Special Issue: ‘Exploring Audio and Music Technology in Education: Pedagogical, Research and Sociocultural Perspectives’
Full paper submission deadline: 1 April 2022
The past decade has seen increased interest in the pedagogical facets of audio engineering, sound design, music technology and related fields. Much of this rising interest in the teaching and learning aspects of sound corresponds to a growing number of institutions offering training options for people interested in the technical, creative, scientific and cultural aspects of audio. However, while the options for learning about such topics have expanded, there remains a dearth of scholarship on the theoretical, sociocultural and interdisciplinary aspects of audio and its connection to teaching and learning in a broad array of institutions. Also, little scholarship has emphasized a professional development model for the educational aspects of audio, particularly for those working with the next generation of practitioners in all educational contexts. What impact do audio and music corporations have on facilities and curricular decision-making? For this Special Issue of the Journal of Music, Technology & Education, the guest editors seek contributions addressing one or more of the topics below:
M/C Journal: ‘Cities’ CFP
Over the past 20 years, interest in the ways in which cities might be re-imagined and place-branded through specific creative and cultural identities and activities has increased exponentially (Landry; Andersson; Evans; Grodach), with urban policy-makers in particular seeking to find ways to leverage these identities to drive a range of urban development, economic, heritage, and tourism initiatives (Richards; Baker; Martinez; Ballico and Watson). In turn, significant attention has been given to the vital contribution creative workers make to the creative, cultural, and economic fabric of cities, with policies aimed at attracting these workers becoming a central tenet of many creative city strategies (Florida). To this end, urban development strategies prefaced on the enactment of a range of ‘creative’ and ‘cultural’ frameworks are commonplace in cities across the world. Examples of this include the UNESCO Creative Cities Network, which encompasses creative sectors as diverse as Crafts and Folk Art, Design, Film, Gastronomy, Literature, Media Arts, and Music (Ballico and Carter), as well as other sector-specific frameworks such as the global music cities movement (Baker; Ballico and Watson). Considering the emergence, circulation, and adoption of these policy frameworks, as well as more broadly the ways in which creative and cultural identities can be leveraged through place activation strategies, we invite contributions that provide, although are not limited to:
Abstracts due by November 20 for Festival Activism!
For decades festivals have provided important sites of inquiry for folklorists and ethnomusicologists alike. While theoretically and methodologically diverse, this literature has traditionally focused on the communitas of festival experience and the flow of everyday social life beyond the festival’s liminal boundaries. Attending to the activist turn in ethnographic research, we wish to explore the idea of festivals as strategic forms of social action. Specifically, how can a critical ethnographic study of festivals reveal the ways in which performers, participants, and organizers encounter and challenge the myriad forms of violence that frame the contemporary world? How do festivals constitute sites of activism and forms of social and political intervention?
Co-Editors David A. McDonald and Jeremy Reed of Indiana University and Andrew Snyder of Universidade Nova de Lisboa are seeking chapter proposals that explore existing and emerging debates on the dynamics of festivals and activism. This volume understands festivals as an interspace between disciplines such as folklore, ethnomusicology, performance studies, cultural studies, media studies, and others. At the same time, an attentive and critically ethnographic approach to festival can offer utility to professional fields beyond the social sciences, such as arts administration and public affairs. We welcome original research that explores the significance of festivals as tools of social and political intervention. And further, we encourage chapter proposals that integrate festival research into contemporary conversations on applied, activist, and public facing work in the humanities.
We envision this volume published as part of IU Press’ “Activist Encounters in Folklore and Ethnomusicology” book series. If interested in participating, please send a 250 word abstract to David McDonald email@example.com, Jeremy Reed firstname.lastname@example.org, or Andrew Snyder email@example.com by November 20, 2021. Finished chapter drafts will be expected by May 1, 2022 with final revisions expected in Fall 2022.
Lecturer in Music Performance (Hip Hop)
London College of Music
Salary: £41,201 to £47,169 per annum
Release Date: Tuesday 02 November 2021
Closing Date: Sunday 14 November 2021
Interview Date: Friday 26 November 2021
The University of West London (UWL) has climbed an impressive 23 places to become one of the top 40 universities in the UK according to the influential Guardian University Guide 2021.
UWL is now ranked 35th in the UK. We were also the top modern university in London. In addition, UWL has been named University of the Year for Student Experience in The Times and The Sunday Times Good University Guide 2021.
The Department of Music, School of the Arts, Media, Performance and Design, York University invites highly qualified candidates to apply for a teaching stream tenure-track position in Music Technology and Production at the rank of Assistant Professor, Teaching Stream to commence July 1, 2022. We seek an imaginative and innovative leader in pedagogy who will provide creative educational leadership to enhance and expand the existing music curriculum through the integration of technology. The successful candidate will have opportunities to teach both undergraduateand graduate courses. Salary will be commensurate with qualifications and experience. All York University positions are subject to budgetary approval.
See details here:
With apologies for cross-posting.
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.
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
Assistant Professor of Music
Swarthmore College: Music & Dance Department
Oct 25, 2021
The Department of Music and Dance at Swarthmore College invites applications for a tenure-track position in Music at the rank of Assistant Professor beginning August 2022. We seek candidates who specialize in African-American, African and/or African-diasporic musical cultures in subfields such as (but not limited to) ethnomusicology, historical musicology, music theory, music education, composition, or music technology/production. We are particularly interested in candidates whose work is grounded in music scholarship and its intersections with Critical Race Studies, Black Studies and/or Africana Studies.
Applications are invited for the Dave Laing PhD Scholarship funded by the Margaret Wethered Bequest
The scholarship is attached to the Institute of Popular Music, homed in the Department of Music at the University of Liverpool. It is established in honour of Dave Laing, who was closely associated with the institute, from its foundation in 1988 until his death in 2019.
Dave was a prolific writer and editor, with a wide range of interests and abilities, and his work spanned the history and breadth of British popular music studies. He was a central contributor to the leading journals and encyclopaedias in the field, and authored numerous publications, including the first work of British popular music studies The Sound of Our Time (1969), the pioneering book on punk One Chord Wonders, and two monographs on Buddy Holly. First and foremost, however, Dave was a music journalist and in this role he also broke new ground. He was a contributor to the rock magazine Cream before becoming a founding editor of Let it Rock, but he also had a strong interest in the music business. He became an early leader in the detailed and rigorous study of the music industries, authoring numerous industry reports while also acting as press officer for IFPI, deputy editor of Music Week, and founding editor of Music Business International.
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.