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

Transnational Perspectives on Music, Sound and (War) Propaganda (1914–1945)

Posted: March 24th, 2021 | Filed under: Calls for Papers | No Comments »

21–23 October 2021 (Virtual conference)

Convened by Diego Alonso (Humboldt University, Berlin), Christian Koller (Swiss Social Archives and University of Zurich) and Steffen Just (University of Potsdam)

Keynote speakers:

Anne C. Shreffler (Harvard University) Jens Gerrit Papenburg (University of Bonn)

The three decades between the beginning of World War I and the end of World War II are pivotal in the history of sound propaganda from both the political and the technological perspective. Those years saw the emergence of international fascism, communism and totalitarian states, strong nationalist currents as well as the institutionalisation of propaganda in the Americas, Europe and elsewhere. The period also witnessed the development of electric transmission media for acoustic and optical data in the form of radio, sound cinema, public address systems and television. Music and sound took on a fundamental role in the processes of political persuasion and psychological warfare as well as nationalism during this period.

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Translation, Interpretation, Adaptation Music Between Latin America and Europe, 1920 to 2020

Posted: March 22nd, 2021 | Filed under: Calls for Papers | No Comments »

6th to 8th of October 2021, Heidelberg Academy of Sciences and Humanities

Music is created in a specific context: Music is shaped by the prevailing sound environment, which, in turn, is influenced by the music. Music requires instruments, techniques and skills of the musicians involved. When music or musicians leave their own language and sound context, translation processes often occur: music is performed by interpreters, orchestrated or technically processed, mixed with other styles, heard and perceived in many ways. Vocal music is provided with texts in new languages. The original meaning can be changed profoundly. The linguistic, musical and medial rewriting of existing music is a common practice and a basic principle to be found in music history. Music is therefore characterized by procedures of self-reference, arrangement, parody, re-orchestration, revision, variation, and improvisation. It is in constant flux. In scientific terminology, these terms and others, such as borrowing, quotation or cover, refer to translation processes in various ways. They are extremely diverse and difficult to grasp conceptually, as Silke Leopold has noted with regard to the diverse history of adaptation (Leopold 1992).

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Jazz Education in Research and Practice

Posted: March 22nd, 2021 | Filed under: Calls for Papers | No Comments »

Jazz Education in Research and Practice explores diverse topics of jazz scholarship and its applications to pedagogy. The journal provides a forum for interaction and exchange between researchers and practitioners grounded in scholarship. It was developed by and is an extension of the Jazz Education Network Research Interest Group (JENRing) founded in 2014 under the umbrella of the Jazz Education Network (JEN). The journal aims to be inclusive of a wide range of perspectives, from musicology to cultural studies, from psychology to business, that can be applied in the field. In this respect, the editors particularly welcome articles that provide models, resources, and effective techniques for the teaching and learning of the art form.

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Special Issue of Americas: Sound, Activism, and Social Justice

Posted: March 22nd, 2021 | Filed under: Calls for Papers | No Comments »

Recent use of music and sound in social and political activism has recalled attention to their emotive, rhetorical, and infiltrative power. From the 2019 protests in Chile against economic inequality to the protests following the death of George Floyd in 2020, activists have seized upon music and sound–and creative methods to deliver them–not only to deploy urgent political messages, but also as tools to foster, enact, and sustain social change. We are acutely aware that change occurs not only through sonic emission but that it also requires listening. As recent studies have shown, aurality is a process through which people make sense out of the natural, social, and cultural world where they live. As such, aurality is not apolitical, since listening to sound–and to the messages it carries–is sensitive to power relations that mediate the circulation of aural messages in the public sphere. Thus, emission and listening have the potential to be activist strategies to contest politics of exclusion in order to effect objective transformations in the status quo.

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Dancecult Conference 2021

Posted: March 15th, 2021 | Filed under: Calls for Papers | No Comments »

We are delighted to announce the call for proposals for Dancecult’s inaugural conference on the theme of ‘Reconnecting Global Dance Cultures’, to be held online on the 16th and 17th September 2021. From dancehall to raving, club cultures to sound systems, disco to techno, breakbeat to psytrance, hip hop to dubstep, IDM to noisecore, nortec to bloghouse, global EDMCs have all been affected by recent events. As we move out of the pandemic into yet another moment of global uncertainty, we seek to capture the experiences of our communities as we now look ahead to a new era for dance culture. What effect has the pandemic had on these formations? What lies ahead for clubs and festivals and how can they prepare for future disruptions? How have producers and clubbers adapted during the enforced digital migration? How can the industry and producers take advantage of these current paradigms and foster new connections with fans and between communities?

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