Dear all,
We regret to inform you that the local organising committee have decided to take most of the sessions in IASPM XXI 2022 as virtual to make sure a safe and sound conference experience for all participants despite the unstable situation of COVID-19. We have closely monitored the situation thus far with a hope of holding a fully face-to-face conference. However, we reached the point in which we could not delay the decision any longer.
Continue readingINET-md | NOVA FCSH
The idea of independence in music making has been the subject of academic research and discussion ever since the establishment of popular music studies as well as in intersecting areas of knowledge such as ethnomusicology and the sociology of music. Most studies on independence in the 20th century address the possibilities for musicians and other agents within the sphere of music making, distribution and mediation to operate and reach an audience outside the oligopoly of the big music corporations. The last twenty years have seen important changes in the power balance between those forms of music making and the big companies due to the effects of digitalization and disintermediation in the music production cycle. These opened new possibilities for artists and micro-labels to release music by bypassing the distribution chain provided by big companies. However, we also see the rise of new forms of corporate distribution and funding, such as through streaming platforms and brand sponsorship. These changes raise important questions about the shifting notions of independence and what it means in these new contexts. Many of these changes and what they meant have been scrutinized, especially in the contexts of the UK and the US. This book seeks contributions on independent music making outside of the UK and US in relation to the impact of digitalization on music related practices in the 21st century.
Continue readingInternational Journal of Art, Culture, Design and Technology (https://www.igi-global.com/journal/international-journal-art-culture-design/41032)
(currently being renamed to: International Journal of Art, Culture, Design and Technology) invites applications for Art & Culture journal-article peer reviewers.
We are a growing journal, currently expanding our scope – and thus our Editorial Review pool – to include Art & Culture experts. We offer reviewing experience and guidance (to those that want it) to emerging scholars, for whom this would be an appropriate level of experience.
If of interest, please submit an online application via: https://www.igi-global.com/journals/become-a-reviewer/ . (The publisher will be adding more Research Field checkboxes to the site, so please check any that are relevant to you, and the editor will get to know your work better through the Statement and CV you submit.)
Call for Papers:
“New Perspectives in Popular Music Research: Changes and Turmoil”
Conference: University of Agder, Kristiansand, Norway, 1–2 June 2022 (extended deadline)
Recent years have resulted in extensive changes in popular music production, dissemination, reception, and perception. New technological developments within music production and performance have created new creative possibilities for artists and bands as they make music and engage with the global music market. Many of these changes have been greatly accelerated by, if not the direct result of, the Covid 19 pandemic that has fundamentally disturbed the relationships between artists, fans, modes of performance, and music distribution. More than ever before, it has become critical to examine digitization, virtuality, creativity, and the music business as a whole in the context of such tumultuous changes.
Continue readingCantautore: the Songwriter in Culture and the Media
Edited by Olivier Julien (Université Paris-Sorbonne), Massimo Locatelli (Università Cattolica del Sacro Cuore), Elena Mosconi (Università di Pavia/Cremona)
“Cantautore” is a project that aims to reconsider the role and figure of the singer-songwriter in Italian and international culture.
The singer-songwriter is a mythical figure in popular imagination in different countries, a bridge between a variety and even contradictory forms of experience, both cultural and social. In the Italian context, it has been respectively interpreted in social history as a symptom of collective traumas (Bonanno 2009, Santoro 2010), and in popular music studies as a successful pop icon (Gentile 1979, Borgna 1995-2004), or as a genre (Fabbri, 1982) and – consequently – as an ideological construction (Tomatis, 2019). Only recently, has the transnational dimension of this phenomenon been stressed out and problematized further (Green and Marc 2013, Looseley 2013, Marc 2016).
Continue readingDear Colleagues,
We are looking for submissions for an edited volume addressed to academic and general publics entitled ‘Stories From the Field’ which aims at being a collection of short, autobiographical stories as experienced and written by fieldworkers.
The selected stories should be non-fictional, experienced by fieldworkers while conducting research and/or other workings in their field(s). The definition of ‘field’ and ‘fieldworker’ is deliberately absent to encourage the submission of contributions from various disciplines.
Stories can be of any nature provided they reflect experiences in the field. Some examples of these could include, but are not limited to:
Continue readingJournal of Music, Technology and Education Special Issue: ‘Exploring Audio and Music Technology in Education: Pedagogical, Research and Sociocultural Perspectives’
Full paper submission deadline: 1 April 2022
The past decade has seen increased interest in the pedagogical facets of audio engineering, sound design, music technology and related fields. Much of this rising interest in the teaching and learning aspects of sound corresponds to a growing number of institutions offering training options for people interested in the technical, creative, scientific and cultural aspects of audio. However, while the options for learning about such topics have expanded, there remains a dearth of scholarship on the theoretical, sociocultural and interdisciplinary aspects of audio and its connection to teaching and learning in a broad array of institutions. Also, little scholarship has emphasized a professional development model for the educational aspects of audio, particularly for those working with the next generation of practitioners in all educational contexts. What impact do audio and music corporations have on facilities and curricular decision-making? For this Special Issue of the Journal of Music, Technology & Education, the guest editors seek contributions addressing one or more of the topics below:
• graduate teaching and research in audio education;
• diversity, equity and inclusion (DEI) in audio education;
• improving the quality of teaching and learning in audio education;
• sociocultural, historical and interdisciplinary aspects of audio education;
• limitations of a technocratic model of pedagogy in audio education;
• education-industry partnerships in promoting communities of learning and practice;
• impact of professionalization and standardization of curriculum by corporations;
• audio education as an emerging academic field for research and practice;
• global perspectives on audio education;
• social media, online communities and informal learning;
• pandemic-related case studies including hybrid/online learning strategies; and
• school-based (elementary, secondary, high school) and community-based learning
perspectives/collaborations.
Other topics relating to audio education are also welcome. Please submit full papers
by 1 April 2022 via the journal’s page (which can be found here). Expected publication
date in late 2022 or early 2023. Questions about the CFP are welcome and may be
addressed to Daniel Walzer at dawalzer@iu.edu.
Dear Fellow IASPM Members (with apologies for any cross-posting),
Please find below details of a wide-ranging Call for Contributions which will hopefully be of interest to some of you.
The Royal Musical Association Research Chronicle is seeking contributions for a special issue on ‘Music and Covid-19’, guest edited by Dr Larry Zazzo (Newcastle University) and Dr Adam Behr (Newcastle University). As, educators, scholars, performers and audiences, we are all starting to emerge from the pandemic transformed and still facing substantial challenges. COVID-19 continues to have an effect on the creative economy and its regulatory environment, as well as the practical contexts of making, distributing, teaching and researching musics of all kinds. For many, these challenges have been — and still are— existential, as musicking performers and venues of every genre still struggle to return to a pre-COVID-19 ‘normal’.
Continue readingSpecial Issue: Popular Music, Decolonization and Indigenious Studies
https://iaspmjournal.net/index.php/IASPM_Journal/issue/view/71
Continue readingDifferentiating Sound Studies: Politics of Sound and Listening
In response to demands for an extension of deadline in the midst of holiday season, we have decided to extend the submission deadline for “Differentiating Sound Studies: Politics of Sound and Listening” until 7 January 2022. Those who have already submitted their abstracts may revise their submissions until the new deadline, if necessary.
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