Psytrance: Local Scenes and Global Culture

Call for contributors for an edited collection

Psytrance: Local Scenes and Global Culture
Edited by Graham St John

This volume seeks contributions to the study of psytrance (psychedelic trance) culture. In particular, it will feature research attending to psytrance as a product of intersecting local and global trajectories. International and interdisciplinary, the collection will host contributions from scholars researching psytrance in worldwide locations, employing various methods, within multiple disciplines: including anthropology, sociology, cultural studies, media studies, ethnomusicology and studies in religion.
Rooted in Full Moon parties held on the beaches of Goa, India, in the 1970s and 1980s and incubated within “Goa Trance” scenes flourishing around the world in the mid-1990s, psytrance culture mushroomed globally over the past ten years. Inheriting from ecstatic and visionary pursuits of 1960s psychedelia, sharing music production technologies, DJ techniques and the culture of electronic dance music scenes, and harnessing the communication capabilities of the internet, psytrance would develop distinctive sonic and visual aesthetics, organizations and events, discourse and practice. This cultural proliferation would depend upon the growth of exotic sites of travel, exchange and performance (from Goa to Koh Phangan, Thailand, Bahia to Bali, Ibiza to Nevada’s Burning Man and so on). With events attracting enthusiasts from dozens of nations, in the early 2000s psytrance festivals would become what are likely the most culturally diverse music and dance events on the planet. By 2008, psytrance music, style, and texile fashions are evident in scenes the world over, with the music and culture translated among populations across Europe, in Israel, North America, Australia, New Zealand, South Africa, South America, Mexico, Japan, and elsewhere.

Possible themes to be explored in the collection:

  • The roots of psytrance and the development of electronic trance music.
  • The hybridization of aesthetics, genres, and subcultures in psytrance culture.
  • The role of new communications media and music technologies in production, performance and culture.
  • Globalization and psytrance music and culture.
  • The cultural economy of psytrance.
  • Gender, race, class and psytrance.
  • Psytrance and counterculture.
  • Psychedelics, entheogens, and the trance experience.
  • The trance dance “experience” illuminated performance and/or trance theory.
  • Sonic/visual appropriation/sampling.
  • Trance carnivals and transgression.
  • Pilgrimage and festivals.
  • Fandom, and trance enthusiasts.
  • New spirituality, visionary culture, and psytrance.
  • Distinctions between “travellers” and “tourists”.
  • Theories of subculture, neotribalism, scenes, and psytrance.
  • Contradictions and hypocrisy within psytrance countercultures.
  • While the volume will address these and other themes, contributors should keep in mind the principal objective of the collection: to investigate the local, regional, or national translations of psytrance, on the one hand, and its global character on the other. Chapters will at the very least attend to either the local or global dimensions of psytrance music and culture. Submissions focusing on the interfacing of local/global dimensions will be especially appreciated.

    Interested contributors should send a 250-300 word abstract to Graham St John by May 1 2008. Please send abstract and direct questions to Graham


    British Library Lectures in Musicology 2007/8

    Royal Holloway
    British Library Lectures in Musicology 2007/8

    The 2007-8 lectures, ‘Rock and British Musical Culture 1955-2005’, will be delivered by Prof. Simon Frith (University of Edinburgh).

    Sponsored by the Department of Music, Royal Holloway, University of London and supported by the British Library.

    Lectures take place on the following Wednesdays from 6 pm to 7 pm at the British Library Conference Centre.
    Admission is free, without ticket.

    23 and 30 January, 6, 13, and 27 February, and 5 March 2008

    History of Stardom Reconsidered Vol 1

    New Publication Series on Popular Culture

    Vol 1. History of Stardom Reconsidered

    The International Institute for Popular Culture (IIPC) is happy to announce the launching of a new refereed online series on popular culture. It publishes monographs, edited collections and conference proceedings, and it is open for all scholars of the field.

    The first volume History of Stardom Reconsidered can be downloaded as pdf files at

    … alles hat seine Zeit. Age and Ageing in Popular Music

    Call for Papers

    … alles hat seine Zeit
    (All things have their season)
    Age and Ageing in Popular Music

    19th Conference of the Arbeitskreis Studium Populärer Musik
    (the German Association for the Study of Popular Music ASPM)
    31st October – 2nd November 2008 in Akademie Remscheid near Cologne, Germany

    Remember ‘Hope I die before I get old’ – that supposed pop consensus in the late sixties? Since then, the ageing process has certainly left its mark on the productive forces and forms of all genres, topics, performers and listeners of so-called popular music. The starting point of the discussion at the nineteenth ASPM conference will be the fact that such processes are not only increasingly having an impact on the production and reception of popular music – but in fact always have had.
    Age as a stamp of quality in the blues and jazz, age as a blind spot in pop, or as a simulation of perennial vitality and potency in rock (Mick Jagger) but also as a sign of premature ageing (Ozzy Osbourne, Keith Richards) … Of course we will scarcely be investigating the ageing process in the artists, but rather that of the genre itself. Can we speak of a ‘later style’ in the Stones’ work? Why can pop mainstream products – after a certain safe passage of time – be termed evergreens or (in an inversion of the meaning) oldies? Are sweet sixteens immortal?
    If the performers can’t be made responsible for the cliché of popular music as youth music, can we then look to blame the audiences? And what power to define ‘youthfulness’ (as in sex and drugs and rebelliousness) does popular music actually still have, when teenagers go to concerts with their Mamas and Papas?

    At the ‘… alles hat seine Zeit’ conference, German-language popular music scholars will be looking at this topic for the first time. We warmly invite scholars of all disciplines interested in the multifarious questions and processes of ageing in popular music to contribute.
    Selected contributions on the focus topic of the conference will be published after peer review in the Beiträge zur Popularmusikforschung (Contributions to Popular Music Research) series ( Bielefeld : transcript-Verlag).
    The languages of the conference and the publication will be German and English.

    Papers should be registered at the ASPM office with title and abstract by 1st April 2008:

    Arbeitskreis Studium Populärer Musik e.V.
    Ahornweg 154
    25469 Halstenbek

    or mailed to Alenka Barber-Kersovan

    Further details can be found on our website: Arbeitskreis Studium Populärer Musik

    Post-Doctoral Fellowship in Interactive Media and Performance

    Post-Doctoral Fellowship in Interactive Media and Performance

    Faculty of Fine Arts, University of Regina

    The Faculty of Fine Arts, with Dr. Charity Marsh, (Canada Research Chair in Interactive Media and Performance) at the University of Regina, is now advertising for a Post-Doctoral Fellow. The fellowship is related to Dr. Marsh’s research in one or more of the following areas: 1) (Indigenous) Hip Hop Cultures; 2) DJ Cultures including EDM, Club-Culture, Rave Culture, Techno, Psy-Trance, on-line, community, and pirate radio; and 3) Isolation, Identity, and Space: Production and Performance of Popular Music in Western and Northern Canada.

    In addition to working on the Canada Research Chair research projects, the Post-Doctoral Fellow will have the opportunity to develop their own research interests, participate in the broader activities of the Interactive Media and Performance Lab (IMP), the Interdisciplinary Studies graduate program, Department of Media Production and Studies, the Faculty of Fine Arts, and the University of Regina. The Post-Doctoral Fellow will have access to the IMP labs (which house a multi-media DJ interactive studio and performance/ workshop space, beat-making/production studio, and an ethnomusicology and field work lab), and the New Media Studio Lab (which houses HDTV Imaging and Editing Suite, a surround sound research studio, and a 3-D visualization lab).

    The Post-Doctoral Fellowship is a one-year term, starting May 1, 2008 (or July 1, 2008), and renewable for a second year after a successful year-one review. Funding for this fellowship is provided by the University of Regina and the Saskatchewan Innovation and Science Fund. The Fellowship award is $32,500 per annum (non-negotiable).

    The Post-Doctoral Fellow will be expected to engage in an active program of scholarly research in collaboration with Dr. Marsh and will be supported by a $2,500 research/travel grant for the tenure of the fellowship. The candidate will also have the opportunity to apply for sessional teaching and corresponding stipends (up to two half courses per year) subject to the availability of funds and the needs of the Faculty of Fine Arts and the University of Regina.

    The successful applicant will have a recent Ph.D. and research experience in the areas of Media Studies, Popular Music Studies, Ethnomusicology, Indigenous Studies, Cultural Studies, Socio-Cultural Anthropology, or equivalent. The Fellow will have the capacity to undertake independent research as well as to manage large and ongoing research projects related to the Canada Research Chair in Interactive Media and Performance.

    Applicants should submit a c.v., a one-page description of a research plan that would be carried out during the period of the appointment; a description of courses that one could offer in Media/ Film Studies, Music, and Interdisciplinary Studies; and a proposal for a special topics course. Applicants should describe the areas and strengths in research and teaching that they would bring to the Faculty of Fine Arts.

    For more information please consult Dr. Charity Marsh at or 306-337-2623.

    Deadline for applications is April 1, 2008.

    Send applications to the following address:

    Dr. Charity Marsh
    Canada Research Chair
    Ed. 243 – Media Production and Studies
    University of Regina
    Regina, Saskatchewan, Canada S4S 0A2

    The eXtensible Electric Guitar Festival

    the eXtensible Electric Guitar Festival

    Since its development in the mid-twentieth century, the electric guitar has had a profound influence on many aspects of music, creating new sounds, spurring the development of new musical styles, and reshaping concepts of musicianship. In the early twenty first century, despite retaining its iconic status as a symbol of innovation and transgression, the electric guitar and its uses now seem commonplace, almost routine; in short, the instrument may be in danger of losing its edge.

    The Extensible Electric Guitar Festival aims to rediscover and showcase the electric guitar’s spirit of innovation and exploration. To that end we are looking for music and musicians that use the electric guitar in innovative ways and which extend its capabilities. Music which uses the electric guitar as a controller, with electronics and computers, and with multi-media are encouraged. We anticipate having two evening concerts, one in a concert hall setting, another in a club setting. There

    Music: The Extensible Electric Guitar Festival
    Clark University, Worcester MA USA
    April 4-5, 2008Call for Music and PerformersDeadline: 01/01/08Project directors:
    David Claman
    Matt Malsky (Clark University)

    Symposium: The Extensible Electric Guitar Festival
    Clark University, Worcester MA USA
    April 4-5, 2008Call for Presentations
    Symposium: ‘Instruments of the Post-Prohibitive Age’Deadline: 01/01/08Our symposium begins where Kyle Gann’s keynote to the Extensible Toy Piano Festival (Nov. 2005) left us — with a consideration of the ‘post-prohibitive era’.** Listeners have access to music from every historical era, social context and geographic location, and it’s all accessible instantaneously. Musicians can synthesize all previous musical thought. Every musical style, unusual sound, revolutionary impulse or aesthetic ideal can be incorporated into new music. If modernism’s relationship with mass-culture was marked by a fear of contagion, our post-prohibitive era might be thought of in terms of information-overload. And how do we go about making sense of it all?

    Full text of this call

    Postgraduate Open Day

    Postgraduate Open Day
    Department of Music, University of Nottingham

    Tuesday 11 December, 12:00-6:00.

    – Find out more about Nottingham’s distinctive MA in Music (with pathways in Early Music, Music and Gender Studies, Music and Geography, Music and Film, Theory and Analysis) and research degrees in musicology and composition.
    – Find out about funding opportunities.
    – Talk with staff and current students.
    – Tour the Music Department and the Graduate School.
    – Attend and participate in two postgraduate research events.
    – Attend a colloquium in the Music/Geography “Spaces of Sound” series.


    12:00 Buffet lunch and introduction to Nottingham’s postgraduate programmes in Music
    2:00 Postgraduate Reading Group (discussing Susan McClary’s ‘A Musical Dialectic from the Enlightenment: Mozart’s Piano Concerto in G major, K. 453, Movement 2’, Cultural Critique 4 (Autumn 1986), pp. 129-69)
    3:45 Coffee and tea
    4:30 Music/Geography Spaces of Sound seminar: Dr Polly McMichael (Department of Russian and Slavonic Studies, University of Nottingham), ‘Constructing the Soviet Rock Star’

    Please address any queries to the Postgraduate Admissions Officer, Adam Krims

    Roll Hall of Fame is seeking nominations and applications

    The Rock and Roll Hall of Fame and Museum is seeking nominations and applications for Vice President, Education and Public Programs.

    The ideal candidate will have five+ years of professional managerial experience in educational programming and curriculum development, preferably in a museum, cultural institution or academic setting. He/she will be a skilled manager who will bring to the position a high degree of energy and creativity as well as the organizational, analytical and personal qualities that will inspire enthusiasm within the organization and cooperation from the Rock Hall’s key partners.

    It is preferred that candidates have a strong network of relationships in either the music industry or in academic circles, but the successful candidate will have the communication and interpersonal skills to develop productive relationships with both types of partners.

    Other specific qualities and attributes include:

  • Extensive knowledge of and passion for the history and cultural significance of rock and roll and its related forms, with an emphasis on critical thinking, writing and/or research.
  • Ability to create broad-based educational programming that emphasizes collaboration and creativity.
  • Visionary, entrepreneurial, and dynamic leadership style.
  • Excellent oral and verbal communication skills.
  • Versatile interpersonal style and sensitivity to artistic and cultural diversity.
  • Collegial attitude and the ability to become a supportive and collaborative member of the Rock Hall’s senior management team.
  • Capacity to manage multiple projects concurrently, and solid organizational and decision-making skills.
  • An understanding of the various forms of education and public programs at the Rock Hall.
  • Ability to advocate for his/her department while supporting overarching institutional goals.
  • Advanced musical training/abilities or professional experience in the music industry is a plus.
  • Prior experience in classroom teaching and curriculum development is highly preferred.
  • A Graduate Degree in American Studies, Cultural Studies, Education, Museum Studies, Museum Administration, Musicology or related field is required. PhD preferred.
  • Compensation is competitive. There is no deadline for submissions, but the position will be filled as soon as the ideal candidate is identified.

    The Rock and Roll Hall of Fame and Museum is located in Cleveland, Ohio.

    The complete position description is available upon request.

    Please submit all inquiries, nominations and/or applications to:

    Michele Baird Counter
    DHR International
    Principal, Nonprofit Practice
    (P) 919-465-9354

    Music and the Moving Image III

    Music and the Moving Image III
    Conference at NYU, May 30 – June 1, 2008
    Call for papers

    The third annual conference, Music and the Moving Image, encourages submissions from scholars and practitioners that explore the relationship between music and the entire universe of moving images (film, television, computer, video games, and interactive performance) through paper presentations, roundtables, and plenary sessions. This year live performance/screenings will be a featured part of the evening program. Streaming video versions of every presentation will be available only at NYU from May 30 – June 3, 2008.
    Accepted papers will be considered for inclusion in the new peer-reviewed online journal Music and the Moving Image:

    The Program Committee includes Macquarie Univ. faculty Rebecca Coyle (Reel Tracks: Australian Feature Film Music and Cultural Identities); NYU artist faculty Ira Newborn (The Naked Gun); NYU faculty Robert Rowe (Machine Musicianship); Univ. of Wisconsin-Madison faculty Jeff Smith (The Sounds of Commerce: Marketing Popular Film Music); and coeditors of Music and the Moving Image, Gillian B. Anderson (Haexan; Pandora’s Box; Music for Silent Film 1892-1929: A Guide); and NYU faculty, Ron Sadoff (The Moon and the Son).

    For more detailed information about last year’s conference, go to:

    The conference will run in conjunction with the NYU/ASCAP Film Scoring Workshop in Memory of Buddy Baker (May 16-23, 2008) and the NYU Song Writing Workshop [ May 27-30 ]:

    Abstracts or synopses of papers (250 words) should be submitted to Dr. Ron Sadoff, chair of the program committee, by no later than Jan. 14, 2008. E-Mail Ron Sadoff for more information.

    Ron Sadoff
    New York University
    35 West 4th St
    Rm 777H
    New York, NY, 10012

    Conference fee (May 30 – June 1): $135.00, Students: $65.00, Housing Available.

    IASPM-Canada Annual Conference: Popular Music & Popular Culture: Intersections & Histories

    IASPM-Canada Annual Conference
    Brock University, St. Catharines, Ontario
    May 9-11, 2008

    Popular Music & Popular Culture: Intersections & Histories

    The conference title has a deliberately wide remit to encourage numerous and diverse interpretations of relationships between popular music and popular culture. Proposals are encouraged in, but not limited to, the following categories:

    Collectors and collecting
    Film and popular music
    Gaming and popular music
    Genre histories
    Histories of popular music studies
    The Internet and popular music
    Music videos
    Nation and popular music
    Popular music and/in fiction
    Popular music and identity
    Popular music and/on television
    Popular music archives
    Popular music biography
    Popular music canon(s)
    Popular music pedagogy
    Popular music’s star system
    Sound recording
    Technology and popular music
    Technological histories
    What makes popular music “popular”?
    Writing popular music’s history

    Deadline for Proposals: Friday, January 25, 2008. Please send a 250-word proposal and a brief biographical note (preferably in PDF) to one (or both) of the program co-chairs:

    Nick Baxter-Moore

    Scott Henderson

    The program committee plans to notify all prospective presenters by February 25.

    Appel de communicationsColloque Annuel De IASPM-Canada
    Brock University, Ste.Catharines, Ontario
    9-11 mai 2008

    Musique Populaire & Culture Populaire: Intersections & Histoires

    Notre thème de colloque est volontairement large afin d’encourager les nombreuses et diverses interprétations des relations entre la musique populaire et la culture populaire. Les propositions de communication dans les catégories suivantes sont encouragées, mais elles peuvent en déborder:

    Collecteurs et collections
    Film et musique populaire
    Jeux vidéos et musique populaire
    Histoires de genres musicaux
    Histoires de l’étude de la musique populaire
    Internet et musique populaire
    Comédies musicales
    Nation et musique populaire
    Musique populaire et/dans la fiction
    Musique populaire et identité
    Musique populaire et/à la télévision
    Archives de musique populaire
    Biographie de musique populaire
    Canon(s) de musique populaire
    Pédagogie en musique populaire
    Célébrités et musique populaire
    Enregistrement sonore
    Technologie et musique populaire
    Histoire de technologies
    Qu’est-ce qui rend la musique populaire «populaire»?
    Écrire l’histoire de la musique populaire

    La date limite pour soumettre vos propositions est le vendredi 25 janvier 2008. Veuillez envoyer une proposition de 250 mots et une brève note biographique (préférablement dans le format PDF) à un (ou aux deux) co-officier(s) de la programmation:

    Nick Baxter-Moore

    Scott Henderson

    Le comité de programmation entend avertir les futurs/res conférenciers/ières le 25 février 2008.