Popular Music Theory & Analysis Summer School (IPM-IPM-SMA)
Tuesday 29th – Thursday 31st August 2023, University of Liverpool

The Institutes of Popular Music of both Rochester and Liverpool, together with the Society for Music Analysis, are pleased to announce their second Summer School dedicated to popular music theory and analysis. Teaching will be led by Lori Burns (Ottawa), Mark Spicer (Hunter College / CUNY), David Temperley (Eastman), and plenaries will be given by John Covach (Rochester), Freya Jarman (Liverpool), and Catherine Tackley (Liverpool).

This is a free course, although travel, accommodation and subsidence must be covered by delegates. Ideal for graduate students or early career researchers.

The deadline for applications is May 15th 2023.

Call for Papers: Popular Brass Music in the 21st Century

— Conference, University of Innsbruck (Austria), Department of Music

— October 20–21, 2023

— Haus der Musik, Universitätsstrasse 1, 6020 Innsbruck

This conference takes the increasing popularity of brass music in German-speaking regions as a departure point to explore the contemporary aesthetic, stylistic, sociocultural, economic, and political facets of music that gravitates around brass instruments. Hereby, the conference aims to initiate the conceptualization of a newly emerging and adapting musical field from an international perspective. 

Call for Abstracts:

*How Does “Your” Music Sound? Belonging, Communities, and Identities in Popular Music across Central, Eastern and South-Eastern Europe*

International conference, University of Ljubljana, Ljubljana, Slovenia, November 9-10, 2023

Over the past three decades, case studies from Central, Eastern, and South-Eastern Europe have enriched the fields of popular music studies, sonic studies, cultural studies, and ethnomusicology, offering insights into the complex entanglements between music practices, industries, and audiences on the one hand, and different aspects of belonging, identification, and community-formation on the other. Analyses of modern local and regional popular-music manifestations such as (turbofolk, Austropop, chalga, manele, tallava, Serbian trapfolk, Bulgarian trap, Slovenian folk pop etc.) provide an invaluable insight into the multitude of music- and soundscapes in the region. They also present a springboard for further inquiry into the mechanisms, impact, and architectures of belonging, identification, and communities in this diverse space, historically marked by a vibrant dynamic of glitches, ruptures, and connections.

This conference takes its cue from Connell and Gibson’s (2002: 9) perceptively dialectical observation that while “music is simultaneously a commodity and cultural expression, it is also quite uniquely both the most fluid of cultural forms /…/ and a vibrant expression of cultures and traditions, at times held onto vehemently in the face of change.” Music connects people, enabling constellations of listeners, performers, and industry actors that are not always easy to predict, as well as consolidating extant communities based around various notions, such as shared memory, generation, class, gender, or nation. Indeed, recent scholarship has focussed extensively on popular music’s entanglements with space in place in terms of its cultural geographies, transnational and transcultural flows, diasporic significance, scenes, and various kinds of belonging. Ewa Mazierska and Zsolt Győri’s (2018) inspiring edited volume demonstrates the conceptual significance of a transnational approach to studying popular music in Eastern Europe, while Steinbrecher (2020), Kovačič (2022), Archer (2011), Hofman (2010), Dumnić Vilotijević (2020), Stanković (2021), Kaluža (2021), Špirić Beard and Rasmussen (eds., 2021) and Bobnič et al. (2022) point to the need to further broaden the context of discussion, re-examining territorialization processes from a post-transitional European perspective, characterized by a high degree of connectivity, and by shared sensibilities, aesthetics, as well as rhetorical and political strategies. In this space, characterized by mobility and flux, as well as by the proliferation of populist rhetorical strategies that call for exclusionist identification, the Eastern, Central, and South-Eastern European spaces need to be thought alongside one another.

CUMIN is the Contemporary Urban Music for Inclusion Network https://cuminetwork.wordpress.com/. CUMIN is an AHRC-funded network designed to bring together researchers, practitioners and a range of stake-holders in educational and social projects that utilise ‘contemporary urban music’ (by which we mean Hip Hop, grime, house, EDM, techno and so forth), fostering dialogue and production of new knowledge.

On Friday 30th June from 9.30am to 5.30pm CUMIN will hold a conference at Trinity Laban Conservatoire of Music and Dance https://www.trinitylaban.ac.uk/

Call for Papers

Mediations of music and power in online music cultures

21–22 September 2023, Division of Gender Studies, School of Culture and Education, Södertörn University, Sweden

Music cultures in the twenty-first century are strongly shaped by online media. Music streaming, social media, video sharing sites as well as internet-based music production software, radio stations, and music magazines have variously affected the formatting, curation, and consumption of music. Largely centralized around a small number of privatized companies, where human and automated processes intersect, online music cultures are sites of mediations of power.

Call For Papers: Practice Research in 21st Century Music

The 21st Century Music Practice Research Network’s 2023 One Day Conference on Saturday 20th May 2023 at the University of West London, St. Mary’s Road, Ealing, London W5 5RF

The C21MP network is relaunching its ‘in-person’ events with a one day conference looking for common themes in pedagogy and practice research in performance, composition, record production, music technology, music business and arts administration.