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.
are pleased to announce the launch of the Songwriting Studies Journal,
an initiative that emerges from the AHRC-funded Songwriting Studies Research
Network based at Birmingham City University and the University of Liverpool.
Since launching our series of national research events we’ve become
increasingly aware of the diversity of scholarly work that intersects with
songwriting. The network now seeks contributions from scholars for an inaugural
issue of the journal that will help define the emerging interdisciplinary field
of songwriting studies.
Journal of Film Music is planning a special issue devoted to the topic “From Jukebox to
Score to Jukebox” which will explore the relationship between jukebox
music as source music (diegetic music) and film scoring (non-diegetic music)
and how movie themes ended up being played on real jukeboxes in popular
presently seeking a guest editor for the issue so if interested please contact
Equinox MD Janet Joyce firstname.lastname@example.org
or the editor William Rosar at email@example.com
Call for Papers: Metal and the Holocaust
(special issue Metal Music Studies 2020, ed. Keith Kahn-Harris and
Our special issue tackles a well-known but
little-studied phenomenon: the importance of Holocaust themes to the metal
scene. The Holocaust has often featured as a subject of metal lyrics (from
Slayer’s ‘Angel of Death’ on). It has repeatedly been referred to in
descriptions of metal’s sound (e.g. the ‘Heavy Metal Holocaust’ of 1981). And
it has formed part of accusations and warnings against bands who flirt with and
sometimes outright endorse far-right and neo-Nazi politics.
Even with those bands – the vast majority on
the scene – who do not engage in such politics, their interest in the Holocaust
has frequently been seen as exploitative at best. But many metal lyricists and
musicians claim that they are providing a ‘history lesson’, and many teenagers’
first acquaintance with such figures as Josef Mengele and Reinhard Heydrich
surely comes from Slayer.
It is high
time, therefore, that the tangled relationship of metal and the Holocaust be
unpicked and examined. We wish to face up to a difficult and troubling topic,
and accept that many of the ways that metal has approached it are not beyond
critique. But we are also interested in possibilities that come from its
incorporation and embodiment of the Holocaust. What aspects of metal’s politics
need to be thought through, attended to, challenged? Can metal form a kind of
historiography? Metal frequently evokes extreme affects. Does this focus
provide a means of testifying to the Shoah that goes beyond the simply
propositional or representational? Are such modes of remembrance exportable
beyond the bounds of the metal scene, or do they only work within the
particular codes and values of this subculture? How do they compare to other
forms of ‘Holocaust impiety’ and other forms of representation?
We seek proposals for articles of 6,000-8,000
words. Final deadline for articles will be 1 December 2019.
Questions could include but are not limited to
part has metal played in transmitting knowledge of or interest in the
place does this particular subject have within the subculture? Is it one of
many horrors that its fans wish to face up to, or does it have a particular
significance for them?
metal provide history lessons?
has the understanding and presentation of the Holocaust by metal bands and fans
been influenced by:
(including those of the far right)?
and anti-religious positions?
in Nordic and Germanic culture and themes?
metal offer ways of approaching the Holocaust from which other cultural forms
can learn, e.g.
tendency to avoid moralising?
concentration on intense feelings rather than contemplation?
has the significant history of Jewish involvement in metal culture impacted the
scene’s responses to the Holocaust?
have Israeli metal scenes engaged with the Holocaust?
the approach taken by these forms of music best characterised as ‘holocaust
it possible to be ‘reflexively anti-reflexive’ about the Holocaust?
Send abstracts of 150-250 words plus a short
bio note to Dominic Williams (firstname.lastname@example.org)
by 6 September 2019.