Cultural Appropriation in the Age of Social Media

Call for papers
Cultural Appropriation in the Age of Social Media
African Studies Association UK’s Biennial Conference (ASAUK)
University of Sussex
9-11 September 2014

In recent years, social media have played a significant role in catapulting relatively obscure artists or cultural phenomena to international fame, seemingly overnight. The promise of Web 2.0 is that anyone with access to the Internet can find audiences and markets. The spontaneous uptake of memes on social media platforms seems to prove this. Likewise, we have seen South African bands, such as Die Antwoord, rise to fame via social media. Continue reading

Race & Place in Hip-Hop Beyond the US

Call for papers
Race & Place in Hip-Hop Beyond the US
African Studies Association UK’s Biennial Conference (ASAUK)
University of Sussex
9-11 September 2014

Hip-hop’s appeal beyond the US has been well documented by recent scholarship and documentaries. Despite the global uptake of hip-hop by a range of musicians, dancers and visual artists, mainstream media tend to focus upon commercial hip-hop from the US almost exclusively. Continue reading

Metal and Marginalisation

Call for papers
Metal and Marginalisation: Gender, Race, Class and Other Implications for Hard Rock and Metal‏
Centre for Women’s Studies and the International Society of Metal Music Scholars
University of York, UK
11 April 2014

Since the rising dawn of metallectualism, heavy metal scholars have acknowledged metal’s capacity to creatively explore forms of individualism, alterity and otherness. Further, metal frequently casts itself as a marginalised group in mainstream society, with fans and musicians often revelling in their outsider status which is reinforced by references to non-conforming traits (Satanism, for example). Continue reading

Sonic Signatures Symposium

Sonic Signatures Symposium
9–11 April 2014
Deadline 1 November 2013

Sonic Signatures Symposium for PhD students and postdoctoral researchers. Registration is free (subject to acceptance of application).

The Association for the Study of the Art of Record Production (ASARP) in collaboration with the European Sound Studies Association (ESSA) is pleased to announce the launch of its annual symposium series, the first of which explores Sonic Signatures. This is a unique opportunity to work with top international academics and recording industry professionals to develop the leading edge of scholarship in this crucial aspect of the analysis of recorded popular music. Over three intensive days you will workshop your own research topic in the context of some of the latest analytical approaches while at the same time being grounded in the practicalities of current creative practice. Continue reading

IASPM UK and Ireland 2014 Conference

Call for papers
IASPM UK and Ireland Biennial Conference
Worlds of Popular Music
University College, Cork
11-14 September 2014

Popular music creates worlds around its listeners, temporary, often intimate, and feelingful environments within which the act of listening occurs. It meanwhile plays significant roles in the global flows of capitalism, politics, tourism and migration, and inflects the virtual spaces opened up online by digital technology. Continue reading

35th International Conference on the Fantastic in the Arts: Empire

Call for papers
35th International Conference on the Fantastic in the Arts
19-23 March 2014
Marriott Orlando Airport Hotel

The ICFA welcomes papers on any aspect of the fantastic – broadly defined as including fantasy, science fiction, weird fiction, horror, gothic, and fairy tales – in Literature, Drama, Film, Music, Video Games and Comics. The Visual & Performing Arts and Audiences (VPAA) Division accepts papers on:

– visual arts such as comic books, paintings, architecture, sculpture, photographs and illustrations;
– the performing arts, including (film, TV, game, pop/rock) music, dance and theater;
– games, including fanfic, fan artwork and cosplay;
– transformative texts, both fan and professional, including mashups and viral marketing;
– and audience/reception studies concerning audiences for any medium or genre of the fantastic. Continue reading

International Doctoral Workshop in Ethnomusicology

Sixth International Doctoral Workshop in Ethnomusicology
25–29 June 2014

The Center for World Music at the University of Hildesheim and the Hanover University of Music, Drama and Media are pleased to announce the sixth annual workshop for PhD candidates in ethnomusicology. Through paper presentations, discussions and working groups, the workshop offers a unique environment for 16 doctoral students to engage in international dialogue and exchange, and expand critical debate on recent ethnomusicological research. The workshop will be directed by Prof. Dr. Philip V. Bohlman (Chicago/Hanover), Prof. Dr. Raimund Vogels (Hildesheim/Hanover), and Dr. Thomas R. Hilder (Hildesheim). Continue reading

EMP Pop Conference 2014

Call for papers
EMP Pop Conference
24-27 April 2014, Seattle, Washington

We turn to music to put the world in motion. Music on mobile phones, music over the airways, communication by talking drums: these sounds have accompanied the voluntary and involuntary movement of people, alleviated work and pulsated leisure, animated borderlands and virtual spaces with patterns that root and are made material. As rites of charivari and Pink Floyd songs demonstrate, when music stops conveying mobility we bang on pots and walls. Continue reading

Real Country?

Call for papers
Real Country? Geographic, Cultural and Stylistic Challenges to the Country Music Genre
International Symposium
13-14 November 2013
Strasbourg, France

In 2006, an article in the Observer Music Monthly stated, “Country is often seen as the whitest, most segregated of all styles: the redneck soundtrack of the racist South”. First marketed as “old time,” then as “hillbilly music” by northeastern music executives in the 1920s and 1930s country music has been branded with the same stereotypes as its region of origin. Perceived as conventional, vulgar and conservative, it has been charged with wallowing in easy patriotism and mawkish sentimentality, based on a homesickness for a lost agrarian past which at times slips into an unquestioning fondness for pre-Civil War Dixie. Continue reading