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

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

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

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.

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”

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’

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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Popular Music Education in Wales: Time to Move Forward

Immersed in the City Festival

Popular Music Education in Wales: Time to Move Forward

Tramshed Tech, Cardiff

January 30th 2020 (9.30-4.30)

Wales has a unique landscape culturally, politically, linguistically and of course musically. Like other Small Nations, the country has a distinct set of challenges in order to ensure it exploits the full potential of music education. In terms of popular music education, this broader landscape is/has been informed to some degree via initiatives funded by Welsh Government, the Arts Council and local councils, with partners such as the PRS Foundation and BBC Wales, all of which are intended, at least in part, to ‘educate’ stakeholders within the Welsh Music Industry – audiences and musicians alike. Most importantly, although these initiatives are positioned outside ‘mainstream’ education, they can be regarded as existing in tandem with debates concerning the place of popular music within the curriculum, which have been part of recent discussions in the Senedd. Featuring a range of expert speakers, this symposium will examine these debates, outlining case studies of good practice and ways in which the Welsh education system can more appropriately include popular music within its remit. To book a place and find out further details, click here, then click on ‘Symposium’. The event is part of the Immersed in the City Festival, which is headlined by Richard Ashcroft. The £5 includes lunch, with all proceeds going to Teenage Cancer Trust.

Sonic Scope: New Student Journal

SONIC SCOPE: NEW APPROACHES TO AUDIOVISUAL CULTURE
An e-journal for student voices to challenge, energise and diversify engagement with audiovisual media


Sonic Scope invites fresh, intrepid and dynamic student voices to re-imagine and revise critical, interdisciplinary approaches to audiovisual media. Today’s accelerated media landscape offers an unprecedented range of audiovisual experiences, from dynamically reactive video games and ultra HD sports events, to live-streamed political rallies and YouTube vlogs. Within this expanding landscape, the relationship of music and sound to image has undergone radical cultural and aesthetic upheaval. Sonic Scope intervenes in this shifting media terrain by engaging with audiovisual events as they happen. At the same time, it uses contemporary debates to revitalise discourse on traditional audiovisual forms, such as film, opera, theatre, the sounding visual arts and intermedial music.

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cfp: Music and the Spanish Civil War

Call for Papers

Music and the Spanish Civil War

8 – 10 October 2020

Humboldt University, Berlin

Convened by Diego Alonso (Postdoctoral Fellow, Humboldt University, Berlin) in collaboration with the International Hanns Eisler Society, Berlin. The conference is supported by the Deutsche Forschungsgemeinschaft.

Keynote speakers:

Michael Christoforidis & Elizabeth Kertesz (U. of Melbourne, Australia)

Gemma Pérez Zalduondo (U. of Granada, Spain)

Until recently, the Spanish Civil War (1936–1939) was frequently considered a time of paralysis, a parenthesis between the rich musical life of early 20th-century Spain and the new cultural and musical landscape of post-war Spain under Franco’s dictatorship. Accordingly, we still lack a thorough account of the role played by music and music criticism in this crucial period of Spain’s recent history. Similarly, the international impact of the Civil War on music has been explored only sporadically. These studies have focused primarily on a few musicians and a small selection of works, rather than more fully examining the range of activities, productions and debates involving music in and beyond Spain.

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