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.

    Seeking a full-time faculty member at Ramapo College


    At Ramapo College in northern New Jersey we are seeking a new full-time faculty member with a specialty in music business with possibly some experience in music production as well. We’ve had a music business program for a number of years, but this represents a commitment from the college supporting growth in this area. We are about 30 miles from New York City and have been able to place many students in internships there.

    We are looking for a person with experience in the industry and in music itself, as well as a very clear and sophisticated understanding of the many changes, realignments, and opportunities within the industry particularly brought on by digital media. We are seeking good candidates—ideally with some teaching experience—who can help students to understand where we are in music now, and who will mentor them in developing their skills and creative potential for the world as it is, and as it is becoming.

    Ramapo College is a progressive, multi-cultural institution with a lively and creative faculty and a music program long engaged with contemporary and global popular music, digital media, music production, and innovative performance.

    Please pass this information on to anyone who might be interested in and qualified fornthis position, as well as other individuals or places where potential candidates might be found. The official job description and instructions for application can be found at

    De-Canonizing Music History

    Advance Conference Note and Call For Papers

    “De-Canonizing Music History”

    International Symposium for
    Histories of Popular Music, Jazz, and Folk Music
    November 29–December 1, 2007

    Sibelius Academy
    Helsinki, Finland

    Sibelius Academy proudly presents a call for papers for an international symposium dedicated to popular music, jazz, and folk music. Three departments of the Sibelius Academy will sponsor the event conjointly: the departments of Music Education, Jazz, and Folk Music.

    The purpose of the symposium is to acknowledge and discuss the various ways in which traditional music history is challenged by emergent critical and cultural views, de-canonizing our conventional understandings of the musical past.

    Within this extensive focus, the submissions may concern a wealth of subjects and methods. Thematic areas may include, but also reach beyond:

    • Style/Genre history
    • Philosophy/Theory of history
    • Biography
    • Jazz studies
    • Historical study of musical instruments
    • History of music technology
    • Media history
    • Music education
    • Feminist and gender studies
    • Interaction between Art, Folk and Popular Music
    • Non-Western perspectives on music history

    Keynote speakers:

    Professor Roberta Lamb (Queen’s University, Kingston, Ontario, Canada)
    Professor Derek Scott (University of Leeds, UK)
    Professor Lewis Porter (Rutgers, The State University of New Jersey, USA)

    Deadline for submission abstracts: August 31, 2007.  Abstracts no longer than 250 words, email to

    Admission: Free of charge

    Contact: Laura Pohjola, Department of Music Education, Sibelius Academy,
    P.O. Box 86, FIN-00251 Helsinki, Finland

    Popular Music in Canada

    Call for contributions for an Edited Collection on Popular Music in Canada
    Edited by Charity Marsh and Holly Everett

    Working Title: Spanning the Distance: Reflections On Popular Music in Canada

    The editors invite proposals for a volume of essays that take up one or more of the following five themes:

    Popular Music Studies in Canada: Where Are We Now?
    Space, Place, and Performance in Canada
    Sounding Canadian: Representation, Identity, and Difference in Canada’s Music Scenes
    Media, Technology, and the Industry: The Question of Local/Global Relations in Canada
    Regionalism and Popular Music Scenes in Canada

    With this collection of works the editors aim to encourage dialogue concerning the place of popular music and popular music studies within Canada’s cultural landscape and the academy. Inspired by the 2006 meeting of the Canadian chapter of the International Association for the Study of Popular Music (IASPM) in Regina, Saskatchewan, we also hope to offer a range of perspectives that are both discipline-specific and interdisciplinary. Contributions drawn from the full spectrum of popular music(s) are encouraged.Deadline for Submissions:

                Deadline for Proposals: May 15, 2007
                Deadline for Completed Articles: August 15, 2007
                Review Process: August to November 2007
                Deadline for Final Edits: January 15, 2007

    Please send proposals of 300 to 500 words to and by May 15, 2007. Upon acceptance, completed essays should be approximately 10,000 words and will be due by August 15, 2007.  If you have any questions please email:
    Dr. Charity Marsh at or Dr. Holly Everett at

    Hearing Cultures (Review: Marina Peterson)

    Hearing Cultures: Essays on Sound, Listening and Modernity
    Veit Erlmann, ed
    Oxford: Berg, 2004

    The reader of Hearing Cultures: Essays on Sound, Listening and Modernity is met first with the image of an ear that graces the cover of the book.  This is not any ear.  Rather, it is an ear cast in white porcelain.  It is an ear without a body.  Where a head would be, there is, instead, a flat, oblong background of porcelain.  The white ear foremost evokes European classicism qua modernism.  Singular, abstracted, and decontextualized, the ear represents some of the dominant tropes of modernism.  The ear both points to “the modern” and reproduces “modernism.”  It is available to unpack as referencing modernity at the same time as it is itself a modern ear.  Sound, it suggests, contains both the peril and promise of modernity. 

    The title develops the content of modernism.  That the emphasis is on “hearing” – or sound consumption rather than production – we know already from the ear.  “Cultures” in the plural raises the spectre of difference.  But what is the subject that hears?  And what does it hear?  The abstract ear implies a universalist difference, cultures as serial entities, or cultures as the Other/s of the modern ear.  Is this modern ear locatable as part of a European modernism that imbues and accompanies projects that range from imperialism to anthropology, colonialism to globalization?  Or are cultures hearing, such that listening marks cultural difference?

    Erlmann’s introduction (chapter 1, “But What of the Ethnographic Ear? Anthropology, Sound, and the Senses”) provides answers to some of these questions, answers that are drawn on and problematized through the rest of the chapters.  Erlmann opens the Introduction with a question posed in Writing Culture, “’But what of the ethnographic ear?’” (1).  The quote serves as a prompt to call for a greater inclusion of non-visual sensory experience in ethnographic writing.  To this end, “’Hearing culture’ suggests that it is possible to conceptualize new ways of knowing a culture and of gaining deepened understanding of how the members of a society know each other” (3).  “Hearing culture,” as an explanation of the title Hearing Cultures, defines culture as entity; rather than “culture” coming into being through sound, “cultures” hear differently.  The cultures whose modes of hearing are investigated are ones that are (or were) undergoing modernization, addressing the question of “how listening has come to play a role in the way people in modernizing societies around the globe deal with themselves as subjects in embodied, sensory, and especially auditory ways” (5). 

    The problem of difference haunts this collection, as the terms of a European modern are deployed to analyze a range of times and cultures.  Following the thrust of modern projects such as colonialism, anthropology, and psycho-analysis, sound allows for a discussion of an Other in relation to cultural difference, the repressed, and the senses.  Modernity has produced difference through both violence and nostalgia, legitimating ideological or physical force in the service of modernization and looking within the modern self or to an Other outside for an alternative to the rationalizing tenets of modernism.  The chapters, in addressing the Other body or culture, create a generative analytic tension as they either reproduce the categories of modernity or use the material as a means of critiquing modernist tenets. 

    For Smith (chapter 2, “Listening to the Wild Blue Yonder”), difference is located in the past and the body.  “For the early modern men and women, hearing was a whole-body experience” (37).  Literature provides evidence of the aurality of reading practices and the sonic environment of the time.  This mode of investigation recuperates sound for the subject and the scholar, as it “recognizes the embodiedness of historical subjects and attends to the materiality of the evidence they have left behind at the same time it acknowledges the embodiedness of the investigator in the face of that evidence” (41).  Ultimately for Smith, sound is uniquely phenomenological, with the capability of giving new life to the modern body.

    Gouk (chapter 5, “Raising Spirits and Restoring Souls: Early Modern Medical Explanations for Music’s Effects”) discusses the philosophic relationship between sound and the body in early modern medicine.  Medical treatises posited ways in which music could heal by physically affecting a person’s nervous and spiritual system.  Such practices reveal an ideology of music that asserted a direct correlation between music and the body; historicizing this relationship helps deromanticize it.

    Connor (chapter 8, “Edison’s Teeth: Touching Hearing”) discusses the physicality of sound (where it is produced in and by the body), to explore a mimetic relationship between sound and touch (154).  The tongue touches the inside of the mouth and teeth can “hear” vibrations.  Engaging the embodied production of sound head on enables Connor to raise charges against some of the projections that are made onto sound; sound, Connor writes, is not so much an effect or marker of difference but “brings difference into the world” (162) as  “sound can come about only as a result of some more or less violent disturbance: the collision of objects with each other (we never hear the sound of one thing alone…)” (161). 

    For Bull (chapter 9, “Thinking About Sound, Proximity, and Distance in Western Experience: The Case of Odysseus’s Walkman”), the person on the street with headphones in her ears uses her body to colonize the world around her.  A combination of Odysseus’ measure of controlling his relationship to the sound of the sirens and Fitzcarraldo’s blasting of opera into the Amazon, “Walkman users habitually aestheticize their daily experience through sound in order to transcend their geographical space and manage their sense of presence in the world” (189).  Thus Bull inscribes modernity on the Walkman user, positing that sound is instrumental for a modernist mode of being in the world.  Bull’s Walkman user points to the other Other of modernity, the Other outside the modern self: the explorer’s encounter, the colonial subject, or the anthropologist’s field site.

    Carter (chapter 3, “Ambiguous Traces, Mishearing, and Auditory Space”) argues that an investigation of listening rather than hearing enables the recognition of possible gaps in sonic legibility across difference.  Such gaps might include misunderstandings between groups of people where difference is organized around spoken language as well as the transformation of an original sound through recording.  Focusing on listening, Carter argues, allows for the possibility of transformation as we dwell in the muddle of modernity.

    The Runa, a Quechua-speaking group, are an ethnographic Other, who, Nuckolls (chapter 5, “Language and Nature in Sound Alignment”) argues, have a closer relationship to the environment through sound than we do.  Nuckolls’ discussion of their sound world allows for an understanding of a different ideology of sound in relation to culture, in which ideophones reflect “a complex of cultural constructions that link sound to sentiments of shared animacy with the nonhuman life-world” (82).  While such an investigation yields new ways of thinking about ways to analyze and explore sound, the approach is necessarily posited on a premodern/modern split that also reproduces these terms.  With the assertion that “the use of ideophones is diminishing as “traditional subsistence-based culture becomes increasingly dependent on market-economy activities” (82), sound becomes an additional marker in the geographic and temporal divide between the modern self and the ethnographic subject.

    Kahn’s discussion (chapter 6, “Ether Ore: Mining Vibrations in American Modernist Music”) of the French-American composer and esoteric philosopher Dane Rudhyar describes how a Euro-American modernist musical tradition was used to incorporate sounds and musical ideologies from the “East.”  Rudhyar drew on Tantric cosmogony to develop a musical ideology and composition form that argued for an idea that all harmony emanates from a single vibration.  His Single Tone theory, however, ultimately supported a compositional form that was rooted in European art music traditions.  With a modernist project of appropriation as his case, Kahn is able to reflect on the nature of modernism without reproducing its categories in his analysis.  As the Single Tone theory suggests, modernism has the “the capacity to generate difference from…unity” (117).

    Hirschkind’s (chapter 7, “Hearing Modernity: Egypt, Islam, and the Pious Ear”) modern is the Egyptian state, which utilized recorded sermons as part of its twentieth-century modernizing project.  Cassette sermons emerged as modes of contesting the state (144); a medium not controlled by the government, cassettes also reflect an alternate philosophy of listening found in writings of mystics.  Rather than the message coming from the recording with the ability to transform the listener, cassettes mark a return to an idea that “the rhetorical act is accomplished by the hearer and not the speaker” (134).  Sound, therefore, is mutable, able to be put to different uses with differing ideological foundations.

    While Egypt had an internal modernizing project, the imperialist projects at the center of European modernism depended on and helped construct an uneven world of the West and the rest.  Thompson’s work (chapter 10, “Wiring the World: Acoustical Engineers and the Empire of Sound in the Motion Picture Industry, 1927-1930”) on American sound film engineers reveals a moment of cultural imperialism that bridged colonialism and globalization.  Installing sound technology around the world for talkie movies was construed in imperialist terms, reflected most blatantly in the language of an AT&T (the ERPI) newsletter that proclaimed, “’Africa Falls Under ERPI’s Advance’” (202).  Modernity itself was the aspiration, as, “American engineers (as well as filmmakers) saw the worldwide expansion of sound film as a broadcast enterprise – one in which American technologies, commodities, and culture would disseminate throughout the world, standardize it, and thereby make it modern” (192).  This project aspired for the creation of a modern ear, abstracted and universalized.  An ear represented by the image on the cover of the book. 

    Whose ear is the modern ear?  And what of the ethnographic ear?  The focus of the collection, ultimately, is not of what the ethnographer hears as sound, but of an ethnographic ear for what is heard by the subject.  For most of the authors, their subject is historical, with listening practices, abilities, and experiences found in texts.  This approach yields a wealth of methodological insight into how sound can be unearthed and recuperated from existing documents.  How we might hear today ­– with an ethnographic ear that can experience sound and hear the sonic world of others – now stands as a challenge, one that can continue to provide insight into the ways in which sound is a mode of being in the world.


    A new popular music research project in Finland

    The Starnet. Changing Discourses of Popular Music Stardom. This research project deals with the relationship between the star phenomenon and popular music. The main questions of the project are: How is popular music stardom constructed at specific historical moments? What kind of meanings popular music stars incorporate? Stardom is characterised by different media-oriented public actions which form a web-like texture. The project calls this discursion the starnet. In order to understand traditions and changes in this discursion, as well as the triumph of stardom in the latter part of twentieth-century, the project produces three studies. Docent Kari Kallioniemi examines the democratization of eccentricism in British stardom and popular music. MA Kimi Kärki focuses on Anglo-American stage designing and the multifaceted relationship between “stadium rock stardom” and technology. Dr Janne Mäkelä explores how Finland’s quest for international popular music stardom in the late tw
    entieth-century was connected to globalisation processes and national identity.

    The project has funding from the Academy of Finland from August 2005 to December 2007.

    IASPM-US 2008 Conference: Global Pop, Space and Place

    IASPM-US 2008 Conference:
    Global Pop, Space and Place

    University of Iowa
    April 25-28, 2008
    Iowa City, IA

    For many, popular music would, by definition, transcend any particular space, propelled by the technologies of mass media. Connecting every wired corner of the globe, today’s digital media technologies — from mp3s and p2ps to Myspace and YouTube — would appear to amplify popular music’s inherently translocal character. At the same time, popular music remains deeply entwined with significations of place, of home and away, town and country, here and there, black and white; and it remains shaped by real spaces and the changes that affect them. Popular genres and styles are nurtured and inflected in social spaces, and they enrich one’s sense of place as they shape one’s imagination of others. How is popular music shaped by, or how does it shape, social uses of space? Does popular music look and sound fundamentally different in an increasingly interconnected world? What happens to the notion of the popular in a peer-to-peer age? How does greater access to more music from farther away change our senses of our cities, regions, countries, selves, others? The conference program committee of the 2008 meeting of IASPM-US invites proposals for papers, panels, or roundtables relating to these questions and, of course, welcomes proposals on any aspect of popular music.

    Possible paper topics might address questions such as the following:

        * How do new uses of space inflect popular musics’ sounds, uses, and meanings?
        * How does popular music inform regionalism and geographical identity?
        * Are ‘translocal’ and ‘global’ popular music coterminous, or crucially distinct?
        * What is the relationship between popular music and urban space?
        * How does popular music draw the lines of community?
        * How do we conduct research in a MySpacey, YouTubey world?
        * What is popular music without the music industry?
        * In what ways does popular music animate politics, ideology, or propaganda?
        * How does popular music give voice and strength to its collective listeners?
        * How does popular music mediate social tragedy?

    Proposals will be read blind by the program committee, which consists of Connie Atkinson (University of New Orleans), Rebekah Farrugia (Western Michigan), Jonathon Grasse (California State University, Dominguez Hills), Kwame Harrison (Virginia Tech), Adam Krims (University of Nottingham), and Wayne Marshall (Brandeis University).
    Proposals will only be accepted via the online submission form at Abstracts for individual papers and roundtables should be no longer than 300 words, and proposals for panels should include an abstract of no more than 300 words for the panel as a whole, as well as abstracts of no more than 300 words for each paper proposed for the panel. The program committee reserves the right to accept a panel but reject an individual paper on that panel.

    For questions about the conference, contact Wayne Marshall, Program Committee Chair, at

    Submission deadline: 11:59 PST November 1, 2007.