: Issue #1 – April 2020
ZINES is an international peer journal dedicated to studies of amateur
and do-it-yourself media of any kind, from fanzines to webzines, perzines to
science zines, artzines to poezines, etc.
– ZINES is multi-disciplinary and opened to all scientific disciplines, from social sciences to medical sciences, art and design, media studies, etc. The first aim of the journal is to study the involvement of amateurs in the production of mediascapes, from printing form to cybermedia. It also addresses the impact of zine making for personal or collective sociabilization, especially in closed environments such as carceral or medical centres. The second aim is to examine the production of new form of communication by amateurs leading to the publication of media with a strong DIY ethos, including scholars who invent new forms of dissemination of scientific knowledge.
A group of University of the Arts London post-graduate
research students, in conjunction with Centre for Fashion Curation (CfFC) are
hosting a one-day symposium titled Subcultures and mediated
Topics will include how music fanzines documented and transmitted the acid house music scene, the Marquis de Sade’s influence on British punk, myth and membership of the Northern Soul scene, using black language and musical expression to explore the relationships between social and cultural ways of understanding identity formation through ideas of ‘high’, ‘low’ and ‘popular’ culture and Adam Ant’s performance personas, as dandy, highway man and Prince Charming as an entry point for discussion about military identities, masculinity and popular culture.
Editor : Victor Sarafian.
Publisher : Presse de l’Université Toulouse 1 Capitole
submission: 15 November 2019
chapters due: 1 February 2020
We are inviting proposals for a book-length essay collection on all aspects of the independent record industry… it’s past, present and future prospects. Technology has changed how music is produced, distributed and consumed. From the advent of the gramophone to the advent of napster, technology has shaped the economic and cultural aspects of the music industry.
Deadline 15 September 2019
Progressive Rock and Metal: Towards a Contemporary Understanding
The 4th Biennial International Conference of the Progect Network for the Study of Progressive Rock
Hosted by Lori Burns at the University of Ottawa, May 20-22, 2020 (Ottawa, Canada)
Progressive Rock and Metal: Towards a Contemporary Understanding aims to explore the past and present contexts of the genres of progressive rock and metal. The Progect Network has met in France (2014), in Scotland (2016), and in Sweden (2018). The 2020 meeting will mark the first North American hosting of this conference and will thus expand participation and open the scholarly dialogue in exciting ways. This conference will bring together scholars who have addressed the musical structures and expression of 1970s progressive rock, as well as scholars working on the more contemporary manifestations of the progressive. We encourage submissions from scholars from a range of disciplinary orientations.
for expressions of interest for submitting a chapter to the Oxford Handbook
of Global Popular Music, to be edited by Simone Krüger Bridge.
The Handbook offers an authoritative and state-of-the-art survey of current thinking and research in studies of global popular musics from different parts of the world. The chapters will be written by leading international figures from ethnomusicology, popular music studies, and anthropology to give critical examinations of the progress and direction of debates surrounding global popular music. The Handbook captures the vibrant, dynamic, and diverse approaches that characterize popular music across the world. The volume features a diversity of topics and approaches, structured into five conceptual parts: GLOBAL CAPITALISM, GLOBAL GENRES, MIGRATION, IDENTITY, TECHNOLOGY. The purpose of the organization is to give a comprehensive review of achievements by leading scholars in the field of global popular music to date, and to contribute to an understanding of what global popular music might become in future, charting new areas that are likely to define studies of global popular music in the coming decades.
Edited by Melissa Avdeeff (Coventry University)
and Scott Henderson (Trent University Durham GTA)
are sought for an interdisciplinary, edited collection focused on the work and
career of Canadian singer-songwriter Gordon Lightfoot.
Lightfoot’s career spans more than six decades, beginning with his emergence in the folk rock scene in Toronto’s Yorkville in the 1960s through to continued touring in the present decade. Lightfoot’s success has bridged a number of genres, including folk, pop, country, rock and a range of crossovers. A string of Top 40 hits in the 1970s cemented Lightfoot’s international reputation, both as a singer and songwriter. In addition to his own recordings, Lightfoot’s songs have also been recorded and performed by an amazing array of diverse artists., across a vast range of musical genres.
The conference will take place from Feb. 13th to 15th at Leuphana University of Lüneburg, Germany.
We are looking for papers that transgress the boundaries between our notions of music and space. We are explicitly following Henri Lefèbvre’s (1991) concept of a dialectics of triplicity and Edward Soja’s (2008) trialectic of spatiality. A first level encompasses material, physical, and social spaces of music and the mutuality of sound–music and space–architecture from historical, social, economic and cultural perspectives. A second level focusses on the mutuality of music and symbolic aspects of space such as images, brands, and imaginaries. While the third level should open up an arena of powerful mediations between music–sound and spatial politics, whether this results in the appropriation of the city by music or the appropriation of music by the city.
16-18 April 2020 King’s College
Second international Media Industries conference, hosted by the
Department of Culture, Media and Creative Industries, King’s College London
for Papers for the MusicaFemina International Symposium Budapest
and Creativity in Music Worlds”
As part of its Hungarian event series, MusicaFemina International is organizing a symposium and workshop in Budapest on 8-9 January 2020. The initiative, involving Austria, Hungary, Slovenia and Germany, is primarily aimed at creating the conditions for more balanced relations of gender in the various spheres and institutions of music production.
21–22 May 2020
Department of Music, University of Innsbruck, Austria
The interdisciplinary conference seeks to intensify the scientific discourse on the current sounds of popular music, and about those who stream, buy, talk about, like, use, and listen to them. The goal is to bring together different approaches unified by the interest in the cultural meanings, identities, experiences, and values that music without a clear subcultural context is being loaded with.