The team at Sonic Scope journal hope you are all well and safe. Due to the COVID-19 situation, we have extended the submissions deadline for both full submissions and our call and response section.
The submission deadline for our first issue is now
1st June 2020
Continue readingIndependent Music Labels: Histories, Practices and Values
03-04.12.2020 | 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.
Continue readingDear Colleagues,
Due to the deepening crisis of the COVID-19 pandemic, we have taken the decision to postpone the KISMIF Conference planned for July this year TO 6-10 JULY 2021.
Dear IASPM members,
We are pleased to announce the publication of the special issue of Transposition “Sound, Music and Violence” https://doi.org/10.4000/transposition.3213
Continue readingSince the start of the global pandemic, I’ve had no access to my office. Even if the access has now been partially restored, we are in the middle of moving within the campus and encouraged to work from home. Following from all this, updates can take longer than usual. All announcements, calls for papers, etc., should be sent to IASPM email list instead, or to webmaster ( at ) iaspm.net, if that is not possible.
EDIT: as of the beginning of June 2020, we have normal access again.
Best,
Kimi Kärki (web/publications)
call for papers
Transformational POP
Transitions, Breaks, and Crises in Popular Music (Studies)
4th Biennial IASPM D-A-CH Conference, 22–24 October 2020
Paderborn University/Germany, Faculty of Humanities and Arts, Department of Music – Popular Music and Media
Organizational Committee: IASPM D-A-CH Executive Committee and Advisory Board + Jun.-Prof. Dr. Beate Flath, Prof. Dr. Christoph Jacke, Manuel Troike (Local hosts)
Pop music cultures, in their entire breadth, are seismographs of social, political, economic, ecological, media, artistic, and technological transformations. In and through them, fields of tensions, disruptions, and lines of conflict become not only visible, audible and perceptible, but also communicable and thus, negotiable. Economic and ecological crises, social structural changes, political shifts, communicative-media discourses, atmospheric moods, and disturbances of the most diverse kind cannot be appreciated in isolation from specific sounds, performances, lyrics, images, stars, genres, etc. Therefore, these are always changing in the process: pop music cultures transform and are themselves transformed. “Pop is transformational, always. It is a dynamic movement in which cultural materials and its social environments mutually reshape each other, crossing previously fixed boundaries: class boundaries, ethnic boundaries or cultural boundaries [own translation].“ (Diedrich Diederichsen, Pop – deskriptiv, normativ, emphatisch (1996). In: Charis Goer, Stefan Greif, Christoph Jacke (Eds.): Texte zur Theorie des Pop, 2013: 188)
Continue readingPhD Music Scholarship at Dublin City University. The Scholarship comprises a stipend of €16,000 per annum and full fees for 4 years
Proposals that address topics in popular music, music ethnography or music and the moving image would be welcome in addition to other areas of musicology, applied musicology and composition. The closing date is Friday 3 April 2020. Further information and details on the application process can be viewed here. The scholarship is open to EU, UK and international applications.
Media Industries 2020: Global Currents and Contradictions
16-18 April 2020
King’s College London
Registration is now open to NON-SPEAKERS.
Visit https://media-industries.org/ for details of the conference, delegate fees, venue, travel, accommodation and accessibility.
Important: Tickets are limited and will be available until all are sold or until 18.00hrs GMT on Friday 13 March, whichever is soonest.
Delegate Rates
For full registration details, visit https://media-industries.org/registration
Rates are divided between Full (academics, waged) and Reduced (students, unwaged), and graduated according to the three tiers of the World Bank’s classification of countries by per capita income levels. As a delegate, you pay the rate according to the country you live in and not the country from which you originate. Delegates who are residents of countries in tier B pay 75% of the tier A price, and residents of tier C countries pay 50% of the tier A price.
CALL FOR PAPERS
IASPM Journal is the Open-Access journal of the International Association for the Study of Popular Music (IASPM), an organization established to promote inquiry, scholarship and analysis in the area of popular music. We publish articles and book reviews that consider popular music of any genre, historical period or geographic location. In addition to Special Issue CFPs, the journal maintains a space for ongoing scholarly work. We are now accepting article submissions, with the deadline by April 1st, 2020.
As part of an international network, the journal aims
to disseminate IASPM members’ research
that is local, transnational, global and/or international. English is the
official language, but articles may also be submitted in the official language
of any of its branches (adding an English abstract). Studies may use a range of
research methodologies and critical approaches, including practice as research.
Our Open-Access readership is diverse and
interdisciplinary and so we ask contributors to present ideas in forms
accessible to sociologists, musicologists, music critics and practitioners.
In order to submit to IASPM Journal you must be an IASPM member and registered as an author on the site. See the journal site for further information regarding Submissions. Click here for a copy of the Open CFP (in several languages) and Style Guide. All articles undergo a double-blind peer review.
We look forward to receiving your submissions.
Kind regards,
—
Xavier Villanueva
Universitat Autònoma de Barcelona
Assistant Editor IASPM Journal
https://www.lgbtqmusicstudygroup.com/
Friday 3rd April 2020, University of York
Invitation to Participate
The LGBTQ+ Music Study Group hereby launches a new biennial initiative: “Queer Forum”. This day-long event aims to catalyse new ways of thinking, being and doing music scholarship in and beyond the academy. As José Esteban Muñoz writes, “[w]e may never touch queerness, but we can feel it as the warm illumination of a horizon imbued with potentiality” (2009, 1). Inspired by queer and feminist theorists – especially bell hooks and Sara Ahmed – who are dissatisfied with the present, who wrestle with existing institutional structures, and who propose new modes of scholarship and education, we entice you to join us in radical academic experimentation in search for new horizons and potentialities.
The 2020 forum urges participants to recover queer pasts and imagine new queer futures. How do we create opportunity, time and space in the academy beyond the logics of capitalism to allow us to muse about music? What are the possibilities for forging strong/vulnerable subjectivities and caring solidarities within and beyond existing academic hierarchies? What freedoms can we gift ourselves to allow for experimentation in our musical writing, teaching and performing? How do we nurture and share intersectional wisdoms in ways that centre the health, well-being and vitality of ourselves and others?
The day will include no formal presentations; rather, it will be structured around a range of different creative, intellectual and social activities – workshops, reading groups, group work, interventions – that tempt us to try out new conceptualisations and embodiments of queer music scholarship. The day will begin at 9am and end at 5pm. Participants are welcome to join us for a dinner the evening before (Thursday 2nd April, 7pm).
We welcome musicians and scholars within music studies (including ethnomusicology, historical musicology, performance studies, popular music studies, theory and analysis, etc.) and beyond. The event is free to attend and we will offer refreshments during the day. Dinner and accommodation will be at participants’ own expenses. Information about accommodation will be sent out following event registration. Please register your participation on Eventbrite by 1st March 2020: https://www.eventbrite.co.uk/e/1st-queer-forum-of-the-lgbtq-music-study-group-tickets-92339677461
The event is organised by Marie Bennett, Rachel Cowgill, Thomas Hilder and Danielle Sofer. We are grateful to the University of York and the RMA for supporting this event. For any queries, please email: lgbtqmusicsg@gmail.com