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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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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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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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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Posted: October 2nd, 2017 | Filed under: Calls for Papers, IASPM Conferences | No Comments »
IASPM-Canada Annual Conference
University of Regina, Regina, Saskatchewan
May 27-29, 2018
Submission deadline: November 30, 2017
The 2018 IASPM-CA annual conference will take place at the University of Regina from May 27-29 in conjunction with the Congress of the Humanities and Social Sciences, which has announced “Gathering Diversities” as its theme (the Congress theme is described at https://www.uregina.ca/congress2018/theme.html). In conversation with this broader theme, IASPM-CA encourages participants to explore questions concerning popular music, its aims and claims regarding diversity, and its impact in promoting equity in a wide range of contexts and scenes. Diversity has long been a stated goal for institutions, organizations, and communities of all types, yet diversity remains a complex and contested issue, particularly in the field of popular music. To what extent does popular music productively model and promote diversity, and to what extent does diversity extend beyond surface appearances to institutional structures? To what extent is diversity in itself a laudable goal if not accompanied by equity and social justice? How do popular music and popular music studies either promote or impede diversity, equity, and social justice?
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