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).

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.

Dear Fellow IASPM Members (with apologies for any cross-posting), 

Please find below details of a wide-ranging Call for Contributions which will hopefully be of interest to some of you.

The Royal Musical Association Research Chronicle is seeking contributions for a special issue on ‘Music and Covid-19’, guest edited by Dr Larry Zazzo (Newcastle University) and Dr Adam Behr (Newcastle University).  As, educators, scholars, performers and audiences, we are all starting to emerge from the pandemic transformed and still facing substantial challenges.  COVID-19 continues to have an effect on the creative economy and its regulatory environment, as well as the practical contexts of making, distributing, teaching and researching musics of all kinds. For many, these challenges have been — and still are— existential, as musicking performers and venues of every genre still struggle to return to a pre-COVID-19 ‘normal’.