5th European Conference on Social Media

21-22 June 2018, Limerick Institute of Technology, Ireland

Mini Track on Social Media and the DIY Artist: How the development of social media has impacted on the music industries
Mini Track Chair: Dr Paul Oliver, University of West London. UK

Since the inception of the internet, DIY (do-it-yourself) artists and entrepreneurs working within the music industries have used social media in sophisticated ways to collaborate, create and disseminate their music online. Initially in the early 2000s with MySpace, then with Facebook and YouTube and now with Instagram and Snapchat, social media has revolutionised the way DIY artists and fans, and the wider music community, can interact with each other. Moreover, social media platforms have begun to expand and elaborate on existing features developing stronger possibilities to interact through live video streaming and storytelling which, in turn, makes it easier for organic DIY music communities to form on a global scale based on niche interests.

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AMS/SMT Alternative-Format Joint Session on Hip-hop Studies

In the introduction to his 2000 book Making Beats: The Art of Sample Based Hip-Hop, Joseph Schloss notes the relative absence of music studies:

“It does no disservice to previous work to say that [hip-hop studies] has tended to focus on certain areas (such as the influence of the cultural logic of late capitalism on urban identities, the representation of race in popular culture, etc.) to the exclusion of others (such as the specific aesthetic goals that artists have articulated). Nor is it a criticism to say that this is largely a result of its methodologies, which have, for the most part, been drawn from literary analysis. We must simply note that there are blank spaces and then set about to filling them in.”
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Riffs: Experimental Writing on Popular Music

The editorial team of Riffs: Experimental Writing on Popular Music invite 300 word / one page of A4 (visual) proposals for the next 2018 volume from PhD, MA, and outstanding undergraduate students, based on the following prompt:

“There is nothing wrong with hating rock critics” – Of Montreal, 2003

Your response should consider in some way journalistic and academic forms of writing and critiquing popular music, and the overlap between these two forms/forums. This volume will be guest edited by Laura Snapes, a music and culture writer based in London.

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Past and Present: Local Music Making and the Politics of Popular Music

27 January 2017, 11:00 – 16:30, The Red House (Old Town Hall), Merthyr Tydfil, CF47 8AE

Join us for a free one-day research and industry event marking the launch of a one-month exhibition celebrating the hidden history of popular music in Merthyr Tydfil, between 1955-1975. The event is organised by Centre for Media and Culture in Small Nations at the University of South Wales. The event is free and lunch is provided, but must be pre booked via Eventbrite.

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Crosstown Traffic: Popular Music Theory and Practice

University of Huddersfield, UK
3rd-5th September 2018

This is a call for papers for a joint conference arranged by four organisations:

• International Association for the Study of Popular Music UK & Ireland Branch (IASPM UK&I)
• Association for the Study of the Art of Record Production (ASARP)
• Dancecult: Electronic Dance Music Culture Research Network
• International Society for Metal Music Studies (ISMMS)

Hosted by the University of Huddersfield, this event will combine the IASPM UK&I Biennial Conference, with the 13th Art of Record Production Conference (ARP), a conference of ISMMS, and feature the additional participation of Dancecult. The theme of the conference is Crosstown Traffic: Popular Music Studies Theory and Practice.

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Professorship for Popular Music Studies in Berlin, Germany

Humboldt-University (Berlin, Germany) is looking for a professor for popular music studies:
https://www.personalabteilung.hu-berlin.de/stellenausschreibungen/full-professorship-for-popular-music-studies-w3

Also, there is more information for international applicants, here:
https://www.musikundmedien.hu-berlin.de/de/musikwissenschaft/information-for-international-applicants.pdf

​Sounds, scenes and urban policies: Contemporary issues and new horizons for the geographies of music

Call for Papers – ​AAG 2018, New Orleans, April 10-14, 2018

Organisers: Séverin Guillard (Université Paris-Est Créteil), Ola Johansson (University of Pittsburgh) & Joseph Palis (University of the Philippines-Diliman)

Sponsored by: Media and Communication Specialty Group

Over the last few decades, a rich body of literature has showed the importance of studying music to understand the spatial dimensions of societies. In the field of geography, several works have focused on the role that music has had in the construction and perception of specific places and spaces: scholarship addressed issues such as the ability of songs and performances to build mental maps of cities or regions, and to challenge the dominant practices and norms associated to them, the way music was used by local authorities in order to (re)brand and regenerate a locality, the circulation of music genres in a context of cultural globalization (Leyshon et al., 1995; Connell and Gibson, 2003; Anderson et al., 2005; Johansson and Bell, 2009; Canova, 2013).

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Andrew Goodwin Memorial Prize now accepting entries for 2017-18

The annual prize in honour of Andrew Goodwin is now accepting entries for its 2017-18 round. The full details are here, or just use the permanent link on the right side of this page.

Good luck to all participants!

Music and Audio-Visual Culture MUCA

From 15-17 February 2018, the University of Murcia, Spain will host the Fifth 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.

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Beyond Genre: Jazz as Popular Music

April 19-21, 2018
Center for Popular Music Studies
Case Western Reserve University, Cleveland, OH

The intersections of jazz and popular music are myriad. Louis Armstrong recorded with Jimmie Rodgers and Bessie Smith; Carlos Santana recorded with Alice Coltrane; Kendrick Lamar’s To Pimp a Butterfly featured Terrace Martin, Robert Glasper, and Kamasi Washington; George Benson topped the Billboard 200 in 1976; Billie Holiday, Nat King Cole, and Miles Davis are all inducted into the Rock & Roll Hall of Fame; consider also the careers of The Bad Plus, Benny Goodman, Spyro Gyra, Kenny G, Norah Jones, and countless others.

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