Third Working in Music Conference: Working in Music – Now and Then

University of Turku, Finland, 15-17 April 2020

The Working in Music Network (WIM) is pleased to announce its third Working in Music Conference, to be hosted by the University of Turku, Finland, in April 2020. The Conference follows the staging of previous WIM conferences in Glasgow (2016) and Lausanne (2018) and the establishment of the Network (https://wim.hypotheses.org/). WIM was launched in Lausanne in 2018 and has been established by scholars interested in the historical and contemporary nature of working in music. It has adopted the following Statement of Purpose:

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Documenting Jazz 2020

‘We never look at just one thing; we are always looking at the relation between things and ourselves. Our vision is continually active, continually moving, continually holding things in a circle around itself, constituting what is present to us as we are’, John Berger, (ed.) Ways of Seeing. 1987.

Birmingham City University is pleased to announce the Call for Papers for the Documenting Jazz conference, to be held on 16–18 January 2020. Now in its second year, Documenting Jazz brings together colleagues from across the academic, archive, library, and museum sectors to explore and discuss documenting jazz. Since its first edition in Dublin 2019, the Documenting Jazz Conference aims to offer an unparalleled variety of experiences drawn from across the world. We hope to include contributions from individuals of all career stages, from established scholars and practitioners to those just starting their careers. We embrace the academic sector and other heritage and cultural organisations in partnership with each other and with communities. Our keynote speakers are drawn from across the academic sector to inspire debate and discussion amongst participants.

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Symposium on Eudaimonia, Music, and Music Education

May 22nd & 23rd, 2020

John J. Cali School of Music, Montclair State University, New Jersey, USA

Eudaimonia – often interpreted as “living well,” “pursuing one’s true purpose,” or “human flourishing” – is a perennial philosophical concept in Western scholarship. It frequently goes unarticulated, especially within the practices of music and education.

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Progressive Rock and Metal:  Towards a Contemporary Understanding

The 4th Biennial International Conference of the Progect Network for the Study of Progressive Rock

Hosted by Lori Burns at the University of Ottawa, May 20-22, 2020 (Ottawa, Canada)

CFP Deadline: <<DEADLINE EXTENDED: SEPTEMBER 30, 2019>>

Progressive Rock and Metal: Towards a Contemporary Understanding aims to explore the past and present contexts of the genres of progressive rock and metal. With its origins in the psychedelic counterculture and freeform rock radio (a format featuring long-playing records) in the late 1960s, progressive rock of the 1970s was characterized by formal complexity, dynamic variety, instrumental experimentation, and the influence of classical and jazz music. While progressive rock flourished in the 1970s with bands such as Pink Floyd, Genesis, and Rush, the 1980s and 1990s saw the rise of progressive metal as a major development within the metal scene. Bands such as Dream Theater, Tool, and Meshuggah presented a new style of metal that embraced many of the values of progressive rock (e.g. harmonic, rhythmic, and formal complexity, instrumental virtuosity, and concept-driven albums) and ventured into new and innovative musical territories such as dense chromaticism and polyrhythmic structures.

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Sixth International Performance Studies Conference

University of Huddersfield, 2-5 July, 2020.

Proposals are invited for papers, lecture-recitals, research reports and themed sessions for the Sixth International Performance Studies Conference.

The conference will cover a wide range of musics, approaches, methodologies and practices pertaining to Performance Studies. We welcome presentations that reflect this diversity, including early music, contemporary music, music located across oral and literate traditions, acoustic, electronic and multimedia performance, and more.

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Diva: Hip-Hop, Feminism, Fierceness

The shift from the margins to the mainstream has occurred simultaneously, over the last few decades, for two groups that now jointly exert a central influence over contemporary culture and politics: female r’n’b and hip-hop artists, and feminist thinkers and activists. The coming together of these two groups and sensibilities has redefined contemporary popular music (in all senses of musics of black origin), and wider culture and politics, in the West – from the banlieues to the White House, from Black Lives Matter to #MeToo, from Betty Davis to Neneh Cherry, TLC to Aaliyah, Alicia Keys to Iggy Azalea, Beyonce to Ariana Grande, and all points in between.

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Innovation in Music Conference 2019

05 – 07 December 2019
University of West London: Ealing Campus

Full event details can be found at the conference website: http://www.musicinnovation.co.uk

Innovation in Music (InMusic) welcomes academics, creatives, producers, artists, industry professionals, technology developers and equipment manufacturers to come together and submit abstracts for consideration on a wide range of topics including:

• Innovative music creation and performance
• Music technology innovation
• Innovation in music business
• Music production: past, present and future

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Anyone can do it: Noise, Punk, and the Ethics/Politics of Transgression

The Punk Scholars Network’s 6th International Conference and Postgraduate Symposium

16^th and 17^th December 2019, Newcastle University

For the PSN’s 6^thannual conference, the main theme is ‘noise’ and the question whether ‘anyone can do it’. Noise has a distinct place in punk (and in many post-punk musics), where it is often understood as a positive value. Indeed, today many (in the UK at least) will speak of ‘the noise scene’ as something like a genre in itself.

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Austrian Music Studies: Topics – Perspectives – Concepts

Annual Conference of the Austrian Society for Musicology

Innsbruck, Austria, Haus der Musik 4-7 December 2019
Organisation and Concept: Department of Music of the University of Innsbruck in cooperation with the doctoral seminar “Austrian Studies” of the University of Innsbruck

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21st Century Music Practice series of Elements by Cambridge University Press

Announcing the launch of the 21^st Century Music Practice series of Elements by Cambridge University Press.

Elements are a new publishing format that CUP are promoting that consists of a 20,000 word text – somewhere in between a standard journal article and a book – and which can also involve extensive multi-media content. The series has developed out of the 21^st Century Music Practice Research Network which currently has around 250 members in 30 countries and is dedicated to the study of what Christopher Small termed Musicking – the process of making and sharing music rather than the output itself. Obviously this exists at the intersection of ethnomusicology, performance studies, and practice pedagogy / practice-led-research in composition, performance, recording, production, musical theatre, music for screen and other forms of multi-media musicking. The generic nature of the term ‘21^st Century Music Practice’ reflects the aim of the series to bring together all forms of music into a larger discussion of current practice and to provide a platform for research about any musical tradition or style. It embraces everything from hip hop to historically informed performance and K-Pop to Inuk Throat Singing.

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