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

Popular Music and Society: Special Issue on Woodstock University

Posted: February 17th, 2018 | Filed under: Calls for Papers | No Comments »

Guest-edited by Oliver Lovesey

Popular Music and Society invites article proposals for a special issue of Popular Music and Society that examines the idea of Woodstock and related festivals (such as Altamont and the Isle of Wight) and the question of what Woodstock has taught or how it has influenced us. It will address Woodstock on its fiftieth anniversary as a significant paradigm shift in cultural, intellectual, and musicological history.

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Perspectives on Music Production: Gender in Music Production

Posted: February 17th, 2018 | Filed under: Calls for Papers | No Comments »

Call for Contributions

The music production industry has, for many years, been viewed as male dominated. Despite many examples of diversification and acknowledgement of the issues (such as the Audio Engineering Society’s ‘He For She’ campaign), gender representation within music production is considered limited. The editors welcome abstracts for chapters in a forthcoming Routledge edited volume entitled Gender in Music Production. The scope for contributions are listed below.

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“Playing Along”: Music, Participation, and Everyday Life

Posted: February 15th, 2018 | Filed under: Calls for Papers, IASPM Conferences | No Comments »

IASPM-ANZ 2018 Conference December 3-5, 2018
Waikato Institute of Technology (Wintec)
Hamilton, Aotearoa/New Zealand

Music exists in all aspects of our lives. It provides us with company; it is a part of rituals and celebrations; it creates dialogues with visual images through films and games; indeed, other media turn to music to stimulate sensations, affects, even tastes and smells. People participate in music, they play along, they accompany, they are accompanied, and thereby they may gain skills, knowledge, pleasure, companionship and so on. Music provides the means for performing and creating identities, which could relate to gender, culture or other identifiers. And through playing along, when we respond to rhythms and sounds with gestures, we might say we are also creating the music itself.

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Music and Musicology in the Age of Post-Truth

Posted: February 12th, 2018 | Filed under: Calls for Papers | No Comments »

 7-8 September 2018
University College Dublin

In recent months alternative facts, fake news and similar terms have become more and more commonplace among politicians, media and other public influencers alike in what is now often called the age of post-truth. Expertise appears to be discredited, gut feeling at least as important as facts, and facts themselves no longer valid and reliable. Often postmodernism and poststructuralism are blamed for the rise of a relativism that lies at the heart of post-truth attitudes. But is this really the case? And how should an academic subject such as musicology react to this development? Given the impact that postmodernism and post-structuralism have had on our disciplinary development, do we as academics in general and musicologists in particular have a special responsibility to engage productively with this challenge – as researchers, educators and last but not least as citizens? Are there potential music-specific reactions to the post-truther’s mindset? How can / should we adjust our teaching in this environment? And what role does music / do musicians play in the new “culture war” that we now find ourselves in? How is music utilised by either side? Are there differences in the responses from within popular, traditional and art music (and their respective musicologies)? Is our task as academics to neutrally analyse and describe developments, or rather to try and actively influence them through research, teaching and as public intellectuals – and if so, how?

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Pop – Power – Positions: Global Relations and Popular Music

Posted: January 31st, 2018 | Filed under: Calls for Papers | No Comments »

IASPM D-A-CH-Conference
Bern (Switzerland), 18–20 October 2018

University of Bern, Institute for Musicology
Bern University of the Arts, Research Area Interpretation
Partner: Norient – Network for Local and Global Sounds and Media

In Nigeria, the high pressure to follow the copyright rules of the globalized pop music market restrains the use of samples in hip hop culture. In Egypt, young musicians have no credit cards, leaving them without access to the online music market. In Europe, second and third generation migrants discuss their non-European backgrounds and European identities in songs and tracks. And U.S.-produced Korean pop music (K-Pop) increasingly rivals Korean-produced K-Pop in its concern for authentic presentation.

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