I am writing with regards to the investigation into allegations of sexual assault against members of IASPM. The investigation has concluded.
In line with our new Code of Conduct, members of the IASPM Executive considered the final investigation reports, as well as supporting evidence. As a result of that process, I can confirm the organisation has taken the following action:
- Two former members of IASPM have been permanently excluded from the organisation.
- One member of IASPM has been notified of organisational instruments and behaviour expectations. Their ongoing membership of IASPM is contingent on their confirmation that they have reviewed and understand those instruments.
- Two complainants have been offered ongoing support.
Due to privacy and confidentiality, I am unable to provide further details.
I would like to thank the investigation team and IASPM Executive for their professionalism and due diligence in managing this process. I would also like to take this opportunity to thank the membership for their patience during what has been an unprecedented time for the organisation. I am confident that the organisational change work we have undertaken during the last year will serve as strong preventative measures into the future.
We will continue our work to ensure IASPM is a safe and inclusive space for all members.
Finally, I ask that members respect the outcome of this investigation and refrain from naming individuals, either on the mailing list or on social media. Please refer to our attached Social Media Policy for further information.
“Home, Work and Music: Musical Practices in Domestic Spaces”
22 – 23 February 2024
mdw – University of Music and Performing Arts Vienna, Fanny Hensel-Hall
Call for Papers
What does it mean to make and perform music in the home? Home, Work and Music explores issues and debates centred around music in domestic spaces. It will showcase current research on the empirical, methodological and theoretical implications of centring the domestic in music research.
Call for Chapter Proposals, The Oxford Handbook of Pop Music, edited by Eric Weisbard
Proposals now due: August 15, 2023
Pop music, by definition, is commercial music: motivated by profit more than artistry, seeking a mainstream appeal that forbids fussiness about aesthetic absolutes. This resistance to firm definition has affected music writing. Jazz criticism, rock criticism, and rap criticism reflected genre communities debating standards. Popular music studies preferred scenes, subcultures, and other margins that at times crashed the charts. Sound studies almost left music behind altogether. There is no precise field of pop studies to glean from. Nevertheless, for 20-plus years now the Pop Conference has featured hundreds of writers pursuing pop across numerous topics and methods. And a phrase has circulated, “poptimism,” disposed to correct for the biases of “rockism.” The Oxford Handbook of Pop Music will build upon these significant beginnings.
CALL FOR PAPERS
Progressive Rock: Beyond Time, Genre, Geography…
The 6th Biennial International Conference
of the Project Network for Studies of Progressive Rock
5-7 SEPTEMBER 2024
The Krzysztof Penderecki Academy of Music in Krakow (POLAND)
The central idea for the Conference would be to combine creatively the two temporal dimensions in which Progressive Rock can be interpreted today: the past – from its genesis and original definitions through an analysis of the PROG classics to an attempt to read it anew; and the future – from meta-genre fusions to a critical post-progressive current. Hence, we suggest several subjects to be chosen by the participants and specific scopes to be included.
Call for Chapters
Popular Music Songwriting as Cultural, Creative, and Economic Practice
Yearbook ‘Lied und Populäre Kultur / Song and Popular Culture’ of the Centre for Popular Culture and Music, Vol. 69 (2024), ed. by Michael Ahlers, Jan-Peter Herbst, and Knut Holtsträter.
Call for Papers
Unheard Melodies: Towards A Global Musicology of boys love Media
What implications does the study of music, broadly defined, have for boys love media in Asia and beyond? The potential for comprehensive engagement appears vast in theory, but practical exploration remains somewhat limited. This prospective collection of essays aims to bridge the gap between theory and practice by delving into an otherwise relatively unexplored terrain. By examining the intricate dynamics between music and boys love media, encompassing visual, textual, audiovisual elements, and more, our mission is to shed light on the profound influence music exerts on narrative, aesthetics, and emotional expressions. While the amalgamation of music and popular media in the Asian context offers fertile ground for scholarly inquiry, the specific realm of boys love media remains noticeably absent from existing musicological scholarship. Through thoughtful research and an interdisciplinary approach, we warmly invite scholars, researchers, and experts to contribute studies that unravel the intricate connections between music and boys love media. Expanding on themes such as the narrative functions of music, portrayals of musical performances, the symbolic and metaphorical dimensions of music, and the affective and expressive currents in auditory, sonic, and queer contexts, this collection aspires to establish a robust foundation for exploring musicology within the diverse manifestations of boys love media across the expansive Asian landscape and beyond.
Applications are invited for the Dave Laing PhD Scholarship funded by the Margaret Wethered Bequest.
The scholarship is attached to the Institute of Popular Music, homed in the Department of Music at the University of Liverpool. It is established in honour of Dave Laing, who was closely associated with the institute, from its foundation in 1988 until his death in 2019.
Gender and Musics in Contemporary Japan
An on-line seminar series organized by
Marie BUSCATTO (Idhe.s, Paris 1 Panthéon-Sorbonne University – CNRS, France), and
CHUJO Chiharu (IFRAE, Inalco-CNRS, France)
With the support of Idhe.s, IFRAE, Mage,
IASPM Bfe, JASPM, and GMCSA
What does it mean to be a female musician in Japan in the 21st century? How do femininities and masculinities get performed, represented, transgressed, erased, and transformed on the musical stage? Are there musical genres which are more open to women, queer or non-binary people? How gendered are musical scenes, whether very commercial or not? If so, how does it work out within the musical industry?
Invitation for applications, appointment effective August, 2023
Position: Musicology and/or Ethnomusicology faculty, tenure track
Rank: Assistant Professor
Music. Assistant Professor of Music of musicology and/or ethnomusicology, tenure-track position, to start in August 2023. Completed doctorate degree in music at time of appointment required.
The music discipline seeks a colleague who will bring innovative and creative pedagogies informed by the latest directions in the discipline. The successful candidate will be a dynamic teacher and scholar expected to instruct courses including music history and culture, world musics, tonal theory and musicianship. A demonstrated success directing an ensemble is highly preferred. Candidates must have a record of scholarship and additional contributions to the field.
Subcultures, scènes musicales et classes sociales : les cas du punk et du heavy metal/Subcultures, musical scenes and social classes : the cases of punk and heavy metal
Journée d’étude le 21 octobre 2022
Laboratoires Crew & Irméccen, Université Sorbonne Nouvelle
Lieu : Maison de la Recherche, 4, rue des Irlandais, 75005 Paris
Salle Claude Simon
Contacts : Romain Garbaye (firstname.lastname@example.org) et Gérôme Guibert (gérôme.email@example.com)
Plus d’informations : http://www.univ-paris3.fr/subcultures-scenes-musicales-et-classes-sociales-les-cas-du-punk-et-du-heavy-metal-subcultures-musical-scenes-and-social-classes-the-cases-of-punk-and-heavy-metal-756856.kjsp?RH=1236178100008