Call for contributions

In recent years, the internet in general and social media in particular has fundamentally changed our media culture. The relationship between producers and consumers has shifted, creating new power relationships. Media culture has become more and more about participation, while technological developments such as ‘Facebook liking’ have further blurred the traditional distinction between fans and audiences. Fans represent the vanguard of these new developments. Insights from early fan studies on active audiences have spread to other notions of the audience. These developments call for a critical rethinking of the role and significance of fans in contemporary culture. Continue reading →

Call for contributions
Transposition. Musique et sciences sociales nº3
http://transposition-revue.org

Queer theory is likely one of the most well-known and controversial recent schools of thought, and its impact has been felt in the academic world and beyond. It appeared in the early 1990s in the United States, as a direct offshoot of LGBT (lesbian, gay, bisexual, transgendered) collectives, the work of Foucault (in particular, his History of Sexuality and ideas such as “biopolitics”), and Derrida’s deconstructionism. Continue reading →

Call for Contributions

TU Dortmund
Institut für Anglistik und Amerikanistik

Following last year’s international conference on HipHop in Germany’s Ruhr Area, we are planning to edit a volume that explores hip-hop culture in Europe from a transnational and transatlantic perspective. Continue reading →

Call for papers
Volume ! The French journal of popular music studies
Submission deadline: October 15th, 2011

Volume! La Revue des musiques populaires (www.seteun.net), the one and only French peer-reviewed journal exclusively dedicated to the interdisciplinary study of popular music, seeks contributions for a special issue on music and counterculture. Any scholarly essay on popular music and counterculture, focusing on link to the “central” period of the sixties and seventies, is welcome. Continue reading →

Call for papers
Guest editor, Mark Duffett

Popular Music and Society invites article proposals for a new special issue. Fandom is both a personal expression of emotional conviction and a complex, changing, multi-faceted social phenomenon that now encompasses both online and offline activity.

The study of fandom is a scholarly niche that exists at the intersection of a wide range of interests and connections. It can be contextualized by wider media research (theory by scholars such as Henry Jenkins and Matt Hills; reception analysis; celebrity studies; ethnography; subcultural theory) and by direct research into popular music culture (ethnomusicology; research on listening; live music audiences; studies of music in everyday life). Continue reading →

Listening to popular music: practices, experiences, representations
Submission deadline: June 1st, 2011

Volume! a French peer-reviewed journal dedicated to the interdisciplinary study of popular music seeks contributions for a special issue on listening. This issue will explore the premise that a focus on listening can be a fruitful basis for the analysis of popular music, one that can enrich our understanding of aesthetic relationships and signifying practices. Any scholarly essay on popular music and its listeners or how it is listened to is welcome. Continue reading →

Call for contributions
Transposition. Musique et sciences sociales. – no 2

Facial expression, physical presence, fashion prowess, vocal intonation, the ways of seduction are numerous and variable. Respecting the codes adopted by the societies and cultures from which it originates, seduction is nevertheless an ‘ordinary social act’ which can be considered as universal.

Cecile Dauphin and Arlette Farge present it as ‘one of the nodal points of social architecture’, a reality from which no society or era has escaped. [cf. Dauphin, C. et Farge, A. (éd.), Séduction et sociétés. Approches historiques. Paris : Seuil. 2001]. Recently brought on the agenda by social sciences studies, the privileged relationships that seduction maintains with music will be at the core of the present issue. Continue reading →

With the International Association for the Study of Popular Music (IASPM) approaching its 30th birthday norient wants to contribute to this anniversary by dedicating its first issue of the norient academic online journal to popular music ethnographies – with a twist. While IASPM has been a major force in contributing to the study of popular music using a methodologically broad approach these studies have to a large extent been focused on a North American and British/European popular music legacy.

This call for articles which will result in the first volume and issue of the norient academic online journal aims to show the diversity of popular music throughout the world by focusing on popular music in a broad sense from outside the European and North American canon of popular music. Continue reading →

TRANS- Transcultural Music Review 16 (2012) will publish a special dossier on the new forms of music in audiovisual media. The dossier will be prepared in collaboration with the research group “Música y medios audiovisuales” from the Society for Ethnomusicology-SIBE/IASPM-Spain and will be edited by Teresa Fraile, Eduardo Viñuela, and María Edurne Zuazu. Continue reading →

Submissions are sought for a collection of essays titled Write in Tune: Representing Contemporary Music in Fiction.
Edited by Jeffrey Roessner (Mercyhurst College) and Erich Hertz (Siena College)
Submission deadline: January 31, 2010

Since the 1960s the confluence of music and literature has moved far beyond simple adaptation studies, with writers turning to music for cultural references, foundational metaphors, and complex intertextual structure.  Indeed, the range of novels that reference contemporary music is stunning, from obvious examples such as Roddy Doyle’s The Commitments, Nick Hornby’s High Fidelity, Jonathan Lethem’s Fortress of Solitude, Alan Warner’s Morvern Callar, and Sherman Alexie’s Reservation Blues, to more subtle intertextual negotiations in Irvine Welsh’s Trainspotting, Willy Russell’s The Wrong Boy, and Don DeLillo’s Great Jones Street. Continue reading →