Special Issue CFP: Dance and Protest
Editors: Serouj Aprahamian, Shamell Bell, Rachael Gunn, and MiRi Park
IASPM Journal is the peer-reviewed open-access e-journal of the International Association for the Study of Popular Music (IASPM). As part of an international network, the journal aims to publish research and analysis in the field of popular music studies at both global and local levels.
The recent succession of protests and uprisings following the murder of George Floyd at the hands of (now former) Minneapolis police officers overwhelmingly included dance as a protest tactic. While dancers have long engaged in cultural acts of resistance, this iteration in the #blacklivesmatter movement stemmed directly from the efforts of dancers/activists who participated in the protests following the deaths of Trayvon Martin, Ezell Ford, and Michael Brown. Dancer/activist/scholar/mother Shamell Bell deemed “Street Dance Activism” as a protest tool to celebrate Black Joy in the face of Black death, and renowned dance scholar Brenda Dixon-Gottschild has noted how such actions have gained increasing visibility over the last decade.
VOLUME ! La revue des musiques populaires, n° 17-2
LE MONDE OU RIEN? LÉGITIMITÉ ET AUTHENTICITÉ DANS LES MUSIQUES HIP-HOP
Décembre 2020 • 280 pages • Format : 21 x 21 cm • ISBN : 978-2-913169-63-0 • ISSN : 2117-4148 • français • 19 euros
Dossier dirigé par Séverin GUILLARD (Université Paris Est Créteil, Lab’Urba) et Marie SONNETTE (Université d’Angers)
Ce numéro a reçu le soutien du laboratoire CRESSPA (CNRS/Paris Lumière)
La revue Volume! est soutenue par l’IRMECCEN (Paris 3 Sorbonne-Nouvelle)
Sounds of the Pandemic
International online conference, December 16-17, 2020
3 Keynotes | 8 Thematic Sessions | 10 Virtual Posters | 60 Panelists: the conference programme is now online! GO TO PROGRAMME.
The conference will take place on Zoom as a Video Webinar. There will be room for up to 500 registered attendees: registration opens on Tuesday, December 1 on the conference website and will close on Monday, December 14.
The event will not be live streamed on social media, but will be later uploaded on YouTube.
FB page: https://www.facebook.com/comesuonalatoscana
FB event: https://www.facebook.com/events/205823927623577
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 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.
Rethinking the Music Business:
Music Contexts, Rights, Data and COVID-19
Call for chapters for an edited volume to be submitted to Springer’s Music Business Research Series
Guy Morrow (University of Melbourne)
Daniel Nordgård (University of Agder)
Peter Tschmuck (University of Music and Performing Arts, Vienna)
COVID-19 had, and is having, a global impact on health, communities and the economy. As a result of COVID-19, music festivals, gigs and events were cancelled or postponed across the world. This directly affected the incomes and practices of many artists and the revenue for many entities in the music business. Despite this crisis however, there are pre-existing trends in the music business – the rise of the streaming economy, technological change (virtual and augmented reality, blockchain etc.), new copyright legislation etc. Some of these trends were impacted by the COVID-19 crisis while others were not.
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