Welcome to The International Association for the Study of Popular Music UK and Ireland Branch

Musical Biopics and Musical Documentaries from the Scandinavian countries 

Posted: October 26th, 2020 | Filed under: Calls for Papers | No Comments »

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:

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IASPM Journal

Posted: October 11th, 2020 | Filed under: Calls for Papers, News | No Comments »

The International Association for the Study of Popular Music has its own journal: IASPM Journal. The journal is a great opportunity for you to publish your work, and it is exclusive for all IASPM members. It is an Open Access (doubly blind) peer reviewed journal, which is registered with Scopus, the Directory of Open Access Journals (DOAJ) and the European Reference for Humanities and Social Sciences (ERIH Plus).

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Narrating Popular Music History of the GDR: A Critical Reflection of Approaches, Sources and Methods

Posted: October 10th, 2020 | Filed under: Calls for Papers | No Comments »

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.


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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Popular Music Ethnographies: Open Call for Riffs Vol 5 Issue 2

Posted: September 29th, 2020 | Filed under: Calls for Papers | No Comments »

Guest Editors: Shane Blackman and Robert McPherson

This special issue of Riffs on Popular Music Ethnographies aims to bring together ethnographic writing from any discipline, theoretical perspective or methodological approach. We welcome submissions from writers from academic and non-academic backgrounds. We also encourage short contributions; these could include written, visual, and musical elements and/or interrogate traditional and experimental forms of communication of ideas and arguments. We also welcome collaborations between writers, poets, musicians, composers and visual artists. In-keeping with the Riffs aim, we hope to include work from a variety of contributors.  See our website for previous publications and journal issues – www.riffsjournal.org

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

Posted: September 24th, 2020 | Filed under: Calls for Papers | No Comments »

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

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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