IASPM XX (Canberra 2019) proceedings are online

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Dear all,

Turns and Revolutions in Popular Music. Proceedings from the XX Biennial Conference of IASPM, Canberra, Australia, 24th – 28th June 2019 e-book has now been published.

Here is the direct link: https://iipc.utu.fi/iaspm2019/

(as part of IIPC Online series here, as vol. 8: https://iipcblog.wordpress.com/publications/).

Hope you enjoy!

IASPM 2021-Conference (Daegu) postponed

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Dear IASPM Members,

   Unfortunately we have to announce that the IASPM Bienniel Conference to be held in South Korea in 2021 has now been postponed for 12 months. With a date in July 2021, we had hoped that we would be largely over the Coronavirus Pandemic, and at least some IASPM members would be able to attend the conference. The IASPM Executive Committee and conference local organising committee discussed this a number of times, and we have held off making a decision until now, in the hope of still going ahead with a blend of in person and online involvement. However it is now clear that it is unlikely many people would be able to plan travel in April, and travel will still be disrupted in many parts of the world in June/July.

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IASPM Honorary Members

Individuals who have made exceptionally distinguished contributions to the work of the International Association for the Study of Popular Music may, upon recommendation of the Executive Committee be made Honorary Membership of IASPM. Such Honorary positions were established in 1982. Several new Honorary Members were approved in the 2021 General Meeting.

Awarded in 2021:
Sara Cohen
Franco Fabbri
Reebee Garofalo
Anahid Kassabian
Tony Mitchell
Martha Tupinambá de Ulhôa

Previous awardees:
Kwabena Nketia
Koo Nemo
John Collins
Charles Hamm
Jan Fairley
Philip Tagg

Call for Applications: IASPM Journal Editorial Board Members

Call for Applications:  

IASPM Journal Editorial Board Members 

IASPM Journal is the international peer-reviewed open-access e-journal of the International Association for the Study of Popular Music (IASPM), published in two issues per year (https://iaspmjournal.net/index.php/IASPM_Journal) and indexed in SCOPUS indexing and citation system. All editorial work is carried out online, via the OJS (Online Journal System), from the preliminary reading of submissions, the peer-review stage and editorial decision-making, to copyediting, layout and final proofreading. 

Two positions are now available on the IASPM Journal Editorial Board. The duration of the terms will be October 1, 2021-October 1, 2025. If you are interested, please fill the questionnaire (https://forms.gle/DC6Fm17M9qR9UCjX9) by August 1st 2021. We will announce the results of this call by October 2021. 

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Call for submissions, Women and Music

Women & Music: A Journal of Gender and Culture is now accepting submissions for volume 26 (2022). The journal is particularly interested in work that provides a critical perspective on music and/or sound, and in work that considers the role of gender, sexuality, race, citizenship, class, or other cultural and social factors in the production, circulation, historicization, or consumption of music. Women & Music is an annual publication, published by the University of Nebraska Press.

The journal welcomes stand-alone academic articles, as well as shorter, thematically-linked pieces, poetry, original artwork, and short scores or musical extracts that have not been previously published. Stand-alone articles are typically 6K-10K words; longer pieces may be considered in consultation with the editor. Scores should be no more than five pages long, and formatted to fit the 7 ¼” x 4 ¼” printed area of the journal’s pages. Musical contributions should be written by female-identifiying composers or address issues of gender or sexuality in some form.

Submissions should be sent by July 7th to WAM’s Editorial Collective at WAMjournal@gmail.com, which includes Lisa Barg (McGill University), Kimberley White (McGill University), and Vanessa Blais-Tremblay (Université du Québec à Montréal). Books for review should be sent to the Book Review Editor; for the mailing address contact Laura Risk (University of Toronto-Scarborough) directly at laura.risk@utoronto.ca

IASPM Annual General Meeting 2021

IASPM Annual General Meeting 2021

Dear IASPM members,

The Executive Committee of IASPM invites you to the virtual annual general meeting (AGM) that will take place on July 1st, 2021, at 12 noon (12 pm GMT+1, London time). The meeting will take place via Zoom. This is the link to the meeting:

Topic: IASPM AGM Zoom Meeting

Time: Jul 1, 2021 12:00 London

Join Zoom Meeting

https://zoom.us/j/96958661986?pwd=YWlVYkRsQ1BkejdUemxnaVB4Sm5Rdz09

Meeting ID: 969 5866 1986

Passcode: 861808

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“Education Sciences & Society” Journal – Italy

Dear IASPMites,

I’m happy to share with you the last call for papers from the Italian scientific Journal “Education Sciences & Society”: https://journals.francoangeli.it/index.php/ess/announcement/view/37

Professor Massimiliano Stramaglia and I we’ll be glad if you consider participating with a paper about the way pop music can help to clarify the meaning of being young today.

Thank you very much for your kind attention!

Tommaso Farina

International Conference on Musical Form

The Formal Theory Study Group is pleased to announce that the rescheduled International Conference on Musical Form will take place virtually on 21st-23rd June, 13:00-19:00 (BST). We are looking forward to welcoming Janet Schmalfeldt (Tufts University) and Steven Vande Moortele (University of Toronto) as keynote speakers, and hosting a roundtable discussion on ‘Formenlehre and Canonicity’.

The provisional conference programme is available here: https://www.formenlehre.co.uk/icmf-programme

Due to the COVID-19 pandemic, the conference will now take place online with pre-recorded papers and posters that you can watch in advance of the conference. The live conference will instead give delegates five minutes to summarise their paper, followed by ten minutes of questions. Most of the pre-recorded papers are already available for viewing. To join the conference and access the pre-recorded papers, you will need to complete the online registration, which is completely free. To register, there are three main steps:

1)        Sign up to our website (formenlehre.co.uk). Click on the ‘log in’ button on the top right of the page. You will then be directed to a page for setting up an account.
2)        To access the pre-recorded videos, you will also need to ‘subscribe’ to the membership plan ‘ICMF2021’ (https://www.formenlehre.co.uk/plans-pricing).
3)        Change the quantity of ‘ICMF Event Ticket’ to 1, then press check out and fill in the form. A confirmation email will be sent to you. (Although you will technically be ‘buying’ a subscription, the price is set to £0 so this is completely free and you will not need to give any payment details.) (https://www.formenlehre.co.uk/event-details/international-conference-on-musical-form-3)

For more details, please visit https://www.formenlehre.co.uk/conference

cfp: ‘Rethinking Participatory Processes Through Music’ Study Days

‘Rethinking Participatory Processes Through Music’

14-15 January 2022, online event

https://musicdemocracystudydays.wordpress.com

Convened by Igor Contreras Zubillaga (British Academy Postdoctoral Fellow, University of Huddersfield) and Robert Adlington (University of Huddersfield)

Keynote speakers: Hélène Landemore (Yale University), Anna Bull (University of York), Raymond MacDonald (University of Edinburgh)

In recent times, the UK’s Brexit vote, the 2016 US presidential election, and other elections worldwide have made democratic processes the subject of unprecedented public debate. This has led to widespread questioning of the mechanisms for people’s participation in the democratic system and in political decision-making. One of the most ground-breaking inquiries into what public participation ought to look like within democracy has recently been carried out by political scientist Hélène Landemore (Yale University). In her book Open Democracy (2020), Landemore favours the ideal of ‘representing and being represented in turn’ over direct-democracy approaches. Drawing on recent experiments with citizens’ assemblies, Landemore offers a different concept of nonelectoral democratic representation.

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