Sound in Canada

Call for chapters
Sound in Canada: Environment, Technology, History
Deadline: 18 November 2013

For the past three decades, cultural studies has become especially attuned to sonic and auditory culture, resulting in the arrival of a new and exciting field known as “Sound Studies”. During this same period, music scholarship has expanded its own purview to include many of the same issues and research methodologies, particularly in approaching musical styles and practices that are not fully suited to more traditional modes of musicological inquiry. There is, however, no central text that offers the uniquely Canadian perspective on sound, despite the fact that Canadian cultural history is replete with studies and cultural production sensitive to the auditory environment. Chapter proposals are requested for such a text, which will provide an interdisciplinary cross-section of current research on Sound in Canada. Continue reading

Global Glam

Call for chapters
Global Glam: Style and Spectacle in Popular Music from the 1970s to the 2000s
Deadline: 1 November 2013

Contributions are invited for an edited book on style and spectacle in “glam” popular music performance from the 1970s to the present day. The editors are seeking chapters of about 7000 words on artists, bands, and movements, and covering a range of national, regional, and cultural contexts from around the globe. Continue reading

Subculture of Skateboarding‏

Call for chapters
Subculture of Skateboarding‏
Due date: 1 November 2013

In Skateboarding, Space and the City: Architecture and the Body, the first academic monograph on skateboarding, Iain Borden noted that “academic and external records of skateboarding are extremely limited… there have been few historical accounts of its internal practices and development, still less of its wider social meanings” (2001, p. 4). Since then, many more studies on skateboarding have emerged from areas as diverse as urban design, sociology of sport, medicine, geography and youth studies. Academic discussion reveals various and often contradictory understandings of skateboarding: it is a multi-million dollar industry, recreational activity, sport, children’s pursuit, fad, underground movement, criminal activity, form of transport, and an aesthetic practice. Considered ‘extreme’ by corporations, yet not by those involved in the subculture (e.g. Australian Skateboarding Magazine editorial April 2003), skateboarding has become more ‘respectable’ as it is increasingly mainstreamed, yet is still considered in terms of resistance (to capitalist social relations, spatial control, and commodification, for example). Continue reading

Cambridge Companion to the Singer-Songwriter‏

Call for chapters
Cambridge Companion to the Singer-Songwriter‏
Deadline for proposals: 1 September 2013

The singer-songwriter has been a source of creativity and emotion for centuries: from troubadours in the Middle Ages, to John Dowland’s songs of the Renaissance, nineteenth century Lieder, blues singers in the Deep South, to the multitude of figures in the twentieth-century popular music industry. Our intention for the proposed volume is to offer a new perspective on the singer-songwriter, broadly defined, by including chapters that adopt a variety of scholarly angles. Continue reading

The Arena Concert‏

Call for chapters
The Arena Concert: Music, Mediation and Mass Entertainment
Deadline for proposals: 23 July 2013

The idea of live popular music as mass entertainment is one that presents an arresting series of challenges and remains mostly unexplored in contemporary academic writing. And yet, it would seem, arena concerts are coming to constitute the commercial future of popular music, and popular music is being shaped by this phenomena. We ask: what, then, is this phenomena? And what then are the challenges that have blocked a critical engagement with this phenomena? Continue reading

Punk in the 21st-Century

Call for chapters
Punk in the 21st-Century
Editors: Alastair Gordon and Mike Dines

Alastair Gordon and Mike Dines are seeking contributions from the inter-disciplinary areas of cultural studies, musicology and social sciences, for an edited text on the global punk/DiY ‘scenes’ of the 2000s onwards; reflecting upon the notion of origins, music(s), identity, legacy, membership and circulation. Aiming to continue the work of George McKay – and most notably his DiY Culture: Party and Protest in Nineties Britain (1998) – this volume will attempt to traverse the global as a means of mapping the existence of punk/DiY post-2000. As such, this volume will adopt an essentially analytical perspective so as to raise questions initially over the dissemination of the scene and subsequently over its form, structure and cultural significance beyond the 1990s. Continue reading

Music in the Social and Behavioral Sciences: An Encyclopedia

Call for authors
Music in the Social and Behavioral Sciences: An Encyclopedia
Deadline: 28 June 2013

Music in the Social and Behavioral Sciences is the definitive reference resource that takes a broad interdisciplinary approach to the nexus between music and the social sciences. The encyclopedia fills a library market gap by looking at how music affects human beings and their interactions in the world. The interdisciplinary nature of the work provides a starting place for students to situate the status of music within the social sciences in fields like anthropology, communications, psychology, sociology, sports, political science, and economics as well as biology and the health sciences. This reference work contains approximately 450 articles in two large volumes, richly illustrated with photographs and video and audio clips in the online edition, which provide the sociological context for students to examine the importance of music in today’s society. The signed articles, with cross-references and Further Readings are accompanied by pedagogical elements, including the Reader’s Guide, Chronology of Music, Resource Guide, Glossary, and thorough Index. Continue reading

Beyond “No Future”: A German Punk Reader

Call for chapters
Beyond “No Future”: A German Punk Reader
Edited by Mirko Hall, Seth Howes, and Cyrus Shahan

Punk rock has had quite a decade. Exhibition catalogues, photographic retrospectives, CD box sets, and sold-out reunion tours attest to the central role punk continues to play in stories we tell about the ’70s and ’80s, about their politics, and about their culture. If punk comes from England, it has always been equally at home in Germany, where punk scenes, zine networks, and record labels appeared almost as quickly as they had in Britain and the United States. In Germany, as in Britain and the United States, new archives, museum exhibits, and discography projects have emerged which are devoted exclusively to punk and to thinking about what punk meant for its own historical moment and might still mean for ours. Continue reading

K-Pop Politics: Digital Mediation and Global Fandom‏

Call for chapters
K-Pop Politics: Digital Mediation and Global Fandom
Deadline for proposals: Friday 2 November 2012

The K-pop frenzy is anything but ordinary. On May 1 this year, some 300 French fans holding Korean national flags gathered in front of the Louvre Museum, calling for additional K-pop concerts to be held in Paris. Similar rallies ensued in London’s Trafalgar Square, Poland’s Warsaw, and Columbia’s Bolívar Square. Continue reading

Hip Hop in Canada and Canadian Hip Hop‏

Call for chapters
Hip Hop North of the 49th Parallel: Hip Hop in Canada and Canadian Hip Hop
Edited by Dr. Charity Marsh and Dr. Mark V. Campbell

Can we confidently assert that there is such a thing as a hip hop nation in Canada? If so, what might this ‘nation’ look like given on-going colonial/settler relations, the nature of overlapping African diasporas, the increasing celebrations of multiculturalism, changing immigration policies, the rise of urban reserves, the on-going threat of francophone separatism, and disparate geographic realities from coast to coast to coast? Or would it be more useful to articulate hip hop in Canada and Canadian hip hop within the framework of Benedict Anderson’s ‘imagined communities’ or through the lens of ‘diasporic sensibilities’ as recently suggested by Murray Forman? Is Rinaldo Walcott’s assertion of Canadian hip hop as subversive and insubordinate vis-a-vis the Canadian state a productive place to begin our critical inquiry? Continue reading