Challenge and Change in Popular Music
The 2022 IASPM-UK/Ireland Branch Conference
Liverpool, August 31st – September 2nd
As the world continues to grapple with the COVID-19 pandemic and resulting social and economic crises, proposals are invited for papers that respond to contemporary global challenges and changes. Whether informed by the experiences of individuals, cities, nations or global communities, papers might respond to:
· Global Pandemics –their consequences for musical cultures and identities, and creative responses from popular music and the music industries.
· Changing Technologies – the opportunities and challenges they present for novelty, innovation and revival in popular music, and for new ways of engaging with music archives and heritage.
· Environmental Changes –sustainability and the music industries, environmental concerns in popular music, and musical expressions of crisis and resilience. Responses to changes in the local environments for popular music, including policy responses such as Music Cities and Agent of Change.
- Social Inequalities – musical reactions to political oppression and displacement, and to social and political movements such as Black Lives Matter and #Me Too.
· Structural Changes to the Music Industries – the challenges and opportunities they present for the global music industries, from Bollywood to K-Pop and Western classical music industries. Changing and emerging models for the ownership and sale of music rights, and debates about equitable remuneration for writers and artists.
· Structural Changes in Higher Education – their impact on popular music and on debates in popular music studies concerning disciplinarity, employability, canonisation, equality and diversity.
Proposals responding to other contemporary global challenges and opportunities are also welcome.
CALL FOR PROPOSALS: Eighth International Conference on Music and Minimalism
Conference Dates: May 5–8, 2022
Location: Bowling Green State University (Bowling Green, OH, USA)
Submission Deadline for Proposals: January 10, 2022
Féminisation de la chanson ? Approches théoriques et empiriques (2000 -2022)
Journées d’étude – Université de Strasbourg
29 – 30 juin 2022
Isabelle Marc (USIAS Strasbourg, Universidad Complutense Madrid) et Barbara Lebrun (University of Manchester)
Comité scientifique : Cécile Prévost-Thomas (Université Sorbonne Nouvelle, CERLIS), Céline Pruvost (Université de Picardie, CERCLL), Catherine Rudent (Université Sorbonne Nouvelle, CERLIS), Chris Tinker (Heriot Watt University)
Depuis le tournant du 21e siècle, l’essor, la visibilité et le succès des femmes dans les musiques populaires en France ont trouvé leur pendant universitaire dans l’éclosion des travaux sur la place des femmes et les représentations du genre et de la sexualité en chanson (Prévost-Thomas, Ravet et Rudent 2005 ; Prévost-Thomas et Ravet 2007 ; Pénet 2007 ; Hirschi 2017 ; Chaudier 2018 ; Pruvost 2018 ; Deniot 2019, entre autres). De façon plus ou moins directe, ces publications rejoignent la recherche internationale sur le féminisme, le genre, et les identités queer dans la littérature, le cinéma, et, bien-sûr, dans la popular music anglophone (Frith et McRobbie 1990 ; McClary 1991 ; O’Brien 1995 ; Whiteley 1997, 2000 et 2006 ; Brett et al. 2006 ; Jarman-Ivens 2007 et 2011, parmi beaucoup d’autres). Partant d’une conception pragmatique de la notion de genre, défini comme outil d’analyse des rapports de pouvoir entre les pôles du féminin et du masculin propres aux sociétés patriarcales (Octobre 2014), ces journées d’étude souhaitent revenir sur la profusion de talents féminins dans la chanson d’expression française et discuter des changements esthétiques et sociaux qu’elle accompagne, promeut et représente. Ce que nous appelons la féminisation de la musique populaire en France servira de point de départ pour explorer les rapports actuels entre les genres humains, qu’ils soient masculins, féminins ou autres, et les genres musicaux.
With apologies for cross-posting:
Progressive Rock: Geography, Culture, Discourse
The 5th Biennial International Conference of the Progect Network for the Study of Progressive Rock
St Peter’s College, University of Oxford, August 27-29, 2022 (Oxford, UK)
General enquiries about the conference can be sent by email to: Progect2022@gmail.com
This is a gentle reminder that it is 13 days before the deadline for call for proposals on 31 October 2021. Please visit our online submission site and follow the instructions below to submit a proposal or to confirm / revise your previously accepted one.
The Queensland Conservatorium Research Centre and/of the Creative Arts Research Institute will be holding the 1st International Music Livelihoods Symposium (online), December 6&7, 2021. https://musiclivelihoods.com/ Keynote speakers include Dr Nicole Canham (Monash University) author of recently-released Preparing Musicians for Precarious Work (Routledge).
Call for Papers: Popular Music, Populism and Nationalism in Contemporary Europe
University of Oldenburg (Germany), 07–09 April 2022
Organisation: Prof. Dr. Mario Dunkel, Reinhard Kopanski, Simon Wehber (University of Oldenburg; Faculty III; Department of Music).
Deadline for submitting proposals: 15thNovember 2021
It is undisputed that the recent rise of populist-nationalist and far-right parties poses a challenge to democracies, not exclusively, but also in the European Union. However, “populism’s toxic embrace of nationalism,” as Lawrence Rosenthal calls it, is more than a party-political or economic phenomenon. It also has a cultural dimension, which remains largely unexplored. Regarding music as a ubiquitous cultural practice, this conference addresses this cultural dimension from three music-oriented perspectives:
2022 Pop Conference Call for Presentations
“When I Think of Home: Race and Borders in Popular Music”
April 21-23, 2022
Many of us have been home, listening to music. Stuck there during the global pandemic, we have explored what home sounds like and what home means materially, culturally, and in ways that are utterly personal. As a place of security that feels less a given than before; as a right that many do not enjoy; as a nexus of struggle in a time of gentrification, economic transformation, conflict over indigenous homelands. For some home is a place it can be necessary to leave, and for others it is one, as Stephanie Mills made clear, it sure would be nice to get back to.
Innovation in Music Conference 2022
Royal College of Music, Stockholm
24 – 26 March 2022
Music Production: International Perspectives
Call For Papers
Innovation in Music 2022 will be held at the Royal College of Music, Stockholm, Sweden on 24 – 26 March 2022. A Routledge conference proceedings book will be published after the event.
Please note that the conference will be held in Stockholm as planned. However, there may be participants who are prevented from traveling to Stockholm due to the ongoing pandemic. We will therefore offer the opportunity to present papers digitally. Participants who already know that they prefer to participate digitally are kindly asked to indicate this when submitting their abstracts. Please note that Abstract must be submitted no later than 12 September , 2021
The theme remains wide for contributions, but with a titled theme of “Music Production: International Perspectives”
Starting Over? Popular Music and Working in Music in a Post-Pandemic World.
University of Western Ontario, London, Ontario, Canada
May 22-25, 2022
IASPM-Canada and the Working in Music research network (WIM) invite abstracts for their joint 2022 conference, to be held at the University of Western Ontario, in London, Ontario, Canada.
The IASPM/WIM 2022 joint conference welcomes scholarly research from all disciplines that engages with the changing contexts of musical practice experience—music making, the circulation of music, musical pedagogy and fandom, music and social movements, and various other dimensions of musical engagement—playing, dancing, streaming, listening.
For more than a year, the global pandemic has highlighted and accelerated the destabilization of practices and institutions of music making and partaking. The enforced hiatus from many aspects of public life offers a chance to evaluate music practices. Which have continued? Which ones will resume? Which ones may not return, at least not as they were?