Category Archives: Studying popular music

Gretch Fellowship in Children’s Music Opprtunity

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Fred Rogers was a musician and believed that music was a critical component for the development of young people. He used music to build relationships with his television friends. The Fred Rogers Center is excited to announce that applications for the Gretsch Fellowship in Children’s Music for the year of 2022-2023 are now OPEN! Applications will remain open until April 15th, 2022. To learn more about the Fellowship and apply, please click on the link below.

https://www.fredrogerscenter.org/what-we-do/music-fellowship

March Colloquium: “APPROACH TO THE LAMBE-LAMBE THEATRE AS A STAGE RESONANCE DEVICE: (INTIMATE) HETEROTOPIES IN THE PUBLIC SPACE” – Amarú Araya González

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Dear colleagues,

On behalf of the Ethnomusicology Group of Barcelona, we want to announce our colloquium for March entitled:

“APPROACH TO THE LAMBE-LAMBE THEATRE AS A STAGE RESONANCE DEVICE: (INTIMATE) HETEROTOPIES IN THE PUBLIC SPACE”

The presentation will be carried out by sociologist and Master in Music as Interdisciplianry Art (University of Barcelona), Amarú Araya González. The event will be held face-to-face and online, on Thursday, March 31st. Check the links below to find detailed information about the content of the session and the biographical data of the collaborator.

Where: To be confirmed

When: March 31st, Thursday.

Time: 18h-20h (Spanish local time)

Language: Spanish

Transmitted via Facebook Live: @etnomusicologiabcn  

cfp: Voices in and out of Place: Misplaced, Displaced, Replaced and Interlaced Voices

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Call for Conference Papers and Creative Practice: Voices in and out of Place: Misplaced, Displaced, Replaced and Interlaced Voices

6-7 September 2022

Submissions Deadline: 30 April, 2022

The International Centre for Music Studies at Newcastle University (ICMuS) is hosting the second biennial on-line Vicarious Vocalities, Simulated Songs conference in collaboration with the Centre for Interdisciplinary Voice Studies, now celebrating its tenth year. The theme of this year’s conference is “Voices in and out of Place: Misplaced, Displaced, Replaced and Interlaced Voices”, and is intended to cover both new and longstanding questions around the location or place of the voice with regard to the body AND equally perennial debates around the voice in relation to geographical and temporal place and space.

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call for chapters: Inscribed on Flesh: Culture, Trauma, and the Reemergence of Biopower during Times of Pandemic

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With the outbreak of the Covid-19 pandemic and the crisis following to the increasing number of deaths, forced closures, exclusions and lockdowns, and the social, emotional economic aftermaths; the reemergence of the biopolitical argument is hardly surprising. In his last lecture “Society Must Be Defended,” (1975-1976), French philosopher Michel Foucault refers to biopolitical governmentality, which determines the differential exposure of human beings to health and social risks. According to Faucault’s historicized view of modernity, citizens are not subjects of law, but a biological entity to be controlled by means of epidemiological (biostatistical) surveillance. The emergence of biopolitics paved the way for fragmenting the biological continuum, in order to create hierarchies between different groups and, thus, differences in the way in which the latter were exposed to the risk of death. Racism became the “condition of acceptability” of such a differential exposure of lives in a society in which power is mainly exercised to protect the biological life of the population and enhance its productive capacity.

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cfp: 2022 IASPM-Norden conference, “Disciplining Music Heritage” (13–14 Oct 2022, Seinäjoki, Finland)

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Dear all

On behalf of the organisers, I am pleased to let you know of the

2022 IASPM-Norden conference: “Disciplining Music Heritage”

organised jointly with the Finnish Society for Ethnomusicology

13–14 October 2022, Seinäjoki, Finland

The deadline for proposals is 31 March 2022. Please visit this website for the call and further details:

https://www.uniarts.fi/en/events/disciplining-music-heritage-conference/

Please direct your enquiries to discipliningmusicheritage@gmail.com.

With best wishes,

AV Kärjä

[IASPM XXI 2022] Announcement of conference format and financial support application

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Dear all,

We regret to inform you that the local organising committee have decided to take most of the sessions in IASPM XXI 2022 as virtual to make sure a safe and sound conference experience for all participants despite the unstable situation of COVID-19. We have closely monitored the situation thus far with a hope of holding a fully face-to-face conference. However, we reached the point in which we could not delay the decision any longer.

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cfp: Independence and digital technologies: music making in the 21st century beyond Anglo-America

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INET-md | NOVA FCSH

http://www.inetmd.pt/index.php/calls/14764-call-for-proposals-independence-and-digital-technologies-music-making-in-the-21st-century-beyond-anglo-america

The idea of independence in music making has been the subject of academic research and discussion ever since the establishment of popular music studies as well as in intersecting areas of knowledge such as ethnomusicology and the sociology of music.  Most studies on independence in the 20th century address the possibilities for musicians and other agents within the sphere of music making, distribution and mediation to operate and reach an audience outside the oligopoly of the big music corporations. The last twenty years have seen important changes in the power balance between those forms of music making and the big companies due to the effects of digitalization and disintermediation in the music production cycle.  These opened new possibilities for artists and micro-labels to release music by bypassing the distribution chain provided by big companies. However, we also see the rise of new forms of corporate distribution and funding, such as through streaming platforms and brand sponsorship. These changes raise important questions about the shifting notions of independence and what it means in these new contexts. Many of these changes and what they meant have been scrutinized, especially in the contexts of the UK and the US. This book seeks contributions on independent music making outside of the UK and US in relation to the impact of digitalization on music related practices in the 21st century.

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cfp: “New Perspectives in Popular Music Research: Changes and Turmoil”

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Call for Papers:

“New Perspectives in Popular Music Research: Changes and Turmoil”

Conference: University of Agder, Kristiansand, Norway, 1–2 June 2022 (extended deadline)

Recent years have resulted in extensive changes in popular music production, dissemination, reception, and perception. New technological developments within music production and performance have created new creative possibilities for artists and bands as they make music and engage with the global music market. Many of these changes have been greatly accelerated by, if not the direct result of, the Covid 19 pandemic that has fundamentally disturbed the relationships between artists, fans, modes of performance, and music distribution. More than ever before, it has become critical to examine digitization, virtuality, creativity, and the music business as a whole in the context of such tumultuous changes.

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cfp: Cantautore: the Songwriter in Culture and the Media

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Cantautore: the Songwriter in Culture and the Media

Edited by Olivier Julien (Université Paris-Sorbonne), Massimo Locatelli (Università Cattolica del Sacro Cuore), Elena Mosconi (Università di Pavia/Cremona)

“Cantautore” is a project that aims to reconsider the role and figure of the singer-songwriter in Italian and international culture.

The singer-songwriter is a mythical figure in popular imagination in different countries, a bridge between a variety and even contradictory forms of experience, both cultural and social. In the Italian context, it has been respectively interpreted in social history as a symptom of collective traumas (Bonanno 2009, Santoro 2010), and in popular music studies as a successful pop icon (Gentile 1979, Borgna 1995-2004), or as a genre (Fabbri, 1982) and – consequently – as an ideological construction (Tomatis, 2019). Only recently, has the transnational dimension of this phenomenon been stressed out and problematized further (Green and Marc 2013, Looseley 2013, Marc 2016).

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cfp: Exploring Audio and Music Tech in Education (Journal of Music, Tech and Ed)

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Journal of Music, Technology and Education 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:
• graduate teaching and research in audio education;
• diversity, equity and inclusion (DEI) in audio education;
• improving the quality of teaching and learning in audio education;
• sociocultural, historical and interdisciplinary aspects of audio education;
• limitations of a technocratic model of pedagogy in audio education;
• education-industry partnerships in promoting communities of learning and practice;
• impact of professionalization and standardization of curriculum by corporations;
• audio education as an emerging academic field for research and practice;
• global perspectives on audio education;
• social media, online communities and informal learning;
• pandemic-related case studies including hybrid/online learning strategies; and
• school-based (elementary, secondary, high school) and community-based learning

perspectives/collaborations.

Other topics relating to audio education are also welcome. Please submit full papers
by 1 April 2022 via the journal’s page (which can be found here). Expected publication
date in late 2022 or early 2023. Questions about the CFP are welcome and may be

addressed to Daniel Walzer at dawalzer@iu.edu.