Rock Music Studies
Special Issue: Bob Marley
Edited by Mike Alleyne
Submissions are invited for a special edition of Rock Music Studies that examines the art and legacies of reggae’s best known figure in the particular context of the 40th anniversaries of his Rastaman Vibration and Exodus albums. The latter was cited by Time magazine in 1999 as the Album of the Century.
Editors: Eduardo Viñuela and Cande Sánchez-Olmos
Music is important for brands because it creates value and engagement, and turns consumers into fans. Music and advertising have always reproduced their relationship in different media (press, radio, Tv, internet), and their adaptation to the codes and dynamics of each medium is a challenge for the implement of innovative narratives. Nowadays, media convergence has opened new ways of transmediality that multiply the possibilities of interaction among music and advertising. Thus, brands have begun to produce music as a strategy to improve their status and to profit from the values of music. In this context of media convergence and participative culture, it is necessary to approach the new procedures, codes and transmedia storytelling that brands are developing to engage with a demanding, disperse and disloyal target.
In this special issue we aim to analyze the relationship of music and advertising in the contemporary context, approaching the relevance of transmedia storytelling, branded content and new forms of audiovisual advertising. But we are also interested in case studies that run across different periods and in the strategies of revival and nostalgia that are commonly used in advertising.
06 – 08 September 2017
University of Westminster, Regent St, London, UK
News:
* Talvin Singh OBE will give a special keynote talk and performance at InMusic 17
* Ken Scott confirmed as a participant on an esteemed Production Panel at InMusic 17
* Registration portal for InMusic 17 is now open http://bit.ly/InMusic17register
* Call for 300-500 word abstracts deadline: 31 March 2017.
Other confirmed keynote speakers and panel members include:
* Imogen Heap – Grammy Award winning music artist, producer, engineer and innovator
* Peter Oxendale – Forensic musicologist and expert witness in copyright law
* Mandy Parnell – Grammy Award winning mastering engineer
* Jonathan Bailey – Chief Technical Officer of iZotope
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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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:
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.
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.
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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Presented by the University of Westminster Centre for Commercial Music and Goldsmiths Popular Music Research Unit
Friday 26 May 2017, 9am-6pm
University of Westminster, Harrow Campus
https://www.westminster.ac.uk/about-us/our-locations/maps-and-directions/harrow
This annual symposium brings together student researchers in popular music – production, business, songwriting, performance, sociology and musicology – from across Britain and, potentially, beyond. It is an opportunity for students to present their developing research to friendly, interested and expert listeners, and to meet and network with future colleagues.
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December 1 – 3, 2017
Hosted by the Royal College of Music, Stockholm, Sweden
Why Mono: Stereo: Multi?
Drawing on the both literal and metaphorical connections with the history of audio formats, the 2017 Art of Record Production conference explores a range of ways in which singularity, dichotomy and multiplicity can be contrasted. Whether it is the mono-cultural versus the multi-cultural, the mono-media versus the multi-media, a mono-disciplinary versus a multi-disciplinary approach or the mono-phonic versus the multi-phonic, we are seeking proposals for long and short format paper presentations, poster presentations and recorded music playback presentations that present these ideas in the following contexts: