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: