cfp: Musical Biopics and Musical Documentaries from the Scandinavian countries

Call for contributions to a Journal of Scandinavian Cinema In Focus section highlighting Musical Biopics and Musical Documentaries from the Scandinavian countries 

This is a call for short subject contributions (2000-3000 words) focusing on how Scandinavian film and television have presented musicians, singers, bands and orchestras in biopics and documentaries. We welcome submissions that – after a quick theoretical introduction and concise contextual background – offer discussions of topics such as: 

  • the film’s role within cultural memory – usually restricted to a single national market and often catering to a certain age group’s intragenerational memories 
  • the handling of generic conventions; from narration and characterization to the selection of music, casting choices and staging of performances  
  • the function of music in specific films and film genres 
  • marketing and authentification discourses, including media coverage of stars and their work with particular roles and performances, as well as screenwriters’ and directors’ use of biographies, interviews, original footage and recordings 
  • national and international reception of such films  
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Narrating Popular Music History of the GDR: A Critical Reflection of Approaches, Sources and Methods

Editors: Beate Peter (Manchester Metropolitan University, UK) and Michael Rauhut (University of Agder, Norway)

Submissions are invited for a special edition of Popular Music History that aims to assess the sources, approaches and methods with which East German popular music is written.

Background

Histories of German popular music generally focus on examples of West German music which were commercially successful and/or are considered to be aesthetically and musically ground-breaking. Bands such as Kraftwerk, Can, Neu! or the Scorpions are the subject of many academic as well as non-academic publications, and they are considered as canonical as genres such as Krautrock or Neue Deutsche Welle. East German musicians or movements, on the other hand, tend to be overlooked, as do specific artistic forms of expression which were developed in response to authoritarian leadership in the socialist German Democratic Republic (GDR). The examination of a relationship between the GDR and the arts is almost altogether absent from a pan-German popular music history.

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Mellon Postdoctoral Fellowship in Music

https://academicjobsonline.org/ajo/jobs/16887

Mellon Postdoctoral Fellowship in Music
Academic Years 2021-2023
Cornell University, Ithaca, NY

With the sponsorship of the Society for the Humanities, the Department of Music invites applications for a two-year Mellon Postdoctoral Fellowship position beginning August 1, 2021. The Fellowship offers a stipend of $55,000/year.

The Department of Music invites applications from scholars working on music and Blackness across Africa and the African Diaspora. While the specific area of specialization is open, we are interested in work that challenges geographic and disciplinary boundaries and that explicitly engages critical race theory and Black studies in innovative ways, through any combination of historical, ethnographic, and analytical methods. The successful candidate will teach two courses per year during their appointment. We expect the Fellow will be able to offer undergraduate music courses and interdisciplinary graduate seminars on Blackness and anti-Blackness in the African diaspora and/or in the specific context of African American experience. The Fellow will participate equally in the Department of Music and the Society for the Humanities’ cohort and will be expected to participate in Department and Society events. Postdoctoral Fellows teach one course per semester. Candidates should propose an introductory, 2000-level course and an advanced, 4000-level course. These courses should be conceived as seminars and can reflect the fellow’s particular research interests. 

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cfp: Independent Music Labels: Histories, Practices and Values (new dates)

Call for Papers:

Independent Music Labels: Histories, Practices and Values

NEW DATES: 23-24.06.2021 | Lisbon | NOVA FCSH

Within the field of popular music studies, little attention has been given to the impacts of independent music labels outside the Anglo-Saxon context, particularly in the production, dissemination and consumption of music in semi-peripheral countries such as Portugal. On the other hand, when the scope of the reflection goes beyond the Anglo-Saxon context the study of major record companies has been privileged over small structures of local / national scope which operate independently from these large companies and/or media groups with a transnational reach. Starting from broader discussions about the relationship between the local and the global in music production, this colloquium proposes a discussion on the impact of independent music labels with a particular focus on the Portuguese context and/or in contexts that are similarly located outside the main production centers. We will take as a starting point some recognized (yet open to scrutiny) assumptions about independent labels in the field of music production: the dissemination and making available of local musics and artists in opposition to the hegemony of global (mostly Anglo-Saxon) artists and genres released by multinationals; the valuing of aesthetic and artistic dimensions in music making at the expense of its commercial potential; the forms of organization and work that are innovative and adaptable to the changing contexts in the record sector, particularly in the new millennium. This is an inter and multidisciplinary colloquium accepting proposals in disciplines such as musicology, ethnomusicology, sociology, anthropology and history, among others. We also hope to establish a dialogue between the academy and the record sector with the presence and participation of independent label managers.

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cfp: Rethinking the Music Business: Music Contexts, Rights, Data and COVID-19

Rethinking the Music Business: 

Music Contexts, Rights, Data and COVID-19 

Call for chapters for an edited volume to be submitted to Springer’s Music Business Research Series  


Editors
Guy Morrow (University of Melbourne)
Daniel Nordgård (University of Agder)
Peter Tschmuck (University of Music and Performing Arts, Vienna)  

COVID-19 had, and is having, a global impact on health, communities and the economy. As a result of COVID-19, music festivals, gigs and events were cancelled or postponed across the world. This directly affected the incomes and practices of many artists and the revenue for many entities in the music business. Despite this crisis however, there are pre-existing trends in the music business – the rise of the streaming economy, technological change (virtual and augmented reality, blockchain etc.), new copyright legislation etc. Some of these trends were impacted by the COVID-19 crisis while others were not. 

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cfp: Sounds of the Pandemic

Sounds of the Pandemic
International online conference, December 16th, 2020
 
Scientific Committee:
Università di Firenze, Dipartimento SAGAS
Tempo Reale – Centro di ricerca, produzione e didattica musicale

Maurizio Agamennone | Antonella Dicuonzo | Francesco Giomi | Daniele Palma | Ludovico Peroni | Giulia Sarno

Keynote speakers:
Nicola Di Croce, Università Iuav di Venezia, Dipartimento di Culture del progetto
Makis Solomos, Université Paris 8, Musidanse
Laura Tedeschini Lalli, Università di Roma Tre, Dipartimento di Architettura

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cfp: Enchanted Music / Musique enchantée

Fantasy and music have always been closely linked through the association of music and creative powers. Thus in Tolkien’s Ainulindalë, music gives birth to the world, and evil is first manifested as a discordant theme in the symphony the Ainur compose. In addition, The Lord of the Rings is intertwined with songs and poems, a feature that also appears in the works of post-Tolkienian writers such as Guy Gavriel Kay. Songs are often accompanied by musician characters, who might be reminiscent of the mythological figures of Orpheus, whose music charms all living beings, or the bard Taliesin who is said to have been a companion of Bran the Blessed and to have attended the court of King Arthur. Taliesin actually appears in Charles de Lint’s Urban Fantasy novel Moonheart. And musicians (along with painters and writers) are prominently featured in the works of the Canadian author, who is himself a musician and regularly explores the many faces of artistic creation and creativity. Similarly, in Emma Bull’s novel War for the Oaks, music is a complete part of the story since the main protagonist, Eddi, is a rock singer and guitarist just like the author. Other writers imagine magical music instruments, such as the Dagda’s harp in Léa Silhol’s La Sève et le Givre, or faerie characters whose musical and singing abilities are far beyond what mere humans can produce.

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cfp: Writing HerStories: Women’s Rock Memoirs

CALL FOR PAPERS FOR AN EDITED COLLECTION:

Writing HerStories: Women’s Rock Memoirs (Provisional title)

Editors: Cristina Garrigós (National University of Distance Education, UNED, Spain) and Marika Ahonen (University of Turku, Finland).

The last ten years have seen a significant rise in the number of published memoirs by female rock musicians. Patti Smith’s Just Kids (2010) came out in the same year that Kristin Hersch’s Rat Girl (2010) appeared, and others soon followed: Alice Bag’s Violence Girl: East L.A. Rage to Hollywood Stage. A Chicana Punk Story (2011), Kim Gordon’s Girl in a Band (2015), Carrie Brownstein’s Hunger Made Me a Modern Girl (2016), Chrissie Hynde’s Reckless (2016), Michelle Cruz Gonzales’s The Spitboy Rule. Tales of a Xicana in a Female Punk Band (2016), Cosey Fanni Tutti’s Art, Sex, Music (2017), and Viv Albertine’s Clothes, Clothes, Clothes. Music, Music, Music. Boys, Boys, Boys (2016). More recently, there are Debbie Harry’s Face It (2019), Liz Phair’s Horror Stories. A Memoir (2019), and Kathy Valentine’s All I Ever Wanted (2020). These examples – all from the U.S. and the U.K. – suggest that there is a growing interest in, and room for, women’s rock memoirs.

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Register as a peer reviewer (IASPM Journal)

Dear IASPM Members:

We want to encourage everyone to register as a peer reviewer of IASPM Journal on our website.

https://iaspmjournal.net/index.php/index/login

If you have already registered but have not filled in keywords for areas of interest, please do so now, as this is our only way to effectively search your research interests and expertise on our website. The more keywords the better. 

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cfp: ICMPC16-ESCOM11

‘Connectivity and diversity in music cognition’

28-31 July 2021

Conference pages:  https://sites.google.com/sheffield.ac.uk/escom2021/home

Conftool submissions page: https://www.conftool.pro/escom2021/

The theme of connectivity and diversity underlies the conceptual breadth of the conference. The conference welcomes all papers whose primary purpose is the systematic attempt to enhance our understanding of musical behaviour and (neurological, embodied, developmental) cognitive processes shaping and shaped by musical experience and activity. Papers specifically addressing the conference theme will be highlighted in the programme.

Submissions may consist of proposals for

  • Spoken papers, posters, demonstrations, workshops, thematic symposia.
  • Symposia are intended to include contributions from multiple hubs

Participation in the conference will be possible through attendance at one of the conference hubs or through virtual attendance. All presentations will be part of a global programme that integrates virtual and semi-virtual presentations. This will include opportunities for networking and socialising across hubs.

Important dates:

7 Dec 2020 Deadline for abstract submissions

February 2021 Review outcomes

1 May 2021 Early bird registration deadline and preliminary programme

June 2021 Final conference programme

28-31 July 2021 ICMPC16-ESCOM11

Submission guidelines for single poster, paper, demonstration of workshop:

  • Structured abstract of max 400 words
    • Empirical studies: Background, Aims, Methods, Results, Conclusion and Implications
    • Non-empirical studies: Background, Aims, Main Contribution, Conclusion and Implications
    • Demonstrations and workshops: Background, Aims, Main Contribution & Practical requirements.
  • Indication of topic, thematic highlight, and whether part of a symposium

Submission guidelines for symposia:

  • Structured abstract of max 400 words for symposium as a whole: Background, Aims, Main contribution.
  • Overview of presentations including titles, authors, and selected hubs.
  • Structured abstract for each contribution, following the guidelines for single submissions, submitted separately

Your proposal must further include

  • The title
  • The authors’ names
  • Type of proposal (poster, presentation, workshop, demonstration, symposium)
  • Your institutional affiliation(s)
  • The email address of the lead author
  • The conference hub that you will be attending
    • for example – Sheffield, UK / Baku, Azerbaijan / Bogota, Colombia / Bengaluru, India / Vilnius, Lithuania / Bygoszcz, Poland / or another hub

How to submit:  Please submit your proposal through the Conftool submission portal (from 1 Sept 2020):

https://www.conftool.pro/escom2021/

  • Click on ‘Create account and submit contribution’
  • Please note that you must register as a first time user before you can submit a paper even if you have previously registered with Conftool for other conferences

If you have any queries about the conference, please contact the organisers at:

icmpc-escom2021@sheffield.ac.uk

Best wishes

The Conference Committee