IPEM – Institute for Psychoacoustics and Electronic Music
Sysmus09 is a conference of students of Systematic Musicology with focus on the ongoing research developed by PhD and advanced Master students from the SysMus discipline and other disciplines engaged in music research. It is a privileged forum to disseminate new research initiatives and create international networks of research. In this second edition we will discuss and explore the potential and problems of the interdisciplinary tasks that challenges all spheres of SysMus and most part of the research in music. Continue reading
The Society for Ethnomusicology
Call for Proposals
The Society for Ethnomusicology will hold its 54th annual meeting on November 19-22, 2009, in Mexico City, hosted by Centro Nacional de Investigación, Documentación e Información Musical Carlos Chavez del Instituto Nacional de los Artes; Escuela Nacional de Música, Universidad Autónoma de México; Escuela Superior de Música, Instituto Nacional de los Artes; Museo Nacional de Culturas Populares de la Dirección General de Culturas Populares; Escuela Nacional de Conservación, Restauración y Museografía of the Instituto Nacional de Antropología; Comisión de los Pueblos Indios; Fonoteca del Centro Nacional de las Artes of the Consejo Nacional para la Cultura y las Artes; and the Secretaría de Cultura del Departamento del Distrito Federal.
IASPM-US 2009 Conference
University of California, San Diego
May 29-31, 2009
San Diego, CA
The deadline for submission of abstracts has been extended to December 22
Borders, boundaries, and frontiers have intersected and interacted with popular music in differing ways, times, and places, and oftentimes these relationships have been particularly resonant in diasporic communities. Taking an open-ended approach to borders and boundaries as types of thresholds and to frontiers as kinds of liminal zones, this conference seeks to explore their significance in popular music in terms of the aesthetics of genre and style, the politics of personal and social identity, and the dynamics of time and place. Potential issues for discussion include technology, media, industry gatekeepers, changing business practices, gender, migration, ethnicity, nationality, language, and changing definitions of music that involve region and era. The program committee of the 2009 conference of IASPM-US invites proposals for papers, panels, or roundtables relating to these ideas and, of course, welcomes proposals on any aspect of popular music. Continue reading
An Interdisciplinary Conference on Music & Copyright
University of Salford, UK February 18-19, 2009
This conference proposes to investigate the current U.S. and U.K. statutes that regulate the protection of sound recordings. It will inquire to what degree those laws secure the rights of both the owners and creators of the music contained on these products as well as determine their impact upon those who consume and comment upon this material. The pending efforts to universalize an extended term of copyright underscore the potential for even more draconian controls upon recorded music. Will the public, creators, and commentators continue to be able to acquire, appreciate and appropriate musical materials? Can some balance be found between the need for profit and the pursuit of pleasure? Is it possible in a civil society for music effectively to be silenced through constraints over its recorded legacy?
The Ministry of Culture of the Dominican Republic, the Eduardo León Jimenes Cultural Center (Centro León) and the Institute of Caribbean Studies (INEC) announce the International Conference “The Bolero in Caribbean Culture and Its Worldwide Circulation,” to be celebrated April 17, 18, and 19, 2009, in the facilities of the Centro León, in Santiago de los Caballeros, Dominican Republic.
This is the third edition of the conference Music, Identity, and Culture in the Caribbean (MIC), which has been declared an “Event of High Cultural Interest” by the Ministry of Culture of the Dominican Republic. Continue reading
Call for Papers
International Association for the Study of Popular Music (IASPM) Canada
Dalhousie University, Halifax
June 12-14, 2009
IASPM-CA is pleased to call for proposals, panels and roundtables for this special interdisciplinary conference on the theme of “Peripheries and Centres.” We also welcome submissions on any aspect of popular music.
We are aiming for as broad a representation of disciplinary and interdisciplinary perspectives as possible and hope for a conference that will provide perspectives on and (re)evaluations of the periphery/centre relationship as it relates to popular music. What changes are affecting the concepts of centre and periphery and related notions like mainstream and fringe, heartland and hinterland, privileged and marginal, mass culture and subculture? How should they be rethought? Is there still a “centre” (generically, geographically, economically, ideologically) in popular music in the 21st century? Continue reading
2009 Pop Conference at EMP|SFM
April 16-19, 2009, Seattle, WA
Call for Proposals
Though Prince seems to have bowdlerized “D.M.S.R.” in his concerts since becoming a Jehovah’s Witness, the relationship of pop music to sex, love, physical movement, and the body rarely stays hidden very long. For this year’s Pop Conference we invite presentations, addressing any period or style of music, that bring erotic and sensual issues to the forefront and connect them to political and aesthetic concerns. Rock and roll has long congratulated itself on riding the Big Beat over all sanctimonious opposition, but can we take our sense of these archetypal struggles somewhere beyond, say, Footloose? Continue reading
An international conference
Venue: School of Oriental and African Studies, University of London
Date: 10-11 July, 2009
Over the last twenty years or so there has been much interest in music and diaspora, that is in migrating music. No doubt this interest is historically grounded. Movement of peoples and their music across the world has been occurring to an unprecedented extent and in novel ways.
Researchers in a variety of disciplines have then responded by studying musical flows and the formation of hybrid styles, but also the way in which apparently similar music can mean quite different things in different contexts. We might sum up the overarching framework as one in which researchers focus on the (largely benign) diversification and pluralisation of musical meaning and experience.
We do not seek to overturn this framework. Quite simply, it taps an important part of the reality of migrating music in the contemporary period. But we do want to bring up a number of problems and issues, and call on colleagues to think about what these might mean. Continue reading
Call for Papers
Society for Music Analysis Autumn Study Day
University of Liverpool, School of Music
22 November 2008
For most listeners to music, sensuous affect is of primary, perhaps even singular, importance. Our responses to music in everyday situations, ranging from background ambience to pounding film scores to sources of studious contemplation, are mediated through music’s sculpting of sensual, physical, emotional and affective experiences.
Yet when it comes to analyzing the musically sensuous, music theory and analysis have proved stubbornly resistant to (and perhaps even fearful of) engaging with the musically sensuous, often retreating instead into ostensibly more cerebral studies of the musically syntactical. This one-day conference seeks to contribute to the process of redressing that imbalance, not least by acknowledging that separations of the sensuous and syntactical in music are, at best, artificial necessities for study and, at worst, utterly misleading. Continue reading
Call for Papers
Jazz Research Journal special issue
19 November 2008
Adelphi House, University of Salford
“History is his story – my story is a mystery” (Sun Ra)
Since the mid-1990s jazz scholars have challenged established jazz histories, using a range of critical methodologies to examine the constructed nature of existing narratives. More recently, studies have set out either to write new jazz histories or to expose the underlying ideologies of canon formation and a linear tradition found within the jazz mainstream.
This one day symposium will explore the theme of New Jazz Histories, using Alyn Shipton’s New History of Jazz (Continuum, 2007 [2nd edition]) as a starting point for discussion. Alyn Shipton will provide an introduction to the event, focusing on the problems of reconciling academic history, oral history and discographical concerns in one synoptic history. Subsequent papers may seek to use Shipton’s work as a starting point for discussion, exploring the nature of jazz history. The event aims to provide an interdisciplinary context for discussing and developing a deeper critical understanding of what jazz is.
The review committee welcomes papers that cover one or more of the following topics:
- Writing new jazz histories
- Tradition and lineage
- The origins of jazz
- Causality and teleological narration
- Historical revisionism
- Canonisation and cultural value
- The mythology of jazz
- Progress and modernity
- Forms of jazz historiography
- Jazz modernism, postmodernism and the avant garde
- Community and boundary
- Subverting dominant codes and conventions
Selected papers will feature as articles in a special issue of the Jazz Research Journal, to be published in 2009. Therefore, authors must ensure that submissions have not been previously published or being considered for publication elsewhere.
Abstracts of no more than 300 words should be submitted to Tony Whyton by 15 September 2008.
Review panel: Tony Whyton (University of Salford), Nicholas Gebhardt (University of Lancaster), Catherine Parsonage (Open University) and George McKay (University of Salford)