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

2nd International Conference in Music Production Research

Posted: January 26th, 2020 | Filed under: Calls for Papers | No Comments »

Complutense University of Madrid, 26-27 March, 2020.
Deadline for accepting proposals: February 15, 2020
Further information: https://unicomplutense.wixsite.com/jornadasproduccion

JIPM 2020: History, analysis and interpretation of music production processes
around the recording studio

Nowadays, the research of the processes of music production is still a novelty within musicology. Although in recent years a bibliographic corpus has been developed which allows us to establish an initial theoretical framework, we are still immersed in a methodological debate that seeks to agree on some parameters of analysis and the use of effective tools for the study of music production. The final result of a record production is achieved through different variables which range from the technology used to the personal and aesthetic preferences of the engineer and/or producer. The recording studio thus becomes an important stock of resources for the artistic expression and generates a space in which, from the collective experience, a technological mediation is produced which is determinant for the musical creation and interpretation.

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VII International Congress: Music and Audio-Visual Culture – MUCA

Posted: January 24th, 2020 | Filed under: Calls for Papers | No Comments »

From 28-30 May 2020, the University of Murcia (Spain) will host the Seventh International Congress: Music and Audio-Visual Culture MUCA, to provide a forum to scientific exchange with participation of composers, visual artists and researchers from several national and international universities.

We welcome proposals for individual papers (in English or Spanish) in order to promote new perspectives and dialogue about the main topics.

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IASPM-ANZ 2020

Posted: January 22nd, 2020 | Filed under: Calls for Papers, IASPM Conferences | No Comments »

The UTS School of Communication is pleased to host the 2020 International Association for the Study of Popular Music, Australia and New Zealand branch (IASPM-ANZ) conference.

The conference aims to provoke discussion and debate on hierarchies within popular music. These hierarchies might exist within and between popular music genres and be experienced by artists, audiences and scholars. We refer to these hierarchies as ‘scales’ which can be interpreted in a number of different ways. Scales can refer to the construction of music, or it can mean scales of class, genre, taste and so on.

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Mainstream! Popular Culture in Central and Eastern Europe

Posted: January 20th, 2020 | Filed under: Calls for Papers | No Comments »

5th conference of Centre for the Study of Popular Culture with the support of National museum of Czech Republic, Faculty of Arts of Charles University and the German Historical Institute Warsaw

29 October – 31 October 2020, Prague

Mainstream media representations of celebrities remain problematic, as excited discussions regarding the recent funeral of singer Karel Gott have demonstrated. The appraisal of his long-term career has been divided into two extreme positions: uncritical admiration for the idol who spread joy under different political regimes on one hand and condemnation of his kitschy art associated with his selling out under these regimes on the other. What the overall debate has confirmed, is that stars and celebrities of popular culture can become symbols of any given period.

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Feminist and Critical Race Approaches to Analyzing the Emerging Role of ‘Culture’ in Music Streaming Services

Posted: January 9th, 2020 | Filed under: Calls for Papers | No Comments »

Panel Proposal for the Society for Ethnomusicology Annual Meeting

Ottawa, Canada October 22-25, 2020

Panel Organizer: Darci Sprengel, University of Oxford

In September 2018, Spotify launched its ‘Global Cultures Initiative’, which it insisted would make it a ‘leader’ in the field of audio streaming by moving the platform beyond its traditional focus on North American and European musics to ‘promote and advance culturally diverse music’ (Spotify Newsroom 2018). As Spotify expanded to other regions, however, it met pushback from local rivals. For example, Anghami (‘my tunes’ in Arabic), founded in Lebanon in 2012 and known as ‘the Spotify of the Middle East’, claims to meet better the needs of Arab listeners. It boasts alternative algorithmic technologies with unique abilities to combine international and local sounds in ways it asserts listeners in the Middle East and Arab diaspora want to hear, making Anghami’s distinctly local knowledge its ‘sonic brand’. These trends indicate that music streaming services differentiate themselves not through the music they provide, but through the techniques they employ to mediate between users and music catalogue (Goldschmitt and Seaver 2019).

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