cfp (articles): Sound Stage Screen (Vol. 1, Spring 2021)

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We are pleased to announce the launch of Sound Stage Screen (SSS), a new biannual peer-reviewed journal devoted to historical and theoretical research into the relations between sound, performance, and media. SSS will address a wide range of phenomena, practices, and objects pertaining to sound and music in light of the interconnections between performing traditions and media archaeologies: from opera to musical multimedia, and from cinema to interactive audio-visual platforms.

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cfp: Independent Music Labels: Histories, Practices and Values

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Independent 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.

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Updates slowed down

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Since 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)

cfp: Transformational POP. 4th IASPM D-A-CH Conference, 22-24 October, Paderborn

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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)

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Full Music PhD Scholarship Dublin City University

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PhD 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.           

REGISTRATION Media Industries 2020: Global Currents and Contradictions, 16-18 April 2020 King’s College London

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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.

cfp: [IASPM Journal] Open Call for Papers

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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