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

Riffs: Experimental Research on Popular Music

Posted: March 27th, 2017 | Filed under: Calls for Papers | No Comments »

The editorial team of Riffs: Experimental research on Popular Music invite 300 word proposals for the next 2017 volume from PhD, MA and outstanding BA students.

A song can be about anything
About peace or war, or the sins of industry
Or the discontents of fame, or of obscurity
Or how we first met, on the warmest day
And how I hadn’t planned to love someone until you came
Or how we survived on happiness and sleeping on the floor
Or how you used to love me but you don’t even know me anymore

– Dan Wilson, ‘A Song Can Be About Anything’ from Love Without Fear
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2017 Combined Conference of the Musicological Society of Australia and the New Zealand Musicological Society: ‘Performing History’

Posted: March 27th, 2017 | Filed under: Calls for Papers | No Comments »

December 8-10, Conference Centre, Faculty of Creative Arts and Industries, the University of Auckland

In what sense are musical works, and writings about music, witnesses to the past? Theories of performativity set one thinking about the broader implications of communicating about, and through, music. Scholars, composers, and performers construct or perform relationships between history and music. This conference celebrates the manifold modes by which they do so, through writing, analysing, editing, teaching, composing, and not least through making music. Topics related to the conference theme might include studies of:

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‘The Musical Citizen’: IMR Distinguished Lecture Series

Posted: March 24th, 2017 | Filed under: News | No Comments »

The 2017 Institute of Musical Research Distinguished Lecture Series will be delivered by Martin Stokes, King Edward Professor of Music at King’s College London.

The series will be entitled ‘The Musical Citizen,’ and the lectures will take place on Thursdays 4th, 11th and 25th of May at 5.30pm at Senate House, University of London.

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Music cities edited collection

Posted: March 20th, 2017 | Filed under: Calls for Papers | No Comments »

Call for chapter proposals

From the physical spaces in which music activity takes place, to the mythologizing of city-specific music scenes, the city has long played a vital role in the development and sustaining of music scenes. In recent years there has been a concerted effort to cultivate and nurture musical activity as a key driver for urban economic development and for city-specific tourism. Cities around the world are now looking to cultivate and support music activity in a bid to activate new forms of cultural and creative identity. This has occurred off the back of similar creative and cultural cities movements, and works to move beyond the mythologizing of particular cities music scenes in order to legitimise music as a place-specific cultural output which contributes significantly to local identities as well as to local economies. To this end, music is positioned as making a vital contribution to the cultural and economic fabric of a city, and is viewed as a critical way through which both locals and tourists can gauge, and engage with, a city’s cultural and creative identities. In order to foster this, an array of heritage and planning accords, live music regulation, tourism initiatives and even tax exemptions have been put in place, and an array of industry and government developed place-specific reports and activation ‘how-to’ manuals have been developed in order to understand the scope of place-specific music activity and the ways in which it can be cultivated and supported.

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C21 Music Practices: Study Day on Teaching & Creativity in Popular Music

Posted: March 14th, 2017 | Filed under: Calls for Papers | No Comments »

A one-day study day to be hosted at the University of Surrey, Saturday 10 June 2017, as part of the London and South-East England 21st Century Music Practice Research Network.

The brave new world of the Teaching Excellence Framework, national league tables, and escalating tuition fees has yielded an unprecedented accountability regarding the quality of higher education teaching and the associated student experience. Its implications are doubly important to the teaching of popular music, given the proliferation of university courses witnessed in the last 10–15 years as well as the relative newness of the discipline as a serious academic pursuit.
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