Senior Lecturer in Music Technology

Job Advert

Senior Lecturer in Music Technology (Popular Musicology)
School of Music, Humanities & Media
University of Huddersfield
West Yorkshire
England, UK

£34,094 – £43,190 pro rata, 0.5 FTE
Ref: 3910

We are looking for an expert in musicology as it relates to popular music and/or music technology to join a thriving team teaching Music Technology at Huddersfield. Candidates whose main expertise is in popular music composition will also be considered.

We seek to enhance our international reputation in music technology and new music, for which the University boasts some of the best facilities in Britain. The Department has recently established a Centre for Research in New Music (CeReNeM), is home to the renowned Huddersfield Contemporary Music Festival, and is moving into a new, purpose-built facility for September 2008, including state of the art facilities for computer and acoustic music.

You will be expected to contribute at an international level (or show potential to do so) to the maintenance and development of the Department’s high standing in research (rated 5 in RAE 2001).
Experience of teaching in Higher Education is essential. A degree (or equivalent) in music, popular music or music technology and a postgraduate degree (or equivalent) is also essential.

You will contribute with imagination and innovation to the Department’s wide-ranging curriculum, and whilst specialising in musicology, you will be expected to contribute to the core music technology curriculum. Expertise in any of the following would be an advantage: popular music composition (especially desirable), popular music performance, sampling, sequencing, hard disk recording and processing, music and the moving image, music and the media, and the music business.

Closing date: 25 July 2008. Interview date: 21 August 2008.

For further details and an application form visit Alternatively contact the Personnel Office on 0044 1484 472845.
For an informal discussion please contact Rupert Till.

We particularly welcome applications from ethnic minority groups and people with disabilities who are under-represented in the University.

Lecturer in Contemporary Music and Culture

NZ School of Music, Faculty of Humanities and Social Sciences
An exciting opportunity to work in the NZ School of Music

Location: Kelburn Campus
Term of Contract: Permanent
Closing Date: 31 July 2008
Reference: A249-08Z

Position Overview The New Zealand School of Music, a joint venture of Massey University and Victoria University of Wellington, seeks applicants for an appointment as Lecturer in Contemporary Music and Culture. The position will be based at Victoria University in Wellington, New Zealand’s capital city.

The New Zealand School of Music is committed to the idea of music as an essential human activity that powerfully informs our contemporary social interactions and multiple identifications. The field of expertise required for this position is open and may be grounded in a number of areas: creative, critical, performative, theoretical or historical. Whilst the field of expertise remains flexible, the applicant should have a wide-ranging perspective on music and musical culture from the twentieth century until the present day and will be expected to teach and conduct research in some aspect of contemporary musical life.

The successful candidate will have a PhD or DMA, teaching experience at university level, and evidence of the ability to maintain an international profile in research and/or creative practice. 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, to arrive by 31 July 2008.

For further information please contact the search committee chair, Stephan Prock or visit the website

Post at the University of Otago

University of Otago
Te Whare Wananga o Otago
Dunedin, New Zealand
Lecturer in Music
(confirmation path)
Department of music

Applications are invited for the confirmation path position of Lecturer in the Department of Music, Division of Humanities.

The appointee will have expertise in popular music and world music.

The Department of Music offers degrees specialising in music performance (contemporary popular music and western art music), composition, ethnomusicology and musicology, as well as postgraduate studies. Popular and world music are established and growing areas in the Department, and the successful applicant would support these activities in teaching and research. A completed PhD is required, as well as proven potential for distinguished scholarship and effective teaching at undergraduate and postgraduate levels.

The successful applicant will be expected to commence 1 February 2009.

Specific enquiries may be directed to Professor Henry Johnson, Head of Music, Tel/Fax 03 479 8885

Reference Number: A08/81 Closing Date: 14 July 2008.

Application information

With each application you must include an application form, an EEO Information Statement, a covering letter, contact details for three referees and one copy of your full curriculum vitae. For an application form, EEO Information Statement and a full job description go to: nz/jobs
Alternatively, contact the Human Resources Division, Tel 03 479 8269, Fax 03 479 8279,

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: