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Transmedia Directors

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Carol Vernallis, Holly Rogers and Lisa Perrott are happy to announce the second book in their Bloomsbury book series, New Approaches to Music, Sound and Media (https://www.bloomsbury.com/uk/series/new-approaches-to-sound-music-and-media/)

Transmedia Directors: Artistry, Industry and New Audiovisual Aesthetics, edited by Carol, Holly and Lisa, focuses on artist-practitioners who work across media, platforms and disciplines, including film, television, music video, commercials and the internet. Working in the age of media convergence, today’s em/impresarios project a distinctive style that points toward a new contemporary aesthetics. The media they engage with enrich their practices – through film and television (with its potential for world-building and sense of the past and future), music video (with its audiovisual aesthetics and rhythm), commercials (with their ability to project a message quickly) and the internet (with its refreshed concepts of audience and participation), to larger forms like restaurants and amusement parks (with their materiality alongside today’s digital aesthetics). These directors encourage us to reassess concepts of authorship, assemblage, transmedia, audiovisual aesthetics and world-building.

Providing a vital resource for scholars and practitioners, this collection weaves together insights about artist-practitioners’ collaborative processes as well as strategies for composition, representation, subversion and resistance. Directors and practitioners discussed include David Lynch, Barry Jenkins, Wes Anderson, Sofia Coppola, Michael Bay, David Fincher, Bong Joon-ho and Lars von Trier; musicians and music-video/film directors David Bowie, Floria Sigismondi, Jess Cope, Dave Meyers, Emil Nava and Sigur Rós; and Instagram and new media personality Jay Versace.

Other titles in the series:

Áine Mangaoang, Dangerous Mediations: Pop Music in a Philippine Prison Video

Forthcoming titles include:

Nicola Dibben, Biophilia

Cat Hope and Ryan Ross Smith, Animated Music Notation

Alex Jeffrey, Popular Music and Narrativity

Lutz Koepnick, Resonant Matter

Lisa Perrott, David Bowie in Music Video

Nick Prior, Assembling Virtual Idols

Carol Vernallis, Selmin Kara and Holly Rogers, CyberMedia

Nabeel Zuberi, Popular Music, Race and Media since 9/11

If you would like to submit a proposal to the series, please email us:

Cvernall@stanford.edu

h.rogers@gold.ac.uk

lisa.perrott@waikato.ac.nz

Popular Music History news

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We’re pleased to announce two new issues of Popular Music History:

11(3) General Issue

This issue has two articles on Rush, particularly apt given the recent death of Neil Peart. Just as importantly, tribute is paid to Dave Laing, and we thank Adam Behr and Martin Cloonan for their permission to reprint earlier takes on Dave’s career, and his qualities as a valued research comrade.

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cfp: KISMIF Conference in Porto 2020 + Summer School 2020

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We are organizing the fifth KISMIF Conference, happening in Porto, 8-11 July 2020. The conference will take place in The Faculty of Arts and Humanities of the University of Porto, Casa da Música and Rivoli Municipal Theatre of Porto, among others, for four days of multidisciplinary presentations and discussions about “DIY Cultures and Global Challenges”.

On July 7th Rivoli Municipal Theatre of Porto will also host the Summer School ‘Not Just Holidays in the Sun’ which will offer an opportunity for all interested persons, including those participating in the Conference, to attend workshops directed by specialists in their fields.

Please take some time to read and share the call for papers. You can also read them online and share the links.

Conference call for papers: https://www.kismifconference.com/call-conference/

Summer School call for papers: https://www.kismifconference.com/call-summer-school/

All the information here: https://www.kismifconference.com/

Conference announcement: Mediating Music, April 17-18, Indiana University

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Conference announcement: Mediating Music

Indiana University, Bloomington

April 17-18, 2020

The Platform Global Popular Music Team at Indiana University (Kyle Adams, director) is pleased to announce our Symposium, “Mediating Music,” to be held on the campus of Indiana University, Bloomington, April 17-18. Opening and closing keynote addresses will be given by Brian Eno (participating live by video stream) and Maureen Mahon (New York University).

Other lectures and performances will be given by:

  • Jace Clayton (DJ Rupture), musician, artist, and author of Uproot: Travels in 21st Century Music and Digital Culture
  • Damon Krukowski, drummer (Galaxie 500, Damon & Naomi) and author of Ways of Hearing and The New Analog
  • G YAMAZAWA, hip-hop artist, National Poetry Slam winner, cultural diplomat for the U.S. Department of State
  • Fredara Hadley, Professor of Ethnomusicology, The Juilliard School
  • Regina Bradley, Assistant Professor of English and African Diaspora Studies, Kennesaw State University
  • Shane Greene, Professor of Anthropology, Indiana University, and Olga Rodríguez-Ulloa, Assistant Professor of Spanish, Lafayette University

The event will also include talks by Indiana University graduate students Allison Martin, Jinny Park, and Zachary Zinser, as well as undergraduates Mark Foster, Jacob Jahiel, and Stuart Sones.

All talks on Saturday, April 18 will take place in The Big Tent, a circular array of projection screens and speakers designed to give participants a 360-degree audiovisual experience.

The symposium is free but ticketed. The website and registration link will be available shortly. For questions, please contact Kyle Adams (kyadams@indiana.edu) or Erin Kelley (eekelley@iu.edu), program manager. Further description follows:

The question of music’s place in a multiply-mediated world is inescapable today, whether we are talking about artistic or technological media. Focusing on “global popular music”—a rubric we interpret broadly—“Mediating Music” asks about music’s role in mediating extra-musical content—political resistance, for example, or stories told in words or images—and how music is mediated by other means—through video, through words, through devices and technologies. We are as interested in multi-media sound practices as in film documentaries on music, writing about music, or how music functions as a “soundtrack” for daily life. “Mediating Music” is the capstone event for 18 months collaborative research by a research team at Platform: a Research Laboratory in the Arts and Humanities. Platform is a multi-year research project generously funded by the Andrew W. Mellon Foundation and the Office of the Provost at Indiana University.  

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We hope to see you there!

Sincerely,

Kyle Adams

Associate Professor of Music Theory

Chair, Department of Music Theory

Jacobs School of Music

Indiana University

IASPM UK&I London Calling Conference DEADLINE EXTENDED TO 14th FEBRUARY 2020

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15th IASPM UK and Ireland Biennial Conference:

London Calling

London College of Music, University of West London

3rd – 5th September 2020

In 1992, Allan Moore hosted a popular music analysis conference at the Polytechnic of West London. 28 years later the IASPM conference comes to the same building – now the University of West London. As one of the key focal points of 20th and 21st century popular music practice, London has not only projected its musical voices all over the world but has also been a hub for incoming influences that have stimulated a rich and vast array of new musical cultures. The 2020 IASPM UK & Ireland conference seeks to use this amazing heritage to provoke discussion about this and many other subjects. In addition, we are aiming to continue the recent trend for weaving popular music practice and music business and management into the IASPM tapestry. And this practice-based specialism harks back to another key figure in the academic world of music, Christopher Small, who also taught in the same building until 1986 and who coined the term musicking.

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cfp: Music Production Education Conference 2020

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Music Production Education Conference 2020 – Reflecting the Future

Leeds Beckett University, Leeds, UK

Thursday 14th – Friday 15th May 2020

www.musicproductioneducation.co.uk

MPEC 2020 is the second conference for the study of Music Production & Technology pedagogy. MPEC seeks to provide a forum for the discussion and analysis of teaching and learning in music production & technology in Further and Higher Education. The conference offers a forum for lively debate and stimulating presentations that address some of the issues of contemporary music production education within the broader context of the arts sector, research and professional communities. 

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cfp: VII International Congress: Music and Audio-Visual Culture – MUCA.

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CALL FOR PAPERS

From 28-30 May 2020, the University of Murcia (Spain) will host the Seventh 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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German Music Information Centre publishes book in English on “Musical Life in Germany”

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With its rich cultural heritage and vibrant performance scene, Germany is a land of music. Millions of people sing in choirs or play an instrument; hundreds of theatres, orchestras, ensembles and bands ensure an offering of immense density. The new 620-page publication by the German Music Information Centre includes background details and data about music culture in Germany. “Musical Life in Germany” includes 22 articles by well-known authors from the spheres of academia, cultural policy and musical practice. Subjects range from music education and training to amateur and professional music-making and the music economy.

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cfp: SEM 2020 panel ‘Feminist and Critical Race Approaches to Analyzing “Culture” in Music Streaming Services’

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Panel Proposal for the Society for Ethnomusicology Annual Meeting

Ottawa, Canada October 22-25, 2020

Feminist and Critical Race Approaches to Analyzing the Emerging Role of ‘Culture’ in Music Streaming Services

Panel Organizer: Darci Sprengel, University of Oxford

In September 2018, Spotify launched its ‘Global Cultures Initiative’, which it insisted would make it a ‘leader’ in the field of audio streaming by moving the platform beyond its traditional focus on North American and European musics to ‘promote and advance culturally diverse music’ (Spotify Newsroom 2018). As Spotify expanded to other regions, however, it met pushback from local rivals. For example, Anghami (‘my tunes’ in Arabic), founded in Lebanon in 2012 and known as ‘the Spotify of the Middle East’, claims to meet better the needs of Arab listeners. It boasts alternative algorithmic technologies with unique abilities to combine international and local sounds in ways it asserts listeners in the Middle East and Arab diaspora want to hear, making Anghami’s distinctly local knowledge its ‘sonic brand’. These trends indicate that music streaming services differentiate themselves not through the music they provide, but through the techniques they employ to mediate between users and music catalogue (Goldschmitt and Seaver 2019).

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