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

Ann Arbor Symposium IV: Teaching and Learning Popular Music

Posted: March 12th, 2015 | Filed under: Calls for Papers | No Comments »

November 18-21, 2015
School of Music, Theatre & Dance

In the tradition of the Ann Arbor Symposia of 1978, 1979, and 1981, Symposium IV provides a forum for interdisciplinary discourse. The Symposium IV topic is the teaching and learning of popular music in elementary, secondary, and tertiary education. We welcome contributions from musicological, theoretical, and pedagogical perspectives. The primary goal is to examine how popular music and culture influences the ways we perform, create, analyze, listen to, and think about music in teaching and learning contexts, especially embracing intersections between the disciplines. Submissions are invited for spoken papers, poster presentations, and collaborative sessions on a special topic.

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Working in Music: The Musicians’ Union, musical labour and musical employment

Posted: March 10th, 2015 | Filed under: Calls for Papers | No Comments »

Mitchell Library, Glasgow, 14 and 15 January 2016.

This conference marks the conclusion of The Musicians Union: A Social History a four year research project which is based at the University of Glasgow (www.muhistory.com) and funded by the Arts and Humanities Research Council (AHRC) and the Economic and Social Research Council (ESRC).

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Popular Music, Stars and Stardom

Posted: March 5th, 2015 | Filed under: Calls for Papers, IASPM Conferences | No Comments »

IASPM ANZ Branch Conference 2015
School of Music, The Australian National University, Canberra, ACT, December 4th – 6th 2015

‘Stars’ manifest in popular music literally, conceptually and metaphorically through song lyrics, artist ‘stage names’ and in discourses of economic and/ or mainstream success (Hamlen Jnr., 1991; Holmes, 2004). Stars can be conceptualised as ‘mythic constructs’ (Shuker, 2005) ‘other worldly’ (McLeod, 2003) or associated with fantasy and escapism. As performers, ‘stars’ have been considered as ‘manufactured’ (Franck and Nüesch, 2007) and/ or ‘authentic’ (Zuberi, 2001); as groups of individual artists, such as ‘Superstar DJs’ (Phillips, 2009), or the individual persona, such as ‘Ziggy Stardust’ (Grant, 2000). In recent years, popular music stardom is closely associated to reality television (Frith, 2007), a site of tension between influences of traditional auteur and public ‘star maker’ roles. The portrayal of popular music ‘stars’ on film varies between those in the foreground (Rock Star, 2001), in the background (20 Feet from Stardom, 2013) and those in supporting or ‘behind the scenes’ roles (Muscle Shoals, 2013).

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Popular Music Futures

Posted: March 2nd, 2015 | Filed under: Calls for Papers, IASPM Conferences | No Comments »

10th and 11th of September 2015, Cardiff University School of Music

The 2015 IASPM UK and Ireland postgraduate conference, to be held at Cardiff University, invites papers exploring Popular Music futures. As technology and the music industries develop, academia is being drawn to examine and predict how Popular Music will develop as an art form and an economic resource. This conference seeks to be an open forum for new and innovative approaches to all aspects of Popular Music Studies as well as invite the opportunity for the next generation of academics to present to peers.

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The 10th Art of Record Production Conference: Cultural Intersections

Posted: March 1st, 2015 | Filed under: Calls for Papers | No Comments »

November 6-8, 2015, Drexel University, Philadelphia, PA, USA

Deadline Extended to April 12th 2015: midnight GMT +6

Confirmed Speakers include: Joe Tarsia of Sigma Sound Studios, ‘Philly Sound’ songwriter Kenny Gamble and Professor Trevor Pinch of Cornell University

Our conference committee is pleased to invite proposals for papers dealing with the following broad thematic areas:

A    Agency: Content Creators in Record Production

This stream aims to explore the creative agency within record production. Who or what is in charge (officially or tacitly)? Is sound recording inherently collaborative? What are the correlations or disunions associated with the creative process? Who are the future agents in record production? What agency does/will the consumer hold? What is DIY in sound production and how has it changed over time? How does DIY and technology intersect? How will iOS music makers alter the future of music production? How does media representation influence record production and vise versa?

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