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

Punk Pedagogies

Posted: March 26th, 2019 | Filed under: Calls for Papers | No Comments »

We will be hosting a 1-2 day symposium at Mansions of the Future in Lincoln (UK) on the 4th and 5th of July 2019* on the subject of punk pedagogies as part of the Punk Scholars’ Network’s series of themed symposiums.

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The Present and Future of Music Law and Practice

Posted: March 22nd, 2019 | Filed under: Calls for Papers | No Comments »

Monday 1st July 2019 – University of Central Lancashire, Preston

A conference which will examine the intersection between music and law, with a particular focus on the current legal and business challenges posed by a morphing, transnational, mid-digital marketplace.

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Perspectives on Music Production: 3-D Audio

Posted: March 11th, 2019 | Filed under: Calls for Papers | No Comments »

Arguably the most rapidly expanding area of audio production is that of 3-D audio – surround sound with representation of height. Such playback is increasingly commonplace in cinemas, and multi-speaker home setups and sound-bars are following. In parallel, headphone-based 360° spatial audio is experiencing huge growth, and the technologies that underpin this are steadily improving. Such listening is being driven by virtual and augmented reality, and beyond gaming, soon such applications will proliferate into many areas of daily life – from productivity to education, through social networking to music playback.

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Popular Music and Narrativity

Posted: March 11th, 2019 | Filed under: Calls for Papers | No Comments »

1-day conference, Senate House, London, 7 June 2019
CfP Deadline: March 30, 2019

Confirmed keynote speaker: Prof Nicholas Reyland, Royal Northern College of Music

Narrativity — the property of conveying or otherwise evoking a story — is one of the most compelling components of popular music. Storytelling in music can operate in complex and, at times, ambiguous ways that are distinct and sometimes divergent, from other narrative media such as film, television and literature, offering the exciting opportunity of media-conscious analytical approaches. As entertainment music media have evolved, so has how and where this type of narrativity operates, from the pub and music hall to screen media, the sphere of private listening and the internet. Moreover, the organisation of sound through technology (e.g. studio-based production and mixing) has created new parameters for expression that raise new opportunities to interrogate narrativity beyond lyrics or notated detail. Finally, encouraged by the increasing presence of music on the internet, there are now more forms within which narrativity can emerge than ever before, such as multimedia concept albums, long-form music video and transmedia projects rooted in popular music.

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Experts, non-experts and participatory construction of knowledge: the case of research on popular music

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

(Dir. Christophe Pirenne and Christophe Levaux, U Liège, Belgium)

After four decades of institutionalising popular music studies, the subjects and objectives defined in several essential texts published from the end of the 1970s onwards (Frith 1978, Tagg 1982, Wicke 1990, Middleton 1990), seem to have been largely covered. Whether in terms of methodology, interdisciplinarity, decompartmentalisation or decentralisation; or even in terms of institutional recognition and integration into the academic sphere, the knowledge acquired has been considerable to the point of sometimes influencing, in return, the disciplines from which popular music studies originally drew its inspiration. However, many questions remain unanswered. Have popular music studies truly embraced all types of popular music? Have popular music specialists really succeeded in studying the repertoires listened to by all social groups? Hasn’t the initial struggle of popular music studies against various forms of cultural elitism actually been transposed to popular repertoires? Can we refer to over- or under-representation in the scope of styles, genres and communities associated with them? Can or should a balance be guaranteed and how? Do the studies relating to the participatory construction of knowledge offer new opportunities for the study of popular music? Is it ultimately a question of rethinking the role of experts and non-experts in the elaboration of narratives relating to the latter?

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