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
III International Conference on Sonorities Research (CIPS) –
Sounds of the end of the world
Dates: June 07, 2023 to June 09, 2023
Location: Fluminense Federal University – Niterói/RJ – Brazil
During the last decades, global changes that can be threats to human existence itself have emerged – threats caused by ourselves, as theories of the Anthropocene show. Climate change, pandemics, food shortage and wars are the result of brutal economic exploitation of the planet as well as struggles for the control of natural resources and the denial of the ongoing crisis of the planet.
Just Can’t Get Enough: Synth-Pop and Its Legacies
Editors: Geoff Stahl, Nabeel Zuberi & Holly Kruse
If one were to nominate a pivotal moment for synth-pop, 1978 is a strong contender: Kraftwerk switches on Die Mensch-Maschine; Gary Numan’s group Tubeway Army and the Yellow Magic Orchestra release their debut albums; The Human League, Japan, The Normal (AKA Daniel Miller of Mute Records) and Telex release their first singles; two lads from Liverpool eschew their guitars for synths and a tape machine and form Orchestral Manoeuvres In The Dark; the group Berlin forms in Los Angeles, Duran Duran in Birmingham, and Soft Cell begins to record in Leeds. In the late 1970s and 1980s, the sound of synthesisers, sequencers and drum machines becomes an indelible part of the pop soundscape, manifested in music-making across the globe.
Development Editor: Journal of Sound and Music in Games
The Journal of Sound and Music in Games (JSMG) was successfully launched in 2020 and has published three rich and varied volumes. It has been approved for indexing by SCOPUS, an endorsement of its quality and vitality. Now, the journal is recruiting an additional editor to increase JSMG’s capacity to further make good on its aim to encompass all aspects of, and approaches to, sound and music in games. Games are understood here in the widest sense, including non-digital games, childhood games and ludic approaches to music and sound.
Dear IASPM members:
As the outgoing Editor-in-Chief of IASPM Journal, I am happy to announce that I will be passing the reins over to the very capable hands of Professor Abigail Gardner, who has graciously agreed to be the new Editor-in-Chief.
We are pleased to announce the appointment of a new Chair for IASPM. Professor Samantha Bennett from ANU was, at the time that the deadline came for nominations to close, the sole nominee for the position and has as such been appointed by the EC. Sam is a long-time member of IASPM and has been extensively involved in its running in various capacities, including as the organiser of the very successful conference in Canberra in 2019. Her experience and commitment to the association make her ideal for this position, and we welcome her warmly.
The IASPM Executive Committee
Chris Anderton (treasurer)
Andrea Dankić (Member-at-large)
Ali C. Gedik (Member-at-large)
Beatriz Goubert (General Secretary)
Kimi Kärki (Web/Publications)
Keewoong Lee (Daegu Conference representative)
Andrew Mall (United States Conference representative)
Bernhard Steinbrecher (Membership secretary)
Catherine Strong (Member-at-large)
CFP: XXII BIENNIAL IASPM INTERNATIONAL CONFERENCE
Minneapolis, Minnesota, USA
June 26–30, 2023
Theme: Popular Music in Crisis
!!! Extended deadline: November 30, 2022 !!!
It is not hyperbolic to claim that crisis characterizes the state of the world in the 2020s. The COVID-19 virus still rages across the globe. In many countries, this public health crisis intersects with a crisis of political legitimacy caused by increased polarization and the rise of right-wing populism. The refusal of many to vaccinate themselves against COVID-19 has led to the continuing spread of the disease. Elsewhere, similar dynamics are exacerbated by lack of effective vaccines, little-to-no capacity to make them, and the hesitancy of wealthier countries to distribute vaccines beyond their national borders. An ever smaller number of people control most of the world’s wealth as the gap between the wealthy and the poor has become a seemingly unbridgeable chasm. The ongoing crisis of climate change manifests in many ways: increasingly dangerous storms, displaced populations, out-of-control fires, financial and material devastation, rising sea levels, and more, unfortunately exacerbated by politics and the destructive impact of late capitalism. Wars, civil and otherwise, have also increased the numbers of migrants whose home countries are devastated but who are not welcomed elsewhere, leading to a crisis of the displaced and, with the ongoing conflict in the Ukraine compounding continued struggles in Afghanistan, Israel-Palestine, Syria, and many other regions, heightened tension between global powers that at times evokes the Cold War. The rise of neo-fascism has accompanied the return of dangerous nationalisms that attempt to disenfranchise certain members of society, often by race, gender, and sexuality, while reinforcing existing social and racial constructions. Other crises abound, as white supremacy rises again in North America and Europe, women’s rights are under attack in various repressive regimes across the globe, and we learn of human rights abuses perpetrated during military crises and civil unrest.
VIENNA PERSPECTIVES – Art, Urban Space and Social In-/Equality
Urban Music Studies and Digital Humanities
Nov. 16th – 18th, 2022 +++ MUK Vienna
Artistic interventions in public space, the relocation of cultural events and festivals from the city center to the outskirts as well as the intention to achieve an all-encompassing social equality through music and the arts remain a central motive of urban cultural policy. Therefore, the concept of class and various mechanisms of inclusion and exclusion – in Luhmann’s sense – still operate as parameters for measuring social equality and inequality. In the field of music and urban culture, this situation continually leads to discourses about participation, access and interpretive power – until today and especially after the rupture of the cultural fields caused by the pandemic and since the beginning of the war happening in Ukraine.