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

Independent Music Labels: Histories, Practices and Values

Posted: April 3rd, 2020 | Filed under: Calls for Papers | No Comments »

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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Special issue on Contemporary Issues in Live Music 

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

Call for papers from Arts and the Market

Guest editors:
Dr Chris Anderton, Solent University, Southampton, UK
Dr Sergio Pisfil, Universidad Peruana de Ciencias Aplicadas, Lima, Peru

Arts and the Market is pleased to announce a Special Issue focused on the intersection of live music with contemporary social and cultural issues.

The past ten years have seen significant global growth in the live music sector, and a burgeoning interest in academia, exploring aspects of live music history, business, technology, culture, reception and space. Recent book-length publications include a three-part series by Simon Frith et al., with monographs in preparation/press from Fabian Holt and Steve Waksman, and forthcoming edited book collections from Angela Jones & Rebecca Jane Bennett, Ewa Mazierska et al. and guest editors Chris Anderton & Sergio Pisfil. The available literature has most strongly focused on music festivals (such as Robinson 2015; McKay 2015; Arnold 2018; Anderton 2019), but the broader field of live music studies is rapidly expanding with a particular interest in areas such as economics, work practices, spatiality and gender.

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Call for Papers: Journal of Popular Music Education 

Posted: March 13th, 2020 | Filed under: Calls for Papers | No Comments »

ISSN 2397-6721 | Online ISSN 2397-673X 
3 issues per volume | First published in 2017 

Call for papers for special two-part issue titled Women in Popular Music: Their Musical Education and Pedagogical Inspirations, in Two Parts: (1) Women in WoPop (World Popular Music) and (2) Women in Popular Music across the Anglosphere

Guest Editor: Patricia Shehan Campbell

The aim of this two-part issue is to honor the voices of women in popular music across generations and cultures, their musical journeys from nascent to fully fledged or professional musicians, their ways of learning their craft, and their contributions in inspiring, influencing, and imparting to others the skills for engaging in popular music of various forms.

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“No one listens to Springsteen anymore. He’s history!” (Blinded by the Light): Pop-rock Music and 2000s Cinema

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

Université Sorbonne Nouvelle, Paris CREW, EA 4399

Organisers : Clémentine Tholas and Catherine Girodet

Keynote Speaker: Mark Duffett (University of Chester, UK)

Location: Université Sorbonne-Nouvelle, Maison de la Recherche (Paris, France)

Date : September 18, 2020

Scientific committee : Christophe Chambost (Université Bordeaux Montaigne, France), Catherine Girodet (EMMA, Université Paul Valéry / Université Paris Est Créteil, France), Elsa Grassy (Université de Strasbourg, France), John Mullen (Université de Rouen, France), Karen Randell (Nottingham Trent University, UK), David Roche (Université Paul Valéry),  Antoine Servel (Université Paris Est Créteil, France), Clémentine Tholas (Sorbonne Nouvelle, France).

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Urban Nostalgia: The Musical City in the 19th and 20th Centuries

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

EHESS, Paris, 105 boulevard Raspail, Salle 13
July 3, 2020

Call for papers – deadline 6 April 

https://www.ehess.fr/en/node/16865 

The aim of this workshop is to explore space through music, approaching the history of the city via the notion of nostalgia. Often described as a form of homesickness, nostalgia is, by definition, the feeling that makes us wish to repossess or reoccupy a space. Such spaces appear to us as both near and distant, tangible and remote, and it seems that attempts at reclaiming them are frequently musical in nature. We know, for instance, that particular compositions have played important roles in helping people to navigate or mitigate a sense of displacement. In these circumstances, affective experiences may be bound up with trauma or joy, as is the case of song during wartime or musical imaginaries among migrants. Under other conditions, we might identify a ‘second-hand nostalgia’ in the guise of a musically-inflected tourism that seeks to reactivate (for pleasure and/or profit) the historical aura of an urban site. What are we to make of the abundance of personal, inter-personal, and propositional episodes that posit music as some kind of a bridge to the urban past?

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