Category Archives: Studying popular music

cfp: ‘Rethinking Participatory Processes Through Music’ Study Days

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‘Rethinking Participatory Processes Through Music’

14-15 January 2022, online event

https://musicdemocracystudydays.wordpress.com

Convened by Igor Contreras Zubillaga (British Academy Postdoctoral Fellow, University of Huddersfield) and Robert Adlington (University of Huddersfield)

Keynote speakers: Hélène Landemore (Yale University), Anna Bull (University of York), Raymond MacDonald (University of Edinburgh)

In recent times, the UK’s Brexit vote, the 2016 US presidential election, and other elections worldwide have made democratic processes the subject of unprecedented public debate. This has led to widespread questioning of the mechanisms for people’s participation in the democratic system and in political decision-making. One of the most ground-breaking inquiries into what public participation ought to look like within democracy has recently been carried out by political scientist Hélène Landemore (Yale University). In her book Open Democracy (2020), Landemore favours the ideal of ‘representing and being represented in turn’ over direct-democracy approaches. Drawing on recent experiments with citizens’ assemblies, Landemore offers a different concept of nonelectoral democratic representation.

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IASPM-US Research Seminar “Say it Loud: Black Voices in U.S. Popular Music Studies” – June 7th

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on June 7, 2021 at 1pm EDT, as part of the IASPM Research Seminar series, IASPM-US will be hosting a one hour virtual seminar entitled “Say it Loud: Black Voices in U.S. Popular Music Studies” moderated by Dr. De Angela L. Duff. The seminar will feature presentations by Drs. Brittnay L. Proctor, Matthew D. Morrison, Elliott H. Powell, Kimberly R. Mack, and Daphne A. Brooks about their respective research/book projects in Black music studies. There will also be Q&A following everyone’s presentation. 

This will be a zoom event, and you can register here. We look forward to seeing you all June 7th!

cfp: Innovation in Music Conference 2022

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Royal College of Music, Stockholm 

24 – 26 March 2022 

Music Production: International Perspectives 

Call For Papers 

​Innovation in Music 2022 will be held at the Royal College of Music, Stockholm, Sweden on 24 – 26 March 2022. A Routledge conference proceedings book will be published after the event.  

The theme remains wide for contributions, but with a titled theme of “Music Production: International Perspectives” 

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40 Years of Popular Music Perspectives

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What marked the beginning of international Popular Music Studies as an academic discipline? The most common answer is arguably the “Popular Music Perspectives” conference held at the University of Amsterdam in June 1981 that directly led to the establishment of IASPM.

To celebrate the 40th anniversary of this event, IASPM Benelux invites you to the 4th IASPM Pop Talk “40 Years of Popular Music Perspectives”, on June 22nd from 17:30 to 19:30.

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Music Streaming Platforms and Self-Releasing Musicians in China — IAPMS online workshop vol.8

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We are pleased to host the Inter-Asia Popular Music Studies Group (IAPMS) Online Workshop vol.8. To participate in this online event, please register by filling out the form with your name and email address. The event information will be sent to your email after the registration. A reminder email will also be sent two day before as well as one hour before the event.
Registration form: https://forms.gle/6xi6ZR9uTGHgFFCw8

The event will be held on 10 June (Thu): 8:00-10:00pm (Korea/Japan) / 7:00-9:00 pm (China)  

(Please use the time zone converter to calculate the event time in your location: https://www.thetimezoneconverter.com/)

cfp: Special Issue of Journal of Global Hip Hop Studies on ‘The Fifth Element’

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CfP: Special Issue of Global Hip Hop Studies Journal: 

“Knowledge Reigns Supreme”: The Fifth Element in Hip Hop Culture (2022) 

Co-edited by Justin A. Williams, Sina A. Nitzsche, and Darren Chetty 

The Journal 

Global Hip Hop Studies (GHHS) is a peer-reviewed, rigorous and community-responsive academic journal that publishes research on contemporary as well as historical issues and debates that surround hip hop music and culture around the world.  

The Special Issue 

Deejaying. Emceeing. Breaking. Graffiti. These are commonly considered hip hop’s four core elements. While hip hop contains multiple elements beyond its core, many hip hop artists, activists, and fans worldwide understand and recognize a ‘fifth element’ as knowledge. This naming practice shows us how hip hop communities understand the importance of the history, values, and artistry of the culture beyond their own temporal-spatial borders. With roots in the Universal Zulu Nation in the 1970s (Chang 2005), hip hop’s fifth element includes aims of self-realization (‘knowledge of self’), empowerment, and information about the history of the genre and its key practitioners (Gosa 2015; Alim, Haupt, Williams 2018).  

 This special issue of Global Hip Hop Studies thus addresses questions about the role of knowledge in global hip hop culture: How is it mediated across other elements, social groups, and cultural borders? How is knowledge passed on from one hip hop generation to another? What is the role of hip hop knowledge in educational institutions around the globe and how can it be used for the benefit of artists and the community? What can we as researchers, activists, and artists learn from knowledge practices in global hip hop culture?  

We invite contributions from a variety of disciplines, including musicology, pedagogy, cultural studies, ethnomusicology, visual studies, media studies, history, sociology, and other relevant fields. We are particularly keen to bring artists and scholars together to co-produce new methods for hip hop education while welcoming a wide range of perspectives and definitions around the intentionally-broad concept of hip hop’s fifth element.  

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