Perspectives on Music Production – Mastering in Music – Routledge

Call for Chapters

Extended Deadline for proposals: 5^th January 2019

In the spirit of the Perspectives On Music Production series, Mastering in Music follows on from Mixing Music (2017), Producing Music (early 2019) and several monographs in the field – to be announced.

Mastering in Music contains several chapters presented at the Audio Engineering Society UK’s Mastering Conference held in London in September 2018. In addition to this we’re disseminating this call for contributions and welcome abstracts on topics relating to audio mastering: the scope is detailed below: Read the rest of this entry »

Perspectives on Music Production – Exploiting Music – Routledge

Call for Chapters

Deadline for proposals: 26 April 2019

In the spirit of the Perspectives On Music Production series, Exploiting Music will follow on from Mixing Music (2017), Producing Music (early 2019), Gender In Music Production (2020) and several monographs in the field.

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Ethnomusicology Review

Ethnomusicology Review is now accepting submissions for Volume 22, scheduled for publication in Fall 2019. Starting as Pacific Review of Ethnomusicology (PRE) in 1984, Ethnomusicology Review is a refereed journal managed by UCLA graduate students and a faculty advisory board. We maintain an extensive editorial board and publish interdisciplinary music research in English, Spanish, Portuguese, Indonesian, and other languages on a case-by-case basis.

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Building the Scenes? Fan/zines in Central Eastern and South Eastern Europe before and after the Fall of Berlin Wall

22 – 23 February 2019 in Prague, Czech Republic.

We invite researchers to share their papers related to the conference theme, including but not limited to such topics as:

• transfer of zine practises among different subcultures
• cross border and transregional transfer of zines and practises
• modes of zine distribution
• modes of zine production
• relation of zines to subcultures and social movements
• theoretical and conceptual approaches to zines
• zine archiving and preservation
• case studies of zines

Deadline for abstracts is 18 November 2018. Read the rest of this entry »

Silencing: Experiences, Materiality, Powers International conference

Marseille, 4-7 June 2019, EHESS – Vieille Charité
Submission deadline: 20 December 2018

Presentation

The Silencing. Experiences, materiality and powers international conference aims at considering silence in its practical dimension, as an object, a conduct, an aesthetic or political hold. In welcoming and confronting viewpoints from several academic fields – acoustics, anthropology, history, linguistics, literature, museology, musicology, sociology – and artistic practices – notably music, poetry, cinema– this conference will study how the existence of a creation of silence manifests, through the material, symbolic and political modalities of silence. Read the rest of this entry »

Journal of Popular Music Education Special Issue

Learning, Teaching and Making Popular Music Online

There is much to learn regarding the skills people use to learn, teach and make popular music in global online contexts. Furthermore, research and pedagogy should address how popular musicians’ practices online might be translated to learning institutions. Research has examined pedagogical approaches to popular music learning, lived experiences of contemporary musicians, and interactions in modern musical communities. Online music making has popularized terms including “virtual ensemble”, while affordability and accessibly of do-it-yourself recording studios have proliferated user-generated musical content on the internet. Musicians use diverse social media platforms to develop new techniques, brand their personae, and hone producing skills in virtual places which act as spaces for music learning, teaching and making.

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Music and the Moving Image Conference XIV

Conference at NYU Steinhardt: Friday May 31st – Sunday June 2nd, 2019

The annual conference Music and the Moving Image encourages submissions from scholars and practitioners that explore the relationship between the entire universe of moving images (film, television, video games, iPhone, computer, and live performances) and that of music and sound through paper presentations. We encourage submissions from multidisciplinary teams that have been pooling their knowledge to solve problems or come up with a new perspective regarding music and moving images. The Keynote Speaker is TBA.

Abstracts or synopses of papers (250 words) should be submitted by no later than December 15, 2018. You can submit via Qualtrics by clicking this link:

https://nyu.qualtrics.com/jfe/form/SV_0vVlwYSbMDt3Pzn

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Legacies and Prospects: The Pasts and Futures of Popular Music

IASPM-Canada Annual Conference
Université du Québec à Montréal (UQAM)
May 24-26, 2019

For those interested in the study of popular music, the year 2019 provides a juncture to consider both the future and the past. We are on the threshold of the third decade of the twenty-first century, and can expect new and ongoing shifts in the technology, artistry, business, politics, and mediation of music and popular culture. Historically, this year marks several milestones:

• 20 years since peer-to-peer (P2P) file sharing disrupted long-established business models for the distribution and sale of music commodities
• 40 years since the first commercially-released hip hop recording (Sugarhill Gang, “Rapper’s Delight”), a revolutionary new style that continues to define popular music’s present
• 50 years since the Woodstock and Altamont festivals, seen by many as watershed events in the post-war history of popular music.

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Music & Empowerment

For the fourth yearbook of the German Association for Music Business and Music Culture Research (GMM),published in 2020, edited by Prof. Dr. Michael Ahlers, Lorenz Grünewald-Schukalla M.A., Dr. Anita Jóri, Dr. Holger Schwetter.

The German Association for Music Business and Music Culture Research publishes a yearbook which, in addition to its main topic, provides information on the actual state of research on music business and music culture. Music business and music culture research is not conceived as disciplinary research, but rather as a field of research that reacts to problems and new questions in a situational and transdisciplinary manner and at the same time raises them. The focus is on actual problems and questions, as in this case the question of the possibilities and limits of empowerment in popular music.

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Journal of Popular Music History special issue

Popular music curation: material, virtual, professional, amateur, public, private

The Journal of Popular Music History invites contributions to a special issue on popular music curation. Where it was once the almost-exclusive domain of museum and gallery work, the notion of ‘curation’ has become increasingly popularised: from curated Spotify playlists to curated music festivals and curated club nights, to curated box sets and curated fashion collections, this terminological appropriation of what was once a ‘high art’ practice into more mainstream popular music and culture raises a number of interesting questions this special edition aims to examine.

As Atton (2014: 414) writes, ‘A conventional definition of the work of a curator in a museum or art gallery would once have emphasised the fixed contexts within which collections and exhibitions were presented to the public, where meaning was preserved alongside the artefact.’ Yet the deliberate employment of the term ‘curation’ within a more progressively quotidian vernacular obliges of us further critical exploration of what, specifically, is required of and intended by its use. The mediation, manipulation and presentation of a collection of music and/or music-related items as ‘curated’ has evident implications: for instance, a curated collection may be seen as one organised by ‘experts’; it might suggest a more localised, hand-crafted, artisanal, personalised experience (Campbell 2005); or it could imply a more critical, ‘hidden’ or ‘alternative’ popular music narrative, previously untold or overshadowed within more dominant historical or cultural contexts (Leonard 2007). In this sense, exploration of what, how and by whom curation occurs, directly informs understanding of the curated objects and collections themselves.

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