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

Handbook of Popular Music Methodologies

Posted: September 23rd, 2021 | Filed under: Calls for Papers | No Comments »

We are seeking expressions of interest from scholars whose research is focused on popular music to contribute towards a handbook that surveys the diversity of approaches in its study. Drawing upon up-to-date and newly emerging writing, this handbook aims to offer an authoritative overview and critique of popular music methodologies, with topics including (but not restricted to):

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“When I Think of Home: Race and Borders in Popular Music”

Posted: September 19th, 2021 | Filed under: Calls for Papers | No Comments »

2022 Pop Conference Call for Presentations 

April 21-23, 2022

Many of us have been home, listening to music. Stuck there during the global pandemic, we have explored what home sounds like and what home means materially, culturally, and in ways that are utterly personal. As a place of security that feels less a given than before; as a right that many do not enjoy; as a nexus of struggle in a time of gentrification, economic transformation, conflict over indigenous homelands. For some home is a place it can be necessary to leave, and for others it is one, as Stephanie Mills made clear, it sure would be nice to get back to.

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Special Edition: Metal and Hardcore in Aotearoa and the Pacific Islands

Posted: September 14th, 2021 | Filed under: Calls for Papers | No Comments »

Perfect Beat: The Asia-Pacific Journal of Research into Contemporary Music and Popular Culture 

This call for proposals is for a special edition of Perfect Beat, focused on heavy metal and hardcore music, scenes, practices, and cultures in Aotearoa/New Zealand and the Pacific Islands. Metal and hardcore have a long and nuanced history in Aotearoa, where scenes have interfaced with localised aesthetics and histories, and responded to urbanisation, deindustrialisation, and globalisation in complex and multi-faceted ways. Moreover, metal and hardcore’s relationship to Māoritanga is similarly significant, despite only recently coming into greater international focus with the success of Alien Weaponry’s use of Te Reo Māori. Heavy metal and hardcore’s history in the Pacific Islands is deserving of further attention, particularly given the growth of bands such as Kūka’ilimoku in Hawai’i, the recent staging of Metal United World Wide in Papua New Guinea, and the established history of metal in the Solomon Islands.

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Music and Antifascism: Reflections on the Past and Possibilities in the Present

Posted: September 6th, 2021 | Filed under: Calls for Papers | No Comments »

July 7, 2022 | McGill University, Montreal

Symposium website: https://musicandantifascism.wordpress.com

Keynote Speaker: Dr. Federico Spinetti, University of Cologne

How have artists resisted the global surge of far-right movements and authoritarian regimes through music and music-making? How has music been mobilized against fascism and fascist tendencies in societies in the 20th and 21st centuries?

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Any Sound You Can (Re) Imagine, A 25th Anniversary Special Issue 

Posted: September 6th, 2021 | Filed under: Calls for Papers | No Comments »

Journal of Popular Music Education 

Any Sound You Can (Re) Imagine, A 25th Anniversary Special Issue 

Guest Editor 

Daniel Walzer: Assistant Professor of Music and Arts Technology: Indiana University-Purdue University Indianapolis (IUPUI)

Guest Contributor 

Paul Théberge: Canada Research Professor in Music and Interdisciplinary Studies, Carleton University, Canada

2022 marks the 25th anniversary of Any Sound You Can Imagine: Making Music / Consuming Technology, a ‘book about the role of recent digital technologies in the production of popular music…the industries that supply these technologies, the media that promote them, and the meanings they have for the musicians who use them’ (Théberge 1997: 5). A ground-breaking and interdisciplinary study drawing on music technology, cultural studies and popular music, Théberge’s research examined the complicated tensions among production and consumption, capitalism and consumerism, and what Henry Jenkins (2006) would later refer to as convergence culture, an interconnectedness among ‘media convergence, participatory culture, and collective intelligence’ (n.p.). Music production and consumption remain complex, as does the influence that corporations exert on virtually all aspects of the creative process. Prescient today as much as it was then, Any Sound You Can Imagine remains essential reading for scholars in popular music and technology.

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