Dear all

On behalf of the organisers, I am pleased to let you know of the

2022 IASPM-Norden conference: “Disciplining Music Heritage”

organised jointly with the Finnish Society for Ethnomusicology

13–14 October 2022, Seinäjoki, Finland

The deadline for proposals is 31 March 2022. Please visit this website for the call and further details:

https://www.uniarts.fi/en/events/disciplining-music-heritage-conference/

Please direct your enquiries to discipliningmusicheritage@gmail.com.

With best wishes,

AV Kärjä

Call for Papers:

“New Perspectives in Popular Music Research: Changes and Turmoil”

Conference: University of Agder, Kristiansand, Norway, 1–2 June 2022 (extended deadline)

Recent years have resulted in extensive changes in popular music production, dissemination, reception, and perception. New technological developments within music production and performance have created new creative possibilities for artists and bands as they make music and engage with the global music market. Many of these changes have been greatly accelerated by, if not the direct result of, the Covid 19 pandemic that has fundamentally disturbed the relationships between artists, fans, modes of performance, and music distribution. More than ever before, it has become critical to examine digitization, virtuality, creativity, and the music business as a whole in the context of such tumultuous changes.

Differentiating Sound Studies: Politics of Sound and Listening 

• CFP deadline extended: 7 January 2022, 23:59 (UTC+9)
  
  
• Notification of results: 15 January 2022
  
  
• Conference dates: 15–16 April 2022 
  
  
• Conference website: https://mrc.hanyang.ac.kr/differentiating-sound-studies/ 
  
  
• Venue: Hanyang University, Seoul, Korea (hybrid)
  
  
• Keynote Speakers:
  
  Eric Drott (The University of Texas at Austin)
  
  Mack Hagood (Miami University)

In response to demands for an extension of deadline in the midst of holiday season, we have decided to extend the submission deadline for “Differentiating Sound Studies: Politics of Sound and Listening” until 7 January 2022. Those who have already submitted their abstracts may revise their submissions until the new deadline, if necessary.

Methodological Approaches to Music and Dance:

Exploring the Field of Heavy Metal and Its Genre Boundaries

September 08 – September 09, 2022, University of Siegen

Music and dance are connected intimately and especially in popular music cultures dance plays a vital role. Even though academic attention so far has rather attended to forms such as tap dance, salsa, hip hop or various forms of electronic dance music, heavy metal is no exception in this respect: It has developed characteristic, music-related bodily practices that at times serve to designate cultural membership as, for example, the term “headbangers” indicates. At concerts, the music is accompanied by common movements like headbanging and moshing and even more unconventional forms such as conga lines or ‘folkloristic’ circle dances can be found. As this suggests, the boundaries to other music genres are not rigid but porous: Historically, for instance, moshing and stage diving entered metal culture via hardcore and (music-)stylistic crossovers can entail extensions of a genre’s dance styles. The specific forms of movement are situated within a complex, relational structure and can vary by (sub-)genre, the course of a concert, the interaction among dancers, the dancers’ evaluation of the music, or the music’s aesthetic character and materiality to name but a few aspects.

Differentiating Sound Studies: Politics of Sound and Listening 

• CFP deadline: 31 December 2021, 23:59 (UTC+9)
  
  
• Notification of results: 15 January 2022
  
  
• Conference dates: 15–16 April 2022 
  
  
• Conference website: https://mrc.hanyang.ac.kr/differentiating-sound-studies/ 
  
  
• Venue: Hanyang University, Seoul, Korea (hybrid)
  
  
• Keynote Speakers:
  
  Eric Drott (The University of Texas at Austin)
  
  Mack Hagood (Miami University)

The abstract submission deadline for the joint IASPM Canada and Working in Music 2022 conference has been extended until 1 December 2021.

We welcome topics within the conference theme of “Starting Over? Popular Music and Working in Music in a Post-Pandemic World,” or any aspect of popular music studies, broadly defined.

The conference will take place in London, Ontario, Canada, from May 22 to 25, 2022.

Further information and submission link available on the IASPM Canada website: https://www.iaspm.ca/2022conference

Challenge and Change in Popular Music

The 2022 IASPM-UK/Ireland Branch Conference

Liverpool, August 31^st – September 2^nd

https://www.liverpool.ac.uk/music/events/iaspm/

Conference Themes

As the world continues to grapple with the COVID-19 pandemic and resulting social and economic crises, proposals are invited for papers that respond to contemporary global challenges and changes. Whether informed by the experiences of individuals, cities, nations or global communities, papers might respond to:

·        Global Pandemics –their consequences for musical cultures and identities, and creative responses from popular music and the music industries.

·         Changing Technologies – the opportunities and challenges they present for novelty, innovation and revival in popular music, and for new ways of engaging with music archives and heritage.

·         Environmental Changes –sustainability and the music industries, environmental concerns in popular music, and musical expressions of crisis and resilience. Responses to changes in the local environments for popular music, including policy responses such as Music Cities and Agent of Change.

• Social Inequalities – musical reactions to political oppression and displacement, and to social and political movements such as Black Lives Matter and #Me Too.

·         Structural Changes to the Music Industries – the challenges and opportunities they present for the global music industries, from Bollywood to K-Pop and Western classical music industries. Changing and emerging models for the ownership and sale of music rights, and debates about equitable remuneration for writers and artists. 

·         Structural Changes in Higher Education – their impact on popular music and on debates in popular music studies concerning disciplinarity, employability, canonisation, equality and diversity.

Proposals responding to other contemporary global challenges and opportunities are also welcome.

CALL FOR PROPOSALS: Eighth International Conference on Music and Minimalism

Conference Dates: May 5–8, 2022

Location: Bowling Green State University (Bowling Green, OH, USA)

Submission Deadline for Proposals: January 10, 2022

Website: http://minimalismsociety.org/cfp-eighth-international-conference-on-music-and-minimalism

Féminisation de la chanson ?  Approches théoriques et empiriques (2000 -2022) 

Journées d’étude – Université de Strasbourg 

29 – 30 juin 2022 

Coordination :  

Isabelle Marc (USIAS Strasbourg, Universidad Complutense Madrid) et Barbara Lebrun (University of Manchester) 

Comité scientifique : Cécile Prévost-Thomas (Université Sorbonne Nouvelle, CERLIS), Céline Pruvost (Université de Picardie, CERCLL), Catherine Rudent (Université Sorbonne Nouvelle, CERLIS), Chris Tinker (Heriot Watt University) 

Depuis le tournant du 21^e siècle, l’essor, la visibilité et le succès des femmes dans les musiques populaires en France ont trouvé leur pendant universitaire dans l’éclosion des travaux sur la place des femmes et les représentations du genre et de la sexualité en chanson (Prévost-Thomas, Ravet et Rudent 2005 ; Prévost-Thomas et Ravet 2007 ; Pénet 2007 ; Hirschi 2017 ; Chaudier 2018 ; Pruvost 2018 ; Deniot 2019, entre autres). De façon plus ou moins directe, ces publications rejoignent la recherche internationale sur le féminisme, le genre, et les identités queer dans la littérature, le cinéma, et, bien-sûr, dans la popular music anglophone (Frith et McRobbie 1990 ; McClary 1991 ; O’Brien 1995 ; Whiteley 1997, 2000 et 2006 ; Brett et al. 2006 ; Jarman-Ivens 2007 et 2011, parmi beaucoup d’autres). Partant d’une conception pragmatique de la notion de genre, défini comme outil d’analyse des rapports de pouvoir entre les pôles du féminin et du masculin propres aux sociétés patriarcales (Octobre 2014), ces journées d’étude souhaitent revenir sur la profusion de talents féminins dans la chanson d’expression française et discuter des changements esthétiques et sociaux qu’elle accompagne, promeut et représente. Ce que nous appelons la féminisation de la musique populaire en France servira de point de départ pour explorer les rapports actuels entre les genres humains, qu’ils soient masculins, féminins ou autres, et les genres musicaux.