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.

https://iaspmjournal.net/index.php/IASPM_Journal/announcement/view/75

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.

Dear all,

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:

https://www.sssmg.org/wp/tag/jsmg/

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

Guest Editors:

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 (2^nd), China (6^th) and South Korea (7^th). Among these, South Korea is the only postcolonial country that became independent from Japan after the Second World War.

Dear Colleagues,

This is the first call for submissions for the Fall 2022 issue of SEM Student News. The theme for this new issue, Vol. 18, No.1, is “Fieldwork and Identity.” After over two years of disruptions and reconsiderations of the fieldwork process brought on by the pandemic, many graduate students, who might have experienced delays, are once again preparing to enter the field. Despite the impending sense of a “return to normalcy,” many of us are finding that the pre-pandemic “field” we may have been prepared for has changed in fundamental ways. This issue of SEM Student News is an opportunity for graduate students to participate in a process of dialogue and exchange about their aspirations, experiences, and adjustments they have made in relation to fieldwork. At the core of this discussion, we hope to center the issue of identity: How have the intersections of our own identity, that of our research collaborators, and that of the field itself changed the ways we are thinking about the past, present, and future of our work? Beyond articles that reflect on experiences or offer novel theoretical considerations of the topic, we particularly welcome pieces reflecting collaborative approaches that promote the forum- and community-based goals of this issue.