The abstract submission deadline for the joint IASPM Canada and Working in Music 2022 conference has been extended until 1 December 2021.

We welcome topics within the conference theme of “Starting Over? Popular Music and Working in Music in a Post-Pandemic World,” or any aspect of popular music studies, broadly defined.

The conference will take place in London, Ontario, Canada, from May 22 to 25, 2022.

Further information and submission link available on the IASPM Canada website: https://www.iaspm.ca/2022conference

Challenge and Change in Popular Music

The 2022 IASPM-UK/Ireland Branch Conference

Liverpool, August 31^st – September 2^nd

https://www.liverpool.ac.uk/music/events/iaspm/

Conference Themes

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.

CALL FOR PROPOSALS: Eighth International Conference on Music and Minimalism

Conference Dates: May 5–8, 2022

Location: Bowling Green State University (Bowling Green, OH, USA)

Submission Deadline for Proposals: January 10, 2022

Website: http://minimalismsociety.org/cfp-eighth-international-conference-on-music-and-minimalism

Féminisation de la chanson ?  Approches théoriques et empiriques (2000 -2022) 

Journées d’étude – Université de Strasbourg 

29 – 30 juin 2022 

Coordination :  

Isabelle Marc (USIAS Strasbourg, Universidad Complutense Madrid) et Barbara Lebrun (University of Manchester) 

Comité scientifique : Cécile Prévost-Thomas (Université Sorbonne Nouvelle, CERLIS), Céline Pruvost (Université de Picardie, CERCLL), Catherine Rudent (Université Sorbonne Nouvelle, CERLIS), Chris Tinker (Heriot Watt University) 

Depuis le tournant du 21^e siècle, l’essor, la visibilité et le succès des femmes dans les musiques populaires en France ont trouvé leur pendant universitaire dans l’éclosion des travaux sur la place des femmes et les représentations du genre et de la sexualité en chanson (Prévost-Thomas, Ravet et Rudent 2005 ; Prévost-Thomas et Ravet 2007 ; Pénet 2007 ; Hirschi 2017 ; Chaudier 2018 ; Pruvost 2018 ; Deniot 2019, entre autres). De façon plus ou moins directe, ces publications rejoignent la recherche internationale sur le féminisme, le genre, et les identités queer dans la littérature, le cinéma, et, bien-sûr, dans la popular music anglophone (Frith et McRobbie 1990 ; McClary 1991 ; O’Brien 1995 ; Whiteley 1997, 2000 et 2006 ; Brett et al. 2006 ; Jarman-Ivens 2007 et 2011, parmi beaucoup d’autres). Partant d’une conception pragmatique de la notion de genre, défini comme outil d’analyse des rapports de pouvoir entre les pôles du féminin et du masculin propres aux sociétés patriarcales (Octobre 2014), ces journées d’étude souhaitent revenir sur la profusion de talents féminins dans la chanson d’expression française et discuter des changements esthétiques et sociaux qu’elle accompagne, promeut et représente. Ce que nous appelons la féminisation de la musique populaire en France servira de point de départ pour explorer les rapports actuels entre les genres humains, qu’ils soient masculins, féminins ou autres, et les genres musicaux.  

With apologies for cross-posting:

Progressive Rock: Geography, Culture, Discourse

The 5th Biennial International Conference of the Progect Network for the Study of Progressive Rock

St Peter’s College, University of Oxford, August 27-29, 2022 (Oxford, UK)

General enquiries about the conference can be sent by email to: Progect2022@gmail.com

Greetings!

This is a gentle reminder that it is 13 days before the deadline for call for proposals on 31 October 2021. Please visit our online submission site and follow the instructions below to submit a proposal or to confirm / revise your previously accepted one.

The Queensland Conservatorium Research Centre and/of the Creative Arts Research Institute will be holding the 1st International Music Livelihoods Symposium (online), December 6&7, 2021. https://musiclivelihoods.com/ Keynote speakers include Dr Nicole Canham (Monash University) author of recently-released Preparing Musicians for Precarious Work (Routledge).

Call for Papers: Popular Music, Populism and Nationalism in Contemporary Europe

University of Oldenburg (Germany), 07–09 April 2022

Organisation: Prof. Dr. Mario Dunkel, Reinhard Kopanski, Simon Wehber (University of Oldenburg; Faculty III; Department of Music). 

Deadline for submitting proposals: 15^thNovember 2021

It is undisputed that the recent rise of populist-nationalist and far-right parties poses a challenge to democracies, not exclusively, but also in the European Union. However, “populism’s toxic embrace of nationalism,” as Lawrence Rosenthal calls it, is more than a party-political or economic phenomenon. It also has a cultural dimension, which remains largely unexplored. Regarding music as a ubiquitous cultural practice, this conference addresses this cultural dimension from three music-oriented perspectives: