Dear participants of the IASPM XXI 2022:
This email is sent to all participants to inform that the deadline of the standard registration is extended to May 20, 2022.
STANDARD REGISTRATION IS NOW AVAILABLE! (Extended to May 20, 2022)
Receiving many requests regarding the registration extension, the deadline of standard registration of IASPM XXI 2022 has been extended to May 20, 2022. We are expecting that our decision about extension will be of great help to many people’s participation. Please visit the registration page to finish registration:
Also, please note that all presenters (both individual, panel and film/video) must finish their registration to present in IASPM XXI 2022.
If you have any queries, please contact IASPM XXI 2022 Secretariat at email@example.com.
We look forward to meeting you up (virtually) at the conference very soon.
IASPM XXI 2022 Local Organising Committee
‘Music for Girls: Women’s Knowledge Cultures of Popular Music’, is an AHRC Network formed to explore alternative ways of ‘knowing’ about popular music and focused especially on the experiences of women and girls.
A ‘Music for Girls’ online symposium will take place Wednesday, 18th May from 1430-1700 UK time. Hosted online by Leeds, the symposium will bring together network members and other attendees to generate questions and themes to be more fully explored at a conference in 2023 and in a special issue for Popular Music and Society. For the online symposium, Prof. Lucy Robinson (Sussex), Dr Lisa Amanda Palmer (De Montfort), Dr Richard Elliott (Newcastle) and Prof. David Hesmondhalgh (Leeds) will discuss previous and current research relating to gender and popular music knowledge. Talks will be 15 minutes each, and will be followed by an open session, during which attendees can ask questions, but also share their own interests, highlight works in progress, and make connections with other researchers. The symposium is an opportunity for us to bring this network to life.
Invitation for applications, appointment effective August 2022
Position: Postdoctoral Teaching Associate
Appointment/Salary: Two-year, 12-month appointment. Salary competitive.
Qualifications: Completed doctorate in musicology, ethnomusicology, or a related disciplineat time of appointment; university-level teaching experience; demonstration of outstanding potential in scholarly research and publication. The candidate should have been awarded a doctorate within the past five years of their appointment.
Desired Qualifications: We especially encourage applications from music scholars with research or teaching expertise in one (or more) of the following areas: twentieth- and twenty-first-century music, contemporary American and global popular music, sound and media studies, gender and sexuality, research and communication skills for graduate students.
Responsibilities: Teach courses from among current undergraduate and graduate offerings and/or in the candidate’s area of expertise. Teaching duties may include music appreciation, modern popular music, and music bibliography. Maintain an active agenda of research and publication, participate in activities related to the academic mission of the university, including student advising and mentoring.
Kia ora koutou,
With the usual apologies for cross posting. I am pleased to announce a call for abstracts for a special issue of Popular Music History Journal on jazz and gender. Please see below for details:
Special Issue of Popular Music History (2023)
Title: Gender and Jazz: Histories and Scenes
From the latter half of the twentieth century there has been increasing interest and work in gender and jazz, with several collections examining the roles of women and gay and lesbian musicians in the jazz world, both historically and contemporarily. Nichole Rustin-Paschel and Sherrie Tucker’s 2008 collection Big Ears: Listening for Gender in Jazz Studies has now become an eminent text in the area, and more recently, the Jazzinstitut, Darmstadt held its 14th Jazzforum on the topic of gender and identity in jazz (resulting in a published collection by the same name in 2016). These, and other collections and articles, have delved into gender and its roles in the jazz world, however there are still many more aspects to explore. Gender, and gender binaries, have shaped the jazz world since the 1920s. Now in the 2020s, the centennial of the Jazz Age gives us an opportunity to explore the many ways that perceptions of gender have been defined and evolved over the last 100 years. There is a need to examine where we are at in the 2020s, and to give thought to the work ahead as creative practitioners, researchers and historians. This themed issue seeks to explore both the known and unknown about gender in the jazz world. Asides from issues around femininity and masculinity (and men and women) in jazz, we seek articles that explore musicians, bands, and scenes who have been ignored or shunned because their performance of gender and/or sexual orientation did not comfortably fit into the perceptions held by critics and audiences. We also seek explorations around power dynamics and gender on and off the bandstand, #MeToo, and collectives such as We Have Voice and Keychange.
Please submit a short abstract (no more than 200 words) to guest editor, Aleisha Ward: firstname.lastname@example.org Abstracts deadline: 1 June 2022
For those in need of financial support, IASPM offers bursary for eligible participants. Previously the arrangement was to compensate for travel costs. Due to the current pandemic situation, however, the bursary will be repurposed to compensate for the registration fee. The deadline for the financial support application has been extended to 21 April 2022. Please see below for more information.
If you need further information or have any questions, please feel free to contact us <email@example.com>.
Keewoong Lee (co-chair) Hyunjoon Shin (co-chair)
IASPM XXI 2022 Local Organising Committee
Special Issue of South Asian History and Culture: Western Popular Music and the Making of Indian Modernity
Description of Topic
From the colonial period onwards a variety of Western musical forms and practices have traveled to the sub-continent interacting with domestic sound cultures and contributing to making of Indian modernity. While other influences from the west – in science and technology, political governance, and market mechanisms – have received considerable academic attention, the impact of western popular music in the Indian context is a relatively ignored area of inquiry. This special issue of South Asian History and Culture is based on the premise that our understanding of Indian modernity is enhanced by a deeper exploration of the ways in which western music – beginning with colonial army bands to MTV and beyond – has contributed to the formation of modern sensibilities in India. The issue focuses exclusively on the western pop music (as opposed to western influences on indigenous music-making) that reached Indian audiences as well as local production of English-language pop and seeks to ask a set of questions surrounding these musical encounters to refine and develop our understanding of how popular cultural flows are constitutive of local modernities. What was/is the nature of the audience for western music in India? Was the reception of this music tied to elite-formation? Can one speak of a sub-culture around western pop? Was there any clearly formed state policy regarding What part did this music play in creating an urban youth culture in postcolonial India? Was the Indian recording industry able to nourish homegrown western pop artists? What the was the role of Indian radio and television in creating an enclave of western pop that was distinct from vernacular popular culture?
2022 IASPM-Norden conference: “Disciplining Music Heritage”
organised jointly with the Finnish Society for Ethnomusicology
13–14 October 2022, Seinäjoki, Finland
and as we are equally pleased of our capability to accommodate more, there is still a possibility to submit, with an extended deadline for proposals on 15 April 2022. Please visit this website for the call and further details:
Please direct your enquiries to firstname.lastname@example.org.
Call for chapter proposals
Intellect Handbook of Global Music Industries
Edited by Chris Anderton, Martin James, Daniel Nordgård and Sergio Pisfil
Social, technological and political developments and disruptions continue to impact the music industries, fostering new revenue streams and opportunities, and allowing music from around the world to gain a global audience. Audio streaming, video apps and social entertainment services have rapidly become key areas of growth, and there has been a rise in academic work focusing on the global music industries in terms of their issues, challenges, and opportunities. Much of this work describes developments in the global north, and while this book will explore and expand upon this field, it also seeks to explore the industries from a global perspective. We therefore encourage proposals that stress global overviews, tackling issues to do with global capitalism, trans-national companies, geo-politics and so on, but also proposals that focus on significant local/regional contexts that cast light on global differences and what may be learned from them.
Lecturer in Music
University of York – Department of Music (expertise in Black Music Studies or Global Musics):