Affective Politics and the Policing of the Social Through Popular Music

Special Issue of the Journal of Extreme Anthropology, https://journals.uio.no/JEA
Deadline to submit abstracts, 15th of December

The ‘affective turn’ across the humanities and the social sciences suggests that we pay attention to how affects create subjectivities, build communities and shape new forms of politics in the making (White 2017, Desai-Stephens & Reisnour 2020, Gregg & Seigworth 2010 and Clough & Halley 2007, Goodwin et. al. 2001). In other words, it encourages us to study how affective bodies ‘act and are acted upon’ (Seigworth and Gregg 2010: 1) as people engage with each other and with sensory objects (e.g. musical sounds), politically and socially, within specific contexts. These insights have implications for our understanding of politics, of the social, as well as how we understand social control and the ‘policing’ of the social. Instead of excluding objects from the social and privileging theories modelled on structure and agency (e.g. Giddens 1984, Bourdieu 1984), scholars are now redefining agency as relational (Barad 2003, 2007; Latour 2007, 2013). This has led to new research on how sensory objects, such as sounds and music, shape subjectivities, build communities and instigate politics through affect, within and across, contexts (Bøhler 2017, 2021; Shank 2014; Guilbault 2019; Schiermer 2021a, 2021b; Muniagurria 2018; Duque and Muniagurria 2022; Stover 2017, 2017).

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“Let’s Get it Together”: Gatherings, Club Cultures, Parties, and Beyond

April 27-30, 2023

The Clive Davis Institute of Recorded Music at New York University will host this year’s in-person Pop Conference. All events, with the exception of a few remotely scheduled activities, will be held at The Clive Davis Institute, 370 Jay Street, Brooklyn, New York.

Call for presentations

Several years of quarantine and social distancing have set ablaze the desire to gather safely in community in the midst of an ongoing pandemic. This year’s convergence compels a reflection on the power of getting together in the past and present while acknowledging the necessity for new ways of congregating.

So, “Let’s get it together!” Let’s get loud, because we need a holiday, a holy day on the dance floor or beyond. Remember when the DJ dropped the beat, the crowd went wild, and you felt the club vibrating as you showed up in your best outfit? Work! Inside, a kaleidoscope of bodies dancing, watching, sweating, kissing, touching. Music transports, envelops, heals, connects, the dance floor (whatever that looks like!) becomes a classroom, where learning to play with gender, perform experimental versions of self is possible. Where being in communion among strangers, friends or lovers compels gatherers to sweat out the tears, bring in the joy, feel the pleasure. “Can you feel it?,” the desire for sacred spaces of communal celebration in a time of flux.

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International Network for Artistic Research in Jazz (INARJ)

Third Conference, February 23–25, 2023 (Vienna)

The International Network for Artistic Research in Jazz (INARJ), founded in 2019, will host its Third Conference, February 23–25, 2023, at the JAM MUSIC LAB Private University for Jazz and Popular Music, Vienna. The aim of the group’s conferences is to strengthen its network and establish a platform for advocacy for artistic research in jazz and popular music. The methodology of artistic research is still fairly new in jazz and popular music genres and INARJ was founded with the mission to establish guidelines and resources for the field. The specific goal for the third conference is to discuss and experiment with questions of methodology, rigor, knowledge exchange, and positioning. Some conference sessions will be provided in hybrid format, however we encourage participants to plan on in-person attendance for more effective engagement in discussions and projects. Presentations should address one or more of the following areas in the form of discussion forums, project presentations, or performance sessions.

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Innovation in Music Conference 2023

InMusic23
Edinburgh Napier
University, Edinburgh, UK: 30 June, 1 & 2 July 2023

Innovation In Music celebrate their 10 year anniversary in 2023 and are excited to be heading to Edinburgh Napier University for our 10th year conference.

The InMusic23 conference theme is ‘You’re not supposed to do that’ with a focus on misuse and reuse; reimagining and repositioning; hybridisation and recontextualisation; and creating unique pathways and perspectives in music production, performance, technology and business.

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Handbook of Critical Media Industry Studies

We seek chapter proposals for inclusion in the Handbook of Critical Music Industry Studies. Critical Music Industry Studies (CMIS) is an encompassing and inclusive field that describes research and analytical perspectives on the music industry that move beyond operational concerns or introductions to subsets of the sector. The Handbook marks an important step in the development of CMIS as a legitimate field of study, bringing together industry professionals and academics from a diverse set of disciplinary perspectives. As Music Industry Studies explodes, it is time to revisit the field as an academic mode of inquiry. Too often, music industry programs of study emphasize getting students jobs and hiring faculty with “real world experience.” As such, the field diverges from other scholarly projects (especially with “studies” in their title). These programs tend to resemble trade schools that emphasize working within the system at the expense of re-envisioning the system. By narrowly focusing on getting students jobs, these systems end up reenforcing structures of domination within the music business. We seek to bring together scholars to intervene in the field and provide teachers with a text to teach music industry students the problems, potential, and promises of performing music.

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IASPM Journal Reviews Call

REVIEWS EDITOR

IASPM Journal is looking for a new Reviews Editor. The role is open to all qualified members and ideal for an early-career researcher to learn about journal editing and publication. Each year, the journal publishes two issues and the Reviews Editor oversees the entire process from submission to publication. We work as a collaborative team and the Reviews Editor will be supported by the core editorial team, who meet regularly. Please send all enquiries to Abigail Gardner at [email protected]. 

REVIEW FOR IASPM JOURNAL

We are looking for reviewers! IASPM Journal seeks new reviewers to help with the review process. We are especially interested in hearing from a linguistically diverse group of scholars. Email [email protected] for details.

Affective Politics and the Policing of the Social Through Popular Music

Special Issue of the Journal of Extreme Anthropology, https://journals.uio.no/JEA

The ‘affective turn’ across the humanities and the social sciences suggests that we pay attention to how affects create subjectivities, build communities and shape new forms of politics in the making (White 2017, Desai-Stephens & Reisnour 2020, Gregg & Seigworth 2010 and Clough & Halley 2007, Goodwin et. al. 2001). In other words, it encourages us to study how affective bodies ‘act and are acted upon’ (Seigworth and Gregg 2010: 1) as people engage with each other and with sensory objects (e.g. musical sounds), politically and socially, within specific contexts. These insights have implications for our understanding of politics, of the social, as well as how we understand social control and the ‘policing’ of the social. Instead of excluding objects from the social and privileging theories modelled on structure and agency (e.g. Giddens 1984, Bourdieu 1984), scholars are now redefining agency as relational (Barad 2003, 2007; Latour 2007, 2013). This has led to new research on how sensory objects, such as sounds and music, shape subjectivities, build communities and instigate politics through affect, within and across, contexts (Bøhler 2017, 2021; Shank 2014; Guilbault 2019; Schiermer 2021a, 2021b; Muniagurria 2018; Duque and Muniagurria 2022; Stover 2017, 2017).

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See Me, Feel Me, Touch Me, Heal Me: Tommy, Rock Opera and Twentieth Century Britain

Call for chapter contributions to proposed book on The Who’s Tommy:
Edited by Keith Gildart and Benjamin Halligan

With “Tommy”, British rock group The Who audaciously scoped British social history across the middle decades of the twentieth century in order to engage with themes of youth culture, hedonism and alienation, family dysfunctionality, the horrors of war and its aftermath, stardom and psychic damage, sexual abuse and exclusion, and the permissive society. The rock opera concept of “Tommy” was one that resulted in multiple iterations: the original album (1969), the London symphony production (1972), Ken Russell’s glam-era film (1975), stage productions at the moment of the “Britpop” renaissance in British culture (in the 1990s, and a 2015 revival), and the music continuing to feature in the live sets of The Who. “Tommy” was a key moment in the development of the “concept album” – a trend in 1960s music that evidenced faith in the ability of rock to engage with serious themes. The film of “Tommy” was part of a cycle of 1970s British films that sought to visualise and expand upon the music: The Beatles (“Yellow Submarine”), Led Zeppelin (“The Song Remains the Same”), Pink Floyd (“The Wall”), The Sex Pistols (“The Great Rock ‘n’ Roll Swindle”), The Who (“Quadrophenia”), Slade (“Flame”), David Essex (“That’ll Be The Day”, “Stardust”), and Aswad (“Babylon”). In the light of recent releases that revisit this period, such as “Bohemian Rhapsody”, and “Rocketman”, combined with the revelations about the darker aspects of 1970s pop music culture that “Tommy” anticipated, we invite contributors working in a range of disciplines (History, Sociology, Music, Film, Literature, and Disability Studies) to propose chapters for a co-edited collection with an anticipated 2024 publication date. We invite specific chapters on Tommy and British History; Tommy and Youth Culture; Tommy and Rock Opera; Tommy and the Pop Musical; Tommy and Disability; Tommy and Sexuality; Tommy and Religion; Tommy and the Who; Tommy and Gender; Tommy and War; Tommy, Race, and National Identity; Tommy and the Rock Star Messiah; Tommy and Ken Russell; Tommy and the 1970s; Tommy the album, film and musical.

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Asia Pacific Business Review Special Issue on K-Pop

The Globalization of Postcolonial Pop Music: Putting the Success of the K-pop Industries into Theoretical Perspectives

Guest Editors:

Professor Jangwoo Lee, School of Business Administration, Kyungpook National University & Success Economy Institute, Korea
Professor Paul Lopes, Dept. of Sociology, Colgate University, USA
Professor Chris Rowley, Kellogg College, Oxford University & Bayes Business School, City, University of London, UK
Professor Ingyu Oh, Faculty of Foreign Studies, Kansai Gaidai University, Japan
Professor Lynn Pyun, Graduate School of International Studies, Ewha Womans University, Seoul, Korea

Over the last two decades. the South Korean music market has grown into the seventh largest in the world, while its boy band BTS was ranked number one in 2021 as the most popular and best-selling global artist by IFPI (InternationalFederation of the Phonographic Industry). All these factsare simply confounding to many pundits of the industry as no postcolonial music market has achieved global breakthroughs as such other than South Korea. Only three countries in Asia are listed on the top 10 global music markets: Japan (2^nd), China (6^th) and South Korea (7^th). Among these, South Korea is the only postcolonial country that became independent from Japan after the Second World War.

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Telling Stories – Issues and Opportunities for Digital Music Archives

Date: 17-19 November 2022
Place: Manchester Metropolitan University

This three-day international conference is open to academics, heritage, cultural institutions and interested individuals and will provide a platform to address current societal and technological issues of heritage preservation in digital music archives. These issues include aspects of underrepresentation, digital literacy and inequality, access and public engagement, narration, memory work and many more. Bringing together heritage practitioners and scholars, the conference interrogates digital archiving methods and their impact on music heritage for both traditional institutions and community archives. New tools and engagement mechanisms in the digital sphere will be explored, and participants are invited to report on, develop and discuss creative solutions to the issues they encounter(ed).

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