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

Music, Migration and Mobility

Posted: January 1st, 2022 | Filed under: Calls for Papers | No Comments »

International Conference hosted online by the Royal College of Music.
Date: 12-14 September, 2022.

This conference aims to investigate music as a mobile phenomenon, and the history of music as animated by mobility rather than fixity. It strives to reflect critically on methodological approaches and theoretical framings of music, especially the music of migrants. We invite proposals from scholars in any arts, humanities, and social sciences disciplines – as well as music practitioners – for papers that explore music and musical history through the lens of mobility, as opposed to static, rigid categories of national or geographical belonging.

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Punk and Philosophy

Posted: January 1st, 2022 | Filed under: Calls for Papers | No Comments »

Since the beginning of the Birmingham Centre for Contemporary Cultural Studies’ examining of youth cultures in the 1970s, there has been significant debate regarding approaches in how best one can unpack notions of formation, analysis and definition. This has led to the development of what is often termed as ‘post-subcultural studies,’ which has drawn upon a new lexicon of terms, such as ‘scene’ and ‘neo-tribe,’ as a means of unpicking the complexities of ‘subcultures.’ With these debates flourishing, academic approaches to subculture, and punk in particular, entered the 21st century in a postmodern mood. Here, new, exciting theories of punk have been thriving, including those who have argued that the wholesale jettisoning of the word ‘subculture’ was premature.

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Queer, Care, Futures

Posted: December 15th, 2021 | Filed under: Calls for Papers | No Comments »

4th Symposium of the LGBTQ+ Music Study Group
https://lgbtqmusicstudygroup.com

22nd – 24th April 2022
mdw – University of Music and Performing Arts Vienna
Hybrid Event

Call for Papers, Panels and Performances

Following a pause in our in-person events, the LGBTQ+ Music Study Group is excited to announce its 4th symposium, to be held (as a hybrid event) from 22nd to 24th April at mdw – University of Music and Performing Arts Vienna. This event will be a chance for us to take stock of the drastic changes in the world since our last symposium. We may also want to use this opportunity to cautiously imagine new futures, while addressing the rise in transphobia, biphobia and homophobia. At the very least, we hope that this event can enable new forms of reciprocity and solidarity, performing radical care for our communities as we adapt to the COVID-19 crisis. We hereby invite proposals for individual 20-minute presentations, lecture-recitals, shorter provocations, organised 60-minute panels and roundtable discussions, which investigate any aspect of LGBTQ+ music and music studies, including ethnomusicology, historical musicology, popular music studies, music sociology, performance studies, theory and analysis, music pedagogy etc.. Perhaps you would like to attend to the themes below:

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Methodological Approaches to Music and Dance: Exploring the Field of Heavy Metal and Its Genre Boundaries

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

September 08 – September 09, 2022, University of Siegen

Music and dance are connected intimately and especially in popular music cultures dance plays a vital role. Even though academic attention so far has rather attended to forms such as tap dance, salsa, hip hop or various forms of electronic dance music, heavy metal is no exception in this respect: It has developed characteristic, music-related bodily practices that at times serve to designate cultural membership as, for example, the term “headbangers” indicates. At concerts, the music is accompanied by common movements like headbanging and moshing and even more unconventional forms such as conga lines or ‘folkloristic’ circle dances can be found. As this suggests, the boundaries to other music genres are not rigid but porous: Historically, for instance, moshing and stage diving entered metal culture via hardcore and (music-)stylistic crossovers can entail extensions of a genre’s dance styles. The specific forms of movement are situated within a complex, relational structure and can vary by (sub)genre, the course of a concert, the interaction among dancers, the dancers’ evaluation of the music, or the music’s aesthetic character and materiality to name but a few aspects.

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Journal of Global Pop Cultures

Posted: December 7th, 2021 | Filed under: Calls for Papers | No Comments »

Real Fake / Fake Realness: (Re)appropriation, the Ironic, and Fandoms in Pop Cultures

Questions pertaining to authenticity, realness and fakeness have been a trademark of approaches to postmodern pop cultures from early on. The bourgeoining Post-Second-World-War consumer and media cultures provided ever growing reservoirs of signs and symbols, narratives and imageries, codes and gestures, materials and products to be combined, deconstructed, reassembled, recontextualized, by professionals but even more so by amateurs. After an era of admiration for the detached genius, it became obvious that nothing comes from nothing, that every cultural act is, to some extent, an act of borrowing and appropriation – or, as Belgian indierock band Dead Man Ray put it in 1998 to further complicate the issue: „We are all copies / But the originals are fake.“

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