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

Songwriting

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

The editors of the Journal of Popular Music Education invite papers for a special issue on songwriting, guest edited by Andrew West.

Songwriting has received increasing scholarly attention in recent years, commensurate with growth of programmes at undergraduate and postgraduate levels, and expansion of songwriting provision in schools. Songwriting practices have evolved to encompass domains formerly the preserve of producers, engineers, composers, and arrangers. Songwriting can be found at the heart of work in music therapy, community projects, and big business. The realm of the genius, the muse, the pop culture icon, and the person on the street, songwriting to many people is at the core of what it means to be human.

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[email protected]

Posted: November 14th, 2017 | Filed under: Calls for Papers | No Comments »

Deadline: 17.00 (GMT), Friday 5th January 2018.

In the forty years since the release of Brian Eno’s Music for Airports the concept and aesthetics of ambient music have proliferated, influencing artists as diverse as Taylor Deupree, Steven Wilson, David Lynch and The Orb, infusing drone, microsound, minimalism and experimental electronic music as well as aspects of contemporary instrumental music. The aim of this two-day conference is to re-appraise ambient music in relation to Eno’s milestone release.

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Queerness, Voice, Embodiment

Posted: November 10th, 2017 | Filed under: Calls for Papers | No Comments »

2nd Symposium of the LGBTQ+ Music Study Group
https://lgbtqmusicsg.wordpress.com
20th-21st April 2018
Maynooth University (near Dublin)

Deadline: December 11, 2017

Elizabeth Woods’s essay ‘Sapphonics’ (1994) set in motion new discourses on the voice in music studies. With an example of the unique expressive qualities of lesbian difference and desire, Sapphonics questions the universally assumed traits of physical vocal mechanisms to emphasise the particular embodied circumstances of production and performance. Grappling with similar questions of difference and agency, Gayatri Spivak’s ‘Can the Subaltern Speak?’ (1988) articulated the predicament of Subaltern voices addressing issues of(post) coloniality and patriarchy. Neither essay delimits the possibilities of what voicing entails, rather both cut across disciplinary boundaries in search of voices that intersect various dimensions of identity, including gender, sexuality, race, class, caste, to name a few.

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Maximising student compositional and performance creativity within Higher Popular Music Education (HPME) courses.

Posted: November 9th, 2017 | Filed under: Calls for Papers | No Comments »

Michael Tippett Centre, Bath Spa University, 24th February, 2018.

CFP: deadline for submissions 15 December, 2017

Keynote Speakers: Cliff Jones (BIMM, Gay Dad, Radiophonic Workshop); Dr Louise Jackson (Trinity Laban), Drew Morgan (BIMM, Halo 4, Davidge, Modulus iii)

Overview:

‘As a relatively new HE discipline, and the (largely) orally transmitted nature of the music, the teaching is still, I feel, being explored and developed.’ (Respondent cited in Cloonan and Hulstedt, 2012)

Since the amalgamation of new universities in 1992 the development of Higher Popular Music Education courses has increasingly expanded, with there now being 47 institutes or universities that have undergraduate popular music courses (Cloonan and Hulstedt, 2012). There has been research centered around creative pedagogies within Higher Popular Music Education (Burnard,2012; Haddon et al, 2016; Parkinson and Smith, 2015) and this is an opportunity to collate and collect practices that have influenced the development of student musicians within Universities and Institutes which teach popular music. With the rise in student fees and constant changes to the current popular music industry, it now seems more vital than ever to look at pedagogical practices and philosophies, to see if student creativity is being maximised. Are the Universities and Institutes that deliver HPME helping to develop popular musicians who will make a creative impact on the current popular music industry?

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Peripheral/ geographically isolated

Posted: November 6th, 2017 | Filed under: Calls for Papers | No Comments »

Despite advancements in technology facilitating an ease with which geographical distance can be overcome, coupled with a shift away from a reliance on core creative centres for a range of creative and business services, peripheral and geographically isolated contemporary music scenes continue to face a range of challenges which impact upon the ways in which they connect with new audiences and industry beyond their home locale. This ranges from needing to make higher investments of time and money, to having to overcome attitudinal and cultural barriers in order to be viewed as worthy of prominent attention. More broadly, geographic isolation also impacts upon the ways in which culture can flow into these scenes, particularly in the live music setting. At the same time, however, this distance can also result in a range of benefits to these scenes in relation to the ways in which they are structured and how they function locally. This includes cultivating a recognition of the need to support one another, a high degree of expertise and skills concentrated on a small number of workers and a tight network of spaces, as well as the development of a strong work ethic to make the most of opportunities when they arise.

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