Pop music is constitutively ambivalent: It emerges within the tension between counterculture and capitalist exploitation logic, as can be demonstrated by the formation of rock ‘n‘ roll in the fifties. Furthermore, pop music is characterized by the fusion of various musical styles, making pop music a prototypical example of how different cultural forms, including those from the global South, are appropriated and co-opted by practices originating in the global North. This can be observed in elements like the off-beat rhythms of blues from West Africa and reggae from Jamaica among many other examples. It’s important to note that the principle of fusion is crucial for the continual reformation of pop music, shaping it into a potent practice whose commercial distribution center have historically been predominantly located in the global North. A sociological and historical approach to pop music that does not align with this hegemonic distribution form is known to be challenging. Every scholarly reference is almost compelled to take into account the visible expressions of pop music, which typically obscure the constitutive interweaving of this influential articulation of popular culture with the cultural forms of the global South. In this special issue of the Zeitschrift der Weltgeschichte we seek to find new answers to these challenges. Based on the briefly outlined problematics of pop music, the following questions are intended to be discussed and examined in an interdisciplinary manner.

1. How can pop music from the global South be identified and appropriately made visible? What are the possibilities and limitations of the cultural and social sciences in making visible something that is regularly marginalized in cultural practice and co-opted by the hegemony of culture? How can the protagonists of pop music from the global South articulate themselves effectively? What historical examples can be found for this?
2. How can the fusional logic of pop music be adequately reflected upon within the fields of cultural and social sciences? If pop music is inconceivable without cultural appropriation, which is a point for discussion, how can it then be understood as global music without regularly marginalizing its diverse interconnections in line with the capitalist exploitation logic of the global North? What are the implications of this for the cultural and social scientific research of pop music?
3. What transformations have occurred in the global power dynamics of the pop music industry in recent years due to new digital distribution possibilities, specific trends such as Reggaeton, subcultural infiltrations, decolonial efforts in fields like sound studies, etc.?
4. Can research on pop music be conducted in the global North from a post-colonial perspective? What methodological premises and theoretical tools do we need for this? What institutional prerequisites need to be established for such research?
5. How can a contemporary, global, and postcolonial historiography of pop music be formulated, which takes into account the ruptures and discontinuities as well as the significance of the pop musical articulations and influences from the global South in the context of global pop music?
   
   Zeitschrift für Weltgeschichte is a interdisciplinary, peer-reviewed journal which is published in German. Contributions in English can be translated.
   
   Please send your proposal (max. 5000 characters) for a contribution to the thematic issue to frank.hillebrandt@fernuni-hagen.de or anna.daniel@fernuni-hagen.de by April 30, 2024

Building Collective Futures: Communities Thriving Through Music

IASPM Canada Annual Conference 2024: Call for Papers

University of Regina: Regina, Saskatchewan

September 27-29, 2024

Submission deadline: 1 April, 2024

Submit proposals through: https://forms.gle/qVgRUoGyF1frMcX98

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We live in a time of uncertainty: multiple theatres of war and conflict, refugee movements across the globe, rampant technological change, political polarization, cultural upheaval, and a global climate crisis threaten individual and collective futures at every turn.  At this unprecedented point in time, how can we envision and build thriving, alternative futures?  And for whom?  Does Canada have a special place in all of this: how do we transition from the inequities of our past relationships (to Indigenous populations and to the earth) to building respectful, inclusive, and sustainable futures?  What role(s) does popular music play in such projects?  Is it sometimes, also, a part of the problem? How does digitality help or hinder efforts to elevate humanity through musicking? How do new methodologies provide insight in changing times? How are musicians working collectively to build thriving futures?

Building Collective Futures is the theme and challenge of the 2024 IASPM-CA Annual Conference. Across scholarship and practice, the pursuit of sustainability has become paramount. However, mere sustainability is no longer sufficient. Instead, we ask what musical futures would sound like if they focused on thriving collectively.  As we envision a future where sustainability extends beyond mere survival to encompass vibrant, thriving communities, music emerges as a powerful force for change.

We invite scholarship and music that brings to light the building of sustainable futures in challenging times. This call seeks presentations that explore innovative approaches across popular music studies, with particular focus on the subthemes of cultural sustainability, sovereignty, digital futures, thriving local, regional, and global music scenes, and ecological resilience.

Themes to be Explored:

1.              Cultural and Artistic Sustainability:

• Moving from the sustainability of artistic expressions into new forms of collective thriving
  • Ways in which cultural sustainability can be integrated into music production, performance, and distribution practices

2.              Sovereignty:

• Indigenous survivance and musical futures
  • Communities’ enactments of sovereignty using popular music 
  • The role music plays in asserting cultural sovereignty and promoting self-determination

3.              Digital Futures for Music:

• Shaping the use of digital technologies to more collectively impact the future of music creation, distribution, and consumption
  • Opportunities and challenges digital platforms present for promoting sustainability and equitable access to music

4.              Thriving Music Scenes:

• The role of local scenes as spaces for collective participation in the face of challenges and changes
  • Digital and hybrid music scenes
  • Musical utopias and future building
  • Local, regional, and global music scenes’ roles in contributing to the economic, social, and cultural sustainability of communities
  • Challenges and supports to strengthen local music ecosystems
  • The role of events in the making of a scene (concerts, festivals, conflicts and wars, etc.)

5.              Ecological Resilience:

• Acknowledging, mitigating, and correcting for the environmental impact of the music industry
  • Strategies for musicians, venues, and industry stakeholders to promote eco-friendly practices and advocate for environmental stewardship

While we welcome papers on any aspects of popular music, we encourage papers that align with the conference sub-themes above.

Submission Guidelines:

Abstracts of individual papers, workshops, performances and other presentations should be no longer than 300 words. The program committee is especially interested in proposals in diverse formats.  Panel submissions should include a title and abstract for the panel (300 words max.) as well as titles and abstracts for the individual papers on the panel. All abstracts for a panel should be submitted together, with one member or respondent designated as the chair. Abstracts will be adjudicated individually, so it is possible for a panel to be accepted but not an individual paper and vice versa. Each abstract should also include a short biography of the author (100 words max.) including the institutional affiliation, if any, and email address of each author. Each abstract should also include five keywords. Submissions in French and English are acceptable. Proposals will be blind-reviewed.

Submit proposals through: https://forms.gle/qVgRUoGyF1frMcX98

Presentation Logistics and Modality:

Papers will be limited to 20 minutes followed by 10 minutes of questions. Panels will be limited to a maximum of 4 papers. Other presentations (workshops, film screenings, roundtables, etc.) will generally be limited to 60 minutes, but alternatives can be proposed. All participants must be members of IASPM-Canada at the time of the conference. Membership information is available on the following website: https://www.iaspm.ca/signup.

Although in-person presentations are the conference norm, should you wish to request accessibility accommodations for a virtual presentation (e.g. a health need or visa concern), please email Charity Marsh at Charity.Marsh@uregina.ca at the time of proposal submission.

For questions about the conference, please contact the Program Committee Chair Liz Przybylski (liz.przybylski@ucr.edu), or Local Organising Chair Charity Marsh (Charity.Marsh@uregina.ca).

Program Committee Members:

Vanessa Blais-Tremblay, Université du Québec à Montréal

Maxim Bonin, Université du Québec en Abitibi-Témiscamingue

Maren Hancock, University of Wolverhampton

Charity Marsh, University of Regina

Liz Przybylski, University of California, Riverside

Paul Théberge, Carleton University

Appel à contributions

Construire des avenirs collectifs pour des communautés musicales plus prospères

Conférence annuelle de l’IASPM Canada 2024 : Appel à communications

Université de Regina : Regina, Saskatchewan

Du 27 au 29 septembre 2024

Date limite de soumission : 1er avril 2024

Soumettre les propositions via :https://forms.gle/qVgRUoGyF1frMcX98

Nous vivons des temps de grandes incertitudes : multiples théâtres de guerre et de conflit, mouvements de réfugié·es à travers le monde, changements technologiques accélérés, polarisation politique, bouleversements culturels et crise climatique mondiale menacent les avenirs individuels et collectifs à chaque tournant. En cette période sans précédent, comment pouvons-nous envisager et construire des avenirs alternatifs et prospères ?  Et pour qui ?  Le Canada occupe-t-il une place particulière dans tout cela : comment passer des inégalités de nos relations passées (avec les populations autochtones, racisées ; avec la terre) à la construction d’avenirs respectueux, inclusifs et durables ?  Quel(s) rôle(s) la musique populaire joue-t-elle dans ce projet collectif?  Fait-elle parfois partie du problème ? Comment la numérisation aide-t-elle ou entrave-t-elle les efforts visant à élever l’humanité par le biais de la musique ? Comment les nouvelles méthodologies permettent-elles de mieux comprendre ces temps qui changent ? Comment les musicien·nes travaillent-ils·elles collectivement à la construction d’un avenir plus prospère ?

La construction d’avenirs collectifs pour des communautés musicales plus prospères est le thème – et le défi – de la conférence annuelle 2024 de l’IASPM-CA. Dans les études comme dans la pratique de la musique, la recherche de durabilité est devenue incontournable. Cependant, la simple durabilité ne suffit pas. Ainsi, nous nous demandons à quoi ressembleraient nos futurs en musique s’ils se concentraient sur la prospérité collective.  Alors que nous envisageons un avenir où la durabilité va au-delà de la simple survie pour englober des communautés dynamiques et prospères, la musique apparaît comme une puissante force de changement.

Nous invitons les chercheur·ses et les musicien·nes à mettre en lumière différentes manières à travers lesquelles un avenir durable peut être pensé et construit à travers des présentations qui mettent de l’avant des approches innovantes au sein des études sur la musique populaire, en particulier en ce qui concerne les sous-thèmes de la durabilité culturelle; de la souveraineté; des futurs numériques; des scènes musicales locales, régionales et mondiales prospères; et de la résilience écologique.

Thèmes à explorer :

1. Durabilité culturelle et artistique :

-Passage de la simple durabilité des expressions artistiques à de nouvelles formes de prospérité collective

-Manières d’intégrer la durabilité culturelle aux pratiques de production, de représentation et de distribution de la musique.

2.         Souveraineté :

-Survivance autochtone et avenirs musicaux

-Mise en application de la souveraineté par les communautés à l’aide de la musique populaire 

-Rôle de la musique dans l’affirmation de la souveraineté culturelle et la promotion de l’autodétermination

3. Avenir numérique de la musique :

-Façonner l’utilisation des technologies numériques pour influencer de manière plus collective l’avenir de la création, de la distribution et de la consommation de musique

-Opportunités et défis que représentent les plateformes numériques pour promouvoir la durabilité et l’accès équitable à la musique.

4.         Scènes musicales plus prospères :

-Rôle des scènes musicales locales en tant qu’espaces de prise en charge collective des défis et des changements actuels et passés

-Scènes musicales numériques et hybrides

-Utopies musicales et construction de l’avenir

-Rôle des scènes musicales locales, régionales et mondiales dans la durabilité économique, sociale et culturelle des communautés

-Défis et formes de soutien visant à renforcer les écosystèmes musicaux locaux

-Rôle des événements dans la constitution des scènes (concerts, festivals, conflits et guerres, etc.)

5.         Résilience écologique :

-Reconnaître, atténuer et corriger l’impact environnemental de l’industrie musicale

-Stratégies permettant aux musicien·nes, aux salles de concert et aux acteur·rices de l’industrie musicale de promouvoir des pratiques respectueuses de l’environnement et de plaider en faveur de sa protection.

Bien que nous acceptions des communications sur tous les aspects de la musique populaire, nous encourageons particulièrement celles qui correspondent aux thème et sous-thèmes détaillés ci-dessus.

Directives pour la soumission :

Les résumés des communications individuelles, des ateliers, des concerts et autres présentations ne doivent pas dépasser 300 mots. Le comité de programme est particulièrement intéressé par des propositions de formats divers. Les propositions de panels doivent inclure un titre et un résumé pour le panel (300 mots maximum) ainsi que les titres et les résumés des communications individuelles. Tous les résumés d’un panel doivent être soumis ensemble, et un·e membre ou un·e répondant·e doit être désigné·e comme président·e de séance. Les résumés seront évalués individuellement; il est donc possible qu’un panel soit accepté et non un article individuel, et vice versa. Chaque résumé doit également inclure une courte biographie de l’auteur·rice (100 mots maximum), y compris l’affiliation institutionnelle, le cas échéant, et une adresse électronique. Chaque résumé doit également inclure cinq mots-clés. Les soumissions en français et en anglais sont acceptées. Les propositions seront anonymisées dans le cadre du processus d’évaluation.

Soumettre les propositions par : https://forms.gle/qVgRUoGyF1frMcX98

Logistique et modalités de la présentation :

Les communications individuelles seront limitées à 20 minutes, suivies d’une période de questions de 10 minutes. Les panels seront limités à un maximum de 4 communications. Les autres présentations (ateliers, projections de films, tables rondes, etc.) seront généralement limitées à 60 minutes, mais des alternatives peuvent être discutées/proposées. Tous·tes les participant·es doivent être membres de l’IASPM-Canada au moment de la conférence. Les informations relatives à l’adhésion sont disponibles sur le site web suivant : https://www.iaspm.ca/signup.

Bien que les présentations en personne soient la norme de la conférence, si vous souhaitez demander des aménagements d’accessibilité pour une présentation virtuelle (par exemple, un besoin de santé ou un problème de visa), veuillez envoyer un courriel à Charity Marsh à Charity.Marsh@uregina.ca au moment de la soumission.

Pour toute question concernant la conférence, veuillez contacter la président·e du comité de programme Liz Przybylski (liz.przybylski@ucr.edu) ou la présidente de l’organisation locale Charity Marsh (Charity.Marsh@uregina.ca).

Membres du comité de programme :

Vanessa Blais-Tremblay, Université du Québec à Montréal

Maxim Bonin, Université du Québec en Abitibi-Témiscamingue

Maren Hancock, Université de Wolverhampton

Charity Marsh, Université de Regina

Liz Przybylski, Université de Californie, Riverside

Paul Théberge, Université de Carleton

CALL FOR PAPERS

Progressive Rock: Beyond Time, Genre, Geography…

The 6th Biennial International Conference 

of the Progect Network for Studies of Progressive Rock

5-7 SEPTEMBER 2024

The Krzysztof Penderecki Academy of Music in Krakow (POLAND)

The central idea for the Conference would be to combine creatively the two temporal dimensions in which Progressive Rock can be interpreted today: the past – from its genesis and original definitions through an analysis of the PROG classics to an attempt to read it anew; and the future – from meta-genre fusions to a critical post-progressive current. Hence, we suggest several subjects to be chosen by the participants and specific scopes to be included.

MAIN TOPIC CATEGORIES:

1.         Progressive Rock and Metal: Between Past and Future

2.         Experiencing Progressive Rock: Then and Now

3.         Retro vs Post Progressive Rock: Past Reflections and Future Visions

4.         Interpreting Progressive Rock: From Analysis to Recontextualization

DETAILED SUBJECTS ­– SPECIFIC SCOPES:

• Roots, Sources and Primal Concepts of PROG
• Mediating Progressive Rock/Metal
• Progressive Rock/Metal Fandom
• Aesthetics of Progressive Rock/Metal
• Neo- and Post-Progressive 
• Future of PROG
• Prog Goes Global ‒ Globalization vs Glocalization of Progressive Music
• Progressive performance 
• Between Prog and Jazz: Progressive Jazz ‒ Third Stream ‒ Fusion
• Progressive as eclectic meta- and post-genre
• Progressive Genres as Paradox of Pop Culture
• Other…

The Programme Committee’s plan provides

• Two Keynote lectures
• 20-minute paper presentations (in two parallel sessions)
• Round table discussions
• Accompanying events
• Concert, Meeting with Polish PROG Artist
  
  

We encourage researchers to present papers that develop an interdisciplinary approach to progressive rock across at least six fields: musicology, sociology, media studies, performance studies, philology, culture studies. We recommend stationary (live) participation. In exceptional circumstances, remote participation will be possible.

Submission Procedure

​Scholars are invited to submit proposal abstracts for 20-minute presentations in English to prog24@amuz.krakow.pl by 15 January 2024 (contact person: Andrzej Mądro). 

​

Please attach two files to the email submission, both in Word file format (.docx):

​

1.         a proposal comprising only the paper title and abstract (300 words). This file should not include any identifying information.

2.         a short document providing the following information: author name, institutional affiliation, a short bio (100 words), paper title, keywords, and any audio-visual equipment needs.

​

All abstracts will be subject to a peer-review process, with authors notified of acceptance by the end of February 2024. The results of the topic selection will be communicated by email, as will any registration information.

Probable conference fee:

Scholars: 140 EUR (full amount),

Students, doctoral students: 70 EUR (50% discount) 

The fee does not include travel and accommodation costs. The organisers will offer assistance in booking accommodation in Krakow at favourable prices.

Programme committee:

Sarah Hill (University of Oxford, U.K.)

John Covach, (University of Rochester, U. S. A.)

Chris Anderton (Solent University, U. K.)

Lori Burns (University of Ottawa, Canada)

Local organising committee

(The Krzysztof Penderecki Academy of Music in Krakow):

Agnieszka Draus

Andrzej Mądro

Iwona Sowińska Marcin Strzelecki

Feminist Theory and Music (FT&M) 17 on the theme of “Urgency”

Conference Dates: June 20-22, 2024 Location: University of Michigan @ Ann Arbor

We acknowledge that the University of Michigan resides on the ancestral, traditional, and contemporary lands of the Anishinaabeg – The Three Fire Confederacy of the Ojibwe, Odawa, and Potawatomi Nations, as well as the Wyandot Nation.

Abstract Submission Date:

All proposals should be submitted on or before 11:59 p.m. (EDT) on November 30, 2023 to: kjfourni@umich.edu

Conference Theme:

Now in its third decade, the Feminist Theory & Music Conference highlights work at the intersections of gender, sexuality, and music. Building on the previous conference’s theme of “Connections,” the 2024 conference seeks to leverage those relationships and connections to interrogate questions of urgency. “Urgency” here can refer to the immediacy of our contemporary political and historical moment, and our need to respond thoughtfully but without hesitation. We also use “urgency” to evoke the false sense of immediacy often imposed within institutions–such as the neoliberal university–that demands so much of our time and labor. We imagine this gathering as a space to come together to amplify issues of urgency across our various home

disciplines. We hope that this conference theme will offer pathways out of the isolation that many minoritized scholars can feel as we struggle with urgency on our campuses, in our positions, in our daily lives, our communities, and practice and research. The conference will feature a keynote address by Dr. Nancy Rao, author of Chinatown Opera Theater in North America (Illinois University Press, 2017), and an afternoon concert with pianist Ellen Rowe drawing on her recent project, “Momentum: Portraits of Women in Motion” (2019).

The program committee welcomes proposals for presentations that explore topics that include (but are not limited to):

●   Music related to the urgency of the current political moment, nationally and globally;

●   Increasing anti-LGBTQ, especially anti-trans, legislation and musical responses;

●   Threats to bodily autonomy and reproductive justice in a post-Roe v. Wade U.S;

●   Antiracism, Black Lives Matter, and accompanying movements

●   Recent Supreme Court rulings on Affirmative Action and the future of higher education;

●   Employing feminist theories in music in the classroom, research, communities, and institutions;

●   Music and expressions of toxic masculinity, Trumpism, and their alternatives;

●   Academic and other labor movements as feminist movements;

●   Locally-grounded topics of music, activism, and history pertinent to the Ann Arbor or Metro Detroit area; and,

●   Reaching across borders, building bridges, finding commonalities, and honoring differences.

We are inviting participants to present their work in person or via Zoom.

Proposal Guidelines:

We invite submissions from artists, activists, and scholars at any stage of their careers, including undergraduate and graduate students, and especially encourage submissions from people working outside of the academy. We welcome proposals for a range of presentation formats, including (but not limited to):

●   Individual Papers (20 minutes) ○ 250-word abstract

●   Themed Panels of Papers (90 to 120 minutes) ○ 250-word abstract plus ~150-word abstracts from each proposed participant

●   Performances or Lecture-Demonstrations (45 minutes) ○ 250-word abstract

●   Workshops (45 or 90 minutes) ○ 250-word abstracts

●   Roundtable Conversations (90 minutes) ○ 250-word roundtable abstract plus ~150-word abstracts from each proposed participant

●   Seminars with Pre-Conference Circulation of Materials (90 minutes) ○ 250-word seminar abstract

Program Committee:

Lauron Kehrer, Chair (Western Michigan University)
Angelina Gibson, Assistant to the Committee Chair (University of Michigan)

Christopher Cayari (Purdue University)
Leah Claiborne (University of the District of Columbia)
Kate Galloway (Rensselaer Polytechnic Institute)
Vivian Luong (University of Oklahoma)

FT&M on Social Media:

Facebook: Feminist Theory and Music
X (formerly Twitter): coming soon!
Conference Website: https://sites.google.com/umich.edu/ftm17

CALL FOR PAPERS:

“Social Inclusion, Community, and Belonging at International Music Festivals”

The University of Sheffield, 13-14 June 2024 

Festivals play important and diverse roles in communities and societies around the world. International music festivals which bring together performers from different places and cultural backgrounds have emerged in response to processes of mobility, migration, multiculturalism and transnationalism. This symposium explores the impacts of international music festivals and considers their implications for social inclusion, community, and belonging. We hope that participants will gain new perspectives on the issues affecting festivals today and share ideas about their future possibilities.

The symposium will take place at the University of Sheffield, 13-14 JUNE 2024. It is hosted in partnership with Migration Matters Festival, which celebrates the diversity of Sheffield through the performing arts. This festival will provide a vibrant setting for our conversations on the significance of festivals locally and globally.

The symposium welcomes anyone with an interest in festivals, including scholars, performing artists, event organisers, campaigners, etc. We invite proposals for papers, workshops, roundtables, posters, and presentations in any other format. Proposals on any topic related to international music festivals will be considered, but we especially welcome submissions that explore one or more of the following themes:

• Social inclusion, community, belonging.
• Migration, multiculturalism, postcolonialism, diaspora.
• Nationalism, transnationalism, neoliberalism.
• Place making, tourism, heritage.
• Diplomacy, activism.
• Ecology, sustainability, climate justice.
• Practice research, participatory/collaborative methods.
• Online festivals.

Registration for the symposium is FREE, thanks to support from the UKRI Knowledge Exchange Higher Education Innovation Fund. This is primarily an in-person event in Sheffield, but we will support a limited number of participants who are unable to travel to Sheffield due to travel, health or funding restrictions to present online and take part virtually.

The deadline for proposals is 15 DECEMEBER 2023. Please send the following information to j.nissen@sheffield.ac.uk:

• 200–300 words abstract for paper proposals; max 1 page outlining the aims, methods and duration of the session for workshops or other formats. Presentations should be delivered in either English or Spanish.
• 50–100 words personal biography highlighting relevant activities and experience.
• Institutional affiliation (if applicable) and contact information.
• Please state whether you would prefer to attend in person in Sheffield or contribute online. Please note that online presentations will be required to record their presentations in advance of the symposium and be present virtually to take part in the discussion following their presentation. If you have any access needs, please let us know and we will do our best to meet them.

Thank you in advance for your proposals, we look forward to reading them! If you have any questions about the symposium, please contact: j.nissen@sheffield.ac.uk.