call for chapters: Vivid Versions: Cover Songs, Contexts, and Subjectivities

Vivid Versions: Cover Songs, Contexts, and Subjectivities

Edited by Mike Alleyne and Lori Burns

~Call for Proposals~

The covering of an iconic song has long been a popular music strategy for an artist’s expression of identity and musical subjectivity. Such song adaptations often entail the traversing of borders that articulate significant contexts for social and musical identities. We summarize these potential contexts in the following list, in no particular order of critical importance:

Continue reading

cfp: Diversity and Inclusivity in the British Music Industry Conference 

Call Fall Papers  

Diversity and Inclusivity in the British Music Industry Conference 

Tuesday 6 June 2023 @ the Media Factory University of Central Lancashire 

The music industry, like many industries, has historically been dominated by certain groups and has not always been inclusive or representative of the diversity of the population.  

Research has shown that people of colour, women, LGBTQ+ individuals, and people with disabilities, are often underrepresented in the music industry, particularly in leadership roles. There are also issues of unequal pay and opportunities for marginalised groups. 

Continue reading

cfp: Handbook of Critical Media Industry Studies

Call for Papers: Handbook of Critical Media Industry Studies

We seek chapter proposals for inclusion in the Handbook of Critical Music Industry Studies. Critical Music Industry Studies (CMIS) is an encompassing and inclusive field that describes research and analytical perspectives on the music industry that move beyond operational concerns or introductions to subsets of the sector. The Handbook marks an important step in the development of CMIS as a legitimate field of study, bringing together industry professionals and academics from a diverse set of disciplinary perspectives. As Music Industry Studies explodes, it is time to revisit the field as an academic mode of inquiry. Too often, music industry programs of study emphasize getting students jobs and hiring faculty with “real world experience.” As such, the field diverges from other scholarly projects (especially with “studies” in their title). These programs tend to resemble trade schools that emphasize working within the system at the expense of re-envisioning the system. By narrowly focusing on getting students jobs, these systems end up reenforcing structures of domination within the music business. We seek to bring together scholars to intervene in the field and provide teachers with a text to teach music industry students the problems, potential, and promises of performing music.

Continue reading

cfp: Just Can’t Get Enough: Synth-Pop and Its Legacies

Just Can’t Get Enough: Synth-Pop and Its Legacies

Editors: Geoff Stahl, Nabeel Zuberi & Holly Kruse

If one were to nominate a pivotal moment for synth-pop, 1978 is a strong contender: Kraftwerk switches on Die Mensch-Maschine; Gary Numan’s group Tubeway Army and the Yellow Magic Orchestra release their debut albums; The Human League, Japan, The Normal (AKA Daniel Miller of Mute Records) and Telex release their first singles; two lads from Liverpool eschew their guitars for synths and a tape machine and form Orchestral Manoeuvres In The Dark; the group Berlin forms in Los Angeles, Duran Duran in Birmingham, and Soft Cell begins to record in Leeds. In the late 1970s and 1980s, the sound of synthesisers, sequencers and drum machines becomes an indelible part of the pop soundscape, manifested in music-making across the globe. 

Continue reading

Call for chapters: Intellect Handbook of Global Music Industries

Call for chapter proposals

Intellect Handbook of Global Music Industries

Edited by Chris Anderton, Martin James, Daniel Nordgård and Sergio Pisfil

Social, technological and political developments and disruptions continue to impact the music industries, fostering new revenue streams and opportunities, and allowing music from around the world to gain a global audience. Audio streaming, video apps and social entertainment services have rapidly become key areas of growth, and there has been a rise in academic work focusing on the global music industries in terms of their issues, challenges, and opportunities. Much of this work describes developments in the global north, and while this book will explore and expand upon this field, it also seeks to explore the industries from a global perspective. We therefore encourage proposals that stress global overviews, tackling issues to do with global capitalism, trans-national companies, geo-politics and so on, but also proposals that focus on significant local/regional contexts that cast light on global differences and what may be learned from them.

Continue reading

call for chapters: Inscribed on Flesh: Culture, Trauma, and the Reemergence of Biopower during Times of Pandemic

With the outbreak of the Covid-19 pandemic and the crisis following to the increasing number of deaths, forced closures, exclusions and lockdowns, and the social, emotional economic aftermaths; the reemergence of the biopolitical argument is hardly surprising. In his last lecture “Society Must Be Defended,” (1975-1976), French philosopher Michel Foucault refers to biopolitical governmentality, which determines the differential exposure of human beings to health and social risks. According to Faucault’s historicized view of modernity, citizens are not subjects of law, but a biological entity to be controlled by means of epidemiological (biostatistical) surveillance. The emergence of biopolitics paved the way for fragmenting the biological continuum, in order to create hierarchies between different groups and, thus, differences in the way in which the latter were exposed to the risk of death. Racism became the “condition of acceptability” of such a differential exposure of lives in a society in which power is mainly exercised to protect the biological life of the population and enhance its productive capacity.

Continue reading

cfp: Independence and digital technologies: music making in the 21st century beyond Anglo-America


The idea of independence in music making has been the subject of academic research and discussion ever since the establishment of popular music studies as well as in intersecting areas of knowledge such as ethnomusicology and the sociology of music.  Most studies on independence in the 20th century address the possibilities for musicians and other agents within the sphere of music making, distribution and mediation to operate and reach an audience outside the oligopoly of the big music corporations. The last twenty years have seen important changes in the power balance between those forms of music making and the big companies due to the effects of digitalization and disintermediation in the music production cycle.  These opened new possibilities for artists and micro-labels to release music by bypassing the distribution chain provided by big companies. However, we also see the rise of new forms of corporate distribution and funding, such as through streaming platforms and brand sponsorship. These changes raise important questions about the shifting notions of independence and what it means in these new contexts. Many of these changes and what they meant have been scrutinized, especially in the contexts of the UK and the US. This book seeks contributions on independent music making outside of the UK and US in relation to the impact of digitalization on music related practices in the 21st century.

Continue reading

call for chapters: The Chiptune Studies Reader

With apologies for cross-posting.

Dear Colleagues,

We are excited to announce that we are seeking contributions for The Chiptune Studies Reader, an interdisciplinary peer-reviewed and edited volume on chiptune – or ‘chipmusic’ and ‘micromusic’ as it is also known – which we intend to publish through Oxford University Press. Rooted in the emergence of video game audio technology, and subsequently re-routed through the subversive musicality of an underground participatory culture, chiptune is a form of electronic music that has blossomed into a global phenomenon over the course of nearly four decades. Today, the umbrella term ‘chiptune’ subsumes an ever-growing plethora of (sub)genres, practices, and a heterogeneous worldwide following, whose musical output is as creatively playful and diverse as it is distinct by way of its mediation. Chiptune’s technologies, timbral palettes, and associated iconography have grown rapidly in their accessibility, playability, and ubiquity, and have become woven into pop-cultural imaginaries far beyond their own humble beginnings in the music of video games’ past.                           

Continue reading

Call for Chapter Proposals on DJ Cultures in Canada

Proposed Title: We Can Dance If We Want To: Canadian DJ Culture Turns Up

Edited by Dr. Charity Marsh and Dr. Maren Hancock

“As a creative performance, the DJ set has the potential to communicate new ways of being, of feeling, producing musical discourses that are nevertheless embedded in the real-world, material, politics. In this way, DJ practices enable the immediate reconstitution of local cultural identity.” (Rietveld, 2013, 7)

The rousing success of the Art Gallery of Ontario’s “Nightclubbing” panel discussion focusing on the history of Toronto club culture is one of many recent events that illustrates a growing desire to celebrate Canadian DJ culture. Facebook and other social media sites are rife with archival material relative to DJ culture in Canada from the 1980s until the present. And although the first DJ was technically a Canadian (Reginald Fessenden gave the first radio broadcast of music and speech in 1906), Canada’s unique contributions to DJ culture are mainly absent from academic and public discourse. 

Continue reading