Progressive Rock: Beyond Time, Genre, Geography…

The 6th Biennial International Conference of the Progect Network for Studies of Progressive Rock
5-7 SEPTEMBER 2024, The Krzysztof Penderecki Academy of Music in Krakow (POLAND)

The central idea for the Conference would be to combine creatively the two temporal dimensions in which progressive rock can be interpreted today: the past – from its genesis and original definitions through an analysis of the PROG classics to an attempt to read it anew; and the future – from meta-genre fusions to a critical post-progressive current. Hence, we suggest several subjects to be chosen by the participants and specific scopes to be included.

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Song, Stage and Screen 2024

Renewing/Rethinking/Reviving
June 26-29, 2024
Hosted by The New York Public Library for the Performing Arts

Song, Stage and Screen is back!

This call for participation heralds Song, Stage and Screen’s first return to an in-person gathering since 2019. Song, Stage and Screen XVII will convene at the New York Public Library for the Performing Arts in New York City from June 26-29, 2024. This conference will be in-person, free and open to the public. While the pandemic forced the global musical theatre industry to restart itself since our last meeting, issues surrounding reboots, reckonings, and revivals have long beset both the industry and the study of musicals. What resulting implications for musical theatre research have arisen? We encourage submissions that consider how the terms “renewing,” “rethinking,” or “reviving” apply broadly to any aspect of the musical theatre on the page, stage or screen.

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Openwork

Openwork is a peer-reviewed journal that publishes research into experimental music, art, and scholarship. Interdisciplinary in scope, our journal promotes new modes of interaction between scholars and practitioners whose work critically re-listens through and across boundaries and constraints.

For our second issue, we seek artwork and articles exploring the concepts of ‘pre-’ and ‘post-’, critically engaging with the established and overlooked boundaries of these temporal markers and reimagining conventional histories, materialities, and subjectivities. We are particularly interested in contributions that engage with themes including musical memory, the Global South, temporalities of performance, narratives of pre-/-post digital, and the Anthropocene.

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Tay Day – Liverpool

June 12, 2024, University of Liverpool
9am–5pm with an evening Tay Day Cabaret
Samuel Murray and Amy Skjerseth, Organisers

On the eve of Taylor Swift’s arrival at Anfield, we invite scholars [including undergrads and postgrads], fans, critics, and musicians to an interdisciplinary exploration of the singer’s many eras. We invite 15-minute presentations on an array of Taylor Swift-focused topics, which include but are not limited to:

• Music and songwriting
• Touring
• Fandom / Swifties
• Ecological impact
• Digital platforms and social media
• Lyrics as literature
• Music videos
• Taylor’s versions and rerecording projects
• Artists and influences
• Anglophilia
• Animals
• Collaborators
• Fashion

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Place, Perspective and Popular Music

Venue: International Centre for Music Studies, Newcastle University
Date: 4-6 September 2024
Format: In-person

Theme: Place, Perspective and Popular Music

For this meeting of the UK and Ireland branch of IASPM, we invite colleagues to consider the fruitful relationships between music, place and perspective. Our use of these terms is intended to encourage discussion around how, where and when we situate our work in the broad discipline (and multiple subdisciplines) of popular music studies as we understand it here and now as well as then and there.

Place is physically located, for example in the spaces and places it represents, in the locations it emerges from and travels to, and in the material aspects of live music ‘ecologies’ – relations between venues, transport routes and their polities, the physical spaces in which recorded music is produced – institutional and domestic). Place is also imagined – both backwards (through nostalgia, tradition and memory) and forwards (through planning, urban and rural policies, ‘placemaking’, cultural initiatives).

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Mapping Music History

University of Aberdeen, 28 March 2024

Maps have long punctuated musicological texts, but only recently have music scholars begun to leverage maps as tools for analysing, organizing, and presenting research. In part inspired by the ‘spatial turn’ in the humanities at large, historical musicologists are now paying greater attention to the geographical contexts in which past performances took place. At the same time – and fuelled by the increasing accessibility of Geographic Information Systems (GIS) software – they can visualize and analyse complicated trends across time and place with greater ease than ever before. These developments in twenty-first-century digital cartography invite questions about musical practices in the context of other, older sorts of maps. For instance, we might ask how the zoning of civic space has regulated performers’ livelihoods, how travel writing has conditioned listening experiences, or how the policing of bodily display made entertainment venues a focus for state surveillance and control. Building on work across a range of disciplines – including but not limited to music and sound studies; art, literary, and theatre histories; urban geography; heritage and tourism; and digital humanities – this symposium seeks to explore the use of maps as objects and methods in music history.

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