cfp: Staging popular music

Staging popular music: sustainable music ecologies for artists, industries and cities

Erasmus University Rotterdam, the Netherlands, 3-4-5 November 2021

AIMS
This conference focuses on the intersection between key transformations in the popular music industries. Music represents and generates value on various levels from the individual to the global, and in many different spheres from the cultural and social to the economic and political. Popular music is staged through multiple platforms, actors, businesses, intermediaries and policies. The current COVID-19-crisis both challenges the music industries and acts as a catalyst of new digital innovations. This is a vital moment to (re)consider the future directions of the music industries. While the music industries are characterized by continuous change and transformation, significant disruptions have always impacted its resilience. Such disruptions can be external shocks, including the current crisis, new technologies, political change or aesthetic-cultural innovations. From an ecological perspective, all transformations force the industry to reshape and rethink itself. This will likely result in both positive as negative consequences. We need to critically reflect on what the immediate and long-term future of music ecologies entails, who benefits and who suffers from such disruptions.

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Call for Chapter Proposals on DJ Cultures in Canada

Proposed Title: We Can Dance If We Want To: Canadian DJ Culture Turns Up

Edited by Dr. Charity Marsh and Dr. Maren Hancock

“As a creative performance, the DJ set has the potential to communicate new ways of being, of feeling, producing musical discourses that are nevertheless embedded in the real-world, material, politics. In this way, DJ practices enable the immediate reconstitution of local cultural identity.” (Rietveld, 2013, 7)

The rousing success of the Art Gallery of Ontario’s “Nightclubbing” panel discussion focusing on the history of Toronto club culture is one of many recent events that illustrates a growing desire to celebrate Canadian DJ culture. Facebook and other social media sites are rife with archival material relative to DJ culture in Canada from the 1980s until the present. And although the first DJ was technically a Canadian (Reginald Fessenden gave the first radio broadcast of music and speech in 1906), Canada’s unique contributions to DJ culture are mainly absent from academic and public discourse. 

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Publication of the 9th issue of Transposition journal – Music and Sexuality

Dear colleagues,

We are pleased to announce the launch of the online peer-reviewed journal Transposition – musique et sciences sociales No. 9  “Music and Sexuality”, with contributions by Marion Brachet, Chiharu Chûjô, Aurore Flamion, Clara Wartelle-Sakamoto, Toby Young, Charlotte Vaillot Knudsen, Tia DeNora and Annegret Fauser. The issue aims to explore the seldom studied connections between music and sexuality, the relationship of sound and music to sex and desire. We also invite you to discover an interview with the argentine company Opera Queerand 23 book reviews of recent publications in musicology and social sciences. And popular music studies: https://journals.openedition.org/transposition/?lang=en

Wishing you a good read,

Esteban Buch, Violeta Nigro Giunta (eds.)

All the best,

Sarah, for the editorial team of Transposition

Progect Network 2021: Towards a Contemporary Understanding of Progressive Rock and Metal

Dear colleagues,

We are pleased to announce the conference, “Progect Network 2021: Towards a Contemporary Understanding of Progressive Rock and Metal,” to be held on May 19-20-21 and 26-27-28. 

This conference is hosted VIRTUALLY by Lori Burns at the University of Ottawa. Free registration and the full program are available at the conference website: https://progectconference2.wixsite.com/website-5

DEADLINE EXTENDED: Call for Editors: JPMS (Journal of Popular Music Studies)

DEADLINE EXTENDED!

The Journal of Popular Music Studies (JPMS) is accepting applications for two co-editors to begin three-year terms on July 1, 2021. JPMS, published on behalf of the United States branch of the International Association for the Study of Popular Music (IASPM-US), is a peer-reviewed journal dedicated to research on popular music throughout the world, approached from a variety of positions. Published four times a year, each issue features essays and reviews, as well as roundtables and creative works inspired by popular music. https://online.ucpress.edu/jpms

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Rolling call for blog posts, LGBTQ+ Music Study Group

LGBTQ+ Music Study Group

Are you a student or early career researcher with some ideas about queer musicology you would like to share? Then, we’d love to hear from you!

The LGBTQ+ Music Study Group is currently looking for new submissions for our online blog. Submissions can take the form of an essay or any other sort of creative response such as a video essay, a composition, a poem, or a piece of creative non-fiction. We want to uplift the new and exciting voices in the field of queer and trans music studies, so if you have some thoughts to share, we would love to hear them! We especially welcome submissions from BIPOC scholars and musicians and those that address issues of race, ethnicity, and intersectionality.

Submissions are carefully peer-reviewed by an editing committee. For written submissions, we suggest a 1000 word-count, but the limits are truly endless! If you are interested, please send a 200-word abstract to thomas.r.hilder@ntnu.no and we will get back to you shortly. We look forward to hearing from you!

Check out our blog here.

cfp: Music and Racism in Europe 21.-22.10.2021

Call for papers: Music and Racism in Europe

Online Symposium, 21—22 October 2021

Race is among the most significant social categories that informs and organises understandings of music. Although there is an abundance of music research that deals with BIPOC minorities and, at least implicitly, also with race, few studies explicitly address how processes of for example racialisation, essentialisation,appropriation and exclusion in music and music research can effectively be categorised as racist. However, recently there has been an increasing interest also in the issue of racism in the field of music and music scholarship and this international online symposium seeks to bring together researchers across disciplines to discussmusic and racism particularly as it relates to Europe.

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TRANS 24: Special issue on Music, Sound and Culture in Central America

Dear colleagues,

We are pleased to announce the publication of a new issue of TRANS-Revista Transcultural de Música, in this case volume 24, corresponding to the year 2020.  It includes a special dossier on “Music, Sound and Culture in Central America”, edited by Antonio Monte Casablanca (Free University of Berlin), Amanda Minks (University of Oklahoma) and Helga Zambrano (University of California – Los Angeles).

In the words of the editors, this volume “aims to integrate the Central American region into current academic knowledge and debates around the categories of music, sound and orality, particularly from the different points of view of the humanities and social sciences.” Beyond the intrinsic quality and interest of each of the articles, this collection, as a whole, reveals the rich (ethno)musicological thinking of a region that perhaps has not received due attention from music and sound studies. The publication of this special issue also responds to the Ibero-American vocation of TRANS-Revista Transcultural de Música, the flagship journal of SIBE, the Spanish Society for Ethnomusicology.  The issue is completed with the usual section of reviews.

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Afro-Futurism. Arena Rap. The Self-Producer. Popular Music Research Day

Dear All,

Join us for an interactive Popular Music Studies Research Day with renowned speakers Laina Dawes, Steve Waksman and Paula Wolfe to discuss: what it means to be a black artist, the advent of arena rap, and the poetry of the recording studio.

Fugitive Ontology and Black Static: Afro-Pessimism vs. Afro-Futurism in Popular Music Laina Dawes: Columbia University. Author of What Are You Doing Here? A Black Woman’s Life and Liberation in Heavy Metal (Bazillion Points)

Rock, Rap, and Race in the U.S. Concert Industry Steve Waksman: Smith College. Author of Instruments of Desire: The Electric Guitar and the Shaping of Musical Experience (Harvard University Press) and This Ain’t the Summer of Love: Conflict and Crossover in Heavy Metal and Punk (University of California Press)

Songwriting, Music Production, Self-Production: Locating the Emotion, Maintaining the Objective, Positioning Genre Paula Wolfe: Author of Women in the studio: creativity, control and gender in popular music sound production (Routledge)

Time, place and registration

Tuesday 25 May 2021, 1-5 pm London time

Zoom (details on registration)

Register:

https://t.co/YMs7OxvFHX?amp=1

Publication: Gear Acquisition Syndrome – Consumption of Instruments and Technology in Popular Music

Dear IASPM-ites,

With apologies for cross-posting: Jonas Menze and I are pleased to be able to announce that our latest book, Gear Acquisition Syndrome – Consumption of Instruments and Technology in Popular Music, featuring a foreword by Steve Waksman, has been published today. Scholars interested in how musicians acquire, use, collect and regard musical equipment as part of their extended selves, essential for their music-making, may find it a stimulating and enjoyable read.

The book is available as a free, downloadable open access eBook here: https://unipress.hud.ac.uk/plugins/books/27/

Abstract:

Gear Acquisition Syndrome, also known as GAS, is commonly understood as the musicians’ unrelenting urge to buy and own instruments and equipment as an anticipated catalyst of creative energy and bringer of happiness. For many musicians, it involves the unavoidable compulsion to spend money one does not have on gear perhaps not even needed. The urge is directed by the belief that acquiring another instrument will make one a better player.

This book pioneers research into the complex phenomenon named GAS from a variety of disciplines, including popular music studies and music technology, cultural and leisure studies, consumption research, sociology, psychology and psychiatry. The newly created theoretical framework and empirical studies of online communities and offline music stores allow the study to consider musical, social and personal motives, which influence the way musicians think about and deal with equipment. As is shown, GAS encompasses a variety of practices and psychological processes. In an often life-long endeavour, upgrading the rig is accompanied by musical learning processes in popular music.