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

KISMIF Conference 2018: Gender, differences, identities and DIY cultures

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

We are pleased to announce the fourth KISMIF International Conference ‘Keep It Simple, Make It Fast! Gender, differences, identities and DIY cultures’ (KISMIF Conference 2018) which will take place in Porto, Portugal, between 3 July and 7 July 2018. Submit here: https://www.kismifconference.com/en/

The submission of abstracts for this conference is open to academic researchers working in all areas of sociology, anthropology, history, cultural economics, geography, urban planning, media and cultural studies and cognate disciplines, such as design, illustration, popular music, cinema, visual and performing arts.

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Web Conference: Locating the “Avant-Garde”: (Post)Modern Music at the Boundaries in the 20th & 21st Centuries

Posted: October 17th, 2017 | Filed under: Calls for Papers | No Comments »

Conference Dates: April 14-15, 21-22, 28-29, 2018
Proposal Deadline: 1 January 2018

Throughout the 20th and 21st centuries, the term “avant-garde” has been used to describe myriad artists, genres, styles, and compositions, demonstrating that this term has had wide-ranging and yet socio-culturally specific significance. One of the goals of the recently founded Musical Avant-Gardes Project (MAG Project) is to interrogate what it means to be “avant-garde” as well as what performing the “avant-garde” means, has meant, and might continue to mean for those involved in musical histories and performances of avant-gardism throughout the world. To this end, the MAG Project is holding its first web-based conference. Through a combination of live-streamed musical and sonic events, as well as talks and interactive panel sessions involving sound artists, composers, music scholars, historians, teachers, and performers, this conference brings together those working on or practicing avant-gardism in all of its various contexts and forms to address the multivalence of “avant-garde,” while encouraging dialogue across disciplinary and geographical boundaries.

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Future / Present. Current Practices in Pop Music Studies.

Posted: October 16th, 2017 | Filed under: Calls for Papers | No Comments »

19-20 June 2018, Department of Musicology, Uppsala University, Sweden

Deadline: 3 December 2017

From its first academic considerations, pop music has been conceptualized as a culturally embedded practice. Adapting theoretical and methodological tools from various fields, its study has transgressed disciplinary boundaries and emphasized the complex relations of the cultural, socio-economic, and political contexts of pop music. As Jaques Attali famously writes on the relationships between music and societal structures,

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Prince from Minneapolis

Posted: October 11th, 2017 | Filed under: Calls for Papers | No Comments »

A Symposium at the University of Minnesota
April 16-18, 2018

Prince was proud to hail from Minneapolis. Continuing to live and work there, he put the city firmly on the map of the music industry through the Minneapolis Sound. Until his unexpected death on April 21, 2016, he hosted parties for local fans at his Paisley Park studio. Prince is probably the only global megastar who has remained so embedded in the cultural life of their hometown.

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The U2 Conference

Posted: October 4th, 2017 | Filed under: Calls for Papers | No Comments »

U2: POPVision 2018
CFP Deadline: December 15, 2017
Conference date: June 13-15, 2018
Conference venue: Queen’s University Belfast, Northern Ireland
Website: http://u2conference.com

Call for Presentations: Papers, Panels, Posters, Performances and Chairs

The U2 Conference, in partnership with The Senator George J. Mitchell Institute for Global Peace, Security and Justice, Queen’s University Belfast, and Fitzroy Presbyterian Church, will meet 13-15 June 2018 in Belfast, on the theme U2: POPVision. The conference is open to all scholars, critics, teachers, students, composers, performers and fans, and invites all disciplinary interests to explore the music, work and influence of U2, giving particular attention to U2’s Pop era of 1997-98 from a perspective some 20 years on.

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