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

International Conference on Musical Form

Posted: October 29th, 2019 | Filed under: Calls for Papers | No Comments »

30 June – 1 July 2020, Copthorne Hotel, Newcastle

Organised by the Society for Music Analysis Formal Theory Study Group (FTSG), in association with the Department of Music, Durham University

Supported by North-Eastern Music Analysis Collective

Keynote Speakers: Prof Janet Schmalfeldt (Tufts University), Dr Steven Vande Moortele (University of Toronto)

The Society for Music Analysis Formal Theory Study Group invites proposals for the International Conference on Musical Form. For at least the last 25 years, music theory has witnessed remarkable developments in this area. This renewed interest, referred to as the ‘new Formenlehre’, has stemmed especially from the development of analytical theories for late eighteenth-century music advanced by William Caplin (1998) and James Hepokoski and Warren Darcy (2006). The International Conference on Musical Form seeks to reflect on the achievements of and the ongoing debates surrounding the new Formenlehre, whilst also considering its future. We welcome not only papers dealing with theoretical and analytical issues, but also contributions from related disciplines including historical musicology, history of music theory, corpus studies, music cognition, ethnomusicology, performance studies, philosophy of music, and sociology of music.

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15th IASPM UK and Ireland Biennial Conference: London Calling

Posted: October 26th, 2019 | Filed under: Calls for Papers, IASPM Conferences | No Comments »

London College of Music, University of West London, 3rd – 5th September 2020

In 1992, Allan Moore hosted the 2nd IASPM UK & Ireland conference at the Polytechnic of West London. 28 years later the conference returns to the same building – now the University of West London. As one of the key focal points of 20th and 21st century popular music practice, London has not only projected its musical voices all over the world but has also been a hub for incoming influences that have stimulated a rich and vast array of new musical cultures. The 2020 IASPM UK & Ireland conference seeks to use this amazing heritage to provoke discussion about this and many other subjects. In addition, we are aiming to continue the recent trend for weaving popular music practice and music business and management into the IASPM tapestry. And this practice-based specialism harks back to another key figure in the academic world of music, Christopher Small, who also taught in the same building until 1986 and who coined the term musicking.

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Journal of Popular Music Education: Special Issue Drum Kit Studies

Posted: October 19th, 2019 | Filed under: Calls for Papers | No Comments »

ISSN: 23976721 Online ISSN: 2397673X
First published in 2017 
3 issues per volume 


Special Issue Description 

This call seeks article submissions for a special issue of the Journal of Popular Music Education, guest edited by the three co-editors of the Cambridge Companion to the Drum Kit Matt Brennan, Joseph Michael Pignato, and Daniel Akira Stadnicki.

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IASPM Benelux Conference

Posted: October 18th, 2019 | Filed under: Calls for Papers, IASPM Conferences | No Comments »

University of Antwerp, Belgium, 14 – 16 May 2020

RE-peat, please!

According to the online Cambridge Dictionary, the prefix ‘re-’ stands for “do again” or “returning something to its original state”.

These two letters can be used in various combinations, many of which relate to core issues of pop, rock, jazz, hip-hop, dance, and many other genres.

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Modern Music Scenes

Posted: October 15th, 2019 | Filed under: Calls for Papers | No Comments »

AAG Meetings │ Denver, USA │ April 6-10

Organizers: Patrick Adler (University of Toronto); Richard Florida (University of Toronto); Michael Seman (Colorado State); Jesse Elliott (The Music District) ; Bryce Merrill (The Bohemian Foundation)

Music production predates market exchange and is still at the modern economy’s leading edge. The music industry boasts low barriers to entry, short product cycles, high levels of amateur production and collaboration, and a culture of experimentation. It is sensitive to technological change and has been wholly remade by the printing press, the radio transmitter, amplification, television, digitization. In addition to changing how music is produced, technological change continues to alter how music is distributed and organized. Local music production systems are regularly remade as music continues to evolve.

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