Music, Culture and Globalisation

Call for Papers
Annual Conference of the British Forum for Ethnomusicology 2009
Submission deadline: 30 November 2008

The Annual Conference of the BFE will be held from 16 – 19 April 2009, and hosted by the Popular Music Studies Unit at Liverpool John Moores University, UK. This 4-day conference seeks to generate new perspectives and understandings on the interrelatedness of music, culture and globalisation through stimulating interdisciplinary and intercultural theoretical dialogues, and thereby moving beyond those conceptualisations that are already established in ethnomusicology and other music-related disciplines. To this end, various guest speakers will be engaged to contribute a range of different theoretical perspectives on a more contemporary understanding of music and global culture. The keynote will be delivered by Professor John Tomlinson, Professor of Cultural Sociology and authority on the cultural aspects of the globalisation process.

Submissions are now invited on any aspect of the theme with papers that seek to explore newer issues relating to this subject, including, but by no means limited to, the following: (1) Musical traditions in transformation; (2) Music, place and identity; (3) New centres and peripheries? ; (4) Music, mediation and tourism; (5) New approaches to ethnographic enquiry and research methods. Abstracts (approximately 300 words) for paper presentations lasting 20 minutes should be submitted by 30 November 2008. Film shows and performances may also be proposed, as may pre-formed panels or workshop sessions, for which a longer abstract with named speakers should be submitted (approximately 1,000 words).

The Annual BFE Conference will be held in Liverpool (UK), a buzzing musical city that has just celebrated its 800th birthday in 2007 and continues celebrations as European Capital of Culture 2008. Liverpool is renowned for its vibrant music culture and the Beatles, football, maritime heritage, arts and culture, shopping, and exciting nightlife, and there will be time during the conference to explore its fabulous attractions. There will be a conference dinner and party on Saturday evening, and a themed night and a range of live music performances are also planned.

Detailed information on all aspects of the conference can be found on the
BFE conference website, or obtained directly from Dr
Simone Krüger, BFE 2009 Conference Organiser.

Reminder: Popular Music Worlds, Popular Music Histories (Closing Date: July 1, 2008)

Call for Papers

Popular Music Worlds, Popular Music Histories
IASPM 15th biennial conference

University of Liverpool, UK
July 13-17, 2009

For its 15th biennial conference, the International Association for the Study of Popular Music (IASPM) invites papers which explore the various connections and disconnections between popular musical worlds and popular music histories. Given Liverpool’s important place in relation to both areas, it will provide an ideal setting for papers submitted to the following streams:

Studying Popular Music: A Reassessment
Convenor: Martha Tupinambá de Ulhôa

Since the first attempts in the late 1970s and 1980s much has been done in terms of adapting analytical tools from several disciplines to the study of popular music. This stream welcomes papers dealing with the analysis of specific aspects of popular music (timbre, texture, prosody, melody, rhythm, harmony, arranging, etc.) or case studies of particular songs or instrumental pieces from any theoretical perspective.

Popular Music and Technology in a Historical Context
Convenor: Carlo Nardi

Different intellectual technologies have contributed to the way people produce and listen to popular music, be it orality, printing, recording or even the Internet. This stream welcomes papers dealing with the technological impacts upon popular music practices, including questions from cultural, aesthetic, ideological, economic, sociological, historical, legal or musicological perspectives.

Music, History and Cultural Memory
Convenor: Shane Homan

This stream seeks contributions that investigate popular music histories and the methodological challenges in their researching and writing. What particular historical narratives and agendas emerge, and what are their effects? The stream includes work that examines the role of popular music history in wider national histories and their presence in both informal (e.g. fan club newsletters) and formal (e.g. museums) contexts. Papers are also welcome that explore the role of ‘unofficial’ / ‘shadow’ music histories that challenge or offer alternatives to grander narratives and industry mythologies, to comprehend a politics of cultural memory studies in terms of what is officially preserved from oblivion and what is socially excluded from remembrance.

Music, Mediation and Place
Convenor: Geoff Stahl

The intersection of place-making and music-making as a site of mediation is a complicated one. From the use of certain music scenes or moments which have been mobilized as heritage myths and tourist packages, to issues related to the use of micro and mass media to bind musicmakers together–locally, regionally, nationally, and globally–the intersection of time and place as a highly mediated process has proven a vexed and complex phenomenon. We welcome papers which explore the many issues relating to music histories, representations, discourses, spaces and places, as well as those that consider the various research methods which might be best be deployed to capture this phenomenon.

Musical Struggles
Convenor: Michael Drewett

Being a musician inevitably involves struggle: Musicians starting out struggle to make it, musicians ‘in the margins’ struggle towards mainstream coverage, some musicians involve themselves in political struggle to do with identity issues and/or social issues, while in contexts of censorship, repression and control some musicians struggle to be heard. Even commercially successful musicians can become embroiled in corporate struggle over contractual obligations. This stream seeks contributions which document and conceptualise such struggles within a socio-political framework.

Abstracts should be no longer than 250 words (one page) and should be sent in the following format:

Keywords (five keywords that best describe your topic)

Abstracts should be sent to BOTH the conference address and the convenor of your stream. The conference address is:

Please label your abstract with your last name (i.e. smith.rtf, or smith.doc), not the title.

The deadline for abstracts is July 1, 2008.

We will notify participants no later than November 1st, 2008.

We look forward to seeing you.

The IASPM-International Executive

Popular Music and Society – Special Issue on Journalism and Popular Music

Submissions are invited for a special edition of Popular Music and Society, which will focus on the general theme of journalism and popular music.

Contributors are invited to consider the topic in diverse ways; possible themes might include:

  • the status of the "critic"
  • the politics of fanzines
  • popular music periodicals and magazines
  • the functions of the rock/pop journalist: concert reviews; album reviews; interviews
  • perspectives on the audience(s)
  • TV, radio, and online journalism
  • case studies: publications; musical genres; performers; journalists
  • popular music coverage in the mainstream press (tabloid and quality)
  • professional issues: creativity and control; career trajectory; training and entry
  • specialist publications (metal; country; jazz; blues)
  • histories of the music media
  • the growth of the profession
  • social and musical imagery in the media: ethnicity; gender; disability; sexuality
  • global perspectives
  • the music press and the charts
  • journalistic strategies and techniques
  • journalism theory: research; objectivity vs. subjectivity; gatekeepers
  • photojournalism
  • the significance of degree programs: Journalism; Popular Music Studies
  • the press conference
  • marketing and advertising strategies

In the first instance, potential contributors are asked to submit abstracts (approximately 250 words) and brief CVs by November 1, 2008.

Those selected for inclusion will then be invited to submit articles (6,000-8,000 words) by November 1, 2009.

The issue of Popular Music and Society will be published in 2010.

Please address all communication to the Guest Editor:

Dr. Ian Inglis
Reader in Popular Music Studies
Media & Communication
Lipman Building
University of Northumbria
Newcastle upon Tyne

Telephone: 0191 227 3417

The Fourth Annual Art of Record Production Conference 2008

Nov. 14-16, 2008
Hosted by William Moylan at The University of Massachusetts Lowell, Lowell, Massachusetts, USA

Call For Papers

Conference Summary:
The ARP Conference gathers together industry professionals, academic scholars, and musicians who utilize and study recording technology as a principle means of creative expression. It is the aim of this conference to facilitate the exchange of ideas between these groups, drawing upon broad areas of expertise, and providing a unique opportunity for individuals to inform, challenge, and stimulate the discourse surrounding the intersection of technology and music. ARP provides a platform for the exchange of ideas and multiple perspectives across disciplines.
The conference addresses a range of topics such as; how creative expression is achieved through technological practices; how changes in recording technology have impacted upon and informed musical practices; the so-called “democratization” of access to modes of creative expression and the resultant opportunities for the distribution of recorded work in the age of computer-based recording and the Internet.
The conference will comprise academic papers, industry speakers and panels, practical demonstrations and masterclasses as well as plentiful opportunities for networking and informal debate.

The 2008 Conference will deliver four streams of papers and panels around the following topics:

1. The Studio as Musical Instrument.
In 1983 Brian Eno described the recording studio as his musical instrument. After several decades of technological change, it is worth considering how the definition of what constitutes a “studio” has shifted, and the various technological, economical, and political impacts these shifts have had and continue to have on contemporary music. What does “The Studio as Musical Instrument” mean today? How has recording practice affected composition, arranging and song writing practice? How have “composer,” “performer,” “engineer,” “conductor,” or “musician” been redefined? How has the “recording studio” changed music and music making? Please send proposals for this stream to:

2. Recording Practice and Performance.
How have changes in recording practice affected performance practice amongst recording musicians? How has technology influenced the sound art which results? How do record producers, musicians and sound engineers communicate in the studio? How do they view each other? How have the control surfaces of the studio been absorbed into and influenced musical performance? How do issues such as comfort and non-verbal communication between musicians balance against separation and audio quality in the recording process? How is the creative power distributed between musicians, producers, record companies and technicians? Please send proposals for this stream to:

3. The Empowered Artist
The means for composing, performing, recording, promoting and distributing sound recordings is available to all artists. Is the ‘capability’ to do it all being matched by the ‘ability’ to do it well? Are the potentially conflicting challenges of business and creation being juggled without undermining the economic or artistic value of what results? How has low-cost audio production technology impacted the recording industry, both economically as well as in re-casting the creative technologies contained in professional facilities? Please send proposals for this stream to:

4. Production and the Listener
How aware are listeners of the possibilities and actualities of production? How aware are the industry professionals who are not involved in production? How do production practices impact on notions of authenticity? Are alternative mixes regarded by listeners as aesthetically equivalent? Do producers work with specific listening environments or audiences in mind? How has this impacted on the historical development of record production? Please send proposals for this stream to:

Other subject areas will be considered and we encourage the submission of papers on any topic associated with the art of record production.

Proposals for individual papers and poster presentations should not exceed 300 words.

Proposals for panels should include the names and brief CVs of all panel members and their individual contributions and should not exceed 1000 words.

The deadline for proposals is the 15th April 2008.
General enquiries can be addressed to Simon Zagorski-Thomas

Lecturer/Senior Lecturer in Ethnomusicology

NZ School of Music, Faculty of Humanities and Social Sciences

An exciting opportunity to work in the NZ School of Music with its strong existing tradition of ethnomusicology, and to shape the future development of the programme.

Location: Kelburn Campus
Term of Contract: Permanent
Reference: A162-08Z
Link to the Post
Closing Date: 30 May 2008

The New Zealand School of Music, a joint venture of Massey University and Victoria University of Wellington, seeks applicants for an appointment as Lecturer/Senior Lecturer in Ethnomusicology. The position will be based at Victoria University in Wellington, the thriving cultural capital of New Zealand.

The successful candidate will have a PhD in ethnomusicology or a related discipline, teaching experience at university level, and evidence of the ability to maintain a research profile of international distinction in ethnomusicology. A strong grounding in ethnomusicological theory, as well as the ability to connect theory to creative practice (through, for example, incorporating various forms of music-making and performance into research and/or teaching), is essential.

The NZSM will give preference to candidates who are sensitive to local musics, including in particular the music of Maori and Pacific Islanders, and who will consider ways to foster the study of these musics in the NZSM. Willingness to maintain and develop stimulating relationships with other disciplines within the School (such as musicology, music therapy, composition or performance) and with relevant departments of Victoria and Massey Universities would be an advantage. Responsibilities will include leading the ethnomusicology programme in the NZSM, teaching and supervision at undergraduate and graduate level, and contributing to the general administration of the School.

Appointments will commence on 1 February 2009.

Two representative samples of scholarly writing should be included with the initial application. These can be e-mailed separately to Kushla Beacon.

In addition please arrange for three letters of reference to be sent/e-mailed under separate cover to Kushla Beacon, by 30 May 2008.

Further information please contact the search committee chair, Inge van Rij.

Additional Information: RD – L.SL in Ethnomusicology.doc

Heavy fundametalism: music, metal and politics

1st Global Conference
Monday 3rd November – Wednesday 5th November 2008
Salzburg, Austria

It is about time, that with a growing critical interest in the music and culture of heavy metal, a conference be held to explore, critique and bang heads on what this long standing movement is about, where it is going and what it has to offer, politically socially and philosophically. Characterised by extremes, it is a music movement that has a range of lifestyles attached to it, comprising of quite disparate and radically different views amongst both fans and its progenitors. Recent publications such as Bill Irwin’s edited Metallica and Philosophy: A Crash Course in Brain Surgery (2007), documentary films and past texts such as Deena Weinstein’s 1991 Sociological study Heavy Metal The Music and its Culture and Keith Kahn Harris’ Metal Studies site indicate a continuous, serious interest in Heavy Metal.

Submissions are welcome on any of the following themes: Heavy Metal and:

  • Origins, Definition and History
  • Genres and classification. Classical music/Opera
  • Culture – Subculture – Underground – Popular Culture – Fans
  • Religion – anti religion – Evil – Satanism
  • Politics – Nationalism – the Apolitical – Fascism
  • Imagery – Iconography – Aesthetics
  • Art – Design – Fashion – Performance – Theatre – Sleeve Art
  • Gender Issues – Misogyny – Homo sociality – Masculinities – Deviant Sexualities
  • Monsters – Madness
  • Philosophical themes: Existentialism – Nihilism – Hedonism – Ethics
  • Literature – Cinema – Documentaries – Soundtracks – Horror – Gothic – Anime – Cartoons
  • Fashion

Papers will be considered on any related theme. 300 word abstracts should be submitted by Friday 13th June 2008. If your paper is accepted for presentation at the conference, an 8 page draft paper should be submitted by Friday 10th October 2008.

300 word abstracts should be submitted simultaneously to both Organising Chairs; abstracts may be in Word, WordPerfect, or RTF formats with the following information and in this order:

a) author(s), b) affiliation, c) email address, d) title of abstract, e) body of abstract.

Please use plain text (Times Roman 12) and abstain from using footnotes and any special formatting, characters or emphasis (such as bold, italics or underline). We acknowledge receipt and answer to all paper proposals submitted. If you do not receive a reply from us in a week you should assume we did not receive your proposal; it might be lost in cyberspace! We suggest, then, to look for an alternative electronic route or resend.

Niall Scott
Centre for Professional ethics
University of Central Lancashire
Preston PR1 5HE
Lancashire, U.K

Rob Fisher
Priory House, Wroslyn Road
Freeland, Oxfordshire OX29 8HR

The conference is part of a larger series of ongoing conferences entitled Critical Issues, which aim to bring together people from different areas and interests to share ideas and explore various discussions which are innovative and exciting.

All papers accepted for and presented at the conference will be eligible for publication in an ISBN eBook. We aim to bring together people from different areas and interests to share ideas and explore innovative and challenging routes of intellectual and academic exploration. All papers accepted for and presented at this conference are eligible for publication in an ISBN eBook. Selected papers will be developed for publication in a themed hard copy volume.

For further details about the project please visit:

For further details about the conference pleaser visit:

Post at the University of Bergen

Professor/Associate Professor in musicology
Ethnomusicology and/or popular music studies

The Grieg Academy-Department of Music at the University of Bergen, Norway, has a vacancy in a permanent position as professor in musicology (ethnomusicology and/or popular music studies).

If applicants do not meet the qualification criteria for a position as Professor, they may be evaluated for a position as Associate Professor.

Application deadline is 25 May 2008.

For the full position announcement, please see:

Stuck in the middle – Annual Conference of IASPM-ANZ

Annual Conference of IASPM-ANZ
International Association for the Study of Popular Music
Australia-New Zealand branch

Stuck in the middle
The Mainstream and its Discontents

28-30 November 2008
Presented by the Centre for Public Culture and Ideas (CPCI)
Griffith University
Brisbane, Australia

Whilst “cutting edge” and “alternative” music has played a central role in popular music studies, these terms depend upon being juxtaposed with a real or imagined “middle” or “mainstream.” The mainstream has often played the negative role in this relationship, against which the positive, resistant qualities of music subcultures have been measured. However, as music scenes and genres continue to fragment and blur, it is increasingly difficult to distinguish between a normative mainstream and a smaller number of resistant subcultures. Ultimately, today’s mainstream music reflects a complex set of negotiations between individuals, industry, production and consumption.

We invite contributions that address the topic of the mainstream from any perspective. The organising committee also gladly welcomes any general papers in the study of popular music.

Topics may include:

  • Redefining the mainstream
  • Mainstream music and everyday life
  • Global and local mainstreams
  • Mainstream music in educational contexts
  • Music, the mainstream and sporting cultures
  • Mainstreams, margins and minorities
  • Conflicts and controversies in the mainstream
  • Mainstream music across generations
  • Mainstream entertainment for children
  • Gender and sexuality in mainstream music
  • Mainstream music in the media

Abstract Submission
Abstracts should be submitted as an email attachment (Word document, 12pt Times New Roman font) to Gavin Carfoot.
The deadline for receipt of abstract is 30 June 2007.
Please use your surname as the document title (for example, “Carfoot.doc”). The abstracts will be reviewed by an IASPM-ANZ committee and successful applicants advised by email. Please include the following details (in this order):
1. Name of author(s) (as you would like it to appear in the programme)
2. Institution or affiliation (where applicable)
3. Contact phone numbers
4. Email address
5. Title of paper
6. Abstract (200-300 words)
7. Consideration for 2007 IASPM-ANZ postgraduate prize? (Yes/No)

Registration details will be available on the conference website .

Pease send registration forms to:

Jill Jones, Events Coordinator
Centre for Public Culture and Ideas
Nathan Campus
Griffith University
170 Kessels Road, Nathan
Brisbane, Queensland 4111
AUSTRALIA Ph: (07) 373 57338
Email: Jill Jones

Journal on the Art of Record Production

Call For Articles for the Journal on the Art of Record Production
Issue 3: Editor – Simon Zagorski-Thomas
Deadline: 30th May 2008


Business Models and The Production Process
This would involve articles on issues such how changing production techniques on the question of authorship, copyright and even the ontology of music. It could also include articles on how artists and producers are developing new business models in the face of the rapidly changing industry.

Recording and Mix Techniques
This would involve articles on the various ways that producers and engineers shape the sound of a recording through the use of microphone selection and placement, the use of room ambience, equalisation, dynamic processing, effects, editing techniques, stereo or surround mixing techniques etc. They might describe techniques used / developed / made famous by particular individuals or more general treatises on common practice, the psychoacoustics of particular techniques etc.

Please submit completed pieces for peer review:
Full article: 5 – 7,000 words
Position paper: 3 – 5,000 words
Provocations: up to 1,000 words (pieces by industry professionals or academics designed to stimulate debate)

Please send submissions to Simon Zagorski-Thomas