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

Popular music in the Post-Soviet sphere: Analysing current trends

Posted: December 4th, 2019 | Filed under: Calls for Papers | No Comments »

Södertörn University, Stockholm, Sweden
3-4 September 2020 (lunch to lunch)

The workshop titled “Popular music in the Post-Soviet sphere: Analysing current trends” aims to carve out the main contributions currently being made by scholars to studies of Post-Soviet popular music in the 21st century. Popular music studies, investigating both the sounds, lyrics, performance and wider practices and cultures of popular music, is a large and vibrant research area. However, popular music produced in the Post-Soviet sphere, by artists associated with the Post-Soviet sphere, consumed by listeners in the Post-Soviet sphere/diaspora, or thematising Post-Soviet topics has not been the focus of much research in comparison to Western European and Anglo-American popular music. This is all the more surprising as Estrada, Russkii Shanson, Pop/Popsa, Rock, EDM and Rap/Hip Hop are major genres in Post-Soviet countries with large quantities of music produced, performed and listened to.

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Pop and Politics: State of the Field/State of the World

Posted: December 2nd, 2019 | Filed under: Calls for Papers | No Comments »

Annual Conference of the Popular Culture Association of Canada
Concordia University, Montreal, QC, May 7-9, 2020

After a one-year hiatus, the annual conference of the Popular Culture Association of Canada is back and looking forward—as well as up, left, right, down, and back. For our 9th annual conference, which will take place at Concordia University in Montreal, QC from May 7th-9th, 2020, we’re reflecting on the state of our field by inviting discussion on the relationship between popular culture and politics, broadly conceived.

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Music & Brands

Posted: November 28th, 2019 | Filed under: Calls for Papers | No Comments »

For the fifth yearbook on music business and music culture research 2021

Edited by: Prof. Dr. Michael Ahlers, Lorenz Grünewald-Schukalla MA, Dr. Anita Jóri, Dr. Holger Schwetter.

Ever since the early formations of a music-based music industry (Tin-Pan-Alley), non music-related companies built and strategically used relationships with music and actors within music culture. At that time mainly cosmetics and tobacco products were promoted by printing sheet music with advertisements. Nowadays the forms in which music and commercial activities of non-music actors are combined have become highly differentiated. At the same time, the market for activities such as sponsoring or advertising has increased in volume.

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Sound / Music / Decoloniality: A Research Colloquium

Posted: November 27th, 2019 | Filed under: Calls for Papers | No Comments »

Maynooth University Arts & Humanities Institute
24-25 March 2020
Keynote Speakers:
Professor Rachel Harris (SOAS)
Dr Thomas Irvine (Southampton)

It is well understood that sound and music operate as media of governance in various historical and contemporary colonial matrices of power. As such, they have been central not only to processes of territorial colonization, but also to cognitive and behavioural colonization. Indeed, efforts to displace or ‘write over’ other soundscapes and to delegitimize and render mute other forms of knowledge production, other aural/musical epistemes, are integral to colonial and imperial processes of epistemicide.

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Critical Perspectives on Music and Society

Posted: November 25th, 2019 | Filed under: Calls for Papers | No Comments »

This book series produces books that present a critical perspective on popular music and the music industry. Two dominant strains of thought exist for the study of popular music. First, many texts in the popular culture tradition celebrate the artists, fans, and cultures that arise from popular music. Second, Music Industry Studies texts give students a “how-to” perspective on making it in the music industry. In both cases, texts rarely address the way that the music industry produces and reproduces power. The purpose of this book series is to provide a platform for authors who explore the social production of music; as such it is broadly interdisciplinary.

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