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

Thinking With Jazz Symposium

Thinking With Jazz Symposium
Lancaster Jazz Festival 2013‏
20 September

thinking with jazz is a day-long symposium that takes place during the 2013 Lancaster Jazz Festival. This year, panelists and keynote speakers include John Cumming (London Jazz Festival), Fiona Talkington (BBC Radio 3), Gerry Godley (Twelve Points Festival, Dublin), George McKay (University of Salford), Tim Wall (Birmingham City University), Kristin McGee (University of Groningen), Matt Robinson (Lancaster Jazz Festival), Pete Moser (More Music) and Tony Whyton (University of Salford). 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

Music, Gender & Difference Conference

Music, Gender & Difference
10-12 October 2013
University of Music and Performing Arts Vienna, Austria

The program and all the information about the conference can be found here:

For registration send an email to:

Conference Fee:
30 Euro for students, musicians, artists, etc.
50 Euro for all other visitors

The conference is organised by the Institute for Music Sociology at the University of Music and Performing Arts Vienna in cooperation with:

· The Feminist Theory and Gender Studies Section of the Austrian Society of Sociology
· The Women and Gender Studies Section of the German Society of Sociology
· The Gender Studies Committee of the Swiss Society of Sociology

Original call for papers post

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

Pop-Life: The Value of Popular Music in the Twenty First Century

Call for papers
Pop-Life: The Value of Popular Music in the Twenty First Century
University of Northampton
6-7 June 2014

It has increasingly become a truism to suggest that contemporary popular music practice is in a state of flux. Established patterns of consumption, distribution and production have at the very least been revolutionised by the opportunities afforded by digitalisation and the internet. While subcultural identities may have become increasingly adopted by mainstream media, the proliferation of media outlets has contributed to an increasingly varied and cosmopolitan listening experience both in terms of stylistic breadth but also in terms of historical depth. While some commentators have sounded the death-knell of the music industry, others see an opening-up of opportunity for musicians and audiences around the world that may be far more liberating than at any time since the dawn of recorded music. Continue reading