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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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.

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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cfp: IASPM Canada Annual Conference 2020 (deadline extended)

Big Sounds from Small Places

IASPM Canada Annual Conference 2020 Call For Papers

Cape Breton University: Sydney, Nova Scotia

12 – 14 June 2020

Submission Deadline10 January 2020

As we enter into a new decade it’s apt to question our place in the world. Almost sixty years ago, Marshall McLuhan notably coined the term Global Village to refer to the global spread of media content and consumption, and yet Canada still struggles with its position in the world as an imposing landmass with a relatively small population, and how that influences where and how its cultural texts are encountered. This conference seeks to address the concept of voice and sound as tied to space and place, in the broadest sense. In regards to popular music in Canada, we have established a strong identity, but one that is often defined in opposition to our more vocal neighbours to the South. As we continuously define and redefine Canadian cultural identity, and cultural outputs, this conference questions how our musical landscape has historically adapted, and will continue to adapt, to an increasingly globalized environment.

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30. Annual Conference of the Gesellschaft für Popularmusikforschung

Host: Popakademie Baden-Württemberg

Dates: 25. – 27. September 2020

Locations: Hochschule für Musik und Darstellende Kunst Mannheim/Popakademie Baden-Württemberg, Mannheim

in cooperation with Leuphana Universität Lüneburg as well as with the Jahrestagung des Bundesverbands Musikunterricht e.V.

Organizers: Michael Ahlers / David-Emil Wickström

Theme: Not Ready to Make Nice – Power, Threats and Harassments in Popular Music

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The 7th Inter-Asia Popular Music Studies (IAPMS) Conference Kuala Lumpur, Malaysia (deadline extended)

*** Dec 15, 2019: The deadline for the submission is extended to Jan 15, 2020. 

The 7th Inter-Asia Popular Music Studies (IAPMS) Conference Kuala Lumpur, Malaysia

23-25 July, 2020

Organised by Inter-Asia Popular Music Studies Group (IAPMS Group)

Hosted by

Sunway University, Kuala Lumpur, Malaysia

Abstract Submissions Deadline

15 December 2019

Theme: Asia’s Sonic (under)Currents and Currencies

The recent international popularity of Korean pop groups BTS and Blackpink placed Asia from passive recipients to active participants of otherwise US and UK dominated global pop music. However, the extent in which they represent and personify the rich undercurrent of popular music circulation in Asia remains debatable in Asia’s culturally diverse landscapes. While the digital platform and social media as well as travel have intensified the flows of popular music participation, it is probably premature to idealistically suggest the levelling of more enduring historical and cultural boundaries and borders. The post•global or post•digital condition needs discussion.

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Deadline postponed, information on program / CFP IASPM-Norden conference 2020: Music in the Age of Streaming – Nordic Perspectives, Piteå, Sweden, 15–17 June 2020

IASPM-Norden conference 2020

Music in the Age of Streaming – Nordic Perspectives

IASPM-NORDEN CONFERENCE

PITEÅ, SWEDEN, 15–17 JUNE 2020

The IASPM-Norden conference aims to shed light on various aspects of streaming of/in popular music within the Nordic context. Nordic popular music is a dynamic field comprising a great variety of artists, music producers and entrepreneurs on both ends of the cultural spectrum, from commercially successful to less known and underground. More broadly, listening to popular music has become an evermore accessible activity in people’s everyday life, and so have the “streams” of music flowing across many borders – geographical, ideological, socioeconomic, cultural, disciplinary, etc. In addition to the everyday distribution and listening of music through digital networks, we contend specifically that “streaming” may also be used to conceptualize musical cultures beyond the scope of Spotify or other streaming services. That said, even an analysis of a platform like Spotify may benefit from an approach that investigates the deeper currents and flows of its streams, as pursued by Spotify Teardown (Eriksson et al. 2019) recently. With this conference we wish to engage with the many intersections of musical streams and invite papers that highlight the ways in which “streaming” characterize music and musical cultures.

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