Call for papers
Abstract deadline extended to September 15
Annual Conference of IASPM-ANZ
International Association for the Study of Popular Music
Australia-New Zealand branch
27-29 November 2009
The theme of this year’s conference seeks to generate discussion and debate around the ‘value’ we ascribe to popular music(s). ‘Value’ relates to music as commodity and economic project, but social, cultural and aesthetic perspectives profoundly inform any measures or contentions of ‘value’. This theme is particularly timely given recent technological developments that are radically re-shaping the ways in which music is produced, distributed and consumed. Continue reading
As Heard on TV: Popular Music in Advertising
(Aldershot: Ashgate 2009)
Review by Francesco D’Amato
The complex whole of ties between music and TV ads has been recently pushed to the foreground by the changes in the music production/commercialization system and correlated shifts from B2C to B2B business models. However it represents a relevant topic also for discourses about music circulation, changes in musical experience and how such processes join the aesthetization of daily life. Continue reading
International Conference – June 3rd to June 6th 2010
The Interactive Media and Performance (IMP) Labs, along with the Department of Media Production and Studies, and the Faculty of Fine Arts at the University of Regina are pleased to present a call for papers, panels, roundtables, and workshops on the theme of Spaces of Violence, Sites of Resistance: Music, Media and Performance, an international conference organized in collaboration with IASPM-Canada and the Canadian Society for Traditional Music (CSTM). Continue reading
Call for Proposals
October 28-31, 2010
Rectory of the Universidade Nova de Lisboa
The Ethnomusicology Institute – Center for the Study of Music and Dance is pleased to host the international conference ‘Musics and Knowledge in Transit‘ at the Rectory of the Universidade Nova de Lisboa from October 28 to 31, 2010.
The official languages of the conference are: Portuguese, Spanish and English. Continue reading
The British Pop Dandy: Masculinity, Popular Music and Culture
(Aldershot: Ashgate 2009)
Review by Nathan Wiseman-Trowse
In 1999 the British pop band The Divine Comedy released one of their most successful singles ‘National Express’. Secreted away as a B-side on the second CD single was a wonderfully wry and affectionate Noël Coward pastiche ‘Overstrand’. ‘Overstrand’ told the story of a Londonite coveting a well-to-do address in the metropolis to such an extent that he is willing to pimp himself to a ‘dirty old man’, murder a young woman in the Thames or even write for the Evening Standard in order to get his ideal, bourgeois home. Neil Hannon’s clever take on Coward marks out a clear link not only to a tradition of British comedy songs that have their roots in music hall, but he also connects himself, if somewhat archly, with a dandified persona that manifests itself throughout British popular culture, and British popular music specifically. Continue reading
The Institute of Popular Music (IPM) at the University of Liverpool is hosting the 15th Biennial IASPM International Conference, from 13th to 17th July 2009. The full programme can be found on the conference website.
Music and Arts in Action (MAiA) is a new, peer-reviewed, open-access journal that focuses on individual and group encounters with the arts in a practical social context, as well as theoretical work examining music and the arts as active components of human experience. Continue reading
SEM 2009 Annual Meeting in Mexico City
November 19-22, 2009
The Society for Ethnomusicology will hold its 54th annual meeting on November 19-22, 2009, at the Meliã México Reforma Hotel in Mexico City and at the National Center for the Arts in nearby Coyoacán. This year’s meeting, titled “Borderless Ethnomusicologies,” will feature more than 400 presentations, as well as a variety of concerts and other special events hosted by arts institutions in Mexico City .
In conjunction with the 2009 meeting, there will be a pre-conference symposium, “The Past, Present, and Future of Musical Research in Mexico ,” on November 18 at the School of Music of the National Autonomous University of Mexico.
Visit www.ethnomusicology.org for more information about the meeting, hotel accommodations, and online registration.
Heavy Metal Music in Britain
(Surrey: Ashgate 2009)
Review by Michelle Phillipov
Heavy metal is one of popular music’s most enduring and commercially successful genres. Emerging in the late 1960s, metal has since undergone numerous transformations, from massive arena spectacles to obscure underground subgenres. Despite its longevity and sustained popularity over the past four decades, metal has enjoyed only limited scholarly attention. It was not until the early 1990s — over 20 years after the genre’s inception — that a significant body of scholarship began to emerge. But even then, the critical literature on metal has remained noticeably less than for other major musical genres and, significantly, it has also remained noticeably less favourable. Metal has been too often dismissed as conservative and reactionary; its apparent substitution of escapism for political commitment has contributed to a dominant stereotype of the genre as less empowering, less culturally significant and less worthy of study than other more straightforwardly ‘progressive’ alternatives. Continue reading
The Defence of Tradition in Brazilian Popular Music
(Hampshire: Ashgate, 2008)
Review by Alvaro Neder
Stroud’s study “examines how notions of what constitutes Brazilian popular music have been constructed over a period of forty years or so since the mid 1960s” (p. 1). Under the “distinct impression” that “the influence of an essentially conservative group of writers and journalists . . . continues to exert a particular influence on public perceptions of a tradition of national popular music” (ibid.), the author aims to consider the role of these and other actors (the record industry, the broadcasting industry, the state, academics and individual researchers) who have shaped current notions of what is understood as Brazilian popular music, and what isn’t. One of his primary intentions is “to identify the influence of those actors in delineating the parameters of Brazilian popular music, and more particularly the construction of a tradition within the wider sphere of popular music as a whole, that is, Música Popular Brasileira (MPB), the socio/cultural/musical movement that has dominated the artistic scene in Brazil since the mid 1960s” (pp.1-2). Continue reading