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.
Call for Submissions for a Special Issue of Popular Music History
Popular Music (Re-)Writes History: Popular Music and the Construction of Historical Narratives
This special issue seeks to investigate the role of popular music in constructing and negotiating historical narratives. Drawing on critical historiography (e.g. White 1973, 1987), which posits that history is a narrative construction of the past, the issue aims to examine the ways in which popular music contributes to the writing and re-writing of the past. Popular Music serves as an important arena for constructing and negotiating historical narratives, as evidenced by recent examples such as musicals inspired by historical events and figures, protest songs, and music as part of disinformation campaigns that aim to re-write – often violent – histories. Recognizing that historical narratives reflect the values, beliefs, and interests of those partaking in their construction, the issue invites critical exploration of these factors. Contributions may focus on a wide range of agents, genres, historical periods, socio-political events, and media platforms. The special issue further welcomes theoretical and methodological reflections on popular music as historical narrative.
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.
CFP: Music for Girls Conference and Popular Music and Society special issue
Call for Papers: Music for Girls Conference (University of Sussex, Attenborough Centre for the Creative Arts, 19-20 June 2023)
The AHRC Music for Girls network is hosting a conference on 19-20 June 2023 that will explore popular music, gender, and knowledge.
Music Research Forum is currently accepting scholarly articles in the field of music from outstanding graduate students and young professionals. The deadline for submissions for Volume 37 (to be published in late summer 2023) is Wednesday, January 18, 2023.
Journal of Global Pop Cultures
Call For Papers and Projects: The Natures of Pop
Second Issue of the Journal of Global Pop Cultures (September 2023)
Submission deadline: March 31, 2023
See also: https://www.journalofglobalpopcultures.com
Pop is artificial by definition. Of course, all forms of culture are artificial. But this is especially true of pop. Unlike older concepts, such as folk culture, folklore, or popular culture, the concept of “pop” emerged only in the 1950s and referred to the specific cultural forms of postmodern, highly technologized liberal consumer societies.
MUSICultures Special Issue Call for Papers
MUSICultures solicits articles for publication in a special theme issue: Sustainable Futures in Popular Music: The Pandemic and Beyond, guest edited by Dr. Alexandra Boutros (Wilfrid Laurier University) and Dr. Brian Fauteux (University of Alberta).
Contemporary discourse is fraught with concerns about sustainability as we reckon globally with climate change, resource depletion, and more. How can we think about sustainability in intersection with popular music? Sustainability is often associated with ecological discourse, where concerns about waste and the depletion of natural resources may shape how we understand everything from music festivals and music related travel, to streaming services. However, sustainability is also implicated in the social dimensions of musical life. A discussion about music and sustainability may ask; What is the role of popular music and musicians in the cultural shifts made necessary by climate change? But may equally query how claims of sustainability figure alongside local music production and consumption framed by ephemeral archives and sometimes fragile cultural memories? Labour, venues, teaching and pedagogy, live performance, production and dissemination, capital and funding, and a host of other music related practices, systems, and infrastructures impact the sustainability or unsustainability of music.
I am writing to share a call for abstracts for an upcoming special issue of the Journal of Sound and Music in Games, focusing on the sound and music of Supergiant Games’ 2020 video game, Hades:
Call for Papers:
Affective Politics and the Policing of the Social Through Popular Music (deadline to submit abstracts, 15th of December)
Special Issue of the Journal of Extreme Anthropology, https://journals.uio.no/JEA
The ‘affective turn’ across the humanities and the social sciences suggests that we pay attention to how affects create subjectivities, build communities and shape new forms of politics in the making (White 2017, Desai-Stephens & Reisnour 2020, Gregg & Seigworth 2010 and Clough & Halley 2007, Goodwin et. al. 2001). In other words, it encourages us to study how affective bodies ‘act and are acted upon’ (Seigworth and Gregg 2010: 1) as people engage with each other and with sensory objects (e.g. musical sounds), politically and socially, within specific contexts. These insights have implications for our understanding of politics, of the social, as well as how we understand social control and the ‘policing’ of the social. Instead of excluding objects from the social and privileging theories modelled on structure and agency (e.g. Giddens 1984, Bourdieu 1984), scholars are now redefining agency as relational (Barad 2003, 2007; Latour 2007, 2013). This has led to new research on how sensory objects, such as sounds and music, shape subjectivities, build communities and instigate politics through affect, within and across, contexts (Bøhler 2017, 2021; Shank 2014; Guilbault 2019; Schiermer 2021a, 2021b; Muniagurria 2018; Duque and Muniagurria 2022; Stover 2017, 2017).
Asia Pacific Business Review Special Issue:
The Globalization of Postcolonial Pop Music: Putting the Success of the K-pop Industries into Theoretical Perspectives
Professor Jangwoo Lee, School of Business Administration, Kyungpook National University & Success Economy Institute, Korea
Professor Paul Lopes, Dept. of Sociology, Colgate University, USA
Professor Chris Rowley, Kellogg College, Oxford University & Bayes Business School, City, University of London, UK
Professor Ingyu Oh, Faculty of Foreign Studies, Kansai Gaidai University, Japan
Professor Lynn Pyun, Graduate School of International Studies, Ewha Womans University, Seoul, Korea
Over the last two decades. the South Korean music market has grown into the seventh largest in the world, while its boy band BTS was ranked number one in 2021 as the most popular and best-selling global artist by IFPI (International Federation of the Phonographic Industry). All these factsare simply confounding to many pundits of the industry as no postcolonial music market has achieved global breakthroughs as such other than South Korea. Only three countries in Asia are listed on the top 10 global music markets: Japan (2nd), China (6th) and South Korea (7th). Among these, South Korea is the only postcolonial country that became independent from Japan after the Second World War.