular Culture in Central and Eastern Europe
5th conference of Centre for the Study of Popular Culture with the support of National museum of Czech Republic, Faculty of Arts of Charles University and the German Historical Institute Warsaw
29 October – 31 October 2020, Prague
Mainstream media representations of celebrities remain problematic, as excited discussions regarding the recent funeral of singer Karel Gott have demonstrated. The appraisal of his long-term career has been divided into two extreme positions: uncritical admiration for the idol who spread joy under different political regimes on one hand and condemnation of his kitschy art associated with his selling out under these regimes on the other. What the overall debate has confirmed, is that stars and celebrities of popular culture can become symbols of any given period.
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Posted: January 9th, 2020 | Filed under: Calls for Papers | Comments Off on Feminist and Critical Race Approaches to Analyzing the Emerging Role of ‘Culture’ in Music Streaming Services
Panel Proposal for the Society for Ethnomusicology Annual Meeting
Ottawa, Canada October 22-25, 2020
Panel Organizer: Darci Sprengel, University of Oxford
In September 2018, Spotify launched its ‘Global Cultures Initiative’, which it insisted would make it a ‘leader’ in the field of audio streaming by moving the platform beyond its traditional focus on North American and European musics to ‘promote and advance culturally diverse music’ (Spotify Newsroom 2018). As Spotify expanded to other regions, however, it met pushback from local rivals. For example, Anghami (‘my tunes’ in Arabic), founded in Lebanon in 2012 and known as ‘the Spotify of the Middle East’, claims to meet better the needs of Arab listeners. It boasts alternative algorithmic technologies with unique abilities to combine international and local sounds in ways it asserts listeners in the Middle East and Arab diaspora want to hear, making Anghami’s distinctly local knowledge its ‘sonic brand’. These trends indicate that music streaming services differentiate themselves not through the music they provide, but through the techniques they employ to mediate between users and music catalogue (Goldschmitt and Seaver 2019).
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