PhD scholarship related to creative music production at the University of Huddersfield

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Please note we have a PhD Scholarship in Creative Music Production just advertised at the University of Huddersfield. It is open to a range of research areas and approaches.

https://research.hud.ac.uk/research-degrees/researchscholarships/mhmscholarships/creative-music/

Call for Applications

Creative Music Production Scholarship

The Department of Music and Humanities is pleased to invite applications for the Creative Music Production Scholarship and for full and partial fee-waiver bursaries for PhD studies starting in September 2020.

The scholarship and fee-waivers are open to applicants engaged in research on any aspect of creative music production. Projects may be practice-based with a reflective commentary, analytical, theoretical or empirical. Relevant topics might include but are not limited to:

  • creative practice in the studio,
  • sonic signatures,
  • the studio as instrument,
  • genre aesthetics,
  • trends in music production and marketing,
  • performance and collaboration in the studio,
  • the business of record production,
  • professional roles in the recording industry,
  • technological changes in music production and dissemination,
  • affordances of digital music production,
  • gender equality in music production,
  • teaching music production.
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New issue of JPMS and other news

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Hi music writers,

It’s time to end another volume year (our second with UC Press) of Journal of Popular Music Studies. Below this I’ll paste the editors’ note for issue 31:4, written by Robin James – check out her new book The Sonic Episteme: Acoustic Resonance, Neoliberalism, and Biopolitics. And as always, I encourage you to subscribe individually, using the sliding scale fees on the IASPM-US website (http://iaspm-us.net/), or to make sure your institution – if you have one — subscribes, which helps even more.

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Volume no. 16-1: Music & Hacking

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«  MUSIC & HACKING » 

Volume ! The French Journal of Popular Music Studies,

no. 16-1, edited by Clément Canonne and Baptiste Bacot

– 198 p. — 19 €

– Table of contents: https://www.cairn.info/revue-volume-2019-2.htm

– Order the issue: https://www.lespressesdureel.com/ouvrage.php?id=7682

– Subscribe: http://www.seteun.net/spip.php?rubrique4


This issue examines some of the practices in which music and hacking meet. At first closely related to the development of American computer science research laboratories, hacking has since spread across various fields of human activity not necessarily related to information and communications technology. Hence, music provides both a theoretical and empirical space within which one can question hacking’s attributes, and delineate their aesthetic and organolologic effects, but also their integration into musicians’ discourses, or the way these musicans create musical communities and belong to them.


The interview with hacking pioneer Nicolas Collins is available in English on the site Books & Ideas : https://booksandideas.net/Hacking-Through-Contemporary-Electronic-Music.html

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30. Annual Conference of the Gesellschaft für Popularmusikforschung

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Host: Popakademie Baden-Württemberg

Dates: 25. – 27. September 2020

Locations: Hochschule für Musik und Darstellende Kunst Mannheim/Popakademie Baden-Württemberg, Mannheim

in cooperation with Leuphana Universität Lüneburg as well as with the Jahrestagung des Bundesverbands Musikunterricht e.V.

Organizers: Michael Ahlers / David-Emil Wickström

Theme: Not Ready to Make Nice – Power, Threats and Harassments in Popular Music

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The 7th Inter-Asia Popular Music Studies (IAPMS) Conference Kuala Lumpur, Malaysia (deadline extended)

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*** Dec 15, 2019: The deadline for the submission is extended to Jan 15, 2020. 

The 7th Inter-Asia Popular Music Studies (IAPMS) Conference Kuala Lumpur, Malaysia

23-25 July, 2020

Organised by Inter-Asia Popular Music Studies Group (IAPMS Group)

Hosted by

Sunway University, Kuala Lumpur, Malaysia

Abstract Submissions Deadline

15 December 2019

Theme: Asia’s Sonic (under)Currents and Currencies

The recent international popularity of Korean pop groups BTS and Blackpink placed Asia from passive recipients to active participants of otherwise US and UK dominated global pop music. However, the extent in which they represent and personify the rich undercurrent of popular music circulation in Asia remains debatable in Asia’s culturally diverse landscapes. While the digital platform and social media as well as travel have intensified the flows of popular music participation, it is probably premature to idealistically suggest the levelling of more enduring historical and cultural boundaries and borders. The post•global or post•digital condition needs discussion.

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Deadline postponed, information on program / CFP IASPM-Norden conference 2020: Music in the Age of Streaming – Nordic Perspectives, Piteå, Sweden, 15–17 June 2020

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IASPM-Norden conference 2020

Music in the Age of Streaming – Nordic Perspectives

IASPM-NORDEN CONFERENCE

PITEÅ, SWEDEN, 15–17 JUNE 2020

The IASPM-Norden conference aims to shed light on various aspects of streaming of/in popular music within the Nordic context. Nordic popular music is a dynamic field comprising a great variety of artists, music producers and entrepreneurs on both ends of the cultural spectrum, from commercially successful to less known and underground. More broadly, listening to popular music has become an evermore accessible activity in people’s everyday life, and so have the “streams” of music flowing across many borders – geographical, ideological, socioeconomic, cultural, disciplinary, etc. In addition to the everyday distribution and listening of music through digital networks, we contend specifically that “streaming” may also be used to conceptualize musical cultures beyond the scope of Spotify or other streaming services. That said, even an analysis of a platform like Spotify may benefit from an approach that investigates the deeper currents and flows of its streams, as pursued by Spotify Teardown (Eriksson et al. 2019) recently. With this conference we wish to engage with the many intersections of musical streams and invite papers that highlight the ways in which “streaming” characterize music and musical cultures.

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cfp: Ethnomusicology Review Volume 22

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Ethnomusicology Review is now accepting submissions for Volume 23, scheduled for publication in Fall 2021. Starting as Pacific Review of Ethnomusicology (PRE) in 1984, Ethnomusicology Review is a refereed journal managed by UCLA graduate students and a faculty advisory board. We maintain an extensive editorial board and publish interdisciplinary music research in English, Spanish, Portuguese, Indonesian, and other languages on a case-by-case basis.

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Survey About Audio Engineering/Music Production

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Dear audio colleague,

We are inviting you to participate in an online survey that aims to capture important demographic information about the audio industry and recording producers/engineers’ experiences of discrimination in the studio. Our goal is to document experiences of discrimination within audio engineering and music production. The results from the study will be used for academic, educational and industry purposes. The survey would take about 20-30 minutes to complete (divided into two parts):

bit.ly/microaggressions_in_audio

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