Differentiating Sound Studies: Politics of Sound and Listening 

• CFP deadline extended: 7 January 2022, 23:59 (UTC+9)
  
  
• Notification of results: 15 January 2022
  
  
• Conference dates: 15–16 April 2022 
  
  
• Conference website: https://mrc.hanyang.ac.kr/differentiating-sound-studies/ 
  
  
• Venue: Hanyang University, Seoul, Korea (hybrid)
  
  
• Keynote Speakers:
  
  Eric Drott (The University of Texas at Austin)
  
  Mack Hagood (Miami University)

In response to demands for an extension of deadline in the midst of holiday season, we have decided to extend the submission deadline for “Differentiating Sound Studies: Politics of Sound and Listening” until 7 January 2022. Those who have already submitted their abstracts may revise their submissions until the new deadline, if necessary.

Methodological Approaches to Music and Dance:

Exploring the Field of Heavy Metal and Its Genre Boundaries

September 08 – September 09, 2022, University of Siegen

Music and dance are connected intimately and especially in popular music cultures dance plays a vital role. Even though academic attention so far has rather attended to forms such as tap dance, salsa, hip hop or various forms of electronic dance music, heavy metal is no exception in this respect: It has developed characteristic, music-related bodily practices that at times serve to designate cultural membership as, for example, the term “headbangers” indicates. At concerts, the music is accompanied by common movements like headbanging and moshing and even more unconventional forms such as conga lines or ‘folkloristic’ circle dances can be found. As this suggests, the boundaries to other music genres are not rigid but porous: Historically, for instance, moshing and stage diving entered metal culture via hardcore and (music-)stylistic crossovers can entail extensions of a genre’s dance styles. The specific forms of movement are situated within a complex, relational structure and can vary by (sub-)genre, the course of a concert, the interaction among dancers, the dancers’ evaluation of the music, or the music’s aesthetic character and materiality to name but a few aspects.

Differentiating Sound Studies: Politics of Sound and Listening 

• CFP deadline: 31 December 2021, 23:59 (UTC+9)
  
  
• Notification of results: 15 January 2022
  
  
• Conference dates: 15–16 April 2022 
  
  
• Conference website: https://mrc.hanyang.ac.kr/differentiating-sound-studies/ 
  
  
• Venue: Hanyang University, Seoul, Korea (hybrid)
  
  
• Keynote Speakers:
  
  Eric Drott (The University of Texas at Austin)
  
  Mack Hagood (Miami University)

The abstract submission deadline for the joint IASPM Canada and Working in Music 2022 conference has been extended until 1 December 2021.

We welcome topics within the conference theme of “Starting Over? Popular Music and Working in Music in a Post-Pandemic World,” or any aspect of popular music studies, broadly defined.

The conference will take place in London, Ontario, Canada, from May 22 to 25, 2022.

Further information and submission link available on the IASPM Canada website: https://www.iaspm.ca/2022conference

Challenge and Change in Popular Music

The 2022 IASPM-UK/Ireland Branch Conference

Liverpool, August 31^st – September 2^nd

https://www.liverpool.ac.uk/music/events/iaspm/

Conference Themes

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.