The Department of Musicology at the University of Oslo invites applications for 3 PhD fellowships in musicology in relation to societal challenges and crises. The deadline is 9 January 2022. The positions are open with regard to time period, geographic area, and musical genre or tradition—which certainly includes popular music topics. Further info can be found here: https://www.hf.uio.no/imv/english/about/vacancies/.
Doctoral fellowships in Norway are full-time salaried positions with social benefits. Questions about the positions can be directed to the contacts listed in the job ad, or relevant academic staff.
The London College of Music, UWL welcomes applicants for our full-time Vice Chancellor’s PhD scholarships, which are open to all UK students (including EU students with settled status) who qualify and include:
- Waiver of UK PhD tuition fees
- Payment of a tax-free stipend of £15,000 per annum.
PhD scholars carry out teaching duties for a maximum of six hours per week. Scholarships are for three years (subject to satisfactory performance and academic progress).
You can apply for one of our Vice-Chancellor’s PhD scholarships as part of your PhD application – please state on the application form that you would like to apply for the Vice-Chancellors Scholarship. Deadline 6th December 2021
The School of Music, Dance and Theatre in the Herberger Institute for Design and the Arts at Arizona State University seeks an exceptional and versatile scholar of music theory for a full-time tenure-track appointment at the assistant professor rank beginning fall 2022.
Challenge and Change in Popular Music
The 2022 IASPM-UK/Ireland Branch Conference
Liverpool, August 31st – September 2nd
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.
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 firstname.lastname@example.org, Jeremy Reed email@example.com, or Andrew Snyder firstname.lastname@example.org 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.