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

Andrew Goodwin Memorial Prize

Andrew Goodwin was a key figure in the development of popular music studies.  His background was in media and cultural studies: he received his Ph.D. in Cultural Studies from the University of Birmingham and taught for many years in the Department of Media Studies at the University of San Francisco.  He was a pioneer of the scholarly analysis of music video (in his book, Dancing in the Distraction Factory. Music Television and Popular Culture, for example, which drew on his previous work on television) and an astute critic of the use of postmodern theory in popular cultural studies.  But his work also reflected his experiences as a working musician and critic (experiences explored in his entertaining Professor of Pop blog), and his articles on such topics as music technology and the concept of world music remain models of clear-eyed common sense and analytic insight, informed as much by practice as theory.   As a teacher, colleague and friend, Andrew was an untiring source of ideas, enthusiasm and support, and his untimely death, in September 2013, was a huge loss to all of us in IASPM.  The Andrew Goodwin Memorial Prize was established in 2014 as a fitting tribute to his generosity to younger scholars.

Aim: To promote popular music research and to support new scholars.

Eligibility: Postgraduate students who are currently registered at universities and colleges in the U.K. and Ireland and who are members of IASPM. Current students and IASPM UK-I members who submitted essays for the AGMP in previous years but were unsuccessful may apply again; however, they are not allowed to submit the same essay (or essay topic) twice. Previous winners of the AGMP may not apply again.

Awarded for: Essay of 3,000 to 4,000 words, on any aspect of popular music from any disciplinary perspective.

Prize: First prize is £1,000, with the runner-up receiving £500. Both the winner and runner-up essays will be published on the Andrew Goodwin Memorial Prize web page on the IASPM UK and Ireland website.

Dates: Submissions to open 1 November 2020 and close 31 January 2021. Prize awarded at IASPM-UK conference (and at IASPM international conference alternate years).

Panel of judges: The 2020-21 panel of judges is Melissa Avdeef, Matt Brennan, Sara Cohen, and Abigail Gardner.

Guidelines for submission

Submissions should be in either a Microsoft Word (.doc or .docx) or .RTF document file format, with double-spaced, 11-point in Arial font text (quotations larger than 40 words indented, in 10-point text). The student’s name and institution should appear on a title page as part of the essay document. PDF files cannot be accepted. All submissions should follow the Harvard Referencing Guide.

Essays should be submitted by 31 January 2021 to the following e-mail address: [email protected].



Sophie Frankford: Music, censorship and the state: the case of Egypt’s Musicians’ Syndicate

Sophie Frankford is a PhD student at the Institute of Social and Cultural Anthropology, University of Oxford. She holds an undergraduate degree in music from King’s College London and an MPhil in Modern Middle Eastern Studies from Oxford. She is interested in popular music in the Middle East, and her current research focuses on Egyptian sha’bi music.


Regan Bowering: Covert Sounds: The Sonic Codes of Glitch and Ambiguity in Drill Instrumentals

Regan Bowering is currently a Masters student in Popular Music Research at Goldsmiths, University of London, where she also completed her Undergraduate studies in 2019. Her current research explores the intersections of popular music history, technology and audiovisual cultures, with a particular focus on rhythm and aesthetic experience. She is currently the Co-Editor in Chief of Sonic Scope, a new student-led journal on audiovisual cultures. Prior to her academic research, Regan worked for 10 years as an event producer, programmer, marketing manager and musician.

Previous winners

2019 – Raquel Campos: Musicking on Social Media: Imagined Audiences, Momentary Fans and Civic Agency in the Sharing Utopia

2018 – Maisie Hulbert: “Respect is just a minimum”: Self-empowerment in Lauryn Hill’s “Doo-Wop (That Thing)”

2017 – Ellis Jones: “I do it for the love”: Pop music and aspirational labour

2016 – Alexander C. Harden: A World of My Own

2015 – Ben Assiter: Basic Channel and Timelessness: Negotiating Canonisation, Resemblance and Repetition in House and Techno