Networked Creativity: Musicking in the Social Media Era

Journal of Sound, Silence, Image and Technology (JoSSIT)
Number 9: Networked Creativity: Musicking in the Social Media Era
Issue editor: Juan Bermúdez (University of Music and Performing Arts Graz)

Deadline for submission: 4 July 2025
Publication date: December 2025

Journal of Sound, Silence, Image and Technology (JoSSIT) is an open-access, peer-reviewed electronic journal published annually. Since 2018, it has been edited within the SSIT research group, linked to the TecnoCampus university center, affiliated with Universitat Pompeu Fabra (UPF). The journal focuses on academic debate and scientific research concerning the broad relationship between sound and audiovisual contexts.

JoSSIT’s ninth issue, coordinated by Juan Bermúdez (University of Music and Performing Arts Graz), will explore the practice and experience of music in short audiovisual formats on digital platforms such as TikTok, YouTube, and Instagram. This issue will gather multidisciplinary research to understand how digital platforms and contexts influence the practice and experience of music and dance.

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Peripheries, Margins, and Ambiguities across Borders in SouthEast Asian Popular Music

IASPM-SEA 2025: National Taiwan University, Taipei, Taiwan
Dates: 6 – 8 August 2025

Tides of continued globalisation bring with it condensations of time and space that brought together previously separated and isolated cultures and communities. Whether it be by movements of people through migration, trade and voyages or by movements of objects and ideas through exchange, media or the internet – the question inevitably arises: can culture be owned by any community, nation or group? As cultures and people collide in unpredictable, asymmetric and chaotic ways, power dynamics emerge and offer some the opportunity to spread their culture further while threatening some with erasure, forcing communities to find new ways of integrating Into this connected world. As these varying power shifts and dynamics continue to play out in these regions, one asks how popular music highlighted the blurring, configuring and (un)marking of borders and boundaries in SouthEast Asia and beyond.

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Talkin’ ‘bout A Generation: Mod Study Day

July 13, 2025
Hosted by Liverpool Hope University
School of Creative and Performing Arts

The Creative Arts team members at Liverpool Hope University are delighted to announce an interdisciplinary study day that honours the 60th anniversary of the release of the Who’s “My Generation”, the formation of the Small Faces, and many other moments that coalesced together to intensify the Mod movement. This study day will be held on July 13, 2025 at the School of Creative and Performing Arts, located in Liverpool’s vibrant city centre. Following the study day, there will be a performance of The All or Nothing Experience in our Capstone Theatre. After three sell-out tours and a successful West End run of All or Nothing – the Mod Musical, writer Carol Harrison and the show’s multi-talented cast, will perform the new, All Or Nothing Experience Concert Show, celebrating the music of the iconic mod band Small Faces.

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Society for Music Production Research 2nd Annual Conference

Society for Music Production Research 2nd Annual Conference
September 11-13, 2025 • University of Victoria, Victoria, Canada

Take Two: Expanding the Field of Music Production Research

Building on the success of the inaugural SMPR conference, we now turn our focus to Canada’s west coast, a region where the extraordinary natural environment inspires us to push boundaries and explore new ideas. It’s time for take two!

Using Victoria’s ecological diversity and soaring landscape as a metaphor, we have chosen three themes to map out research directions for Music Production Research (MPR): equity, diversity and inclusion; social responsibility; and innovation. We want to explore these themes both from within the MPR community, and also by turning our collective creativity outwards. At this conference, we aim to test the limits of conventional thought by fostering discussions about how music production and research can, broadly speaking, make a positive social impact.

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Music and Social Conflict: Paradigms, Approaches, and Challenges in Contemporary Ethnomusicology

Music and Social Conflict: Paradigms, Approaches, and Challenges in Contemporany Ethnomusicology
SIBE 2025, 30th Anniversary of the First SIBE Congress
Escola Superior de Música de Catalunya
Barcelona, 6 – 9 November 2025

The 2025 SIBE Conference aims to promote critical reflection and the production of knowledge regarding the role of ethnomusicology in contexts of social conflict, even if other topics of interest to the discipline will also be considered. Understanding conflict as an articulation embodied in social life as a whole (Giner 1995), it is possible to recognise multiple scenarios where power and hegemony disputes occur. Music, as a highly symbolic element, participates in these conflict scenarios, sometimes becoming a powerful weapon at the service of dominant sectors, and other times serving as a resistance banner of alternative and dissident cultural forms.

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Music 2025 and Music IP

16th International Music Business Research Days
Young Scholars’ Workshop
University of Hertfordshire, Hatfield, Herts, UK

For students at all levels of the MA or PhD programmes, a doctoral colloquium – the Young Scholars’ Workshop (YSW) – will be held as part of the 16th International Music Business Research Days (IMBRD) on Wednesday June 11th, 2025.

Proposals for papers that explore questions that help us to better understand economic and management issues in the music business are welcome, as are papers concerning the processes of the entire music business sector and the music management field. There are many questions in music business research that call for investigation and discussion, for example:

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Rethinking Landscape: Environment, Place, and Heritage in British Music Studies

North American British Music Studies Association Online Symposium:
10-12 July 2025 on Zoom
https://nabmsa.org

The topic of the North American British Music Studies Association’s 2025 biennial symposium is Rethinking Landscape: Environment, Place, and Heritage in British Music Studies. Landscape and environment have been topics of perennial interest in British Music Studies, inspiring both celebrated and controversial readings of connections between British music, nature and climate, and identity. Yet in the era of the climate change emergency, these issues are both taking on new urgency, and prompting new debates and compositional techniques. We thus propose a timely rethink of the scholarly terrain and thinking around landscape in British music.

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Poetry, Poetics, and Aesthetics of Popular Song

Call for Contrapulso Journal 7/1 (July 2025) closes on 8 April 2025.

For issue 7/1, we are accepting articles, dossier contributions, book reviews, testimonies, and proposals for a new dossier. Submissions are welcome in Spanish, Portuguese, or English, and must align with the thematic focus of the journal on Latin and Latin American popular music studies. Articles should be between 5,000 and 8,000 words, while reviews should be between 1,500 and 2,500 words, in accordance with the journal’s guidelines. Submissions are to be made through the Contrapulso platform. The final submission deadline is April 8, 2025.

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When jazz meets dance music and popular songs

Analyzing an evolution in popular music (1920s-1940s)

During the 1930s, prominent critics such as Hugues Panassié, Robert Goffin, and Marshall Stearns advocated definitions of jazz based on concepts of “authenticity” and “otherness” in relation to European music. According to these critics, “real” jazz was regarded as “black” music. Concurrently, the evolution of the distinction between “hot jazz” and “straight jazz” towards a distinction between “jazz music” and “dance music” (in magazines such as De Jazzwereld in the Netherlands, for instance) attests to a process of exclusion (by some specialized critics) of a portion of the repertoires from the field of jazz, and to a musical evolution of a segment of the jazz orchestras.

This approach and these distinctions have had a long-standing influence on the historiography of jazz (particularly of its early decades). Consequently, numerous repertoires which were labeled “jazz” during the 1920s, 1930s, and 1940s but which did not conform to the purist definitions of jazz have been overshadowed by jazz historiography, despite the fact they were the prevailing soundtrack for most of Europeans and Americans. This special issue of Epistrophy will examine a selection of these “non-purist” jazz repertoires, including those of Jack Hylton, Paul Whiteman, Ray Noble, Vincent Lopez, Claude Thornhill, Ray Ventura, Ambrose and his Orchestra, and František Alois Tichý Ultraphon Jazz Orchestra.

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(What’s the story) Reunion glory?

Assessing Oasis’s legacy as Morning Glory turns 30.
Université Rennes 2 (France), 27 November 2025

Organisation committee: Aurore Caignet, Guillaume Clément, David Haigron

It is estimated that nearly 14 million people tried to get tickets for this year’s Oasis’s UK tour following the announcement of their reunion in 2024. This staggering figure echoes the band’s one-off concert at Knebworth in 1996, when 4% of the British population had applied for tickets. Such statistics confirm Oasis’s special status within British popular culture and the band’s ability to allow people to come together.

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