Progressive Rock: Beyond Time, Genre, Geography…

The 6th Biennial International Conference 

of the Progect Network for Studies of Progressive Rock

5-7 SEPTEMBER 2024

The Krzysztof Penderecki Academy of Music in Krakow (POLAND)

The central idea for the Conference would be to combine creatively the two temporal dimensions in which Progressive Rock can be interpreted today: the past – from its genesis and original definitions through an analysis of the PROG classics to an attempt to read it anew; and the future – from meta-genre fusions to a critical post-progressive current. Hence, we suggest several subjects to be chosen by the participants and specific scopes to be included.


1.         Progressive Rock and Metal: Between Past and Future

2.         Experiencing Progressive Rock: Then and Now

3.         Retro vs Post Progressive Rock: Past Reflections and Future Visions

4.         Interpreting Progressive Rock: From Analysis to Recontextualization


  • Roots, Sources and Primal Concepts of PROG
  • Mediating Progressive Rock/Metal
  • Progressive Rock/Metal Fandom
  • Aesthetics of Progressive Rock/Metal
  • Neo- and Post-Progressive 
  • Future of PROG
  • Prog Goes Global ‒ Globalization vs Glocalization of Progressive Music
  • Progressive performance 
  • Between Prog and Jazz: Progressive Jazz ‒ Third Stream ‒ Fusion
  • Progressive as eclectic meta- and post-genre
  • Progressive Genres as Paradox of Pop Culture
  • Other…

The Programme Committee’s plan provides

  • Two Keynote lectures
  • 20-minute paper presentations (in two parallel sessions)
  • Round table discussions
  • Accompanying events
  • Concert, Meeting with Polish PROG Artist

We encourage researchers to present papers that develop an interdisciplinary approach to progressive rock across at least six fields: musicology, sociology, media studies, performance studies, philology, culture studies. We recommend stationary (live) participation. In exceptional circumstances, remote participation will be possible.

Submission Procedure

Scholars are invited to submit proposal abstracts for 20-minute presentations in English to by 15 January 2024 (contact person: Andrzej Mądro). 

Please attach two files to the email submission, both in Word file format (.docx):

1.         a proposal comprising only the paper title and abstract (300 words). This file should not include any identifying information.

2.         a short document providing the following information: author name, institutional affiliation, a short bio (100 words), paper title, keywords, and any audio-visual equipment needs.

All abstracts will be subject to a peer-review process, with authors notified of acceptance by the end of February 2024. The results of the topic selection will be communicated by email, as will any registration information.

Probable conference fee:

Scholars: 140 EUR (full amount),

Students, doctoral students: 70 EUR (50% discount) 

The fee does not include travel and accommodation costs. The organisers will offer assistance in booking accommodation in Krakow at favourable prices.

Programme committee:

Sarah Hill (University of Oxford, U.K.)

John Covach, (University of Rochester, U. S. A.)

Chris Anderton (Solent University, U. K.)

Lori Burns (University of Ottawa, Canada)

Local organising committee

(The Krzysztof Penderecki Academy of Music in Krakow):

Agnieszka Draus

Andrzej Mądro

Iwona Sowińska Marcin Strzelecki

Call for Papers:

Feminist Theory and Music (FT&M) 17 on the theme of “Urgency”

Conference Dates: June 20-22, 2024 Location: University of Michigan @ Ann Arbor

We acknowledge that the University of Michigan resides on the ancestral, traditional, and contemporary lands of the Anishinaabeg – The Three Fire Confederacy of the Ojibwe, Odawa, and Potawatomi Nations, as well as the Wyandot Nation.

Abstract Submission Date:

All proposals should be submitted on or before 11:59 p.m. (EDT) on November 30, 2023 to:

Conference Theme:

Now in its third decade, the Feminist Theory & Music Conference highlights work at the intersections of gender, sexuality, and music. Building on the previous conference’s theme of “Connections,” the 2024 conference seeks to leverage those relationships and connections to interrogate questions of urgency. “Urgency” here can refer to the immediacy of our contemporary political and historical moment, and our need to respond thoughtfully but without hesitation. We also use “urgency” to evoke the false sense of immediacy often imposed within institutions–such as the neoliberal university–that demands so much of our time and labor. We imagine this gathering as a space to come together to amplify issues of urgency across our various home

disciplines. We hope that this conference theme will offer pathways out of the isolation that many minoritized scholars can feel as we struggle with urgency on our campuses, in our positions, in our daily lives, our communities, and practice and research. The conference will feature a keynote address by Dr. Nancy Rao, author of Chinatown Opera Theater in North America (Illinois University Press, 2017), and an afternoon concert with pianist Ellen Rowe drawing on her recent project, “Momentum: Portraits of Women in Motion” (2019).

The program committee welcomes proposals for presentations that explore topics that include (but are not limited to):

●   Music related to the urgency of the current political moment, nationally and globally;

●   Increasing anti-LGBTQ, especially anti-trans, legislation and musical responses;

●   Threats to bodily autonomy and reproductive justice in a post-Roe v. Wade U.S;

●   Antiracism, Black Lives Matter, and accompanying movements

●   Recent Supreme Court rulings on Affirmative Action and the future of higher education;

●   Employing feminist theories in music in the classroom, research, communities, and institutions;

●   Music and expressions of toxic masculinity, Trumpism, and their alternatives;

●   Academic and other labor movements as feminist movements;

●   Locally-grounded topics of music, activism, and history pertinent to the Ann Arbor or Metro Detroit area; and,

●   Reaching across borders, building bridges, finding commonalities, and honoring differences.

We are inviting participants to present their work in person or via Zoom.

Proposal Guidelines:

We invite submissions from artists, activists, and scholars at any stage of their careers, including undergraduate and graduate students, and especially encourage submissions from people working outside of the academy. We welcome proposals for a range of presentation formats, including (but not limited to):

●   Individual Papers (20 minutes) ○ 250-word abstract

●   Themed Panels of Papers (90 to 120 minutes) ○ 250-word abstract plus ~150-word abstracts from each proposed participant

●   Performances or Lecture-Demonstrations (45 minutes) ○ 250-word abstract

●   Workshops (45 or 90 minutes) ○ 250-word abstracts

●   Roundtable Conversations (90 minutes) ○ 250-word roundtable abstract plus ~150-word abstracts from each proposed participant

●   Seminars with Pre-Conference Circulation of Materials (90 minutes) ○ 250-word seminar abstract

Program Committee:

Lauron Kehrer, Chair (Western Michigan University)
Angelina Gibson, Assistant to the Committee Chair (University of Michigan)

Christopher Cayari (Purdue University)
Leah Claiborne (University of the District of Columbia)
Kate Galloway (Rensselaer Polytechnic Institute)
Vivian Luong (University of Oklahoma)

FT&M on Social Media:

Facebook: Feminist Theory and Music
X (formerly Twitter): coming soon!
Conference Website:

CfP: Symposium on International Music Festivals, TUoS


“Social Inclusion, Community, and Belonging at International Music Festivals”

The University of Sheffield, 13-14 June 2024 

Festivals play important and diverse roles in communities and societies around the world. International music festivals which bring together performers from different places and cultural backgrounds have emerged in response to processes of mobility, migration, multiculturalism and transnationalism. This symposium explores the impacts of international music festivals and considers their implications for social inclusion, community, and belonging. We hope that participants will gain new perspectives on the issues affecting festivals today and share ideas about their future possibilities.

The symposium will take place at the University of Sheffield, 13-14 JUNE 2024. It is hosted in partnership with Migration Matters Festival, which celebrates the diversity of Sheffield through the performing arts. This festival will provide a vibrant setting for our conversations on the significance of festivals locally and globally.

The symposium welcomes anyone with an interest in festivals, including scholars, performing artists, event organisers, campaigners, etc. We invite proposals for papers, workshops, roundtables, posters, and presentations in any other format. Proposals on any topic related to international music festivals will be considered, but we especially welcome submissions that explore one or more of the following themes:

  • Social inclusion, community, belonging.
  • Migration, multiculturalism, postcolonialism, diaspora.
  • Nationalism, transnationalism, neoliberalism.
  • Place making, tourism, heritage.
  • Diplomacy, activism.
  • Ecology, sustainability, climate justice.
  • Practice research, participatory/collaborative methods.
  • Online festivals.

Registration for the symposium is FREE, thanks to support from the UKRI Knowledge Exchange Higher Education Innovation Fund. This is primarily an in-person event in Sheffield, but we will support a limited number of participants who are unable to travel to Sheffield due to travel, health or funding restrictions to present online and take part virtually.

The deadline for proposals is 15 DECEMEBER 2023. Please send the following information to

  • 200–300 words abstract for paper proposals; max 1 page outlining the aims, methods and duration of the session for workshops or other formats. Presentations should be delivered in either English or Spanish.
  • 50–100 words personal biography highlighting relevant activities and experience.
  • Institutional affiliation (if applicable) and contact information.
  • Please state whether you would prefer to attend in person in Sheffield or contribute online. Please note that online presentations will be required to record their presentations in advance of the symposium and be present virtually to take part in the discussion following their presentation. If you have any access needs, please let us know and we will do our best to meet them.

Thank you in advance for your proposals, we look forward to reading them! If you have any questions about the symposium, please contact:

Cfp: Home, Work and Music: Musical Practices in Domestic Spaces

“Home, Work and Music: Musical Practices in Domestic Spaces”

22 – 23 February 2024
mdw – University of Music and Performing Arts Vienna, Fanny Hensel-Hall

Call for Papers
What does it mean to make and perform music in the home? Home, Work and Music explores issues and debates centred around music in domestic spaces. It will showcase current research on the empirical, methodological and theoretical implications of centring the domestic in music research. 

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Cfp: Progressive Rock: Beyond Time, Genre, Geography…


Progressive Rock: Beyond Time, Genre, Geography…

The 6th Biennial International Conference 

of the Project Network for Studies of Progressive Rock

5-7 SEPTEMBER 2024

The Krzysztof Penderecki Academy of Music in Krakow (POLAND)

The central idea for the Conference would be to combine creatively the two temporal dimensions in which Progressive Rock can be interpreted today: the past – from its genesis and original definitions through an analysis of the PROG classics to an attempt to read it anew; and the future – from meta-genre fusions to a critical post-progressive current. Hence, we suggest several subjects to be chosen by the participants and specific scopes to be included.

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cfp: Exploration of Class, Distinction, and Habitus in Popular Culture of Central and Eastern Europe

6th Conference of the Centre for Study of Popular Culture

Exploration of Class, Distinction, and Habitus in Popular Culture of Central and Eastern Europe

Conference organised by the Centre for the Study of Popular Culture, Charles University and the German Historical Institute in Warsaw

27–29 October 2023, Prague, Czech Republic

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cfp: Punk Symposium in Belin, 22 September 2023

Call for Papers: Punk Symposium in Berlin, 22 September 2023

in cooperation with the international Punk Scholars Network

PANK! – (German) language in zines, punk art and punk rock

„Haste ’ne Macke?!“ (Engl. „you nuts?!“) – That is how Nina Hagen begins her song “Pank”, which she recorded in 1978, self-ironically written the way Germans usually pronounce the English word “Punk”. Youth slang, everyday language, humor, and directness characterize early German punk songs in the late 1970s—a departure from internationalized and slick mainstream pop lines à la ABBA. Political communication was also further radicalized in German punk rock. When the Hamburg band Slime loudly postulated in 1980 that they didn’t want any „Bullenschweine“ (Engl. “bull pigs”) and thus polemically commented on the constant confrontation between law enforcement and punks from their point of view, the 10-year-old slogans of radical left-wing bands like Ton Steine ​​Scherben seemed almost well-behaved. Back to the concrete, back to reality, namely the low, grim, and dreary reality—but this reality is then, in turn, violently and solemnly torn apart. A graphic equivalent of this frenzy of expression can be found in the fanzines of the time—Do It Yourself (DIY) magazines in self-publication, made possible by the spread of the photocopier—which also turn the tables with ironic wit, chaotic layout, and humorous appropriation of the narrow-mindedness in contemporary German advertising.

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cfp: The International Music Business Research Conference 2023

The 14th International Music Business Research Days 2023 

Towards Sustainability in Music Business?  

Balancing new business models, changing labor conditions and new competences. 

November 1-3, University of Agder, Department of Popular Music, Kristiansand, Norway 

Call For Papers 

Music business, and the frameworks and dynamics of the music industries, continue to develop and change, with new digital innovations, new formats, new business models and new content being created. It is nothing new that music business operates within changing economic- and technological framework conditions – these are perhaps more to be considered inherent features rather than substantial shifts. Nonetheless, these changes need to be continually addressed and critically discussed.  

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cfp: 25th International CHIME Conference: Barbarian Pipes and Strings Reconsidered— Negotiating Authenticity in the Musics of China: Transcultural Perspectives

Barbarian Pipes and Strings Reconsidered — Negotiating Authenticity in the Musics of China: Transcultural Perspectives

25th International CHIME Conference, Heidelberg CATS, October 1-4, 2023

Exactly 25 years after the last International Chime Conference in Heidelberg that focused on “Barbarian Pipes and Strings,” we return to the city by the Neckar and the Centre for Asian and Transcultural Studies (CATS) that now houses the CHIME Collection to reconsider musical practices in China from a transcultural perspective.

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cfp: Diversity in Popular Music Spheres 

Diversity in Popular Music Spheres 

IASPM-Australia/New Zealand 

University of Auckland and Wintec | Te Pūkenga 

Tāmaki-Makaurau (Auckland) and Kirkiriroa (Hamilton), Aotearoa 

5-8 December 2023 

Popular music has long existed as a space for the sharing and fostering of marginalised voices and stories, despite its equal position as a hegemonic economic and cultural tool of capitalism and Western imperialism. This conference invites papers on popular music and popular music studies that consider or celebrate aspects of non-mainstream politics, identities, creatives and practices; as well as interrogating the power structures related to our field that emerge from patriarchal white, cisgender, heterosexual and ableist ideologies and values. We especially look for work around indigenous studies, gender and queer studies, disability studies and colonialism or any other intersectional perspectives, in relation to any aspect of popular music consumption, production and people. 

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