*CFP* CALL FOR PARTICIPATION, IASPM XXI 2022 INTERNATIONAL ASSOCIATION FOR THE STUDY OF POPULAR MUSIC

IASPM XXI 2022

International Association for the Study of Popular Music

Daegu, South Korea, 5-9 July 2022 (hybrid format)

 

On behalf of the IASPM XXI 2022 Organizing Committee, we are pleased to invite you to the International Association for the Study of Popular Music (IASPM) to be held at Daegu, South Korea on 5-9 July 2022. As you all know, IASPM 2021 originally to be held in July 2021 was postponed for 12 months. Due to this postponement, we are reopening Call for Presentations (CFP) for those who missed the chance to apply first time around and those who wish to revise or replace their original proposals.

Having been held every two years since 1981, IASPM is now one of world's most prestigious international conferences of popular music studies. It will be a fascinating opportunity for participants to share the latest information and knowledge in the diverse areas of popular music.

*CFP* "GROOVES AND MOVEMENTS", IASPM-US 2022 CONFERENCE

Grooves and Movements

IASPM-US 2022 Conference

University of Michigan

Ann Arbor/Detroit Michigan: May 26-28, 2022

 

The International Association for the Study of Popular Music-United States chapter (IASPM-US) invites proposals for its annual conference, which will take place in Ann Arbor at the University of Michigan on May 26-28, 2022. We welcome abstracts for individual papers, organized panels, roundtable discussions, and alternative (non-paper) presentations on all aspects of popular music, broadly defined, from any discipline or profession. We especially encourage submissions on the many rich popular music histories of Michigan, Ann Arbor, and Detroit. As the COVID-19 pandemic continues to normalize virtual connections in local and global settings and to reconfigure physical spaces for social distancing, the present moment calls for an examination of the virtual and physical modalities of music-making. The theme for this year’s conference “Grooves and Movements” intersects with Detroit and its storied place in rhythm and blues, rock, punk, hip-hop, and electronic dance music, and is intended to connect the histories, philosophies, and practices of urban spaces to other historical and global popular music communities.

*CFP* "REGGAE FILMS, REGGAE ICONS, REGGAE MUSIC", 7TH GLOBAL REGGAE CONFERENCE

 "Reggae Films, Reggae Icons, Reggae Music"

7th Global Reggae Conference

University of the West Indies

February 16-19, 2022

 

 

Hosted typically as a premier biennial event, in this its 7th staging, the Global Reggae Conference shifts to a triennial offering in 2022. Hosted inside Jamaica’s Reggae Month, this conference will engage academics within a wide field of scholastic orientations and practice. In celebration of the productive space created by the film, this conference aims to bring together students, scholars, filmmakers, researchers, writers, critics, music aficionados, and artists to deliberate on the conference theme. This event comes as part of larger project on music, popular culture and Reggae Studies in particular, through which scholars, students, institutions have engaged in partnership to expand scholarship and outreach through research, creative production, community engagement, experimentation, archive building, and exhibitions, among others.

*CFP* "BROADCASTING IN (DE)COLONIAL SETTINGS", SPECIAL ISSUE, THE JOURNAL OF RADIO & AUDIO MEDIA

The emergence of radio introduced profound changes in public communication, changing patterns of information dissemination at local, national and international levels. In the case of the Imperial nations this role was extended overseas with radio becoming the most important medium for uniting the home countries with the expats living in the far reaches of the empires, though not unproblematically.

A growing body of literature on the history of imperial and colonial broadcasting, as well as of sound, have been contributing to the understanding of the role of radio technologies, broadcasting and music in the 20th century in forging audible and sonorous empires. However, the ways in which different imperial countries used radio to create a sense of nation and colonial identities among those living in different geographies remains an open question. On the other hand, in the last decades works dealing with the media during decolonization have called attention to the significant role played by the audio medium in promoting independence from colonial powers and giving visibility to forms of culture that would become part of national identities of the new-born countries. What research has also revealed is that much is still to be understood about the relation between radio and decolonization practices and processes. Thus, this special issue seeks to publish manuscripts dealing with how broadcasting was incorporated and appropriated within different colonial and decolonial settings.

Hence, papers dealing with the following topics will be highly appreciated (non-exhaustive list):

*CFP* "BLACK AND QUEER, MUSIC ON SCREEN", ISSUE 6.2, LIQUID BLACKNESS: JOURNAL OF AESTHETICS AND BLACK STUDIES

This special issue of liquid blackness: journal of aesthetics and black studies proposes to work on Black Queer expression in audiovisual musics cutting across histories of the avant-garde, popular audiovisuality, and frameworks both transnational and critically transhistorical. The goal of the issue is to set up the framework for a survey of Black and Queer musicality in audiovisual media so as to suggest “non-contemporaneous” dialogues between and across historical registers and media platforms, so that the critical expressive power of non-conforming persons of color become a given rather than an alibi, an absence, or a projection.

 

 

Topics List

• Black queer practices of exceeding and disabling technology in the form of musical, audiovisual technics
• Archival recovery, fictive archiving, and critical fabulation of the archive through voice, sound, music, and musical audiovisuality

*CFP* "INTERSECTIONS BETWEEN GAME MUSIC AND ELECTRONIC DANCE", SPECIAL ISSUE, THE JOURNAL OF SOUND AND MUSIC IN GAMES

The Journal of Sound and Music in Games invites contributions to its first special issue, in which stylistic and cultural intersections will be explored between game music and electronic dance music.

 

We invite proposals for research articles on game music and electronic dance music, which will be double-blind peer-reviewed and published as a special issue of the/Journal of Sound and Music in Games/. We also welcome proposals for other kinds of materials, which should be discussed with the editors in the first instance.

Themes can include:

• Influences of game music techniques on dance music production techniques
• Relationships between game culture and electronic dance music culture, in terms of design, sound, music techniques
• Game cultural references in electronic dance music
• Games that employ electronic dance music

*CFP* CALL FOR PARTICIPATION, BARN VIRTUAL COLLOQUIA

The BARN Virtual Colloquia was established in 2020 to foster an international, virtual community of scholars and practitioners from all disciplines engaged with the study of music and sound in audio-visual media. We now invite proposals for the next series of events, which will take place from October-December 2021.

Submissions may relate to any aspect of music, sound and the moving image, and may take the following formats:

• Standard 20-minute conference papers and Q&A 
• Full themed panels (Two or three 20-minute papers plus, optionally, a session chair) 
• Interviews with industry figures

 

Proposals will be reviewed on a rolling basis so early submissions are strongly encouraged! (Submissions will close on 1st August 2021 at the very latest).

*CFP* "DESIGNING FOR PLAY AS A CULTURAL PARTICIPATION CHILDHOOD. SEEKING NEW GROUNDS", SPECIAL ISSUE, REVISTA CONJUNCTIONS: TRANSDISCIPLINARY JOURNAL OF CULTURAL PARTICIPATION

This special issue of Conjunctions. Transdisciplinary Journal of Cultural Participation invites contributions that explore children's play as cultural participation and production empirically and theoretically, especially in how we can design for cultural participation and production.

The recognition of the importance of play in childhood is deeply rooted in the Nordic research on child culture. For years the Nordic studies of children have been defending children's right to unguided play, driven by the participants as a fundamental condition for participatory cultural practice in childhood. At the same time, the conditions for children's play have changed fundamentally, and as a result of this, the conditions for children having the possibilities to explore their capacity as cultural producers have also changed. We have seen a decline in children’s traditional and self-governed participatory play culture. The unguarded play has become scarce, replaced by monitored places and transparent architecture in day-care, kindergarten, schools, and homes. This creates new challenges for contemporary play research and practices if we still want to promote play as cultural participation and production.

The question is how we can design for play, driven by the participants. Design for play in that sense demands high awareness of how we think and define play in theory as well as in everyday practice, addressing the possibilities for participation as productive play culture.

*CFP* "BLACK AND QUEER, MUSIC ON SCREEN", SPECIAL ISSUE, LIQUID BLACKNESS JOURNAL

This special issue of liquid blackness: journal of aesthetics and black studies proposes to work on Black Queer expression in audiovisual musics cutting across histories of the avant-garde, popular audiovisuality, and frameworks both transnational and critically transhistorical. The goal of the issue is to set up the framework for a survey of Black and Queer musicality in audiovisual media so as to suggest “non-contemporaneous” dialogues between and across historical registers and media platforms, so that the critical expressive power of non-conforming persons of color become a given rather than an alibi, an absence, or a projection.

From early sound cinema to the present, queer or gender non-conforming black artists have voiced a complex series of claims, propositions, demands, and desires, from the introduction of sound to the cinematic screen to the introduction of social media video in networked digital cultures. Black feminist and queer scholarship has often engaged with the meanings and powers expressed in these works, or in musical artists indebted to them or referencing them, from Angela Davis’ reading of transformations of historical memory in Smith’s St. Louis Blues (Blues Legacies and Black Feminisms), to Lindon Barrett’s study of Billie Holiday (Blackness and Value), to Saidiya Hartman’s discussion of errancy in relation to woman-identified women singers in the early years of recording (Wayward Lives, Beautiful Experiments), and Daphne Brooks’ recent reading of black women’s use of arrangement, sonic curation, and blackness as technology (Liner Notes for the Revolution) in articulating a politics of being and becoming. 

*CFP* CALL FOR CONTRIBUTIONS, NEXT ISSUES, ETHNOMUSICOLOGY REVIEW

Deeply interdisciplinary, the field of ecomusicology is a branch of study exploring the various and complex nexus between people, nature and sounds. Ecomusicologists can come from the fields of composition, acoustic ecology, bio-acoustics, ethnomusicology, historical musicology, biology as well as ecocriticism, biosemiotics, ecosemiotics, phenomenology.

Ethnomusicology Review would like to invite you to share perspectives from your research for our online platform "Sounding Board." Texts on any of the following subjects are welcome:

• Music and Climate Change 
• Music in the Age of Anthropocene 
• Post humanities and sounds /music / acoustic patterns 
• DNA / Metabolic / Transgenetic poetics and sounds 
• Music in or about Landscapes 
• Natural Sounds, acoustic ecology, bio-acoustics 
• Music and/in Environment 
• Music and/ in Place or Space 

*CFP* "DREAM FACTORIES: PRINCE, SIGN O’ THE TIMES, BOX SETS & CULTURAL ARTEFACTS", BOOK CHAPTER

The guest editors – Dr Kirsty Fairclough (Manchester Metropolitan University) and Prof. Mike Alleyne (Middle Tennessee State University) – are seeking abstracts for papers that examine the expansive super deluxe Sign O’ The Times 2020 box set. The essays will explore its multiple levels of musical and cultural significance, while critiquing the value of its presence as a commercial artefact and a signifier of Prince’s creative legacy in the context of previous posthumous deluxe edition reissues. Following Prince’s death in 2016, his estate embarked on a series of reissued albums and new compilations, inclusive of previously unreleased material. In its original form in 1987, Sign O’ The Times became one of Prince’s most critically acclaimed records while also being his second double album and a major commercial success.

In this special journal issue, the 2020 box set with eight discs of music and a live DVD provides multiple opportunities for critical reassessment of both the album and its posthumous inclusion of rare and/or previously unreleased items. This issue will explore the ways in which the box set has become part of a parallel Prince career which allows fans and critics to reassess his output and provides a new lens through which to understand the album as cultural artefact. With this central focus, the specific analytical angles will be left to the individual contributors, defining what they perceive as the key characteristics of this deluxe edition compilation and its comparative relationships to earlier catalogue reissues. Such discussion will primarily incorporate the following:

*CFP* "STAGING POPULAR MUSIC: SUSTAINABLE MUSIC ECOLOGIES FOR ARTISTS, INDUSTRIES AND CITIES", 12TH INTERNATIONAL MUSIC BUSINESS RESEARCH DAYS

12th International Music Business Research Days

Staging popular music: sustainable music ecologies for artists, industries and cities

Erasmus University Rotterdam, the Netherlands, 3-4-5 November 2021

 

This conference focuses on the intersection between key transformations in the popular music industries. Music represents and generates value on various levels from the individual to the global, and in many different spheres from the cultural and social to the economic and political. Popular music is staged through multiple platforms, actors, businesses, intermediaries and policies. The current COVID-19-crisis both challenges the music industries and acts as a catalyst of new digital innovations. This is a vital moment to (re)consider the future directions of the music industries. While the music industries are characterized by continuous change and transformation, significant disruptions have always impacted its resilience. Such disruptions can be external shocks, including the current crisis, new technologies, political change or aesthetic-cultural innovations. From an ecological perspective, all transformations force the industry to reshape and rethink itself. This will likely result in both positive as negative consequences. We need to critically reflect on what the immediate and long-term future of music ecologies entails, who benefits and who suffers from such disruptions.

*CFP* CALL FOR PARTICIPATION, SOUND SYSTEM OUTERNATIONAL #7 ONLINE

Sound System Outernational #7 online

in association with Sonic Street Technologies ERC research project: Sound Systems at the Crossroads

12-16 July 2021, 4pm to 6pm UK time (BST)

 

Sound systems are currently at a crossroads despite the unprecedented explosion of the form during the last decades. Sound system culture has gained increasing attention from cultural organisations, the music industry and researchers. But the pandemic has been accelerating trends in both positive and negative directions.

In a positive direction online formats have been encouraging a new inventiveness and creativity in formats and content. A whole new range of opportunities are in the process of opening up for both practitioners and audiences and SSO #7 is part of this process.

*CFP* "MUSIC", VOLUME 8, Nº 1 (MARCH, 2022), CONCENTRIC: LITERARY AND CULTURAL STUDIES

In William Blake’s “Introduction” to Songs of Innocence, the poet is also a musician, converting his piping into writing at the instigation of an angelic child. This originary link between music and literature—reflective of the (pre)historical oral transmission of myths and tales—continues unbroken to the present, as evidenced by the many musical interpretations of Blake’s poems, from American composer David Axelrod to the rock band U2.

This issue of Concentric seeks to explore the mutual influence between music and literature and to cultivate new methodological (and pedagogical) approaches to this relationship. While Vincent Barletta’s recent Rhythm: Form and Dispossession (2020) provides a transhistorical, ontological account of the primordial power of music, other scholars have examined its role in specific texts or cultural traditions: for instance, Elizabeth K. Helsinger’s Poetry and the Thought of Song in Nineteenth-Century Britain (2015) and Brent Hayes Edwards’s Epistrophes: Jazz and the Literary Imagination (2017). Edwards’s title plays on the incorporation into jazz of epistrophes, a literary device where words are repeated at the end of successive clauses. Such translation also works in the opposite direction, as in the musical leitmotif or idée fixe (as famously given in Berlioz’s Symphonie fantastique, for example), later used to describe literary leitmotifs. Thus, literary elements and structures are incorporated into such wide-ranging musical forms as Romantic orchestral music (e.g., the program notes to Symphonie fantastique), jazz, and—as Elizabeth Hoffman suggests in “‘I’-Tunes: Multiple Subjectivities and Narrative Method in Computer Music” (2012)—computer music. 

*CFP* "MUSIC AND NATIONALISM", 3RD GLOBAL INTERDISCIPLINARY CONFERENCE

Music and Nationalism

3rd Global Interdisciplinary Conference

Online

June 12, 2021

 

Music is commonly regarded as a universal language, and yet it is also through music that the fiercest of nationalistic sentiments and inspirations for protest and rebellion have been expressed.

As a unifying force, music has frequently been used in the quest to establish a national identity as well as to emphasise social and political beliefs and promote particular agendas. But in doing so, music also establishes ‘others’ who do not belong to the collective. In light of political scientist and historian Benedict Anderson’s characterisation of nationalism as an imagined community, it is hardly surprising that music, with its extraordinary power over the human imagination, should play such an integral part in the way nationalism is constructed and understood.

*CFP* "MUSIC PERFORMANCE AS CREATION", 2ND EDITION NOVA CONTEMPORARY MUSIC MEETING

Nova Contemporary Music Meeting (NCMM) is a biennial, 3-day international conference launched by the Contemporary Music Research Group (GIMC) of CESEM (Centre for the Study of the Sociology and Musical Aesthetics at Nova University, Lisbon) and focused on a variety of questions relating to music since the beginning of the 20th century.

Music today is more diverse than ever. The variety of genres, practices, techniques, technologies, systems of dissemination and forms of reception, brings to a new context in which the foundation of previous assumptions is shaken, and new paradigms are emerging. Music from the past, as well as from the present, is now omnipresent in our society, from the concert hall to the museum, from the media to public spaces, to private listening with headphones. As a result of each one of these and other situations, studying music is now challenging and depends on a multiplicity of artistic and scientific domains.

In this context, NCMM was conceived as a contribution to the development of multidisciplinary and collaborative research in the field of contemporary music, and it consists in a research meeting that bring together researchers, musicologists, composers and performers, working with a diversity of areas related to contemporary music. 

*CFP* "VIVA LAS VEGAS: MUSIC AND MYTH IN AMERICA'S CITY OF SECOND CHANCES", CHAPTER PROPOSALS

Las Vegas has been an important commercial hub for live and recorded music for most of the twentieth century. It is also arguably the most American of America's cities--as art critic Dave Hickey put it, at least in Vegas “the payoffs are posted and the odds easily calculable.” Largely, however, the critical attention toward place and music industry has privileged other American commercial centers, namely Los Angeles and New York City. Despite Las Vegas’s rich musical entanglements, in fact, a full study of the musical and cultural values of the city has not yet emerged. Viva Las Vegas sets out to examine the sonic place-making and musical mythologies surrounding America’s City of Second Chances.

This book will investigate venues of fantasy and myth-making during this critical moment when broader mythos of America have become political and cultural lightning rods. Contributors to this volume will consider collectively the values and perspectives of music-making in, around, and through Las Vegas. This book places itself alongside vibrant studies of popular music and place, including Stacy Wolf’s study of amateur and community musical theater in America; Barry Shank’s investigation of various music “scenes” in Austin, Texas; Fred Bartenstein and Curtis W. Ellison’s illumination of bluegrass networks in southwestern Ohio; and my own work on religious communities in the middle of America employing popular music to slow the creep of modernity. It also joins robust scholarly intrigue in media studies, sound studies, queer studies, and critical geography, situated within and between a number of developing transdisciplinary spaces. Making a book (and making book) on Las Vegas seems a safe bet for a rapidly expanding American music studies: what happens in Vegas should no longer stay in Vegas.

*CFP* "THE IMPACT OF COVID ON POPULAR MUSIC HISTORY AND HERITAGE", SPECIAL ISSUE, POPULAR MUSIC HISTORY JOURNAL

As the impact of the COIVD crisis continues to be felt across the world, it is becoming increasingly apparent that it represents a significant rupture in how music will be experienced, written about and theorised. This special edition of Popular Music History is seeking quick-response contributions of up to 5000 words that explore what COVID will mean for how we write about, research, collect and exhibit popular music’s past. Potential topics include, but are not limited to:

• Historicising COVID: how the dramatic break caused by COVID has given ways of engaging with music that were taken for granted only months ago a sense of ‘pastness’ and what this means for how we write about them
• The effect of lockdowns and reduced population mobility on institutions such as museums that exhibit or collect music-related materials
• Changing online practices of documentation of music scenes by participants
• Methods of documentation of the many online activities that artists have turned to as live gigs have become difficult or impossible, and how a historical understandings of ephemerality and liveness may be affected by new modes of performance necessitated by COVID

*CFP* "COVID-19, MUSIC AND THE ASIA-PACIFIC", SPECIAL 'RIFFS' ISSUE, PERFECT BEAT

Perfect Beat journal invites contributions to a special edition of short-form ‘Riff’ articles, typically 2000 words, to document the state of music research in the Asia-Pacific region during the COVID-19 pandemic. A Riff is a blind peer-reviewed article that is flexible in format, allowing for a range of novel and creative approaches to scholarly writing, as well as prompt responses to pertinent issues.

Previous Riffs in Perfect Beat have been interviews with musicians or industry figures, critical reflections of an author’s experiences, comparative reviews of musical works, and co/multi-authored exchanges. 

Our special issue expands this criteria to include other creative approaches, such as photographic essays, personal narratives, position statements, industry summaries, and/or post-pandemic solutions. 

Proposals for other creative scholarly approaches are welcomed.

*CFP* LLAMADA A PROPUESTAS, JORNADAS SOBRE MÚSICA KANTATZEN DUTEN HERRIAK

Que la música no pare, incluso en tiempos de pandemia. Con ese objetivo, este año también celebraremos las jornadas sobre música Kantatzen Duten Herriak (Los pueblos que cantan) en su cuarta edición. Será en el campus de Bizkaia de la Universidad del País Vasco (UPV/EHU), los días 10 y 11 de diciembre, y en un formato mixto, presencial y virtual.

Las jornadas abordan el estudio social de la música desde las diferentes disciplinas académicas. Pero también desde la experiencia y experimentación, por lo que así mismo recibimos propuestas musicales. Coincidiendo con las jornadas, además, la revista de investigación en arte AusArt dedicará una edición a trabajos de investigación y reflexiones en torno a las músicas urbanas.

La recepción de propuestas para las jornadas, tanto de comunicaciones académicas como de propuestas musicales o experimentales, está abierta hasta el 11 de noviembre. Envíalas, indicando el formato preferido (presencial u online) a kdh.the@ehu.eus