cfp: Progressive Rock and Metal: Towards a Contemporary Understanding

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Call for Papers
Progressive Rock and Metal: Towards a Contemporary Understanding
The 4th Biennial International Conference of the Progect Network for the Study of Progressive Rock

Hosted by Lori Burns at the University of Ottawa, May 20-22, 2020 (Ottawa, Canada)

CFP Deadline: September 15, 2019

Progressive Rock and Metal: Towards a Contemporary Understanding aims to explore the past and present contexts of the genres of progressive rock and metal. With its origins in the psychedelic counterculture and freeform rock radio (a format featuring long-playing records) in the late 1960s, progressive rock of the 1970s was characterized by formal complexity, dynamic variety, instrumental experimentation, and the influence of classical and jazz music. While progressive rock flourished in the 1970s with bands such as Pink Floyd, Genesis, and Rush, the 1980s and 1990s saw the rise of progressive metal as a major development within the metal scene. Bands such as Dream Theater, Tool, and Meshuggah presented a new style of metal that embraced many of the values of progressive rock (e.g. harmonic, rhythmic, and formal complexity, instrumental virtuosity, and concept-driven albums) and ventured into new and innovative musical territories such as dense chromaticism and polyrhythmic structures. Since 2000, progressive metal has thrived with artists such as Pain of Salvation, Symphony X, and Devin Townsend. At the same time, metal bands such as Opeth, The Gathering, and Anathema have shifted away from metal subgenres towards progressive rock. Artists such as Porcupine Tree, Riverside, and The Pineapple Thief have reprised 70s progressive rock aesthetics while also exploring progressive metal and alternative rock stylings. Progressive bands have also explored genre intersections, resulting in a diversity of styles and crossovers. For instance, the progressive aesthetics of the 1970s have been revitalized in “new-prog,” a genre which blends contemporary punk stylings with progressive rock, as exemplified by bands such as The Mars Volta, Coheed & Cambria, and Circa Survive. The progressive bands of the new millennium are thus influenced by a range of genres, including progressive rock and metal, post-hardcore, electronica, industrial, alternative rock, jazz-rock, experimental rock, and post-rock. The genre fusions and stylistic eclecticism of the past twenty years have led to a profusion of progressive rock and metal styles, and progressive features have surfaced in other music genres such as alternative rock and indie rock, as exemplified by bands such as American Football, Minus the Bear, and The Dear Hunter. With this musical corpus, artists engage with a range of musical and worldbuilding strategies. In the 70s, progressive rock advanced the concept album and intermedia forms with works such as Genesis’s The Lamb Lies Down on Broadway Tour (1974) or Pink Floyd’s The Wall (1979). Contemporary progressive bands have continued and furthered the transmedia aspects of musical expression through elaborate concept-based recordings, music videos, films, print materials, and other media forms (e.g. Steven Wilson’s Hand Cannot Erase (2015) or Coheed and Cambria’s Amory Wars series (2002-present)). Much scholarly work is needed to explore the musical expression, structural elements, production values, worldbuilding strategies, critical and fan reception, and other discursive aspects of the genre.
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cfp: “New Perspectives in Popular Music Research”

Call for Papers:

“New Perspectives in Popular Music Research”

Alumni Symposium: University of Agder, Kristiansand, Norway, 5–6 December 2019

An alumni two-day symposium on new perspectives in popular music will be held by the Department of Popular Music, Faculty of Fine Arts, University of Agder. This marks the tenth anniversary of our PhD programme in popular music performance, and provides an opportunity to showcase work by former graduates, current PhD candidates, and scholars associated with music research within the broad field of popular music studies. A keynote address by professor Keith Negus will frame and contextualize the event. It is also envisaged that contributors will have the opportunity to have their papers published through a channel supported by the department.

Proposals for 20-minute presentations consisting of 200 words and a brief biographical note (stating your qualifications and institutional affiliations) should be received by 30 August 2019 and addressed to: michael.rauhut@uia.no

Organizing committee:
Prof. Tor Dybo
Prof. Stan Hawkins
Dr. Daniel Nordgård
Prof. Michael Rauhut

Practical information:
The symposium is free of charge and refreshments will be included.
The venue is University of Agder in Kristiansand, Norway: https://www.uia.no/en
The University has special rates with various hotels in Kristiansand.

cfp: Diva: Hip-Hop, Feminism, Fierceness

CFP: Diva: Hip-Hop, Feminism, Fierceness
https://call-for-papers.sas.upenn.edu/cfp/2019/05/20/diva-hip-hop-feminism-fierceness

The shift from the margins to the mainstream has occurred simultaneously, over the last few decades, for two groups that now jointly exert a central influence over contemporary culture and politics: female r’n’b and hip-hop artists, and feminist thinkers and activists. The coming together of these two groups and sensibilities has redefined contemporary popular music (in all senses of musics of black origin), and wider culture and politics, in the West – from the banlieues to the White House, from Black Lives Matter to #MeToo, from Betty Davis to Neneh Cherry, TLC to Aaliyah, Alicia Keys to Iggy Azalea, Beyonce to Ariana Grande, and all points in between.
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cfp: Rhythm in Music since 1900

Rhythm in Music since 1900
17-18 November, 2019
University of Colorado Boulder

Call for presentations

Submission deadline: 1 June 2019

Keynote (lecture-recital): Pierre Laurent-Aimard, pianist
Invited speakers (and projected topics):
• Kyle Adams on rhythm in hip-hop
• Brian Alegant on pedagogy of rhythm in recent repertories
• Jeanne Bamberger on action and symbolic description
• John Roeder on post-tonal canons
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cfp: New Zealand Musicological Society 2019 Annual Conference

CFP: New Zealand Musicological Society 2019 Annual Conference, 29 Nov – 1 Dec 2019, Auckland, NZ

CALL FOR PAPERS
2019 Annual Meeting of the New Zealand Musicological Society: ‘Musical Intersections’

29 November to 1 December, 2019
University of Auckland, New Zealand

Deadline for proposals is 1 August 2019
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cfp: “Our music, our world: wind bands and local social life”

Reminder: “Our music, our world: wind bands and local social life”

Deadline for submissions: May 30th, 2019

More info below (https://anossamusica.web.ua.pt/conferencia.php)

Our music, our world: wind bands and local social life

International conference
October 10th-12th, 2019

Hosted and organized by the University of Aveiro and INET-md (Portugal) and co-organized by the International Society for the Promotion and Research of Wind Music (IGEB)

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cfp: Sonic Futures

Sonic Futures:
Performing Identity in the ‘Global’ City
(25 April at London College of Communication, Elephant and Castle, London)

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. Primarily, this project aimed to instigate critical thinking and reflections on cultural practices and genre through performance in general and Hip Hop music and culture in particular. Gardening is connected to questions of psycho-physical wellbeing, community building and sustainability in the global city. Overall, Hip Hop Critical Pedagogies provided a productive template that helped combine all these different aspects.Considering the nature and the objectives of these activities, the students who participated in the programme decided to actively work towards an event that could reflect on the critical questions raised during the workshops.
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cfp: Hip-Hop in the Golden Age (Indiana University, February 16-17)

In honor of black history month, and in celebration of the 30th anniversary of De La Soul’s groundbreaking album 3 Feet High and Rising, Indiana University’s Jacobs School of Music presents the interdisciplinary conference “Hip-Hop in the Golden Age,” to be held on February 16-17, 2019. Our keynote speaker will be Prince Paul (Paul Huston) of De La Soul.
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