“Flip it and Reverse it: Hip-Hop Worldwide” is a space for hip-hop-focused research and content. It is a section of the UCLA journal Ethnomusicology Review.
The section is open to scholars, students, journalists, activists, artists, archivists, and community organizers. We’d like to particularly encourage submissions from BIPOC individuals, LGBTQIA+ individuals, disabled individuals, and non-academically affiliated individuals.
Contributions should ideally be between 1500 and 3500 words, and take advantage of the online-digital format of the publication by making use of media content (pictures, videos, audio, etc.).
If you wish to contribute or have any questions please reach out to:
H. Samy Alim (firstname.lastname@example.org)
Samuel Lamontagne (email@example.com)
Tabia Shawel (firstname.lastname@example.org)
More info here
Seminar Series for 2020-2021, see also the website (http://www.leeds.ac.uk/arts/homepage/431/european_popular_musics), where the list of all those presenting also appears.
Call for Articles
Savoirs en Prisme, no 15, 2022, “The Figure of the Musician in the Cinema”
Edited by: Bénédicte Brémard, Stéphan Etcharry and Julie Michot
Although pianists (and even organists) left the movie theaters during the silent era, musicians have become a recurrent topic of cinema. One famous example is the first “sound” feature film, The Jazz Singer (Alan Crosland, 1927), whose hero is also an instrumentalist. Background and source music have already been the subject of numerous in-depth studies. This is why Issue 15 of Savoirs en Prisme will focus more specifically on the musician, a figure that can be found in all national cinemas.
Please see below for editorial contacts and instructions for initial submissions.
Edited by Sarah Woodland (Faculty of Fine Arts and Music, University of Melbourne, Australia) and Wolfgang Vachon (School of Social and Community Services, Humber Institute of Technology and Advanced Learning, Canada)
Due for publication in early 2022
About the book
This edited collection aims to investigate the use of sound and audio production in community engaged participatory arts practice and research. The popularity of podcast and audio drama, combined with the accessibility and portability of affordable field recording and home studio equipment, makes audio a compelling mode of participatory creative practice. Working in audio enables a flexible approach to participation, where collaborators in sites such as prisons, schools, and community settings, can engage in performance and production in flexible ways, while learning valuable skills and producing satisfying creative outcomes. Audio works also allow projects to reach wider audience (and for longer) than an ephemeral performance event, extending the potential for diverse perspectives to be heard beyond prison walls, across borders, and between different communities and cultures.
New Approaches to Music and Sound
Guest Editors: David Suisman and Rebecca Tinio McKenna
If new book series and journal special issues are any indication, over the last decade, there has been a surge of interest in the musical and sonic worlds of the past. Scholars of music, sound studies, disability studies, transnational and postcolonial studies, cultural history, history of the senses, and others have been expanding our historical understanding of soundscapes, music cultures, aurality, acoustics, and other aspects of the work sound does in the world. New scholarship is connecting music and sound with politics and social movements, capitalism and commerce, the formation of racial, gender, and class identity and difference, the history of technology and of natural environments, and more.
Call for Papers – Song, Stage and Screen XV
We are delighted to be able to announce the Call for Papers for Song, Stage and Screen XV: “Mobilities – Stage and Film Musical in Motion”, to be held at Salzburg University (Austria) from June 30 – July 3, 2021.
We invite papers that scrutinize the stage and film musical through the notion of mobility. We are interested in contributions that approach the topic from diverse angles but with a constant focus on the mobility paradigm in the humanities. We aim to find new ways to analyze production, performance, composition, dance, artistic conception, and the political territorialization of the genre.
The annual Music and the Moving Image Conference encourages submissions from scholars and practitioners that explore the relationship between the entire universe of moving images (film, television, streaming, video games, and live performances) and that of music and sound through paper presentations. We encourage submissions from multidisciplinary teams that have been pooling their knowledge to solve problems or discover a new perspective regarding music and moving images.
The Keynote Address: Studio Legends NY — will feature a panel comprised by venerable New York studio musicians who recorded some of the most iconic film scores by leading composers. Film/TV composer and NYU professor Mark Suozzo will lead the discussion.
Call for contributions to a Journal of Scandinavian Cinema In Focus section highlighting Musical Biopics and Musical Documentaries from the Scandinavian countries
This is a call for short subject contributions (2000-3000 words) focusing on how Scandinavian film and television have presented musicians, singers, bands and orchestras in biopics and documentaries. We welcome submissions that – after a quick theoretical introduction and concise contextual background – offer discussions of topics such as:
- the film’s role within cultural memory – usually restricted to a single national market and often catering to a certain age group’s intragenerational memories
- the handling of generic conventions; from narration and characterization to the selection of music, casting choices and staging of performances
- the function of music in specific films and film genres
- marketing and authentification discourses, including media coverage of stars and their work with particular roles and performances, as well as screenwriters’ and directors’ use of biographies, interviews, original footage and recordings
- national and international reception of such films
Editors: Beate Peter (Manchester Metropolitan University, UK) and Michael Rauhut (University of Agder, Norway)
Submissions are invited for a special edition of Popular Music History that aims to assess the sources, approaches and methods with which East German popular music is written.
Histories of German popular music generally focus on examples of West German music which were commercially successful and/or are considered to be aesthetically and musically ground-breaking. Bands such as Kraftwerk, Can, Neu! or the Scorpions are the subject of many academic as well as non-academic publications, and they are considered as canonical as genres such as Krautrock or Neue Deutsche Welle. East German musicians or movements, on the other hand, tend to be overlooked, as do specific artistic forms of expression which were developed in response to authoritarian leadership in the socialist German Democratic Republic (GDR). The examination of a relationship between the GDR and the arts is almost altogether absent from a pan-German popular music history.