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

PhD Scholarships at the University of Glasgow

Posted: November 24th, 2017 | Filed under: News | No Comments »

Music at the University of Glasgow invites applications for AHRC/ College Scholarships for PhD study beginning in 2018.

The University of Glasgow is ranked in the World Top 70 universities for Arts & Humanities and is Scottish University of the Year 2018.

It is a member of the Scottish Graduate School of the Arts and Humanities (SGSAH), which has been awarded funds from the AHRC to support postgraduate scholarships and training in the Arts and Humanities in Scotland.

Full details of the scheme – including eligibility criteria – can be found at http://bit.ly/uofgahrc.

The deadline for applications is 15th December 2017. For further information, contact postgraduate convenor, Dr John Williamson ([email protected] ).

OK Computer, twenty years on. Radiohead’s musical, cultural, and political legacies

Posted: November 23rd, 2017 | Filed under: Calls for Papers | No Comments »

Following a symposium held at Rennes 2 University last may, further contributions (in English or French) are now sought in order to publish a wide-ranging, peer-reviewed collection of articles appraising OK Computer’s musical, cultural and political legacy twenty years after its release. The aim of this publication is to bring together contributions from scholars who wish to confront Radiohead’s work with their own disciplinary methodologies, including (but not limited to) musicology, sociology, art history, political science, literature, cultural studies or even economics.

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Editing, Performing And Re-Composing The Musical Past –The Emergence Of French Neoclassicism (1870–)

Posted: November 22nd, 2017 | Filed under: Calls for Papers | No Comments »

Royal Birmingham Conservatoire, 57 September 2018

The French Music Research Hub at the Royal Birmingham Conservatoire, Birmingham City University, is very pleased to announce this international conference, to take place in the Recital Hall of the new Conservatoire across 5–7 September 2018. The conference forms part of the culminating phase of the major AHRC-funded project: ‘Accenting the Classics: Durand’s Édition classique (c. 1915–25) as a French Prism on the Musical Past’.

We are delighted to confirm there will be an international keynote address delivered by Professor Steven Huebner (James McGill Professor, McGill University, Montreal), together with a public piano recital presented by senior Conservatoire performers. The languages of the conference will be English and French. We welcome a full range of scholarly approaches: musicological, editorial, analytical, critical and performance-based. Read the rest of this entry »

Music as a social phenomenon – theoretical concepts and empirical inquiries

Posted: November 21st, 2017 | Filed under: Calls for Papers | No Comments »

While music has never been a major focus of social sciences, the reflection on its significance in social life has always been present. Music was analyzed, among others, in the context of the social construction of genius (E.Elias, T.DeNora), social movements (R.Eyerman), socio-cultural changes (T.W.Adorno), power and political influence (J.Attali, G.Born) or social stratification (P.Bourdieu, R.A. Petterson, M.Savage). Regardless chosen subjects and perspectives, the researchers are consent that music plays an important role in social relations. As Tia DeNora points out: „(…) music serves as a medium in, through and against which feeling, perception, attention, consciousness, action and embodied processes are produced. At times, actors may engage in this appropriation process with deliberation, knowing how certain music works on them from past experience. But at other times, music may take actors unaware.” (DeNora 2009: 161-162).

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Transposition Issue 8 (2019): Music: Intangible Heritage?

Posted: November 15th, 2017 | Filed under: Calls for Papers | No Comments »


Coordination: Elsa Broclain, Benoît Haug & Pénélope Patrix

In 2017, almost a third of the files submitted to UNESCO for inscription on the Intangible Cultural Heritage (ICH) lists include a significant musical component. Greek Rebetiko could) thereby join more than seventy listed forms of “music” – often associated with celebrations, dances, poetry and know-how – such as the Tango of Rio de la Plata, Shashmaqam of Central Asia, Brazilian Samba de Roda, and Tar craftsmanship and performance in Azerbaidjan. Applications have poured in since the 2006 entry into force of the International Convention for the Safeguarding of ICH, which established a new heritage paradigm based on practices and communities rather than monuments and artefacts[1], according to the perspective of “new heritages” and their aim to cultivate more open and participatory practices[2]. Outside the realm of the United Nations, this new category of “intangible heritage” has infused into the vocabulary and approaches taken by national registers, and into local cultural policy, heritage-related and museum activities, and the general discourse, generating a variety of modes of appropriation and contention. Considering the far-reaching implications, this issue of Transposition aims to explore the specific case of music in the domain of “intangible cultural heritage”, both within and beyond the framework used by UNESCO.

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