*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* "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* "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 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* "MUSIC | VIDEO | SPACES", CONFERENCE

Music | Video | Spaces Conference, 

November 6-7, 2020 

University of Zurich (Department of Social Anthropology and Cultural Studies)

The production and representation of space in film and (pop-)music has received increasing scholarly attention as of late. However, a surprising blank space appears at the most obvious intersection of these two fields of study: the music video. This conference jumps off from the observation that since their inception, music videos have been highly prolific media of spatial imagination and production.

From lovestruck skating middle-class teenagers in Californian suburbs in Air’s “All I Need” to cartographies of North-American small town childhoods in Men I Trust’s sentimental Super 8 driven video for “Tailwhip;” from attempts to escape similar spaces and accompanying mentalities in Tocotronic’s “Hey Du” to nostalgically rendered images of countercultural nature in Kurt Vile’s “One Trick Ponies;” from the folkloristic imaginations of a Morris dancing British village in Stealing Sheep’s “Apparation” to the ironic, touristic gaze on highly mediatized Icelandic wilderness in Mourn’s “Fun at the Geysers;” from the hypervertical urbanism of Forest Swords’ “Crow” to the Google Street View-inspired white middle class gaze on an African-American neighbourhood in Vince Staple’s “Fun;” from hipsterish mid-century architecture connoisseurship in Delmoro’s “Dove Siamo Finito” to the explorations of contemporary city-scapes through the Mancunian public transport system in Equiknoxx’s “Manchester,” music videos conceive, depict and perform a variety of imaginary, communicative, social and natural spaces.

*CFP* CALL FOR SUBMISSIONS, VOLUME 23, ETHNOMUSICOLOGY REVIEW JOURNAL

Ethnomusicology Review is now accepting submissions for Volume 23, scheduled for publication in Fall 2020. 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.

Articles are well-developed essays of 4000-8000 words on topics related to musical practice, and will be subject to an extensive peer-review process prior to publication. These may be written from a variety of disciplinary perspectives including ethnomusicology, musicology, anthropology, sociology and cultural studies. Essays in languages other than English will be considered for publication but are encouraged to include an abstract written in English.

Our online format allows authors to rethink how they use media to present their argument and data, moving beyond the constraints of print journals. We encourage submissions that make use of video, audio, color photographs, and interactive media.

*CFP* "AUDIOVISUAL DH: CHALLENGES AND POSSIBILITIES", SPECIAL ISSUE, DIGITAL HUMANITIES QUARTERLY

The Digital Humanities Quarterly Special Issue on AudioVisual DH invites contributions that address digital humanities approaches to audio and/or visual data. DH scholars engaged in fields such as art history, history, film studies, media studies, musicology, oral history, and sound studies have long understood the historical and contemporary centrality of audio and/or visual (AV) to knowledge production. The issue will demonstrate how inquiry into AV materials is shaping DH and how DH is reshaping AV scholarship. 

It is guided by three questions:

• What are digital and computational approaches to sound, images, and time-based media? 
• How do these methods and approaches produce new knowledge and shift scholarship in a particular scholarly domain? 
• What are the challenges and possible futures for AV in DH?

*CFP* “GENDER AND CREATIVITY IN MUSIC WORLDS”, MUSICA FEMINA INTERNATIONAL 2020 SYMPOSIUM

Música Femina International Symposium

Gender and creativity in music worlds

8-9 de enero de 2020

Budapest, Hungría

Our invited keynote speaker is Ann Werner, Associate Professor, Gender Studies, Södertörn University.

As part of its Hungarian event series, Música Femina International is organizing a symposium and workshop in Budapest on 8-9 January 2020. The initiative, involving Austria, Hungary, Slovenia and Germany, is primarily aimed at creating the conditions for more balanced relations of gender in the various spheres and institutions of music production.

The Budapest symposium will provide a public forum for researchers and music professionals — including musicians, educators, critics and industry personnel — interested in the causes and modalities of gender inequalities and gendered power dynamics present in the multiple genres and worlds of music. The symposium is co-supported by the Creative Europe Programme of the European Union.

*CFP* “THE SOUND OF ANIMATION”, POST FOR THE ANIMATION STUDIES 2.0 BLOG

Since when, with Steamboat Willie (1928, by Ub Iwerks), the Walt Disney Studios introduced audiences to animation with synchronized sound, the employment of and the functions fulfilled by sound and music within animated films have evolved greatly and the role of the sound editor has grown significantly. Our September theme wishes to map the breadth and variety of uses that can be and have been done of sound and music within animated films, with particular attention to voice. Indeed, while we invite posts exploring the aural dimension of animation from any perspective, particularly welcome are those dealing with the vocal component of animated films.

Topics may include, but are not limited to:

• The approach to sound of a specific animation studio (e.g., Aardman Animation, Disney, DreamWorks, Warner Brothers, Studio Ghibli, and so on);
• The historical developments of sound in animated works;

*CFP* “SONIC FUTURES: PERFORMING IDENTITY IN THE 'GLOBAL' CITY”, LONDON COLLEGE OF COMMUNICATION

Sonic Futures: Performing Identity in the ‘Global’ City

April 25

London College of Communication

The idea for this one-day conference stems from a series of workshops, Sonic Futures: Identity and Sustainability through Music and Performance, supported by London College of Communication(Teaching and Learning Fund) in collaboration with May Project Gardens (Hip Hop Garden). Adopting a mixed-method approach, this pilot project sought to engage students from LCC in a series of workshops that explored the connections between social issues (e.g. social cohesion, participatory and sustainable practices and active citizenry, to name a few), politics and identity formations at the intersections of class, ethnicity, race, gender and the environment. 

*CFP* "MUSIC FESTIVALS", VOL 3 ISSUE 2, RIFFS

The fiesta was really started. It kept up day and night for seven days. The dancing kept up, the drinking kept up, the noise went on. The things that happened could only have happened during a fiesta. Everything became quite unreal finally and it seemed as though nothing could have any consequences. It seemed out of place to think of consequences during the fiesta. All during the fiesta you had the feeling, even when it was quiet, that you had to shout any remark to make it heard. It was the same feeling about any action. It was a fiesta and it went on for seven days.

The Sun Also Rises, Ernest Hemingway.

We invite you to consider music festivals through this quote from The Sun Also Rises and in relation to notions of liminality, of repetition, the real and the unreal, festival and noise, time and perception.

*CFP* "MUSICAL DISRUPTIONS IN VIDEO GAMES", SPECIAL ISSUE, THE SOUNDTRACK JOURNAL

While music in many video games is often designed to seamlessly embed into the player’s experience, thus contributing to immersion, in some games music functions instead as a disruption, interrupting the gameplay experience.

For example, in rhythm games such as Guitar Hero, these disruptions function as cues to the player about their progress through a level game; a failed level means that the audio is cut (literally disrupted).  But in subtler cases, musical disruptions may function as anachronisms, or as dramatic contrast meant to emotionally engage the player. For example, in Assassin’s Creed, electronically-distorted music and sounds are a reminder to the player that their character is a modern-day victim transported virtually to the past through memory.

In Battlefield 1’s ‘Flight of the Pigeon’, a shift of orchestration from percussion-heavy, low-register brass and strings to a higher-register piano is a dramatic contrast that highlights the shift from human to bird perspective, disengaging the player from the heavy emotional impact of battle to a spacious, uplifting moment of freedom.

*CFP* "CRITICAL PERSPECTIVES ON LYRICAL MUSIC OF THE 20TH AND 21ST CENTURIES", CHAPTER PROPOSALS

Chapter proposals are requested for a proposed collection of critical essays on lyrical artists working across musical genres in the 20th and 21st centuries.

2017 saw the reception of the Nobel Prize in Literature by the American singer and songwriter Bob Dylan. The news of the Swedish Academy’s decision immediately polarized the public: on one end were the ‘Dylanphiles’ who concurred with the Academy’s ruling that the songwriter had “created new poetic expressions within the great American song tradition”; on the other were many who did not deny the lyrical merit of Dylan’s work, but who could not find sufficient justification for his reception of the Nobel Prize when many others working in literature remain unrecognized. Hip-hop artist Kendrick Lamar similarly made waves when he received the Pulitzer Prize in Music—an award that had previously been given exclusively to classical and jazz musicians—for his album DAMN. the following year.

It will probably remain a controversial move by the Swedish Academy to award Dylan the Nobel Prize, and it is doubtful that another musician like him shall receive it again any time soon, but perhaps it is time to think seriously about, as well as encourage and produce, critical work on artists like Dylan and Lamar. Universities around the world already offer courses on artists like Beyoncé, Radiohead, and Bob Marley, as well as genres like Glam Rock and Electronic Dance Music. Serious analysis of popular musical production in the 21st century is occurring across the United States and abroad; but is there a place for serious critical work like this to be shared outside of the classroom?

*CFP* "POPULAR MUSIC EDUCATION IN WALES", COLLECTION OF ESSAYS JOURNAL OF POPULAR MUSIC EDUCATION

As noted by the likes of Hobsbawm and Ranger (1992), Ellis (2000),Hill (2007) and Carr (2010), Wales has a unique landscape culturally, politically, linguistically and of course musically. Like other Small Nations, the country, which was devolved in 1998, has a distinct set of challenges in order to ensure it exploits the full potential of Creative Industries such as music. In terms of popular music education, this broader landscape is/has been informed via initiatives funded by Welsh Government (The Welsh Music Foundation), the Arts Council (Forté, the Music Industry Development Fund, Horizons 12, Community Music Wales), Wales Arts International (the International Development Fund) and local councils. Cardiff Council for example are working with Sound Diplomacy, who are developing a strategy to make Cardiff the UKs first ‘Music City’, while Rhonnda Cynon Taff co-fund the Forté project. All of these initiatives, some of which are co -funded by the likes of the PRS Foundation, The British Council and the BBC, are intended at least in part to ‘educate’ stakeholders within the Welsh Music Industry, from grass roots to international engagement.

*CFP* "DE CÓMO LA COPLA CANTA EL DESEO DE LA MUJER", X CONGRESO DE ANÁLISIS TEXTUAL TRAMA Y FONDO

Parte notable y notablemente viva de la cultura popular española, la copla ha sido durante décadas, salvo honrosas excepciones, injustamente ignorada por el mundo intelectual y académico, víctima de caducos prejuicios ideológicos que resulta obligado remover de una vez por todas.

Creemos, por eso, llegada la hora de escucharla, de pensarla, de tomarla en serio. De pensar su lugar en la vida cotidiana de quienes la han cantado, de quienes la han escuchado y de quienes, tarareándola, la han convertido en la música de fondo de sus vidas. Los antropólogos, los sociólogos y los psicólogos sociales pueden sentirse concernidos en ello.

Y porque, nacida antes de la guerra civil, siguió presente en la posguerra tanto en el interior como en el exilio y se hizo escuchar igualmente durante la transición, los historiadores pueden también sentirse interesados en ella. No menos los filósofos y los psicoanalistas, dada la intensidad con la que en la copla se escucha el deseo de la mujer en tantas de sus modulaciones. Y ello incluso en tiempos de los que se decía que a ellas les estaba prohibido nombrar su deseo.